NME Awards | London, England | February 12, 2020
Of the many things I find fascinating and intriguing about the Lover era, you know of course one of the primary things is the (seemingly) inconsistent execution of Lover’s fashion.
In the past, Taylor has been epically stringent when it comes to her image and aesthetic and how she has segmented it by era. She has commented herself in recent years (and during the Lover era) how fashion continues to be one of her favourite ways to convey a message. It’s part of what makes running TSS so endlessly fascinating and fun. Not just the trends and the brands, but the messaging inherent in what she’s wearing.
Taylor has always been the brains behind her career. The navigator behind her ship. But the Lover era has been the point in her career where she has wanted this business mentality to be at the forefront of people’s understanding of who she is as an artist. While she may have held the reins even as a precocious teenager, as a fully actualized woman of 30, her desire to make this ownership more known within the public sphere has been a huge driving narrative of Lover. In marrying those two points (fashion conveying a message and Taylor Swift Is A Fucking Businesswoman), we have the dissonance of Lover fashion.
Lover fashion has been a mixed bag of silhouettes — unlike the heavily regimented eras of the past that could be easily placed into neat little buckets (self-titled, dresses and cowgirl boots. RED, vintage. 1989, crop tops). We have Pastel!Taylor, Business!Taylor, and a Making Up For A Lack Of Rep Promo!Taylor. And it’s absolutely fascinating to watch this interplay.
Was this more commentary than you were expecting on a post about a Jimmy Choo bag? Most likely. But to FULL CIRCLE drive that point home — check the crystal snake embellishment winding around the buckle clasp on her bag.
Fashion = details = image, friends.
Get the look: Topshop bag, $48.00