Field Notes on Fashion and Occupy (Part One)
Who says the fashion police don’t exist? (I’m sorry, I had to.) During the Occupy movement, protesters were targeted for what they wore. In moments of clash, clothing becomes political and as The New Inquiry puts it, “Fashion is endowed with the potential to inform a political reality.”
Podcast: Mad Men costume designer Janie Bryant on CBC Radio’s Q
Hanging corpses and Zou Bisou Bisou may have been the highlights of season five but seriously, can we talk about Trudy’s nightgowns and Sally’s gogo boots? Janie Bryant sits with radio host Jian Ghomeshi to talk Mad Men’s character style evolution. Heads up, those pretending to be hard at work—the link takes you directly to the podcast. Fast forward to 39:40.
What Fashion’s “Ethnic” Prints Are Really Called
Ever come across an intriguing print you wanted to know more about, only to see it frustratingly labelled as “tribal”? Stop sweating. Refinery 29 breaks it down for you in this smart glossary.
Part of this world, part of another
Gene Wilder’s got more taste than a snozzberry. Letters of Note unearthed his correspondence to director Mel Stuart in which he recommends specific sartorial ideas for Willy Wonka’s wardrobe, from the hat “two inches shorter would make it more special” to the pants “slime green trousers are icky.”
“The music is the mask, while I in my chiffon and taffeta… Well, varda the message” – Brian Slade, Velvet Goldmine
Todd Haynes’s 1997 film Velvet Goldmine puts the glitter into glam rock. The film takes place in the ’70s and retraces the steps of the fictional (but oddly familiar) rock icon Brian Slade, whose every move and outfit are drenched in sequin and shine. It’ll make you want to pull out your David Bowie records and sing along to Starman at the top of your lungs while wearing bellbottoms, silver go-go boots and multicoloured boas. The outfits make and define the film’s characters; more than the actual music, Velvet Goldmine is about how a rock star’s image and style can define a generation.
Pastel Mini Mouse dress suits are a wardrobe staple
“A Man’s life is his Image” – Curt Wilde (Ewan McGregor)
Greetings, Wornettes! You are interested in the unknown. The mysterious. The unexplainable. The fashionable. That is why you are here, on the WORN Fashion Journal blog.
Now, for the first time, we are bringing you the full story of what happened behind the scenes of Issue 14‘s Ed Wood-inspired photo shoot, Cut and Print. We are giving you all the evidence based only on the secret testimony of the miserable stylists, photographers, and models who survived this terrifying ordeal. The incidents, the shoes, the beautiful Gladstone Hotel.
Some might call the fashion of mob wives tacky, flashy, or nouveau riche. They would be mostly right. These guys and dolls got rich, like, yesterday, and it’s clearly evidenced in their choice of clothing. It’s usually all furs, sequins, animal prints, acrylic nails, big jewelry and even bigger hair. If you’re looking for sartorial subtlety, you’re in the wrong genre.
When I was making this supercut, I was especially impressed by The Godfather Part III. Widely regarded as the worst movie in the series, and maybe one of the worst movies ever, this cinematic mess had my favorite outfits. In her velvet blazers, Diane Keaton is essentially Annie Hall (if Annie Hall was married to a terrifying mobster). Talia Shire is a vision of Sicilian elegance in head to toe black, practically swaddled in gold jewelry.
Other favorites include everything worn by Sharon Stone in Casino, Drea de Matteo choosing her wedding dress, and Michelle Pfeiffer’s epic bitchface. All of these goomahs, molls, and wives featured are dressed to reflect the wealth and status of their beloved mobsters. As Henry Hill might say: “Fuck you, dress me.”