Month: November 2019

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Debunking Billionaire Claims of Heroic Capitalism

November 8, 2019 | News | No Comments

In the future, people will probably continue to marvel at how creatures with tiny brains once stalked the Earth unchallenged.

For now, however, billionaires reign supreme, with only a small stirring of dissent, led by the impressive U.S. congresswoman Alexandria Ocasio-Cortez, or AOC.

Still, that small stirring is noteworthy. It could catch on.

The notion that it is somehow legitimate for a tiny group of humans to cordon off the bulk of the world’s bounty for themselves — leaving billions of people begging on the street or scrounging through garbage dumps — is fairly astonishing, on the face of it.

The unfairness is compounded by the fact there’s no evidence billionaires are particularly smart or talented, given that some 60 to 70 per cent of them inherited their wealth, according to the French economist Thomas Piketty.

Today’s extreme concentration of wealth is so palpably unfair — the richest 26 individuals have as much wealth as the poorest half of humanity — that it cries out for a powerful justification.

Mega-billionaire Bill Gates seemed to produce a pretty powerful justification last month at the annual elite gathering in Davos — a spectacular infographic showing that the world poverty rate had plummeted over the past two centuries, from 94 per cent to just 10 per cent today.

This stunning finding, developed by economist Max Roser of Our World in Data, certainly casts billionaires in a more sympathetic light, as mere byproducts of an economic system that has significantly helped the world’s people, lifting most of humanity out of poverty.

The finding has been keenly promoted by the Davos crowd as well as by high-profile commentators like New York Times columnist Nicholas Kristof.

An upbeat Gates tweeted the infographic to his 46 million followers, adding: “A lot of people underestimate just how much life has improved over the past two centuries.”

Easy for him to say. In fact, the claim that life has improved for most people collapses pretty quickly under scrutiny.

Jason Hickel, an anthropologist at the London School of Economics, points out that poverty data before 1981 is sketchy, and data going as far back as the 1820s is meaningless. That’s because in earlier times, most people lived in subsistence economies; they had little or no money but had access to the rich natural resources of the common lands.

But over time people were forced off the land by wealthy interests, and obliged to work for wages in mines and factories. Hickel notes that “the new income people earned from wages didn’t come anywhere close to compensating for their loss of land and resources.”

In other words, far from being a great boon, the arrival of modern capitalism has resulted in vast numbers of people being forced to give up a self-supporting existence and ending up as impoverished labourers, often malnourished and housed in grim, toiletless shacks.

(Some 2.4 billion people lack a decent toilet, according to the World Health Organization.)

Even in the four decades since 1981, there’s been no decline in global poverty, Hickel insists. On the contrary, he says if we use a more meaningful poverty measure — $7.40 U.S. a day, rather than the absurdly low $1.90 U.S. a day used by Roser — the number of people living in poverty has dramatically increased, to 4.2 billion today, more than half the world’s population.

The real story of today’s global capitalism is better captured by Piketty. In his epic 577-page treatise, Capital in the Twenty-First Century, he makes the case that capitalism leads to ever-increasing inequality.

Depressing as Piketty’s case is, it also includes a ray of hope. He notes that an exception occurred in the period following the Second World War (1945 to 1975) when equality actually increased. This was particularly true in the Anglo-American countries, largely due to the very progressive tax systems enacted by governments, notably in the Anglo-American countries, including Canada.

So the campaign stirred up by AOC — calling for a tax system similar to the early postwar years — could actually make a difference, if the public started paying attention.

Certainly, billionaire claims about capitalism heroically lifting humankind out of poverty turn out to be easily debunked. Imagine if that news got out.

 

Linda McQuaig is an author, journalist, and former NDP candidate for Toronto Centre in the Canadian federal election. She is also the author (with Neil Brooks) of Billionaires’ Ball: Gluttony and Hubris in an Age of Epic Inequality, published by Beacon Press.

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New research released Thursday revealed that ice sheets in Antarctica are thinning even more rapidly than scientists previously believed, with ice melting at five times the rate it did in the 1990s.

“Seems like humans are genuinely getting close to unlocking the “Make Earth Unlivable” achievement in their species career. Big come down from the moon landing.” —Murtaza Mohammad Hussain, journalist

Some areas, researchers at Leeds University in the U.K. reported, are now about 328 feet (100 meters) thinner than they were less than three decades ago—putting the planet in danger of a major sea level rise which could wipe out coastal cities.

The study, published in Geophysical Research Letters, also detailed how scientists are accustomed to observing such changes in glaciers over geological time periods—not portions of people’s lifetimes.

