my framework of 'americana' as a style legacy
The concept of Americanisation, (defined as the spread of American influence, culture, and lifestyle across the globe) has played a pivotal role in shaping the international landscape of fashion. Examining the globalisation of Americana provides insights into how these distinct American aesthetics have become transnational symbols, influencing not only fashion but also contributing to the construction of global identities. The influence of American aesthetic codes, embodied in the core themes/genres of prep, workwear, and western-wear, have not only defined the landscape of fashion within the United States but have also shaped global style movements. As a visual documentarian, I have had the opportunity to observe and capture the resonance of these American aesthetics in unexpected corners of the world, attesting to the international impact of these styles.
Starting with prep, the phenomenon of Japanese prep fashion, often referred to as "Ivy Style" or "Ivy League Style," is assumably the most potent example of the global reach of American-inspired fashion. Rooted in the post-World War II era, American soldiers stationed in Japan left an indelible mark on the local fashion scene. Japanese prep fashion emerged as a fusion of traditional Japanese aesthetics and American preppy elements. This style, characterised by meticulous attention to detail and craftsmanship, has become a distinct subculture in Japan, embodying a lifestyle that appreciates the fusion of American casualness and Japanese precision. In Japan, the 'trad' subculture, short for traditional, is another fascinating dimension of American-inspired fashion. Rooted in a reverence for classic American prep, 'trad' enthusiasts in Japan meticulously curate outfits that ] mirror the Ivy League look. This subculture showcases not just a stylistic adoption but a profound understanding and appreciation of the historical and cultural contexts embedded in American preppy fashion.
Within the realm of workwear, I believe the global prominence of modern streetwear can be seen as an expansion of American workwear and its utilitarian roots. Workwear's emphasis on durable and practical clothing has directly influenced the ethos of street fashion – as brands like Dickies and Carhartt, rooted in the workwear tradition, have become also become synonymous with the streetwear movement. The rugged and effortless appeal of workwear has excelled its origins to become a style embraced worldwide, reflecting a preference for functional fashion with historical and patriotic undertones.
On the other hand, western-wear and cowboy attire hold a unique place in the global fashion lexicon. As I previously discussed, Hollywood, country music, and broader shifts in pop culture have refined and popularized cowboy fashion, transcending its practical origins to become a globally recognized aesthetic. From Ralph Lauren's cinematic Western collections to pop musicians like Lil Nas X. Western-wear's influence extends far beyond American borders.
As an international photodocumentary photographer, I've had the privilege of witnessing the pervasive influence of American aesthetics in unexpected locations. From the streets of Lagos, Nigeria, where preppy and street-inspired styles from the West are championed, to the coastal landscapes of the Maldives, where denim workwear exhibits unmistakable American influences. When visiting Venice, Italy in 2023 I even had the pleasure of engaging with two older Italian men passionate about cowboy fashion – further exemplifying that the reach of American-inspired fashion is indisputably global. The photographs displayed on my home page, tell a visual story of how these styles, born out of American contexts, have become integral parts of diverse cultures on three separate continents. and resonating with a global audience.
michael jackson - a transcedent style legacy
From mass media's very genesis, every remarkable musician’s discography has coincided with their comprehensive image. The indelible power of iconography: Elvis’ voluminous pompadour, John Lennon’s signature ‘Windsor’ glasses, Michael Jackson’s rhinestone embellished left-hand glove – these elements of the artist’s overall identity all boast a perpetual quality, Halloween worthy. However, very few pop cultural figures of even the highest calibre have managed to eternalize multiple garments across various eras in their career.
Dubbed “The King of Pop” in 1989 by Elizabeth Taylor, and post-humorously, the King of Style by his famed costume designer, Michael Bush – Michael Jackson was controversially renowned for completely re-inventing his image throughout his prominence. In fact, when comparing Jackson’s physical appearance during his colossal rise to fame as a young boy, to the star’s semblance prior to his untimely demise, many fans would deny the presence of any resemblance. This essay will contextualise the trajectory, moreover, the impact of M. J’s presentation by means of his live performances, music videos and public appearances from his debut to his commercial peak – Thriller.
