None tells the story of his talent as well as one-time design assistant and now-famous couturier Ralph Rucci. One night, Halston startled him by throwing a bolt of purple chiffon on the floor and cutting a dress out of a single piece of fabric, no seams necessary. “It wraps around the body in one piece and it catches at the top of the neck. As a woman walks, it opens a bit at the leg and she almost becomes naked in this vapor of chiffon,” Rucci says. “Do you know anybody who can think in three dimensions and cut it right there on the floor? I don’t.”339
The story is repeated in the film, and seems to be the basis of a kind of fashion myth—one inevitably thinks of the cloak Mary sewed for Jesus, without seam. As we’ll see, eventually lots will be cast over the ownership of Halston’s empire.340
We also find pure, limitless space, and its accompaniment, pure light, in Halston’s workspace and living space. As his career skyrocketed, he moved from a small boutique to the 21st floor of Olympic Towers in New York’s Midtown.
“THE KING NEEDED A CASTLE”
The showroom/offices, which Smith visits today to interview Halston model Pat Cleveland, are one, contiguous space, bisected by floor to ceiling pocket doors (costing 500k or 5 million in today’s money, we are breathlessly informed). The walls are mirrored. “It was like being in a glass box” Cleveland recalls, adding that she used the World Trade Center, visible through the floor to ceiling glass of one wall, “as my focal point” when applying makeup.
“He called me the moth. I was always flying to the light.”
“Always had big windows and sun.”
—Liza
And something else could be seen more closely: Halston’s “insolent boast” (Spengler): “I don’t have to go to church. [St. Patrick’s] is right across the street.”—Halston
The same marshaling of vast amounts of space and light occurs in Halston’s equally famous townhouse, at the time the only contemporary house built in New York since the war. With 30-foot ceilings and a 60-foot living room, it was the scene of legendary dinners and parties, which of course is all that Smith is interested in. More importantly for us, the carpet and furnishings are monochromatic grey, a color we’ll be seeing again in significant places, with candles everywhere. After tearing himself away from reminiscing about “decadent parties” at the townhouse, we return to the offices so that we can see Smith get a delusory compliment from Cleveland about looking like Halston, while we get the more important fact that “he always wore black.” The theme of mono-chromatic uniforms will become important in our reflections here.
HARNESSING TECHNOLOGY
But if Halston had merely been a skilled dress-cutter he would have earned nothing but the scorn of Spengler or the Futurists. Spengler regarded the “artsy craftsy” obsessions of many Conservatives as a dead end, a confession of defeat, like—as we shall see—pacifism. Faustian Man, to be true to himself, must harness the latest technology to his ends.
Halston did this most famously with his realization that simple, flowing designs would be perfectly realized by a new synthetic fabric, Ultrasuede. Typically, Smith gloms onto the word for his very title, but says nothing about it. So, courtesy of Wikipedia, here’s a quick rundown:
Ultrasuede is the trade name for a synthetic microfiber fabric invented in 1970 by Dr. Miyoshi Okamoto, a scientist working for Toray Industries. In Japan it is sold under the brand name Ecsaine. It was the world’s first ultra-microfiber. It is often described as an artificial substitute for suede leather. The fabric is multifunctional: it is used in fashion, interior decorating, automotive and other vehicle upholstery, and industrial applications, such as protective fabric for electronic equipment. It is also a very popular fabric in the manufacture of footbags (also known as hacky sacks).
WARFARE/UNIFORMITY/DEMOCRATIZING FASHION
For Spengler, the very dynamism of Faustian Man’s nature prevents him, even in the Winter of his culture, from simply surrendering to the inevitable decline; rather, he will harness his technological achievements and hurl himself full steam ahead.341 Pacifism was impossible, short of senility; the race’s will to power, expressing itself in all aspects of life, from personal interaction to vast cultural enterprises to, indeed, literal warfare, must inevitably lead to conflict and struggle for supremacy. As Kerry Bolton says, “The aesthetic of the new Western will to power is ushered by both Spengler and the Futurists by struggle.”342
Here, however, Spengler and the Futurists diverge, in a way relevant to our look at Halston. For Spengler, art, including presumably fashion, was dead, fit only for museums. “Artists” today are just kidding themselves at best; at worst, poisoning our culture, or what’s left of it, with their decaying “ideas.” The best White brains should be directed to science, and in particular, engineering—interestingly, Evola’s field of study.
