Harry Styles is a glamour-puss for the zeitgeist: a man who gleefully mines the sartorial glory days of rock ‘n roll with his eyes firmly fixed on the future. That’s the story his clothing told this past weekend on Saturday Night Live, anyway, where he was both host and musical guest, electrically likeable and as funny anyone who’s actually in the show’s cast. As Styles joked in his opening monologue, where he played monologuing chanteur at the piano: “Everyone thinks the cast does a lot of cocaine. They don’t. That’s why the show’s not good anymore.” The ’60s, the ’70s, and a droll treatment of the doldrums of the 2010s, all in one moment. Rare is the person who “everyone”—whatever that means now—might “fall in love with,” but Styles still manages to do that nearly obsolete thing the best celebrities do: charm us, and look great doing it. That’s the Styles Style.
On Saturday, there was also Styles’s...style: in short, he wore the hell out of a handful of outfits, and in the process laid out nothing less than where fashion is heading. As the apocalypse winds down a banner decade, everyone is looking back on changes and paradigm shifts, sharing photos of ourselves ten years ago with bad hair and this year with less bad hair. But it’s also worth wondering—and possibly less depressing to do so—what the next decade in fashion will look like. Styles represents precisely that, as his SNL night of a thousand big fits demonstrated: creative, a mix of brands big and small, and elegant. It’s a new era in which getting dressed—and really living in the clothes—is more vital a part of self-expression than it’s ever been before.
Styles mixes big dog designers with the up-and-comers, foretelling an interest not in mixing not high and low, but huge and little. He’s long been a Gucci guy, clutching farm animals in their tailoring campaigns since spring 2018, and co-chairing this year’s Met Gala with creative director Alessandro Michele. (Styles wore a tulle-bodice jumpsuit and a single dangly earring.) But if that kind of big brand contract used to mean you wore one designer and nothing else, Styles plays a little bit faster and looser, wearing a Marni shirt, or that Lanvin sheep-print sweater vest, with his Gucci trousers—two brands with new, young designers still establishing their vision, paired with a billion-dollar brand. This doesn’t sound particularly revolutionary, but it is a slight kind of liberty (or even rebellion) that makes him look less like a guy who’s been plugged into the fashion world and more like someone who just loves clothes. Maybe it’s that people are getting cynical about the sameness that those big brand contracts involve, or maybe it’s just that designers are getting more comfortable with—or realistic about—their brands being seen as a part of a wardrobe.
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