I love work that searches for the tension, not necessarily the Why Of Is Conformity-A-Fundamental-Feature of the Fantastique, but Where Is All The Status-Quo-Malaise I Am So Used Seeing In Both Fashion and Film.

So ubiquitous. Heuristic. Rare. Conflicted.

Look under this rock. Look over here at what they are wearing and how is that a reflection of anyone’s humanity or not. Is a giant rolling avocado absurd.

No one is waiting for Godot to find out. The review is far more interesting than what is being reviewed.

The examination is of us.

Fashion and the Socratic method is a studious exploration that is long overdue. I never thought to find it in the New York Times.

Which is exactly where it belongs. It flogs gossip with a whip.

To probe culture itself is the writer who wants more meat thrown her way. Obviously, she can handle it. So let her handle it. Ultimately, fashion is about the morbid, the mystical, and the misbehaved whether it sells candy canes or not.

Money is ephemeral as is fashion as are we.

As one crawls through the disarray of polemic, it gets dangerous when we as writers begin to look straightforwardly at the question: Why Are We Here. We might find out that we are not here. Or we might find out that we are only here in juxtaposition to what Other People see. That is the rhetoric that fashion listens to. It is agreement. The agreement that we can recognize the superficial constructs that makes The Other human. Film will follow you anywhere.