05 14 2013

VOGUE & THE MISSING COVER GIRLS OF COLOR

upton

the basis of this blog began as intention to shed light on models of color and to examine, as well as question the ways we, people of color, are represented in fashion through perceptions of beauty. in the years it has taken to build this site through an audience and through the greater energy that has elevated a dialogue of fashion- i’ve spent time watching. from just about everywhere on the internet, i’ve pulled references, we’ve looked at full editorials & discussed just about every cover internationally by now. in my pursuit to evolve and remain sharp through selection of content, i’ve been looking for a feeling- searching for content that resonates in the lane of our existing dialogue, but also adds a new layer of examination. this idea of ‘american’, the concept of a ‘dream’, the impact of the ‘supermodel’- all of these elements have been recurring themes in this space and now these claims, these cultural examinations will be supported by true life events. to scratch the surface of observation hastily, american vogue covers have been distorted through excessive, often times unnecessary, amounts of retouching, questionable cover choices and stiffened personalities, public figures and actresses alike. while the above seen cover is not one of those images, the cover girl & choice to allow her the honor of such does has me thinking.

let’s be very clear with this piece, i support anyone winning on any level through hard work and dedication. i would also like to say that i very clearly understand that models are often caught in the crossfire of bad publication choices, questionable styling, offensive imagery & have, for many years, basically been used and also abused as props. this blog was founded on the sole inspiration of models- the culture in which they have derived and their ability to affect change through presence. while i understand the possibility of this abuse, i also understand that victories can be won with proper utilization of such platforms in the media. for me, fashion is and will always be about imagination, style and photography- the capturing of such moments through great design and beautiful beings. let’s be clear about all of that. this is in no way directed to, or intended to misjudge or unfairly make claims against the successes nor the failures of kate upton, as a woman with a career. or any other model for that matter that has been cast, chosen or spotlighted in the realm of fashion to sell products. this, however, is a personal response and reaction to the ways in which vogue and other components of the media have misused imagery as well as their role of power, to represent our culture as americans. as technology and the internet have proven, we the consumers now have the power. if we the people don’t buy it, they- those people have to change it.

for many years, we’ve sat as a fashion audience and watched, more often have we waited; to see faces of models grace our fashion magazines. for many years, we’ve sat as a fashion audience to see faces of color grace more of our fashion covers. for far too long have we longed to see models of color grace our fashion covers, in a way that is normalized or represents us as far more than just a passing trend or a limited edition cover series. for too long have we sat as other models in line were left as bench warmers on agency walls, while porcelain faced, blue eyed, blonde haired props were used dictating to us, americans, what america is. these publishers, advertisers and image makers continue to sell us a fabricated belief of what is ‘american’. while this is specifically about color, the real liberal issue at hand is this- america is no longer a blonde haired, blue eyed anything. the level of diversification that we have grown into in the states is much more widely known more now than it has ever been. it is just as important to discuss the ways in which we are defined in america, as americans, as a diversified population of humans that are still fighting for equal rights. how are we being represented? more specifically, how are we not being represented? it’s no secret, readers of fashion magazines, as well as innocent by-standers who can’t tell the differences between mossimo & moschino, know the rarity of seeing models grace the covers of american vogue. these covers go to actresses or pop stars making cameos for films or musical projects. when women of color finally do make the grade, the covers are lackluster- the put halle berry in some fucked up wig from the 20′s, they ruin michelle obama with bad retouching and we’re supposed to be satisfied with these ‘moments’;  moments being instant, short lived, forgettable. publicatons understand the use of language, it’s plastered on their covers every month, sound bitten for their twitter feeds & chopped for their blogs on their website and official accounts from social media subsidiaries. to break it down further, i mean moments- as insignificant.

kate upton is the commercialized vision of the all-american girl, but doesn’t so much resemble what america truly is. she represents some of what american advertisers and publishers want you to buy into as the defining american dream. it’s as if upton is packaged like a big mac, or a barbie, complete with a white picket fence- except this barbie has measurements of 33-25-36, stands 5’10″ and is aged at a ripe 20 years old. upton has appeared twice on the cover of sports illustrated, the first time being hailed as rookie of the year and the second she appeared topless in a parka against a green screened image of the antarctic. with a string of less than impressive, minor movie roles and cameos under her belt, upton is signed to super agency, IMG- the end all be all of modeling agencies for the baddest chicks in the game. her marketability has reached critical mass, as she’s booked campaigns as a guess girl, while gracing the covers of GQ, esquire, cosmopolitan, italian vogue, british vogue and for the cover month of may, upton graced the cover of harper’s bazaar in greece, vietnam and korea. upton’s childhood is that idea of american dreams- born in michigan, attended private school in florida. mother was a texas tennis champ & her father was a high school athletics director. her uncle is a U.S. representative of congress and her great grandfather was co-founder of appliance manufacturing corporation giant, whirlpool.

