As part of their NYC Dance Project and in partnership with Harper’s Bazaar, photographers Ken Browar and Deborah Ory photographed Misty Copeland, a principal dancer with the prestigious American Ballet Theatre, recreating scenes from the works of French artist Edgar Degas. Above, Copeland poses as the subject of Degas’ La Petite Danseuse de Quatorze Ans (Little Dancer of Fourteen Years) dressed in a $9000 Alexander McQueen dress & corset.
The Harper’s piece vaguely hints at his representation of the ballerinas being “far from sympathetic” but as Julia Fiore wrote in The Sordid Truth behind Degas’s Ballet Dancers, the reality of the Parisian ballet that he was depicting was unsettling.
For Degas, the fact that young dancers had sex with old men read not as abuse on the part of the latter but as sin on the part of the former. He assumed girls’ transactions with powerful men meant they could pull strings from behind the scenes, a thought that elicited both horror and fascination. Degas clearly saw something vital in his recurring subjects, who spurred quotes from him like, “I have locked away my heart in a pink satin slipper.”
Degas’ disdain for women β and ballerinas in particular β is writ across “Little Dancer” itself, whose sculptural features were altered to emphasize van Goethem’s moral degeneracy. Degas subscribed to physiognomy, which presumes that criminal behaviors are passed on genetically and thus manifest in physical features. And so he flattened van Goethem’s skull and stretched her chin so she appeared especially “primitive,” a visual reflection of an internal state.
The subject of La Petite Danseuse de Quatorze Ans, Marie van Goethem, did not remain a ballerina for that long after posing for the sculpture:
Marie van Goethem was the “petit rat” who posed for the sculpture, and she likely engaged in the sexually predatory economy of the ballet world to survive. Van Goethem disappeared from the public eye shortly after the sculpture was completed; after being late to a rehearsal, the Paris Opera Ballet dismissed her. The teenager probably returned home to follow in the footsteps of her mother β a laundress and likely prostitute β and older sister, who was also a sex worker.
I wonder if the photographers were aware of this context when taking these photos? Is there something about the photos, about Copeland’s life story or status as a prominent Black ballerina, or about dressing her in thousands of dollars of contemporary couture that subverts Degas’ work and its themes? If so, I’d be fascinated to read an expert analysis that explored these issues. (via cup of jo)
Have you been wearing a face mask when going out in public recently? There’s been a lot of debate recently about whether they are effective in keeping people safe from COVID-19 infection, and it’s been really challenging to find good information. After reading several things over the past few days, I have concluded that wearing a mask in public is a helpful step I can take to help keep myself and others safe, with the important caveat that healthcare workers need access to masks before the rest of us (see below). In particular, I found this extensive review of the medical and scientific literature on mask & respirator use helpful, including why research on mask efficacy is so hard to do and speculation on why the CDC and WHO generally don’t recommend wearing them.
I was able to find one study like this outside of the health care setting. Some people with swine flu travelled on a plane from New York to China, and many fellow passengers got infected. Some researchers looked at whether passengers who wore masks throughout the flight stayed healthier. The answer was very much yes. They were able to track down 9 people who got sick on the flight and 32 who didn’t. 0% of the sick passengers wore masks, compared to 47% of the healthy passengers. Another way to look at that is that 0% of mask-wearers got sick, but 35% of non-wearers did. This was a significant difference, and of obvious applicability to the current question.
When historians tally up the many missteps policymakers have made in response to the coronavirus pandemic, the senseless and unscientific push for the general public to avoid wearing masks should be near the top.
The evidence not only fails to support the push, it also contradicts it. It can take a while for official recommendations to catch up with scientific thinking. In this case, such delays might be deadly and economically disastrous. It’s time to make masks a key part of our fight to contain, then defeat, this pandemic. Masks effective at “flattening the curve” can be made at home with nothing more than a T-shirt and a pair of scissors. We should all wear masks β store-bought or homemade β whenever we’re out in public.
