A Quote by James Laver
Every style seems completely appropriate to its epoch. We cannot imagine Madame de Pompadour, or the Empress Josephine, or the early Victorian lady in anything but the clothes she actually wore. Each represents completely the ideals of her time: elegant artificiality or post-Revolutionary morals, or the prudery of the rising middle class.
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I actually grew fond of her in a nastily superior kind of way. For she was so completely artless and optimistic and clueless, she didn't care that she smelled bad or was fat or wore clothes unlike everyone else's, she had some weird disconnect with life that kept her constantly bubbling, and you knew she would go blithely through her long horribly boring life thinking every thing was just swell (the opposite of me).
The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.
My mother was a very natural woman. She never spoiled herself, never wore make-up, and wore modest jewellery, but she always had a few special items for when she wanted to feel like a lady. One of those special items - and I remember it because it seemed so elegant - was her Guerlain powder.
My childhood is completely... when I look back, it was '50s in New York, upper-middle class, it was completely idyllic and golden and wonderful - sweet in every way.
I grew up in a working class neighborhood in Sweden, which, during my teens, gentrified and is now completely middle class and even upper middle class.
...and every Wednesday the perfumed young lady slips me a hundred-crown note to leave her alone with the convict. And by Thursday the hundred crowns are already gone in so much beer. And when the visiting hour is over, the young lady comes out with the stink of jail in her elegant clothes; and the prisoner goes back to his cell with the lady's perfume in his jailbird's suit. And I'm left with the smell of beer. Life is nothing but trading smells.
I am struck again by the fact that as soon as a working man gets an official post in the Trade Union or goes into Labour politics, he becomes middle-class whether he will or no. ie. by fighting against the bourgeoisie he becomes a bourgeois. The fact is that you cannot help living in the manner appropriate and developing the ideology appropriate to your income.
I think my mum was really very ahead of her time. She wore very little makeup. She really explored the way that she wore clothes in a very honest way. She wore a lot of vintage stuff and mixed it with bespoke men's tailoring and things like that. That was a huge influence on me, seeing a woman in the spotlight carry herself in that kind of way. But mostly, for me, it was just that she was an incredibly honest and sort of natural person.
I've been thinking a lot about Lady Gaga and what she means for feminism. I think - I find her completely fascinating, and I really like what she has to say.
Margaret Thatcher has one great advantage - she is a daughter of the people and looks trim, as the daughter of the people desire to be. Shirley Williams has such an advantage over her because she's a member of the upper-middle class and can achieve the kitchen-sink revolutionary look that one cannot get unless one has been to a really good school.
I'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.
Yoko [Ono] was well into liberation before I met her. She'd had to fight her way through a man's world - the art world is completely dominated by men - so she was full of revolutionary zeal when we met.
It was completely impossible to box with her. She had only one style, which we called Terminator Mode. She would try to nail her opponent, and it didn’t matter if it was just a warm-up of friendly sparring.
A completely indifferent attitude toward clothes in women seems to me to be an admission of inferiority, of perverseness, or of alack of realization of her place in the world as a woman. Or--what is even more hopeless and pathetic--it's an admission that she has given up, that she is beaten, and refuses longer to stand up to the world.
I used to like Lady Gaga. I still love her. But what I like about LMFAO is that they're completely outside of the box; they're completely different. They're not ridiculous, but they are not afraid of it. And also, it's a certain type of artistry.
I really, really like Nicole Richie, and the only reason why I always bring her up is because I'm impressed with her style evolution. This is someone that came onto the scene that people didn't necessarily view as a style icon, and she completely switched up the game. And I like how she takes risks with fashion.
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