“From a standing start in the 1990s, thinning has spread inland progressively over the past 25 years—that is rapid in glaciological terms,” lead author Andy Shepherd told The Guardian. “The speed of drawing down ice from an ice sheet used to be spoken of in geological timescales, but that has now been replaced by people’s lifetimes.”

The phenomenon was described by one observer as “the shallowing of deep time” on social media.

Much of the ice loss is taking place in the West Antarctic ice sheet, a quarter of which is now considered “unstable” by scientists. The loss of the entire ice sheet would mean a global sea level rise of about 16 feet—wiping out coastal cities around the world.

“Seems like humans are genuinely getting close to unlocking the ‘Make Earth Unlivable’ achievement in their species career,” wrote Intercept journalist Murtaza Mohammad Hussain in response to the research.

The study was completed by comparing weather data and hundreds of millions of satellite measurements taken between 1992 and 2017.

In Europe, ahead of Parliament elections in which voters across the continent will go to the polls later this month, members of the European Green Party pointed to the study as the latest evidence that voters should support candidates with concrete plans to combat the climate crisis by sharply reducing global reliance on fossil fuels and shifting toward renewable energy sources.

“We need urgent international policy to immediately address the ecological and climate emergency,” tweeted Amelia Womack, deputy leader of the Green Party in Britain.

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In a move critics condemned as “embarrassing nepotism,” right-wing Brazilian President Jair Bolsonaro on Thursday appointed his son Eduardo to serve as ambassador to the United States.

“It would be obvious how idiotic this is if we didn’t have our own nepotism problem. Nepotism is corrupt and dumb.”
—Walter Shaub, former U.S. ethics official

Though the appointment still needs approval from Brazil’s Federal Senate Foreign Relations Committee and a confirmation vote by all members of the upper house, Eduardo has said he would resign from his current post in the lower house of the country’s National Congress to serve as ambassador. As Eduardo put it, according to Reuters, “If it is a mission given by the president, I would accept.”

Even before the appointment, Eduardo was “dubbed Brazil’s ‘shadow foreign minister’ at the Brazilian foreign ministry because of the strong influence he has on his father’s foreign policy ideas,” BBC News reported Friday.

In March, the Brazilian president brought Eduardo along for a trip to D.C. for his first bilateral meeting with U.S. President Donald Trump. Eduardo, Al Jazeera noted in its reporting on his appointment, “sat by his father during an Oval Office chat while Brazil’s foreign minister and ambassador in Washington were nowhere to be seen.” During the March trip, as Common Dreams reported at the time, the Bolsonaros also made an unannounced visit to CIA headquarters, nearly 55 years after the U.S. spy agency backed a coup d’état that overthrew their country’s democratically-elected government.

Jair Bolsonaro has spent years in Brazilian politics celebrating the military dictatorship that followed the 1964 coup and fostering a reputation as a fascist, misogynist, racist, and homophobe. He ascended to the presidency in January and was welcomed by the Trump administration. Bolsonaro defended his decision to offer the ambassadorship to his son by touting Eduardo’s relationship with Trump’s offspring.

“He is a friend of the children of Donald Trump, speaks English and Spanish, and has great global experience. He would be able to convey our message perfectly,” the Brazilian president told local media, according to Financial Times.

Donald Trump’s daughter Ivanka and her husband, Jared Kushner, both currently serve as advisers to the U.S. president. Donald Trump Jr. was a key member of his father’s 2016 presidential campaign and now runs the Trump Organization with his brother Eric. Ivanka recently elicited global ridicule after a viral video from the G20 summit showed her awkwardly attempting to join a conversation of world leaders.

Responding to the news of Eduardo Bolsonaro’s pending new job, Walter Shaub, who resigned as director of the Office of Government Ethics in 2017 over clashes with the Trump administration, wrote on Twitter Friday that “it would be obvious how idiotic this is if we didn’t have our own nepotism problem. Nepotism is corrupt and dumb.”

Washington Post columnist and University College London politics professor Brian Klaas tweeted that it’s “only a matter of time now before the son of Brazil’s wannabe despot has an official meeting with the daughter of America’s wannabe despot.”

The appointment also provoked a response from Glenn Greenwald, an American journalist who lives in Brazil with his husband—David Miranda, a member of Brazil’s National Congress—and children. Greenwald, on Twitter, pointed to a Guardian report from a few years ago about Eduardo honoring the general responsible for the 1964 coup in a congressional speech.