Michael Joseph Jackson’s stardom begins amidst the golden era of boybands. 1960 marks the year that the world was introduced to The Beatles as well as The Temptations, and by the tale end of the decade; the home-grown, brother ensemble, The Jackson 5 signed to Berry Gordy’s renowned “Motown Records” label. The ‘Afrocentric’ cultural revolution also occurred in this timeframe, prompting an evident shift in the appearance of black music acts across the U.S. The J5 serves as a quintessential exemplar of this visual progression. ’69, the year the brothers debuted with “Diana Ross Presents The Jackson 5”, symbolised cultural mobilisation in black America – a revolutionary moment in time, distinctly characterised by its expressive motifs. Music, Art, Film and Fashion. As the zeitgeist embarked on a new decade, the American visual landscape gradually underwent a significant makeover. Behind were the days of the ‘conk’ hairdo together with similar styles adorned on the likes of The Miracles, The Four Tops, The Isley Brothers and The Temptations; as a new echelon of cloud-like, kinky afros braced advertisements, publications and televisions nationwide. A wondrous political statement on the strength of its intimate relation to the black community; as well as the style’s ability to re-establish a new identity, for the descendants of warped ancestry – natural blowouts were solidified as core iconography to the “Me” decade. The J5 brothers: Jackie, Tito, Jermaine, Michael and Marlon Jackson quickly became international staples of the perfectly rounded kinky fro ‘do’.
Moreover, the boys were adorned in a range of colourful, co-ordinating ensembles designed by their mother and costume designer, Katherine Jackson. Vibrant three-piece tuxedoes and pattern clashing blouses epitomised the spirited and youthful essence of The Jackson 5, furthermore the astronomical explosion of disco in the mainstream. Irrefutably, The J5’s most significant performance during this period, was on The Ed Sullivan Show – the first time 11-year-old M.J. performed in a fedora. Michael’s explosive lead-vocal performance (a medley comprised of Sly and the Family Stone’s, “Stand”; Smokey Robinson’s “Who’s Loving You” and The J5’s debut single “I Want You Back”) exuberated formidable soul and depth, advancing their first record to #1 on the Billboard charts the following month. The image of the rising star fervidly belting love ballads that were comprehensively beyond his years, in a little purple hat and matching suede, fringed waistcoat, was cemented in living rooms across America. Inadvertently, his first memorable outfit somewhat reflected his artistry - his clothes and voice both reminiscent of an old soul.
After a total of ten studio albums, accompanied by five tours, spanning five continents: The Jackson 5 departed ways with Motown Records in 1975. Due to a personal conflict of interest, Jermaine also temporarily left the band at this stage, deciding to denote his loyalty to Berry Gordy. This alteration resulted in the youngest Jackson brother, Randy succeeding him; in addition to the band formally being re-titled as “The Jacksons”. Seeking autonomy over their music and artistry, the brothers signed to Epic Records, (a subsidiary of the Columbia music group) commencing their re-invention. “The Jacksons” and “Goin’ Places” served as their first two albums on the label. These projects prevailed the brothers’ conventional, middle-American friendly, boyband image – albeit “Destiny” followed in 1978. At long last, on their thirteenth studio album; Jackie, Tito, Michael, Marlon and Randy acquired principal agency over their craft. During this era, fans began to see the brothers experiment with distinctive aesthetics outside of what was typically expected of them. Notably, the boys ventured into the realms of ‘space-age’ fashion. Corresponding with the science-fiction mania, that followed Apollo 11, moreover the plethora of motion pictures subsequent - (Star Trek, Star Wars, Alien etc) Afrofuturistic motifs became a regular costume theme on the Destiny Tour. Afrofuturism is formally defined as “a cultural aesthetic, and philosophy of science and history that explores the intersection of the African diaspora culture with science and technology” – this ideology was precisely expressed through The Jacksons’ matching ensembles whilst performing “Blame It On the Boogie” and “Shake Your Body” on a 1978 episode of “Aplauso”. Golden epaulettes protruded from their bright red, flared jumpsuits; complimented with metallic waistbands and chest embellishments to match. The fusion of disco and sci-fi was visually intriguing, and despite this aesthetic not aligning with the group sonically, the concept developed and persisted in the latter of Michael’s solo career. It should also be noted that The Jacksons were not the originators of futurism within the context of disco and funk. Musical acts including Parliament Funkadelic, Sun Ra and Grace Jones championed similar ideas through fashion, music and film in the preceding years. The significance of The Jacksons’ adaption was the re-fashioning of their identities it indicated - a sense of maturity, furthermore an elevated approach to their creative direction that rivalled their child star origins.
