Avedon for Rodarte : Fashion in The New Yorker

In this week's New Yorker has his style thirty-fourth edition .chanel handbags for sale Coverage of fashion and its impact on culture is a part of the magazine since its inception. In October 1925 Editor Harold Ross asked a former Vogue and Vanity Fair writer named Lois Long, who wrote a column in the popular nightlife district for The New Yorker under the pseudonym Lipstick, start writing column shopping and fashion . Long did the daughter of Reverend Connecticut, the style and sensibility of a valve for the new column , which was " Fifth Avenue " before it was " on and off the Avenue . " Sewing ranging from gifts for children, column , written long before 1969 was witty and clever. Milliners of America, she wrote in 1946 , was " notoriously evil people " including custom hats were " a challenge for psychiatrists . " On the other trend of fashionable dress in 1958 , she wrote , Students in this seminar will be all the way back to last week, remember that if we want to be fashionable , we must have twisted like stems ( or trunks ) , and if our heads to be used , a look of its own, like a or a dahlia daisy or a sunflower. The sound can often have long clear, but they and the magazine took seriously the art and business of fashion. You wrote demanding distinction of Christian Dior New Look silhouette and bold dress Yves Saint Laurent, while for local dressmakers , hatters and shoemakers. Most importantly, it has greatly who say that the clothes should be comfortable resisted stylish . Long was not the only voice on the fashion in the early years of the magazine. Planners, also known as Genet , wrote a series of articles about the designer and other famous personalities in fashion in the thirties and forties . His 1931 profile of Coco Chanel was humble Education French designer and how they helped liberate women from the constraints of corsets : chanel handbags online Women were full of bags , garters , corsets , whales , legs, synthetic hair and bras . In short, as the men whispered , passionate, full of secrets were women . The first iconoclastic simplicity as Chanel did in the fashion was a cobalt knit sailor dress , which could have been brought , at least in masquerade , by the French Navy and in his remarkable 20 years since they made ​​significant elements Most of the other suits most modest trade fashionable circles. Chanel, Flanner wrote that Parisian women to breathe easily and be helped " comfortable for the first time in French history . " As women entered the workforce in increasing numbers , this form of emancipation dress was a common theme of the cover of the fashion magazine. In 1958 , the music critic of the New Yorker, Winthrop Sargeant wrote a long portrait ", a woman entering a taxi in the rain, " the fashion photographer Richard Avedon . Exhibit, which took a year after that of " Funny Face " , the film is about the life of Avedon 's based a dynamic portrait of the artist's innovative. Avedon , Sargeant wrote , helped the course of American fashion with his innovative interpretations of women as healthy , active and alive people . Lean , lean, Mantis - clean style , most men are afraid of her mind was a picture of her sex cartoon refuse a fierce goddess. Presumably , they sold the clothes she wore , because his goal was expensive , but its chic excusively was that the small world of haute couture , where any suggestion of femininity was banished as vulgar . She was as lively as a marble statue and attractive as a mummy . ... Regarding [ Avedon ] concerned , are statues and mummies from the window. The model is whole, rather than be strictly removed . " She laughed , danced , ran , frolicking among the herds of elephants, singing in the rain, ran out of breath on the Champs -Elysées , smiled and took a sip of brandy coffee tables, and also gave evidence human beings. Avedon , who later became the first photographer for The New Yorker in 1992 , made ​​it a point to focus on the unique characteristics or even alleged defects in women. He laid aside the traditional concerns of fashion to perfection, to focus on individuality. My own introduction to writing for The New Yorker fashion came by Kennedy Fraser, who took over the "On and Off the Avenue " column in 1970 , after a long time not to write . As a teenager I read " The Ghost Mode " Fraser 1981, a collection of many of his plays Magazine seventies. Write Fraser helped clarify my own thoughts about fashion at an age when I heard borrow clothes from my mother, but had not yet developed their own style . As a writer Fraser was strong, direct and sometimes cut off. In 1971 in an essay , she says, that " in time, it may turn out that the shorts a threat to society , and that changes in the seams are not harbingers of anarchy ' Three years later , she noted. coolly ironic how after one of his shows , the designer Karl Lagerfeld , " was stunned to find his disturbed by harmonics in his show of admiration for the Nazi authoritarianism and a public prison find decor - . bar reminiscent of concentration camp ' Fraser stressed the importance of individuality in fashion. Part of the reason why fashion changes so often , she writes, is that women "Peace annoying " and are constantly on the run trends and looks that were as boring or conservative . Mode , to Fraser is not necessarily defined by elegance and sophistication , but these qualities such as individuality and novelty that seem disturbing the status quo. Stopped Fraser to write the column of fashion in the early eighties , and in the last twenty years, a number of authors write articles about fashion written , including Michael Specter John Seabrook , Judith Thurman, Rebecca Mead, Patricia Marx , Lizzie Widdicombe and Lauren Collins. They covered all Helmut Lang Manolo Blahnik Daphne Guinness . 2003 Profile of John Galliano , which took eight years before the recent controversy over anti-Semitism designer range offers a fascinating look at the troubled designer. Galliano, Specter wrote , has a very particular aesthetic : " There is something incredibly refined mixed with something wild . " Other designers , meanwhile, found himself rebellion against traditional notions of beauty. In 2010 , Amanda Fortini about Kate and Laura Mulleavy , the sisters behind the label Rodarte in Los Angeles, who wrote in the exploded fame after designing the costumes for the film " Black Swan . " The Mulleavys , Fortini writes , have little interest because women feel pretty, their clothes are leading think pieces or clothing corresponds to the term French pretty- ugly : " The unfortunate Laura and I have always been , that's when we learned that we did , " a pretty dress , "Kate said. "We want people to think , and if you decide to do, you will have people who do not like what you do. " Over time, her vision is clouded their riskier clothing , more deconstructed punk and gothic . Each collection was strange that the latter influenced by anime and horror movies and the elements of M & S.. Culture. " Rodarte is the fashion equivalent of a Basquiat ," noted a writer for the New York Observer. " The people who really know how to love , but for all , it is impenetrable or a little ugly. " chanel handbags Fashion, like Chanel once said , it's more than just pretty dresses . It has to do with how we live to do . The dress emancipation that began with the outpouring of the corset is easier and more comfortable. However, the new emphasis is on individuality and non-conformity also allowed us to put aside some of our traditional notions of beauty and elegance. Once in a while even impenetrable fashion. This is the mystery that draws us in.