Monthly Archives: July 2010

Fashionism: The Religion

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Hello My Name is StylishSarah and I’m a Shopping Cart-aholic

shopping-online

Shopping has always been my drug of choice. Whether I’m happy and excited, anxious and uncertain, or feeling alone and depressed, I have always used shopping as my quick fix and coping mechanism.  There is no better high than going shopping. But like most addictions, the high is short-lived. After I get the bags to my apartment, the rush of happiness quickly deflates, leaving me with the same feelings I had before the shopping adventure. I caught myself before spiraling downward into a full-blown credit crisis of my own. But many people who have struggled with shopping addictions and are beginning to recover have recently been talking about a new factor that has made the struggle that much harder: Online Shopping.

E-commerce is one of the most innovative and successful developments to hit the fashion and beauty world.  I cannot imagine a world without Net-a-Porter, Bluefly, Ebay or Gilt Groupe. E-commerce opened a Pandora’s Box of endless spending opportunity for fashion and beauty shoppers: auction alerts, 24-hour customer service, convenience, comparison shopping to the best sales, discounts, and deals.

200559715-002No more missing store hours! No more schlepping various shopping bags around. Often it’s 24-hour delivery and beautiful packaging sitting at your doorstep like a carefully wrapped Christmas present. Most importantly there is now access to global fashion regardless of where you live. Urban and rural fashion lovers unite!

Add to all of this the convenience and privacy of shopping at home and it’s not surprising that shopping online is a curse for struggling shopoholics. But online shopping addiction is not just a risk for recovering shopoholics. It has, in fact, created a whole new category of addicts: Internet Shopping Addicts.  Over the last fifteen years, Internet Addiction Disorder, the problematic use (and abuse) of the Internet–from Facebook to emails to chat rooms and online shopping–has become a major focus of research that has been formally recognized by the American Psychological Association.

One of the largest centers focused solely on internet addiction, the Center for On-Line Addiction, previously focused on internet sex addicts, chat addicts, and gambling addicts but within the last decade has turned their attention to the latest online addiction: shopping. Compulsive and impulsive behaviors, found in traditional shopoholics are simply transferred to the online world and, in some cases, enhanced because it can be easily hidden from family and friends.

The recognizable advantages of online shopping are accessibility and convenience. What pushes consumers over the edge into addiction is the excitement of “finding the deal”.  Daily alerts and email notifications for the latest fashion and beauty sales –in particular the sites that have an auction platform like eBay or limited time only sales like Gilt Groupe –evoke a high similar to gambling.  This “high” is not just emotional but physical: a chemical response in your brain (serotonin and dopamine release making you feel good) stimulates the need to purchase. Daily email notifications for upcoming sales with a time limit and “first come first serve” shopping mentality is the perfect hook into loyal, fashion savvy, obsessed shoppers. Women are more likely to buy fast, furiously and without thinking when they find themselves in a race. Competing with millions of consumers in a limited time frame with limited product, the time-sensitive deal has emerged as the “crack” of e-commerce.

I never make rational decisions when under pressure so it makes sense that people shopping online in a time sensitive situation are more likely going to point and click immediately to ensure they got the product before anyone else did, regardless if they wanted it or not. I can’t tell you how many times I have impulsively bought something just because it was a high end designer that I would never be able to afford if it wasn’t 50% off, leaving me many times with the wrong size or something that just sits n the closet but I never end up wearing.

giltGroupeboxI adore Gilt Groupe and because I know that everyday at noon the sale will open, I need to be somewhere where I can access the Internet to get my daily fix. What a rush, what an achievement to get the item that I truly want in time, and that I would never be able to afford otherwise. So many of my friends and family are also members. I always laugh when I think about how many of us, no matter where we are, come together for the first five minutes, aligned on the internet, many days at noon.  Clicking without Thinking! Shopping without blinking!