In the thick of The Jacksons’ 1979 “Destiny” Tour, the now 21-year-old Michael Jackson had begun to thoroughly contemplate his inevitable solo career. He had previously completed three individual records under Motown in his adolescence, most notably “Ben”, yet he aspired to exceed Berry Gordy’s creatively monotonous direction. The 1972 soundtrack accompanied film director, Phil Karson’s drama-thriller, a story chronicling the relationship of a young boy and his rodent companion. The title track written by Don Black and Walter Scharf served as Michael’s very first number-one hit on Billboard’s Hot 100 chart – a feat he would tenaciously chase in the years that ensued. His official ‘manifesto’ was penned in early 1979. “MJ will be my new name. No more Michael Jackson. I want a whole new character. A whole new look”. This diary entry swiftly proved to be a pivotal compartment within his career, the list of definitive statements had begun materialising as soon as that very year. “I will study and look back on the whole world of entertainment and perfect it”.
Off The Wall was the product of his epiphanies. Many critics still refer to the record as his official arrival, besides the strongest body of work to date. Michael’s physical reinvention during this timeframe was captivating, to say the least. Despite The Jacksons’ many pursuits to estrange themselves from child stardom, it had just now become unequivocally clear that Michael was no longer a ‘teen-bopper’ act. The former socially shy, maladjusted and awkward teenage boy, struggling with acne ceased to exist. He had cut down his fro to a short ‘Jheri curl’ adaption, (the most stylish African American hairdo of the time) and swapped his mother’s flamboyant and wacky patterned ensembles for classic 1950s cut black tuxedos, embellished with sartorial, glitter detailing in the form of sweaters, waistcoats and socks. The essence of Frank Sinatra and Sammy Davis Jr in the rat-pack years met the enchanting qualities of Prince Charming in his wardrobe. He was establishing himself as some sort of chivalrous playboy, frequenting Studio 54 with the likes of Liza Minelli and Andy Warhol, all whilst maintaining a sense of purity through the way he carried himself. Even the record’s album cover felt like a candid prom photo, captured suited and in grooving motion, mid-mischievous smile afore a brick wall. He exuberated sophistication so glamorously. A rhinestone pair of spandex pants complimented by a matching sweater and boots (designed by Bill Whitten) for the album’s second single, “Rock With You” was immortalised alongside the song’s hook in its music video. He personifies the significance of a disco ball in a club, spinning and thrusting whilst lip-syncing the charming lyrics “I wanna rock with you, all night”. The ease of his talent shined through the simplicity of the video, furthermore, the choice of wardrobe directly contributed to the effectiveness of his performance – an eventual focal point of his artistry. The brothers went on to wear matching replicas of his “Rock With You” outfit, alongside a collection of aesthetically kindred show-wear across the later dates of the Destiny Tour. Ending their international voyage in 1980, the new decade saw a decline in disco and the visual culture it boasted. This was evident through the band’s increasingly tighter silhouettes, decreasingly voluminous hair and intensified sex appeal. 1980 ushered in androgyny's rise to prominence in the Western popular landscape. Acts such as Prince, David Bowie and budding lead singer of “Queen”, Freddie Mercury all paraded gender ambiguity through elaborate hairstyling, striking eye makeup and experimental clothing, enthralling the media and their fanbases alike. Throughout the 21st century, men had not been offered extensive lead way to express their personalities through their appearance, as previous decades often promoted male attire in the form of uniformity. Michael had moderately begun experimenting with conventionally feminine fitting garments amidst this era. He would occasionally sport tighter blouses, and as previously mentioned, he began to adorn himself in rhinestones and glitter regularly, however, remained predominantly loyal to style principles of classic menswear icons like Gene Kelly, Fred Astaire, Sam Cooke and Frank Sinatra.
