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cruiseorbecruised: Miroslav Tichý, Untitled, ca. 1950s–80s, black-and-white photograph with graphite, mounted. “If you want to be famous,” photographer Miroslav Tichý once said, “you must do something more badly than anybody in the entire world.”
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trankillement: The New Guardmagazine: Vogue US, July 2000photographer: Steve Meiselstyling: Grace Coddington  The style councilTwenty-first-centrury fashion-makers, left to right: Véronique Branquinho, Hedi Slimane, Hussein Chalayan, Filip Arickx, Nicolas Ghesquière, An Vandevorst, Lawrence Steele, Miguel Adrover, Viktor Horsting, Roberto Menichetti, Rolf Snoeren, Olivier Theyskens, Josephus Thimister and Junya Watanabe. wondering what the atmosphere would have been like on that day…
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organization: Lynn Goldsmith, 1976
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organization: “I left California in 1993 to come to New York and become a model. I’m Japanese, I’m 5’7”, I’m a dyke, I’m tattooed, I don’t have hair- well I have a little, I don’t wear any kind of feminine clothes, and I had the opportunity to come to New York and be a model and I said, well of course I have to go because no one has kind of paved the way. My friends woke me up and they took me in a taxi in my pajamas to Times Square at four o’clock on the morning. And that was when I first saw the billboard for Banana Republic that I shot with Bruce Weber in Times Square. It was just a picture of my face and underneath it, it said ‘American Beauty.’ It makes me have the chills because never in my life did I think that I was beautiful.” -Jenny Shimizu
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didierlestrade: Johann Lemoine Têtu N°116
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sayonarababy: I was rearranging my book collection and decided to do a Leslie Kee shoot.
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Strawberry Switchblade
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latenightlaundromat: “As a short film, I’m absolutely for Act Da Fool. But no cultural object exists in a vacuum. The cultural economy from which this film emerges is one in which the clothes worn by the young black women in the film, the very fashions around which this film revolves (Proenza Schouler’s Fall 2010 RTW collection), is in fact not available to the characters represented in the film… The film reveals nothing about the lives of these characters. Their significance lies only in the difference they represent: the exoticism of their racially classed nihilism, the contradiction of their gendered optimism which serves to assure the viewer poverty is actually not too bad, and perhaps most importantly, their spatial and social distance from the luxury fashion world that excludes them even as they wear the clothes in the film. The Korine-Proenza Schouler film invents in order to fetishize a subculture that is far removed from the elite white world that Proenza Schouler (the label and the designers) inhabit. Yet, the production of this racial spectacle enables Korine, Proenza Schouler, and their supporters to culturally tour without actually engaging with the racially classed experiences of these young black women. Their bodies, unlike the bodies of white models, do not represent a cultural standard of beauty but serve instead as screens onto which romantic and racist ideas about working class black women (“greatest living delinquents”) are projected and appropriated to symbolize and sell a brand.  The lives of these characters matter less than the fetish they activate. In their appropriations of “ghetto aesthetics,” white artists like Vanilla Ice or the Rodarte and Proenza Schouler designers assert their own discursive proximity to an imagined source of authenticity. But the ghetto is “authentic” only because it’s perceived as existing in a time and place apart from (and thus, untouched by) the postmodern metropole of the cosmopolitan subject. The anthropologist Johannes Fabian describes this as a “denial of coevalness.” So the discursive production of a proximate relationship to “ghetto life” is at the same time a social, temporal, and spatial disavowal of that relationship. As I put in the blog post, ghetto aesthetics don’t function as an engagement with the lives and experiences of black people or with the maquiladora workers (in the case of Rodarte); instead, it’s a mode of cultural tourism that maintains and secures the racially classed hierarchies between the immobilized racialized object (stuck in and forever associated with the ghetto) and the highly mobile and cosmopolitan white subject . K. Wayne Yang’s explanation is much more succinct: “the ghetto [in the popular imaginary] is not where black people live but rather where blackness is contained.” —from On the Seduction of Proenza Schouler’s Act Da Fool** by Minh-Ha T. Pham
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kate & chloe
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