uma wang

uma wang, vogue italia, photo francesco carrozzini

pored ziggy chen-a, old lyric…   šangaj sigurno treba posetiti i zbog nje (kada je reč o modi). uma wang. ona dolazi i osvaja. svet.  obrazovala se i na istoku i na zapadu. studirala je modni dizajn u šangaju i na central saint martinsu u londonu. i ne mogu da odolim da ne ponovim ono što je na italijanskom designcatwalk.com neko podsetio na napoleonove reči da kada se kina probudi ceo svet će da drhti. a autor sa  italijanskog modnog portala mudro, sa one lepše strane pogleda na svet, prokomentarisao da se ne drhti samo od straha…

uma wang je verna tao filozofiji, ponosna na svoje kineske korene, dobro upoznata sa kulturnim nasleđem kine, svesna da pripada jednoj od najvećih kultura,  ali je itekako avangardna i otvorena. donosi svetu mode tako potrebnu svežinu, lepotu jednostavnosti i suptilnost. ona je istovremeno krhka i jaka, osoba snažnog identiteta. upoznata sa svim segmentima proizvodnje, od izrade, tkanja, do finalnog produkta. sama kaža da je za nju tkanina sve.  njeni komadi, tu me najviše podseća na yamamota, su puni slojeva koji  su tu da štite žensko telo od svega. i da donesu osećaj udobnosti, prijatnosti, lepršavosti, ali i osećaj samopouzdanja. ona sama i ističe da je yohji yamamoto njena snažna inspiracija.

tamno i svetlo. krhko i snažno. istok i zapad. jin i jang. to je uma wang. zaista veliko, novo ime u svetu mode. kaže da joj je cilj da stvori dijalog između odeće i tela, osobe koja nosi tu odeću.

white blog

“there was no fashion when i was a little girl, so i never dreamt about anything having to do with it. my parents did not really have enough money to buy clothes for me. every month, they only got paid 30 yuan (roughly $5) each from the hospital. i always remember getting old, second-hand clothes from another family in our village.”

“yohji yamamoto is my favorite designer. i always feel power from his designs. i love the feeling of his clothing. it’s very simple, but romantic — a different way to express passion.”  (iz intervjua koji je uma dala sophie friedman za wall street journal , njujorčanki koja živi i radi u šangaju)

njeno gostovanje na univerzitetu u bolonji

“a true feminine beauty is represented in moving like wind, and being still as water”

Uma Wang Long Cardigan - L’eclaireur

uma wang long cardigan

rođena je 10. maja 1973.  u šangaju. lepa, visoka… u slobodno vreme igra košarku!

“i try to do things my own way. i no longer look at shows. i try to be like a horse with blinders on, only looking forward”

uma wang za style zeitgeist

“we look at it, and do not see it; it is invisible.
we listen to it, and do not hear it; it is inaudible.
we touch it, and do not feel it; it is intangible.
these three elude our inquiries, and hence merge into one.
not by its rising, is it bright,
nor by its sinking, is it dark.
infinite and eternal, it cannot be defined.
it returns to nothingness.
this is the form of the formless, being in non-being.
it is nebulous and elusive.
meet it, and you do not see its beginning.
follow it, and you do not see its end.
stay with the ancient way
in order to master what is present.
knowing the primeval beginning is the essence of the way.”
-  translated by sanderson beck, 1996, chapter 14  tao te ching, lao tzu

Chinese-Clothing-Fashion-Designer-Brookyln

uma wang u nyc  adam katz sinding

sa sajta tarde o temprano, bere tot

milano fashion week ss2014

All clothes by Uma Wang, shoes by LD Tuttle, white socks by Burlington

photography joachim mueller-ruchholtz, another magazine

uma wang muška kolekcija za vertice london

 

uma i L’eclaireur

 

za swatch je 2012. dizajnirala seriju satova. meni lično ovaj oduzima dah, zove se black dancing rose, limitirano izdanje od 777 komada!

 

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baby alone in babylone

omg!! mislila sam da sam izgubila ovaj post. da ga je progutao web. pojela noć. i onda ga nađoh večeras! sa mog starog bloga na domenu mojblog.rs kojeg više nema post o mojoj prijateljici dragani došen. o doš.dosh. kreatorki, stilisti, kostimografu…

Title #2

Photo: 2012 Sai Sivanesan

post na tom mom starom blogu je izgledao ovako:

prvo fotka na kojoj su serge  i jane. ne bez razloga.