Most of these sites are set up so that transaction process is easy and instant.  Once they have your information and credit card, it becomes insidious – I mean automatic. Shoppers simply point-click-repeat without realizing how much they are spending until they receive their credit card statement.  Lynnette Khalfani-Cox, a financial expert and author of “Zero Debt: The Ultimate Guide to Financial Freedom,” states that consumers spend 20-40 percent more when using a credit card over cash”(www.lemondrop.com).  In my case, she nailed it.  I am 100 times less likely to buy something if I have to pay cash in hand. With a credit card, I just shop, swipe and buy without thinking about it because the cost is not tangible.  When shopping online women tend to spend more and more often, without really realizing how much they are charging. Avis Cardella, author of the new book “Spent: memoirs of a Shopping Addict”, pointed out in a recent Wall Street Journal article, that shoppers feel “more pain when we have to part with cash as opposed to credit card.” He later posited, “I imagine shopping online or via hand held device, anesthetizes even further.”

Although online shopping addiction has always included both men and women (surprisingly men outspend women), a new demographic, Generation Y, (those born between 1977 and 1994) is poised to be the dominating generation in this arena.  According to the New York-based think tank for luxury brands, LuxuryLab,’s last “Generation Next Forum,”

Gen Y currently spends $150 billion a year on consumer goods. That’s five times more than their parents did at their age. They also influence another $50 billion in purchases made by others. Indeed, according to a recent report by Harris Interactive, one in every three-consumer dollars spent in the United States today is influenced by someone under the age of 18. Gen Y’s profound influence in the marketplace is directly linked to their familiarity with digital media.., 96% percent of Generation Y is active on at least one social networking site.

Mastering the online world is the key to success in contemporary society, but the easy access to buying products makes it that much more of a risk of creating a new generation of internet shopoholics. The most difficult part of this disorder is that so many times it goes unnoticed, unreported and untreated. Maybe there should be a warning on E-commerce sites: online shopping can become addictive. Shop at your own risk!

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Sarah loves to Love

originally posted on the POP

Sarah Sulzberger Perpich: What are your earliest and fondest fashion memories and who in particular inspired and fostered your love and curiosity for fashion and jewelry?

Pamela Love: My grandmother Rose first introduced me to fashion magazines when I was very young. She used to play dress up with me and let me put on her makeup. She had an extremely unique style: all black clothes, black beret, jet black hair and lots of silver jewelry and she played guitar. Everything about her was artistic and it inspired me even at an early age.

SSP: When did you first fall in love with jewelry and what do you love about it most?

PL: I first fell in love with jewelry when I was about six and my mother gave me my first pair of dangly earrings. I thought it meant I was mature and ladylike. I love jewelry because it holds so much significance for people.

SSP: How did your previous work and experiences influence your sense of style?

PL: I spent several years as Francesco Clemente’s painting assistant. His creative process is so inspiring to me. I learned a lot about being an uncompromising individual from him.

SSP: What inspired you to start your own jewelry collection and how did it come about?

PL: I started my collection shortly after the death of my father in 2006. For whatever reason, it just felt right and helped me through a very dark period of my life.

SSP: How did you manage to successfully launch a high-end jewelry line (some price tags are over $2,000) during an economic recession?

PL: I think when people have less money to spend they don’t stop spending. They are just much more particular and far more concerned with quality and value. I think my customers recognize and appreciate the value and care that goes into my work. I feel honored when people don’t have tons of money at their disposal and they still choose to buy one of my pieces.

SSP: Can you describe your creative design process — and if you think it is similar to the creative process behind fashion, art and music?

PL: I usually get an image in my head. Sometimes it will just come to my mind out of nowhere, other times it will be directly related to something I saw (a movie, a sculpture, a plant etc.). Then I may or may not make a quick sketch. Then I carve the model out of wax or clay.

SSP: How would you describe your collections’ design aesthetics? Signature styles?

PL: It’s a little dark and gothic but also light and spiritual… Rock and Roll, flower child, nomad, shaman, sorcerer, knight… My most recognized piece is the eagle talon cuff.

SSP: You are queen of creative collaborations: How is the design process different when collaborating with a fashion house and runway show?

PL: It’s totally different trying to take someone else’s ideas and inspiration and executing it your own way. It’s challenging to find ways to be true to your own aesthetic while realizing someone else’s vision.

SSP: Which collaborations have you enjoyed the most and why? Which ones have been the most successful and in what way?

