Anonymous asked: Let's say I see something on the runway that I absolutely love, and then I want to buy it. How would I go about doing that? Where are these things sold?
Unfortunately, most of the things you see on the runway will never make it into stores, unless the buyer makes a specific order for it. That sucks because buyers tend to have very conservative taste. You could always try calling/emailing brand headquarters directly. It helps if they’re based in your home city. Otherwise, get down on your knees and pray to god that the item will appear at the brand’s sample sale or warehouse sale, a public event where they get rid of excess stock (including runway clothes, shoes and accessories) at reduced prices. It’s not as fun as it sounds: most of them are dusty, sweaty hellholes that attract Instagram lunatics.
America’s Next Top Flop
Later this year, Tyra Banks will present her 21st cycle of America’s Next Top Model, or, more specifically, her 21st attempt at finding a top model. The show carried some legitimacy in its first few seasons, but after more than ten years on the air without a single success story, it looks as though America’s Next Top Model has well and truly passed its expiration date. If we refer to the CFDA’s guidelines regarding 16 as the appropriate starting age for aspiring models, together with the fact that very few working models were older than 26 when they ascended to “top model” status, it seems that a decade is just enough time for a model to establish herself. But it hasn’t happened for any of the Top Model girls. I’m trying to figure out why.
Tyra Banks has endured much criticism since Top Model premiered in 2003. As a TV program that relies on ratings and advertising to stay afloat, it is only in the interest of business to showcase the most “dramatic” behavior to keep the show as entertaining as possible. Tantrums, catfights, “lesbian” kisses and on-set fainting spells have all been used to propel otherwise tedious episodes. Others have criticized Banks for her perfunctory inclusion of transgender contestants—namely Isis, who first appeared in cycle 11, and Virgg, who made a brief appearance last season before quitting—and “plus size” or “fiercely real” models, simply for brownie points and a boost in ratings.
The main concern, however, is that the models are so ill-equipped to enter the real world of modelling that Tyra Banks is ultimately doing a disservice to her contestants. This sentiment was shared by Kirstie Clements, the former editor-in-chief of Vogue Australia, who made a number of appearances on the Australian edition of the show. In her tell-all book, The Vogue Factor, Clements decried the activities that were involved, including an “imbecilic” round of trivia in which the contestants were asked to match the magazine cover to the supermodel. “Of course any exercise on the show is completely irrelevant to the real world of modelling,” she wrote. “Models don’t need to know anything about anything. They don’t even need to speak. They just need to be beautiful and show up on time.”
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Anonymous asked: Thoughts on Chanel?
Great set, hideous clothes. It’s ironic that it was presented in a supermarket. Karl has passed his expiration date.
Photographed by Emma Pilkington for BITE Magazine #8
gregalvang asked: Hung! i was trying to remember if it was you who wrote a piece/answered a question about how trends form, and mentioned an anecdote about a fabric supplier that worked with two fashion houses and accidentally sent one house's samples to the other, so both brands showed a similar colour story the subsequent season...? i trawled through your /answered tag and didn't find anything. sorry to sound crazy but this is actually driving me nuts!
Yep! I have a friend who studies fashion in Canada and her teacher used to work for Sonia Rykiel around the turn of the millennium. She spills all the secrets. The design teams at Sonia Rykiel and Louis Vuitton used to mingle all the time, and they must have shared the same fabric supplier. The Sonia Rykiel team was reconsidering a shade of yellow they were using in the s/s 2000 collection because it was intense/garish/tacky. A week before Paris Fashion Week, the fabric supplier accidentally sent them Louis Vuitton’s fabric. It was the exact same shade of yellow. They all breathed a sigh of relief because if Marc Jacobs (this was his fourth collection for Louis Vuitton) was using yellow then it MUST have been cool.
Louis Vuitton s/s 2000:
Sonia Rykiel s/s 2000:
Thanks to style.com for the pictures. These images are ancient so you can’t really see how intense the yellow is, but apparently it was BRIGHT. My new followers can read about how trends emerge on my Wordpress blog.
