from the editor
oN CUE m i S SY W i L K i N S o N |
PHoTo by QuE DuonG AnD THE MAKEuP L Ab ArTISTry
W
hen I was 11 years old, an English assignment provoked my first case of writer’s block. The finished product did not come out well. My mom said the problem was that I hadn’t written what I knew. She gave me some blank notebook paper and a copy of Dr. Martin Luther King Jr.’s “I Have A Dream” speech, with instructions to read it and start over from scratch. I still prime the creative pump by reading examples of the literary genre I’m tackling. Lately, I’ve been reading Lady Gaga’s columns for V Magazine. They’ve been criticized for sounding pretentious, arrogant, defensive and weird: “If you were to ask me to remove my Philip Treacy hat at a party, in truth it is the emotional and physical equivalent of requesting I remove my liver,” she writes. The letters are a little of all these things, but they’re also sincere, and to write honestly about an industry characterized by artifice takes guts. While literary and art criticism are academic institutions, very little attention is devoted to fashion criticism. I can guess why — not because fashion is a lesser art, but because it hits too close to home. It protects our bodies
and projects our identities, so taking it too seriously makes most people squeamish. Few want to take that hard a look at themselves. And when you analyze a society’s fashion, its aesthetic of beauty, the price of clothing and its means of production, this is precisely what you must do.
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