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    <title>How Ralph Lauren Tricked America Into Wearing Costumes. - YouTube</title>
    <dc:date>2026-06-07T00:28:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0QXZKkaMdwQ</link>
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<dc:subject>ralphlauren fashion americana clothing cosplay costumes michaelkristy theironsnail 2026 theendofhistory francisfukuyama</dc:subject>
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    <title>Errolson Hugh Catalogs His Illustrious Career, From Karate Gis to the Lunar Force 1 - YouTube</title>
    <dc:date>2026-06-05T10:04:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MpbOaQo0lvs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Business of HYPE is a weekly series brought to you by HYPEBEAST Radio and hosted by jeffstaple. It’s a show about creatives, brand-builders and entrepreneurs and the realities behind the dreams they’ve built. On today’s episode, we dive into the mind of ACRONYM‘s co-founder and principal designer, Errolson Hugh.

Errolson, as Jeff states, is more than likely your favorite designer’s favorite designer, despite being as cult and underground as you can get for much of his career. It’s been only relatively recently that the Canada-born creative has found his name mentioned in the same breath as the fashion world’s elite, turning ACRONYM into a household brand that has since spawned a new generation of street-minded technical labels, such as ALYX and A-COLD-WALL*.

During this insightful 80-minute conversation, Errolson takes us on a journey through his life and career, from his upbringing in Edmonton, all the way to the ACRONYM x Nike Lunar Force 1 in 2015. Along the way we learn about how he and his longtime partner Michaela Sachenbacher met, why karate and his parents were his early inspirations, how he got his start in active outerwear and so much more."]]></description>
<dc:subject>2019 errolsonhugh acronym fashion design</dc:subject>
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    <title>Inside the System: Errolson Hugh at ACRONYM x ALIVEFORM EVENT - YouTube</title>
    <dc:date>2026-06-05T10:03:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=PYK8-jV-DaI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Seven years ago, I translated Errolson Hugh's interview for RACE SERVICE NIGHT SCHOOL. Interviewing with him in person became one of my biggest dreams. Today, that dream came true.

This exclusive interview was conducted during the 2-day launch event of the ACRONYM × ALIVEFORM Blade​ — a groundbreaking 3D-printed footwear — held in Shanghai.

Rather than focusing on specs, we talked about his past experiences, his perspective on the evolving landscape of Chinese brands, and what it truly means to be a designer in the modern era."]]></description>
<dc:subject>2026 errolsonhugh acronym fashion design</dc:subject>
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    <title>RS Night School: Acronym Co-Founder Errolson Hugh - YouTube</title>
    <dc:date>2026-06-05T10:03:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jNSgnEOXvJQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Errolson Hugh is co-founder of the Berlin-based technical apparel brand Acronym, one of the most sought after names in streetwear and fashion. At our recent Race Service Night School, Rod Chong sat down with Errolson to hear the story of Acronym and his principles of "Asymmetric Design." Following the presentation, we held a Q&A session with Errolson."]]></description>
<dc:subject>2019 errolsonhugh acronym fashion design rodchong</dc:subject>
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    <title>CULTURE CARTEL DIGITAL 2020 HEADLINER ERROLSON HUGH, CO FOUNDER, ACRONYM - YouTube</title>
    <dc:date>2026-06-05T10:01:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eEmSCuaOF4M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tune in and learn more about the man behind the brand, Errolson Hugh, as he shares about the history of the brand, his favorite collaboration thus far, his ups and downs with the brand, and his thoughts on copycats."]]></description>
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    <title>ACRONYM Founder Errolson Hugh on Designing Tech and Defying Expectation - YouTube</title>
    <dc:date>2026-06-05T10:01:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mbdmuC22bXc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I got the chance to sit down with Errolson Hugh - principal designer and co-founder of ACRONYM - to talk about some of FW20/21's latest releases. He explains the processes behind both designing brand new apparel and improving on previous releases, as well as a deep-dive on the creation of the Zephyrus G14-ACRNM RMT01 laptop."]]></description>
<dc:subject>2020 errolsonhugh acronym fashion design</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=zdsGXd5enKg">
    <title>How ACRONYM Changed Design: An Hour with Errolson Hugh - YouTube</title>
    <dc:date>2026-06-05T09:12:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zdsGXd5enKg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An hour with Errolson Hugh, cofounder of ACRONYM GmbH. We talk early life, influences, martial arts, starting the brand, and the design principles that shaped ACRONYM’s now-classic DNA. This is a deep dive on first-person design, function, and the systems thinking behind design.

