Take Me To Church!

^{Image: Morgane Maurice}

Why are fashion designers so obsessed with religion?

As another fashion label took over a nave to transform it into the magical space that is the catwalk yet again, in a stark departure from the solemn ceremonies that normally take place within these halls, Instagram stories were swarmed with snapshots and snippets of the runways going on behind the Holy doors of London churches. There are expectations to a fashion show. Beyond the obvious expectation for the clothes to be great, location is part of an costly yet crucial investment for a brand to make a lasting impression. For the attendees to leave the event starry-eyed, is there anything better than setting up camp in the ethereal backdrop of the intricate stained glass and gothic architecture of a church? “For those wondering why I’ve been at church more than usual…”, a fashion journalist captioned her picture of St-Mary-at-Hill Church. “My handbag perfectly fits in the pews (insert praying hands emoji)”, posted another. Whilst the intrinsic relationship between fashion and religion has undeniably always been of relevance - yes, even the Pope has been spotted wearing Prada, and we all remember the grandiose “Heavenly Bodies” MET Gala - many designers seem to have taken a particularly keen interest in the aesthetics associated with the Christianity, and more specifically Catholicism, for their recently showcased AW24 collections. Debates ensue: has a line been crossed? Why is a place of prayer becoming a centre of spectacle and entertainment for an industry worshipping some of its designers as equally, if not more, as those who worship a God?

The relationship between fashion and Christianity has always been inherent. Going as far back as the Middle Ages, when kings and queens adorned in gold and sumptuous fabrics believed that God himself had given them the divine right to rule. Being (supposedly) chosen by God to be His representatives on earth came with the privileges of opulent wealth and disposable income to spend on luxurious garments crafted by the best tailors of the Kingdom. Being the most powerful entity at the time, the funding of the Church through generous donations to the Church also allowed for extensive investment into building sophisticated sanctuaries and creating sanctified artefacts, leaving behind a rich legacy of excellence and craftsmanship many designers have understandably grown fond of throughout the years. John Galliano particularly exemplified this interest in these techniques and intricacies when he crafted Rihanna’s iconic pearl pope-inspired gown for the 2018 MET Gala. Drawing direct inspiration for the papal tiara worn until the mid-1960s to create the mitre worn by the singer, no less than 250 hours of sewing and 500 hours of hand-embroidery were needed to complete the look.

As of the 40th edition of London Fashion Week, the motivations behind the use of religious symbolism seem to stir from admiration. Whilst the celebration didn’t run short of shows organised in churches across town, the collections seemed to seek a powerful, out-of-body experience from the celestial setting, rather than striving to become religious iconography in turn.

That is what Dilara Findikoglu did, as she made the St Luke Old Street Anglican Church her own safe place to unleash the divine feminine, she revolted against parochial and patriarchal structures ruling our society, appropriating the restrictive corset as a feminist cry for action. Challenging the ethics at the very core of the establishment she hosted her attendees in, a model was seen walking down the runway holding a newspaper on which could be read the provocative headline “OMG Dilara is doing a satanic orgy at a London church!”. This mighty exhortation filled the space with a growing urge for change and rebellion, tearing down the masculine entity that is God rather than adoring Him, a stance to dismantle gender constructs, and summon feminine energy to become the almighty.

DI PETSA also explored the complex doctrine of Christianity in her collection, bringing together high fashion and performance art, as the designer herself recited Greek poetry to the music of a Ghuzeng. The Old Selfridges Hotel became a temple to honour the models-turned-goddesses and their divinity - beauty and sexuality - channelling the religious archetype of the Virgin Mary in this process of self-love and healing. Comparing the embellishment of the body through dressing to an act of worship of one self and the body, Petsa further blurs the lines between fashion and religion, as the importance of the sartorial arts is elevated to holy ranks. The looks featured golden crosses and angelic halo-like beaded head pieces, evocative of religious keepsakes. Contrary to Findikoglu, the performance didn’t aim to convey a message of insurrection, but for the audience to embark on a ritual part-pagan, cleansing the place with bell chimes and incense, and part-Christian by its multiple uses of religious symbolism. Ultimately, it seemed that DI PETSA embraced then divine nature exuding from her collection to elevate herself and her creations almost to a rank of mystical entity.

In an industry of extremes, obsessed with opulence and lavishness, there is no mystery as to why designers are naturally drawn to the grandeur and divine imagery of Christianity and Catholicism. Ultimately, what draws in so many is the idea of perfect purity and extreme opulence associated with religion. In an industry where egos compete for the spotlight, the fascination of fashion designers with religion seems to be closely intertwined with the almighty power associated with the higher-ranking members of the Church. After all, the status conveyed by Christian divinity is not far from the praise received by the most highly esteemed designers from the industry uplifting them to dieties of their own. Maybe the close association of these collections with religion strives to imbue more meaningful significance to these designers’ work, but perhaps this obsession stems from the more selfish motive of hoping to, one day, being remembered as industry Gods in their turn.

^{Thumbnail images courtesy of Dilara Findikoglu, Di Petsa, Morgane Maurice, and Damon Winter}