Similarly, for the spring of 2020, designers such as Puppets and Puppets, Markarian, Tory Burch, Maryam Nassir Zadeh, Jonathan Simkhai and Kate Spade New York were particularly experimenting with movement-related crafts such as crochet, knitwear and handmade prints. Gingham, also a classic print related to farm life and picnics, appeared in Mary Nassir Zadeh, Christopher John Rogers, Ulla Johnson and Sandy Liang.
Some labels take cottagecore to an even more extreme level, such as the indie Beepy Bella jewelry brand. Designer Isabella Lalonde sets up fantasy-inspired necklaces, which often consist of handmade frogs, fairies, mushrooms, butterflies and fairies. She also recently created a cottagecore-esque fairy tale with works by her friends and fans.
Still, there is no doubt that celebrities like Kendall Jenner and Gigi Hadid also love the trend. Think cowboy boots, cow prints and loose, long dresses. The spring corridors were also full of meadow bandages and cottagecore aesthetics. Some of these elements are part of the yeehaw agenda, which was spread by Lil Nas in the summer of 2019. In some ways, cottagecore is being developed as a less racially different version of this movement.
However, cottagecore aesthetics have long been in vogue, according to historians. “The desire to escape into a simpler, more bucolic life is nothing new. The 18th-century fashion image of Marie Antoinette had an entire rustic village (the Hameau de la Reine) built to play with her friends as an idyllic version of rural life, ”explains Allison Pfingst, a fashion historian and advisor to the Fashion Studies program at Fordham University. There, the French queen often wore summer clothes, simplified clothes such as hats, dressed in muslin dresses and dresses inspired by farmers. “Her dress inspired by farmers, sometimes called chemise à la reine, caused a stir – especially when she painted the artist Elisabeth Vigée Le Brun in 1783. The image was strongly criticized, with many believing she did not look like her. she was wearing nothing but underwear – but still the look caught on. “
“The school I attended from kindergarten to 8th grade is built on 77 acres of land, so nature walks were plentiful – even one of my classmates. This means that the cottagecore elements were more or less rooted in my upbringing and quarantine gave me the opportunity to reconnect with them. “
Pfingst also links the trend back to some of the aesthetic moves of the mid-19th century, including Dress Reform (“Often middle-class women active in first-wave feminism and other social causes, wanted clothes that were more practical, comfortable. “And mediocre,” he says, “Arts and Crafts” (“simple, rustic, handmade and based on the flora and fauna of the British countryside”), Artistic Dress (“A by-product of the Pre-Raphaelite Brotherhood project, a good group craftsmen who were interested in imitating the work of the Old Masters. τους Their models were dressed in robes and dresses inspired by the Middle Ages ”), and aesthetic dress movements. The Aesthetic Dress movement of the 1880s and 1890s was a continuation of their style. above movements – without social agendas or moral ideals. The beautician was about beauty for the sake of beauty “, adds Pfingst.