Quotulatiousness

December 30, 2023

In defence of … cufflinks?

Filed under: Britain, History — Tags: , — Nicholas @ 04:00

In The Critic, Peter Caddick-Adams makes the case for sartorial splendour over modern-day slovenly dress, and particularly for the cufflink:

“Great British coin cufflinks” by wowcoin is licensed under CC BY-SA 2.0 .

… these traditional baubles are fast becoming the clothing language of the old guard. Although fashion is always on the move, we are less stylish than we once were. Perhaps propelled by Mrs Thatcher’s homely handbags, refinement in dress is receding from everyday life. The fact that our current Prime Minister, like his predecessor-but-one, rarely sports cufflinks is a symptom of a greater sartorial malaise.

Links evolved in the 19th century as a means of displaying wealth and class, following the ruffled nonsense of the Elizabethan and Baroque eras and floppy sleeves sported by Beau Brummell and his Regency dandies. After Prince Albert had popularised the watch chain named after him, masculine fashion was bowled over by his son, the frock-coated Prince of Wales, later Edward VII. “Gentlemen, you may smoke,” he proclaimed on ascending the throne in 1901, instantly removing Queen Victoria’s ban on puffing away on the royal estates.

Apart from making a profession out of cigar-smoking, the new king influenced many clothing innovations, including trouser turn-ups (a last-minute tailor’s resort), those monstrous “Windsor” tie-knots, and leaving the bottom button of a waistcoat undone (due to the imperial stomach). The most colourful were His Majesty’s shirt embellishments designed by Fabergé. They immediately prompted Europe’s middle classes to weigh-in with gold, enamelled or monogrammed cuff jewellery, without which the aspiring Edwardian-era male was, frankly, naked.

Not compatible with the rigours of combatting the Bosche in the trenches of the Great War (when the affectation of tucking a muddied or bloodied handkerchief into one’s coat sleeve re-emerged), cuff-links returned with vigour during the Jazz Age. Their reappearance, along with spats (worn around the ankle) was due to the lack of central heating in His Majesty’s realm. All those draughty corridors in smart houses (and lack of instant remedies for colds and flu) necessitated warm ankles, with silk-wrapped necks and wrists protected by elaborate studs and links.

Resurgence was brief, for the aforesaid gentleman’s accessories almost vanished in 1939–45 with the advent of austerity imposed by adversity. Skullduggery by German submarine captains created shortages of fine shirting. The resultant famine of silk and cotton in turn destroyed the double cuff, which hitherto had been bound together so effectively by links. As it was deemed unpatriotic in the many countries at war to advertise luxury, these flourishes fell out of fashion completely.

Winston Churchill compounded this utilitarian mood with his man-of-the-people “siren suits” (predecessor of today’s onesies). They reflected the epoch of clothing short-cuts, such as collar-attached shirts, zip fasteners and trouser belts, replacing collar studs, fly buttons and braces — all, you will note, gifts from our Transatlantic cousins. Although men’s hats were retained for warmth, mainly disappearing in the 1960s because of our extended lives in automobiles, these moves to simpler clothing (even if, in Churchill’s case, adorned with a spotted bow tie) also threatened the permanent demise of the cuff-link. More correctly, they threatened cufflinks, for these are only of value in the plural.

Indeed, “what is the point of cufflinks?”, I hear you ponder. Anthropologists will tell you that man is a curious creature. From the dawn of time, he has had a weakness for asserting individuality, to signify class or leadership, or oft-times as part of a mating ritual. Archaeologists will reference troves of treasured jewellery in excavated graves. Historians cite portraits, engravings, photographs and uniforms, monocles and cravats as proof of this down to modern times. Staying with a barrister friend recently, I was shown his collection of about fifty pairs of cufflinks. Their designs reflected his three lives as a reserve officer, lawyer and freemason.

October 11, 2023

Art Deco in 9 Minutes: Why Is It The Most Popular Architectural Style? 🗽

Filed under: Architecture, France, History, USA — Tags: , , , , , , — Nicholas @ 02:00

Curious Muse
Published 3 Sept 2021

What comes to your mind when you think of the 1920s? For most people, the 1920s conjures up images of jazz, flappers, Old Hollywood, the Great Gatsby, and the Chrysler Building in New York City. It was a time of prosperity, exorbitant spending, and entertainment that gave rise to one of the most popular decorative arts and architecture movements — known as Art Deco.