“Art, yes, but in concrete and steel.”
—Spengler
The Futurists seem to take Spengler’s challenge but invert it; they would attempt to make art out of concrete and steel.343 “There is nothing for us to admire today but the dreadful symphonies of the shrapnel and the mad sculptures that our inspired artillery molds among the masses of the enemy.”344
Of course, although the Futurists contributed much to the public monuments and graphic propaganda of Fascist Italy, they never actually shot up any enemy troops—just as the Surrealist Breton never fired a gun into a crowd. Their struggle, like Halston’s, took the form of what Nietzsche called Geisterkrieg, comparable to the European New Right’s—and the North American New Right’s—notion of metapolitics.
The struggle originates with one, charismatic individual—a Marinetti, a Halston, a Warhol, or a Chávez—who seeks to impose his vision—his will to power—on society.
It is from these differentiated individuals that influence is exerted upon society in the wider perspective—[forming] the loci and focal points of the causal power structure. Individualism is followed by the formation of groups and organs, related tendencies join together . . . ; between these centres of power friction, recognition of one another’s forces, [etc.] Every Aristocratic Radical maintains the central position within their respective collective as the creative principle until eventually society is presided over by a new aristocracy of creators.
In this “optimistic” version of Spengler,
Culture, therefore, will return when the people work together to place value upon producing single individuals who are capable of creating and shaping the current to produce great works. . . . Nietzsche’s Geisterkrieg has no need of garnishing votes, no need of propaganda or money—all it needs to be enacted is to win the hearts and the minds of the people—which is why it is a “war of the spirit” against the “cultural philistine.”345
“All it needs”? This seems like the kind of “optimism” that Spengler decried as unrealistic, in an essay defending himself from the corresponding charge of “pessimism.”346 The experience of Futurism, Fascism, and, as we shall see, Halston, suggests he has a point.
Although it may seem a bit of a stretch to construe the “struggle” of, say, an Andy Warhol to impose his vision on every aspect of society in terms of warfare, in the case of Halston the image imposes itself, again and again.347
Halton’s first triumph—and is this not already a military term?—occurred when, still only a milliner at Bergdorf’s, he was selected to design a hat for Jackie Kennedy to wear to the inaugural. The result, the famous “pillbox” hat, was an instant fashion craze and remains a fashion icon. And of course, in name and form, it’s entirely military.348
Then, striking out on his own as a designer, Halston scores his greatest triumph when he is one of five American designers selected, for the first time, to exhibit in France.
Versailles ’73 tells of an EPIC—people usually use this word for non-epic moments, but this is one that’s deserving—fashion show that would put five well-known French couturiers against five, then less globally recognized and respected, American fashion designe
rs . . . the end result of what happened that night would forever change fashion, the lives of the designers involved, and the models that served as muses that night; especially the African American models who came onto stage and dazzled the predominantly French audience like nothing they had ever seen before.349 . . . These designers put ready-to-wear on ‘the map’, and took fashion in a new direction, away from the elaborate haute couture that only the noble and, well, rich could wear, and opened everyone’s eyes to a new way of dress, that was fit for all.350
“The Battle of Versailles,” as Women’s Wear Daily called it, was a rout for the French. Supremely confident—“The French didn’t consider America as anything,” fellow designer Stephen Burrows recalls. The ancien regime put up the whole creaking machinery of their high “culture,” including . . . ballet dancers. Really?351
“They had scenery and staging . . . it was really kind of corny.”
