The Face Australia/USA Links

The Face Australia:

Episode 5 airs 15 April, 2014.

The Face USA:

Episode 7 airs 16 April, 2014.

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(Source: katemess, via katemess)

Good things in life

Omg okay

I haven’t been on Tumblr in about 2 weeks so I just want to assure all my followers (who have probably forgotten about me but oh well) that I’m still alive. This semester is my last one at university and it’s kicking my ass. My classes aren’t difficult or anything (in fact, they’re easy. I could write these essays with my eyes closed) but I have literally z e r o motivation. I just want to get my BA and move on. To what?? Idk just yet. I’m taking six months off to figure it out, then I’ll come back in 2015, hopefully with a clearer idea of what I want to do.

ALSO I have FINALLY quit my job at McDonald’s!! I’ve been working there since Feb 2012 and I am over it. The customers are nasty, treat me like trash, make racist remarks disguised as compliments (“oh wow your English is excellent!!”) and seem to have been raised in the jungle because none of them know how to clean up after themselves. Also, one of my managers told me that I should be “embarrassed about being gay” (as a “joke” hahahha..HA..HAhaa..a) so yeah it’s not the most comfortable environment. I’m glad to have worked there because it’s taught me a lot, and I’ve made heaps of friends. It’s just time to move on tbh.

ALSO there’s this beautiful boy in one of my tutorials and we always sit together. He’s really taciturn and I think it’s too early to unleash my overzealous ~fashion~ personality (I don’t want to scare him) but he’s just so adorable I could cry. I’m pretty sure he’s straight and he kinda looks like ASOS vomited all over him. And he’s got heaps of weird obscure art on his Facebook page but we like all the same designers and stuff.. I love pseudo-intellectual fashion heteros.

Um what else

I have so much love for my cousins because I feel like they’re my siblings and ugh I am so lucky to have them in my life. We’re all the same age and we’ve grown up together, and will continue to grow up together, and I am just SO in love with them and the people they’ve become.

I am trying to get back into a routine of blogging (and Antwerpsex is still alive!!) but right now real life has been so good that I haven’t felt the need to return to Tumblr. It’s so nice to not have to deal with the ~fashun politix~ lol you should try it!!!!

The Child Model and the Big, Bad Fashion Industry

Thylane Blondeau’s name first rose to prominence, or rather, notoriety, back in 2011 when photographs of her in the December 2010 issue of Vogue Paris fuelled debate about the sexualisation of children in the fashion industry. Jenna Sauers, former child model and contributor to the popular feminist blog Jezebel, wrote an article in which she expressed appreciation for the satire: “I personally found the Vogue Paris editorial refreshing. Sure, it was disturbing, but it seemed purposefully, knowingly disturbing—disturbing in the sense that it aimed to perturb and provoke a reader to question the fashion industry’s treatment of young girls as a kind of natural resource to be transformed into product, which is, you know, itself disturbing.” Others, however, were less understanding and condemned Carine Roitfeld, the “queen of porno-chic,” for publishing the photographs.

The fever eventually passed, and Blondeau was able to return to life as a happy, healthy, normal (albeit ridiculously photogenic) kid away from the glare of the fashion industry. But everything in fashion is cyclical, even controversy.

Blondeau, who celebrates her 13th birthday this year, is now on the cover of the latest issue of French magazine Jalouse. This photograph is much more age-appropriate: she is wearing natural make-up and a studded leather jacket, with an electrified ponytail running down her neck. Written across the cover is a huge hashtag (“#Bornin2001”) and the words, “La Nouvelle Kate Moss,” adding Blondeau to a seemingly endless list of young models who are “the new Kate Moss.” How many names are now on that list?