What you’ll learn
- How discipline and martial arts inform Errolson’s design process
- The path to founding ACRONYM and building a studio that prioritises function
- The principles behind ACRONYM’s classic silhouettes and pocket systems
- First-person design vs third-person design in real use
- Advice for designers on craft, iteration, and longevity"

[via this clip from it:

"Autobiographical Design"
https://www.youtube.com/watch?v=Kj3H2hzYrg8

another video here:

"Designing Pockets with Errolson Hugh"
https://www.youtube.com/watch?v=SebAFZV8kh0

"Many designers create from a third person perspective- imagining how clothes look on a mannequin, in a photo, or to someone else’s eyes. But some design from the first person- thinking about how garments feel, function, and move when you wear them.

Errolson Hugh is one of those rare first-person designers. I visited him in Berlin, where he walked me through his process of designing and optimising for the wearer’s own enjoyment and experience.

Produced by Alisa Yamada."]]]></description>
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    <title>Clothes Are Nice. Fashion Biz, Not As Much! – On my Om</title>
    <dc:date>2026-06-02T00:13:01+00:00</dc:date>
    <link>https://om.co/2026/06/01/clothes-are-nice-fashion-biz-not-as-much/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every morning I sit down and open Feedbin on my iPad. It aggregates my RSS feeds and newsletters – about a hundred sources – covering everything from AI to zeitgeist. One story stopped me recently. The Wall Street Journal proclaimed: “Menswear Is in Its ‘Nice’ Era.”

This comment from a personal stylist sent me down a rabbit hole about clothes, social media, and how the gatekeepers still don’t understand their own growing irrelevance:

<blockquote>“The clothes are inoffensive, but there’s no point of view. The downside isn’t bad taste, but the erosion of individuality.” – Turner Allen, personal stylist, New York</blockquote>

Menswear today is neutral tones, muted basics, everything well-cut and normal. Or as they say, nice. The Business of Fashion recently called this an epidemic. Everyone in the industry has an opinion about it. What almost nobody has is an explanation for why. The fashion media is smart enough to spot the symptom but fails at the diagnosis.

The BOF at least attempts an answer, channeling the music critic Simon Reynolds, who argued in his book Retromania that pop music had collapsed into endless pastiche – referencing references, with nothing original left to say. The same, the BOF writer suggests, has happened to fashion. The epidemic of nice clothes is what you get when an industry runs out of ideas.

Maybe. But that framing is still entirely about the industry. It leaves out the person standing in front of the mirror.

Me.

The writers’ complaints are simply the arrogance of insiders, something common across media. Just look at how self-referential the Atlantic and the New Yorker have become. Same when it comes to technology, sports, and everything else.

They all treat the paying customer as a rube. What if we stopped wanting the opinions of fashion insiders and sports reporters who are not nearly as honest as they pretend to be? Everyone is talking their own book, all the time, everywhere. Everyone is looking to get paid.

We the rubes have learned a thing or two.

For years we have been swimming in images. Instagram, street style blogs, TikTok, Pinterest, the endless scroll. Whatever you think of that flood of images, it has done something to our eyes. It has trained us. We have looked at more clothing combinations, more visual context than any generation before us. We have developed taste not from magazines but from sheer accumulated exposure.

The assumption buried in the insider complaint is that the point of view should come from the garment. That the designer is the author and we are the readers. That clothes arrive with meaning already assigned, and our job is to receive it correctly. This is how the whole enterprise of fashion writing has always worked – and it is, not incidentally, how affiliate link revenue works. You spot the trend and explain why it matters. You link to where they can buy it.

That model made sense when images were scarce and editors were gatekeepers. It makes far less sense now.

Look at my own closet. It is a capsule collection of about a hundred pieces. Plain, nice, comfortable, well-made garments. French-made bespoke blue shirts. Muji T-shirts. Japanese workwear. I arrived at each of them because they are precisely what they are not: a line item in LVMH’s annual profit report. They work with my body. When I combine them, the result is mine. Not defined by a runway, a trend, or any external verdict.