as seen on her american vogue cover, as well as the accompanying editorial, kate upton is marketed in the likeness of the ultimate american icon, marilyn monroe. busty and blonde with a likeable personality, vogue enters dangerous territory with their light hearted use of the title, ‘supermodel’. the true definition of supermodel is cross marketability- think cindy crawford. if any female of modern times can be credited as the all-american girl and supermodel, cindy is that chick. she was everywhere from pepsi to versace and we bought it. supermodels affect culture, they shift perceptions by their ability to influence trends and ultimately change the aesthetic for what we define as ‘beauty’. supermodels never die, but during these trying times of fashion globalization, supermodels no longer exist. they can no longer be born in today’s industry, because the industry can’t afford to grant that level of influence to models like they did in the 90′s. while kate upton has displayed cross marketability, it seems pre-mature to call her a supermodel. they say art imitates life, or life imitates art- whatever the case, with all respect to kate upton- the american girl is different now. break down the idea of blonde hair, blue eyed- you think of golden blonde beyonce, or blue eyed vanessa williams. we’re too diversified to be limited to the idea of just white girls, or even to be restricted to the idea of just brown skin. to peg something as american would be to honor the combined races and ethnicity of we the people. the idea of a dream as it relates to kate upton is almost like a fantasy, a dream is just a dream- they don’t always come true. the use of language, as referenced to kate upton as a major pawn in the game of mass advertising is interesting. because it’s such an antiquated ideology. we need innovation, we need something that’s gonna change the game. flip the switch on a classic, because we want re-invention- with respect to the past. that past is where we were, represent where we are. give us some flavor, not a dusted perception of days of old. vogue, can you please represent us as americans… and this time all of us?

visit vogue.com to view kate upton’s full feature
cover shot by mario testino

05 13 2013

THE REINVENTION OF BALENCIAGA

balenciaga

it’s interesting to look at the ways in which brands are redefined & mass marketed in today’s global industry of fashion- balenciaga being one of the hottest on the block. though this rise in temperature is nothing new for the french based, spanish heritage label, the american whose been cast in the role of game changer at the house definitely has our attention. fashion school drop out, alexander wang is the new installment at balenciaga and is beginning to show through the labels design direction and now through advertising. anyone who knows about re-branding or re-invention knows it’s not an overnight process. wang’s understanding of street style & the merging of high style have proven to be a successful level of execution that is completely necessary in today’s fashion market. as a designer, you wear many hats- and we’re not talking millinery. you have to be a public figure, a celebrity, an artist, a business man and a public speaker among many other smaller or sub-roles within larger roles, im sure. headed toward the lane of today’s design superstars, like marc jacobs or karl lagerfeld; wang understands the importance in balance of beauty & business, which makes him a noted, as well as valuable asset.

what’s even more alluring in the discussion of balenciaga are the after thoughts of it’s own page turning history. an abrupt ending of one chapter & a jaw-dropping entry into the next had us all wondering what went wrong. the awe inspiring star power & design innovation that balenciaga became through the creative vision of nicholas ghesquière was nothing short of fashion genius. since that abrupt ending, and wang’s installment, ghesquière has opened up about his departure. exposing creative frustrations & lack of business know-how at the label. all this and one has to wonder- how can creativity prevail? most certainly, the house of balenciaga was thrust into modernity, shit- the house was thrust into the future and ultimately resulted in other houses following suit. there once was a tumblr account, which conveniently vanished from cyberspace, but was hailed by fashion kids & interestingly appeared before the announced departure of ghesquière; it reminded us of how thoroughly the house and ghesquière really have set the trends, and how other fashion houses followed suit- even years after balenciaga put them on their runway.

