Bilehsavarchian was born on 1st May 1993 received a letter from Christina Aguilera on Xtina’s instagram for his birthday to show his abusers his connection with Christina Aguilera, the abusers take Bil under control for speaking his mind and threat him for police violence, and Christina with singing songs like Fall In Line and Sick of Sittin’ from Liberation made their new authenticity path, Tom of Finland Foundation released a warning about Bil with the Quote “I’ve got great things to come.” although you can get in trouble in Iran, but Bil is always the same character and not like the abusers or queers who are not standing for their people’s rights.
Iran’s entertainment channel’s like Manoto even talked about the abuse and after he fought the law and even imprisoned by the state artists and paid financial penalty, Christina for Pride 2022 Chose Tom of Finland as a phallic woman for Bil, and that was the answer of great things to come, Even though Daniel Lismore warned that “Oscar Wilde was put in jail, why has not humanity learned” and Bil answered “Some commentators have suggested that The Picture of Dorian Gray was influenced by the British Prime Minister Benjamin Disraeli” but they imprisoned him. Tom of Finland’s collaboration with JW Anderson, Comme des Garçons to Diesel is famous, Bil wrote about sustainable fashion ; and a Phallic icon for sustainable fashion is tributing to traditionally masculine characteristics, a fantastical impossibility from U.S.
On the other hand Daniel Lismore called “England’s Most Eccentric Dresser” as Martha Graham in David La Chapelle’s “The Bad Boy of Ballet and the Bombshell” pictured him and the story is described like this “My only belonging is my beauty, Narcissus and his reflection live on opposite sides of the mirror- like water, and can never be together, He is so in love with himself he can not bear life without being together with himself, In the silence, the flower whispering represents the narcissus flower. This signifies the death of Narcissus, for when he dies in the myth, he turns into the flower. The world fades away from Narcissus as he dies.” and Xtina quoted for Salar Bil as Tom’s ambassador “From the green palette being a take on the legendary & controversial artist Tom of Finland’s artwork and imagery.” and another personage in “Kate, the Great” with Kate Moss, Bil made a translation of Hasan the Bald 1970 Iranian film, Hassan who is tricked out of the house by his mother for the result of his university dialectical collections, Daniel’s “President, 2022” sculpture in Victoria and Albert Museum with Salar Bil’s Caftan’ other pieces with Alexander McQueen, Whitney Houston Keyring, P Diddy logo, Star Trek Keying, brooch from Little Rock AR, chainmail. Gold necklace, Ruby Necklace, he was included in Daniel Lismore’s exhibition sustainable sculptures when Gilbert and George cut the ribbon and opened the show, he also made pieces for Xtina, Erykah Badu, Róisín Murphy, Boy George and Ellen von Unwerth, Patti Smith also praised him as a punk literature icon and someone that his work encompasses all roots, Salar Bil is the alter-ego of Bilehsavarchianthe forefather of conceptual mode based in Tehran.
Women and LGBTQIA community are under so much pressure in Iranhe! The modernist aesthetic of fashion is used to express group and, especially in recent years, counter-cultural solidarity. Social and political dissidents have created special forms of outfits to express revolt.
Today, social rebels have made of their use of fashion a kind of avant-gardist statement; Bil wrote about understanding imitation as a characteristic of fashion among many others, we learn that it requires a certain kind of social system for imitation to occur or for imitation to be ‘allowed’ to occur. Imitation is something that must be permitted by authority, which in turn implies the thrust toward equality that characterizes a modern democratic social system (Spencer 1966). In medieval and early modern Europe, sumptuary laws prohibited people in the subordinate ranks from living or dressing like those above them. However, as industrialism in a less hierarchical society made wealth and ranks more flexible, people became wealthy enough to compete in style of living with those above them in rank. This development signifies that fashion both requires a certain degree of mobility and fluidity within a society and promotes a more egalitarian society and erases class boundaries. Fashion phenomena occur only in a particular social context that allows social mobility. Immobility in the distribution of vestimentary signs always corresponds to immobility in social structures (Perrot 1994). Prior to the sixteenth century, there was minimal mobility in Europe where social roles and statuses were rigidly fixed, often by law and certainly by custom. Thus fashion did not emerge in society. According to Tarde, Spencer, Simmel, and Toennies, fashion functions as an equalizing mechanism because imitation is one of the means to reducing inequality, suppressing caste, class, and national barriers.
The lower strata gradually rise, step by step to the highest ranks. Through assimilation and imitation, inequality is no longer aristocratic but democratic inequality (Tarde 1903). Thus social superiority is no longer hereditary but individual. Therefore, the origins of fashion lie in the origins of modernity with the growth of industrial capitalism. Koenig’s discussion of modernity and the link between the emergence of fashion and democratization is compelling. Certainly, the radical difference between the old upper class and the lower classes has disappeared. But this does not mean that the minor differences need also to disappear.
