'isn’t it ironic that the same people who preach equality are the ones who are the most discriminatory? discrimination to those of different colours or sexualities is no different than discrimination to those of different incomes. and, similarly, discrimination of the poor is equally as wrong as discrimination of the rich. how does anyone expect to thwart prejudice when the current perception of equality is clearly skewed? and why it assumed that one income bracket works any less than another social bracket?
certainly some inherit wealth but most have worked to earn that wealth (and, without this bracket, the economy would be static, for it is the high income bracket that provides jobs)– and yet society determines this earned success be penalised.
no doubt, the atmosphere between classes is toxic. it seems those pushing for class inequality should look to the civil rights movement, for, in many ways, the situations are synonymous, but while one was a move to equality, the latter is a move to victimise, to use a social class as a scapegoat.'
- unknown tumblr account
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a handful of some of the cool skirt designs by other people in my class who happened to be presenting their sample for review in the same timeslot as me yesterday:
XXXXXXXX
'today, fashion creatives just don’t seem to be pulling from these kinds of personal stories, neither at the shows nor in the pages of magazines. collections are hailed for having great 'pieces,' but if this becomes the focus, it leaves the rest of fashion’s creative ecosystem starving and unbalanced.
magazines, like great absurdist theater, whether operatic or minimalist, tell only vague stories, made from carefully art directed still images that leave a lot of blanks for the reader to fill in. who didn’t want to run off to Greece after seeing Bob Richardson’s romantically gorgeous editorial in French Vogue, a tear running down the girl’s tanned face as she ends her summer romance in the final spread of the editorial? this is what makes storytelling so important. it allows us to fool ourselves into believing that if we purchase the following list of items, or wear our hair a certain way, we too would be jetting off to Greece in no time. and if we just head over to Bergdorf’s, we too can have that life.
why did all this start to change?
maybe it was because of the rise of celebrity in fashion. or the focus on ‘behind the scenes.’ or the practice of referencing upon referencing. maybe it was the focus publishers put on cross-marketing film and record releases. or perhaps it was their relationships with merchants, because, the truth is, for the most part, we now take pictures of clothing in order to optimise merchandising.
it was not so long ago that fashion ejoyed a rich period of more personal storytelling, starring creative forces like Alexander McQueen, John Galliano, Yohji Yamamoto, Hussein Chalayan, Martin Margiela and Helmut Lang – and boy did they put on a show! all of these designers found tremendous inspiration in their own life stories. then the teams that make up the rest of the ecosystem – from hair and makeup artists to shoemakers, jewellers, set designers and music producers – all contributed to the ‘mise en scene.’ there seemed to be a balance then, between the vagueness that allowed us to dream and the more informational ‘where can i get that?’ aspect of it all.
while watching The September Issue, the documentary about the making of American Vogue’s September 2007 issue, at first i was honestly perplexed by Grace Coddington’s insistence that Galliano’s costume drama collection was her focus for the season. with all due respect to Mr. Galliano (for whom i do have a great deal of respect), it hardly seemed appropriate that in 2007, he would be the key reference point for the creative director of American Vogue considering the radical change we have seen in the way designers, editors, and photographers work today.'
- Why Do We Take Pictures of Clothes?, Debra Scherer, Business of Fashion blog
XXXXXXXX
things that we say today which we owe to Shakespeare:
'knock knock! who’s there?'
‘heart of gold’
‘set your teeth on edge’
‘good riddance’
‘fight fire with fire’
‘faint hearted’
‘so-so’
‘seen better days’
‘too much of a good thing’
‘send him packing’
‘wear your heart on your sleeve’
‘laughing stock’
‘not slept one wink’
‘come what may’
‘for goodness sake’
‘the game is up’
‘what’s done is done’
‘full circle’
‘bated breath’
‘green eyed monster’
‘vanish into thin air’
‘be all / end all’
‘out of the jaws of death’
‘death as a doornail’
‘in a pickle’
‘brave new world’
‘makes your hair stand on end’
‘naked truth’
‘break the ice’
‘the world is my oyster’
‘wild goose chase’
‘off with his head’
‘love is blind’
‘a piece of work’
‘heart of hearts’
‘a sorry sight’
‘lie low’
certainly some inherit wealth but most have worked to earn that wealth (and, without this bracket, the economy would be static, for it is the high income bracket that provides jobs)– and yet society determines this earned success be penalised.
no doubt, the atmosphere between classes is toxic. it seems those pushing for class inequality should look to the civil rights movement, for, in many ways, the situations are synonymous, but while one was a move to equality, the latter is a move to victimise, to use a social class as a scapegoat.'