Characterized by exquisite craftsmanship, lavish decoration, and rich materials, the style has become synonymous with the Roaring Twenties. So, what was the Art Deco movement all about and what differentiates it from other major movements? Finally, despite its popularity today, what makes Art Deco so closely associated with the 1920s?

In this week’s video, we’ll dive into the history of the era and learn about Art Déco, the style that continues to inspire designers and architects around the world!
(more…)

August 30, 2023

QotD: Hairstyles of the late Ancien Régime

Filed under: France, History, Quotations — Tags: , , , — Nicholas @ 01:00

… you get things like the massive and bizarre hairstyles of the nobility (and to be fair the rich bourgeois, but that’s because they aped the nobility) in France just before the French revolution.

As the industrial revolution and various other shifts (including truly disastrous harvests) robbed those whose income came from hereditary landholding of their ancient riches and prominence, even while the court demanded a complex set of “dancing attendance” for royal favor (A policy started and encouraged by Louis XIV in part to rob the nobility of wealth and prominence, not to mention keeping their minds off rebellion) the nobility felt insecure. The fact that its ranks were being penetrated by people from the bourgeoisie, who married their children or “simply” franked the nobility’s lavish lifestyles, made the nobles feel they were losing control. Even though rank remained a thing of birth, they were in fact, in the real world, losing rank.

The response were fashions so extravagant that they make us go “Wait, what?” and must have given people headaches.

You can see where wigs came from and were fashionable, in a society without running water and/or decent shampoos. It was easier to keep your hair ridiculously short and wear wigs, which is why they’ve been part of human fashion since ever.

But it took the French revolution to come up with wigs on armatures (or hair extensions, ditto) and hairstyles that incorporated ships and, at one point, bird cages with live, singing birds.

To look at drawings or read descriptions is to go “uh, what? who ever thought that was attractive?” and also “Boy their heads must have hurt”.

Yet the competition for the most elaborate and showy hairstyle, no matter how insane, did not stop until those heads fell to Madame Guillotine thereby stilling forever their status anxiety.

Sarah Hoyt, “Is That A Ship On Your Head?”, Libertarian Enterprise, 2019-09-01.

August 25, 2023

QotD: Passive-aggressive “fashion”

Filed under: Humour, Quotations — Tags: , , , — Nicholas @ 01:00

In places where half the population is the size of a beached whale, people dress in such a way that emphasizes rather than disguises or makes dignified their size. They love tight fits and bright shades — shocking pink and apple green, for example — as if challenging passersby to take notice of them and utter an insult, so that they can then feel aggrieved. In fact, it is they who are aggressive: They know both that one cannot fail to find them grotesque and that one is prevented by social convention and the desire to be polite from demonstrating either by word or facial expression that one finds them grotesque. It must be the same with the photos of themselves that they show. There is no physical exercise that can compare to that of holding one’s tongue.

This is why the doctrine of multiculturalism, far from making people behave better and more sensitively to the feelings of others, allows them to behave worse and less sensitively to the feelings of others. It is almost normal or instinctive human behaviour when in unfamiliar social surroundings to look around and see how other people are behaving, estimate what might offend them, and adjust one’s own conduct accordingly. Of course, one sometimes gets it wrong, but at least one tries. However, if multiculturalism is the demand that we accept the conduct of others, it is at least as much the demand that they accept our conduct, whatever it might be. And therefore there is no need for us to adjust it merely for their comfort.

Theodore Dalrymple, “Suit Yourselfie”, Taki’s Magazine, 2017-09-16.

June 7, 2022

QotD: Mens’ fashion in Europe versus the USA

Filed under: Europe, Quotations, USA — Tags: , — Nicholas @ 01:00

Men in Europe really like tight clothes. They really like suit jackets that are what Americas would see as a size too small. Even the portly guys have tight jackets and pants. The difference between Americans and Europeans is that the worst sin for a Euro is to be seen as boring, while the worst sin for an American is to be a phony. This shows up in men’s styles. European men look like they spent hours getting ready to go out, while American men want to look like they live in a house with no mirrors or hot water …

The Z Man, “Travelogue: Talinn”, The Z Blog, 2019-04-03.