PL: I loved collaborating with Zac Posen on the jewelry and accessories for his Spring ‘09 show. He gave me so much freedom and the pieces were such a focal point. I also loved collaborating with Opening Ceremony and Spike Jonze for a line inspired by his film Where the Wild Things Are. It was so fun and different from anything I had done before. It gave me a chance to be more whimsical and childlike in my designs.

SSP: Do you have any interest in launching a more affordable, accessible collection in addition to your high-end collection?

PL: Yes of course! As long as I can control where and how the collection is produced. I am extremely committed to domestic production.

SSP: What has it been like and what have you learned from your experiences so far in the fashion world and your instant success at a young age?

PL: Just to go slow. It’s not a race. Don’t take on too much at one time. Quality is always better than quantity.


Pamela Love’s top ten loves right now

1. Jackson C Frank
2. Torelli bikes
3. Turquoise
4. Men’s oxfords
5. Devendra Banhart
6. Old aviator sunglasses
7. New tattoos
8. Gardening
9. This amazing band called Woods
10. Dr Martens


Info: www.pamelalovenyc.com

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Bye-Bye Bra Boo-Boos

Bra shopping: I have loved it, hated it, spent more money than I should on expensive ones at Henri Bendels, and recently sought out the cheapest at Target or The Gap. Being a born again Recessionista, I thought that kind of money ($200 or more) better spent on an array of t-shirts and jeans from American Apparel, a dozen international fashion magazines, dinner at Whole Foods for a week or the occasional indulgence of a cab ride.

And while most women have to buy new bras over the years to keep up with changing breast size and shape, I’ve been lucky enough to wear the same size I first fit into at age 13. Which is another way of saying I have the same flat as a wall, barely-there boobies 17 years later.

I spent most of my life hating my prepubescent chest and avoiding body conscious shirts and dresses because I would look like a boy on the tops and “pregnant” (as I was called at least four times in my life) on the bottom.  Then New Years Eve 2009 I decided to do something radical: I put on a skintight dress.  That it took three bras, one strapless padded, one regular padded, and jelly inserts, to make it work didn’t matter. It worked so well that, something I had always thought shallow and trashy – the boob job – became my new obsession. But like a bad trend, about ten days and 10 Victoria’s Secret push up bras later, this phase thankfully came to an end.  I was over it and the so were the bras, which were stuffed in the garbage thus erasing all evidence.

“Something I had always thought shallow and trashy – the boob job – became my new obsession.”

About two months ago, at age 30, my belief that the only things that mattered in a bra was that it had a hook, was under $20, and didn’t dig into my chest with underwire was challenged. My fashion career had taken off. With requisite TV appearances, designer interviews and fashion videos there were many times I found myself changing clothes in rooms with no privacy.  My favorite flamboyant beauty and hair experts Taymor and Hector consistently commented about my bad bra choices: ongoing jokes that were made even funnier because they were completely warranted.

Fashion designers, friends, and family also began to make subtle comments about my undergarments. But the straw that broke the camel’s back was when Taymor, in the middle of doing my makeup suddenly stopped, stepped back and taking a full look head to toe exclaimed,

“Sarah, What is up with your bra? It’s not doing anything for you! It’s too small, too tight and does nothing for your torso. Get some padding. You need a bra that gives you some POW like a cartoon goddess: think Jessica Rabbit.”

Fighting with and avoiding the bra situation was no longer going to fly so I decided to take action.  I asked if anyone knew a good bra store and the feedback was unanimous: “Go to Bra Smyth on Broadway at 77th Street”. Despite feelings of apprehension, I shyly entered the store and explained to the woman who greeted me, Fahima, my situation: I had never bought a bra that actually fits.  In response, she simply smiled and signaled me to follow her to the dressing room. She walked in behind me, shut the door, and said, “Take it off.”  I had flashbacks of when I first went to the bra store and had to take off my shirt in front of a salesgirl, but this time I was much less timid.  I stood in the dressing room in nothing but a pair of cut-off shorts and RayBans while she walked slowly around me staring at my torso the entire time.

bra-fittingWithin about 30 seconds, she left the room saying only, “I’ll be right back”. About two minutes later she returned holding six bras of varying styles, shapes, cup and width sizes. I was rather incredulous: how could this woman possibly figure out the best bra for my body without asking me my size or even measuring my chest? She insisted that I start trying them on, and with nothing to lose, I took the first bra from her and hooked myself in.  I immediately went into shock:

“Oh. My. God.  Did she really do it? Is she a magician? Am I really wearing a bra that is flattering, comfortable and actually fits my body?”