At the height of the HIV crisis, authorities did not tell people to put away condoms. As fatalities from car crashes mounted, no one recommended avoiding seat belts. Yet in a global respiratory pandemic, people who should know better are discouraging Americans from using respiratory protection.
I have to admit that I have not been wearing a mask out in public β I’ve been to the grocery store only three times in the past two weeks, I go at off-hours, and it’s rural Vermont, so there’s not actually that many people about (e.g. compared to Manhattan). But I’m going to start wearing one in crowded places (like the grocery store) because doing so could a) safeguard others against my possible infection (because asymptomatic people can still be contagious), b) make it less likely for me to get infected, and c) provide a visible signal to others in my community to normalize mask wearing. As we’ve seen in epidemic simulations, relatively small measures can have outsize effects in limiting later infections & deaths, and face masks, even if a tiny bit effective, can have a real impact.
Crucially, the available research and mask advocates stress the importance of wearing masks properly and responsibly. Here are some guidelines I compiled about responsible mask usage:
Don’t buy masks (or use new masks you might have at home) while there is a shortage for healthcare workers, especially not N95 respirators (which are difficult to use properly anyway). Make a mask at home. Skiers & snowboarders, wear your buffs or ski masks. Donate any unused masks or respirators you may have to healthcare workers.
Make sure your mask fits properly β limit any gaps between the mask and your face as much as you can. (Facial hair can limit mask effectiveness.)
While wearing your mask in public, don’t fuss with it β touching your face is bad, remember? Wear it at home for a few hours to get used to the sensation. Then when you’re ready to go out, put it on properly and don’t touch it again until you’re back home (or in the car or whatever). Part of the point of the mask is for you to touch your face less.
Limit reuse of potentially contaminated masks. Discard or, if possible, wash or disinfect masks after public usage or at the end of the day.
Wearing a mask doesn’t mean you can safely go do a bunch of things without fear of getting infected. The idea here is to protect yourself while engaging in necessary activities in public. Wearing a mask doesn’t mean you can visit grandma safely or discard the six-feet-away rule.
Don’t do anything stupid like spraying your mask with a household cleaner that contains bleach and put it on. Come on.
So that’s what I’ve personally concluded from all my reading. I hope wearing masks can help keep us a little safer during all of this.
It is unequivocally true that masks must be prioritized for health care workers in any country suffering from a shortage of personal protective equipment. But the conflicting claims and guidelines regarding their use raise three questions of the utmost urgency: Do masks work? Should everyone wear them? And if there aren’t enough medical-grade masks for the general public, is it possible to make a viable substitute at home? Decades of scientific research, lessons from past pandemics, and common sense suggest the answer to all of these questions is yes.
In Asia, masks aren’t just shields. They’re also symbols. They’re an affirmation of civic-mindedness and conscientiousness, and such symbols might be important in other parts of the world too. If widely used, masks could signal that society is taking the pandemic threat seriously. They might reduce the stigma foisted on sick people, who would no longer feel ashamed or singled out for wearing one. They could offer reassurance to people who don’t have the privilege of isolating themselves at home, and must continue to work in public spaces. “My staff have also mentioned that having a mask reminds them not to touch their face or put a pen in their mouth,” Bourouiba noted.
He also writes about something I’ve been wondering about: is the virus airborne, what does that even mean, when will we know for sure, and how should that affect our behavior in the meantime?
These particles might not even have been infectious. “I think we’ll find that like many other viruses, [SARS-CoV-2] isn’t especially stable under outdoor conditions like sunlight or warm temperatures,” Santarpia said. “Don’t congregate in groups outside, but going for a walk, or sitting on your porch on a sunny day, are still great ideas.”