Greenwald is a long-time critic of Jair Bolsonaro and has challenged the Western media narrative that Brazil’s president is the Trump of the Tropics—arguing, as Common Dreams has previously reported, “that Bolsonaro poses a far graver danger to basic human rights and democracy.”

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Since The Intercept—of which Greenwald is a co-founder—began reporting last month on a massive trove of leaked documents that exposed the “politicized prosecution” and imprisonment of former Brazilian President Luiz Inácio Lula da Silva, Greenwald has faced threats of violence and deportation as well as an investigation of his finances that critics called “a blatant attempt by Brazilian officials to intimidate—or worse.”

If you’re having a bad day, we have news that will almost certainly turn it around: Beyoncé and Ed Sheeran collaborated on a new song duet!

Kevin Mazur/WireImage

The two music powerhouses will be teaming up to take on a remix of Sheeran’s song “Perfect” together, and “perfect” could not be the better word to describe the situation.

The new single is out now, and it’s even better than we thought it would be. 

Sheeran announced the news via Instagram and fans, understandably, went wild.

Another great part of this partnership? “Perfect” is a love song and so the lyrics are super sweet:

RELATED: Ed Sheeran Just Addressed the Theory That Taylor Swift’s Song “Dress” Is About Him

All of the excitement surrounding Beyoncé and Sheeran’s take on the song was definitely well warranted. Listen to their version now, and may we suggest just putting it on repeat? Yes, it’s that good.

Thanks Bey and Ed, you made our week!

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8th Nov 2019

Ahead of Remembrance Day on November 11, the Duchess of Sussex and the Duchess of Cambridge made respective royal appearances at Westminster Abbey and St Martin-in-the Fields, coordinating their looks despite the different occasions.

To attend the Field of Remembrance service at Westminster Abbey, Meghan Markle elected to wear a Sentaler midnight blue coat from the brand’s autumn/winter ‘15/’16 collection. And, to accent the look, she matched the coat to a fascinator in the same dark hue by master milliner Philip Treacy, which juxtaposed the Remembrance Poppy affixed to her coat in a neat contrast.

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Meanwhile, at the launch of the National Emergencies Trust that same day, Kate Middleton wore a designer royal favourite – a belted dress by Emilia Wickstead – in a royal blue shade, which she teamed with earrings from Princess Diana’s personal collection and a Remembrance Poppy brooch. To accessorise, Middleton rounded out the clean and polished look with a black envelope-style clutch bag and classic patent black heels, adhering to her minimal yet elegant personal style as per usual.

Their respective outings mark the beginning of a series of events that will commemorate those members of the armed forces who died fighting in World War One over the next few days. Both royals, alongside Prince William and Prince Harry, are set to come together at the Festival of Remembrance and Remembrance Day Services unfolding this Saturday and Sunday.

And, though it may just be a royal coincidence, it’s interesting to hark back to the Remembrance Day service held at Westminster Abbey in 2018, where Markle arrived in a navy, double-breasted, belted dress not dissimilar to the version Middleton stepped out in yesterday. While fans can deliberate who wore it better, we propose this investigation instead: is Middleton taking style cues from Markle?

Terri Wasserman and Sam Benda met through mutual friends in November of 2013. It’s a love tale as old as time, the bringing together of two people who know and love them most—a relationship origin story which, over time, saw the development of true and deep feelings leading to a commitment to spend the rest of their lives with each other. 

And on May 11, 2018, their romantic fate was sealed with Sam’s proposal. “He set up our apartment with candles and flowers,” Terri told Vogue. “As I walked in from a long day of work, he was down on one knee. He had organised a big family dinner with all of our immediate family to celebrate.”

From the moment Terri said yes, the wedding planning began, selecting December 27 of that very same year to tie the knot, a date which was purposely chosen for the relaxed, holiday state of mind common to that time of year. 

With the aid of wedding planner Benita Kam—who also happens to be Terri’s mother—the couple planned a wedding true to the Jewish religion that both the bride and groom share, but with a modern Australian twist. 

Selecting The Venue for their ceremony and reception, the blank canvas of the expansive Alexandria space allowed Benita to create a personalised environment for the couple on their day of days, using works by local artists loved by both Terri and Sam as her key source of inspiration. 

Scroll through to go inside the couple’s big day. 

In accordance with Jewish wedding tradition, which asks that the bride and groom spend the seven days prior to their wedding apart, Terri and Sam hadn’t seen each other for a week prior to their nuptials, organising separate pre-wedding get-togethers with family and friends who had travelled interstate and overseas for the occasion.