 

pogledaj ulicu. bilo koju. toliko istih. sličnih. bezličnih. kao da im koja peva:

“ne pričam o stilu, ne pričam o ritmu,
ne pričam o stihu, nikako o stihu,
ja samo želim ovo da te pitam
da li ti znaš za neki drugi ritam?”

but, pogled na ono što je posebno, što je drugačije,  je nenadmašiv i gotovo fašistički dokaz da nismo isti. i kako je dobro što “isti” su većina.

i kakav bi bio svet prepun odlučnih kao aleksandar makedonski? genijalnih kao tesla. senzualnih kao audrey hepburn. samouverenih kao  mourinho. ekscentričnih kao warhol. seksipilnih kao norma  jean… shvataš šta želim da kažem?

listam “filozofiju mode” lasa svensena koju sam od nje dobila za jedan rođendan. a posveta kaže :- traži i dobićeš!

ona je u potrazi  posvećeno prevrnula pola zemljine kugle. čak je stigla da bude shanghai baby i kineze uči ono što je o modi i artu naucila od beograda, toronta i londona… i sve to baby alone in babylone.

lepa žena sa stilom, u majici, farmericama, gotovo uvek  bez šminke. spojila je svoje ženstvene haljine i muški, sasvim muževni dom garde. kao što je spojila je  francuski novi talas i engleski romantizam. kao jane birkin svoje engleske korene i francuski chik. beše tamo 12.10.2010. oko ponoći njena prva modna. u beogradu. a onda svet.

dosh. vrlo žena i vrlo devojčica. blistav osmeh i vera u čuda. (samo ko ima moodah, veruje u čuda, njena je omiljenija tvrdnja.)

njena majka ‘ladno može da citira majku jane birkin: “jane može, nakon svega sto je prošla da živi onako kako joj se sviđa. ona je veliki borac.

pogledaj kako samo zakucava ekser u telenorovoj reklami>

p.s. dd je sada kostomograf na filmu. živi u torontu.

jane birkin

Baby alone in Babylone, noyée sous les flots
De Pontiacs, de Cadillacs, de Bentley à L.A.
De Rolls Royce et de Buicks, dans la nuite métallique

Baby alone in Babylone, noyée sous les flots
De musiques électriques, de rock ‘n ‘roll, tu recherches un rôle
Tu recherche les studios et les traces de Monroe
Les strass et le stress, dieu et déesses de Los Angeles

Baby alone in Babylone, noyée sous les flots
De lumière, de poussières, d’étoiles éphémères
Tu rêves d’éternité, hélas tu vas la trouver

Baby alone in Babylone, noyée sous les flots
De tes larmes et le charme, de l’avenue du crépuscule
C’est le Sunset boulevard qui serpente dans le noir

Baby alone in Babylone, noyée sous les flots
De Malibu, petite star inconnue
Tu n’as vu que l’etoile de la police fédérale

Photo

ove dve fotke gore dragana u sopstvenim kreacijama

riba zvana vanda

profile dragana došen

education:

george brown college of applied arts&technology, toronto
fashion promotion, central saint martins, london

favourite fashion moment:
nouvelle vague

music:
jane birkin..ute lemper..kate bush…siouxsie and the
banshees..stereolab..cocorosie..squirrel nut zippers..grace jones..vanessa
paradis..nico..marianne faitfhfull..the the..einstürzende neubauten..tom
waits..pj harvey..david sylvian..anita lane

film:
jean-luc godard..luis bunel..ingmar bergman..jacques rivette..stanley
kubrick..fassbinder..antonioni..felini..wim wenders..andrei tarkovsky..sergei
eisenstein..jean vigo..françois truffaut..krzysztof kieslowski

literature:
kundera..thomas mann..ayn rand..bulgakov

art:
modern art

sport:
yoga

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best-dressed serbian

1. nemanja radulović, violinist (1985 )

2. ana kraš (1984) designer, painter, model…

ana za mango

by garance dore

ana-kras-1

gd

vogue germany

 

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well-dressed strangers

kiko kostadinov

prvo sam otkrila njegov tumblr. shvatila da oboje volimo yamamota. onda sam videla da se veoma posvećeno bavi modom, ali i da promišlja veoma ozbiljno i odgovorno ovaj naš svet.  ovaj mladi čovek bugarskog porekla, završio je postdiplomske na londonskom central saint martins kao jedan od najuspešnijih postdiplomaca ove godine.

