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Whats wrong with the fashion industry?
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WHAT FOLLOWS IS THE first part of a long narrative interview conducted by Anja Aronowsky Cronberg for Vestoj "On Failure." Read the full chapter in the print edition here.

Tim Blanks, editor-at-large at Business of Fashion

Thom Browne, founder & head of design at Thom Browne

Ralph Toledano, president of the Fdration Franaise de la Couture, du Prt--Porter des Couturiers et des Crateurs de Mode, president of the fashion division at Puig, CEO at Nina Ricci

Jean-Jacques Picart, fashion and luxury goods consultant

Adrian Joffe, president of Comme des Garons International

Glenn OBrien, editor-at-large at Maxim

Hirofumi Kurino, co-founder & senior adviser for creative direction at United Arrows

Steven Kolb, president & CEO at Council of Fashion Designers of America

Nicole Phelps, director at Vogue Runway

Nathalie Ours, partner at PR Consulting Paris

Robin Schuli, brand manager & buying director at Maria Luisa

Andy Spade, co-founder of Partners & Spade, co-founder of Kate Spade, founder of Jack Spade, founder of Sleepy Jones

Tim Walker, freelance photographer

***

Glenn OBrien: Do you know who the pharmakoi were? They were the scapegoats in Ancient Greece. They were sacrificed annually, driven out of Athens or thrown off a cliff, in a purification ritual. Thats what we do to people who fail today. Drug addicts, criminals, people on entitlements we ostracise them. In America we cant accept failure; we cant say that weve failed. Instead its the system thats failed, the president thats failed, the congress thats failed we never fail. Im not a failure, Im on the chamber of commerce for gods sake! In fashion its the same thing: people are in denial about failure. The game is about how to transform failure into a perceived success.

Robin Schuli: The press release that was put out after Alexander Wang was fired from Balenciaga was pure propaganda. It was your typical statement where everyone praises each other to the sky. There was no reason given for the separation. And then Alexander Wang started giving interviews about his new store opening in London and none of them mentioned what had happened at Balenciaga it was all airbrushed out of the success story that is Alexander Wang. Hilarious!

Jean-Jacques Picart: In fashion we treat failure as if it was a disease.

Steven Kolb: Theres a lot of smoke and mirrors in this industry. Its hard to tell how well a fashion business is doing: whether people are getting paid, what a companys cash flow is like.

Ralph Toledano: Failure in fashion is not selling.

Steven Kolb: Look at Band of Outsiders. It was a ten-year business, critically acclaimed, on the radar of major editors; theyd won prizes and had a point of view. They grew from zero to seventeen million in a decade, and they just folded. Why? They just didnt have the resources to take their business to the next level. You know, its easier to take your business from zero to ten million in a relatively short time span, but once you hit ten million it becomes much harder to grow. You need an influx of capital to really start investing in expansion, in distribution and stores, in control of inventory and wholesale all those things are expensive. Lots of fashion companies take outside investment at this point, and most of those investors arent fashion people. That leads to conflict because people have different expectations.

Jean-Jacques Picart: Success or failure in fashion isnt a measure of how talented you are as a designer. You can be the most talented designer in the world and still fail. There are so many incredibly talented designers who had to close their brands because they werent commercially successful. That they were the darlings of the press doesnt matter in the long run. If you dont know how to translate your creative vision into commercially viable products, this industry will spit you out.

Steven Kolb: Often designers get stuck on whether they get a bad review or no review for a collection, on what Suzy Menkes thinks. To me, thats not failure. Going out of business, thats failure. Not being able to deliver what you promise, not being able to pay your employees, not being able to feed the infrastructure youve created thats failure.

Nicole Phelps: Success in fashion today is about how many $5000 handbags you sell. Thats what determines if a designer stays at the head of a brand. How many bags a brand sells matters infinitely more than what I, Vanessa Friedman or Suzy Menkes might think.


Adrian Joffe: Id say theres a blueprint for success today a certain path you need to tread. And an important part of it is being charming to reporters. Do the blah blah blah. Some people who are successful today are brilliant at it. They can charm the pants off anyone.