the history of balenciaga as a house, as well as it’s founding father, cristobal balenciaga are very interesting to compare and contrast. cristobal himself shyed away from the spotlight, he had no interest in popularized aesthetics. in fact, he was the opposite of christian dior. dior’s new look was rivaled with balenciaga’s fluid lines- streamlined and linear are how his work has often been described. cristobal murdered the fashion scene, debuting new silhouettes that redefined the ways that women could dress up to feel beautiful. these days, fashion has become too political. i’ll use the example of american vogue- you understand that only key players will land the cover & through negotiation or business strategy. that’s what fashion is today, the creative component is looked at secondary. the business angle is what allows or distracts from how far a label will go. balenciaga, in my mind, didn’t seem to have this problem. an unmistakably powerful combination, ghesquière for balenciaga ushered in a new era where it became about the clothes again. much to our dismay, this happened despite ghesquière’s own unhappiness there. imagine, if his legacy can be birthed even through frustration, what would happen should he be in a space of calm? in an environment where he was free to create, without restraint. inarguable is the legacy of balenciaga and now is an interesting point of re-invention.

following wang’s somewhat demur, or thoughtfully controlled debut during the FW13/14 show season, we now get our first look at the label’s latest advertising campaign, wang’s first at balenciaga. i loved the collections darkness & appreciated the use of texture. the cracked leather, the simulation of woodgrain- it was all very chic, but very wang. i struggled with the idea that balenciaga would remain as innovative as it had been while under the guidance of ghesquière, but then again- would it be a new era if we were to stay in that lane? would these collections by wang hinge too closely the aesthetics of his own namesake new york collections? how well will both differ? as a fashion school drop out, could wang pull it off with technical knowledge and understanding of silhouette? does he understand the format thoroughly enough to break it? now looking at the campaign, it seems as though he’s moving into the right direction, but even through the lens of steven klein and the anonymous backshot of kristen mcmenamy- you’re still left wondering. it’s the kind of marketing mentality that indeed keeps us wondering.

it’s pulling us in, whether we like it or not because we want to find out what will happen next. comparable to chanel, since  karl lagerfeld loves a good greyscaled image set, some might find the comparison too dull. for a name like wang or a name like balenciaga. wang’s 35 piece collection appeared a much more private mannered runway presentation. you felt the sense of change as you now sense in this campaign, yet you’re left longing for more. the hint of fluidity in silhouette makes me want to see more of the campaign; the palette for the collection was rather controlled as well- it leads me to believe that this elements are thought of. it’s all under control. the level of publicity given, the level of access given, the level of visibility seen from the clothes to the model. it’s all carefully under wraps. but will this prove to be a winning combination? how is the heritage and future both simultaneously being represented? no doubt, the ending of balenciaga is nowhere near- but now is where wang has to make it count. it seems as though he’s sticking to what he knows. black & white, it’s faultless. he’s played with texture heavily, but none of that is evident in the campaign, as yet. the referencing of the archives is present in the collection, but again, not in the campaign. how does this image represent that re-invention, that sense of ‘this is balenciaga’; more importantly, how does this create greater self distinction between balenciaga, a leader in innovation, and it’s other competitive counterparts? we’re watching and waiting, something tells me that something awaits behind that door.

04 08 2013

A TRIBUTE TO WOMEN

naomi

for me, women rule this world. im not talking about their struggles, i wont get into statistics or even mention the glass ceiling. im saying, my world- a combination of beautiful moments & glorified struggle- this is where women are held in the highest esteem. the single largest impact of my life, has & always will be my mother. as the eldest of three, raised by a single mother- i learned of poise, tenacity & endurance from her. in learning the difference between a pair of heels or coordination from one skirt to the next, in these moments of my youth my level of taste was born. standards were formed. as i evolved, this emulation of women remained an outstanding theme for what resonates with me spiritually. women- i admire. women? i celebrate.

my earliest inspiration has been celebrated here, her name is whitney houston. the original black barbie, her voice is still to this day untouched. a goal for vocalists & an alluring presence often emulated by superstars of today. there will never be another whitney houston, ever. this space cannot be filled, her legacy relived? never. as we moved into the 1990′s a curly haired mixed girl by the name of mariah sonically penetrated the airwaves & changed the game forever- these women would continue to bring me comfort, reliability in dreams & inspiration through performance. to this day, these women have significantly impacted the ways i judge talent through presence, vocality & poise. music had served as the headlining element of inspiration for me from the very beginning of my life, before i was able to speak. it would continue to guide me through personal struggle, self development & would act as a cultural pulse, well- it still is all of those things for me, despite the fact that the industry has changed in many ways.

