Nothing Ever Happened

In the effort of being argumentative, what if fashion lived outside the realm of the economy. This is fashion for the sake of concept, not function, form, or affordability, not like McQueen & Target forming an alliance that could rival the mite of voltron. As it stands now, the recession marches on, and while houses and stores are closing and struggling, something has to be said for that fact that tough times call for drastic, well, measures. I'm basically toying with the idea that this economies of scale v nostalgia argument leaves out the idea that there are great moments of creativity out of turmoil, when a closer look is given the art. We as people get creative and accesorize with bootstraps that when then pull ourselves up with. So maybe- there's no form of mesurment? No real pattern to follow when it comes to cause v effect; just that shit happens, and the styles that influence new treds are all we have to pull off of or read into.

Maybe> It's really just speculative as to what impetus results in bubble dressed, Hussein Chalayan inspired Lady Gaga or First Diva MObama rockin that thang, so to speak. OR perhaps we're just looking closer now, when we need things to motivate us. Perhaps the limits are self-imposed (as they most often are) and that the wealth of creativity are always present, its just how willing are we to look? Hard to see the forest through the wealth of sleeves?

okay, no more puns. Just ponder.

On Economics of Style

Earlier, E. commented on the issue of how economics account for certain style choices, particularly in the realm of fashion. Expanding on this idea of how economics influences style, I can't help but think about the work of Raymond Chandler and The Ramones. How do economics of form turn into a form of style. The question I'm considering, is "the lack" a stylistic choice?

In the case of Raymond Chandler, the hard-boiled detective stories that became synonymous with the cheap quality of the paper it was printed on were once viewed as a lesser literary tradition. But the canon has since claimed Chandler as a modernist artistic visionary. Joyce Carol Oates writing for the New York Review of Books: "We are in the presence of not a mere action tale teller, but a stylist, a writer with a vision."

In times of economic hardship do critics reconsider the question of excess and its connection to value?

Chandler's tight, sparse prose quickly falls to more negative connotations of being cheap, but in his novel The Big Sleep, the reader learns that less is more. Marlowe, the man of few words, should not work as well as a narrator. Who was it from Dragnet that just wanted the facts? Marlowes observations may not focus strictly on the facts, but his one track mind reveals a hardline moralist, and the book has a hard hitting ending that could not have been achieved had the reader been bombarded with every little detail a lesser detective would have been interested in. Marlowe the moralist gives way to Chander the stylist.

In the case of The Ramones, their importance is based upon the countless punk bands that treat every version of their 3-chord progession as a work of art. The detail to which bands like The Riverdales and The Queers revel in is almost like creating something out of nothing. I am often awed in how much they see in something so little. Whether it be a particular guitar part, vocal affect, or key change, bands in debt to The Ramones turn it into something more meaningful.

I see the comic/project Garfied Minus Garfield as a perversion of this idea. To take Garfield out of Garfield comics reveals something more meaningful about John Arbuckle or the humor of Jim Davis's comics. The idea being that not only is less more, but that abscence has a presence, a powerful meaning in the abscense itself.

The Ramones stripped down style, where Rhythm functions for melody when melody isn't present or Chandler's vision of Marlowe not commenting on certain situations that rise in his novels reveals a hardline stance on certain moral issues. When Garfield is removed from Garfield comics we see what was there all along, a man struggling with his sanity. When we see the Ramones through their heirs we see the presence of every rock n roll innovation condensed and blown apart, unzipped if you will. And when we look back at the work of Raymond Chandler we see a stylist commenting on why you have to keep your eye on the quiet ones.

On Airborne Toxic Event

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The Young & Restlessly Nostaligc

This may be confusing, but please, try to follow. Zac Posen, a Hollywood darling and up and coming fashion upstart, is known not for his freshness, nor his tasteful regurgitation of style. He is instead known for his "timeless nostalgia." It makes me wonder how old one must be to look back on their youth, and if this nostalgia, a chic irony, is intentional (which would make it more ironic) or if it is a collection of heirloomed memories that have been passed down?