Throughout the next three years, he would work alongside Quincy Jones and Rod Temperton on what would become the best-selling album of all time. Motown 25, a live concert and TV special commemorating 25 years of the iconic record label’s existence; initiated Michael Jackson’s 6-year “Thriller” era magnificently. After reuniting with all 6 of his brothers for a nostalgic Jackson 5 medley, he executed his debut performance of “Billie Jean” – his most innovative staging yet. The song had been released five months prior to the event, already accumulating major commercial success. It maintained the number one spot on Billboard for 9 weeks, though it was MJ taking centre stage adorned in his mother’s sequin cardigan, a rhinestone embellished left-hand glove, sequin socks, a pair of black tuxedo trousers and matching penny loafers on a historic evening at California’s Pasadena Civic Auditorium, that spawned a cultural turning point. The sight of Michael Jackson unveiling his signature dance move to the world, the first public ‘moonwalk’ was electrifying. Even the television broadcast managed to capture the audience’s drastic surge in energy during those three seconds of him gliding across the floor before jumping on his toes, it was magic. MJ had allegedly learnt the move years prior, however, he had decided to reserve it in order to create the perfect spectacle to catapult him into colossal notoriety. Mary Wilson of “Diana Ross and The Supremes” recalled of the evening, “Michael and the Jackson 5 became the focal point because it was as new for all of us as it was for the audience. I would say that perhaps the highlight of the whole show was just seeing him emerge as this new talent. None of us had seen that. This was new. It was growth and it was as fascinating, as it is today. He became an international star far beyond what any of us had done at Motown at that point.". After the staggering success of “Off The Wall”, in addition to the sensational decade spent conquering the world with his brothers, Michael had once again advanced to an unforeseeable level of stardom. The moonwalk had actually been in circulation since the 1930s, and was initially referred to as “The Buzz”, executed by notable dancers including James Brown, Cab Calloway and Dick Van Dyke; yet Michael so stylishly reinvigorated the glide into a new zeitgeist. On reflection, his ability to reference whilst elevating his influences’ work served as one of his greatest strengths, commonly drawing from pieces of cinema. His affinity for white socks (enhanced by rhinestones) and black penny loafers paid homage to 1950s Hollywood musical star, Gene Kelly; his love of regal military jackets throughout the 80s and 90s was originally inspired by Cinderella’s Prince Charming, projecting masculine power and monarchical status – ironically foreshadowing his “King of Pop” title. Even his structured, red leather jacket designed by Deborah Landis for 1983’s historical “Thriller” promotional film, (credited for turning music videos into a “proper industry”) drew inspiration from 1979’s “Star Trek: The Motion Picture”.