—Stephen Burrows
For once, Sudley-Smith gets it right, saying to Minnelli, “So, the Americans whipped the French again.” Or as Yves Saint Laurent had to admit, “We’ve learned something.”
Learned what? As Minnelli recalls: “We did it like Americans. We did it like Halston. Direct, to the point, effective.”
Or as Marinetti might say, ballet dancers are no match for bullets.
Simplicity, whether cutting a dress without a pattern352 or employing a high-tech fabric that could be used for anything by anyone, this was the purest expression of Faustian Man, the fit weapon to combat the cultural philistines.
We’ll get back to that bit about “Americans” and clothing “fit for all” in a moment, but first let’s finish the chronicles of Halston by looking at his next triumph: Halston went to China—like Nixon—ostensibly to open up Chinese manufacturing for American clothing makers. Actually, it was another field for Halston to impose his will: “Can the designs be changed? Is that such a problem?”
But although Halston’s more colorful designs and models win over the dour Chinese bureaucrats, we also notice that there’s not that much difference between the two groups. Next to the Chinese officials, Halston’s own monochromatic clothes fit right in, and when two officials give approval to one of the models’ outfits—“Nice color”—we notice the color, at least in the washed-out news footage, matches their own suits.353
In fact, we’ve seen these models at various earlier scenes, as Halston’s constant entourage, known variously as the Halstonettes (WWD) or Ultraettes (Talley), making grand entrances on yachts—another military image—all, including Halston, attired in the same color, which would change on schedule throughout the day, even in China. And remember the pillbox hat?
Indeed, what better expression of the modern, technological age than the uniform, especially for a designer known for simplicity, monochromatic, uniformity (’natch)?354
Reflecting on the China trip, model Pat Cleveland muses, “He did it for America. Everything he did was for America.”
And America, as Minnelli told us earlier, “did it like Halston.”
So it becomes clear that what Halston wanted to do for America was provide it with a uniform—not so obvious and forced as the Mao suit, but a wardrobe simple, affordable, and flattering on all. America’s true nature, expressed in its clothing, just as Tradition is manifested in the Hindu sari or the Arab’s thawb. Exactly what a man whose talent lay in fashion design could give to—or impose upon by sheer will—a still majority White nation facing the coming struggle to the death against what Spengler called “the colored world revolution.” “I always wanted to reach a wider America. When you’re able to produce a dress—that a woman can wear to work, wear out, that’s machine-washable—for $75, that’s magic.”
Things did not quite work out, but before turning to Halston’s decline and fall, let’s ask ourselves, what with this America bit? Who cares? Why on Earth did Halston care?
As we saw in discussing the necessity of struggle, cultures are rooted in real communities, not any abstract “humanity.”355 The task, as the Futurists realized, was that, “Western technics must be harnessed for the great deeds to be undertaken by the West, or at least by Italy, and not in the service of democratic and humanistic doctrines in the service of a nebulous ‘mankind.’”356
The task, then, having overthrown the French hegemony and pacified China with trade, was to clothe America. But how?
Here was Halston’s last great idea—his last temptation, as it were.357 Halston inked a licensing deal—worth, he said, a billion dollars—in the ’70s!—with down-market mass-marketer J. C. Penny’s. Such deals are fairly common today, but the fashion industry was not ready for them back then. Trying to lead the masses, Halston got too far out in front of his industry peers, and lost control of them. He lost his flagship position at Bergdorf, had his name diluted by being attached to too many and too poorly thought-out products—basically, anything that could have Ultrasuede tacked onto it, in line with our idea of the creator imposing his vision on every aspect of a culture—and after a number of corporate shifts and buy-outs, wound up with the ultimate indignity of losing control of his own name. “Halston” was now the registered trademark of a mayonnaise company.
So what ultimately happened to what Mel Brooks might call “Halston: the Label”?