Fahima quickly diagnosed and described why I had experienced such difficulty with bra sizes and shapes and then identified all of the bras in her store that would best fit my body and why. She handed two bras to the seamstress in the back of the store for alterations: one needed to be wider so she moved the hook, and one was beautiful but had zero support so she inserted some padding.  I had never heard of bra alterations before and it seemed like it could be hassle but was completed within minutes and best of all it was FREE.  She worked like a scientist, observing and getting everything exactly right. She reassuringly added, “No two bodies are the same…I have the same shape as you do,” making the process a lot less uncomfortable and even a little exciting.  I walked up to the cashier where she had laid out all of the bras we had selected: four black ones, two white ones, a nude tone, four lace bras, and one strapless.  In less than an hour she managed to solve my lifelong battle with the bra.

The first thing I did when I got home was throw out every bra I ever bought making room for my new bras. I was starting a new chapter in my life leaving behind the bad bras and the bad feelings.  I never really realized how important a bra is to the overall outfit until I actually had the “right” one: one that fits. Now that I do, my only regret is that I didn’t go to a bra specialist sooner.

Bra Smyth Broadway
2177 Broadway
(corner of 77th St.)
NY, NY 10024
212.721.5111

http://www.brasmyth.com/

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Menswear gets a Democratic Makeover: “Metrosexual” is Finally Moot

From Sarah: After countless failed attempts to include and incorporate insightful and cutting-edge news and reports from the wonderful world of Menswear, I knew that there was only thing for me to do…  find a male fashion expert to act as a guest contributor.  The only man for the job is my fashion sidekick and renowned fashion historian and curator, Stéphane Houy-Towner (aka the ‘ying’ to my fashion ‘yang’).  Thank goodness he agreed and so for the first time ever on this blog, courtesy of Stéphane Houy-Towner, here is a post covering the world of menswear….

Over a decade ago in a flourishing economy and with the media in tow, a term hijacked the popular culture and forced many men to define or to redefine themselves. The fashion industry banked on this phenomenon and envisioned a completely new male customer to sell to: the Metrosexual.

Metrosexual
Main Entry: met·ro·sex·u·al
Pronunciation: \ˌme-trə-ˈsek-sh(ə-)wəl, -ˈsek-shəl\
Function: noun
Etymology: metropolitan + -sexual (as in heterosexual)
Date: 1994
: a usually urban heterosexual male given to enhancing his personal appearance by fastidious grooming, beauty treatments, and fashionable clothes
metrosexual adjective
met·ro·sex·u·al·i·ty \-ˌsek-shə-ˈwa-lə-tē\ noun

I personally didn’t understand its relevance, or its attraction (and I still don’t; then again, I am European-born).  I didn’t understand how it should define a new type of well-put-together American male, and subsequently many men globally. The concept of a clean aesthetic –some of its key characteristics: well-fitting clothes, stylish haircuts, toned skin, and weekly manicures – doesn’t reinvent the wheel in any shape or form.  You may look more polished and perfectly groomed, but it doesn’t compare to the rugged American masculinity exemplified a generation earlier by Burt Reynolds in his 1972 Cosmopolitan centerfold.

burt72

(Burt Reynolds – 1972)

In retrospect, since the late 1970s and 1980s, fashion advertising began to blatantly objectify and to sexualize men. Fashion designers such as Gianni Versace and Giorgio Armani in Milan, Jean-Paul Gaultier and Thierry Mugler in Paris, Calvin Klein with his collaboration with the photographer Bruce Webber in New York, all, shamelessly heralded a new breed of polished beefcakes as the new ideal of masculinity. In these cases, the overtly homoerotic factor legitimized the style, helped push the frontier where no self-identifying straight male had dared to venture before. Burt Reynolds’ butch moustache and hairy chest were shorn and replaced by a fresh-face hair-less tight-body Adonis. A clean esthetic pursuit became the new Holy Grail… for gay males at first, then models and sport figures, and now the public at large.