as i grew, whitney & mariah continued to dominate through millions of album sales & accolades to match. but as the 90′s moved forward, there was one female talent that struck a chord in a different manner. her voice wasn’t a juggernaut force that hit you in the chest knocking the wind out of you. there was a soft feminine grace & subtlety there- a mystique. she sang the lyrics, “let me know…” beckoning you through the radio the summer of 1994. aaliyah, a name that means the highest most exalted one, lives up to every bit of it’s definition. as an innovator, someone self assured & confident, eternally cool- aaliyah remains an angelic source of timeless futurism for me, and to real fans at the core of R&B music. aaliyah’s black shades & lose silhouette was the second form of masculinity in womenswear i had seen following my earlier interest in TLC. these worlds of style became blurred, from the gowns on whitney & mariah, to the baggy multi-colors of TLC & now the mystified jeep culture that aaliyah derived from- all these ideas of multi-dimension through women inspired my world even further. toni braxton hit the scene in 1992, teaching me about seduction & the power of a weighted vocal prowess. these women combined would become played, rewound & replayed throughout my childhood. when not being played in my walkman, they ruled the radio airways, appeared on stage at the grammy’s & ultimately allowed me to understand the power of beauty. all this before i really started paying attention to supermodels.

in fashion, they often ask the designers before or after their shows, “what type of woman is she?” – referring to the type of female the collection is embodying through character, we start to see a presence in the clothes. this is where fashion lives for me- it’s about power through design, allowing a story to be told. in recognizing women, it’s completely necessary to acknowledge how large a source of inspiration they are. without discount to men, there is a greater mystique about women all across the board. in the musical market today, and most commonly in fashion since, well, forever- women dominate. some of the most successful designers in fashion are women, and often times iconic male designers cite their mother’s as early inspiration. my love for supermodels is no secret & has been represented here through my work. it’s the reason i got that tweet from kanye, and the reason i was contacted by ryan leslie a few years prior to that. in keeping a record of my inspiration, and in-turn my evolution, my love for women seeks further method of definition constantly. these thoughts clutter my mind. though precious, sometimes sinister but always alluring- the ways that we love women can often be misunderstood & taken out of context.

as i have stated prior, the work i will embark on for the remainder of this year will provide a clear understanding for where my inspiration both lives & dies. where it has begun & where it transcends into a space of limitlessness. women will remain a beacon of inspiration for me, as society is still struggling to define their greatness in our world. from girls to women, from boys to men- if we cannot understand the value of women we can never be equal as individuals who are gay, of color, rich or poor, healthy or unhealthy. this is all a matter of understanding our root to realize our true growth potential. this is what women represent for me. existing far beyond the realm of gay & straight, or societal categorization- love is love & i regard it as respect. as a record of my own inspiration, let women be the starting point that will see no end. this makes me no less a man, but stronger as an individual because i understand so thoroughly who i am; which enables me to understand where i’ve come from- a woman, my mother.

03 10 2013

IN OBSERVANCE OF CREATIVE PROCESS

everything in this life is a process. finding love for yourself, creating an image, deconstructing an insecurity or building a life that you have dreamed into a reality. i’ve learned in the past five years that nothing will happen before it’s time & with that said- i say, fuck every blog, every concept, every idea or structure that has ever existed on this site, in my mind & everywhere else. there is a certain type of surrendering that must take place in order for one to admit that all things are possible. it’s about challenging doubts in a way that will set them free thus allowing destiny to take it’s course. much of the work i’ve done here has allowed my mind to become one swirling cloud of beauty & darkness. the contrast of glamour & real life, from runway to runaway- the story of me will now be told through references, creative moments & sonic glimpses that exist not only in my heart but mind. for the past three years, following the heightened attention this site has received, i felt it necessary to break beyond the fashion calendar, or beyond the cycle of editorial & runway reports- which was so rapidly becoming my life. i felt it necessary to break away from this idea that i had become; to escape the expectation that others have of me & focus on the expectation i have of myself. beyond mechanical production or truthful representation of who i am in these moments- i haven’t done anything. in making a mark- we haven’t been seated yet- we haven’t received our menus, nor have drinks even been offered by the waitress. our nails haven’t been placed on the surface, with the intent to scratch. im not the dude that speaks on bullshit, and i’ve never believed in half stepping. i’ve always been about asking myself, ‘who am i?’ & then proceeding to find those answers in front of an audience, that’s who i am.