March 31, 2022

How Did They Pee in Those Dresses? A Superficial History of Underwear

Filed under: Europe, History — Tags: , , — Nicholas @ 02:00

Bernadette Banner
Published 28 Nov 2020

*[2:19] In the English-written sources I’ve found so far. Unfortunately I can’t presently speak for primary accounts written in other languages.

FURTHER READING:
Portraits of ladies not wearing underwear but that I couldn’t include in the video for Proprietary Reasons, lol
Mid-18th century: https://commons.wikimedia.org/wiki/Fi…
Mid-18th c, “La Jupe Relevée” Francois Boucher https://p6.storage.canalblog.com/68/0…
Full analysis of the 15th century Lengberg Castle finds: https://www.academia.edu/27335143/The…
Extra special thanks to Izabela at Prior Attire for permission to use her demonstration video! She has also just put out a video discussing how Victorians dealt with needing to pee: https://www.youtube.com/watch?v=ED-wK…
Abby Cox on 18th Century periods: https://www.youtube.com/watch?v=iV2Tg…
Karolina Żebrowska on Victorian periods: https://www.youtube.com/watch?v=2d_QP…

Footnotes and image credits can be found at: http://www.bernadettebanner.co.uk/how…

Want to get started with hand sewing?
🧵
🕯Check out my Skillshare original course, “Hand Sewing Basics: Working Wonders with Fabric, Needle & Thread”. To sign up for a free trial and take the class, visit https://skl.sh/bernadettebanner1

This channel is made possible through the generous support of Patreon members. To become a patron, visit https://www.patreon.com/bernadettebanner (although videos will remain free for you here regardless).

Beyond YouTube:
IG @bernadettebanner http://www.instagram.com/bernadetteba…
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November 19, 2021

I Wore 18th-Century Clothing *Every Day for 5 YEARS & This Is What I Learned (Corsets Aren’t Bad!)

Filed under: History — Tags: , , , , — Nicholas @ 02:00

Abby Cox
Published 10 May 2020

I wore 18th-century women’s clothing, all day, 5 days a week, for 5 years of my life. Over those 5 years, I learned *a lot* about my body, fashion in the 1700s — the good and the not so good, and how we can take these lessons and improve modern fashion.

***Trigger Warning: I do talk about body image in this video (as a reflection of my own, long, long journey with my own body & how wearing historical clothing has given me a different perspective on body image) which may or may not be upsetting for some. ***

*Ok, so not “every day” but you get the idea…😉

💌Business Inquiries *ONLY* abbycox@semaphorebrands.com
(This email goes directly to my management and not to me.)

More Videos:

🎉🎉 Answering YOUR FAQs from THIS Video: https://youtu.be/SN3agbKZVP0
“Becoming an 18th-Century MEME LORD” https://youtu.be/a0pRE3uXWu8
“Historical Costumers and Their Hogwarts Houses” https://youtu.be/vxmRsc9Qj8M
Rachel Maksy – “Born in the Wrong Era” – https://www.youtube.com/watch?v=r5GAJ…

A lot of these photos of me were taken by the lovely Fred Blystone. You can see more of his photography here: https://www.facebook.com/groups/13664…

Also, @Edwardian Tailor (https://www.youtube.com/channel/UCBSf…)

We like to assume that the people in the past are “stupid” (it’s normal human behavior), and one of the ways that we, as a modern society, do this is by judging the past for their fashion trends and practices. We’ve been taught to demonize corsetry (or in this case, stays) for being restrictive and a tool of oppression towards women, and take pride in our culture of diet and exercise, without considering the issues that can be found in our body-obsessed culture. We praise jeans and a t-shirt, as being “comfortable” but the insecurities that so many of us have about our bodies are put on display in our 21st-century uniforms. We take for granted our modern homes, and how that has made us lazy in dressing for the seasons, resulting (in part) the loss of various types of textiles and weaving technology. I learned a lot over those 5 years, including how to indulge in an Indian Buffet while wearing my 18th-century stays, and I’m excited to share my insights with you. Also, can we just discuss how stupid modern underwear is?? 😉

