January 27, 2012

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The Tale of a Fashion Blogger

1. Do I write about
what you want to read

- or -

what I want to read?

Is it a waste of cyberspace and effort if you don't find it interesting?

... what do you find interesting?

 

Source: tumblr.com via Eva on Pinterest

 

 

2. Can I be critical and sharp
or will it be considered unprofessional?
Will I alienate people who could potentially be interested in working with me?
A self-inflicted ban from shows at fashion weeks?
(critical and sharp as in "well-meant and argumented criticism"; I'm not interested in other kinds.)

 

... do i want to be perceived as critical and sharp ... ?
... am i critical and sharp ... ?

 

You take criticism in no way related to you as a threat I'll criticize you in the future.

ATTACK IMMEDIATELY!

"SHE IS A RIVAL! SHE MUST BE DEGRADED!"

when we could collaborate and complement each other instead.

Pity.

I know this is about your frustration,
not whatever inferiority you accuse me of because I'm a blogger.
This way it only damages you, not me.

 

 

 

3. fashion-wise ;

2. What catches my attention?
1. What deserves my time?

 

a future fashion journalism postgraduate student should answer this off the top of her head
to excel in motivation letters and interviews
display a brilliant, refined taste and knowledge

 

New York Fashion Week will be an exercise on setting priorities.

... will i be able to answer these questions then?

 

 

January 18, 2012

6 Comments

Immune to beauty

In the deluge of fashion visuals available online, I feel that I'm slowly becoming immune to beauty. What I'd rip out of a magazine in some past life to store in a plastic "inspiration" folder, mesmerized by colors, composition and garments, is now just another photo among the hundreds I scroll through on my Tumblr dashboard (it's most likely uncredited too, so I don't even know who took it).

Girls don't rip out magazine pages any more. They make inspiration posts on their blogs.

***

"You're very beautiful, I think you should dress more relaxed."

The white silk collared shirt inspires me because I finally trust myself that I wouldn't stain or otherwise destroy it upon first wearing. Let's see if an appropriate one finds me in the near future.

I like to think these two photos were taken at fashion week. They're a close representation of my own imaginary glamorous fashion week attire; "imaginary" because I'm there to work, not look pretty. Fashion week is the best occasion to look pretty though, and if you're into looking pretty, you should really save the best of it for fashion week.

January 16, 2012

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Oscar de la Renta Pre-Fall 2012

I've been obsessed with red all winter, not kitschy Christmas ornaments red paired with the impotent green of dying trees, but luxurious, deep, expensive red. I found it an alluring alternative to black because when rich enough, red is just as serious and more than a little enigmatic.

A color reserved for the upper echelons of beauty.

Oscar de la Renta Pre-Fall 2012 Oscar de la Renta Pre-Fall 2012

Oscar de la Renta Pre-Fall 2012

 

These looks from Oscar de la Renta's Pre-Fall 2012 collection carry the same poem of red as urban glamorous opulence. How perfectly would they fit in at dimly-lit dinner parties in icy Paris and New York? Occasions where you can never be overdressed, where it's only natural to bury yourself neck-deep in diamonds. While it might seem I'm getting carried away by my romantic imagination, de la Renta's clothes are a dream standing firmly on the ground. Perhaps they know better than me.

January 12, 2012

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Bill Cunningham New York documentary

"The best fashion show is definitely on the street." – Bill Cunningham

Bill Cunningham New York

Before I watched the Bill Cunningham New York documentary (directed by Richard Press), I had wondered why New York is given equal importance in the title as Bill Cunningham, the documentary's main subject. He is the city's most iconic street style photographer; his photo-column "On the Street" is published weekly in the New York Times, for which he also covers society events. Cunningham has been shooting street style for more than 50 years and many consider him the first ever street style photographer. Indeed, it began way before The Sartorialist!