i’ve allowed myself to struggle with things, to questions things & to really learn as i go here. a great deal of what i do is heavily dictated by my own thoroughness & really understanding the methodology of that process. of course, as i build greater strength in execution, this structure is impossible to avoid. to clarify, what i mean in saying ‘fuck the structure’ is- fuck the idea that this can only be of fashion, or only of style- limitations are not what this space has ever been about. it’s about thinking so far beyond this so-called box that everything becomes relative through elements and moments that allow the greater picture of life to make itself clear. vivid questions are asked. if you think about it, answers themselves really exist in our questions. when one asks a question a certain amount of thought or attempted understanding lives there in those thoughts. this too is a process unto itself. in an effort to better communicate with you, i am aiming to evolve to a higher level of depth, to expose that level, so you can understand how i think. so you can see, even more clearly, where i’m coming from. which will create a stronger bond from me to you & will allow you fully appreciate the process, first- and then the direction. you can’t have one without the other. to understand the direction is to understand the process it took to get to that point. there is nothing worse than false judgement on the basis of what one does not understand. it all starts with an observation, an event or action i’ve witness in my real life. this life exists, apart from anything digital, it’s real. it’s raw- it’s reactionary, it has an affect. it’s what i have lived- hated or loved. it’s shaped the way i think, the way i feel- which leads me to thinking back to my own standard. this standard is founded on the answers to the questions i am constantly asking myself- how do i want to feel, how do i want to be felt, how do i want to look, how do both relate to who i am & how can they be made more personal to me and the ways i have learned of life. beyond art, all processes start with you. it’s your inner that is speaking to you, which allows you to understand the signs put in front of you, in the world around you. you have to be strong enough to say, this is where i stand, this is what i think- this is how it should be. these are the thoughts of a leader, nothing is more important. a certain amount of emphasis is placed upon individuals who are charitable, in our world. this is great. but none of that charitable work can be done with someone who has not achieved a certain level of success within their own lives. im not talking about monetary success, though that correlation is every bit as real & true as death. im talking about self awareness. it’s the same idea i keep bringing up about style being an outward reflection of who you are inward. these great moments of style- the way a model is moving her body, the way donna karan or stella mccartney, or diane von furstenburg understand the way clothes should fit a woman, as women. you can’t fix others if you haven’t fixed you. you can’t help someone to discover their own truth if you have not first dealt with yours. every single aspect of your independent life, where consequences directly affect you, start with  you.

in my head space, i always think about how people can relate. it can be something in advertising, something in editorial, something musical, something culturally- it can be anything, i have a natural tendency to relate everything to style. i just feel that things should look or feel a certain way. films should resonate with an emotion in certain ways for me, music should exist with an energy of beauty to me. if things around me don’t fit into this lane- i remove them. it’s about environment for me, all the time, everywhere i go. im always fixing something, improving something. questioning whether this is good, great & how it can be better. ideas are not the problem- vision is not the problem, in fact, these are the natural parts for me. the greater challenge is where to go with the idea, what part of the process comes next is often the question. for me, i immediately begin researching- in every form possible. enough is not enough for me, concerning information- you can always be smarter, better informed or even validated through sources of information. as a writer, this is especially important. google before you tweet is the new think before you speak- everyone is watching now. trust me when i tell you, you never know who’s watching. in my process- videos? i’m watching ‘em. interviews- i’m notating. images? im pulling ‘em. some ideas require more time than others, depending on how long you’ve been sitting back observing, and depending on how long you wish to do this. you have to look at timeline through an effort of organization, with the thought that the idea has to go somewhere. in the last year, you may recall my mentioning of greater observational skills. there came a moment, in my love for fashion where nothing was new once it hit newsstands. i know that this is a common thing for internet fashion kids these days, but there begins to lack a sense of wonder when you’re in this state. you see all the collections ahead of time, nothing is new or special because you rest on the cusp of exclusivity, living in a space before street dates, when the rest of the public will experience what you already have. this re-positioning of real time in our digital age is the after effects of the internet. when i started taking a better look at fashion, it opened my mind to a world of inspiration- everything was at your fingertips, you just had to find it. after collecting important information, historical information, after informational verification, clarification- i look for shit that sticks out, things that are interesting. things that surprise you, something i haven’t heard of. usually, as my body of writing starts to form, i build around these points. i think of sequence, what ways can i alter the way this has been said; how can i further translate in a unique form that allows language to build a bridge & break a barrier all the same? i question myself, i pose questions to the reader- i try to create an environment that welcomes new thought or refines the existing. it’s all a part of the process that i intend to carry forward to you as a reader- to push your mind to question things around you. to inspire greater aspects of quality or live-ability.

