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This is true:

The right dress can make a career. The wrong one can make headlines. But a scandalous dress can do both.

But so is this:

Interviewer: Okay. Which designers do you prefer?

Hillary Clinton: What designers of clothes?

Interviewer: Yes.

Hillary Clinton: Would you ever ask a man that question?

Interviewer: Probably not. Probably not.

Where do I settle?

I see a clear distinction between the fashion of powerful women and when fashion makes women powerful. These notions are by no means mutually exclusive, but they are absolutely not the same thing. But generally speaking, I find moments that fashion augments women’s power far more interesting than what powerful women happen to be wearing.

My favourite of the NYMag slideshow, btw? Josephine Baker.

“Since I personified the savage on stage, I tried to be as civilized as possible in daily life.”                                                                                                                                              —Josephine Baker

By donning a skirt of rubber bananas at Paris’s Folies Bergère, the American-born black cabaret sensation Josephine Baker — whom reviewers at the time described as “savage” and “primitive” — exploited colonial fantasies of racial and sexual difference and claimed her body’s power as her own.

 

 

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Seeing this today was like the first time my Dad texted me. It’s not right. I don’t know why, but it’s not right—I can feel that shit in my soul, man. Wu-Tang shouldn’t be at the Gap and my Dad should have to call me and leave a voice-mail if he wants to get a hold of me.

–Jon Moy, “Trying to Make Some Sense Out of This Whole Wu-Tang x GAP Thing

I generally hate when people whine about their favourite band/artist/what-have-you ‘sells out’. Because in all fairness, everyone has the right to appeal to the mainstream whatever their reasons may be.

But there is something to be said about that moment when a thing you liked decides to go and become a ‘brand’ and you realise it’s probably not the same as the thing you originally liked even if elements of commercialisation were there in the first place. It still feels wrong.

Even though, ironically, these t-shirts are probably aimed at my demographic. Who’s buying them? Tell me it’s not you, Dad.