You could tie yourself in knots gaming out the various scenarios that might pose a risk outdoors, but Marr recommends a simple technique. “When I go out now, I imagine that everyone is smoking, and I pick my path to get the least exposure to that smoke,” she told me. If that’s the case, I asked her, is it irrational to hold your breath when another person walks past you and you don’t have enough space to move away? “It’s not irrational; I do that myself,” she said. “I don’t know if it makes a difference, but in theory it could. It’s like when you walk through a cigarette plume.”
And from the WHO, here’s a video on how to wear a mask properly.
Update: One of the reasons I started to wear a mask when I go out in public was to “provide a visible signal to others in my community to normalize mask wearing”. Maciej CegΕowski’s post touches on this and other reasons to wear a mask that don’t directly have to do with avoiding infection.
A mask is a visible public signal to strangers that you are trying to protect their health. No other intervention does this. It would be great if we had a soap that turned our hands gold for an hour, so everyone could admire our superb hand-washing technique. But all of the behaviors that benefit public health are invisible, with the exception of mask wearing.
If I see you with a mask on, it shows me you care about my health, and vice versa. This dramatically changes what it feels like to be in a public space. Other people no longer feel like an anonymous threat; they are now your teammates in a common struggle.
In 1994, legendary street fashion photographer Bill Cunningham gave a six-hour interview about his life and work. This interview was recently rediscovered and made into a documentary called The Times of Bill Cunningham. Here’s a trailer:
The movie is out in theaters, but the reviews so far are mixed, especially when compared to the rave reviews received by 2011’s Bill Cunningham New York. Still, Cunningham is a gem and I will watch this at some point soon. (via recs)
His most iconic outfit - and his most high-end look, too - is best probably described as sleek, West End, hipster journalist. Like a Fashion Editor at a tabloid paper. It’s a rig that consists of a beige knee-length pea coat, a wide-legged pair of pin-rolled rust pants, with high white socks and a pair of clean, brown Paraboots. The perfect autumnal outfit if ever we’d seen one.
Reading this, I also realized that, although I doubt he would have read the magazine, Tintin would have been right at home in many a Monocle fashion spread.
Such was his versatility though, Tintin came into his own in colder climates. Arguably his best - and certainly most DeckOutand~About - look saw him sport a large, padded ski jacket with a drawstring bow at the neck, a mountain backpack clipped and secured across his chest and a mustard yellow beanie, like something from a Berghaus handbook. It’s known as ‘technical outerwear’ on the streets nowadays, but we still like to call it Big Coat Weather. It’s the kind of outfit you’d see at the peak of Mount Snowdon, or in the smoking area of your local boozer on a Saturday night.
Ugandan-Kenyan fashion designer Bobbin Case and Dutch artist Jan Hoek have collaborated on a project called Boda Boda Madness. Inspired by the elaborate decorations used by some boda boda (motorbike taxi) drivers in Nairobi to attract customers, Case designed costumes to go with each bike’s decorations and Hoek photographed the results. After the fact, the coordinated outfits proved good for business:
The nice thing is that because of their new outfits their income went up, so they really kept on using their costumes.
Hoek also did a project called Scooters Will Never Die, in which he worked with a group of Africa refugees in Amsterdam to customize scooters to their riders’ specifications.
Until his death in 2016, Bill Cunningham captured the fashions of people walking the streets and catwalks of NYC and elsewhere, mostly for the NY Times over the past five decades. A new book, Bill Cunningham: On the Street, is the first published collection of his work and includes more than 700 photos along with a number of essays by friends, subjects, and cultural critics.
Then there were “black hole” years, when his photos ended up in the database with gibberish on them. Someone created a template to make things easier for captioning, but it wasn’t used properly. Hundreds of photos just have the template on them, over and over again.
Large chunks of Bill’s work simply could not be found.
When I was going through the files for 2009, I was unable to find his photos from Barack Obama’s inauguration. (Bill went down to Washington for the day and devoted his column to it.) This material would have been completely lost had it not been for the Times archivist Jeffrey Roth, who just happened to have saved a few boxes of seemingly unnecessary paper printouts of Bill’s photos from 2009 and a few other years. It was one of those “I’ve been meaning to throw these out …” kind of things.