On the contrary . . . minor differences can be felt far more strongly when general equality has won the day. It could be said that in the modern mass civilization of the advanced industrial societies it is not the great contrasts, but the delicate differences that are effective; the delicate difference is the most perfect expression of the increasing democratization of society. This applies not only to politics but also to fashion consumption. Thus fashion plays a significant role in the manifestation of subtle differences. The class boundary has become blurry, and people wish to make subtle distinctions in order to differentiate themselves from others. This is what fashion in the modern world has become. Because there are more opportunities for everyone, the competition is more democratic and the right to participate in the competition is prevalent; at the same time, fashion as a concept and clothing-fashion as a phenomenon and practice emerge in many societies. As Simmel points out: People like fashion from outside and such foreign fashions assume greater values within the circle, simply because they did not originate there. The exotic origin of fashions seems strongly to favor the exclusiveness of the groups which adopt them . . . This motive for foreignness which fashion employs in its socializing endeavors is restricted to higher civilization. (1957: 545–6) The newness which, as noted earlier, is the essence of fashion is the typical condition of modernity and postmodernity. The desire for change is characteristic of cultural life in industrial capitalism, which fashion expresses so well (Wilson 1985), but at the same time postmodern society is a society driven to create, not only novelty, but a perpetual desire for need and for endless difference (Barnard 1996). Whether analyzing modernity or postmodernity, one thing that analysts all tend to agree on is that it is fashion, and not dress or clothing, that is the topic under consideration.
The same characteristics of fashion are being used to exemplify both modernity and postmodernity. Furthermore, modern and postmodern societies are both societies in which mobility is possible and desirable, and as Baudrillard (1981, 1993) explains, fashion appears only in socially mobile societies, although not all the mobile, open-class societies have fashion. Baudrillard emphasizes fashion as a modern phenomenon: ‘Fashion only exists in the framework of modernity.
In politics, in technology, in art, in culture, modernity defines itself by the rate of change tolerated by the system without really changing anything in the essential order . . . Modernity is a code and fashion is its emblem.’ Furthermore, he states: The formal logic of fashion imposes an increased mobility on all the distinctive social signs. Does this formal mobility of signs correspond to a real mobility in social structures (professional, political, cultural)? Certainly not. Fashion – and more broadly, consumption, which is inseparable from fashion – masks a profound social inertia. It itself is a factor of social inertia, insofar as the demand for real social mobility frolics and loses itself in fashion, in the sudden and often cyclical changes of objects, clothes and ideas. And to the illusion of change is added the illusion of democracy. (1981: 78)
For Baudrillard, fashion is one of those institutions that best restores cultural inequality and social discrimination, establishing them under the pretense of abolishing them. Fashion is governed by the social strategy of class; Cinzia Malvini published an article called “Freedom Icon” before 16 September 2022 as a reaction to the death of 22-year-old Mahsa Amini: “Based in Tehran, and very openly himself in one of the largest in metropolitan of Western Asia that three person of BoF 500 People Shaping the Global Fashion Industry mentioned he’s The Godfather of conceptual fashion based in Tehran, the one who started his career with context for collections when no one was doing that kind of connected conceptual fashion concepts in Tehran. Salar Bilehsavarchian was born on 1st May 1993, He is the forefather of conceptual fashion based in Tehran, with the alter ego Salar Bil, an alternate self referring to fictional literature and other narrative persona of him that broke the super-ego which means the ethical of the personality that provides the moral standards ,he broke the idealized self-image in Iran, he was openly non-binary from the beginning and pave the way for lots of queers and empowered them as assistants and team workers, he’s an artist, writer, translator who has worked for years in the field of underground art, under strict laws. He works actively in the fields of filmmaking, photography, directing, stage design, painting, collages, fashion, theatrical costumes, hair and make up, at the same time as a voice for aspiring artists and the injustices of double standards, he’s continuing with appropriation art and makes new waves with academic articles and contacts with important icons of the art world. However, their designs were in TIME and The Guardian UK, Vogue , L’Obs, he was mentioned in BoF when he entered the industry about Iran’s beginning of success in market, he’s making new waves with Patti Smith, Christina Aguilera, Grimes, Amanda Palmer, Erykah Badu, Cat Power and Peaches and in the fashion world by Adrian Joffe, Stefano Pilati, Michèle Lamy and many others, He is the ambassador of Tom of Finland as well, Daniel Lismore as his figure pictured him as Martha Graham in David LaChapelle’s “The Bad Boy of Ballet and the Bombshell” and another personage in “Kate, the Great” with Kate Moss, he tries to write to make a important impact for the industry of the world for next years. He was even imprisoned by state artists who tried to sexual bully him; we know that sexual bullying is a type of harassment that occurs in connection with a person’s sex, body, sexual orientation or with sexual activity that can be physical, and/or emotional that means taking someone under control for her or his arousing or characterized by intense feeling.