Images Used:

*Summer Dresses, 1783, Object Number – J,5.139, Asset Number – 79588001 © The Trustees of the British Museum. https://www.britishmuseum.org/collect…

*Sheer Cottton Mull Italian Gown, 1780s, The Metropolitan Museum of Art, 17.107.6a, b, https://www.metmuseum.org/art/collect…

*Kofta, 1760s-90s, Nordiska Museet, NM.0186311, https://digitaltmuseum.se/01102369100…

*Women 1790-1799, Plate 052, Fashion Plate from August 1796, The Metropolitan Museum of Art Library Costume Institute Fashion Plate Collection, https://libmma.contentdm.oclc.org/dig…

*Robe a l’anglais c. 1780, The Metropolitan Museum of Art, 1982.291a, b, https://www.metmuseum.org/art/collect…

*Attributed to Isaac Cruikshank, Cestina Warehouse or Belly Piece Shop
April 16, 1793, The Metropolitan Museum of Art, 59.533.475 https://www.metmuseum.org/art/collect…

*Stays, The Metropolitan Museum of Art,
2009.300.3330a–d
https://www.metmuseum.org/art/collect…

*The Bum Shop, Attributed to R. Rushworth (British, active 1785–86), July 11 1785, The Metropolitan Museum of Art, 1970.541.12, https://www.metmuseum.org/art/collect…

*Chemise, 1780-1800s, The Metropolitan Museum of Art, 2005.368 https://www.metmuseum.org/art/collect…

*Corset, 1880s, The Metropolitan Museum of Art, 2009.300.3497a–c
https://www.metmuseum.org/art/collect…

——-

Music from Epidemic Sound:

“Gold Among the Sand”- Trevor Kowalski
“To Clarity” – Airae
“The Path to Innovation” – Airae
“Caffeinated and Motivated” – Airae
“Alice is on her Way” – Airae
“Cafe Laurent” – Medite
“In a Jiffy” – Moins Le Quartet
“Moonlight Night” – Gabriel Lucas

———

Instagrams: https://www.instagram.com/abbyelyn

From the comments:

Abby Cox
1 year ago (edited)

Hey Everyone! 👋🏻

Thank you all so much for taking the time to watch this video about my experience! I’ve noticed a lot of the same questions in the comments, so I want to take a minute to answer them here –
🎉UPDATE (Sept 27, 2020) – I’ve answered your questions about menstruation here: https://www.youtube.com/watch?v=iV2TgwjjhOE
🎉UPDATE (June 7, 2020) – I’ve taken the most commonly asked questions from the comments and have done a video to answer them! You can watch it here: https://youtu.be/SN3agbKZVP0

– My stays (18th-century term for a corset) are from https://redthreaded.com/ – they’re a fantastic historical corset company that I adore. (and for the couple of you trying to call me out – my 100% hand-sewn, me-made, reproduction stays are so worn out that they’re in retirement, and just because I can make stays by hand doesn’t mean I have the time. I’d also rather support a small business that I believe in.❤️Finally, the gown I’m wearing in this video was cut to go over those stays, but if you’d like to see my hand-sewn reproduction stays in action you can buy the book I co-wrote here: https://www.american-duchess.com/book/american-duchess-guide) ☺️

– While I haven’t gone down the menstruation research rabbit hole (cause it is its own subject of study) I am going to do my best with limited access to primary source documentation (which is what I really need to be able to answer this question) to produce a video about what 18th-century women would do. I don’t know when this will be, but I will do my absolute best to answer this question, and if I can do some experimental archeology in the process, I will. 😎 (ravenclaws gotta ravenclaw…)

– Thigh chafing – so I think that varies from person to person. I never really had a lot of issues with it (and my narrow hips mean that I will never have a thigh gap) because my linen shift would always kind of end up between my leg and absorb the sweat. However, I know a lot of costumers who will wear split-crotched drawers because they find it more comfortable, even though drawers weren’t a thing in the 18th-century.