On the morning of their big day, the bride and groom spent the lead-up to their wedding engaging in their own pre-ceremony rituals. For Terri, that meant watching the classic ‘80s film before getting ready with her sisters and close friends. And for Sam, an ocean swim with his and Terri’s father, his brothers and close friends was the perfect primer for the day ahead.

Enlisting the help of Australian bridal designer, Steven Khalil, to design her couture gown, Terri had a specific silhouette in mind, wanting something that wasn’t too tight and wouldn’t restrict her ability to dance all night long.

Terri’s custom gown featured a corseted bodice covered in intricate beadwork which continued on to the dress’s tulle A-line skirt.

The gown was also embellished with nature-inspired lace appliqué, the very same finish reflected in Terri’s cathedral veil and within the wedding reception’s décor.

Terri topped her bridal wares off with her ‘something borrowed’—a brooch of her late grandmother’s which she had sewn into her dress—as well as a Tiffany and Co. diamond T bracelet and earrings from her mother.

Sam wore his favourite suiting brand, Canali, from head-to-toe having always known he’d want to wear one of their classic suits on his big day. The groom opted for a bow tie in place of a traditional tie, and wore a Rolex watch bought for him by Terri as a wedding present as his key accessory.

Prior to the ceremony, Sam, his father and his groomsmen along with the rabbi made their way to Terri’s mother’s home for the traditional bedeken ceremony, where the groom saw his bride-to-be for the first time in seven days—a moment that proved to be the most memorable of the day for both the bride and groom.

Momentarily removing Terri’s veil to check she is indeed his bride, as tradition dictates, Sam placed it back on before they both made their way to the Royal Botanical Garden Sydney for their wedding photographs.

Terri had her two sisters, as well as Sam’s sister, by her side as her bridesmaids. Each wearing white, Terri wanted her bridesmaids to find dresses they loved and that they felt comfortable with. “I have been a bridesmaid seven times and I know how important it is to love what you are wearing,” Terri told , adding that her bridesmaids looked to Toni Maticevski, Sass and Bide and Dion Lee for their own dresses.

Sam asked Terri’s brother, along with two of his closest friends to be his groomsmen. 

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Sam and Terri’s first moments as husband and wife.

The bride and groom enjoying a few moments alone before their spectacular reception.

The natural landscape that provided the backdrop for their picturesque wedding portraits could not have been more in tune with the wedding’s theme.

Following their wedding photographs, Terri and Sam, along with their bridal party and guests made their way to The Venue in Alexandria for the ceremony and the reception that followed. “We chose The Venue as it is one of the newest warehouse-type venues in Sydney where you can take an empty canvas and create whatever you want in it,” explained Terri.

Inspired by the works of a local artist, who heroes abstract nature and colours in one particular piece that Terri and Sam actually bought for their own apartment, their reception décor borrowed many elements reflected in the art work. 

The artwork’s motifs were recreated in the form of bursts of floral within and around the chuppah, under which the ceremony traditionally takes place.

An abundance of blooms, created by Mr Cook and Ria Floral, also topped each of the guest tables, with pastel-hued hydrangeas starring as the heroes of each table arrangement, including the centrepieces. 

Florals were also weaved within the venue’s lighting. “We love beautiful flowers so we made sure that they were everywhere,” said Terri.

The breath-taking centrepieces up close.

For their post-ceremony meal, Terri and Sam flew famed Israeli chef Barak from Burek Restaurant in Tel Aviv, to Sydney to design their reception menu.

In place of a wedding cake, the bride and groom also had Barak and his team create a six-metre dessert table in front of them and their guests on the dance floor, the theatrical moment choreographed to music. “I think this was a highlight for all the guests as well,” Terri said of Barak’s signature dish-cum-performance.

On the evening following their wedding day, Terri and Sam hosted a dinner at Zest in Point Piper for all their overseas guests and close family, an evening which also provided one of the bride and groom’s wedding highlights: “Sam’s grandmother, who is 86, stole the show by getting up and unexpectedly roasting everyone at the night after the wedding event,” recalled Terri.

Following their celebrations, a newly-married Terri and Sam embarked on a romantic six-week European honeymoon through Israel, Greece and Italy; a trip that was bookended by two of their friends destination weddings.

Terri’s advice for brides and grooms-to-be? “Savour the moments, take it all in—as it all goes too fast and before you look around, it is over.”

The 100 most memorable Met Gala gowns of all time

November 8, 2019 | News | No Comments

There’s no red carpet quite like the Metropolitan Museum of Art’s Costume Institute Gala, or Met Gala; the culmination of celebrity, designers and fashion fantasy, it’s the most iconic carpet of them all. No arguments.

