Cultural Appropriation: A conversation by Sanaa Hamid

This body of work is an exploration of the extent of cultural appropriation and encourages a discussion about it. I give the appropriator and the appropriated the opportunity to defend themselves and create a dialogue between them, while maintaining a neutral stance myself. I am not attacking those who appropriate, merely educating and creating awareness. Neutrality is key in this series, as i remove myself from my political and social status and opinions, stripping the problem to the most basic issue; taking an item that means a great deal to somebody and corrupting it.

"While fashion showcases a variety of sexual attitudes and lifestyles (the industry is pretty open in terms of queer identities, BDSM play, exhibitionisms, etc.), such polymorphous perversity is only sanctioned for those with a very specific body type. My teenage favorite, Carine Roitfeld’s Paris Vogue, may have shown girls who looked like boys and boys who looked like girls doing all sorts of things with each other, but the boys and girls within her pages all looked more alike, as boys or girls, than I or my best friends and lovers do to any of them—that is, they were all very thin, very tall, impeccably groomed and mostly white, while we are all so diverse."

Forever 69: Fu*k the Commodification of Sex by Fiona Duncan

timeless-couture:

Easy does it
Lindsey Wixson photographed by Raf Stahelin for Vogue Korea April 2013

timeless-couture:

Easy does it

Lindsey Wixson photographed by Raf Stahelin for Vogue Korea April 2013

"

…I’m hopping off of the carousel. Actually, it started to feel more like a treadmill. Fashion blogging has changed immensely since I first set out in 2006. Back then, I swore up and down that I would never show my face, let alone divulge my full name, on these here interwebs. Back in those days, all I did was write. Nowadays, I think most people hear ‘fashion blogger’ and think that you are a person who takes photos of yourself every day. I never set out to be that person. Yet somehow I became that person. And it’s really not my thing anymore.

Everything gelled at once. The not shopping, the deaths of hundreds because everyone wants to eat their marbles faster and faster, the piles of worn-once-or-twice fast fashion garments crammed into the racks of thrift stores that I see when I go on excursions for my vintage store. I’m one person, and I can’t really affect that much change in the world. I don’t want to buy something new and just hope it came from a good place. I figure if being more of a vintage and home-sewn-wearing gal is going to help me not contribute to more waste and death, then I’m cool with that.

"

At What Cost? by Catie Nienaber (May 7th, 2013)

swintons:

Maggie Cheung by Peter Lindbergh for Vogue Italia

(Source: mizoguchi, via palimpsestghost)

The Stream episode is up online now. If you just want to see yours truly awkwardly ramble to a webcam, fast-forward to @11:38. The comments on YouTube are unbearable as usual, but the discussions on the Stream website are quite respectful and overall quite strong. Really great to hear such a variety of voices. Particularly enamored with Sonny Singh around 17:30 - but no surprise there, I fell in love with his article last summer re: Jean Paul Gauthier and turbans on the runway. (via When traditions become trends | The Stream - Al Jazeera English)

“Hey, Urban Outfitters: My culture is not for sale!” An open letter from an angry habesha woman

lollamohammednur:

by Lolla Mohammed Nur, @lomonur

(Note #1: I use the term “habesha” as shorthand in this article to describe the cultures and people of Ethiopia and Eritrea. It is a contested term within the diaspora, and does not necessarily apply to all ethnic groups in those two countries. Here, I use it as a general term to refer to Ethiopians and Eritreans for the sake of brevity). 

(Note #2: The dress was NOT been removed by Urban Outfitters from the website. I initially had assumed they removed it, but I later found out that the dress was actually mysteriously sold within days of the campaign launch. Urban Outfitters declined to tell me who bought it, vaguely citing “customer privacy laws.” Personally, I think it’s all fishy.)

image

For about a week now, Ethiopian and Eritrean diasporans have taken to social media to express their disbelief, shock and anger with Urban Outfitters, a company that has an established reputation for controversy and for cultural insensitivity.

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leenderts:

Mykki Blanko by Marco van Rijt // GLAMCULT

leenderts:

Mykki Blanko by Marco van Rijt // GLAMCULT

bildlilli:

psychicdisco:

reginasworld:

Designer Karen Walker selected 12 models aged 65 to 92 for her latest 2013 eyewear collection, shot in collaboration with Ari Seth Cohen (of the blog Advanced Style), in the cheekily-titled campaign Karen Walker Forever. The 31-piece collection marries old favorites, like Deep Freeze and Number one, with new releases, like the Atomic.

This is gonna be me ❤😃

Great glasses… but can’t help but be jaded by the same re-occurring feeling I have when browsing Advanced Style. Why does it have to be rich - like really wealthy - white women all the time? I love these photographs, but the most stylish people I see in my day to day life tend to be working class people who bust their asses to stretch their dollars and WORK IT.

I always have mixed feelings about “real people!” ad campaigns and photoshoots, because it seems more about branding/sales than it does about the designer actually giving a shit about who can have access to their goods or who they would love to see their designs on, you know? I’m all for the fantasy side of lookbooks and collection shots (Paolo Roversi & Tim Walker are two of my favs), but I just don’t see this as much different than hiring models.

Then again, these are marketing 300$ sunglasses, so what the fuck do I know.

(via fiercefashionfutures)

liquorinthefront:

Nodding to fashion’s ongoing preoccupation with pushing gender boundaries comes ‘Studs’, a series of ten unique photo studies. Exploring the idea of a third gender, Simon Foxton and Bea Sweet recruit a range of subjects who refuse to comply with traditional notions of the sexes. The portraits - each a study of unconventional beauty - are captured by Nick Knight in stills and fashion film.

http://showstudio.com/project/studs

Not a fan of “nodding to fashion’s ongoing preoccupation with pushing gender boundaries” - Is preoccupation really the best word? Not to mention at least this project isn’t white, like 99% of “fashion’s preoccuption with pushing gender boundaries.” Can we acknowledge that yes, a handful of designers/fashion photographers like to blur gender in some of their campaigns and photoshoots, but it often just serves to recreate a new kind of androgynous norm - generally one that is white, slender, and still within a narrow perspective of class/beauty standards. This is one of the rare shoots I’ve seen that pushes back against that. I have very rarely seen representations like these ones, that feel powerful and respectful, not appropriative or tokenizing.

Sorry, I’m fucking grumpy - I love these photos, but cannot get behind that statement.

(via vile-insect)