The Vestoj Storytelling Salon in New York brought together six people who have shaped the New York fashion scene over the past five decades.
In our time of ceaseless busyness and constant fear of falling behind, slowness has turned into a subversive act, an exercise in cultural disobedience. Quiet dissenters can be found everywhere, if only you look hard enough. In a world where the cult of speed sometimes feels overwhelming, could it be that in the cracks of the system, a slower, more reflective pace is gaining traction?
Discarded garments reflect our history, becoming tangible material memories of times past, love lost or found, disappointments endured or victories won. These lost objects of desire could be read as a map to our past, momentarily resurrected and brought back to life once more.
Following his mea culpa interview on PBS’ Charlie Rose, Little John Galliano spoke to Vestoj about bad memories and good ones, the constant rewriting of the past and whether there is in fact such a thing as a ‘free will’.
Few fashion archetypes measure up as having the symbolic power that the ‘business suit’ has. The suit is both a symbol of power and professionalism in corporate culture, but also of monotony and complacency, which in turn hints at the potential for human frailty.
In November this year Louis Vuitton raised an epic suitcase-shaped pavilion in Moscow’s Red Square to celebrate and promote the history of the brand. The project was ambitious, but ultimately controversial and arguably an unsuccessful one since after just ten days the brand was ordered to dismantle the structure by local officials due to its size and positioning in the square.
The high heel race is a curious phenomenon that has emerged in the last ten years as a popular fund-raising activity. The events require competitors, women (and sometimes men as well), to strap themselves into a pair of stilettos for a 100m sprint across a finish line.
James Agee’s seminal novel Let Us Now Praise Famous Men was published in 1941 with Walker Evans’ poignant photographs at the height of the Great Depression. During Franklin Roosevelt’s ‘New Deal’ program, the pair were commissioned for eight weeks in America’s South to document the living conditions of sharecropper workers.
The street photographer, as opposed to a studio image-maker, engages with a working process that observes and captures events and arrangements of people, engaging with elements out of their sphere of control. New York-based photographer Joel Meyerowitz describes the actions of street photography as outward looking and observant, ‘as if we were fishermen in the stream of Fifth Avenue’, in contrast to the studio image, for which the photographer directs their energy inward, and it is therefore an introspective practice.
The word ‘glamour’ at its origins, is derived from the English word ‘grammar’. The Scottish adapted the term to ‘gram(m)arye’ around 1720 from the its English/Greek (letter of the alphabet) origins and took it to mean ‘magic, or beauty and charm’. A meaning that has developed considerably to become something with a strong affiliation with fashion and leisure in image culture.
On the surface, appearing like any other fashionable magazine launch, upon closer inspection this evening was anything but. Hostesses greeted guests with lipstick stains on their teeth, a guest had her skirt tucked in her underwear and another had the price tag on her trousers still attached.
Written in 1922, and later translated to English in 1951, Siddhartha is a seminal work by the German author Hermann Hesse. The cultural influence of Siddhartha reached its apex in the context of the Sixties, in the burgeoning hippy era of the time, but the book has lasting resonance as a point of reference of early contact for the West with the alternative philosophies and narratives that became increasingly popular to experiment and explore with.