Can a mortal ask questions which God finds unanswerable? Quite easily, I should think. All nonsense questions are unanswerable. How many hours are there in a mile? Is yellow square or round? Probably half the questions we ask—half our great theological and metaphysical problems—are like that.
THIS MUSIC IS GOOD MUSIC AND IT’S FREE MUSIC DOWNLOAD IT.
His name is Jordan Ruiz. Kinda Foreign Fields-y sounding. Chill acousticy atmospheric indie folksy shit. Clearly I don’t know how to talk about genres but just go download it it’s only free for a week, ok
A website called “Parenting Central Australia” now links back to my blog
So that’s a thing
So there’s nothing in it that’s specific to the fashion industry? Because there has been this longstanding belief that feminism and fashion are basically incompatible.
Well, the fashion industry is not a hotbed of feminist practice. It’s just not. But it’s also a place where women traditionally could succeed, where women held extremely high positions long before they did elsewhere. Women were running fashion magazines in the 1930, whereas at Newsweek magazine in 1970, women had to sue before they were allowed to be anything more than a secretary or researcher. So there was something really powerful going on, where women were executives and designers.
Obviously you have big problems as far as how images of women are projected. And I have a huge amount of feelings about that; there’s no way I couldn’t, as an editor who oversaw a magazine where women were Photoshopped. I can’t apologize for that, it was part of the business.
One of my favorite things that you said about Lucky was about wanting to push back against the idea that fashion magazines are a one-stop shop where women get all their information, rather than a thing some women read in addition to the news they get elsewhere.
…There are smart articles about politics in women’s magazines, and that’s cool. But how condescending to assume that they need to be there—no one assumes that about Golf Digest. There was pretty strong criticism of Lucky from certain feminist corners, and they really never got that piece of it, and I thought that was amazing. All they saw was that it was a magazine about shopping; they never saw that it was really feminist in a certain way. It was just about the one thing that it was about; it didn’t condescend to the reader; it wasn’t vulgar—which is very hard to do with a magazine about shopping.
…Someone like Maria Cornejo, though? I don’t know whether she calls herself a feminist, but she’s a totally feminist designer. She has spoken in interviews about how she won’t design an uncomfortable heel, and all of her clothes are designed for comfort. Women in their 70s look as good in her pieces as women in their 20s. You can’t say that about many designers.
What do you think about the rise of street style and how that’s changed the phenomenon of Fashion Week—the fact that now anyone with a camera or a lot of money fancies themselves a stylist?
What you see at the [fashion] shows is not street style. This is something I really have a bee in my bonnet about. The people you see in photos at the shows — that’s not street style, those are people who go out and buy stuff that was plucked right off the runways and wear it. It’s a small little group of editors and bloggers. Street style is like what Amy Arbus shot in the ’80s, what Gary Winogrand shot without making a point of it, what Bill Cunningham shot. It’s finding people on the street and things that are really coming from the ground up.
In the second Lucky book, we used a lot of street-style photographs; we couldn’t have gotten those shots today, photos of real women wearing stuff that they looked really great in. Now it’s all these women from clown school. It annoys me, because real street style was such an inspiration for Lucky, finding that really cool girl on the street who was doing something unique and interesting that you wanted to copy. And now it’s this awful thing and I want it to end.
What would you say are some of the most important, most—I don’t want to say “poignant,” but maybe some of the most significant things you’ve learned being a feminist in the world of fashion and style?
One thing is that you learn that, in the end, shit’s still run by men. At the very tippy top, it’s still run by men. One of the things I realized in my career was that you can break the rules and be seen as a maverick, but you still always have to play the game. And you still have to suck up to the guys in corporate, in an incredibly retrograde, Mad Men style. I don’t want to say that with bitterness, because that was the reality. It was just the reality. That to me was kind of amazing, to see that we’ve come an enormously long way [but also see] incredibly powerful women—brilliant, running huge things—just flirt like little girls with powerful men because they needed to. And they didn’t want to sleep with these men, they just had to pump these men’s egos up. I don’t disrespect them for that; that’s part of the game. That was kind of poignant.
If you’ve ever wondered at the compatibility of fashion and feminism, please go read this in its entirety. Also: Good thoughts on “street style” as it currently exists, etc.
(Wouldn’t have found this if it weren’t for this piece by Arabelle)