The third single and second music video from Thriller, “Beat It”, also played a fundamental role in establishing M.J. as an international pop icon. In the video directed by Bob Giraldi, Michael wished to address the growing issue of gang violence among young African Americans in the U.S. – circumstances the Jackson brothers had witnessed first-hand in their hometown of Gary, Indiana. The assortment of leather, sleeveless outerwear pieces featured on ‘gang members’ throughout the video illustrated a hyper-stylised version of inner-city street style during the 80s. Suitably standing out from his mob of dance extras, Michael wore a bright red leather jacket designed by Marc Laurent, along with his signature black tuxedo trousers, penny loaders and white socks. The collection of zips embellished throughout the jacket along with the rhinestone detailing in addition to his formal, tailored suit bottoms, added an element of ‘stage-wear’ to the concept, elevating everyday menswear. Counterfeit Thriller and Beat It jackets became extremely popular by the mid-80s, thanks to both music videos maintaining heavy rotation on MTV. In 1984 Jackson even filed a lawsuit in New York City to prevent further selling of such merchandise, the original presently being held in the “Rock & Roll: Hall of Fame” archive. When the 1984 Grammy Awards Ceremony came around, the Jackson camp anticipated substantial recognition for Thriller’s commercial achievements. He commissioned costume designer, Bill Whitten to create his most glistening ensemble yet. An 18th-century-inspired cropped military jacket, adorned in gold and royal blue Swarovski crystals. The star-studded outfit was completed with his unvaried staple bottom half of tailored tuxedo trousers, penny loafers and rhinestone socks – alongside an upgraded variation of his glimmering left-hand glove. Nominated in 10 categories that evening, Michael took home a ground-breaking 8 gramophone trophies (the ongoing record for the most received in one night shared with the rock band, “Santana”). This specific look was later chosen for his series of collectable dolls, ageing as one of his most iconic costumes to date.
By the late 80s, Michael Jackson was considered one of the most recognisable people in the world. He had successfully eclipsed his childhood fame far beyond any of his critics’ expectations. To navigate and innovate through the evolving landscape of music and fashion so sublimely was truly radical. Michael’s irrefutable style has remained a testament to his influence on pop culture today, despite his death in 2009. Balmain creative director, Olivier Rousteing dedicated the French luxury brand’s Spring / Summer 2019 collection to his iconography through garments that reflected his style; the late Virgil Abloh also engaged in a similar method of homage for Louis Vuitton’s Fall / Winter 2019 show. Patrizia Calefato states in her book The Clothed Body (2004): “Fashion and music are two intimately connected forms of worldliness, two social practices that go hand-in-hand”, I believe Jackson flawlessly embodied this thesis by the way he used his garments as a vehicle to further communicate the energy and ideas present in his music. Would The Jackson 5 possess such cultural significance amongst black youth in the 1970s without their politically empowering afros? Would Off The Wall receive the same level of success it did, without Jackson re-imagining the aesthetics of disco culture during its decline? Would the Thriller music video be so impactful without his black and red panelled leather jacket? To be a true icon within popular culture is to develop an artistic lexicon and legacy that surpasses your direct contributions.
cultural autonomy
"We own the conversation but only if we choose to take possession,” a statement eloquently expressed by American politician Stacey Abrams during a broadcast conversation on Oprah Winfrey’s “OWN” network exploring the topic of ‘beauty’ among Black women. This assertion is remarkable in its simplicity, yet its principle can be accurately applied to various contexts. The modern landscape of popular culture and its historic interrelation with Black culture instantly comes to mind.
Our zeitgeist is frequently confronted with discussions of ‘cancel culture’ and ‘cultural appropriation,’ often involving unapologetic and reckless perpetrators from the highest tiers of today’s social hierarchy. But what are the actual implications of this long-chronicled practice that has only recently been deemed unethical? How does it pertain to the fashion industry specifically?
Drawing inspiration from a wide and divergent taste palette, artists and creators have often drawn inspiration from a variety of cultural sources, and this practice has been celebrated and studied over time. Republican Roman architecture was influenced by the Etruscans, who in turn were influenced by Ancient Greece. Humans have always sustained a legacy by developing their predecessor’s proposals, and this is evident across every aspect of society. However, the alienation and commodification of people of colour, specifically Black people, distorted the moral playing field from its very conception.
The concept of ‘race’ emerged in the mid-17th century as a means to justify the enslavement of Africans. More recently, the descendants of its initial pioneers have made efforts to counteract its presence. Through national education curriculums, instrumental conductors of the Trans-Atlantic Slave Trade, most notably the United Kingdom and States, have minimized and, in many cases, erased their involvement in one of the most horrendous periods known to mankind. Furthermore, multiple American states have banned the study of critical race theory in public schools to combat the ‘villainization’ of white people.