1986-FW-Armani

(Giorgio Armani – 1986)

By the time “Metrosexual” arrived on the scene and was legitimized as a dictionary term in 1994, metrosexuality had become the new “black”. You couldn’t escape it, even if you tried; its omnipresence in the media was undeniable –talk show host Oprah Winfrey couldn’t get enough of men who fit either the metrosexual or ‘down-low’ bandwagon, and comedian Kathy Griffin even came up with a sketch-routine on finding out if your potential boyfriend was metrosexual or simply gay by peering into his fridge (Perrier, champagne, foie gras and caviar would send you to the gay gallows, except if European/foreign… would Canadians get a free pass?). Why was this term suddenly so important and given so much airtime? Beats me!

Historically, western-European men only began to ‘dress-down’ in the mid-19th century as a result of the industrial revolution, hence “the great masculine renunciation”. With their newly developed bourgeois uniform, gentlemen followed the pendulum of fashion, updating their “little black suit” and fastidiously tweaking themselves at the barbershop –where their heads, like topiaries, followed the constant changes in facial ‘manscaping’ of the day. Hands and feet, all beautifully accessorized, followed the well-polished trends. Self-expressions of style were done subtlety.

Regnault 1851

(Regnault – 1851)

Elegance was an obligation to any man worth his salt. Urbanites dutifully reeked, purchased and calculated elegance. After all, in the United States, great land of opportunities, the industrial revolution allowed many to successfully climb the social ladder regardless of prior birthright. The great taste-makers/dandies of the 19th century –Beau Brummel, Boni de Castellane, Edward VII of England, amongst others—led the way for Hollywood leading men like Douglas Fairbanks, Cary Grant, Gary Cooper, even John Wayne, to lead style onto the masses deep into the 20th century. This formula is still visible today, just open magazines in your dentist’s waiting room, check out blogs or iPhone applications… you still know who wears what, but now you know where to get it and for how much!

What has changed recently, with a large section of the male population, is a blatant disregard for boundaries and imposed labels. It is now much more difficult to tell who is what and to which group one is associated to, as styles favored by various groups now generously overlap. Generation Y (one of the largest components of this new consumer base: the under 30 group), like the youth-quake of the 1960s, is inducing change. But unlike the Youth Generation of the 1960s that thrived on modernity and social optimism, Generation Y and its neighboring groups all march to their own drums while ignoring the greater social picture. These perceivably “selfish individuals” are redefining the way the fashion industry approaches the male customer.

The current men’s collections in Milan and Paris exemplify this diversity and sliding scale effect of the current taste. Labels, such as “Metrosexual”, don’t seem to hold any relevance anymore. “Individuality” is now the new label, if not a label, an unrelenting state of mind.

Ann Demeulemeester Homme P_E 2011

(Ann Demeulmeester – 2011)

The latest Milan and Paris menswear collections presented a never-ending smörgåsbord of diversity, with a macadam of tailored looks varying from the traditional, directional to the sensational. Moneyed “Classic Resort” looks –what we think of when talking about chic men– graced many collections from Burberry, Salvatore Ferragamo to Hermès. Others experimented with colorful patterns/motifs, such as Roverto Cavalli, Kenzo and Missoni; Giorgio Armani, Jill Sander and Dsquared opted for separates in vivid hues. Dior Homme, Jean-Paul Gaultier and Raf Simmons reinterpreted the potential casualness of masculine suits by pairing tailoring with looseness; whereas, Ann Demeulmeester and Yves Saint Laurent spun around the traditional silhouettes. We shall see if the more extreme experimental looks of Balenciaga, Rick Owens or Raf Simmons will fancy the adventurous customers.

Jill Sander P_E 2011

(Jill Sander – 2011)

On that note, Givenchy even dropped the “leopard” bomb with a well-turned suit entirely conceived from head to toe in leopard print.

