um so

remember when karl lagerfeld said that adele was “a little too fat”

and congratulated carine roitfeld for having julia turn out the way she did because “it would have been difficult to have an ugly daughter”

and said on french television that “the hole in social security, it’s also [due to] all the diseases caught by people who are too fat”

and the CLASSIC “nobody wants to see round women on the catwalk”

and then, for spring-summer 2015, he sends dozens of 6-foot-something models (out of 85, I counted 12 models of colour) out in his distorted version of a feminist protest and people are like lol so feminist so fashion all is forgiven tbh!!!



one big room

full of white bitches

Chinese Landscapes - Jiang Chong Min

(Source: art-and-fury)

Anonymous said: What are your thoughts on Valentino? Do you prefer Valentino Garavani himself or Maria Grazia Chiuri and Pier Paolo Piccioli are fine to you? I think they keep doing the same things over and over....

I agree with you. My main problem with the Valentino designers is that their creativity has been completely overshadowed by their complacency: place any of the RTW collections from 2010 to the present day, side by side, and you’d be hard pressed to distinguish them. Their technical work is out of this world, though. The spring 2013 couture collection, in particular, was one of my favourite: intricate piping that mimicked swirling wrought iron fences, embroidered against sheer fabric without distorting the fabric. Only in haute couture can you achieve that level of finesse. Their couture also looks young—very young, almost infantile. You’re going to have a lot more baby-faced girls, slender and sylphic, in Valentino. Just look at their front row: Chloe Moretz, Elle Fanning, Clemence Poesy, etc. People eat that shit up.

Anonymous said: What did you think of kendall jenner on fashion week?

Anonymous said: waiting patiently for your MFW reviews (especially Prada) x

Sorry! I took extra shifts at work last week and didn’t have any time to review the Milan collections. Some of them were quite good actually.

So let’s talk about Prada: Gemma Ward opened (I went into Pradiac arrest when I saw that), Lara Stone closed, their exits sandwiching a bunch of models I didn’t recognise—reportedly, one of Prada’s models was only 14 years old. Side-eyeing the CFDA right now. The clothes were fine. None of it really set my soul on fire, though I’m going to say this look was my favourite. Miuccia Prada is a clever designer, but sometimes a creative eye can meet a clumsy hand: I didn’t like the brocade patchwork. But I’m sure Japanese Vogue will have fun with this collection, and the campaign could look incredible (praying she casts Gemma). I’m also looking forward to her next few interviews because, for me, as it is for Tim Blanks, hearing Miuccia Prada explain her collections can be more interesting than actually seeing them. “Beauty is an impossibility,” she once told Sarah Mower. This season, Prada was all the verve without the vanity.

Funny that she would say that, really, because that’s exactly what Jeremy Scott did this season for Moschino: Barbie’s Dream House was brought to life. She’s the ideal, a symbol of hyper-femininity and hyper-Americana. It was my favourite collection in Milan. Shocking, right? I hated his debut. There was something in this collection that was so, so clever. You can derive all sorts of meaning from Barbie: glamour, trash, treasure; people pay thousands of dollars for old Barbie dolls. It’s the original fad, before It-bags and the Kardashians. The whole modelling/fashion industry is built on the cultural connotations in Barbie. Feminine perfection is something this something-billion dollar industry pushes down consumers’ throats. I think Scott presented a convincing and utterly ironic case against that—weaponizing plastic and peroxide. Or perhaps I’m trying to intellectualise someone that’s devoid of creativity and talent. Hmm.

Special mentions go to Marni and Bottega Veneta, both of which I loved. If she wasn’t with OTB, I think Consuelo Castiglioni could have done great things for Balenciaga.

"Some writing doesn’t brush up against sentimentality as often as other writing. But whatever ‘bad’ edge your writing brushes up against, I think it’s important to touch it. You can always pull back from it, but at least you know where it is. It’s like when I was a dancer, we were always encouraged to fall in rehearsal, so that you could know what the tipping point of any given movement was. That way, when you did it on the stage, you could be sure you were taking it to the edge without falling on your face. It sounds like a cliché, but really it’s just physics — if you don’t touch the fulcrum, you’ll never gain a felt sense of it, and your movement will be impoverished for it."

Maggie Nelson, in response to ‘Is it important to risk sentimentality?’ in an interview with Genevieve Hudson for Bookslut

(Source: bostonpoetryslam, via arabellesicardi)

The Youth Quake: Maritime, Magma, and Sorry-Free Sex

What’s in a name? A lot, it appears. Recent studies have suggested that using your middle name can trick people into thinking that you’re more intellectual than you really are. J.W. Anderson is praised for just that: cerebral, considered designs that swathe around the body in glorious defiance of the needle-and-thread specificity of Savile Row—thesis and antithesis. This season, the silhouette appeared to move inward, narrower, to what Suzy Menkes described as “tidy mademoiselle tailoring.” It looked uncharacteristically prim. Then, Anderson’s perverse disregard for proportions was evident in the minutiae, magnified: huge buttons that fell from models’ heads to their hem; angular sleeves, exaggerated lapels and collars, and those deflated leather wraps that weren’t quite belt, weren’t quite bustier.

Some models had floppy fishermen’s hats obscuring their faces. They weren’t entirely necessary, or purposeful. And, of course, lengths of rope pulled through these dresses held together disparate panels of the garment rather haphazardly. If only the editing had been so tight. One gets the feeling that a gust of wind could have pulled apart the whole thing. These nautical references were hit and miss (mostly miss), anchored in something too abstract. Anderson’s name has resounding cool factor, we know that. It tops the list whenever there’s mention of a particular new breed of iconoclasts emerging from London’s underground. But he can’t sail on his reputation forever.

Read my review of J.W. Anderson, Mary Katrantzou, Burberry Prorsum and Tom Ford on The Style Con.

Reviews: New York Fashion Week

So I’ve been writing reviews of NYFW for The Style Con. I think you should read them just because.

Australian Design Dialect and the Persistent Voice of Youth: Tome, Dion Lee, Coach, Jason Wu and Alexander Wang

Sex, School and Serenity: Victoria Beckham, Public School, Versus Versace and The Row

Sea, Sports and Planet Jacobs: Rodarte, Proenza Schouler, Calvin Klein Collection and Marc Jacobs

London reviews coming up!

Anonymous said: What should I wear on a date if I want to impress somebody?

You’ve got the wrong blog.