Such trivial attempts to rewrite history are reflected in the media, entertainment, and fashion industry’s manipulation and mistreatment of Black culture. Karl Lagerfeld’s reduction of hip-hop style to backwards caps and assortments of gold chains in Chanel’s FW91 collection, and more recently, ex-Louis Vuitton menswear designer Kim Jones’ superficial adoption of streetwear in his FW17 collaboration with “Supreme,” were both tone-deaf attempts disguised as compliments to their pioneers.
In a digital world swept by globalisation, it has become progressively easier for corporations to detach genuine culture from its foundation and dilute it to a shallow commodity. During an episode of Netflix’s docuseries “Abstract,” costume designer Ruth Carter details the hip-hop-fluent wardrobe in Spike Lee’s critically acclaimed film, “Do The Right Thing.” The colours worn by the inner-city Brooklyn characters represented flags from across the African diaspora, and the use of jewellery and trinkets referenced their tribes. These details illustrated the politics of the space and communicated Black ideologies to an international audience.
Such authentic art can only be transcribed by its possessor. Therefore, the only way to truly prolong Black culture’s existence is to uplift its own artists. The practice of offering ethnic ‘inspired’ projects rather than appointing actual people of color at the helm of the fashion industry must be ceased. Only by empowering and providing platforms to genuine Black voices can the industry ensure that cultural contributions are respected and accurately represented.
the evolution of american prep
American Prep fashion has undergone numerous adaptations since its inception across the Atlantic. The ideology of ‘preppiness’ traces back to prestigious British institutions like Oxford and Cambridge, collectively known as Oxbridge and the British and European aristocratic styles they exuded. In the late 1800s and early 20th century, Oxbridge students set the sartorial tone with their tailored blazers, regimental stripes, and well-polished shoes. These style motifs eventually crossed the ocean to American Ivy League institutions such as Harvard and Yale, where they began to take hold. This transatlantic sartorial influence was immortalised in the iconic image book "Take Ivy," shot between 1959-65 and published in 1965. Dubbed the bible of prep, the publication celebrated the quintessential Ivy League look and helped solidify its influence on American fashion.
As the State's adaptation of prep evolved, several pioneers and brands played significant roles in shaping the style's trajectory. Brooks Brothers, founded in 1818, initially clothed coachmen, footmen, and chauffeurs in wealthy American households. By the dawn of the 20th century, the brand had branched into tailored suits for professional men, becoming synonymous with American elegance. Ralph Lauren, a principal designer in modern American fashion, brought an East Coast sensibility steeped in academic tradition to the masses, popularizing his vision of prep in the mid-’70s after establishing his brand in 1964. J.Crew, a modern American heritage brand, introduced hip and democratic iterations of prep fashion in 1983 that resonated with Generation X’s young adults—'yuppies.'
In the late 1990s and early 2000s, the formerly conservative vision of prep underwent its greatest commercial transition. Lifestyle brands targeting teenagers and young adults, such as Abercrombie & Fitch, Hollister, and American Eagle, introduced a sleazy, sexy, and edgy restatement of preppy style. These labels often featured prominent logos, suggestive slogans, and a general sense of ironic tackiness. Their provocative campaign imagery, showcasing collectives of models epitomizing Eurocentric desirability partaking in WASP-adjacent activities (high-brow sports, boating trips, etc.), became remarkably influential and iconic, albeit problematic in the years that followed.
American Prep fashion, through its various phases, has profoundly influenced modern European high fashion and runway collections. Design houses like Miu Miu, Prada, Chanel, Gucci, Louis Vuitton, and Raf Simons have adopted prep elements, often combining them with their distinct aesthetics to create hybrid styles that merge European high fashion with American classicism. These intercontinental exchanges have demonstrated how fashion transcends borders, evolving to create innovative and contradictory expressions of opulence and exclusivity.
At its core, prep is about conformity; the aesthetic is built upon the foundations of a uniform. Wealthy, young white men historically used this style to communicate their exclusive societal positions, accessible primarily through generational inheritance. As Tara Gonzalez wrote for Harper’s Bazaar in February 2023, today’s prep landscape reflects broader societal changes while maintaining its iconic elements.