If fashion ‘wants to kill’ its practitioners, that’s because it epitomises capitalist innovation at its bare essence, consisting of the sort of change that is only for the sake of the system’s survival. Fashion is what is left when all pretence to consumer utility or social improvement is stripped away. The sacrifice of perfectly useful goods to the ever-shifting demands of fashion is a kind of corrective purge, an obliteration of what the philosopher and writer Georges Bataille called ‘the accursed share,’ clearing the field so that capitalism’s competitive mechanisms and requirements for endless growth can continue to function.
Up Broadway Chandler moved with the vespertine dress parade. For this evening he was an exhibit as well as a gazer. For the next sixty-nine evenings he would be dining in cheviot and worsted at dubious table d’hôtes, at whirlwind lunch counters, on sandwiches and beer in his hall-bedroom. He was willing to do that, for he was a true son of the great city of razzle-dazzle, and to him one evening in the limelight made up for many dark ones.
The luxurious tactility and visual appeal of silk provide a striking contrast with the panic room Nessa, the star of 2014’s The Honourable Woman, sleeps in every night. It is in this room that Nessa’s layers of identity are removed to reveal her fears and secrets.
The classic model is a known prototype in the modeling industry, underpinned by a discourse of enduring youthfulness, a woman whose image embodies an ageless beauty, rather than an ageing reality. These classic models appear in high fashion representing an aspirational agelessness; they are called upon to fill stereotypical roles for older women. This creates an impossible standard, one out of reach without external interventions, such as cosmetic surgery, which plays on insecurities of looking old to sell to the older market.
Few directors have been as prolific in their lifetime as Kenneth Anger. Blending surrealism and the occult with homoeroticism, psychodrama and unashamed spectacle you could perhaps say that Anger’s whole vocation has been an ode to the art of magic. An early follower of Aleister Crowley’s teachings, Anger at various stages in his life mixed with occult practitioners and artists as diverse as Jean Cocteau, Anaïs Nin, Anton LaVey, Mick Jagger and Jack Parsons, and his life is as shrouded in myth and legend as his work is.
Set in a white, upper middle-class environment in New York City, the series follows the life of best friends Will Truman and Grace Adler, a gay lawyer and a straight, Jewish interior designer, and their friends Jack McFarland and Karen Walker, a flamboyant failed actor and a socialite with a penchant for drinks and pills who works as Grace’s assistant to escape her motherly duties. As expected, fashion is central to the characters.
Glenn O’Brien: One of the differences between art and fashion is that, though it has relatively little effect, there still is such a thing as art criticism. Fashion criticism on the other hand is nonexistent because anyone who would dare to write something against a major advertiser would be immediately not just fired but thrown into the East River.