I looked through one of the boxes and, astoundingly, unearthed printouts of the inauguration photos. The printouts led me, via a tortuous back-roads path, to the digital files. As it turned out, not even Bill’s name was on many hundreds of his images. I would go on to find other must-have images in those boxes as well.
The Victoria and Albert Museum filmed this short four-part documentary about the Somenotsukasa Yoshioka dye workshop near Kyoto, Japan. They make dyes using only natural materials, producing vibrant colors using little-used and often long-forgotten techniques.
Sachio Yoshioka is the fifth-generation head of the Somenotsukasa Yoshioka dye workshop in Fushimi, southern Kyoto. When he succeeded to the family business in 1988, he abandoned the use of synthetic colours in favour of dyeing solely with plants and other natural materials. 30 years on, the workshop produces an extensive range of extremely beautiful colours.
One of the recurrent topics here at the ol’ dot org is paying our respects to people who are mind-bendingly good at what they do. Case in point: watch this woman turn a magic scarf into about 100 different pieces of clothing in about 90 seconds. Reader, I audibly gasped at ~0:25 when she turned a scarf into a dress in the blink of an eye.
This extraordinary garment has been compared to a Thneed, a fictional garment from Dr. Seuss’ The Lorax:
I’m being quite useful. This thing is a Thneed.
A Thneed’s a Fine-Something-That-All-People-Need!
It’s a shirt. It’s a sock. It’s a glove. It’s a hat.
But it has OTHER uses. Yes, far beyond that.
You can use it for carpets. For pillows! For sheets!
Or curtains! Or covers for bicycle seats!”
Using simple graphic representations of annual temperatures (like this one posted by climate scientist Ed Hawkins), people are knitting and crocheting blankets that show just how warm the Earth has gotten over the past few decades. See Katie Stumpf’s blanket, for example.
According to climate scientist (and crocheter) Ellie Highwood, these blankets are a subset of “temperature blankets” made to represent, for example, daily temperatures over the course of a year in a particular location. The blanket she crocheted used NOAA data of global mean temperature anomalies for a 101-year period ending 2016.
I then devised a colour scale using 15 different colours each representing a 0.1 Β°C data bin. So everything between 0 and 0.099 was in one colour for example. Making a code for these colours, the time series can be rewritten as in the table below. It is up to the creator to then choose the colours to match this scale, and indeed which years to include. I was making a baby sized blanket so chose the last 100 years, 1916-2016.
If you read her post, she provides instructions for making your own global warming blanket.
P.S. You might think that with the Earth’s atmosphere getting warmer on average, these blankets would ironically be less necessary that they would have been 50 years ago. But climate change is also responsible for more extreme winter weather events β think global weirding in addition to global warming. So keep those blankets handy!
This is kind of amazing. Legendary street fashion photographer Bill Cunningham died two years ago, leaving behind a massive body of work documenting the last 40 years of the fashion world. Somewhat surprisingly, he also wrote a memoir that seemingly no one knew about. He called it Fashion Climbing (pre-order on Amazon).
Fashion Climbing is the story of a young man striving to be the person he was born to be: a true original. But although he was one of the city’s most recognized and treasured figures, Bill was also one of its most guarded. Written with his infectious joy and one-of-a-kind voice, this memoir was polished, neatly typewritten, and safely stored away in his lifetime. He held off on sharing it β and himself β until his passing. Between these covers, is an education in style, an effervescent tale of a bohemian world as it once was, and a final gift to the readers of one of New York’s great characters.
“There I was, 4 years old, decked out in my sister’s prettiest dress,” reads the memoir’s second sentence. “Women’s clothes were always much more stimulating to my imagination. That summer day, in 1933, as my back was pinned to the dining room wall, my eyes spattering tears all over the pink organdy full-skirted dress, my mother beat the hell out of me, and threatened every bone in my uninhibited body if I wore girls’ clothes again.”