 “in my head fashion means to create something that no one have done and show your emotions/feelings/, or just your view over the world we/you live or want to live. it can be timeless(yohji) or always new(christopher kane). the designers who claim to be creative and design for “now” are boring and rubbish, they won’t go in the history because “now” its changing. sorry if i drove away from your question.” (kostadinov)

 

t i m e l e s s  yohji yamamoto

kiko kostadinov

timeless franz kafka

“don’t bend; don’t water it down; don’t try to make it logical; don’t edit your own soul according to the fashion. rather, follow your most intense obsessions mercilessly.”

 kafka

“i hate fashion. i am not a fashion designer; i am a dress maker. fashion design is based on trends and trends are like the air we breath, we influence it and are polluted by it. it shouldn’t be about “what’s next what’s next what’s next”

(yohji yamamoto)

 

“to be modern is to tear the soul out of every thing” (yohji again)

 

Yegwa Ukpo

yegwa ukpo

opet  tumblr com i opet oduševljenje!! kakav stajling ovog mladog čoveka.  perfektan ukus! nosi uglavnom yamamota, ann demeulemeester, raf simonsa… i to kako nosi!!! visok, lepo građen,  pomalo podseća na marvina gaya… zove se yegwa ukpo. moja iznenađenost je bila još veća kada sam otkrila da živi u nigeriji. u gradu lagos on i njegova supruga imaju zanimljiv concept store stranger  lagos koje nije samo mesto u kome se prodaje dobro dizajnirana muška garderoba, nego i mesto okupljanja ljudi koji vole umetnost, mesto organizovanja performansa, dešavanja, projekcija filmova, promocija knjiga, druženja, mesto koje obećava da će od stranca načiniti prijatelja….  najavljen je i skorašnji izlazak njihovog žurnala.

it’s weird talking about clothes! i always feel very self conscious about it unless i’m talking to somebody who is really into clothing, but to say a jacket can speak to you is bizarre to most people, but it really felt like that when i first discovered yohji yamomoto. it was like this is how i want to be dressed. it felt like he was what i’d been looking for since i was a teenager but didn’t know where to search. from there i just started picking up more pieces in that line, in that kind of aesthetic and started to really get into the idea of conceptual clothing. you know, the idea of clothing as armor or architecture. it appealed to me because it felt like more of who i am-i don’t wear suits or that kind of thing.

my stomach is getting out of control. so in the morning i wake up and do crunches, but i’m getting older now and it’s not working as well. i tend to be very conscious about that when i put on clothes so i prefer looser clothing so i don’t have to think about it as much. that’s one of my somewhat vain reasons for liking yohji yamomoto- he makes a lot of pants that you can wear really high up and your stomach has to fall basically in line with the pants. but generally speaking its something that i’m always conscious about every single day even right now i have to be like okay stop clenching it. but we do need to be more open about the relationship between fashion and our own bodies, i guess being less afraid to talk about our insecurities. we’re all human.

(yegwa ukpo)

 

 

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yohji. women. armor

 

so, from the beginning, i wanted to protect the clothes themselves from fashion, and at the same time protect the woman’s body from something – maybe from men’s eyes or a cold wind. i wanted people to keep on wearing my clothes for at least 10 years or more, so i requested the fabric maker to make a very strong, tough finish.

you say you wanted to protect the female body and your clothes often have a playful androgyny in them. should men and women be able to dress more like each other?

when i started making clothes for my line y’s in 1977, all i wanted was for women to wear men’s clothes. i jumped on the idea of designing coats for women. it meant something to me – the idea of a coat guarding and hiding a woman’s body. for me, a woman who is absorbed in her work, who does not care about gaining one’s favor, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence. a pair of brilliantly cut cotton trousers can be more beautiful than a gorgeous silk gown.