Alexander McQueen famously said: “I want you to come out either repulsed or exhilarated, as long as it’s an emotion. If you don’t feel an emotion, I’m not doing my job.” It is a great quote. It is also a completely designer-centric view of the world. The designer produces the feeling. You experience it. You are the audience.

That model is over. Today’s designers are mostly hired hands executing the commercial agenda of conglomerates whose job is to sell expensive product on installment plans to people who want to feel rich. The clothes that result are rarely worth the allegiance.

A perfectly cut neutral trouser means almost nothing by itself. But that trouser with a specific shoe, a worn jacket, a watch with some history, a shirt you found somewhere unexpected – now there is something. The clothes are the vocabulary. I write the sentence.

Compare this to what came before. The hypebeast era, the logomania, the streetwear machine – that was actually the most passive way to dress in living memory. The brand told everyone what you were about. The logo spoke. You just put the thing on. It was expensive ventriloquism.

The epidemic of nice clothes is not a failure of imagination in the industry. It might be the industry finally catching up to what people actually want: room to think for themselves. A canvas, not a lecture.

The question was never whether the clothes have a point of view. The question is whether you do.

Lawrence Lessig in 2008 argued that the 20th century had been a Read-Only culture. You consumed what the professionals produced, passively, with no mechanism to talk back. The phonograph, the radio, the CD: the machines made you an audience. The internet broke that. Suddenly culture was Read-Write. You could take what existed, layer it, reinterpret it, make something yours. That shift has expanded with every generational turn – Web 1.0, Web 2.0, social, mobile, and now AI.

Fashion just got there later. The hypebeast era was the last gasp of Read-Only dressing. What is happening now looks like an epidemic of nice clothes. It is actually the beginning of something else.

The read-write metaphor has since become read-write-read. And the data backs it up.

Hundreds of millions of people are not just consuming culture – they are recreating it. Layering it, putting it back out. The fashion industry’s complaint that people lack a point of view doesn’t hold against what the numbers actually show. These are the same people uploading 14 million tracks a month to SoundCloud and posting 272 TikToks a second. They have plenty of points of view. They just stopped waiting for permission to express themselves.

Now give me the raw energy of Diya Joukani – a self-taught designer from Mumbai who just filmed a cameo with Rihanna. Wintour is good for hosting the Met Gala, not for finding the new thing. She can’t. Because there isn’t one new thing anymore. And the fashion-industrial complex doesn’t understand that.

The upside of the connected world means now I can find a talent like Diya without any editor telling me that I must pay attention to her. And in her I see what I have always imagined, a world where we tell the story of us. Diya and I are about 35 years apart, but she captures how I see my clothes. A palette to be put together. Simple, nice, and authentic. Embellishing is what I do. Sure, I learned from Anna and her ilk. But now I know myself much better, and hence nice is not just nice. It is me."]]></description>
<dc:subject>ommalik clothing fashion apparel self self-expression identity luxury branding readwriteweb web online internet socialmedia gatekeeping influencers elitism diyajoukani consumption consumerism influence 2026 media simonreynolds business industry technology sports thenewtorker theatlantic insiders journalism tiktok pinterest exposure garments design clothes hype hypebeast expression logos lawrencelessig 2008 readonly readwrite readwriteread nice soundcloud personalexpression</dc:subject>
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<item rdf:about="https://mitpress.mit.edu/9780262516747/design-meets-disability/">
    <title>Design Meets Disability, by Graham Pullin (2011)</title>
    <dc:date>2026-05-05T15:56:07+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262516747/design-meets-disability/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How design for disabled people and mainstream design could inspire, provoke, and radically change each other.

Eyeglasses have been transformed from medical necessity to fashion accessory. This revolution has come about through embracing the design culture of the fashion industry. Why shouldn't design sensibilities also be applied to hearing aids, prosthetic limbs, and communication aids? In return, disability can provoke radical new directions in mainstream design. Charles and Ray Eames's iconic furniture was inspired by a molded plywood leg splint that they designed for injured and disabled servicemen. Designers today could be similarly inspired by disability.