Tim Blanks: Look at who makes it today. Look at Proenza Schouler for instance; I find them banal but theyre cute and charismatic. Then again, there are designers like Joseph Altuzarra, whos a genius in my book, so Im glad that hes so telegenic and gets a leg-up because of it. On the other hand, there are designers like Anna Sui who have forged ahead for years doing absolutely amazing work. Her shows now have a much better calibre of audience than they used to, but she never quite manages to hit the big time because Anna Wintour doesnt like her.

Nicole Phelps: If you look at someone like Frida Giannini who was fired from Gucci recently, its very hard to see what her next act might be. She was always a bit aloof with the press, and that didnt make her many friends in the business. That might affect her chances to get another high profile job. Lets just say that she doesnt have the worlds most powerful editor in her court.

Adrian Joffe: Rei has always said that she doesnt think she has succeeded at all. She believes that if she was successful, she wouldnt have to think about next weeks cash flow, she wouldnt have to worry. Sometimes I ask her, Cant you just be happy? Just for one instant? One time she didnt want to come to Paris at all, she wanted to cancel the whole show. She said, This is no good, no one is going to like it, its not good enough. In fact, she says that every time, and every time I remind her that shes always wrong. Its getting worse though, the suffering and torture she puts herself through. Im constantly reassuring her. I try to protect her and make things easier but it just gets too hard sometimes. But thats what drives her, this dissatisfaction. For her, one instant of self-satisfaction would mean the end.

Thom Browne: Without sounding self-congratulatory, Id define myself as someone successful.

Andy Spade: For me success means getting respect from my peers for the work I do. If Glenn OBrien writes about what I do, if he likes it and thinks its brilliant, that to me is a success. Because he gets it. Success for me isnt financial. I mean, I know how to do things that sell. Thats not a challenge. Success to me is doing something highly conceptual that sells. Then I feel like Im fooling the public. I like the idea of pulling the wool over the consumers eyes.

Glenn OBrien: A lot of times Ive been distracted from what I should have been doing by doing stuff just to make money. Im a family man: I have kids and I want to live well. By many peoples standards I guess Im a brilliant failure. But navigating this corporate colossus world is hard. You exist only through benign neglect. Like, please dont crush me, I just want to have a hot dog stand I promise!

Adrian Joffe: The system is what it is and fashion cant change that. Are you going to change the world with fashion? I dont think so. Fashion is just a reflection of society at large. We live in a culture where poor people can dress up in nice things for cheap, and where rich people want to know that theyre the only ones to have what they have. Thats not new. Some people have yachts in the Caribbean; others have a shack to sleep in if theyre lucky. My point is that we need everything ultimately its about balance. In fashion, we need Uniqlo, Louis Vuitton and Comme des Garons. Nature is about balance, and culture is too. And the fact that that balance is never achieved is what keeps things moving. If we were to somehow achieve absolute balance, the world would end. And still thats what we keep striving for. Thats the Tree of Life. [...]
vestoj.com


Last edited by Buffaloed; 26-06-2017 at 06:15 PM.
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[...] Tim Blanks: Everything moves forward according to a dialectic of thesis, antithesis, synthesis. We go through smooth and rough patches – that’s just progress. We don’t know what our world will look like in twenty years’ time. Maybe we’ll all be living in another Fascist regime. Or in Utopia. Though I doubt it – human beings are incapable of Utopia.

Thom Browne: If you want to fight the system – good luck! A lot of people complain about the fashion industry today, but the way I see it, there’s no use complaining. I prefer to live my life according to the way things are.

Andy Spade: Look, if you choose to ignore the system, if you’re just like, I want to do my own thing, **** the world, I hate everybody – then you shouldn’t live in a capitalist society. You should leave. Where would you go? I don’t care – but get out of America! I hate it when people whine about the system. Figure it out! I didn’t have any backing when I started; no one paid for my samples. I didn’t have any patrons; I took two jobs to pay for it all. I think the system is working fine.