Since its inception in 1948, the gala, which is held to benefit the museum’s Anna Wintour Costume Center and officially open the annual exhibit put on by the institute, has evolved into the biggest fashion spectacle of the year, in which models, designers and the crème de la crème of Hollywood attempt to outdo each other and themselves year after year.

Above, Doutzen Kroes in Giambattista Valli, 2019

Every memorable theme challenges attendees to bring their A-game and undoubtedly has all guests chanting, ‘What Would Anna Do?’ for months leading up to the big night. Memorable themes of the past include 2008’s Superheroes: Fashion and Fantasy and 2018’s Heavenly Bodies: Fashion and the Catholic Imagination – which guests can take quietly literally (Pope Rihanna, anyone?) or approach with creative license.

Above, Kate Moss in Marc Jacobs with the designer, 2009

Some attendees inevitably play it safe on the first Monday in May but those that don’t have earnt themselves a place in the Met Gala Hall of Fame for their daring and delicious on-theme looks.

Safety certainly doesn’t disqualify guests from making Vogue Australia’s list of the 100 most memorable Met Gala gowns of all time. Take Rihanna for example, whose 2014 white two-piece Stella McCartney number with diamond choker for the opening of the Charles James: Beyond Fashion exhibit, was a triumph in simplicity and sex appeal. Fast forward to 2015 however and Rihanna stepped out on to the Met red carpet in a golden yellow empress cape from Chinese designer Guo Pei (above) which reportedly weighs 25 kgs and features a 16ft train and over 50,000 hours’ worth of hand embroidery that required the help of multiple men to manoeuver.

The piece reportedly took two years to make but took only seconds to transform Rihanna from well-dressed pop icon into a fashion authority. The meme-worthy gown garnered attention across the globe boosting the Met Gala’s profile as well as Rihanna’s. Now, Riri, it appears, makes it her mission to blow us away with her ensembles stepping out in a bubbly red Comme des Garçons look in 2017 (Rei Kawakubo/Comme des Garçons: Art of the In-Between) and her aforementioned papal power move in 2018.

It’s not just Rihanna the crowds eagerly await on the red carpet though. Sarah Jessica Parker consistently turns heads on the carpet and is sorely missed when she skips the event. A particularly triumphant move was her tartan Alexander McQueen gown in 2006, an especially potent moment given the actor took the designer as her date in matching plaid and both were so perfectly on theme for the AngloMania: Tradition and Transgression in British Fashion exhibit.

Other notable standouts over the years include Kate Moss in a silvery Marc Jacobs mini with matching turban, the Olsen twins’ (t)winning vintage moments, Emma Watson’s green carpet Calvin Klein in 2016, Katy Perry’s six-foot angel wings from Versace and anything Blake Lively choses to do, including taking Karl Lagerfeld as a date in 2011.

As we prepare for the 2020 Met Gala on May 4, 2020 (May 5 for those in Australia) and the lucky guests finalise their gowns, scroll on to see the 100 most iconic moments from Met Gala history in preparation.

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Bella Hadid in Alexander Wang, 2017

