Fashion Editorial Quotes

Universal literacy was supposed to educate the common man to control his environment. Once he could read and write he would have a mind fit to rule. So ran the democratic doctrine. But instead of a mind, universal literacy has given him rubber stamps, rubber stamps inked with advertising slogans, with editorials, with published scientific data, with the trivialities of the tabloids and the platitudes of history, but quite innocent of original thought. Each man's rubber stamps are the duplicates of millions of others, so that when those millions are exposed to the same stimuli, all receive identical imprints. It may seem an exaggeration to say that the American public gets most of its ideas in this wholesale fashion. The mechanism by which ideas are disseminated on a large scale is propaganda, in the broad sense of an organized effort to spread a particular belief or doctrine.

the brain can do its editorial work on temporal information in a fashion that ignores the actual timing (the “time of arrival”) of some of its representations,

Fashion is a double-edged sword; the more fashionable it is, the less timeliness it has. However, the life expectancy of hotel design is usually between seven to ten years. Too fashionable design may be out of date after two years; that is the reason why hotel design prefers to classic elements. (Chen Tao, Chen Tao’s Interior Design Co., Ltd – Hangzhou, China)

Anna Wintour hadn't been to any of McQueen's shows, and McQueen didn't like it. McQueen said American Vogue could borrow the dress only if they flew it to New York and back, in its own seat, with an escort. It was a fuck-you and they took it, and the dress was shot by Richard Avedon. "Fashion people haven't got any brains," McQueen said.

Racism in the UK takes a different form than it does in the United States, but there is no mistaking its existence and how engrained it is. A major theme of racism in the UK centers on the question of who is authentically “British.” It can come through in subtle acts of bias, micro-aggressions such as the Palace staffer who told the biracial co-author of this book, “I never expected you to speak the way you do,” or the Daily Mail headline, “Memo to Meghan: We Brits Prefer True Royalty to Fashion Royalty.” While their columnist was criticizing Meghan for her Vogue editorials, there was another way to read it, and that was that to be British meant to be born and bred in the UK—and be white.

The reason why she had chosen journalism was because of those who had done so before her. Stalwart women and men who reported stories in the days before the Internet. Before it was fashionable to learn Mass Communication. A long time before being a TV reporter and calling up your family to see your face beamed to their homes was an in thing. They were those who had left their families behind as they pursued the truth, opting to go to jail when the government hounded them to reveal their sources. Men and women that would rather quit than write editorials the management wanted them to write. Journalists who never wrote a word they would have to disown. Journalists who took their last breath as they wrote an article was true to what they believed in. They would never sit down and take stock of the stories they had covered and written saying, “So what if twenty of these are non-stories, I at least had five I believed in.

In contrast to the “everyday smiley catalog girl” or the “generically” handsome guy, the editorial model is seen as “unique” and “strong.” An editorial model is typically described as having an unusual or, to use a term that comes up often in the business, an “edgy” look. Producers define edgy as an “atypical” or an “odd” kind of quality. Everyone in the fi eld had a tough time putting edgy into words. Beyond its rudimentary physical markers of youth and skinniness, edgy is an amorphous quality, perhaps most easily defi ned negatively. Edgy is not commercially pretty but is code for a look that departs from conventional norms of attractiveness. It is the uncanny, sitting on the border between beautiful and ugly, familiar and strange, at once attracting and repulsing its viewer.

What Kate wore, whether on the street or the red carpet was much cooler to them than what she modelled. Her paparazzi photos were becoming indistinguishable from her editorials.

Editorial photographs published in magazines and online give information not only about specific garments, but also the mood and style that are currently in vogue.