Years ago, a professor warned me about having too many clothing descriptions in one of my stories. He thought that the mention of brand names and particular cuts of skirts might end up only attracting a younger audience. He asked me who I was writing for. I didn’t really have an answer. I remember feeling a little misunderstood because I was an adult who liked to see clothing represented in books. I thought a lot about that conversation recently while rereading Sister Souljah’s novel The Coldest Winter Ever. In the book, Winter Santiaga, a spoiled and savvy teenager, reluctantly moves with her family out of Brooklyn. Her father is arrested soon after—Winter’s two sisters are put in foster care, Winter’s mother gets hooked on drugs, and Winter hustles to stay alive. She uses her knowledge of Chanel and Gucci to understand people. Early on, her attire unites her with her family at a symbol of high status. Her outfit choices later evolve into a performative act of class when she faces money troubles. As I noticed the power of labels in that story, I started thinking more seriously about the work that fashion and labels do in literature. The relevance of Souljah’s book—considered part of the genre of “urban fiction” or “street literature”—among audiences of different ages and cultures suggests that having a designer-obsessed lead character does not actually limit the scope of the genre. Are issues of gender and race the reasons that fashion is often viewed as an inherently immature topic in the literary sphere? Designer shoes and clothes may inspire younger protagonists, but divorcing fashion from femininity would take away something that women have mastered, in spite of its oppressive underpinnings. I don’t mean to say that dressing up to meet the standards imposed on women is revolutionary, but it plays a major role in navigating a patriarchal world. Katja Horvat writes about the connection between writers' fashion lives and their use of fashion in their writing in “Fashion & Literature.” By looking at people like Virginia Woolf, Horvat finds ways that writers intersect with designers, especially in terms of skill and interest in character building. She explains that “both fashion and literature occupy a fetish for fantasy inside the minds of so many people.” The element of fantasy is an important aspect, too, for many characters' understandings of their fictional world (read more about memorable clothes in books at The Millions here). Looking a certain way directly affects how they get treated by other characters and, therefore, the story. For Winter, understanding fashion is a way to learn about other people, but it’s also an important aspect of her identity. She uses designer clothing to remain socially relevant after losing her bankroll to the prison industrial complex. When she’s in a group home with only $350 and a party to attend, she goes shopping. The day of, “I laid my three hundred dollars on the counter at Saks Fifth Avenue. I walked out with a designer shopping bag with one Calvin Klein slip dress inside…I kept telling myself, This is an investment. This is an investment.” She knows that access to rich men requires her to look expensive. The mantra in her head shows that she is not being bad with money by buying clothing; she’s strategic in her spending. In Ashley & JaQuavis’s The Cartel, another work in the street literature genre, access to designer clothes takes on a different role. The main characters can all afford the fanciest stuff, and many specifics are written into the narrative, reinforcing a fantasy element of vicarious wealth that also drives the use of fashion in literature. Like Winter, Sophie Kinsella’s protagonist, Becky, in her humorous novel Confessions of a Shopaholic also loves fashion, as suggested in the title, but can’t afford any of it. There is much less at stake for Becky than for Winter, but Becky also sees the world through designer names, including herself. She explains, “I’m wearing my black skirt from French Connection, and a plain white T-shirt from Knockerbox, and a little angora cardigan which I got from M&S but looks like it might be Agnés B. And my new square-toes shoes from Hobbs.” She explains, “it’s a habit of mine, itemizing all the clothes I’m wearing, as though for a fashion page,” that she learns from fashion magazines at a young age. Becky thinks of herself as the model in this scenario. Even as she struggles (and hides) from one bill to the next, she thrives off of the possibility that she will be remembered for certain outfits. With every new piece that she desires, she imagines that people will call her “the girl with the [fill in the blank].” This character is jaded, but there’s something purposeful in her extravagant purchases. As with Souljah’s novel, the act of cataloging clothing by brands creates a sense of intimacy among women characters