
Martin Margiela
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Here's me on the zip line. Adam took this picture over his shoulder as he was going down too. I still can't believe he actually got me in the picture. He's got skills.
The reality is that as you get bigger, your clothing options get much, much smaller. Once you reach a size 16 or more, buying brilliant - or even just marginally attractive - clothes on the high street is markedly more difficult. This is ridiculous. Just because you've gained a few pounds, it doesn't mean that you're any less likely to want clothes that are colourful, exciting, flattering - in fact, buying fantastic clothes that boost your confidence becomes even more of a necessity in the face of rampant anti-fat sentiment. What you're too often faced with is a mountain of frump and I'm convinced that someone could make an absolute killing by setting up a boutique selling clothes in size 16 and above by cutting-edge young designers. There are those who argue that fat people should be stigmatised, that by offering them nothing but ugly tents to wear, they're more likely to lose weight. Actually, the opposite is true. Deprived of easy access to threads that make you feel presentable, finding solace in the fridge is the obvious next step.
To paraphrase Kanye West's "George Bush doesn't care about black people" remark - albeit with more of an emphasis on frocks than housing - designers don't care about grown women.Which is kinda odd, seeing as they tend to make up the majority of their customer base, given that it is a rare twentysomething who can afford to spend £800 on a dress for a night out with the girls. But, you see, older people don't model in the shows, and older people don't model in magazines and, perhaps most importantly, the only examples of older women many designers seem to be aware of are, in this order of importance, brittle fashion magazine editors, suspiciously well-preserved fortysomething actors and skeletal society mavens. These women tend to have twiggish upper arms which they are rather fond of showing off, if only to demonstrate to the masses that a life of sensory deprivation really does get you somewhere: to a place where smiling is no longer possible but short sleeves are. Now, there's a life well lived, I'd say.
The fashion industry, like many creative industries, has become so besotted by celebrity and magazine coverage that it occasionally forgets about those pesky little flies, "the customers". Yah, yah, let them eat cake, right? (And they probably actually do eat cake, those repulsive carb-gobbling fatties.)
Part of the problem comes from the dresses. A long-sleeved dress can make a lady look like the spells mistress at Hogwarts or, on a bad day, the Wicked Witch of the West. But this is why we have people called "designers", who are there to make clothes look nicer than we could ourselves. Which then brings us back to the original problem.
This book is a bit insane. It is too much. It is well over the rainbow. It is embarrassing. At the same time it is a brilliant analysis of embarrassment; it suggests that such strength of feeling is maybe something “to be prized”. What a self-deprecating, funny, moving, entertaining read it is, a mad love letter (“I inhale her and exhale her”) from Susie Boyt to Judy Garland, who “created a whole new theatrical idiom in which glamour and frankness nudge and jostle unabashedly”. Its unabashedness is its delight, and a large part of its moral courage.
It conjures up a hopeless openness of empathy, presents its readers with a sensitivity which, by its nature, can't not be damaged, then radiates cowardly-lion bravery. It makes for a new kind of memoir, one that finds a way to insert, philosophically and emotionally, between the plain words “my” and “life”, the everyday pathos, bathos and surreality of being alive in the modern, celebrity-glutted, couldn't-care-less Western world. . . .
This book, though, is stark naked. It wears its vulnerability like a birthday suit, and does so for all of us, in a spirit of born celebration. Can cynicism really be so simply out-argued? Can a book really be so analytical and high-kicking, so fragile and defiant at the same time? An insecure, anguished, megalomaniac, voracious, truly altruistic piece of modern thought, this wonderfully clever book gives its whole self, flings its arms out in a rainy street like a wonderful diva. Brava.
And did I mention she writes a weekly column about clothes among other things in the Financial Times?
The world, or rather a highly exclusive part of it, had to come to Einstein if it wanted an audience. And come it did. The most famous names of the era, like Max Planck, Rabindranath Tagore, Heinrich Mann, Chaim Weizmann and Käthe Kollwitz, made the pilgrimage to Caputh to see Einstein, and some were shocked to find him warmly greeting them barefoot and in his sailing shirt. (When Elsa Einstein complained about his informality, Einstein said, "If they want to see me, here I am. If they want to see my clothes, they can look in my closet.")
From here via here
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