Givenchi Homme P_E 2011

(Givenchy – 2011)

Could a generation who grew up witnessing the changes of sartorial acceptability by selected sub-cultures (namely, Gay culture) and raised on the internet, be the litmus test for today’s democratic sartorial modernity? I would have to say yes. And frankly, it is about time, we have been waiting for you!

Written by: Stéphane Houy-Towner

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Dossier in Conversation with Jaime Perlman

Originally published in
dossierjounal
jaimedossier

Jaime Perlman is the Art Director of British Vogue and founder of Test. Image by Jermain Francis.

Sarah Perpich: What are some of your earliest and fondest fashion images and memories? Growing up, did anyone in your life inspire and spark your love and curiosity of fashion or art?

Jaime Perlman: My parents sent me to art school on Saturdays in Philadelphia when I was just a kid in the ’80s—I studied sculpture. I remember walking around South Street in awe of all the punks with black lipstick and leather. I secretly wanted to be them…

Sarah: Do you see art and fashion as separate entities: Is Fashion Art? Is Art Fashion? Are you more passionate about one than the other?

Jaime: Fashion is a form of expression, like art, but it’s also a business… There’s so much scope for creativity within this industry and the lines between art and commercialism are often blurred. Fashion shoots and films that we make can be artistic with the specific intention to sell product or an image.

Sarah: Can you describe your country-hopping career path and how it led you to your role as Art Director at British Vogue?

Jaime: I left New York for the job at British Vogue. Conde Nast sponsored me to come over. I always dreamed of living in London and was slightly obsessed with British pop culture. I’ve learned so much coming here and feel lucky to have been given the opportunity to live and work abroad.

Sarah: What inspired you to launch testmag.co.uk and how does it relate to your work at British Vogue?

Jaime: I was inspired to launch Test because I felt change percolating within the publishing industry. We were in the depths of recession; photographers were in a frenzy to experiment with film as digital media began to rise in importance. I also sensed a hunger for a new platform to exhibit work without commercial purpose, as independent magazines began to fold. Vogue and Test are obviously very separate entities, yet they complement one another. Through Test I have formed relationships with new talents that might eventually move their way into the more established ranks at Vogue.

Sarah: When did you first recognize the importance and impact that the Internet would have on the fashion industry and what were the most exciting and challenging aspects of transitioning to the online world, specifically concerning Test?

Jaime: It’s become more evident in the last couple of years that fashion is going increasingly digital. You only have to look at labels like McQueen and Burberry streaming their catwalk shows live last year and the rise of “celebrity” fashion bloggers like Diane Pernet and Tavi to see that the Internet holds more and more innovative platforms yet to be explored. For me, I’m most excited about fashion film and the transition of still fashion photography to moving image.

Sarah: Can you briefly describe Test? What is your goal for it as curator, creator, director…?

Jaime: Test is a platform for creatives in the industry to come together and demonstrate the best of their abilities. It’s a celebration of the contributor and creating imagery for the purpose of inspiration. I wanted to keep it simple and direct and free from the constraints of a commercial project. I think it’s straightforwardness makes it stand out from other online publications.

Sarah: Are the projects more of an organic collaboration or do you select, recruit and commission the crew?

Jaime: All of the projects are commissioned by myself and submissions are not accepted. Each collaboration evolves “organically”. Sometimes I come up with the concept and other times an artist will approach me with their own ideas. No matter what, I think it’s important for the artist to be passionate about the piece when they’re working on their own time.

Sarah: Online fashion films and videos have become the hot, buzz-worthy mediums in the industry. How do you think this new exclusively online fashion world will affect the future of the fashion industry offline?

Jaime: It’s amazing how large an audience you can reach online, but the overall sensory experience of seeing a catwalk show in person can never be fully recreated on the web. The luxury of a live performance is still decadent enough to survive in the fashion world.

Sarah: What are your short and long-term goals and dreams for Test?

Jaime: I want to keep collaborating with incredibly talented people and collate a body of continually inspiring work. I’m also planning on directing my own fashion films eventually.

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A Peek inside Pamela Love's Magical, Mystical Studio

Originally published on A Shaded View on Fashion
pam1

pam2

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pamelalovenyc.com

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