In Design Meets Disability, Graham Pullin shows us how design and disability can inspire each other. In the Eameses' work there was a healthy tension between cut-to-the-chase problem solving and more playful explorations. Pullin offers examples of how design can meet disability today. Why, he asks, shouldn't hearing aids be as fashionable as eyewear? What new forms of braille signage might proliferate if designers kept both sighted and visually impaired people in mind? Can simple designs avoid the need for complicated accessibility features? Can such emerging design methods as “experience prototyping” and “critical design” complement clinical trials?

Pullin also presents a series of interviews with leading designers about specific disability design projects, including stepstools for people with restricted growth, prosthetic legs (and whether they can be both honest and beautifully designed), and text-to-speech technology with tone of voice. When design meets disability, the diversity of complementary, even contradictory, approaches can enrich each field."

...

"Graham Pullin is a lecturer in Interactive Media Design at the University of Dundee. He has worked as a senior designer at IDEO, one of the world's leading design consultancies, and at the Bath Institute of Medical Engineering, a prominent rehabilitation engineering center in the United Kingdom. He has received international design awards for design for disability and for mainstream products."]]></description>
<dc:subject>grahampullin design disabilities disability accessibility prosthetics fashion accessories technology charleseames rayeames eames 2011</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=yKjDLFOBIxU">
    <title>Designing uniforms vs designing clothes for regular people - YouTube</title>
    <dc:date>2026-05-05T03:37:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=yKjDLFOBIxU</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>clothing uniforms kensakata design fashion 2026 garments</dc:subject>
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<item rdf:about="https://www.artnews.com/art-in-america/features/maga-theory-of-art-evangelical-film-nazi-weimar-1234779167/">
    <title>The MAGA Theory of Art</title>
    <dc:date>2026-04-15T07:05:15+00:00</dc:date>
    <link>https://www.artnews.com/art-in-america/features/maga-theory-of-art-evangelical-film-nazi-weimar-1234779167/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>beccarothfield maga donaldtrump aesthetics fascistaesthetics latefascistaesthetics nazis susansontag art beauty cutlure thirdreich karlmarx jeangenet kennedycenter ovaloffice whitehouse erictenschler andrewlloydweber jonathanpetropoulos design knuthamsun lenifiefenstahl hugoboss fashion gabrieled'annunzio cheesecakefactory albertspeer fascism nazism josephgoebbels alfredrosenberg arthurkampf wernerpeiner christiannationalism siegfriedkracauer film media richardgrenell angelstudios affirmfilms filmmaking stephenbaldwin alecbaldwin christianity kevinsorbo evangelicals aclu universalism urbanity germany ww2 wwii audience movies adolfhitler hitler</dc:subject>
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</item>
<item rdf:about="https://reallifemag.com/worn-out/">
    <title>Worn Out — Real Life</title>
    <dc:date>2026-03-25T06:11:48+00:00</dc:date>
    <link>https://reallifemag.com/worn-out/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tech elites’ supposed indifference to fashion is a contempt for the commons"

[via:
https://www.robinsloan.com/newsletters/good-trains/ ]]]></description>
<dc:subject>fashion culture technology drewaustin 2021 commons siliconvalley vanessafriedman publicspace hannahmurphy victoriahitchcock uniform uniforms clothing markzuckerberg marshallmcluhan understandingmedia society hannaharendt appearance gordonhull efficiency uber lyft doordash socialmedia facebook instagram tiktok airpods platforms microsoft nealstephenson nfts metaverse jonahweiner fellowship cynicism experience</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://sf.gazetteer.co/fatiguing-fascism">
    <title>Fatiguing fascism</title>
    <dc:date>2026-03-13T23:19:15+00:00</dc:date>
    <link>https://sf.gazetteer.co/fatiguing-fascism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The outrage over Greg Bovino’s ‘Nazi chic’ outfit in Minnesota ignores the reality that in a society of the spectacle, we’re all fighting for stage time"

...

"It’s been a minute since we’ve seen the likes of one Greg Bovino. The now-reassigned commander-at-large of the US Border Patrol catwalked into public awareness thanks to his personal style while overseeing ICE and Border Patrol agents on the streets of Minneapolis earlier this year.