The wonderful documentary about Cunningham is currently available on Amazon Prime. I was lucky enough to catch Cunningham at work on the streets of NYC, once at the Union Square Greenmarket and another time during Summer Streets. Watching him snap away with his camera in that blue coat of his, bicycle propped nearby, was thrilling for me, like watching a superhero dispatching bad guys on the streets of Metropolis or Gotham.1
I never wanted a Barbie or a Bratz doll until I discovered doll reconstruction. What you do is erase the features of the doll with nail-polish remover, and then remove the hair and make other body modifications. Then you give the doll a new face, new hair, and new clothing. (My favorite part is ripping out the hair, which is very therapeutic.)
What I like about doll reconstruction is that I am in control. I can make them pretty, or not. The two dolls that I have reconstructed represent two parts of me: one nerdy and very unfashionable, and one strong and cool. I make up their stories, and they represent my passions, my hopes, and my feelings.
Doll reconstruction is definitely a thing. Sonia Singh repaints the faces of Bratz dolls in a “down-to-earth style” and displays the results on her blog; that’s one of her doll makeovers pictured above. A profile of Singh on YouTube has been viewed more than 20 million times:
In a video for TED-Ed, Angel Chang takes us through the life cycle of a typical t-shirt, from cotton to rags, with a focus on the embodied energy of the manufacture and use of a shirt. For instance, because of how it’s produced and shipped around the world, clothing production accounts for 10% of global carbon emissions.
Part of the appeal of watching period shows like Mad Men and Downton Abbey that happen over the course of many years is observing how fashion changes. Collected from a number of fashion plates, this image shows what a woman might have worn each year from 1784 to 1970. (I’m guessing the image only goes up through 1970 because photography made fashion plates increasingly irrelevant.)
Fashion plates do not usually depict specific people. Instead they take the form of generalized portraits, which simply dictate the style of clothes that a tailor, dressmaker, or store could make or sell, or demonstrate how different materials could be made up into clothes. The majority can be found in lady’s fashion magazines which began to appear during the last decades of the eighteenth century.
The above-the-knee dress makes its first appearance in the late 1920s (and then not again until the 60s) and everything is a dress or a skirt until the pantsuit in 1970.
During the 1960s trouser suits for women became increasingly widespread. Designers such as Foale and Tuffin in London and Luba Marks in the United States were early promoters of trouser suits. In 1966 Yves Saint-Laurent introduced his Le Smoking, an evening pantsuit for women that mimicked a man’s tuxedo. Whilst Saint-Laurent is often credited with introducing trouser suits, it was noted in 1968 that some of his pantsuits were very similar to designs that had already been offered by Luba Marks, and the London designer Ossie Clark had offered a trouser suit for women in 1964 that predated Saint Laurent’s ‘Le Smoking’ design by two years. In Britain a social watershed was crossed in 1967 when Lady Chichester, wife of the navigator Sir Francis Chichester, wore a trouser suit when her husband was publicly knighted by Queen Elizabeth II.
The last item about Lady Chichester was marked with a “citation needed” on Wikipedia, but I found a YouTube video of Chichester’s knighting and sure enough, his wife is wearing a bright red pantsuit (and he’s wearing what looks like a baseball cap (but is likely a sailor’s cap)).
The FX show The Americans follows a married couple, Philip and Elizabeth Jennings, who are Soviet spies living in America during the 1980s. In the course of their spying activities, the KBG couple often don disguises to protect their identities. Costume designer Katie Irish is responsible for dressing the couple on the show, and she’s been sharing some of the fashion inspiration boards for those disguises (as well as other costumes) on her Twitter and Instagram accounts.