(interview for the talks)

yohji with pina

do you see yourself as her protector or provider?
maybe as protector. Sixty years have passed since my mother started working. japanese society is naturally very unfair to women. in japan, women are not human beings, for example when my mother wanted to borrow money from the bank, because she is a woman the bank people didn’t treat her well. so i started to watch the world through my mother’s eyes and naturally i realised i needed to protect her.

are there any other iconic women in your life besides your mother?
let me say i have three femme fatales; firstly my mother, secondly… the situation is very complicated so i cannot name her, but you can imagine…

one woman is not enough?
not enough, not enough. i have no desire for anything else. i have no taste for property. the story is more interesting when i talk about art. when i was a boy at primary school my teacher and my mother realised i was very good at drawing and painting. it came very naturally to me. so when  i stand up in front of art, whether painting, sculpture or architecture, i feel simply this is doing … in that way i don’t like to be influenced by art. i will always be interested in people.

which is more important to you, fashion or women?
women are important. first comes women, and fashion just follows.

why are women so special?
my mother is always there, i think it’s important for a boy’s mother to be there, always punishing, always checking. i always want to come back to the mother’s body.

i-d.vice 

with mother

”i think that my men’s clothes look as good on women as my women’s clothing,” said mr. yamamoto. ”and more and more women are buying my men’s clothes. it’s happening everywhere, and not just with my clothes. men’s clothing is more pure in design. it’s more simple and has no decoration. women want that. when i started designing, i wanted to make men’s clothes for women. but there were no buyers for it. now there are. i always wonder who decided that there should be a difference in the clothes of men and women. perhaps men decided this.” (ny times)

 harper’s bazaar russia january 2003. “people in black” charlotte rampling and yohji yamamoto, photographer : kay ogata

as a rule i like clothes that might be described as monastic. for years i have been addicted to yohji yamamoto’s designs. his clothes really suit me in their unfussiness.

charlotte for the guardian

marine landrot: weren’t you interested in fashion before?

charlotte rampling: yes, but i didn’t take a really close interest. i wore whatever suited me from different designers. when i discovered yohji, something strange happened. it was rather like joining a sect. i didn’t see many people dressed like this and i felt unique. yohji’s clothes are not slaves to fashion, you can wear them anywhere, anytime and yet they always feel avant-garde. you want to wear them over the eyears, you have to really live in them, understand them, learn how to move in them. he makes a perfect garment and then deconstructs it, giving it a personality, an identity.

marine landrot: have you got any clothing to which you attach special importance?

charlotte rampling: a pair of shoes. black schoolgirl shoes. my first pair of yohji shoes. i polished the leather ritualistically, i wore them with everything, i kept them for years. then, one day i bought a puppy and the puppy loved those shoes, perhaps even more than me. he literally chewed them up! i was sad for a long time and it made me realise the connection i have with yohji’s clothes. i would put those shoes on and away I’d go, confident in the way i felt. that’s Yohji for you. when i slip into his clothes, i feel a strong sense of identity.

charlotte for a magazine

 

patti smith in yohji yamamoto, april 1998 new york by richard avedon

donata wenders and yohji

yohji’s clothing has a huge effect on me. and on the models who show his work. i love to observe them backstage, while they slip into his dresses…

wim, my husband, introduced me years ago to y.y.’s fashion. ever since then, when i put on the first dress by yohji, his clothes have slowly taken over my closet, and not much else has stayed in there. i practically wear nothing else any more now, with the exception of my darkroom work coat.yohji’s clothing lets me become more of the person i want to be.

his clothes guide me, teach me, even give me the feeling of “i am taken care of”, they softly and steadily confirm my identity. in his clothes i feel i am always appropriately dressed for each and every situation. they are timeless and still up to date. i wear his dresses and trousers for 8 years now. none of them are worn out. on the contrary, i have the impression they become better with time, more part of my life. they are like different skins of myself and i have stories to tell about the time when i was wearing this or that piece.

the way yohji creates his clothes is full of attention for whatever piece he is working on. watching him, it never seems to be about himself or his taste. he follows the material and his intuition for women. i think that makes him and his creation so beautiful. i can’t wait for the next opportunity to be around him with my camera, as i had the privilege for this afternoon in january 2000 in paris.

 (donata wenders about yohji)

vmagazine.com

“for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.

yohji 


fashion sighs after trends. i want timeless elegance.

fashion has no time. i do. i say: hello lady, how can i help you?

fashion has no time i even ask such a question, because it is constantly concerned with finding out: what will come next?

it is more about helping women to suffer less, to attain more freedom and independence.”

yohji 

yohji / right

rules of style from yohji yamamoto

1. i believe that there are three conditions to a woman’s beauty. first, you must realize that not all women are beautiful all of the time. sometimes beauty comes on a subconscious level. when she is in love, or has met someone new and exciting, she shines. second, you must understand that life is unfair. beauty is something that, for some, must be worked at. the third condition is luck. some women can just be lucky.