and readers. In Shay Youngblood’s Black Girl in Paris, a work of literary fiction, the narrator analyses clothing to understand nationhood. Before getting an au pair position, she writes: I sat still for a moment before picking up a pen and pad and calculating what I could do with either thousand francs. First thing, I would buy myself a pair of shoes from one of the hops near place de l’Odeon. High-gloss Italian leather pumps, sleep Japanese creations that looked like miniature cars, stiff English riding boots. I would be practical but not too, something very simple, very French. Then I would not be afraid to enter Les Deux Magots, where Wright sometimes met Baldwin for drinks and conversation. The right shoes would give me a certain confidence. It’s not just that she needs a new pair of shoes. She justifies the purchase as a tool to explore the city like other black American writers have. She is well versed in brand names and styles; knowing what “very French” shoes look like allows her to spend her money in a meaningful way. The rest of her trip to Paris continues to rely upon her understanding of clothes. It’s how she learns about access, definitely, but it’s also how she learns about her role in the world: I am wearing a long-sleeved, knee-length blue sundress, which is covered by my heavy coat from the flea market. I do not feel particularly American, but any Frenchman can tell because I am wearing white socks and black leather running shoes and carrying a black canvas backpack slung over my right shoulder like an ordinary tourist. Ifemelu, of Chimamanda Adichie’s novel Americanah, similarly considers her transnational experiences through the lens of clothing. Ifemelu, the ever-practical observer, pays close attention to race, hair, and clothes throughout the novel. As she gives away her clothing when she finally gets her visa, “the first thing they [her friends] all reached for was her orange dress, her favorite dress, a gift from Aunty Uju; the A-line flair and neck-to-hem zipper had always made her feel both glamorous and dangerous.” When she goes shopping in America and sees a new friend pick out a “shapeless” dress, she worries “whether she, too, would come to share Ginika’s taste for shapeless dresses, whether this was what America did to you.” Her exploration of the concept of America continues to be based on fashion as she gets involved in blogging. One of her blog posts explains: I bought a dress from a vintage shop on eBay the other day, made in 1960, in perfect shape, and I wear it a lot. When the original owner wore it, black Americans could not vote because they were black. (And maybe the original owner was one of those women, in the famous sepia photographs, standing by in hordes outside schools shouting ‘Ape!’ at young black children).” Wearing American clothing, especially second-hand, becomes an intellectual experience for Ifemelu. This dress has historical value because it symbolizes white aggression. Her understanding of American politics becomes more literal when the narrator says, “still, there was, in Michelle Obama’s overly arched eyebrows and in her belt worn higher on her waist than tradition would care for…it was this that drew Ifemelu, the absence of apology, the promise of honesty.” What gets lost in the assumption that fashion labels and concepts are immature is the female gaze. I don’t think my professor’s comments necessarily came out of malice, but constant self-surveillance is gendered and racialized, so the politics of this topic require serious inspection. Watching the mannerisms and physical appearance of oneself and others interchangeably is a complex part of being a woman, and made more complex for women of color. What seems superficial to some is survival for others. Image Credit: Wikimedia Commons.
This July, I published my first novel, An Innocent Fashion, the story of a queer, biracial millennial who spirals into a depression after landing his dream job at a fashion magazine. The book was aptly pitched as "The Bell Jar meets The Devil Wears Prada" -- with one foot firmly in each of both the "literary" and "commercial" realms. Yet the latter half of this equation proved the source of a major frustration. Specifically, I was self-conscious about other people's biases against fashion, the commercial (read: "unserious") theme on which my whole novel pivoted. In interviews I downplayed the fashion element over and over, explaining that despite being set in the office of a fashion magazine, the book was complex, using fashion to explore deeper societal issues. Part of my preoccupation with "seriousness" came with the territory of being a first-time author; I yearned to be well-respected, considered "good enough" for one's work to count as capital-L Literature. But the other part stemmed from a truth I'd been fighting from a young age: that fashion, which I had been