As you can see, Irish and her team pull images from anywhere: TV, movies, catalogs, photojournalism, yearbooks, advertising, etc. The goal is authenticity:
The point is to use clothes to embody the characters and bring them to life in a way that lets audiences believe in and feel invested in them. The show’s leads, Elizabeth and Philip Jennings, played by Keri Russell and Matthew Rhys, are characters who live their lives in costume, in a sense. They dress like the upper-middle-class travel agents that they have embodied for years, but there are subtle hints at their internal selves, as ideologically driven Russian spies. “They’re Russian at the core,” Irish explains, “and they don’t want anything that is overtly capitalist.” You won’t see much logo branding on their clothes.
P.S. I’ve been waiting for someone to make a supercut video of all of the Jennings’ disguises, but it hasn’t happened yet. Am I going to have to do it myself?
It’s not a suit. The outfit that matadors wear when they fight bulls is called a bullfighter’s dress.
It’s called a dress of lights. A bullfighter’s dress is heavy when you hold it in your hand. You can only really understand the dress when you have a 1,300-pound animal coming at you.
And the Fermin Tailor Shop in Madrid has been making dresses by hand for matadors for 55 years. One dress takes seven people a month to make. Check out that embroidery!
It takes a profound love of clothes, and some fairly decent luck, to stumble on somebody who wants to converse about cutting-edge men’s fashion at a Rush concert, and yet a year before his trip to Paris, in the aftermath of the Canadian band’s last show at Madison Square Garden, Abe had managed to stumble on John Varvatos. Abe had spent that day leading his bemused minder on a pilgrimage through SoHo, from Supreme to Bape to Saint Laurent to Y-3, and now, ears still ringing from the final encore (“Working Man”), Abe reported in detail to Varvatos, with annotations and commentary, on all the looks he had seen downtown. When he was through, Varvatos had turned to Abe’s minder β a major Rush fan who was, of course, also Abe’s father β and said, “Where’d you get this kid?”
Read this all the way to the end…the perfect coda to the story.
Designer Tina Gorjanc plans to create a collection of leather goods made from skin grown from human DNA, specifically the DNA of fashion designer Alexander McQueen. McQueen died in 2010, but he sewed his own hair into the items in his first collection, which is where Gorjanc is sourcing the genetic material for her leather.
The Pure Human project was designed as a critical design project that aims to address shortcomings concerning the protection of biological information and move the debate forward using current legal structure.
Furthermore, the project explores the ability of the technology to shift the perception of the production system for luxury goods as we know it and project its implementation in our current commercial system.
In other words, should we be able to make handbags from of Alexander McQueen’s DNA without his (or his estate’s) permission? Dezeen has more details on the project. BTW, the handbag pictured above is a mockup created from pigskin, onto which freckles have been applied. Other mockups include replicas of McQueen’s tattoos, which, you know, wow. (via @claytoncubitt)
Sad news from the NY Times: legendary street fashion photographer Bill Cunningham has died today at the age of 87.
In his nearly 40 years working for The Times, Mr. Cunningham operated both as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, one who used the changing dress habits of the people he photographed to chart the broader shift away from formality and toward something more diffuse and individualistic.
At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top wearing Voguers. Up in Harlem, he jumped off his bicycle β he rode more than 30 over the years, replacing one after another as they were wrecked or stolen β for B-boys in low-slung jeans.
I saw Cunningham out on the streets of NYC twice and both times chills ran up my back watching a master at work. Unless Cunningham had something in the can before he died, it looks as though the last of his On the Street features is about black and white fashion. Tonight might be a good time to watch the documentary Bill Cunningham New York β it’s available on Amazon (free with Prime).
Aaron Christian shot footage of the fashionably dressed gentlemen attending the Pitti Uomo menswear trade show and paired it with David Attenborough-esque commentary about peacocks.
Unlike the cues outside of the city shows, where photographers have a few seconds to snap their favourite look. Pitti Uomo is a four day long menswear trade show, in Florence, Italy.