Sofia Coppola and Marc Jacobs in Marc Jacobs, 2013

Ashley Olsen in Dior, 2013

Sienna Miller and Christopher Bailey in Burberry, 2006

Zendaya in Dolce & Gabbana, 2017

Claire Danes in Zac Posen, 2016

Karl Lagerfeld and Blake Lively in Chanel, 2011

Emma Stone in Thakoon, 2014

Taylor Swift in Oscar de La Renta, 2014

Miranda Kerr in Michael Kors, 2013

Katy Perry in Maison Margiela, 2017

Nicole Kidmann in Gucci, 2003

Beyoncé in Givenchy, 2015

Blake Lively in Versace, 2018

Kate Bosworth in Stella McCartney, 2014

Blake Lively in Gucci, 2013

Gigi Hadid in Diane von Furstenberg, 2015

Beyonce in Givenchy, 2013

Rihanna in Stella McCartney, 2014

Arizona Muse in Ralph & Russo Couture, 2014

Lupita Nyong’o in Prada, 2014

Gisele Bundchen in Balenciaga, 2014

Mary-Kate Olsen in vintage Ferre and Ashley Olsen in vintage Chanel, 2014

Rihanna in Comme des Garçons, 2017

Sarah Jessica Parker in Alexander McQueen, 2006

Cara Delevingne in Chanel, 2017

Selena Gomez in Vera Wang, 2015

Solange Knowles in Giles Deacon, 2015

Emma Watson in Calvin Klein, 2016

Reese Witherspoon in Stella McCartney, 2014

Cate Blanchett in Balenciaga, 2007

Chloë Sevigny in J.W Anderson, 2015

Rosie Huntington-Whiteley in Atelier Versace, 2015

Sarah Jessica Parker in Oscar de La Renta, 2014

Kendall Jenner in La Perla, 2017

Nicole Richie in Donna Karen, 2014

Blake Lively in Gucci, 2014

Gisele Bundchen in Dolce and Gabbana, 2003

Miley Cyrus in Marc Jacobs, 2013

Rosie Huntington-Whiteley in Gucci, 2013

Emma Watson in Prabal Gurung, 2013

Katy Perry in Versace, 2018

Alexa Chung in Erdem, 2013

Rooney Mara in Givenchy, 2013

Jennifer Lawrence in Dior, 2013

Cameron Diaz in Stella McCartney, 2013

Selena Gomez in Diane von Furstenberg, 2014

Karlie Kloss in Oscar de La Renta, 2014

Gisele Bundchen in Alexander McQueen, 2011

Beyonce in Givenchy, 2014

Kim Kardashian West and Kanye West in Riccardo Tisci for Givenchy, 2013

Anne Hathaway in Calvin Klein, 2014

Charlize Theron in Dior, 2014

Camilla Belle in Jean Paul Gaultier, 2007

Anne Hathway in Ralph Lauren, 2015

Oscar de la Renta and Oprah Winfrey in Oscar de La Renta, 2010

Anna Wintour in Chanel, 2015

Uma Thurman in Atelier Versace, 2014

Jessica Chastain in Givenchy, 2015

Behati Prinsloo in Tommy Hilfiger, 2015

Kendall Jenner in Calvin Klein Collection, 2015

Imogen Poots in Alberta Ferretti, 2015

Rihanna in Maison Margiela, 2018

Cholë Sevigny in Prozena Schouler, 2010

Jennifer Lopez in Atelier Versace, 2015

Zendaya in Fausto Puglisi, 2015

David Beckham and Victoria Beckham in Giorgio Armani, 2008

Ashley and Mary-Kate Olsen both in Diane von Furstenberg, 2008

Eva Longoria in Marchesa, 2008

Jessica Biel in Versace, 2009

Christina Ricci in Zac Posen, 2011

Gwyneth Paltrow in Stella McCartney, 2011

Carey Mulligan in Prada, 2012

Cardi B in Moschino, 2018

Amber Heard in Zac Posen, 2012

Sofia Vergara in Marchesa, 2012

Kim Kardashian West in Mugler, 2019

Emma Stone in Lanvin, 2012

Zendaya in Versace, 2018

Florence Welch in Alexander McQueen, 2012

Gwyneth Paltrow in Prada, 2010

Nina Dobrev in Donna Karen Atelier, 2012

Solange Knowles in Iris Van Herpen, 2018

Karolina Kurkova in Rachael Zoe, 2012

Anna Wintour in Chanel, 2013

Kerry Washington in Prada, 2015

Zoe Saldana in Calvin Klein Collection, 2010

Sarah Jessica Parker in Dolce & Gabbana, 2018

Kylie and Kendall Jenner both in Versace, 2019

Cara Delevingne in Dior, 2018

Doutzen Kroes in Zac Posen, 2010

Marion Cotillard in Dior, 2010

Barry Diller and Diane von Furstenberg in Diane von Furstenberg, 2010

Diane Kruger in Calvin Klein Collection, 2010

Linda Evangelista in Marchesa, 2013

Leelee Sobieski in Christian Dior Couture, 2013 

Karolina Kurkova in Marchesa, 2014

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8th Nov 2019

If the secret to long-lasting love is a slow bloom of adoration that develops over time, then Takamasa Takahashi’s relationship with Comme des Garçons is a tale of true romance.

His collection of the label, dating from the early 80s and on display at the National Gallery of Victoria this November in Collecting Comme, is testimony to a great passion. Yet the Japanese collector wasn’t immediately enthralled by designer Rei Kawakubo’s creations when he first saw them in a magazine in 1975. The then 21-year-old already had aspirations to become a designer, and Rei Kawakubo, who had launched Comme des Garçons in 1969, was already popular, but his initial response to her clothes was lukewarm.

“Kawakubo’s collections were quite feminine to start with, and I wasn’t that intrigued with her label, but I recognised that her clothes were different and the image of the brand was very different. I think I was more intrigued by the images than the clothes at the start.”