We all look back and recant on, well, everything. So is it possible for those memories to be revamped and retooled and sold back to us? Experiences that younger generations never lived being paraded down catwalks and runways as updates on themes we ourselves enjoyed, and the "creator" only lives second hand. Are our new desingers only working on consignment?

Writing on Design Inspriation

Writing about music is like dancing to describe architecture. Is writing about clothing similar? Is designing fabric and changing the way the body looks like music written in braille? Or Poetry displayed through film? Or Physics written in algebraic forms?

I guess it's all about translating outside your binding medium, and being okay with the idea that not everyone gets the translation, but they still have some interaction with it on some basic level. Still, is the biggest measurement how much interaction takes place and its relation to the message/ theme/ attitude?

Style arithmetic

Gap Commercial


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Paula Abdul Video


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New Beyonce Video

When Times Are Tough

In this blog we separate style from substance. This is not necessarily the difference between surface and depth, instead, I like to think of it as the how and the what. Substance is what you wear, style is how you wear it. I also think it's important to separate style from fashion, although fashion can be stylish and style is always fashionable.

We mentioned before the question of creativity during tough times. Creativity needs a box to break out of. This can be an issue of economics or any factor that sets a limit or barrier. I always liked the example of old Hollywood. In 1930, the Hays code was a self imposed censorship upon the Motion Picture Industry. One can see a definite sense of style or creativity in films of the 1930s as they found ways around blatant use of profanity, sex and violence.

With the small pockets in our tight jeans holding less cash how much more creative do we get? Don't deny the ingenious of forgoing the bologna on our sandwich and just having mustard and mayonnaise.

Style is everywhere and the more we are forced to think about our choices, the more we see it flourish.

Kanye's Nostalgia

I ran across some info, as we often do wasting time on the internets, about Kanye West's new line Pastelle. In an interview with Marc Ecko, he discusses his love for throwback fashion, and how he connects to his grandfather's dress game. There are some other interesting excerpts which I plan on borrowing from (sigh...) Complex Magazine, and is featured below:

M: Do you think you’re nostalgic for that look, generationally? Was he more dapper?
K: Well, yeah, he was dapper—I don’t want to diss my dad’s style, but my dad would wear some JCPenney’s khakis and stuff. He wasn’t really into style like that. I remember one summer, when high-top fades was out, I was like 13 years old, and he told me, "OK, you can get your hair cut once a month." Which means that an Afro would start growing on the side of my head, so I had like a high-top fade and a high-top side.
M: [Laughs.]
K: And I remember I started crying, and he was like, "Yo, why you crying? I didn’t know your hair meant that much to you."

M: When you were growing up in Chicago in those early adolescent years, who’d you look to as an aesthetic role model?
K: Well, I always was really into clothes and stuff like that. And they used to have a store called Merry-Go-Round in the mall and it was that store I wanted to go to and just stare at stuff. It was all that In Living Color–era stuff with the baggy Hammer slacks and the—
M: You were rocking Hammer slacks?
K: Yeah, I actually wore some Hammer slacks.
M: See, I had you for polka dots…
K: Oh yeah, I had both. So, uh, not my finest moment. But, I wore that to school—and this is back in grammar school. It’s like people wore that in videos, but people would never actually really wear that in real life. And that’s when I figured out that I didn’t really dress how people dressed in "real life." I was like on TV before I was on TV.

M: When you visit family, do you dress more modestly?
K: People say you’re supposed to dress for the occasion. What I always say is dress like you’re coming from somewhere and you got someplace to go. You’ll probably be a little bit more yourself. That’s the attitude I had walking into Bassline studios in Italian shoes. I wasn’t dressing like I was supposed to stay in Bassline, you know what I’m sayin’?