It’s a vast space where attendees spend all day walking around, visiting stands, eating in the sun or catching up with fellow fashion colleagues β and so consequently it has become a prime spot for the worlds top street style photographers to document and shoot some of the most stylish men on the planet.
It’s become a peacock parade where the men show off their outfits in all their glory hoping to get snapped by the top photographers.
It’s quite comical, the way the fully grown men pace around subtly trying their best to get snapped, and it’s the perfect location for this wildlife style mockumentary to take place.
Levi’s made a short documentary film about the history and cultural impact of the brand’s signature 501 jeans.
We trace the 501 Jean’s roots as a utilitarian garment for coal miners, cowboys, industrial workers, all the way to the creative workers who continue to wear it today.
As you can tell from whatever “outfit” I’ve extracted from my closet and placed on my body each morning, I know close to nothing about fashion. But I love reading about it. This piece about circa-2016 fashion trends in Tokyo neighborhood of Harajuku is interesting in many ways. Take the first section on Genderless Kei and Kawaii Boys.
Though the Kawaii Boys’ styles vary, the most popular look is childlike rather than traditionally feminine. These are not crossdressers, most of them are not gay, and they are not trying to look like β or pass as β women. They are specifically aiming for a happy fun Genderless style. That said, none of these new generation of Kawaii Boys are afraid of incorporating traditionally female fashion elements and makeup into their looks.
When I typically think of genderless fashion, I think of someone dressing “in between” the two dominant genders in relatively nondescript drab clothing that leans masculine. So it’s interesting to see the different approach described here…men wearing traditionally feminine clothes to average out as genderless.
As odd as it sounds, Japanese-ness is also making a comeback in Japanese fashion:
Fashion designers may have finally gotten his message, as we’ve never seen as many Japanese characters in street fashion as we did in 2015. The kanji print boom was just one of the many signs that young Japanese creatives are looking inward as well as outward for inspiration.
The classic Japanese sukajan (souvenir jacket) has been ubiquitous on the streets of Harajuku and in vintage shops since the end of summer. As Spring approaches, the low cost trend shops are well stocked with souvenir jackets as well. Influential indie boutique and underground Japanese brands are offering t-shirts, bags, dresses, and accessories printed with messages in kanji, hiragana, and katakana.
The post also delves into economic and city planning territory with sections on tourism and gentrification. (via @moth)
Pants are cut higher in the back to cut down on bunching in the front and riding down in the back and shirts are cut so that they drape right at the waist and hips.
Chris Donovan loved designing women’s shoes, so he quit his job as a telephone repairman and followed his fashion design dreams all the way to Florence. What a great video from AARP, filmed by David Friedman. You can see more of Donovan’s work on his Instagram account. (via @mathowie)
The Bollman Hat Company has been making hats in their Pennsylvania factory since 1868. If you’re curious, the company has several other videos about how they produce their hats.
A quick but fascinating look at the fast fashion retailer Zara.
Fashion used to be sold in four seasons. Zara wants you to buy for one-hundred-and-four. New clothes arrive in every store twice a week β days known by fans as “Z Days” β and fuel the need to turn over your wardrobe.
The brand’s global distribution centre, also in Spain, moves 2.5 million items per week. Nothing remains warehoused longer than 72 hours.
The integration and feedback incorporated into their system is impressive. The knockoffs, not so much. Lots of parallels to Facebook here, not the least of which is both companies’ founders are among the richest people in the world.
A site called SDR Traveller sells ultralight, strong, and discreet bags for traveling to places where such things are necessary. Their most eye-catching item is the 1M Hauly Heist, a bag designed to carry US$1 million in cash that also doubles as a Faraday cage for shielding your electronics from radio frequency tracking.
From the description on the page for the 1M Hauly (which holds the million bucks without the RF shielding):
In many countries project expenses and payroll for the local crew need to be carried in cash. Whether you’re managing a team of thirty working for months at the edge of the grid, or on a solo trip to negotiate a significant cash transaction, the 1M Hauly is designed for discreet, safe carry of up to $1 Million USD in strapped, new or used $100 USD banknotes.