Glenn O’Brien: Fashion and the big time art world have been corrupted. The only space noncommercial culture has today, is a little temporary space that nobody notices. Like the space for cheap buildings in big cities, you can fill them until they get knocked down in order to put something expensive in its place. It’s nothing new; it’s been this way since Veblen wrote The Theory of the Leisure Class. But today we’ve reached this whole new level of stupidity orchestrated mainly by the mass media. Everywhere you look you see Caitlyn, Kim and Kanye. If people spend all their time thinking about ’The Real Housewives’ or ’Dancing with the Stars,’ they’re not thinking about poverty, police brutality or the exploitation of workers in Abu Dhabi.

Tim Blanks: The whole process of fashion has become fascinating to ordinary people. It’s a whole fallow area of escapism that hadn’t yet been exploited. Bread and circuses. The world has gone further and further down the toilet and fashion is glorious window-dressing. Nobody buys the clothes, but they sure like looking at them or reading about the people who make them or wear them.

Glenn O’Brien: Fashion is one of the main things that distract people from thinking about what’s important today: ecology and politics. It’s a manipulation machine. The celebrity system we have now doesn’t make people think bigger or question anything. It’s the opposite actually – it makes people think more and more shallowly.

Hirofumi Kurino: Money and politics have conquered fashion. In the press for instance, nobody dares saying anything critical anymore. To me, that shows a lack of love. If you really care about fashion, you should be able to say critical things when it’s warranted. Recently I had dinner with the editor-in-chief of GQ Japan, Masafumi Suzuki. It was just after LVMH’s Berluti presentation, and afterwards all the PR people were asking him, ‘Mr Suzuki, how did you like the show?’ I’m sure they expected the usual niceties, but instead he said, ‘It was the worst show I ever saw!’ He told them they were cheating the customer and ruining the heritage of the brand by making expensive, uninteresting clothes. The PRs were shocked, but what he said came from a place of love. He cares about the brand. And because he’s important, people listen and invite him back to see the next collection.

Nicole Phelps: The corporations are getting stronger all the time in fashion. I see new brands coming up all the time; they stay underground for a season and then they too move towards the corporations. Partly it’s because it’s too expensive and too difficult to develop a fashion line without support. But it’s also because the glamour that the corporations represent is irresistible.

Robin Schuli�: When Bernard Arnault bought Christian Lacroix in 1987, it marked the beginning of a new era. Arnault was interested in building a fashion house in the traditional way – starting with haute couture, moving on to ready-to-wear and then diversifying into accessories and perfume. But Lacroix was extremely reactionary in terms of design, for the time I mean. Ala�a, Mugler, Montana and Gaultier were already huge by that point. But they were all kind of scary – too advanced for most consumers. Lacroix with his charisma, and his organza and puff skirts, could appeal to grannies. Instead of growing the business organically, Arnault invested a lot of money in Lacroix. Still, it never worked. No one wanted what he was selling.

Ralph Toledano: People who look down their noses at LVMH or Kering are just jealous. They envy their power and money. Look, the CEOs of these companies might wear grey suits and white shirts, but that doesn’t mean that they don’t get it. They do. Fran�ois-Henri Pinault had the guts to hire Hedi Slimane even though everybody was sceptical and look at where Saint Laurent is now, so don’t tell me he doesn’t get it. As the president of the F�d�ration, I know that we need people like Pinault or Arnault to achieve our goals. They have the money.

Glenn O’Brien: The people who cooperate the most are the ones who are rewarded so there are always willing participants.

Robin Schuli�: Is there any other way to play the game? If you want to compete with the big guys, do you have to do it on their terms? That’s the million-dollar question. Young designers today are often competitive. They want to prove themselves and play the game. But the market today is too fragmented, and the big brands have already honed their skills for several decades. How can a young brand compete with that? And anyway, is there really just one way to be successful? Young designers need to ask themselves if they would be satisfied with another model. Why does every designer seem to follow the same blueprint for success? Why do you need to please everybody? I can understand that Dior needs to, but Christopher Kane? What will happen to his vision once he starts making long dresses for the Middle East, short cutesy ones for Asia and conservative tailoring for Middle America?

