Why should clogs be despised? Much art has been expended on clogs. They have been made of lovely woods, and delicately inlaid with ivory, and with mother-of-pearl. A clog might be a dream of beauty, and, if not too high or too heavy, most comfortable also. But if there be any who do not like clogs, let them try some adaptation of the trouser of the Turkish lady, which is loose round the limb and tight at the ankle.
Two years after the Paris 1968 student riots, Parisian couturier Jacques Esterel launched a timely couture collection for men and women that responded to the shifting gender ideals of the time. Resplendent with matching his and hers outfits and unisexwear, Esterel’s looks seemed to reflect a breakdown of the fashion system and the gender issues that were a result of the zeitgeist; an exemplar that periods of crisis are not only foreshadowed by, but also directly result in, changes in systems of dress.
The relationship between advertising (brand) and editorial (publication) in fashion has never been straightforward. As journalism scholar Lynda Davis argues ‘editorial is perhaps the most valuable form of media content because it is perceived to be unbiased and believable. Its ‘‘purity’’ (precisely because it is not advertising) derives from its aura of authority and neutrality.’ We examine the notion of editorial transparency, and how four different publishing platforms – The Business of Fashion, Nowness, Porter and The Talks – are dealing with the issue in relation to their respective funding models.
My role model when I was six was my aunt Dorothy. She was 5 ft tall with a 1 ft black beehive, red lips, a black skin-tight suit, high heels and a boyfriend who was bald and 6 ft 2. And I still remember when I first saw them – looking at her in awe and looking at him and screaming. This memory is indelible.
Crumpled all together in a basket, waiting to be picked up, the commonly blue greeting sits by the entrance of clean, white spaces. The protective plastic overshoe has the most amusing particularity, especially when wearing heels. It scaffolds the foot into experimental proportions in ways second to none.
As publisher and director of Dazed Digital, Jefferson Hack oversees an editorial and media empire that now incorporates AnOther Magazine, Dazed Digital, AnOther Man, NOWNESS (funded by luxury conglomerate LVMH) as well as Dazed & Confused. On their website, Dazed Digital boasts global brands like Armani, Chanel, Nike, Swarovski and Dunhill as key clients. Given this, Dazed Digital is unequivocally embedded in the mainstream fashion system, making the political-sounding rhetoric and graphics of Hack’s latest offering We Can’t Do This Alone seem empty to say the least.
‘We’ve had few failures that can compare to John Galliano’s recent one. I guess the best way to describe it is as a private failure committed in public. People hypothesised that LVMH weren’t sorry to get rid of him. His business had been stagnant for a while and at least from an editorial point of view he had peaked a long time ago. And now he has taken on another very visible job at Margiela, and he’s back on the stage. He failed, but he’s managed to come back.’
Nicole Phelps in part three of a narrative interview conducted by Anja Aronowsky Cronberg for Vestoj ‘On Failure.’