Decades on, and this elegant, gracious man, immaculately groomed and dressed in head-to-toe “Comme”, as he abbreviates, talks earnestly and joyfully, his eyes bright behind his glasses, of what became his infatuation. He playfully describes himself as ‘Comme tragic’: “To be ‘Comme tragic’ means I don’t look at anything else,” he explains with a laugh. “Even though I’m interested in other designers, for example Martin Margiela, I still compare everything to Comme.”

Takahashi is not alone in his singular appreciation of Comme des Garçons and Rei Kawakubo, who during her remarkably long career has garnered a cult-like following. Born in Tokyo in 1942, she never trained in fashion, instead studying fine arts and literature before working as a freelance stylist. She launched Comme des Garçons (French for ‘like boys’) to make clothes she couldn’t find elsewhere, established her company in 1973, and opened her first boutique in Tokyo in 1975. Her label quickly gained iconic status, revered for its avant-garde concepts and techniques, deconstruction, androgyny and radical forms and for Kawakubo’s constant quest for reinvention.

Alongside the designer’s monumental influence in the fashion world (Comme des Garçons was the theme of the 2017 Met Gala), she’s also known for her reticence and her rejection of the title of artist. After being honoured with the Isamu Noguchi Award earlier this year for her spirit of innovation, global consciousness and commitment to East-West cultural exchange, Kawakubo stated: “I’m not an artist… but I try, always, to come up with something new. Things that people have not seen, and I have gone this way for 50 years…”

For Takahashi, it was perhaps Comme’s profound originality and vision that unlocked his heart. As a young boy growing up in Niigata, Japan, he watched his father, a master carpenter, in his workshop and developed an interest in craftsmanship. “My family expected me to be a painter, or a creative chef, because I loved cooking and painting, drawing and making things,” he says.

His yearning to be free of what he felt was the rigidity of a culture also shaped his preoccupations. “In Japan, everyone and everything had to be in harmony, and at that time you had to be the same as everyone else; you weren’t allowed to stand out,” he ponders. “It was hard for me to live in this society because since I was a child, I always wanted to be different.”

After finishing high school, Takahashi studied English and German in preparation for leaving Japan to study textile and dressmaking in Finland, which he did in 1979. He started wearing Comme in 1978, but it was seeing a Kawakubo collection on the runway in 1983 that blew his perception of clothing entirely. “It was a huge shock to me,” he recalls. “At that time in Japan you didn’t show your feeling and expression, so no-one clapped. You’re just quietly sitting there seeing what you’re seeing, but it was an explosion in my head. From then onwards my mind stuck with Comme in a kind of emotional attachment. My love of clothes shifted to something indescribable… a way to express my inner self, and my belief in Comme has not changed since.”

Takahashi can recite collections – season, year, concept and even styling details – with the ease others might list the names of their children. His decision to brand himself a collector rather than just a wearer of Comme came about organically when he found himself buying dresses he wanted simply for their beauty. 

What makes his collection particularly affecting is that Takahashi hasn’t come from affluence; his dedication has involved sacrifice. “I’m not from a wealthy family,” he asserts, before explaining: “This is how I felt at that time and perhaps still do now: I don’t need to eat, instead I would rather buy and collect Comme!”

His patient Australian partner endured sharing their small Tokyo apartment with this other great love, and when the couple moved to Australia in 1989, 36 tea chests came with them.

Landing in Sydney, presuming it would be as fashion-forward as Tokyo, Takahashi was horrified to see men in shorts, singlets and flip-flops walking through Martin Place. “I thought: ‘What have I done?'” he says. The prevailing attitudes of the time also contributed to his longing for home. One day, walking into a boutique in Paddington, the owner took one glance at him and pointed him upstairs to the sale rack. “I wasn’t allowed to look at the actual pieces – that was the attitude,” he recounts. The silver lining was that amid that reduced-price selection Takahashi discovered items from Comme’s much-lauded ’97 ‘lumps and bumps’ collection. It also inspired his altruistic ambitions: “That attitude made me think about young people who love fashion but haven’t the money to buy those pieces – they have no chance. I wanted to give enthusiastic fashion students the opportunity to see these pieces.”

It was this spirit of generosity, combined with a growing need to properly care for his “babies”, that led Takahashi to donate his beloved collection. 

As someone whose life has been so richly enhanced by a label that has constantly challenged the status quo, and who defines beauty as “everything and anyone that has integrity”, Takahashi’s hope is that audiences will appreciate the collection of more than 60 pieces at more than face value. “I know Comme is not for everyone,” he acknowledges, “but I want people to look at Kawakubo’s work with an open mind and with fresh eyes so they might start seeing her point of view and how she works”.