for me, the music, the girls, the clothes- style, street, chic, hood, classic- it’s all apart of me. i can identify with so many elements because i understand my connection to myself first. as i have spoken last week, on losing my way- i am absolutely certain that i will continue to inspire you to think in new ways. i will challenge what you have seen, what you know & in ways you may have not thought possible. i ask that you maintain your own truth and independence in this process, because inspiration affects everyone in different ways. that’s why it exists. i think of myself as inspiration personified; a collective of ideas that intends to provoke production, concepts and leads to more ideas. is it even about style at this point? i find it hard to narrow down the art of being you, of being an individual, in being unique- i find it difficult to narrow that down into one word. i find it difficult to narrow that down to a category, or a genre- an idea doesn’t even serve great enough for this life of discovering who you are. you can’t compartmentalize this process without the need to re-think. for this very reason, i chose to give this space my own name & in that, i decided to not only represent & be the difference, but to live in a realm of greater self distinction. i will be your inspiration. understand that being accepting of the fact that you can be regarded as the difference in any situation will come with struggles, or hardships. you’ll question yourself, lose & find yourself- but trust in that process, this is the path.

03 03 2013

DEMYSTIFYING STYLE CULTURE

couture-spring-2013-round-up-maison-martin-margiela-07_115240490906

style to me, is beyond clothing- its a mental process. much like the processes of understanding the world of fashion that you have witnessed here, i have grown more knowledgable & able to execute outside of the work that i do here, through the structure that i have created. beyond that structure, i’ve come to better understand the concept of trend, marketing, commercial & high-end casting, art direction, editorial styling & production. amidst my own journalistic passage- i’ve discovered a greater resonance of self value.

it’s the idea that you are worth a $2,000 handbag. clothes aren’t everything- but when you look good, you feel good. it’s that simple. in drowning myself in creative references, whether i was understanding the inspiration of a collection; in my understanding that trend is a marketing tool- you learn to become the person that you want to be. you create this idea in your mind, and eventually live through these references. it’s manifestation at it’s best. you choose the price point you’re willing to shell out to become that person, or you learn to replicate that aesthetic. growing up, when you’re from the hood- you make it work. whether it’s a fresh white tee and a creased khaki or a silk blouse paired with a linen pant- you learn to develop an eye and rise above the challenge of creating a look. whether it’s a solid gold chain, or gold plated- you fake it until you make it. these days, it’s not completely uncommon for students to use their loans or federal student aid to buy some of their first luxury goods. fashion for individuals in the hood is a symbol of success. if you can buy it, you have the money. middle markets in the luxury sector are among the most profitable because of this. sales of accessories are much more concentrated now, more than ever. much like gas prices- prices of handbags are not what they used to be. in the early 80′s, a gucci bag would run you about $200. we’re talking signature GG monogram, in brown or blue- iconic of the gucci label. today, these bags can go from the mid $800′s upwards to $19,000. times have changed, granted the publics greater understanding of style as it relates to an associated angle of success. the price tag from days of old can get you, maybe a wallet on sale or a pair of sunglasses. of course, because the middle market between low end & high end has expanded, greater attention to craftsmanship & detail is paid. of label hierarchy, gucci is regarded as a starter designer label, an evolved place existing outside the world of coach, cole haan or michael kors. as you segue onto gucci, you soon grow to louis vuitton, prada or more luxe labels like celine or givenchy- learning to lust after the handbag holy grail of an hermés birkin- which is so exclusive you are given a pair of white gloves to wear when you’re permitted to touch in person at the boutique. this is luxury today.

through this demystification process, the desire for what success looks like & what cost you’re willing to surrender is seen in the fact that gucci is the best selling italian label of all time. the fashion industry is rapidly expanding with more jobs, as creativity becomes more difficult to identify. financials & sales statistics cloud and take away from the potential of the clothes. it distracts from the most important element- which is design. but that’s the challenge of fashion that makes it so beautiful to understand & so thrilling to decode. through my own self instruction & analysis- we’ve learned to distinguish fashion capitals. i think, for me, a large part of me thought that i didn’t really have a place- i felt as though i was such a hybrid that there would never be a place that was so distinctively intended for me. as i have grown, i have come to understand that this is completely untrue. no categories exist for any of us; these places that society or culture tells us that we are suppose to fit in are imaginary. we are the people we want to be through the choices we make. whether it’s opting to buy that pair of designer kicks or whether we’re gonna use that money to pay bills- the choice is all yours. style is nothing more than the mere art of choice.

