"I design clothes because I don’t want women to look all innocent and naïve…I want woman to look stronger…I don’t like women to be taken advantage of…I don’t like men whistling at women in the street. I think they deserve more respect. I like men to keep their distance from women, I like men to be stunned by an entrance. I’ve seen a woman get nearly beaten to death by her husband. I know what misogyny is … I want people to be afraid of the women I dress"
Hattie Carnegie, 1949
The Metropolitan Museum of Art
Sometimes I wonder how far we have come, or if women are still expected to quite literally be delicate flowers.
surrealism from head to toe: eugenia volodina by txema yeste for harper’s bazaar spain november 2012
The Lobster Claw Castanet Dance.
This one is sorta for EQ, but she will know that immediately.
(Source: fashion-on-my-platter, via chewblr)
Give ‘em the slip. I make the case at Refinery29.
I suppose I should admit I am a collector - so many of us who wear vintage dresses almost exclusively are, as it makes sense to construct entire outfits as they were originally intended to be worn. Layering is not only for prepsters. For my Brooklyn people, I will share my favorite Flea purveyors, just ask -
My favorite part of this piece is:
Every time I see a woman’s patterned underwear through her dress, or watch her try to keep a flowy skirt from sticking to the back of her thighs, I have to resist the urge to approach her and ask, in my most grandmotherly voice, “Honey, have you ever tried a slip?”
Fashion editor Madge Garland in a great bathing suit, photographed in the late 1920s.
Garland is one of the subjects of Lisa Cohen’s new book All We Know, along with friends Esther Murphy and Mercedes De Acosta. The three were ambitious, idiosyncratic, larger-than-life women.
In addition to their professional accomplishments, these women were what would be known today as connectors — they got around. While each married, they all had primary involvements with other women, and took part in early twentieth-century lesbian transatlantic circles (think La Ronde with an all-female cast). Murphy, with her endless thirst for conversation, seems to have been friends with everyone, from Janet Flanner to Edmund Wilson to Natalie Barney to F. Scott Fitzgerald; De Acosta’s career as a seductress is well known; and, according to Garland’s former lover, the British novelist Sybille Bedford, “everyone was one of Madge’s old flames.” The three knew each other, gossiped with each other, and shared friends and lovers. In this sense, “all we know” might also be understood to refer to a social world, to the utopia of ever-expanding social networks: Esther Murphy, Mercedes De Acosta, Madge Garland, and Everyone We Know.
Read the whole thing.
Image from Lisa Cohen’s Tumblr.
Also, this deliciousness.