Taylor's Train: Excess, Erasure, and the Enduring Gaze of American Style
- Editorial Team

- Sep 11, 2024
- 3 min read
Let's talk about the elephant – or rather, the gargantuan train – in the room. Taylor Swift's Eras Tour, a spectacle of sequins, costume changes, and enough pyro to rival a small nation's independence day, has captivated millions. But beyond the dazzling lights and meticulously crafted nostalgia, something else lingers. A question, really, about American style, its evolution, and the fine line between homage and, dare I say, erasure.
The tour's costumes, a whirlwind of references to Swift's own career, are undeniably dazzling. Each outfit, a carefully curated nod to a specific era, sends fans into a frenzy of recognition. Yet, beneath the surface of this meticulously orchestrated nostalgia, a certain unease simmers. It's the ghost of American fashion history, present but not quite acknowledged. The echoes of Halston's sleek minimalism, the flamboyant excess of Bob Mackie, the subversive glamour of Stephen Sprouse – they're all there, shimmering like half-remembered dreams.
And then, there's the train. That enormous, billowing train that trails behind Swift like a cloud of pure, unadulterated spectacle. It's a potent symbol, to be sure. Of ambition, of grandeur, of the sheer audacity of dreaming big. But it's also a reminder of a time when American fashion was about more than just branding and carefully curated Instagram moments.
I remember, years ago, attending a Halston show. The simplicity of the clothes, the way they moved with the body, the utter confidence they exuded – it was breathtaking. There was an effortlessness to it, a sense of ease that felt distinctly American. It wasn't about trying too hard, it was about understanding the power of a single, perfectly cut line, a beautifully draped fabric.
Or the time I saw a Bob Mackie creation up close. The beading, the feathers, the sheer exuberance of it all – it was like something out of a dream. Mackie understood that fashion could be pure fantasy, a way to escape the everyday and embrace the extraordinary.
These designers, they weren't just creating clothes, they were shaping a vision of American style. One that was both aspirational and attainable, glamorous and grounded. They understood that true style wasn't about following trends, it was about expressing something essential about yourself.
And that's what feels somewhat absent from the meticulously curated spectacle of the Eras Tour. It's not that Swift's costumes aren't beautiful or well-made, they are. It's that they feel…safe. Calculated. Like a greatest hits compilation of trends rather than a true reflection of personal style.
The train, for all its grandeur, feels like a missed opportunity. Imagine if it had been used to make a statement, to subvert expectations, to push the boundaries of what a pop star's wardrobe could be. Imagine if it had paid homage to the great American designers of the past, not just in its silhouette, but in its spirit, its audacity, its sheer joy in the transformative power of fashion.
This isn't a critique of Taylor Swift, not entirely. She's a product of her time, a master of the carefully curated image. But it is a plea for something more. For a return to a time when American style was about more than just branding and carefully curated Instagram moments. A time when designers weren't afraid to take risks, to push boundaries, to create clothes that were both beautiful and thought-provoking.
Perhaps that's too much to ask of a pop star's tour wardrobe. But then again, maybe that's the point. Maybe it's time we started demanding more, not just from our pop stars, but from ourselves. Maybe it's time we all embraced the audacity, the creativity, the sheer joy that made American fashion so captivating in the first place.
After all, isn't that what style is all about? Expressing something true, something essential, something uniquely you. Even if it comes with a train that stretches the length of a football field.
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