What Not to Wear: The Deadliest Hats, Scarves, and Skirts in History


Sometimes we do go overboard, don’t we?

While women often choose high heels for themselves for reasons of status, the sense of power that comes with added height, the amped-up sex appeal, and the element of danger implied by a sharp heel, there’s no question that the higher the heel you wear, the harder it is to run. It’s a cliché of horror, sci-fi, and adventure films to depict a beautiful woman stumbling in the face of danger or throwing off her shoes to run from a monster. But in real life, stilettos can deny a woman a quick escape from a monstrous man—and make an everyday activity a hazard.

In Killer Fashion, Wright explains how Winston Churchill’s mother, Jennie Jerome, fell to her death in 1921 trying to navigate a flight of stairs. “Jerome is my poster girl for high heels killing someone,” she says, “but I think it would be incorrect to assume that other women have not toppled off of high heels—especially if they were outrageously high, as they were for quite a bit of history.”

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Lisa Hix — Collectors Weekly

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It’s not just that the rise of emerging economies is shifting the dynamics of global luxury consumption. Nor that young Indian designers are exposed to global influences and produce collections that deftly integrate these. It’s also that in fact because of the weighty history of misperception as well as moral ideas regarding restraint versus excess, emerging Indian designers are driven to produce something with a peculiarly unique alchemy for global fashion audiences, beyond cliches and speaking an exciting language of the now.

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Dr Phyllida Jay — Vestoj

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How Catwalk Images Propel The Fashion Cycle


Have you ever thought about why mannequins pose in a certain way? This needull is for you if you ever think of these questions.

But there was more to the mannequin’s pose beyond mere pragmatics. Fashion scholar Caroline Evans asserts that the mannequin’s pose was essentially a modernist phenomenon2 , arising alongside the modernist problem of representation – one that coincided with the rise of cinema.3 In an abstract sense, in Evans’ view, the pose imbued the garment, an essentially static object, with the motions of its wearer, thereby facilitating a dialectic between motion and stasis. By pausing to pose, the model allowed the garment to be captured as a fashion plate; but by gesturing the pose, the fashion plate came to reflect the entire flow of the mannequin’s walk, capturing her like a definitive singular frame in the moving image of film.

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Edwin Jiang — Vestoj

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