Designed to address the six main issues with carrying significant volume banknotes in field: risk of discovery; risk of damage (especially in high-humidity, monsoon environments); container robustness; carryability; glide; and in-field accounting.
Note that $1 million in $100 bills weights 20.4lbs. The site also sells smaller money pouches (in $10k, $100k, and $400k carrying capacities) as well as a durable duffel. All the bags are made from Cuben Fiber, a material originally used for yacht sails that’s four times stronger than Kevlar at only half the weight. (via @craigmod)
In 1997, shortly after Apple’s purchase of NeXT, Steve Jobs took the stage at Apple’s annual developer conference to answer questions from the audience for at least 50 minutes. It was a different time for sure. Apple was reeling, Jobs had just returned as an advisor and then interim CEO, his last company, NeXT, had not succeeded on its own, and the iPod & Apple Stores were years off.
When he arrived at Apple after the NeXT acquisition, Jobs moved swiftly to pare down the number of projects that the company was working on. In this first video, Jobs responds to a question about Apple killing a promising technology called OpenDoc.
Jobs talks about how “focus means saying ‘no’” and how Apple’s loss of focus has made the company less than the sum of its parts and not more. Even at this early stage in Apple’s comeback, you can see the seeds of how it was going to happen.
In the second video, a later questioner tells Jobs “it’s sad and clear that on several accounts you’ve discussed, you don’t know what you’re talking about”, asks him to comment on OpenDoc again, and also tell the audience what “he’s personally been doing for the last seven years”, a reference to his answer to the earlier question in the video above and the failure of NeXT.
Instead of laying into the guy, as a caricature of Steve Jobs might, he responds thoughtfully and almost humbly about how Apple needs to focus on its “larger, cohesive vision” of selling products to people, starting with customer experience rather than technology, and most importantly, making decisions.
Of course, in hindsight, it is obvious how overwhelmingly right Jobs was in his assertions. Since then, Apple has focused relentlessly on what worked and has succeeded brilliantly, beyond anything anyone, save perhaps Jobs, would have ever imagined. I wonder what that cheeky engineer is up to now? (via alphr)
(Also, can we talk about the patches on Jobs’ jeans? That’s not a fashion thing, right? Like, those aren’t $450 jeans made to look worn out. To me, those are obviously Steve’s favorite pair of jeans β probably Levi’s, I can’t tell for sure β patched up because he wants to keep wearing them. No one in technology has been picked apart like Steve Jobs by people looking for clues to who he was as a person and how that informed his business activities.1 Was he an asshole? Was he an artist? Was he just all smoke and mirrors? If we can stoop to the level of assessing a man’s character by the clothes he wears, it seems to me that whatever else he did, Jobs was at once pragmatic and dreamy when it came to products, to objects. What a potent combination that turned out to be.)
Update: The man who takes a swipe at Jobs in the later video was possibly identified on Quora last year by an anonymous person who said they worked on the WWDC event and spoke to the man in question.
The audience member is named Robert Hamisch. Mr. Hamisch was a consultant at a security firm in the 1990’s that did consultant services for Sun Microsystems (their billing and payroll department) for a short period of time. As far as I know, he left the company (the consulting firm, he never worked for Sun directly) and has since retired. He attended the 1997 WWDC sponsored by his security consulting firm, although never had any stake in Sun Microsystems as a whole besides general system security for their billing and payroll department. I don’t know why he specifically asked about Java, but he may have just been frustrated with Jobs and his performance as a whole.
A short web search turned up no information on Hamisch. (thx, charles)
I am not a watch person. Haven’t worn one since high school, no interest in getting an Apple Watch, etc. But this post on We Made This about watches that appeal to graphic designers lists a few watches I would consider wearing. The Braun is a classic, of course:
But this one from Instrmnt is also quite nice, although I would prefer slightly larger numbers:
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