“I don’t think her intention is to make wearable clothes. In fact, sometimes I wonder if she has ever tried to design intentionally what we call and perceive as clothes. She often sends a strong message about the importance of being free. Having any level of fear limits our life and creative spirit and kills our free ideas. I think this is why she emphasises the importance of being yourself. She has not compromised nor been afraid to create what she believes to be beautiful at the time”.

Collecting Comme is on at the National Gallery of Victoria from November 1. Go to www.ngv.vic.gov.au.

This article originally appeared in Vogue Australia’s October 2019 issue.

 

 

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8th Nov 2019

Caroline de Maigret, Soo Joo Park, Amanda Sanchez, Ola Rudnicka and Tami Williams star as the chicest train travellers we ever did see in Chanel’s new resort 2020 campaign. Making its runway debut during Paris Fashion Week in May earlier this year, the heritage fashion house took direct inspiration from its elaborate Le Riviera set—which itself evoked a take on a pre-war Le Train Bleu at Paris’s Gare de Lyon—for the quick-cut capturing of what train travel could be in the modern day. Between the stylish wears of each passenger, and the opulence of vintage train carriages, we dream of a day that our train commute reaches this level of elegance. [Vogue inbox]

Tiffany & Co. recently re-opened the doors of its Chadstone boutique after a major redesign. Ideated by the luxury jewellery house’s artistic director, Reed Krakoff, the spacious new store within the prestigious Melbourne shopping district brings a sleek and modern aesthetic never before seen in Australian stores. With a more flexible store layout and a more immersive shopping experience on offer, the new store sees the reduction of barriers between clients and sales professionals and better accessibility to view new designs as the brand makes a move away from a permissions-based shopping experience. [Vogue inbox]

Mulberry recently partnered up with Swedish label Acne Studios to design a capsule collection which brings together the best of Johnny Coca and John Johansson’s respective creative worlds. Consisting entirely of leather goods, with Mulberry bringing its bag-making expertise, and Acne Studios putting its signature spin on each item with a folded bow placed at the centre, the collection will be launching on November 5 at Mulberry’s QVB store in Sydney and it’s Emporium store in Melbourne. [Vogue inbox]

Helping us get into the festive season spirit, Coach has released its 2019 holiday campaign titled Wonder For All. Featuring appearances from Yara Shahidi, Kate Moss, Megan Thee Stallion, Spike and Tonya Lee, Fernanda Ly, and Miles Heizer, the campaign captured by Jurgen Teller presents a playful take on the holidays, painting the period to be one of inclusivity, optimism and authenticity. In addition to the imagery, a series of short films written and directed by Bunny Kinney—which also star Cami Morrone and Ben Sinclair—bring an element of spontaneity and fun to an already joyful campaign and merry time of year. [Vogue inbox]

Kate Moss stars in Coach's new Wonder For All holiday campaign. Image credit: courtesy of Coach

Australian label Jac+ Jack is celebrating its 15th anniversary this year and is marking the milestone with a big move towards being a more sustainable brand. Its first act is the release of a new, more eco-conscious iteration of its classic Hero T-shirt in a natural colourway—one which is unbleached, undyed, and represents cotton as it comes out of the ground. [Vogue inbox]

On November 7, Moncler unveiled its House of Genius concept stores in three locations across the globe: Paris, Milan and Tokyo. Serving not only as a retail space housing each of the brand’s Genius releases, these pop-ups will host a series of live events and create sessions, transforming each location into an immersive hub of creativity, learning and cultural exchange. The House of Genius pop-ups will be open to the public from November 8 until January 2020. [Vogue inbox]

Continuing its commitment to supporting local communities, Australian brand Assembly the Label has recently launched its latest charitable initiative in benefit of The Smith Family. Throughout the months of November and December, the brand will not only be hosting a toy and book gifting drive throughout its 12 stores nationally from November 21 to December 5, it will also donate $30,000 worth of proceeds to the charity, raising funds through a curated clothing edit on its site. The edit will be live over the Black Friday and Cyber Monday promotional period (November 29 to December 2). [Vogue inbox]

Gorman has collaborated with Handpicked Wines to release its take on a tasty summertime rosѐ, named Handpicked x Gorman. Made from young pinot noir fruit picked from the label’s award-winning Yarra Valley vineyard, the fashion label put its inherently eclectic spin on the bottle’s label, using its most recent collection, Mediterranean Magnifica, as inspiration. With imagery of a classic Southern European sojourn wrapping around the bottle and fresh fruity notes, look no further for your go-to warm weather drop. [Vogue Inbox]

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