Ok! I hope this helps answer some of your questions! Thank you all so much for watching and engaging in this video. I really can’t tell you all how much I appreciate it! ❤️

August 10, 2021

Art Deco in the 1920s

Filed under: Architecture, France, History, Media, USA — Tags: , , , , — Nicholas @ 02:00

The1920sChannel
Published 1 Nov 2019

The aesthetic of the 1920s was certainly unique and instantly recognizable. For those of us (me included) who don’t know much about art, it’s difficult to pinpoint the characteristics. The most important art movement of the ’20 was Art Deco. So here’s a closer, though unprofessional, look at 1920s aesthetic.

May 19, 2021

Why Did We Stop Wearing Hats?

Filed under: Europe, History, USA — Tags: , , , — Nicholas @ 02:00

Karolina Żebrowska
Published 28 Apr 2020

should we bring hats back? what do you think?
_____________
My Instagram: https://bit.ly/2Qo9rrI​
My nudes: https://bit.ly/2UHHY6N​
My merch: bit.ly/2CCq5jE

November 24, 2020

The History of Fabric Is the History of Civilization

Filed under: Americas, Books, Economics, Europe, History, India — Tags: , , , , — Nicholas @ 04:00

ReasonTV
Published 23 Nov 2020

Virginia Postrel’s new book explores economics, politics, and technology through textiles.

——————
Full text and links: https://reason.com/video/2020/11/23/t…

Follow us on Twitter: https://twitter.com/reason

Reason is the planet’s leading source of news, politics, and culture from a libertarian perspective. Go to reason.com for a point of view you won’t get from legacy media and old left-right opinion magazines.
—————-

The Fabric of Civilization: How Textiles Made the World, a new book by former Reason editor in chief Virginia Postrel, is a rich, endlessly fascinating history of the remarkable luck, invention, and innovation that made our fabric-rich world possible.

The book aims to make the mundane miraculous. Consider cotton. Most of the cotton we grow today is descended in part from a plant species that evolved in Africa and somehow got over to what is now Peru, where it mixed with New World strains.

“The fact that we have cotton at all, that it exists anywhere, is amazing,” says Postrel. “It happened long before there were human beings, but much more recently than when the continents were together. So we don’t know. It could have gotten caught up in a hurricane. It could have floated on a piece of pumice. So it’s this random, very unlikely happening that had tremendous world-changing consequences.”

The story of textiles is rife with attempts at protectionism and prohibition. In 17th and 18th century Europe, countries banned the importation of super-soft, super-colorful cotton prints from India known as calicos because they threatened domestic producers of everything from lower-quality cotton fabric to luxury silks. “For 73 years, France treated calico the way the U.S. treats cocaine,” Postrel says. “There was this huge amount of smuggling, and they were constantly ratcheting up the penalties [so] that they got quite grotesque, at least for the major traffic.” Some of “the earliest writings of classical liberalism are in this context, people saying not only is this not working, but … it is unjust to be sentencing people to the galleys in order to protect silk makers’ profits.”

Postrel also documents how the Luddites, the 19th century English textile workers famous for smashing the power looms threatening to put them out of work, owed their jobs to an earlier technological breakthrough: the spinning machines that emerged in the late 1700s.

“If you go back to that earlier period, when spinning machines were introduced, the same thing happened,” she says. “They had their own period of rebelling against the new technologies and saying they’re putting people out of work.”

The book also upends some contemporary myths, such as the claim that commercial production of hemp for clothing was a casualty of the war on drugs. “Hemp historically was a very coarse kind of fabric for poor people who didn’t have an alternative,” says Postrel. “It was replaced by cotton for good reasons. Cotton was also affordable, but it was soft and washable and just a much better fabric.”

“Human beings live in history and we inherit the legacies, positive and negative, of that history,” says Postrel, whose previous books include The Power of Glamour, The Substance of Style, and The Future and Its Enemies. Discussing the large themes of her work she says, “All you can do is start from where you are and try to do better from where you are.”

Narrated by Nick Gillespie. Edited by Isaac Reese.

