I found different host bodies until he finally settled into one, like locating that rare impossible blood-donor match. I finally had a human Barbie doll to connect the story in varying dimensions. My sister-in-law was an ideal host. She was starting to explore the parameters of gender expressionism for herself. What I was doing in language, she had the capacity and willingness to embody. We achieved the impossible, and JT LeRoy became a real human boy.
If fashion designers can and should shock and provoke, isn’t social media outrage not only to be expected, but also an intrinsic part of increasingly performative fashion conversations as well? And why would fashion designers specifically enjoy unlimited freedom of expression? Who would claim this right next? Artists? TV presenters? Politicians? Do fashion designers really want to be the creative equivalent of Piers Morgan?
How pitiful the Muses’ hapless suitor
A stranger to the dressing gown’s delights.
A devotee of fashion, dressed up like a doll
And flushed with decorous excitement,
Comes to his study as if entering a ball.
His colours rouge and powder-white;
In aromatic ink he dips
His quill, and drafts a madrigal.
Movies about sex are also movies about power; the way women in these films are dressed says something about the power that comes with womanhood, and the fear this power stirs. In simple, stripped-back outfits, innate sexuality (read power) shines through. Often, clothing is referred to as a woman’s ‘armour,’ but the women of erotic thrillers can be so steely they don’t need armour. They look less dressed and more powerful, wearing the bare minimum.
of my ode is this:
beauty is twice
and what is good is doubly
when it is a matter of two socks
made of wool
Cambridge Analytica’s model is based on the premise that fashion has solid, unequivocal meanings that can be used to profile and target you with political messaging according to your clothing choices; that it is a rational universe where ‘Wrangler ergo Trump’ correlations can be drawn. But can it really hold ground today?
The persona of the architect first emerged in the Renaissance, when the discipline forcibly elevated itself above the building trades, professionalising what was previously a vocational pursuit. This schism created the need for a distinct professional identity, as, like doctors and priests, architects now required a uniform. The all-black clothing of the architect is now ubiquitous within the discipline, and its diverse associations with other social groups such as punks, beatniks and monks are all useful in cultivating the architect’s mystique. No other figure is a better exemplar of this tendency than Le Corbusier.