Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli



Happiness is just a hairflip away.
Chris Crocker

A NEW CLIP EVERY WEEK HERE

"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford
















6.28.2017

Vivienne Westwood

Boundaries mean little to Dame Vivienne Westwood. Perhaps because she transgressed so many in the Seventies. This is, after all, a woman who habitually wore a see-through rubber body suit—dubbed the "Rubber Johnny", after a British prophylactic colloquialism and due to its translucent pink material -and who sold tees scrawled with obscenities, erect penises and the like. So while this show was subtitled "Man", the show itself was unisex, with models wearing clothes that could more readily belong to the opposite sex. Gender gap ? What gender gap ? The guys looked oddly appealing in skinny knit dresses. Nevertheless, you knew which side of the closet these pieces would probably wind up on, for all but the most die-hard fans. The only boundary Vivienne Westwood seems keen to reinforce, strangely, is a certain distance from the designs. Her Gold Label womenswear was last season rechristened "Andreas Kronthaler for Vivienne Westwood", an outward acknowledgement of an interior dynamic that sees the husband leading the design team, while the wife focuses on political causes close to her heart. And while those political causes used to influence the clothes, and continue to be broadcast loudly during the publicity of her fashion shows, these days the two sides of that Westwood dynamic seem disparate, disconnected. More's the pity. Because although Vivienne Westwood's politics could often overpower the fashion she designed -both for the last 25 or so years in partnership with Andreas Kronthaler, and even way back when it was just herself at the design table- they often empowered them. Eleven years ago, she splashed the word "Propaganda" across her clothes in the hopes, she once stated, of politicizing youth. Those pieces have now rolled into the cannon of a Westwood classic, and even if their original intention -resisting the propaganda of the contemporary age through art and culture- is occasionally lost, they're recognized as a counter-culture statement. They're worn by people young and old. Dame Vivienne Westwood made an impassioned video plea for the release of Julian Assange, who, she asserts, has done no wrong. Her point deserves to be heard -but is a fashion show the right place and, more importantly, does it have the right audience if one wishes to affect real and lasting sociopolitical changes ? Her messages in the past had validity in that unusual arena because they informed every facet of the clothes she and her partner in crime created together. In dressing the world in her sartorial palimpsests, she campaigned through clothing. It was a unique stance -one not really seen since Katharine Hamnett in the Eighties. It was sometimes heavy-handed, but it was always impassioned, heart-felt, and singular. The chewed-up and bog-washed clothes Andreas Kronthaler created looked very Westwood, in their muddy colors and arresting disproportion. But you wouldn't have minded that message being more insistently stitched into every seam. That's a Westwood trademark as important and instantly identifiable as pirate boots or bondage trousers.

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