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by Christine Lee Martin Margiela's Hair Coat is currently displayed at the Les Arts Decoratifs as part of a fashion exhibition (Les Annèes 1990 & 2000: Histoire Idèale de La Mode Contemporaine Vol. 2.) It is the first thing that you see upon walking through the doors of anticipation that stirs from questions of whether this exposition will be worth a valuable Sunday afternoon. Any and all doubts are cast aside about the exhibition when you lay your eyes on this one piece. Immediately, you are drawn in. This piece is Margiela. It stands for a major component of who he is as a designer: an avant-garde visionary, capable of transforming unorthodox items into couture. How powerfully it exists as a representation of one man's capabilities to change the fashion world. There is no doubt that this hair coat is more than just wigs fastened into a wearable format -- it holds power and worth that nobody can deny. This is an example of opposition to fashion.

by Barbara Leung While the concept of product placement and large images does not seem to faze many, this particular advert made a splash in the news when it was announced that a 2600 sq foot sequined Chanel No. 5 bottle would adorn the façade of the Musée d'Orsay. One can say that fashion in France is rooted strongly in the ideas of cultural development, and can therefore be leveled with that of the old train station. What can be noted in terms of power, is that of the fashion industry influencing and perforating the historical and cultural sphere. Image ( via )

The investigation into clothing and power negotiation resumes February 1, 2011