"Perfect Icons" | Tao Okamoto By Luigi + Iango For Vogue Japan September 2014 


Anna Ewers, Vanessa Moody, Kaitlin Aas, Lexi Boling and Kat Hessen by Karl Templer for Alexander Wang Fall/Winter 2014-15

I think good fashion should intrigue you. The catwalk impact is one thing – and very important – but the best designers make you want to grab a garment, turn it inside-out to try and figure out how the damn thing is made. That’s what I mean by intriguing. It should make you want to learn more.

— (via alexanderfury)

Anonymous Why is the fashion industry full of elitists?


If by “elitists” you mean people who don’t accept wool instead of cashmere, who emphasise the superiority of haute couture over ready to wear, who understand the difference between “cost” and “worth,” who don’t believe that because what you makes ends up on someone’s back it is inherently valueless, pointless, and purely functional - then the industry is full of them by its very nature.

Vivienne Westwood once said she believed in elitism because fashion isn’t about pleasing everyone all of the time. It’s about the few pushing forward, doing something brave, and new, and exciting. We don’t have nations of brilliant people. We have an elite few who pull the rest of us, kicking and screaming, into the light. You get that in science, literature, art and fashion. 

I suspect you mean elitism pejoratively, though. In which case I’d like to point out that fashion’s elitism is intellectual, or rather creative. John Galliano is the son of a plumber, an immigrant from Gibraltar. Lee Alexander McQueen was the son of an East London cab driver. My father is an electrical foreman, my parents are working class. I am working class. And I worked for my success. So did John and Lee, and many many others. There are privileged people in fashion, as there are in all trades. But you’re only as good as the clothes you put on someone’s back. Plenty of people have tried to buy their way into fashion, most have failed.

And besides, fashion ends up on people’s backs. All kinds of people. It affects the lives of the masses, whether they realise it or not. That must be one of the least elitist things in the world.


Hussein Chalayan F/W 2000 ‘Afterwords’

"The theme of travel appears repeatedly in Chalayan’s collections, with numerous abstractions, including life as a journey (process) between birth and death, the journey from A to B as a symbol of modern life, modern technology and flexibility, but also migration and exile, and the process of self-alienation and self-finding — also through clothing. His collection Afterwords (Autumn/Winter 2000/2001), made in collaboration with the product designer Paul Topen, examined the issue of multifunctionality and the mobility of mankind. Furniture metamorphosed into clothing, in the sense of context crossovers. Chalayan’s aesthetic vision was to completely integrate clothing into space. Clothing and space were to be merged into one, forming a single unit. Step by step, a living room with four upholstered chairs and a low, round table constructed from a series of wooden hoops inserted into each other was transformed into clothing by five models. The reversible armchair covers could be removed and put on as dresses. These dresses were designed to include many pockets (openings) so that possessions such as pictures and vases could also be carried along. Personal, social and political identity was retained as a result. The wooden chairs could also be dismantled and assembled into suitcases. One model removed a round lid at the centre of the table, climbed in and pulled out the table into a hoop skirt; the table legs could be folded away using a simple mechanism. The room disappeared into the the models’ bodies, becoming a part of their wardrobe that could be carried away with them. It was Chalayan’s idea to make the everyday objects that mean a lot to people transportable; in this way, people could take their familiar surroundings with them wherever they want.”

Text from ‘When Clothes Become Fashion: Design and Innovation Systems' by Ingrid Loschek

(via officialstevenmeisel2)


details @ alexander mcqueen spring 2010 ready to wear

(via coca-nut)

Comme des Garcons Junya Watanabe Fall/Winter 2000, Kirsty R. Photographed by Rosemary for High Fashion Magazine October 2000

(Source: archivings, via desertkiss)

Fixed. theme by Andrew McCarthy