36 years in the making

The Pulitzer Prizes were announced on Monday and for the first time in its thirty six year history, the award for Criticism has gone to a fashion writer. Robin Givhan of the Washington Post won for, “her witty, closely observed essays that transform fashion criticism into cultural criticism.” What wonderful news! I’ve always thought that fashion deserves to be examined and criticized like any other cultural product, e.g. art, music, cinema, television, etc... Granted, much fashion writing doesn’t aspire to do that and is honestly quite abysmal. But I feel like the winds are shifting now. Fashion writing and journalism now seems to be more widely read, more accessible, and less like the kid sister of “bigger” cultural criticism. This Pulitzer is truly a watershed moment.

For more info: Pulitzer Prizes Site and Fashion Week Daily

Sonya Mooney

Easter Fashion Memories

189.jpg

Easter had always been my favorite holiday as a child. Obviously, one of the biggest draws for a kid was all the candy: chocolate bunnies, Cadbury eggs, and jellybeans. The huge meal with glazed ham, mashed potatoes, and my Aunt Jean’s “famous” chocolate meringue pie, certainly didn’t hurt either.

But what really set Easter and not for instance Christmas, everyone else’s favorite holiday, over the moon for me was that each spring I got a brand new dress and matching shoes. It was, I guess my first experience with “occasion dressing”. I would drag my father around to what seemed like hundreds of stores for hours for the entire month leading up to Easter. The dress had to strike the perfect balance between pretty and cute, embellished and plain. If a dress had too much pink or too many bows, then it was out of the running. Too plain? I didn’t do minimalism at age 8. Out it went. When finally I did find the right dress, it was as if I had met my soul mate. When we arrived at home with my new purchase, I would lovingly place her on my bed and stare at her, occasionally petting her skirt or sash (For three years in a row I think all my Easter dresses had sashes).

My current obsession with shoes can probably be traced back to age 10 when I was finally allowed to wear shoes without a strap for Easter. No more Maryjanes, I was moving on! I remember feeling very grown up in my shoes that Easter. They were white patent leather, scalloped at the vamp, and embellished with a white satin rosette on the toe. I wore them to death that year.

Every Easter, I think back to all the Easter dresses and shoes of my past and marvel at the incredible emotional power that clothes possess. I often remember more readily the clothes I wore to certain events than the actual events themselves. New Year’s Eve at age 12: Brown and yellow changeable taffeta skirt with white blouse. High School Graduation: Cream silk pastel floral ballerina length dress from Dillard’s. Tearful breakup with boyfriend at age 21: Grey and black sundress bought while studying abroad in France. First introduction to current boyfriend 4 years ago: Black strapless Alexander McQueen dress with obi sash.

Clothes are more than just what you decide to put on your body. They can absorb and contribute to the emotions you feel when you wear them. For anyone who thinks that clothing is frivolous, just think to the important moments in your life when clothing played a pivotal role. Take for instance the wedding dress since the impending season of weddings is now upon us. Regardless of the positive or negative implications it may hold, what extremely powerful symbol and memory it is for those who wear it. For men, their first suit, or even their first tie is memorable. Clothes can serve as psychological markers for transitional periods in life. I’m sure that even for people who claim to hate fashion, they have significant clothes related memories that mark very specific moments in their lives.

Clothes can be powerful and serious, disposable and frivolous. They are cultural products with which we have incredibly intimate conversations. It’s what makes them so interesting. Clothes are contradictory and complex just like the humans that make them. I hope to have many more fashion memories.

Sonya Mooney

Fashion in Film Festival 2006 (London, 14 - 27 May 2006)

20060418-model-bfi-00n-hcw2.jpg

“Between Stigma and Enigma” is the first edition of a new Fashion in Film Festival held in three London venues: Ciné lumière (French Institute), the Horse Hospital, and the Institute of Contemporary Arts (ICA). The diverse programme brings together international film and video work from across the 20th and 21st centuries. Films by distinguished filmmakers such as Alfred Hitchcock, Louis Buñuel, Věra Chytilová and William Klein will be screened alongside documentary, instructional and propaganda films, newsreels, artist videos and fashion image-makers’ shorts.

Film screenings will be followed by lectures, informal talks and Q&A sessions with filmmakers, artists, film critics and fashion designers including Anna-Nicole Ziesche, Jean-François Carly, Penny Martin and Shelley Fox. They will also be accompanied by music especially composed for the occasion, including an exclusive collaboration with The WOLFMEN (Marco Pirroni and Chris Constantinou) on soundtracks for two silent films that form part of the Shoes, Eroticism and Fetish programme.

Among the highlights: a special screening of the rarely seen Qui Etes-Vous Polly Maggoo? with William Klein as a guest of honour in conversation at Ciné lumière (French Institute).