Nathalie Ours: A designer with an independent brand needs money to develop his company. The big problem for young designers is that buyers might love what they do and order it, but to produce it they have to be able to pay their manufacturer. Bear in mind that buyers pay designers six months after they have delivered the goods, so there’s a gap in the timeline. If the designer doesn’t have a good banker or partner, how do they manage that gap? That’s the big issue. Every designer I know has the same problem. Sometimes with very new designers, a buyer accepts paying, say, thirty percent in advance. But after three or four years, the buyer says, ’Okay, we’ve supported you – enough already.’ So now what do you do? Can you afford to lose this buyer? Most designers can’t. That’s one of the reasons why many young designers are so happy to have a conglomerate behind them. It’s a way to survive.

Tim Walker: As a creative you have to work out how to direct the money into projects where you can capitalise on it. You have to know how to take your vision to a level that wouldn’t have been possible without the financial support available. That’s my tuppence worth.

Ralph Toledano: Big corporate monsters need to have a creative vision and a genius designer at the top. The public wants someone they can identify by name, someone with a recognisable face. They want a hero. That’s why fashion companies stage fashion shows – the public needs to dream. But this aspect of fashion is only partially important to the success of a business today. What really matters is the rest of the machine: the marketing, the supply chain, the location of the shop, the communication campaign. That’s where you make your billions. In this sense fashion is a commodity business. As the CEO of a company you go to the show, but in the end the quality of the show is much less important than currency fluctuations or the economic situation in China.

Nicole Phelps: The fashion industry has a knack for turning designers into stars. Look at someone like Alessandro Michele at Gucci; your typical backroom guy thrust into the limelight because of his position. We editors are storytellers by necessity – we need to create stars. We have pages to fill.

Adrian Joffe: Do multinational corporations abuse power? I’m not sure they do. They just do what they do, that’s all. They have power because they’re rich and because that lets them spend a million dollars a month in advertising budget on some magazine. And if they then expect the magazine to write nicely about them because of it, is that abuse of power? I’m not sure it is. They just do what they feel they have to do.

Glenn O’Brien: We live in a time where corporations are seen as individuals. But if you work for a corporation, are you allowed to have an individual opinion? Not really. You have to follow the company voice and the company line. It’s destructive to human beings. Me, I believe in a freelance world. Working for a company only for money is what Marx called ’alienated labour.’ Today we live in a world of alienated labour where people sell out – they sell themselves, their minds, their integrity. They become liars for money.

Andy Spade: Glenn respects commercialism just like Andy Warhol did. If I just did my work in some small corner of the world, I don’t think Glenn would respect it as much. What he respects is the fact that I built a business while still being subversive, working on two levels. I’m not claiming to be a designer or an artist or anything – I just like having good ideas that sell.

Adrian Joffe: Long live the one percent; they are the ones that change things.

Tim Walker: There’s been an incredible explosion of money and power in the industry. Today there are countless forces polluting the innocence of play and experimentation, and the impact on true creativity has been damning. From my point of view that’s a failure and a betrayal of sorts.

Ralph Toledano: Life is about power. It’s always been like that – it’s nothing new.
vestoj.com


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Here are the links to part II, III and IV of this conversation:
http://vestoj.com/whats-wrong-with-t...on-industry-2/
http://vestoj.com/whats-wrong-with-t...on-industry-3/
http://vestoj.com/whats-wrong-with-t...on-industry-4/

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Thank you for posting! Really interesting read. Jesus, Tim Blanks' Galliano story was revolting. I guess he was always a ticking time bomb.

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Thanks so much for starting this thread, YojiAddict!

The article isn't dated, but I'm assuming this chat happened while Raf was still at Dior, and Glenn O'Brien was still alive.

