The bomber, a migrating jacket - The360 Lifestyle

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  • Sunday, November 3, 2019

    The bomber, a migrating jacket

    The bomber, a migrating jacket

    All trends have a story. Serge Carreira, a teacher at Sciences Po and fashion specialist, goes back the thread. This week the bomber.

    For more than fifty years, this military jacket has become a staple of the youth wardrobe - and some younger. A succession of diversions has led to the gradual shift of its use over time, but it is on the air bases that the bomber, as we understand it today, appears after the Second World War. Like most uniforms, it was his functionality that guided his design: from the ribbed edges to the wrists and waist to fit the face of the pilot, an orange liner to identify it in case of a crash, a Fleece nylon for lightweight and thermal insulation, a pen pocket on the sleeve and a large Zip at the front.

    More practical, it replaces the leather or wool versions of the pilots of the US Air Force. The Vietnam War, followed daily on television, will make it known. The model begins to be marketed to the general public. In the late 1960s, London skinheads seized it. They question the establishment with their Schott bomber look, faded and massive Dr. Martens jeans, but some of the shaved heads will pass - in the space of ten years - a movement simply rebellious to hatred and violence xenophobic.

    It was about this time that the gay community - then excluded from any military career - adopted, in turn, this jacket. He draws a manly build that will forge a new homosexual archetype based on physical strength. In the 1990s, to have fun in the underground raves, some of the youth, disenchanted and hedonistic, will also wear bombers. That it will find mainly in the surpluses, real gold mines of a culture based on the marginality and the unraveling.

    At the turn of the twenty-first century, the minimalist Helmut Lang re-appropriates this uniform in its utilitarian and functional essence while the creator Raf Simons explores in its collections the protesting modes of expression of adolescents. But after going from military order to juvenile disorder, the bomber has returned to the ranks. Anchored in urban cultures, from hip-hop to streetwear, it evokes, today, more a stylish relaxation than a deep revolt. Continually recovered, and strong of this history, it escapes since always the trap of the banality.

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