i’ve prefaced a re-direction for an entire year, in an effort to better understand that the changes were significantly accurate to where i am in my life. beyond my work as a writer, beyond my artistry of analysis or manipulation of image- i am very concerned with how i portray myself. i want to equally balance aspects of fantasy with those of reality because i don’t want for there to be a departure between the real me, and what you see on screen. it’s all about accuracy. the ways that my eye has developed, has also morphed my mindset. which is so important for who i am both as an individual & artist. beyond representing aspects of fantasy with the way i self-shoot or edit images of myself, my voice when i write- it’s all intentionally stylized. this is who i am to the core. in the last year, i choose to submerge myself in an overzealous work ethic, in an attempt to challenge my own goals as well as my priorities. as i fought through the haze things re-aligned naturally, through a few struggles of my own faith & techniques of perseverance. i pushed myself to remember that, regardless of what i do- the style which i have conveyed through consistent execution is so distinctly me that i can’t really lose my way. i can’t possibly lose sight of my style influences, because they have become a permanent element to the DNA of my own style. i think a lot about design signatures, or branding presence- in the context of style & think of the ways that i represent myself. how is art being represented through commercial or high end forms of marketing in fashion? how is this a reflection of us as people, how do these elements misrepresent us. it’s all relative, as it is an art form whether you’re able to recognize it or not. through fashion writing & analyzing both creativity & culture alike, i’ve re-centered my own focus and connection with the world around me.

inspiration is the theme that has headlined this space since late 2008. direction has driven the content here even further beyond the established date. yes, i’ve taken a step back to become more of an observer- but my interest was never once lost. throughout the process of demystification, i’ve uncovered harsh realities & these have reshaped my view of not only the world of fashion, but of the world that we live in. through some changes in content, one thing remains & that is jeremy danté. beyond inspiration, style is the one common thread that connects all avenues of this space to you. i continue to show gratitude for your support in my decision to deliver only the best of what i feel in my heart is valuable content. thank you for allowing me not only into your mind but for sharing a piece of my heart. you & i have learned together, in turn we have grown together; we have learned more about the ways in which we are different, which has shed light on the ways we are the same through beauty & perception.

01 19 2013

FALL MENSWEAR • VALENTINO FW13

turning classical menswear on it’s head, valentino’s FW13 menswear collection is the catalyst for which my fashion writing hybernation has come to an end. bespoken is an artform not often shed light upon in our modern times of speed. fast fashion, fast food, hi-speed internet- we want everything now, none of us have patience. style & fashion in the present, more specifically in the luxury sector is trying to re-establish some of that sense of quality. valentino appears to be spearheading the movement & in the last few seasons has really raised the bar for what is expected of menswear. minimal at the surface, sophisticated to the core- the collection that was presented this season took many classic elements but fused them with construction & design techniques that add a modernized feel. from the inclusion of navy in the collection’s palette, to the continued use of camoflauge, which we seen from the label last season- everything that modern men should be lives in this collection. though classically boring for some, this is what expensive looks like. expensive being perceived as something of a physical essence more commonly associated with poise & elegance, as oppose to something you can’t afford. i stand on my feet in applause for both pierpaolo piccioli & maria grazia chiuri for their continued efforts & refining of true menswear. im only fuckn with shit i absolutely love & this collection i want to own, in it’s entirety. use of plaid kept it classic, those fuckn leather panels elevated it. rich tones of emerald & beautifully conceptualized leather outwear was enough to generate style convulsions all through my brain. love the attention to tailoring & the handsome use of of pattern, while not bordering too closely on the line that separates moderate from overkill. sophistication for the new school. [source]

11 30 2012

GHESQUIÈRE FOR BALENCIAGA: 1997-2012

effective today, nicholas ghesquiere at the house of balenciaga will be no more. after 15 years of highly influential work at one of fashion’s most acclaimed labels, it was a complete shot to read that nicholas ghesquiere would part ways with french fashion house, which he brought to the forefront of innovation & glamour futurism for the last decade, plus. untouchable through the 2000′s, balenciaga has become a name so synonymous with innovation & unparalleled imagination that it seemed to surpass the boundary of our present day & times. this direction that has become so closely associated with the house of balenciaga in today’s industry is all thanks to the work of ghesquiere. as a fashion house, cristobal balenciaga showed his first collection in 1937. the influence of balenciaga, the man, is still seen in many of fashion’s most creative entities, most noteably the house of givenchy. a rarity of a fashion persona, balenciaga resisted many forms of major media & had become underrated for the work he had influenced into the mainstream, with competitor christian dior. while the house had gone dormant from 1968-1986, the resurgence of the houses fashion heritage thrived & was resurrected throughout the 80′s and 90′s, leading to ghesquiere’s creative role in 1997.