Music: “Thoughts,” by ANBR

Photos: World History Archive/Newscom; The Print Collector Heritage Images/Newsroom; The “Réale” returning to port, Med/CC BY-SA 3.0; Smithsonian National Museum of African American History and Culture/CC0; Battle of Grand Port, Rama/Wikimedia Commons/CC BY-SA 2.0 FR; Fine Art Images Heritage Images/Newscom; Seton, M., Müller, R., Zahirovic, S., Gaina, C., Torsvik, T., Shephard, G., Talsma, A., Gurnis, M., Turner, M., Maus, S., and Chandler, M., 2012, Global continental and ocean basin reconstructions since 200 Ma: Earth-Science Reviews, v. 113, no. 3-4, p. 212-270

October 14, 2020

“For Generation Z — roughly speaking, those born between 1995 and 2010 — ‘flattering’ is becoming a new F-word”

Filed under: Britain — Tags: , , , , — Nicholas @ 03:00

Hannah Betts explains why it’s now somewhere between awkward and mortally offensive to use the word “flattering” to or about a member of Gen Z:

Why do we wear clothes? The mundane answer runs “for protection against the elements”, pointing to the succession of Ice Ages to which homo sapiens was subjected, forced to borrow fur from more hirsute species.

Well, up to a point, Lord Copper. The ancient civilisations that grew up in the fertile valleys of the Euphrates, the Nile and the Indus, were more tropical than a Wham! video, and clearly using their outfits to signify status, occupational, sex and gender differentiation.

Some may even have wanted to be regarded as individuals — despite we modern types imagining we invented all that — cutting a dash with a tufted Mesopotamian fringe here, or supple Egyptian weave there.

I raise the question because the issue of why we dress is feeling modish again, and not merely because the great grounding brought about by Covid has made comfort king.

The costumes of both genders had been heading in this direction already — what with normcore, athleezure, and the lemming-like “casualisation”. But, I’m talking about something else here, a resistance to the at-one-time uncontroversial notion of what is “flattering”, a term now considered oppressive by the young.

To quote the Guardian‘s Jess Cartner-Morley, never backward about coming forward in identifying a zeitgeist moment: “For Generation Z — roughly speaking, those born between 1995 and 2010 — ‘flattering’ is becoming a new F-word.

“To compliment a woman on her ‘flattering’ dress is passive-aggressive body-policing, sneaked into our consciousness in a Trojan horse of sisterly helpfulness. It is a euphemism for fat-shaming, a sniper attack slyly targeting our hidden vulnerabilities. ‘Flattering’, in other words, is cancelled.”

November 25, 2019

Historical hats

Filed under: Europe, History, USA — Tags: , , — Nicholas @ 06:00

Lindybeige
Published 4 Mar 2015

Support me on Patreon: https://www.patreon.com/Lindybeige
More videos here: https://www.youtube.com/playlist?list…

There were so many types of hat in the past, and yet it turns out that many of them were actually the same.

Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.

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September 5, 2019

QotD: Fashion

Filed under: Humour, Quotations, Randomness, USA — Tags: , , , — Nicholas @ 01:00

Sometimes I fear we are on the cusp of another age du merde again — a catastrophic meltdown in taste not seen since the 70s. I check the weekly catalogs with mounting dread. This week’s report: Furniture is in good shape. Appliances have survived the iMac wannabee phase. Men’s fashions are reasonably dull, as usual. Woman, as it often happens, are screwed:

[… image from Marshall Fields catalogue …]

Ponchos. Good God. Ponchos. And what’s with this blonde’s hair? How many My Little Ponys did they kill to make this wig?

[…]

God forbid our children should ever be happy. Not when they can have ATTITUDE, which is what we all really want from our kids.

[… image of sneering, posturing child models …]

Charming. Remember: Fashion means never having to say you’re happy. From Dutch supermodels to haughty tykes, the watchword from Dame Fashion is “pissed.” Now put on your poncho and radiate sullen blankness.

James Lileks, “The Bleat”, 2004-08-17 (Reposted from the old blog).

Note: Jon mentioned that he looked at the images in Lileks’ article and at first thought they were actual 1970s catalogue photos, but in that dreckful decade, the models would have been smiling. A valid point, I think, and one of the issues Lileks has with the current fashion industry. Nowadays, you can’t be a fashion model without the kind of surly attitude best expressed by thugs and angry bar patrons after last call.