In 2007, Harvey Weinstein curated a team of people, including ex-Jimmy Choo scion Tamara Mellon and Rachel Zoe, to revive the Halston label. . . . Zoe, an avid Halston collector, dissociated herself from the revival not long after she signed on. (Sudler-Smith approached her about participating in the film around the time she was dismantling her contract, so she didn’t participate.) The team was plagued with unstable management and halfhearted investors, who seemed to have good intentions but did not want to invest the necessary energy and resources to see them through. That revival fizzled not long after Sarah Jessica Parker practically sneaked out of her contract as creative director of the more affordable Halston Heritage line—which will endure without the pricier Halston line in her wake. (Halston hired Parker after shooting for Ultrasuede wrapped, but she lent her support by attending its Tribeca Film Festival premiere in 2010.) Now Halston Heritage is run by ex-BCBG president Ben Malka, and owned by him and Hilco Consumer Capital, which bought Weinstein and Parker’s contracts out. Though BCBG is a watered-down, mid-market mass label that can hardly be thought of as fashion-forward, it’s unclear what Malka will do with Halston.358
A veritable gathering of the Elders of Zion, to fiddle and fuss over the corpse of an Aryan talent they coveted but now have no Earthly clue what to do with!359 Harvey Weinstein (a.k.a. Les Grossman of Tropic Thunder), Rachel Zoe (née Rosenzweig), Sara Jessica Parker,360 and even apparently the Talmudic sage Ben Malka—a dead ringer for Jerry Orbach—who, to answer New York’s question, plan to run Halston the Brand as “an American fashion legacy.”
“Legacy”; Zoe as an “avid Halston collector”; as with everything else, what White culture creates winds up in one of the famous international Judaic “collections.”361 And get this:
How ironic that Sudler-Smith’s stepdaddy, Arthur Altschul, was part of the corporate takeover phenomenon that crushed Halston and made a bad name for licensing. In fact, daddy’s company, Goldman Sachs, was pretty much the nexus of the takeover phenomenon: remember folks, it’s all about who can get the credit.362
Getting back to the “optimistic” Futurists, it seems clear that the “pessimistic” Spengler foresaw Halston’s error. The fatal flaw in the Faustian and Futurist visions was that The West was not liberated from plutocracy, and Western technics remains firmer than ever in the grasp of Money.
Indeed, the recent “credit crisis” (i.e., the Greater Depression) only shows that Goldman Sachs is indeed even more the Master of the Universe than ever before.363 We must wait until that changes before our culture will be “presided over by a new aristocracy of creators.”364
Until then, what the global financiers want is not the “chaotic” world of competing culture
s unified by their own styles under their various cultural elites, but one “world culture” unified as merely as interchangeable humanoids under the financiers’ rule.365
As Evola said, discussing Spengler’s contrast of culture and “civilization” (meaning, among other things, rule by Burnham’s “managerial elite” and other financial types):
If it is absurd to pursue our higher ideal in the context of a ‘Zivilisation’, [as Halston unknowingly did] because it would become twisted and almost inverted, [as Halston’s vision was subverted into what we have today] we can still recognise, in the overcoming of what has precisely the character of ‘Zivilisation’, the premise for every really reconstructive initiative.366
Thus Halston’s end is tragic, because, like Faust, he was unable to overcome his fated environment.367
But as several voice-overs tell us as the film fades out, there would not be this tragic end if the work hadn’t been good. And the work remains: still seen, still worn, still, as Rucci says, untouchable.368
Smith seems incapable of learning to appreciate Halston through his interviews. At best, he winds up appreciating that Halston was not just the ultimate decadent of the ’70s of Smith’s teenage fantasies, but “had a lot of friends.” Sheesh.369
Perhaps inevitably, Smith ends his movie with a credit sequence that layers a montage of Halston sketches over The Trampps “Disco Inferno.” It really kind of works, suggesting a kind of fashion Götterdämmerung for this most Aryan of fashionistas.370
Green Nazis in Space: New Essays in Literature, Art, and Culture Page 16