Though this picture is much more palatable than the ones in Vogue Paris, hiring such a young model is still a very controversial decision. In May 2012, Condé Nast International announced that no Vogue titles would “knowingly work with models who are under 16 or who appear to have an eating disorder,” choosing instead to work with mature models who are “healthy and help to promote a healthy body image.” Adherence to these guidelines has been somewhat lax, but to have these rules codified is better than to ignore a swelling problem, as Sara Ziff, founder of the Model Alliance, has stated: “The use of underaged models is linked to financial exploitation, eating disorders, interrupted schooling, and contributes to models’ overall lack of empowerment in the workplace…we’re glad that Condé Nast International is making this commitment.”

You can read the rest on The Style Con.

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Building Dreams and Desire

I still remember the first time I walked into Chanel. It was a dreary Friday afternoon with dark, threatening clouds lingering overhead. My friends and I were on our way home from a class excursion to the museum, and having just reached the lower end of Collins Street, which runs uphill, made us vulnerable to both nature and gravity. The rain came rushing down the street, hard and fast. For some reason I suggested that we walk into Chanel. It was right behind us, and it looked so clean and warm. Walking up the steps, I could feel the water seep into my clothes. My socks were wet and my glasses were foggy. There to greet us at the top of the steps was a doorman, who quickly looked us up and down, as if to assess whether we were there to steal or seek shelter.

When we stepped past the glass doors, I could feel my legs slowly turning to jelly. Nervous heat spread through my face and down my chest, though it was difficult to tell rain and sweat apart at this point. I was completely in awe: there, in clear glass displays were thousands of dollars’ worth of jewellery, perfume, and sunglasses. In a chamber to my right was the ready-to-wear collection, displayed like art. I caressed a navy tweed jacket, familiarising myself with its texture (because I knew that I’d never have the guts to walk into Chanel again), though applying the lightest touch because secretly I was terrified that it would crumble to dust. None of the sales assistants bothered to speak to me. Was it because I was wearing a school uniform? Or was it because I was wearing sneakers? I guess I’ll never know. All I can say for sure is that walking into Chanel for the first time was one of the most surreal experiences of my life.

Fashion and architecture have always been related art forms, as both must accommodate human bodies, human lives, and human experiences. We celebrate Cristóbal Balenciaga as one of the most innovative couturiers in history for his bulbous, cocoon shapes that encased the body like fluid armour. However, it wasn’t until the late 1970s that architecture separated itself from fashion in its purest form and joined a different conversation: retail. It is a conversation that is still had today, in high-rise executive offices filled with blueprints and sketches and budget estimates. Oddly enough, flashy retail superstructures started in a place we generally associate with the silent schools of avant-garde designers, with their deconstructed layers and amorphous silhouettes: Japan.

Read the rest on The Style Con.

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bitemagazine:

BITE Magazine Issue 08 | SYNERGY


SYNERGY: DESIRE, NECESSITY AND SUSTAINABILITY
There is no point in making a commitment to ethical sourcing if nobody wants to buy the clothes. You could do all the good in the world, fill the racks with good intentions, but if there are no sales then there is no future. Julie Gilhart, formerly fashion director at Barneys New York, and an early supporter of sustainable fashion, states: “Consumers respond to good design. Design and desirability must come first.” Good intentions must be met with good product.

The fashion industry needs to discuss the synergy between supply and demand, how sustainability can lead to prosperity, and that even the smallest business decisions can have a huge ripple effect. Perhaps what’s most important is figuring out what we are trying to sustain: technique, resource, product, or profit? Perhaps it’s all of the above. This conversation is urgent because retreating into our bubble of denial is clearly not working.
And then there’s the little steps that you and I can make to be more conscientious consumers. It doesn’t make sense to stop buying cheap clothes completely as that would sever garment workers’ only source of income. On the other hand, when we buy cheap clothing at such an alarming rate we only increase the demand, leading to over-exhausted garment workers, over-crowded factories, and, in the most desperate cases, another building collapse. 
Buy local. Buy less. Buy slower. The next time you’re shopping for a shirt or a dress think about why you’re making that purchase: is it because you want it, or do you truly need it? Is there something already hanging in your closet that never sees the light of day? Why not wear that instead?
Text: Hung Tran