August 26, 2019

QotD: Princesses

Filed under: Humour, Media, Quotations — Tags: , , , , , — Nicholas @ 01:00

[Princesses] think of themselves as Strong, Independent Women, even while saying “I like a man to open doors and pay for everything — and treat me like a princess!” No, dear, if a man opens doors for you he’s treating you like a simpleton and if he pays for everything, he’s treating you like a hooker. (The crossover between the princess look and the hooker look, as the late Barbara Cartland grotesquely illustrated, is considerable.) And it’s a man knowing that you can be bought with a dinner and a pair of shoes which leads to him so frequently mugging you off — royally — in favour of a better bargain. Back on the pink plastic shelf you go!

How do you spot a Princess? She’ll be keen on pampering to an extent which indicates to the casual onlooker that her natural self must be extraordinarily rank if it takes such effort and expense to keep in check. (Princesses shouldn’t be confused with Professional Beauties, most of whom retain a healthy contempt for the business of exchanging physical gifts for fiscal rewards, from Hedy Lamarr saying “Any girl can be glamorous — all you have to do is stand still and look stupid” to the catwalk models who invariably live in jeans and sneakers after shrugging off the stupid clothes which Princesses pine for.)

The Princess believes that retail therapy is the answer to everything, even though the rest of us avert our eyes from this most obvious manifestation of the essential hollowness of a life that an over-enthusiasm for clothes-shopping invariably indicates in anyone out of their teens. They’ll have long nails, ostensibly to show that they’re ladies of leisure, but signalling to the rest of us that they’re very likely parasites with low sex-drives. They like big weddings — and as a liking for big weddings often goes hand in hand with humourlessness, they often have very short marriages. They are in short practitioners of the Violet Elizabeth Bott school of feminism – less about equal rights and fulfilling one’s potential than about stamping your foot till you get what you want.

They dislike men, seeing them not as flesh-and-blood people so much as platinum-and-titanium meal-tickets, and they mistrust women, seeing them as competition. An ageing Princess is more than likely to end up lonely — and with no life of the mind to comfort her, this loneliness may make her mentally addled at a comparatively young age. Once the sheen is off her skin, the Princess has nothing that would make one seek her out; like a lot of people over-keen on spangles and glitter, they are at heart rather drab people — drains not radiators, personality-wise — who never make things happen or drive things forward but rather wait to be rescued. They tend to find themselves eternally in the passenger seat of their life’s journey, stranded on the hard shoulder with their souvenirs, waiting in vain for hunky help to arrive.

Julie Burchill, “The Princess generation needs to grow up”, The Spectator, 2017-07-18.

June 22, 2018

What the well-dressed politician shouldn’t be wearing

Filed under: Media, Politics, USA — Tags: , , , — Nicholas @ 05:00

Ann Althouse reacts to a New York Times article on what clothes “say” about the wearer:

I clicked on that title because I thought it was going to say that it’s a mistake for female candidates to wear pants (in any form) rather than a skirt/dress (of some kind). But the article lumped skirted suits and pantsuits together.

To my eye, women in pants look less dressed up than a man in a standard business suit, and I don’t think women should put themselves at that disadvantage, especially since pantsuits look sloppier on a woman’s body than a business suit on a man’s body.

I don’t mean to insult women by saying that, but women’s bodies are (generally) shaped differently than men’s and women’s pants are (generally) fitted differently from men’s suit pants. Men’s suit pants do not hug the legs or crotch, so they completely deflect attention away from the lower body. Men’s suits bring us right up to the shoulders — the idealized shoulders — and and then, via shirt and tie, aim us straight at the face.

Women’s pantsuits are more fitted in the leg and use color in a way that draws the eye downward, and they often do things with the jacket — such as making it very long — to cover up what’s happening down there in the legs. But then the jacket is distracting.

In the 2016 campaign, Hillary Clinton’s jackets were flat-out weird, with perplexing patch pockets. In fact, I don’t like Vanessa Friedman’s reference to the “Elizabeth Warren/Hillary Clinton/Kirsten Gillibrand mold,” because Warren and Gillibrand wear very low-key things and Hillary Clinton launched into clothes that we struggled to understand, that got compared to loungewear or sci-fi costumery.

I don’t really know what the best answer is. It depends on the individual. But you’re asking to be trusted with responsibility, not to be enjoyed as a pop star or fashion maven. You don’t want to look as though you’re seeking power for purpose of expressing your individuality.

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