just a week before the new of ghesquiere’s departure his the internet and our jaws hit the floor, i had been made aware of a blog that went to identify the true & present influence of balenciaga. titled, balenciagadiditfirst, that tumblr space is now closed. though unable to be viewed at this time, the space really clarified the level of creativity in which the house of balenciaga has lead the way with for longer than a decade. from groundbreaking campaigns, to insanely beautiful footwear- balenciaga as a house is untouchable. but in the last season or two, many had made comments about lackluster concepts, the feeling of departure felt in design & how much longer ghesquiere would be in place. initially, when he was brought in to lead the label, ghesquiere was hailed for his apprenticed work with jean paul-gaultier & also boasts the skill of being self taught- a rare quality that isn’t often able to draw such credibility as he ghesquiere has now proven & defined through the years. the pairing of ghesquiere with the house of balenciaga was and will remain a true revolution in the world of design. never had a house seen such poignant revitalization that both honored & upgraded a label’s heritage as it had under the guidance of ghesquiere, who has proven himself to be a true gem of a visionary.

i sit, thinking of where fashion is headed- what will be left of the vision and imaginative re-workings of years past through these great designers who have been carefully selected as creative directors. these individuals have greater power than we realize or acknowledge in the present day. if you even look at the archived campaigns of the house of balenciaga; the evolution of design & the tested boundary of what could and would be is something of a fantasy. you can review such an archive on the official balenciaga website, which fundamentally outlines the level of growth ghesquiere had as an artist working with the house. to think that clothes like these are now in closets, walked runways & were photographed for glossy magazines around the globe is that of true artistic execution. this fulfilled potential, i feel, that ghesquiere was able to produce during his tenure at balenciaga is nowhere nearly as valuable now, as it will be in the future. what we have witnessed through his work at balenciaga will live forever, with no expiration or proper replacement.

in speaking of replacements, onward motion of artists & where certain paths lead- there has been speculation that ghesquiere will head of the planned resurrection of schiaparelli, which has lay dormant since 1954. historically, schiaparelli is widely regarded as the most prominent fashion figure between the two world wars. she was a rival of coco chanel. this alone lays such an interesting groundwork for a label to reemerge & with balenciaga’s ownership coming by way of the house of gucci, under PPR- it’s very possible that ghesquiere’s evolution is just scratching the surface. as the internet becomes abuzz with news of american deisgner alexander wang taking the helm at balenciaga, we await an official announcement from the house of balenciaga, while my heart weighs heavily with doubt of whether wang can deliver & execute on the level ghesquiere has. the context of great design as it relates to america, in comparison to paris- forget it. there is no competition. as an american, while i recognize the creative potential of my country; im also a realist & recognize that fashion lives & dies in paris, france. this is fact, not an opinion. while i have observed alexander wang’s own collections, both the alexander wang mainline & his T collections- i don’t feel that he is equipped to take on the immense value of a fashion house that holds as much weight as balenciaga. his knack for turning ugly into beautiful or awkward into interesting is, yes, a skill- but how will this coincide with the work & heritage of balenciaga. a failure in this regard could alter fashion & wang’s own career forever. this is dangerous territory & not at all considered a game.

while time, and the planned announcement, will tell whether or not this is a fitting match; my doubts become stacked. i absolutely doubt wang’s ability to go from american fashion house in new york, to the big leagues of paris with a house that had been founded in 1914. while cristobal balenciaga had showed his first collection in 1973- the house & his boutique was first opened in 1918. wang’s reference of grunge compared to ghesquiere’s reinterpretation of the spanish renaissance- are you kidding? how can this even be considered in the same league? the archives of balenciaga, considering only the work of ghesquiere in the last five years, compared to wang’s entire career; wang is devoured. there is not competition. this is like dinosaurs battling new born babies. my doubts are heavy, i have no hesitation in admitting or articulating this as so. when they spoke of the mayan calendar ending in 2012; this could very well be the change that has been foretold. a new era has begun and there’s not telling where any of this will end up. [source]

a look back at some of my favorite baleciaga campaigns through the years

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visit balenciaga for an extended retrospective look at campaigns
during nicholas ghesquiere’s tenure from 1998-2012