READ THE ISSUE IN FULL ON ISSUU OR IN FULL SCREEN.
BOTH DIGITAL AND PRINT EDITIONS ARE AVAILABLE VIA MAGCLOUD.

bitemagazine:


BITE Magazine Issue 08 | SYNERGY

SYNERGY: DESIRE, NECESSITY AND SUSTAINABILITY

There is no point in making a commitment to ethical sourcing if nobody wants to buy the clothes. You could do all the good in the world, fill the racks with good intentions, but if there are no sales then there is no future. Julie Gilhart, formerly fashion director at Barneys New York, and an early supporter of sustainable fashion, states: “Consumers respond to good design. Design and desirability must come first.” Good intentions must be met with good product.

The fashion industry needs to discuss the synergy between supply and demand, how sustainability can lead to prosperity, and that even the smallest business decisions can have a huge ripple effect. Perhaps what’s most important is figuring out what we are trying to sustain: technique, resource, product, or profit? Perhaps it’s all of the above. This conversation is urgent because retreating into our bubble of denial is clearly not working.

And then there’s the little steps that you and I can make to be more conscientious consumers. It doesn’t make sense to stop buying cheap clothes completely as that would sever garment workers’ only source of income. On the other hand, when we buy cheap clothing at such an alarming rate we only increase the demand, leading to over-exhausted garment workers, over-crowded factories, and, in the most desperate cases, another building collapse.

Buy local. Buy less. Buy slower. The next time you’re shopping for a shirt or a dress think about why you’re making that purchase: is it because you want it, or do you truly need it? Is there something already hanging in your closet that never sees the light of day? Why not wear that instead?

Text: Hung Tran

READ THE ISSUE IN FULL ON ISSUU OR IN FULL SCREEN.

BOTH DIGITAL AND PRINT EDITIONS ARE AVAILABLE VIA MAGCLOUD.

The Apotheosis of Kim Kardashian and Why it’s a Farce

As some of you may know by now, I make weekly contributions to The Style Con. Arabelle Sicardi, who runs one of my favourite blogs, The Fashion Pirate, and who is also my editor, wrote an interesting piece about Kendall Jenner and Kim Kardashian for the site last week, and I invited my friend “E.M” to respond to it. In the interest of keeping her voice authentic and powerful, I did not make any edits to the article. The views expressed in this article are hers, not mine. Thank you for this piece, E.

The Kardashians. They are internationally known, ubiquitous, and inescapable. Some laud their popularity, others abhor it. This article will not be one in the style of the former. Arabelle Sicardi recently wrote an article for The Style Con hailing Kim Kardashian, the ringleader of the family, as a businesswoman and “Madonna,” someone hated on for the sake of being hated on. But to say so is laughable.

To begin, there is the ever-present myth that the Kardashians are some sort of self-made millionaires on the level of Sara Blakely and Oprah Winfrey. But this fallacy has a hilarious oversight in what is blindingly obvious: We built the Kardashians. Like the Jersey Shore cast and The Hills cast before them, the power lies in our collective reinforcement of shallow, obnoxious people with “dramatic” (read: scripted) lives that allow us to unwind after a hard day of working 9-5 jobs that barely cover our yearly expenses. So how did we make the Kardashians happen?

Kim rose to her initial fame through a sex tape made with then boyfriend Ray J. It’s not okay to shame Kim for her sex tape, as Sicardi states: “She had sex with someone she trusted and he broke her trust and people will never let her forget it.” This is true. What’s also true, and commonly left out in articles about Kim, is that she filed suit against the company distributing her tape, but instead of seeing the case through to the end and attaining justice for herself and her image, settled, for (what else?) money. To the healthy tune of $5 million, to be exact.

Read more.

Beyonce came to me in a dream and told me to do this.

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.”

Read the rest on The Style Con.

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