This piece was written in 1748. It is about what it takes to be a gentleman.

In every language, pray attend carefully to the choice of your words, and to the turn of your expression. Indeed, it is a point of very great consequence. To be heard with success, you must be heard with pleasure: words are the dress of thoughts; which should no more be presented in rags, tatters, and dirt, than your person should. By the way, do you mind your person and your dress sufficiently? Do you take great care of your teeth? Pray have them put in order by the best operator at Rome. Are you belaced, bepowdered, and befeathered, as other young fellows are, and should be?

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Lord Chesterfield — Vestoj

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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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