Bill Cunningham New York - Iris Apfel

Bill Cunningham New York - Patrick McDonald

"We all get dressed for Bill." – Anna Wintour

By the time the documentary ended, the title made sense: I understood the photographer and the city are intertwined so closely that one cannot exist without the other. Bill Cunningham takes photos in other fashion capitals too (the documentary crew follows him to Paris, where apart from continuously taking photos with his little analog Nikon he also receives the Ordre des Arts et des Lettres), but New York is the place where he functions the way he wants, riding his bike all day in a sea of aggressive cabbies who should have never been given driving licenses (I'll never forget my family's flabbergasted expressions the first time we took a cab in NYC), interrupting conversations with his acquaintances because he's seen an interesting pair of wedges on the street and has to take a photo, refusing food and even water at events in order to report objectively ("Whatever that means," he adds) … The city is the bread and butter of his work and vice versa.

Designer Oscar de la Renta has said about Cunningham, "More than anyone else in the city, he has the whole visual history of the last 40 or 50 years of New York. It's the total scope of fashion in the life of New York." In terms of preserving fleeting glimpses on how we lived (and dressed, which might as well be the same thing, especially in any context involving Cunningham), Bill Cunningham and his photography are indispensable.

Bill Cunningham New York - Anna Piaggi

One of my favorite parts of the documentary is when they're talking about Details magazine with Annie Flanders, its founding editor. The original Details (started in 1982) was all about New York's "edgy fashion and nightlife scene", and Cunningham's photography was featured prominently in every issue. He contributed his work for free so that he could do whatever he wanted artistically (at the time, he had another day job to pay the bills). "You see, if you don't take money, they can't tell you what to do, kid." When Condé Nast bought Details, Cunningham again refused to cash his check. "Money's the cheapest thing. Liberty and freedom is the most expensive."

If you can afford it (figuratively and literally), I think this is the best attitude an artist can have, and I suppose the reason Cunningham was able to flourish as a photographer is precisely because he wasn't creatively restrained in any way.

Bill Cunningham New York - Isabella Blow

My mission at New York Fashion Week is to see Bill Cunningham in action, to be a part of his world. No wonder why New York is the only city where I don't feel like I'm missing out on something.

January 10, 2012

5 Comments

Should bloggers sit front row at fashion shows?

Emporio Armani Spring Summer 2012 audienceAudience at the Emporio Armani Spring/Summer 2012 show

You know the awkward moment when people who don't have anything to do with fashion shows feel entitled to dictate who has the right to sit front row and who doesn't? Usually the sole purpose of their relevant, well-informed remarks is to downgrade one of the groups of people who – much to their chagrin – frequently do find themselves sitting front row no matter what anyone thinks. Editors and bloggers still seem to be favorite targets, though I think it's high time for people to realize it's pointless to keep adding fuel to the "bloggers vs. editors" debate. You don't compare apples to oranges either, do you? (Much to my chagrin, people do not realize.)

The thing with individual opinions on who should (not) sit front row is that unless you actually have an impact on how the seating chart will be arranged, nobody cares.

A view I encounter ever so often is that bloggers should be banned from front rows by default because unlike editors, journalists and buyers, they don't do any "real" work. I think it's rather cheeky to act like you know better than the person responsible for the seating chart. Essentially, you assume fashion houses are incapable of picking appropriate guests. Fashion houses aren't stupid. Every person attending the show is there for reasons beneficial to the brand. When they seat Rumi and Bryanboy in front row, it's because they'll tweet and post photos from the show on their blogs, transmitting the brand's message and aesthetic to an audience of hundreds of thousands. The same goes for non-major bloggers like yours truly, except our audiences are smaller.

Bloggers do the same as editors, buyers and journalists: promote brands. This is why we don't exactly have to point guns at PR people's heads to be invited to shows. It's a reciprocal situation, and it's up to each fashion house who they decide to put in their front row. There's no "should" that applies to all of them. It only depends on how interested they are in global online coverage and promotion.

(I mentioned editors as "targets" in the first paragraph because I've heard ambitious bloggers say front rows should be bloggers-only, which is ... not how this industry can work.
The other side of the coin and all, though more harmless than the one I discussed.)