2. my role in all of this is very simple. i make clothing like armor. my clothing protects you from unwelcome eyes.

3. color, for me, has too many stories wrapped around it. i like black, white, gray, and navy. like a uniform.

4. life is better for beautiful people. you can become lucky if you are beautiful, you can become rich. But there is no truth in this definition of beauty.

5. if you feel strongly about someone, go up to them. pursue what you want in life. why be shy about something like that?

6. you can tell what a woman is going to be like in bed just by looking at her. there is a feeling about someone that comes from experience. when you’ve seen it once, you will recognize it again.

7. fashion cannot make you sexy. wxperience makes you sexy. imagination makes people sexy. you have to train yourself, you have to study, and you have to live your life.

8. i love the back. a beautiful back makes a beautiful front. when you slouch, think about what happens to your front. you have to keep your back in the right position. this is where your spirit lies.

9. men’s clothing is about tiny details, and i hate that. i am very small and i look stupid in a perfectly tailored suit. i want to be able to wear things that don’t fit perfectly, with the sleeves far too long. i wish clothing came with no sizes at all. it would be much better that way.

10. the biggest mistake you can make in fashion is imitation. if we keep on like this, fashion will die. there was a time when i used to fall in love on the street every day. i would see someone with such a way about them or such a flawless item that i would have to say, “stop! please! that’s perfect.” that never happens anymore. everything is too similar. soon it will be only a t-shirt and jeans.

11. i don’t think we should try to make space our own. i believe that as modern people we should live in mobility. we should always be moving.

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hussein chalayan

hussein chalayan (kipar, 1970) kao što su se turska, kipar, mediteran i engleska izmešali  u njegovom životu tako je u njegovom stvaranju više nego očita fuzija mode, tehnologije, istorije, filozofije, poezije, politike, arhitekture, muzike…  interdisciplinaran, konceptualan, misleći, narativan, revolucionaran, kritičan, onaj koji eksperimentiše, igra se, istražuje, pomera napred… kao dete hteo je da bude frizer, pa pilot, glumac, arhitekta, pa tek onda modni dizajner. očito je dizajn odeće samo sredstvo putem kojeg priča priču o svom doživljaju sveta. 2005. predstavljao tursku na venecijanskom bijenalu sa filmom absent presence u kom se pojaljuje tilda swinton. voleo bi da radi za kate bush. dva puta je bio dizajner godine u velikoj britaniji.

bjork u njegovoj kreaciji, photo by  inez & vinoodh

before minus now  – Été 2000 collection, haljine od materijala od kojih se prave avioni. a pravio je on haljine koje se razbijaju, od šećernog stakla, haljine koje se pod uticajem led tehnologije menjaju, haljine koje se pod uticajem dostignuća informacione tehnologije pomeraju… sto koji se pretvara po potrebi u haljinu, a potreba je izazvana, nametnuta ratom…  kao zonu najveće pretnje ocenjuje politiku i od te priče kroji i haljine i stav.

HUSEYIN ÇAĞLAYAN (na turskom, u originalu)

panoramic collection, fall/winter 1998

afterwords

 

u intervjuu za hint magazine rekao je:

…you have always had such a passion for technology, art, architecture, film and anthropology, any of which you could have excelled in, yet you chose fashion. why?

i think i wouldn’t have succeeded at all! the point of interest for me is that i chose fashion and my kind of approach to fashion doesn’t often exist. that was my aim always. it’s the fact that i was creating these ideas around clothes. had i done films, i would have just done films. there wouldn’t have been any merging of worlds.

but why clothes?

i was surrounded by women when my parents split up. i was pretty young. they were very strong women, but also quite vulnerable. i have always been interested in the empowerment of women. and i’m obsessed with the body. whatever we create as humans—buildings, vehicles, systems— they’re all amplification of the body. i always wanted to celebrate it and include it in everything i do. my parents pushed me to be an architect, but I thought no, it has to be about the body, so i decided to study fashion.

w magazine,  photo dylan don

preporučujem da pročitaš ovaj esej o njemu.

