Women want to wear what they do because of what goes on in their heads. Their size and shape have practically nothing to do with it. | | | | | Reading, 1979. (Fortepan.) | | | | |  | “Women want to wear what they do because of what goes on in their heads. Their size and shape have practically nothing to do with it.”
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| | rantnrave:// Let’s talk about fashion’s legacy on TV. How many of you watched CANADA’s FASHION TV? MTV’s HOUSE OF STYLE? See also: the success of PROJECT RUNWAY. M2M on APPLE TV. PBS specials, BBC documentaries, cable reality shows. Is fashion on TV today just another screen, not tagging along in your purse, backpack, pocket, sport armband? Check this out by my pal EMMA MCCLENDON, on fashion’s first satellite broadcast (hello, TELSTAR) on JULY 24, 1962. That same day, the image of a TV, Telstar-transmission-in-progress, was printed on the front page of THE HERALD newspaper—so blurred as to be incomprehensible, but no one gave a damn. It was fashion. ON LIVE TV (s/o to cathode ray tubes). What were the “First Paris Fashions Out of the Sky”? DIOR (MARC BOHAN) and BALMAIN. Fast-forward to 2016: MR PORTER is launching a TV shopping app. Consider how this relates to (much) earlier experiments. Search WOMEN’S WEAR DAILY coverage from the 20th century, or check out this gem by KENNEDY FRASER, on “ELECTRONIC SHOPPING” in the NEW YORKER, 1981 (subscription required)… CATHY HORYN remarks on erasure in the face of so much binary data, transmitted to so many screens. It resonates with MATTHEW KIRSCHENBAUM’s recent ROSENBACH LECTURES at PENN, where he addressed materiality and the archive in the digital era (pro tip: it doesn't begin/end with the internet). As Kirschenbaum puts it, thinking about the archive today has precipitated both an anxiety over abundance, and an anxiety over scarcity. In TRACK CHANGES, he takes us through the feeling of instant editing and perfection in the digital environment, and the experiences of writers on their first word processors. Let’s talk about this in fashion y’all... Having labored in the darkroom as a young(er) self, I’ll always have a strong connection to silver-halide emulsion (it's toxic, but the lewk!) and swiping through pixels, manipulating vectors in ADOBE ILLUSTRATOR. We live in the epoch of datamoshing, glitch, the revival of 35mm and POLAROID film. BOLTER + GRUSIN once called it REMEDIATION, I like to call it fun… New book on SPIDER SILK, which brings to mind the V&A’s time-and-labor-intensive shawl and SPIBER’s MOON PARKA, recently delayed to 2017. Much anticipated… DAISY EDMONDS gets it. PARIS: GIAMBATTISTA VALLI, ALEXANDER MCQUEEN, SACAI, and A CRIME. Fame and condolences… Would love to visit MANOLO’s archive: 30,000 shoes and counting. How’s that for abundance? | | | - HK Mindy Meissen, curator |
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 | New York Magazine |
| Commes des Garcons, Loewe, and Olivier Saillard remind us of the power of the image before smartphones. | | |
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 | Dazed Digital |
| After his SS17 womenswear show, the designer reflects on power dressing, categorisation, and why he put a critic’s ‘trivialising’ comment on the floor of his showroom. | | |
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 | W Magazine |
| New York's favorite professional talker on Adele vs. The Pope, Music vs. Silence, Internet vs. Radio, and Alive vs. Dead. "The great thing about writers who are not alive is that you don’t meet them at parties," she says, among other quips in her culture diet. | | |
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 | Slate |
| “Whether photographing festivals or artists’ studios, on films sets, the street, or the fashion runway, what distinguishes Morath’s photography is an unerring eye for life’s brilliant theatricality.” | | |
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 | The Guardian |
| A new book on uses of spider silk shows its role in nature, science, technology, art and the human imagination. | | |
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 | T Magazine |
| Amy Revier, an American artist who works in London, uses bamboo, paper and stainless steel to make coats, jackets and other garments. | | |
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 | i-D Magazine |
| bell hooks sits down for a rare conversation with i-D, to discuss her thoughts on internet feminism and the position of the black female image. | | |
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 | Vogue |
| After an 18-year wait, Giorgio Armani is bringing Emporio back to Paris. | | |
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| Dazed Digital |
| For his SS17 collection of geometric "techno-couture," the Japanese provocateur seeks to enhance street style. | | |
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 | Glossy |
| In this edition of Confessions, in which we grant anonymity in exchange for honesty, we talked to two students at the Parsons School of Design — one a recent graduate with a focus on augmented reality in fashion, and another in his second year of study with hopes to launch a gender neutral, sustainable fashion line. | | |
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 | The New Yorker |
| In the late eighties, my job involved going out in public dressed as a tuxedoed dairy product. Children ran from me. | | |
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 | High Snobiety |
| Nike has been instrumental in the development of streetwear culture. We look at how 2016's new Nike Tech Pack can trace its roots to the Swooh's early days. | | |
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 | Racked |
| W. David Marx presents a work of short fiction about the pitfalls of amazing menswear. | | |
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 | Lean Luxe |
| Warby Parker, Bonobos, and Kit and Ace have turned their stores into gathering places and social hubs. For them, stores are no longer strictly transactional. | | |
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 | Something Curated |
| Australian-born and raised in Rome, Judith Clark is a curator and exhibition-maker based in London. | | |
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 | The Fashion Law |
| The founder of New York-based fine jewelry brand, Bijules, has taken to penning an open letter to the copyists targeting independent designers. | | |
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 | The New Inquiry |
| Many of us feel validated by the same sorts of measured engagement: We are more “real” when we get more likes. It is insufficient to think this is simply mass inauthenticity. | | |
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 | Footwear News |
| Out of the 30,000 preserved shoe styles, these might be the designer’s greatest creations. | | |
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| | | | | Fifth Harmony ft. Ty Dolla $ign |
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