Photographed by Scandebergs for BITE Magazine #8
"Enfant Soldats" by Gilad Sasporta for BITE Magazine #8
"Two marching queues of step-team members from the States stomped down towards the set from a high platform. What erupted on the sparse stage was not so much a défilé (the French word for “march,” which is used to characterize the martial procession of bodies we call a fashion show) and more a performative declaration. Their aggressive demeanor heralded a shift in mood from the swinging struts of every other collection: their body language was the opposite of the transient 20-minute procession that has been made of most fashion shows. The firmness of their positioning on the ground-level stage commanded respect and attention. Transcience became intransigence; percussive step usurped sanguine glide.
The stage was broad, pushing the audience to its extremities. This consecrated the set as a special theatre of sorts: it was a space in which a meaningful message could be manufactured; only actors were the focus. But, unlike a narrow runway, it seemed limitless. The dancers activated the space, moving all the way to its extremes, occasionally conquering the domains of the audience. The way in which they oscillated between the edge and the centre of their space gave the performance a pulsating, energetic quality.”
So what’s your fashion IQ?
Last month I completed a quiz titled “What is your fashion IQ?“ on Vogue Australia’s website. It started off simply enough: I was shown a picture of a colorful shoe and successfully identified Christian Dior as its maker. Later, I was asked to name Karl Lagerfeld’s cat and match six “It” bags to the celebrity who inspired the design. Question twelve was an easy, albeit bizarre, one: “What is the correct spelling of Cara and Poppy’s surname?” I was asked to choose from a list that included “delicatessen.” The next question was even stranger: “What are the names of Stella McCartney’s children?” All four options included unusual names, all of which seemed equally correct. I chose the option that included “Juniper” and got it wrong. Oops.
I won’t reveal my score, but it was abysmal. I was mortified, not because my ego had been bruised (although I am obnoxiously competitive by nature) but because I had willfully spent almost 20 minutes attempting—and failing—a “fashion quiz” that had very little to do with fashion at all. I began to ask a few questions of my own: In what universe is knowing how to spell “Delevingne” indicative of intelligence? Vogue Australia is arguably the most under-appreciated and underfunded among its siblings, despite being a solid member of fashion’s most prominent media group since 1959. I have trouble believing that a Vogue editor not only commissioned but also paid for the creation of such a ridiculous quiz in the first place.
Is this really what qualifies as “knowledge” these days? It’s rather odd, given recent events that have underscored the urgent need for fresh, talented thinkers in fashion. Cathy Horyn’s sudden departure from The New York Times sent waves of shock and grief across the fashion media landscape, both old and new. On this side of the fence, we were bombarded with dozens of articles that seemed to mourn the end of honest fashion journalism itself. These effusive elegies could be found in all corners of the Internet, written by professional journalists and recreational bloggers alike. Imran Amed, founder of The Business of Fashion, lamented “the now sorrier state of fashion criticism” in his tribute to Horyn. Three weeks later, London-based writer Jason Dike, whose article was also published on The Business of Fashion, contended that “the real problem isn’t that there’s no one with an honest opinion anymore. It’s that there are very few places left to publish that opinion.” Like these writers, I worry that the future of fashion journalism looks bleak. My concern, however, is in regard to the depth of content.
Anonymous asked: Have you ever asked an editor to tag you in #fashion? Be honest now.
A couple of times (lol), back when I thought notes were important. Some of the editors are my friends so I’ll ask them to tag my post if I’m particularly proud of it, like an article I had spent hours and hours researching and writing. I think that’s a little different to asking for a blue tag on some random picture I found on style.com or thefashionspot. Basically, I think people should only ask to be tagged on original work: a photo they personally photographed, a piece of writing they spent hours putting together, etc. Otherwise it’s just silly. Why would you want notes on work that isn’t even yours? Anybody can find a picture, crop it, then add a caption…