There are certainly a lot of topical issues discussed here. I very much agree with most of what Jean-Jaques, Robin, and Glenn said about young designers. Tim (Walker, obviously) also touched on something very important as well:

Quote:
Tim Walker: As a creative you have to work out how to direct the money into projects where you can capitalise on it. You have to know how to take your vision to a level that wouldn’t have been possible without the financial support available. That’s my tuppence worth.
But Thom Browne's commentary just diminished the minimal respect I had for him as a designer. So insufferable and selfish, it's all 'me, me, me'. I could kick myself for never picking up on that.

Of course, as a magazine lover, the following quote stood out because it's something I've picked up in numerous indies as well (especially ID!). In a warped sense, the fluffy titles such as Vogue and Bazaar actually get away with more liberty in terms of styling. The worst you can demand from them is head-to-toe looks....

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Camille Bidault-Waddington: I’ve worked a lot with Another Magazine over the years. Every time they give me a very specific list of credits – all the brands that advertise with them and that need to be featured in the shoot. That’s so common now that nobody reacts anymore. But something has changed lately, and it’s taken me a while to get used to it. In a roundabout way, Another has started telling stylists how many centimetres we should feature of each advertiser in our shoots. If we have an Armani credit for instance, it’s no longer okay to just feature a beautiful silhouette on the page or a portrait where you only see the neck of the model. No, you have to make sure that enough of the garment is seen so that the magazine can satisfy the advertiser. As far as I’m concerned, that’s not fashion – it’s an invasion of the page. Advertisers just want coverage, and more coverage equals more power.


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Quote:
Originally Posted by Benn98 View Post
Of course, as a magazine lover, the following quote stood out because it's something I've picked up in numerous indies as well (especially ID!). In a warped sense, the fluffy titles such as Vogue and Bazaar actually get away with more liberty in terms of styling. The worst you can demand from them is head-to-toe looks....
That quote just confirms my suspicion that indie magazine are becoming increasingly reliant on advertisers. Just this spring AnOther released an issue featuring both a Prada and a Comme des Garcons advertorial, the latter is obviousy not an advertiser in the traditional sense of the word but the amound of editorial space indie magazines (Especially but not exclusively: Dazed, AnOther and i-D ) devote to the brand is unparalleled...


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If someone was brave enough to produce a magazine that didn't let the advertisers dictate the style and demand head2toe looks, I think it would be very popular. Most magazines are not worth buying, nothing remotely interesting. I hate head to toe looks, I want to see mix and match like REALITY. Yet I forgot nothing about the fashion industry anymore is based in reality. It's quite sad.

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Thanks for the links, YohjiAddict. Very good stuff. I’ll be reading the rest tonight.

You’re in for a terrible rude awakening Benn, if you think Thom is the only one that’s all about “me, me, me”…. Everyone in the industry is in it for themselves. For most of us who do this for a living— and not a big name, or associated with one, it’s even more ruthless. Jackels fighting for scraps comes to mind. Thom admitting that it’s every men and women for themselves is just the blunt truth-- maybe arrogance, more than selfish or insufferable.

(What I find more shocking than anything else so far is that Tim Blanks thinks Altuzarra is “genius”…)

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(What I find more shocking than anything else so far is that Tim Blanks thinks Altuzarra is “genius”…)
HA! I was thinking the exact same thing! Quite a kick out of that one. I did appreciate how, in the same breath, he described the Proenza boys as "banal." Glad to hear someone say it!

Re: Tim Blanks, though...I found it quite tasteless of him, to be honest, to account so specifically Galliano's rough behavior (not that I'm excusing Galliano's accounted behavior). Clearly, though, he also admits that Galliano could neither hold his liquor or his drugs. That's sad. And I find that it reflects poorly on Tim. If this is the kind of behavior you are witnessing, and you are also conscious that said poor behavior is coming from a place of substance abusive and instability...did he pull John aside? Prevent him from embarrassing himself? Reach out to a friend or colleague of John's? No - everyone seemed perfectly content to watch Galliano (and McQueen) self destruct.

