Here’s what Jean-Paul Goude had to say about his work with Grace Jones in an article about his Paris retrospective on Nowness:

I’ve always been drawn to so-called ‘atypical beauties’. But Grace was different; we were boyfriend-girlfriend. I have an ego like all simple-minded heterosexual men, and I had mates in fashion who kept saying, “Goude’s dating a trannie.” To prove them wrong I had to show Grace’s beauty was wherever they didn’t expect to find it. If you put a muscular woman in a mini-skirt, she’ll just look ridiculous. It wasn’t about masculinizing Grace, but using artifacts usually reserved for men, which in fact put her femininity forward.

I can’t wait to see this during my next trip to Paris.

Goudemalion, Jean-Paul Goude rétrospective, until March 18, Le Musée des Arts Décoratifs.
[photos via Nowness]

It’s time for a Sixties redux. In homage to The Who’s re-release of their seminal album “Quadrophenia,” we’ve created our very own Mod-inspired look.



(l-r): Paul Smith suit, Pretty Green shirt, Topman parka, Grenson shoes, ASOS tie and a Maison Martin Margiela motorcycle helmet

He has the look of a man who may at any moment start jigging and jiving to Gene Kelly’s “I’m Singing In the Rain.” Oh and by God, he’d do it in style. From the perfectly coiffed, parted hair to the tailored trousers that are cut a good few inches above what your father would term a “sensible” length — this chap cuts-a-dash of the Tom Ford, “A Single Man” variety.

-Photo credit: Michelle Bobb-Parris

Those who prefer stilettos and platforms might want to re-think their allegiance after laying eyes on these. The Italy-based designer, Chrissie Morris, is known for her towering, show-stopping Art Deco heels but her foray into flats, Amie, is a pieced together beauty made of leopard print pony hair and stingray that makes a strong case for staying closer to the ground. I ordered these a few months ago and finally got my hands on a pair last week. Seven days later, I’m already restraining myself from over wearing them after realizing during my rounds of press days that these are perfect for pounding the pavement in.

It’s funny to see how the ribbon neck tie is having a moment. I had to wear one as a part of my traditional academic dress, sub fusc, for my induction ceremony into school. And when I posted a pic on Facebook, I surprisingly got tons of compliments on the outfit. (Who knew?) That said, the look above conjures up a similar academic feeling but in a more retro kind of way.



(l-r): ASOS blouse, Raoul skirt, Zara bag and Acne shoes

-photo credit: Michelle Bobb-Parris, Who is Bobb-Parris

In an article for Newsweek about the Glamour Women of the Year awards, Robin Givhan grazed the subject of intellect, politics and fashion:

It’s the fashion part that always seems to make some women uncomfortable. Not because they can’t figure out what to wear but because they can’t reconcile limousine heels—the sort that are so perilously high that walking is at one’s own risk—with brain power, chutzpah, and compassion.

This brings up the subject of former first lady Laura Bush and her daughters, Barbara Bush and Jenna Bush Hager, who were honored for their charity work. Jenna was hailed for her work in AIDS awareness, and Barbara for focusing on improving health care in poor countries. But it was Laura Bush who, of the three, was the star attraction. In a video biography, she was hailed for her advocacy for the rights of women in Afghanistan who were living under the Taliban, for her work in international health care, and for her global focus. “After Sept. 11, my perspective broadened to women around the world,” Mrs. Bush said in a scene from her video.

…Still, when the Bush trio accepted the award, presented by former secretary of state Condoleezza Rice—a winner in 2008—they performed a lackluster bit of shtick around the premise that the current issue of the magazine is a cross between a sex guide and a Miss Congeniality handbook. Rather than using self-deprecation as a way of injecting humor into the proceedings—and distancing themselves from the glitz of the fashion industry, as they seemed compelled to do—they bit the hand that was stroking them. Their hapless comedy made them appear unsporting, even as they offered words of encouragement to the young girls from local schools who were also part of the audience.

Fashion seems to leave some accomplished women tongue-tied or tripping over their own words. They take on a protective stance in public, and they exude insecurity in their condescension.

Relax, ladies.

Take a cue from Jennifer Lopez. As she accepted her award, dressed in an elaborately embroidered, blush-colored, provocatively slit Versace gown, several young girls screamed, “You look beautiful.” Lopez responded with a simple “Thank you.” She then recalled a bit of advice from her grandmother: “Always go out looking nice. People like that. They respect you.”

This immediately got me thinking about some reading I’ve been doing recently as part of my grad school coursework at Oxford about the relation of the skirt to political power in the 19th and 20th centuries. Basically, skirts tended to become bigger and more ornate during periods dominated by powerful women rulers — think: Empress Eugénie, Queen Isabella, Elizabeth of England, and even Marie Antoinette.

There’s a long history of women leaders who embraced fashion to display their political importance and yet there was always this underlying tension in which many of them were publicly judged and criticized for it, with most of the digs coming from their male counterparts who were promoting this notion that a fashion plate could not rule anything with seriousness. That said, it’s remarkable to see how many intelligent women have internalized this idea that was born centuries ago out of an antiquated form of sexism. It only requires a small amount of self-awareness to break the cycle. Interestingly, Eugénie, Isabella and Elizabeth brazenly pushed their personal fashion forward in the face of skepticism.

This Duran Duran video wins on almost every level (except, perhaps length?) It’s like George Michael’s “Freedom” circa 2011. Fast forward to the 7:20 mark to see what I mean – Naomi kind of kills it.