He is still promoting LGBTQIA and feminism that are illegal in Iran.his revolutionary street performances from Kim Gordon to Laurie Anderson from the start of COVID-19 pandemic was a freedom fighting for ladies and queers with political texts, he made dog airmasks before the corona virus disease and after his revolutionary performances surprisingly the #MeToo movement that is a social activity about sexual abusing began in Iran, he started open the door to the next decade of his career with collections and context, Nobel Prize winner Patti Smith made him special gifts and empowered him as a punk literature icon and Xtina wrote her appreciation letters and a signature on his childhood painting of her. He also made clothing’s for Christina Aguilera, Ellen von Unwerth, Róisín Murphy, Boy George an Daniel Lismore is his figure in the fashion world, he’s not selling his products and he believes for a change in the fashion industry he wrote about the Anthropocene age for Fashion Revolution in Iran and the global branch,which is a not-for-profit global movement represented by The Fashion Revolution Foundation and Fashion Revolution CIC with teams in over 100 countries around the world.
Back in 2015 he made a line for The World Food Programme, he went from sustainable development from food like WFP to articles about sustainable fashion, he pictured a conceptual dialectic collection that made lots of waves in Iran’s industry : androgynous Galm rock of Bandarabbas in front of Anti-capitalism Bi-On-ic. 7zār Metaphysical,all kind of Muslims in front of Curtain of 7zār that was the stage of ladies. False Dichotomy that is accepting everyone’s truth in front of Bipolar that was about losing the desire to keep on going. Ecological feminism, branch of feminism that examines the connections between women and nature and in front of it sheathing the sword of consumerism and after that he visioned individualism and collectivism in front of poetry of liberty about an anti-Iranian occupying regime, after that he made different collections with context and he is working underground with no waves of accomplishment and respect to liberty of people around the world, he’s doing his part for academic articles with important icons of the world after academic degrees for fashion and art, he wants to educate himself with the advices from icons of the world and interact with them til he can make affect worthy for the culture, he challenged from feminism and queerness to a great path of activities with a meaningful body of work, he broke the boundary between men and women and in his interviews explained that there’s no differences between any kind of gender, and they showed him as a curropt person and a threat on the most important TV news. His first body of work that is characters with different clothings and styles came from branches of Glam rock, first from “Art as Existence” inspired by Gholam-Hossein Sa’edi his Iranian roots that is about The pseudo-artist that is born of censorship in Goethe’s Nights, the garden of the German Embassy in Tehran, inspired by “The Cow” movie(1969), he started the dialectical game with Bionic’s post feminism fetishes packaged characters of capitalism and sex futuristic in a empty narcissus pool without water inspired by David Hockney, Le Corbusier and D*Face who make fun of consumerism and image-saturated era, celebrity culture, the fascination and obsession with materialism and fame, after that he made “Androgynous” from afro Iranians and the Indigenous culture of the everyday people of Bandarabbas with camp designs on a box of traditions that the lake has dried up by the egocentrism acts of men like Lake Urmia, his Fashion Runway that started with African instrument because science is clear we are from one ancestor from Africa against the curtain of ladies that was black faced caricature niqab and lack of perfection, kind of awful and dark censorship of ladies, after that the False Dichotomy which is a mistake that people categorizes other people as good or bad and he described that “Cries And Whispers” made him to understand that only Anna took care of Agnes because she was just a good human that was caring and really white(good) and the pretender moral family were grey in their own situations because of their difficulties in life, on the other hand Bipolar was a soul searching that was about human nature to want to protect the shadow from painful or negative feelings and experiences at the same time project back to the negative feelings that people label the soul and make us fascination, from “Neo-romanticism” of Glam rock he went to Ecofeminism trilogy that was supplement of his own perfection and not like his other collections very messy and imperfect, it was about the spotless material world has become objects from our mother nature that is in a danger, on the other hand the “frugality” of Glam rock that was about plastic trash coutures and consumerism, after that his fighters in the desert fought for horizon and vertical individualism and collectivism then he went to Northern Iran with no concept and just the balladry and freedom and authorization for different characteristics.
This was his first step that entered the art-world with fashion, after that he made many collections that are in no waves and are just about bringing knowledge and poetry and being needless and free about people’s approval. Most of queers in Iran are in closet, although Salar is into girls but he supported them from the beginning and they don’t even know how to get rid of stigmas or a mark of disgrace associated with a particular, because we know that they are different from the minority so it’s so important to embrace the seemingly bad labels like strange, peculiar and Salar did support prostitution that brought him huge, lots of controversy he broke the idealized self-image, or ego ideal and he knew that’s gonna lose lots of supports by society, he did not work with nationalism events,markets and celebrities, he was aware that lots of Iranian women are under pressure, so after his revolutionary street performances and openly showing the emotional abusers of himself to the people of the artworld, lots of Iranian women that some of them are salar’s friends of various backgrounds with different histories have taken to social media, in their own #MeToo movement, to report their experiences of sexual harassment and assault. The police have announced they have taken action against at least one suspect. Many women hope this will be just the beginning of a broader movement against sexual violence, social media has undoubtedly been a great amplifier and connector, allowing Iranian women to read one another’s stories as well as the experiences of women in other countries. But where Iranian women are standing today is also the result of years of work on the ground by Iranian women’s rights defenders and ordinary women who have fought to be recognised in society.”