passionate about from a young age, was not a very serious or important subject. I grew up within a tight-knit Cuban family in Miami, surrounded by traditional values including the sharp distinction between male and female gender roles. As do many others, I learned that fashion was "for girls," the subtext being that as it was somehow lesser -- a frivolity. Personally, I didn't see why fashion should be considered inherently more trivial than any other form of creative expression -- writing, for instance, or fine art. I maintained that fashion's unfair reputation was a reflection of my conservative environment. But even as an undergraduate at liberal-minded Yale, where intelligent peers sometimes expressed a heady disregard for the sartorial sphere, the effects of an entrenched bias were still evident. Others didn't think as highly about fashion as I did; everywhere I went, fashion was considered frivolous. Many books that embraced fashion as subject matter seemed to confirm and perpetuate this notion. As far as I could tell, fashion-oriented books fell primarily into the category of chick lit -- juicy reads like Confessions of a Shopaholic and Bergdorf Blonds, in which "fashion" was a code word for the same kind of guilty pleasures afforded by junk food and reality TV. Of course, the biggest phenomenon in this league was The Devil Wears Prada. Because like the author of Prada, I too had been a fashion assistant when I wrote my book, Prada had made for an inevitable comparison to An Innocent Fashion from the start. But unlike my book, however, in which even the least likable characters defy overarching stereotypes, Prada devotes 360 pages (and the film equivalent, two hours) to driving home the idea that fashion is not only frivolous, but also, inexplicably, "bad" -- and that the people who love it are some inevitable combination of mean, superficial, and/or stupid. Aspiring to a career in"serious" journalism -- the protagonist Andy Sachs paints an unanimously damning picture of her colleagues: nasty, brutish, and dagger-heeled. The result of this reductive portrayal of the fashion industry is that pithy stereotypes remain unchallenged -- a missed opportunity. After all, it wasn't always this way. If, in many realms, fashion has had an unfair reputation as a shallow womanly diversion, in literature it was put to use by some of our most important authors. Consider Joan Didion's The Year of Magical Thinking, in which, after her husband's death, she can't bear to throw away his shoes, which she compares to vital organs: "How could he come back if they took away his organs, how could he come back if he had no shoes?" There’s Sylvia Plath, whose novel The Bell Jar paints a portrait of a woman on the verge of losing her sanity, while working for the fictional equivalent of Mademoiselle in the '50s. While the superficial magazine goings-on provoke the main character's despair as she realizes her powerlessness to resist her destiny as a wife/mother/homemaker, she is frequently transfixed in earnest by the beauty of clothes and shoes, and "a whole life of marvelous, elaborate decadence that attracted me like a magnet" -- making her relationship to fashion complex and real. In Edith Wharton's society novels, corsetry and ruffles help Wharton make elegant, searing criticisms of class and gender inequality ("If I were shabby no one would have me," says Lily Bart in The House of Mirth, "a woman is asked out as much for her clothes as for herself") -- while who could forget the meaningful implications of fashion in Breakfast at Tiffany's, or The Great Gatsby, or Gone with the Wind? Contemporary books touting fashion as subject matter rarely, if ever, offer such depth or complexity, while those that revolve around fashion magazines nearly always feature a cast made up exclusively of privileged white women. This perhaps more than anything is what I hoped would distinguish my novel. Given the precedent set by annals of homogeneously populated chick lit, the main character isn't who you'd expect. He's a person of color, queer, and the opposite of rich -- an outsider named Ethan for whom the glamour of fashion represents the inaccessibility of the American dream. In the Prada-sphere, Ethan would surely be reduced to a stock character -- most likely, a white woman's sassy gay best friend. The need for nuanced representations of fashion in fiction has never been greater. Fashion offers a unique lens to view some of the most important issues of our time: class, gender, race, and sexuality. Depictions of fashion in literature can and should reflect that, providing new ways to engage with the dialogue of human progress, challenging our ideas about society and personal identity. These goals, after all, are at the heart of literature and fashion alike. See Also: Clothes in Books and Ways to go Wrong Image Credit: Wikimedia Commons.