Granted, I believe in personal responsibility, and I don't see McQueen or Galliano as fully innocent victims - they played their parts in their own demise. And I think it's also a harrowing fact of life that few wish to admit - with such genius in one individual comes much internal turmoil. Life is all push and pull, give and take, high and low, and when these two men were given the most incredible gifts that were their creative vision and creative energy, it is no surprise it came with a bitter reality that living out that great gift is often a responsibility too much to bear.

So, again, as I said, quite tasteless to read Tim so casually describe an incredibly talented and gifted person in clearly such a sad state.

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^ I had a bit different reaction, I don't think it's tasteless to recount, but I agree with you that people shouldn't simply watch the train wreck. Not that attempting to help will necessarily do any good, but it should be done anyway ...

This is an amazing series, thanks for posting, YohjiAddict. I'm struck while reading it how intelligent and interesting Glenn O'Brien was, and what a d!ck Andy Spade is.

I found this quite salient, and information many tFSers seem unaware of ...

Quote:
Jean-Jacques Picart: A good collection is one that fulfils three key points. You have to present things that are already known, as well as others that are the same but with a slight twist. And then you have to present things that are completely new. Buyers never buy the thing that’s completely new – those serve as research for the following season. A designer also has to show that he understands the codes of the house: that we’re at Isabel Marant and not Haider Ackermann. The bulk of the show has to be recognisable looks but with new proportions, colours or a slightly different silhouette – that’s what will appeal to your buyers. And the completely new thing is what appeals to the press – it’s what we think of as risk-taking. And it’s what the buyers will order next season, when it already feels familiar. Few young designers understand this equation; they think that repeating themselves makes for bad design. They don’t understand that the focal point of their house is the product, and that the customer has to have a sense of familiarity.

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That quote just confirms my suspicion that indie magazine are becoming increasingly reliant on advertisers. Just this spring AnOther released an issue featuring both a Prada and a Comme des Garcons advertorial, the latter is obviousy not an advertiser in the traditional sense of the word but the amound of editorial space indie magazines (Especially but not exclusively: Dazed, AnOther and i-D ) devote to the brand is unparalleled...
So true! Also there's the Dior editorial (or rather, advertorial) in the current issue of POP.
I expect these magazines will also use the same excuse young designers and indie brands are using - 'we simply cannot survive on our own'. Imo, that's a half-truth. It's a well-documented fact that audiences are actually steering more towards indies and supplements. And imo, that may be purely because they don't force aspiration the way mainstream titles does. Also, the gritty manner in which content is created (less commercial), the message, the (apparent) sense of creative liberty. Whether by instinct or blatant awareness, indies and supplements are actually increasing their audience quarter after quarter. Brands are picking up on that. So instead of targeting Vogue or Elle, whose audience they already have in their pocket, why not focus on the burgeoning ID clan.

Question is, what is the purpose of an indie when they employ exactly the same tactics as a mainstream title, only more covertly? I think the entire way they're going about their business right now, that is, aggressively pushing the goods of their advertisers (like they've done in that Pop/Dior edit), is actually at odds with their brand values. People are getting increasingly savvy, and to think that they can continue to pull the wool over their readers' eyes is ridiculous. This where I hate the fact that fashion just about blew up over the past decade. Because before that it meant that indies such as Another or ID could go without any stringent advertising demands, whereas now it seems they cannot.

I thinks this may also be part of the reason why there's such a malaise sweeping in fashion imagery at the moment. Editors have been converted into marketing managers. Dior sends their collection, and you must build your story around that as opposed to vice versa. If you're lucky enough to mix and match, you better make sure the balance between brands are solid, or else face the music. It's all too formulaic!

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Youre in for a terrible rude awakening Benn, if you think Thom is the only one thats all about me, me, me. Everyone in the industry is in it for themselves. For most of us who do this for a living and not a big name, or associated with one, its even more ruthless. Jackels fighting for scraps comes to mind. Thom admitting that its every men and women for themselves is just the blunt truth-- maybe arrogance, more than selfish or insufferable.
I can be very credulous when it comes to certain designers, especially the ones whose work I admire. I associate the craft with the personality, you see. But in this series Thom really turned me off. This overt display of ego is very tacky. This was supposed to be a broad discussion about the industry, yet he kept bringing it to him.