M: Talk to me about your clothing line, Pastelle. We’ve had countless conversations about it, you’ve talked about your aspiration to get in this industry and be taken seriously. What’s going on with Pastelle today, why is it taking so long?
K: Just getting the right designs. It’s a gift and a curse. You’ve got all eyes on you, so if you deliver something great, it’s gonna get held as, "Oh, it’s supposed to be great." And even if it’s good or it’s OK or something, it’s gonna get bashed. There were phases where I could just do the bear on a Polo and it would’ve made $100 million. At a certain point. But I always say I was a designer before I was a rapper, and I really wanted to get into design. So then, trying to start designing and goin’ with my girl down to the fashion district and stuff, and looking at fabrics and stuff like that, I’m like, "Oh, shit. This is real." I’ve learned so much about materials and fabrics and applications and sequence and shiny fabrics and fits and all type of shit.

M: Our entire lives, white folks have copied black trends, from fashion to music. And now we’re in this moment where it seems like things have flipped, with black kids dressing like hipsters and bikers. What happened and where is it going?
K: Style just keeps changing, and that’s what it is right now. What is the true take on hipster? Why do hipsters like the most gangsterest of the gangster rap music? What is the reason behind that? I think it’s a little racist. But it’s equally as racist as why we like the movie White Chicks.

M: Right now, in this moment, it seems so about the aesthetic. Which is king, content or aesthetic?
K: Well, you focus on the music first. That’s one of the reasons why it took me fuckin’ four months to finish the lyrics on "Stronger," because the beat was just crazy and I hadn’t had people react to an instrumental like that since "Jesus Walks." So then it’s like, "OK, we got this song that’s incredible. How do we match up a visual that could be on the same level and have all the layers that the song had?" I love that challenge: How do you become fuckin’ Disney and Shrek and Anchorman, those things that across the board are commercially successful—you know what I’m sayin’.

The Economics Of Style

So, my last post is taking on a little growth, and instead of trying to flush it out behind the scenes, I figured we can work it out together. I was speaking with a very pleasant woman who works at Macys.com, and I presented my very novice ideas on style. She suggested some things about economy and its connection to comfort that piqued my interest.

Nostalgia holds its greatest power in the fact that it is a comforting memory. Warm and fuzzy; it takes us back to a time where we remember things as safer. Of course, time is always hectic and intense, but the memories we look back on as "good" seldom harbor the negative tint of those times. When times get tough we revert back to these things, and using contemporary events as an example, flashbacks happen when comfort is needed. Embracing those elements helps get us through bad spells until we can move into periods of prosperity.

The questions that I have yet to flesh out, and plan on doing so with this, is to see, historically if these sentiments hold weight in the long run. How much more creative and innovative are we when times aren't tough, and is there any data to back that up? This of course ties into music, and other facets of creative expression; all of the outlets that one would expect to fall under the umbrella of a discussion about style over substance.

The Futuristic Vintage Man of Yesteryear & Tomorrow

When I was younger, I was obsessed with the idea that time travel could cause galactic collapse if done improperly. The possibility that a limbo could be created where we are all trapped in a loop of things past, present and future baffled me, until I grew up and realized I was to live in such a great time.

Now that Fashion Week 2008 has passed us, I’d like to be able to offer that I have learned enough about fashion for the next season to make an educated selection of wardrobe items. Not the case. I have, however, noticed an aggregated movement towards the older elements in every facet of dress.

Domenico Dolce and Stefano Gabbana have taken vintage through the actual feel and look of its fabrics, with aged sepia-esque color schemes and rigid, narrow cuts. Michael Kors has fallen in line with a similar approach with stylings that mix “timelessness & tabloid.” Marc Jacobs’ Marc has upped the sophistication of his line, which apparently recalls the Perry Ellis grunge feel. It’s nostalgia in every stitch.

The takeaway from this is the same vibe of nostalgia that ebbs in music criticism, the inescapable element of referencing. Fabric DJ’s who progress certain newer elements (different stitching techniques- new looming processes- horizontal corduroy) with older, refreshing takes from the old school. The most exciting aspect seems more so the combinations that are possible, instead of the actual “new development” in fashion. And this idea helps to strengthen the bond between fashion and music further. It’s not necessarily a twilight zone, just a Sepia hallway, with lighter & more drastic tones; it both sounds, and looks like the changes of fall colors are in full effect.