 

 

 

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words and fashion

šta su REČI modi?

na prvi pogled izgleda da bi MoDa i mogla bez njih…

ali, znače. joj. njoj. modi. reči.  izgovorene.  i one oštre, kritičke. i one  što omamljuju pohvalama. i one neizrečene. i one napisane. i to kako su napisane. kaligrafski… ili kako već…

ann demeulemeester, spring summer 2000 collection ‘woolgathering’. reči njene prijateljice patti smith izvezene po svili, pamuku…

Yohji Yamamoto showroom visit #oldlyric #yohjiyamamoto #paris #showroom #yohjiyamamotopourhomme #ss15

yohji yamamoto s/s 15

a magazine je broj 02 2005. poverio yamamotu.

Isssue Yohji Yamamoto - Cover

evo šta piše u uvodniku tog broja:

when yohji yamamoto wants to convey his ideas to the people he works with he uses words, not drawings.

each of his collaborations – with an artist, a photographer, a scenographer, a filmmaker, a choreographer – started with a conversation. sometimes, as is apparent from interviews within this issue, a few words were enough to realise beautiful projects, develop special friendships, build things that transcend the ordinary.

words are very important to yohji yamamoto. not the endless flood of words used to fill silences, but only those words that seek out the silence, that go for depth, ask questions, listen, look, confirm, words that give warmth, words that sing.
similarly, every new magazine in our series starts with a conversation. words that capture the essence of that conversation are used to sketch the rough outlines of the concept. these words are written onto a white sheet. every time we start with a blank page. every magazine is a new story.

and so this has become a magazine of many words. about friendships, about collaborations, about admiration. conversations with 20th century icons and the young turks of today. words of and about “soulmates”, who share the same fascinations, strive for the same quality, travel the same roads, seek the same silences.
yohji yamamoto. in our eyes he is one of last century’s most innovative designers. he has completely changed our vision on fashion. he has enchanted us and forever initiated us in a new beauty – the beauty that comes from within and that bears no relation to what we previously knew.

laura bradley, urednik u anOther magazine voli reči…

29. jula, u utorak, anOther magazine, laura bradley i design museum london organizuju wordfashionweek/day “words and fashion”.

laura bradley sa gostima provešće nas kroz priču o rečima, jeziku, tipografiji, grafologiji u  modi.

 

| kate moss | bruce weber |

freja beha erichsen reading with boots on books. by paolo roversi in “a woman of singular charm” for vogue italia, november 2007.

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a posle reči šta?

hussein chalayan kaže ovako, AFTERWORDS:

 za anOther magazinehussein chalayan je u intervjuu 18. avgusta 2011. rekao:

would you describe fashion as a language and a discourse, as barthes did it?
for myself, yes. but not in the general sense of the word. i don’t think there is critical thinking or discourse in fashion, like what you have in the arts, architecture, or design. there is a minority of fashion academics who look at it as a discourse, but they’re not part of the mainstream and they don’t, in my opinion, really have a very close relationship with the designers. a few of them do… in fashion, anything goes, anyone could be a designer, and i think that cheapens the industry.

the word “intellectual” was coined in a time of great political distress. does fashion have a political role? and in which way?
the body is the ultimate cultural symbol, whether you are empowering or dismantling it. how could it not have political implications? even if you don’t want it to, it does. because you are re-presenting body, or you’re re-packaging the body, or re-contextualising the body, it obviously has political implications, but i don’t really think that designers know when they’re doing it.

na ista pitanja suzy menkes je imala ove odgovore:

 

would you describe fashion as a language and a discourse, as barthes did it?
fashion is a language, particularly now, when nothing is forced on anyone, 
people, male and female, want to express themselves through what they wear. 
the whole subject of people who go to art galleries is particularly relevant
in that sense: they certainly dress in a slightly bohemian way in order to
 fit in with the surroundings, in order to send out in their language the
 idea that they are part of a certain club.

the word “intellectual” was coined in a time of great political distress.
 does fashion have a political role? and in which way?
there’s the obvious way that fashion is political in the way people dress in
 a political context: there is this immense farce in france about somebody 
turning up in a flowered dress to a meeting at the elysée, and of course, in 
england, endless discussions about what people wear, what women wear, more 
than men, but that also comes into the equation. i certainly think that 
fashion can be a political statement, which is much more important. the way
 that people dress makes them part of an army, dressed in their own uniform,
 determined to do something.



 

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