EXTRAÑO AMOR… ¿Me lo darás?
STRANGE LOVE Spring looks and beauty looks are inspired by the provocative Post Punk sounds and themes of DEPECHE MODE’s 1987 STRANGE LOVE ….. a beauty and fashion editorial tribute to the group’s North American tour this Spring 2023
STRANGE LOVE REDEFINITION OF ATTITUDE:
A redefinition of attitude encapsulates the aesthetic shift of the late 1980s. It was a moment when beauty, style, fashion, and music aligned to create a lasting cultural imprint. This was nowhere more apparent than during the New Wave Era, embodying the ‘Strange Love’ concept. The 1987 hit single from Depeche Mode’s ‘Music for the Masses mirrored the youth. The band’s look captured in grainy colour magazine cutouts and raw black and white music videos became the template for a youthful generation’s style. The dawn of digital photography blurred the lines between raw realism and polished fantasy. It set the stage for an era that attempted to balance edginess with refinement.
PROGRESIÓN DE UN LOOK:
‘Music for the Masses’ marked a transition in post-punk electronic music, not just in sound but in its visual and fashion direction. The era’s fashion was still tethered to a working-class British youth aesthetic, now with a late-eighties penchant for polished healthiness. The contrast between rugged, denim-clad street style and the theatrical application of makeup, both for men and women, epitomized a distinctive style of strange love.
El cabello ocupó un lugar central como una declaración de moda o lealtad que se puede probar. Recortado y con picos o peinados, todo enfatizaba la importancia de la textura y la nostalgia. El uso visible de productos para el cabello durante los años ochenta no fue solo una elección estética. Presagiaba el futuro de los mercados de belleza, donde dominarían los productos voluminizadores, hidratantes y potenciadores de la textura.
TIEMPO DE PRUEBA:
In 2023 and in 1987 tonal statements still stand their ground. The influence is not just nostalgic but was also directional, guiding contemporary designers and beauty brands toward a fusion of structured minimalism and experimental texture which would dominate the 1990s. According to long time beauty professional – Marilyn Opiz, “that style, this strange love brought glamour and youthful rebelliousness together at the same time, the combination came together as we have never seen it before…It’s truly the last time we saw an aspirational glamour”
UNA PERSPECTIVA MODERNA: Para el editorial ‘Strange Love’ de IRK, la estética tiende un puente entre el pasado y el presente, mostrando diseñadores emergentes de las colecciones del Día del Hombre de Nueva York de primavera de 2024 junto con minoristas de estilo de vida estadounidenses que atienden a un cliente joven y consciente de la moda. La paleta de colores refleja una versión moderna del estado de ánimo de finales de los ochenta: gris pizarra suave, rosa ceniza, tonos cemento y la infusión ocasional de lamé dorado y tejidos de punto rosa texturizados, discretos pero impactantes. El maquillaje sigue su ejemplo, abrazando la armonía tonal. Tonos cálidos y de aspecto natural que definen el rostro. Los labios y las mejillas están rojos por la calidez, mientras que la piel está ligeramente tonificada con tonos de contorno tierra que se mezclan a la perfección.
STRANGE LOVE EYE EDGE:
The eye is the focal point of this STRANGE LOVE aesthetic evolution. For both men and women, the look is striking yet wearable: soft pencil-lined eyes with black kohl and brown, shadowed in deep greys and diffused pewter, blended with rose gold accents. A nod to late-eighties excess emerges in the textural interplay. Warm fur color accents subtly highlight shimmering gold touches at the brow bone and draw to a dramatic wing. Brows are bold and full, almost an eye makeup statement in themselves, capturing the essence of a strange love era.
THE STRANGE LOVE SKIN FINISH:
What makes this beauty direction particularly modern is the way neutral tones meld with natural skin textures. Unlike the overtly powdered finishes of the past or the hyper-glossy, of the 1990s, today’s formulations strike a balance. There’s a blending of powder, gel, and cream textures, creating an understated matte that is youthful and spirited. This strange love evolution of beauty in 2023 mirrors 1987’s careful balance between refinement and rawness, proving that some attitudes in fashion and beauty are not just cyclical but perennial.
Quieres más: LAURA BLUE EYES de French Cowboy
Colaboración de moda y arte IRK primavera de 2023
STRANGE LOVE Fashion Direction, Art Direction, and Creative Practice by IRK MAGAZINE Editors Patrick Michael Hughes and Stacy Seiler.
Patrick Michael Hughes Editor Senior de Moda, Escritor de Moda Masculina
Stacy Seiler Diseñadora gráfica, editora de arte de IRK
Jeff Mikkelson Fotógrafo: Mikkelson es un galardonado fotógrafo y director de belleza y moda con sede en Nueva York, con clientes editoriales y publicitarios en todo el mundo.
Li Murillo Peluquera y Maquilladora Meron Weyante
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Patrick Michael Hughes is a fashion and decorative arts historian. He writes about fashion culture past and present making connections to New York, London and Copenhagen's fashion weeks with an eye toward men's fashion. He joined IRK Magazine as a fashion men's editor during winter of 2017.
He is often cited as a historical source for numerous pieces appearing in the Wall Street Journal, The New York Times, CNN, LVMH, Conde Nast, Highsnobiety and others. His fashion career includes years as a fashion reporter/producer of branded content for the New York local news in the hyper digital sector. Patrick's love of travel and terrain enabled him to becoming an experienced cross-country equestrian intensively riding in a number of locations in South America Scandinavia,The United Kingdom and Germany. However, he is not currently riding, but rather speaking internationally to designers, product development teams, marketing teams and ascending designers in the US, Europe and China.
Following his BA in the History of Art from Manhattanville College in Purchase, New York he later completed graduate studios in exhibition design in New York. it was with the nudge and a conversation in regard to a design assignment interviewing Richard Martin curator of the Costume Institute at the Metropolitan Museum of Art he was encouraged to consider shifting his focus to the decorative arts with a concentration in fashion history and curation.
Patrick completed graduate studies 17th and 18th century French Royal interiors and decoration and 18th century French fashion culture at Musée Les Arts Decoratifs-Musée de Louvre in Paris. Upon his return to New York along with other classes and independent studies in American fashion he earned his MA in the History of Decorative Arts and Design from the Parsons/Cooper Hewitt Design Museum program in New York. His final specialist focus was in 19th century English fashion and interiors with distinction in 20th century American fashion history and design.
Currently, he is an Associate Teaching Professor at Parsons School of Design leading fashion history lecture-studios within the School of Art and Design History and Theory,
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