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^^^ As mentioned Benn, you are in for it if you associate the craft with the personality LOL I will never associate the genius, ingenuity, vision, talent etc of a designer, photographer and any creatives I admire in the industry with the person— that’s just asking to be punched in the throat. A friend of mind, who’s on amicable terms with some of fashiondom’s royalties, met Alexander McQueen in 2010, and she’s someone that usually finds the nicest side of any human, also would be in agreement with Tim’s impression of the Alexander.

I’m not sure why some have decided to be so blunt about their distaste for certain individuals in this interview, it does come off as mean (even to someone as icy-hearted as myself LOL). But I can totally understand their lack of warmth towards Hussein; they seems to confirm my suspicion of why I find him unbearable the few glimpses I’ve seen of him on the screen LOL Tim’s revelation about John and Alexander seems more hardened diva-ness than lack of humanity/sympathy for what he observed as damaged people on a destructive rampage. Never got the impression Tim was closed with either one, so why would he be responsible to lend a shoulder in either case…? I just get that his encounter with them were purely through social and professional instances. And now that he’s heading BoF, with John being extremely humbled these days, maybe it’s just a case of the mean girls attitude: Distasteful and unnecessary— but not unwarranted. Funny how Tim Walker only has one comment…? And LULZ at this Andy Spade person… I guess he’s related to Kate? Who cares. ... And Thom is just fine…

BTW, never considered Another, Dazed, i-D etc as indie. They are definitely branded as an alternative to the more mainstream publications like Vogue, Elle Harper’s etc. But their advertisers and the teams involved in these publications are on the same level as any Vogues. (I suppose to readers of department-store flyers like InStyle, Glamour etc would definitely be considered these titles "indie"-- and likely too intimidating...)

Even MAS’s Mastermind isn’t indie. Definitely alternative, just like Carinne’s Fashion Book, Purple etc.


Last edited by Phuel; 15-06-2017 at 02:15 PM.
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15-06-2017
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^ Yes, he's her husband. Also brother to comedian David Spade. Perhaps he missed his own SNL calling.

Maybe I'm in the minority, but I didn't really perceive what Tim Blanks said as mean. He talked about not just the bad behavior, but also (some of) the causation in each case. He didn't just say, hey, what jerks!

In my view, we're all in this human thing together, and if someone 'close' isn't there, then it's up to whoever is to act like a human being. I can see how the kind of behavior he describes would be a huge turnoff, though. If I were there, I don't know who I would've had the instinct to help ... but maybe one of the people whose clothes just got ruined as a result of someone else's stunningly bad behavior.

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^^^ LOL David Spade is related to all these Spades …?!??!?!? Such an annoying bunch!

You seem like such a kind soul, but if someone that I only came across on social occasions was always arrogant, inconsiderate and seemingly self-destructive— and peeing on people to boot, I wouldn’t be so willing to offer a shoulder so generously. That’s assuming they would even acknowledge your presence; some internationally well-known critic put her hand out to my friend in that "talk to the hand" gesture when my friend approached her at an event once to just say hello. So if someone like that was so nasty, I can only imagine what John and Alexander may be capable of when they were still at their reign— and their most coked-up, drunken-stuper, self-destructive period.

(I remember Tim did this piece on John’s Dior towards the end of his tenure for Fashion File that was very critical of his increasingly tacky designs. It was at a time when everyone adored John blindly-- and likely enabling his awful behavior. And Tim seemed like the only voice to point out John's clearly diminishing vision at the time.)


Last edited by Phuel; 15-06-2017 at 04:56 PM.
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16-06-2017
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Thanks YohjiAddict for the enjoyable read once again.

Interesting info there there offers different angles to how they are normally perceived lol

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