- unknown tumblr account
XXXXXXXX
a handful of some of the cool skirt designs by other people in my class who happened to be presenting their sample for review in the same timeslot as me yesterday:
XXXXXXXX
'today, fashion creatives just don’t seem to be pulling from these kinds of personal stories, neither at the shows nor in the pages of magazines. collections are hailed for having great 'pieces,' but if this becomes the focus, it leaves the rest of fashion’s creative ecosystem starving and unbalanced.
magazines, like great absurdist theater, whether operatic or minimalist, tell only vague stories, made from carefully art directed still images that leave a lot of blanks for the reader to fill in. who didn’t want to run off to Greece after seeing Bob Richardson’s romantically gorgeous editorial in French Vogue, a tear running down the girl’s tanned face as she ends her summer romance in the final spread of the editorial? this is what makes storytelling so important. it allows us to fool ourselves into believing that if we purchase the following list of items, or wear our hair a certain way, we too would be jetting off to Greece in no time. and if we just head over to Bergdorf’s, we too can have that life.
why did all this start to change?
maybe it was because of the rise of celebrity in fashion. or the focus on ‘behind the scenes.’ or the practice of referencing upon referencing. maybe it was the focus publishers put on cross-marketing film and record releases. or perhaps it was their relationships with merchants, because, the truth is, for the most part, we now take pictures of clothing in order to optimise merchandising.
it was not so long ago that fashion ejoyed a rich period of more personal storytelling, starring creative forces like Alexander McQueen, John Galliano, Yohji Yamamoto, Hussein Chalayan, Martin Margiela and Helmut Lang – and boy did they put on a show! all of these designers found tremendous inspiration in their own life stories. then the teams that make up the rest of the ecosystem – from hair and makeup artists to shoemakers, jewellers, set designers and music producers – all contributed to the ‘mise en scene.’ there seemed to be a balance then, between the vagueness that allowed us to dream and the more informational ‘where can i get that?’ aspect of it all.
while watching The September Issue, the documentary about the making of American Vogue’s September 2007 issue, at first i was honestly perplexed by Grace Coddington’s insistence that Galliano’s costume drama collection was her focus for the season. with all due respect to Mr. Galliano (for whom i do have a great deal of respect), it hardly seemed appropriate that in 2007, he would be the key reference point for the creative director of American Vogue considering the radical change we have seen in the way designers, editors, and photographers work today.'
- Why Do We Take Pictures of Clothes?, Debra Scherer, Business of Fashion blog
XXXXXXXX
things that we say today which we owe to Shakespeare:
'knock knock! who’s there?'
‘heart of gold’
‘set your teeth on edge’
‘good riddance’
‘fight fire with fire’
‘faint hearted’
‘so-so’
‘seen better days’
‘too much of a good thing’
‘send him packing’
‘wear your heart on your sleeve’
‘laughing stock’
‘not slept one wink’
‘come what may’
‘for goodness sake’
‘the game is up’
‘what’s done is done’
‘full circle’
‘bated breath’
‘green eyed monster’
‘vanish into thin air’
‘be all / end all’
‘out of the jaws of death’
‘death as a doornail’
‘in a pickle’
‘brave new world’
‘makes your hair stand on end’
‘naked truth’
‘break the ice’
‘the world is my oyster’
‘wild goose chase’
‘off with his head’
‘love is blind’
‘a piece of work’
‘heart of hearts’
‘a sorry sight’
‘lie low’
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