Jan 17, 2018 | By Samuel Trotman
Clockwise from left: Carven Pre-Fall 2012; footwear zoom of Carven Pre-Fall 12; Christian Dior F/W 1966 in L’Officiel de la Mode magazine, n. 533-534, September 1966.
Often, during our internet travels for vintage inspiration and research, we come across a look or a garment or an accessory that seems uncannily familiar- so familiar, in fact, that we know we’ve seen it before. Sometimes, it’s more of an overall sentiment (cue Mod Era, S/S 13). This time around, it’s our obsession with la nouvelle ère de Carven that led us to look twice at a pair of shoes recently whilst browsing the Jalou archives online, screen-deep in back-scanned issues of L’Officiel de la Mode magazine from the mid-60s. A pair of Christian Dior brogues in the September 1966 issue looked uncannily like…a pair of Carven Pre-Fall 2012 brogues, save for the pointy vs. square toe on the latter style. A happy coincidence? Blatant design appropriation? We prefer to applaud the excellent taste of Carven’s design team, and celebrate the fact that such beauties have been made available to our generation. But credit where credit is due: thank you, Marc Bohan, and your late-60s design assistants for such lovely shoes.
Despite recent initiatives within the industry to offer copyright protection to designers (the CFDA’s Innovation Design Protection Act of 2012, or IDPA, S. 3523, which died, or Christian Louboutin’s manifold lawsuits over his signature red soles), we’re going to have to agree with Johanna Blakley’s Lessons from Fashion’s Free Culture: “…because there’s no copyright protection in the fashion industry, there’s a very open and creative ecology of creativity…fashion designers have the broadest palette imaginable in this creative industry.”
May this ecology of creativity continue, and the palette of the past continue to inspire designers in the present. Stay tuned for more Nothing is New news during the F/W 13 collections.
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