Sporting an eye-catching olive green greatcoat that was just a little too close to Nazi chic for comfort, Bovino volunteered to serve as latest poster-/whipping-boy for the Trump administration’s ongoing playlist of throwback hits that also includes Elon Musk’s now classic “Roman salute.” 

Bovino’s long military trench coat flapping in the Minneapolis breeze fueled all the predictable hysteria one expects from the liberal media during our era of theatrical #Resistance. Social media feeds were ablaze for a couple of days about yet another supposed recrudescence of fascism — even Germany got into the mix with their Der Spiegel hyperbolically accessorizing Bovino’s fit with “Nazi” gloss.

You probably heard this story told with a different emphasis than the one I’m giving here: Since 2015, the Year of the Golden Escalator, liberal pundits, podcasters, and posters have holstered the words “fascism” and “Nazi” more accessibly than an itchy-fingered gunslinger in a spaghetti Western.

In this climate, Bovino’s crypto-fascist turn as a supermodel sporting Nazi chic (never mind that the greatcoat in question dates back to the early 19th century and was widely deployed across the European continent, fascist and otherwise) is supposedly only the latest on-the-nose indicator that literal fascism is again on the rise, a specter haunting bottomless mimosa brunches from Cape Cod to Marin County.

But does the hypocrisy of the Chardonnay #Resistance really matter at the end of the day? After all, it would be a hard sell indeed to impute plausible deniability to Bovino’s frisson of authoritarian drag.

I won’t even try to make a case that our fashionable commander-at-large was blissfully ignorant that his brass-festooned greatcoat (to say nothing of the 1930s heritage haircut) wasn't communicating anything. 

It’s obvious to anyone who’s been paying attention to the right’s provocations these past ten years that Bovino didn’t just accidentally put on a militaristic show with that coat. Yet, it’s also obvious that he not only knew precisely what he was doing, but why. If there is one common denominator across the political spectrum, it’s that everyone is awake to theater now. Nothing that hits our screens, not even the slaughter of our fellow Americans, hasn’t been framed for maximum visual flair and shareability. 

My personal experience with the question of ‘to Nazi or not to Nazi’ gives me a more informed take than most on the Great Greatcoat Affair. 

During the early days of my tenure with the alternative rock band Interpol in the 2000s, I myself dabbled — more than dabbled — in the “rich” rock tradition of Nazi drag. Unlike Keith Moon, who donned an entire SS uniform or Siouxie Sioux who accessorized her perfect punk look with an actual swastika armband, my own carefully crafted attempt at Nazi chic was more suggestive — though, admittedly, with the ensemble featuring polished combat boots, a sleek, black leather holster, a plain armband, and a striking Hitlerjugend coiffure, the “suggestion” was communicated through a megaphone. 

It would stretch credulity if I insisted that I had no idea that my onstage costume wasn’t curated with the highest degree of attention to communicate something. The references I was making with this turn on that virtual catwalk were obvious. I even showcased much greater verisimilitude than Bovino.

As with Moon, facetiousness was meant as a clear sign that I and everyone else at the time knew what was really going on. I remember visiting my bespoke tailor one time and laughing after I’d come out of the dressing room decked out in one of his latest creations. “May I see your papers?” he inquired with a German accent delivered through a shit-eating grin. 

Though our backgrounds, our politics and our job description are worlds apart, Bovino and I nonetheless have something in common: We both partook of the captivating allure of midcentury military chic knowing full well that a bunch of cameras were around the corner waiting to capture it all for posterity.

Of course, both of our fashion choices were already shopworn by the time we donned them, as “Fascinating Fascism,” Susan Sontag’s classic 1974 essay in The New York Review of Books reveals. 

Yet, whereas Sontag’s analysis of the appeal of fascism emphasized its shared visual vernacular with sexual sadomasochism (something my stage attire was intended to theatricalize), Bovino’s seems less preoccupied with titillation than with provocation. 

While it’s easy to imagine Bovino — like so many of his fellow MAGA mascots — is an actual Nazi-admiring fascist, the truth is probably less terrifying or even interesting. As with so many other politically motivated public figures (and, honestly, so many of us), he knows that spectacle, not actual politics, drives clicks. Those clicks are pre-political; and, sadly, they dominate our lives at the moment. 

In our latter-day Debordian Society of the Spectacle, everyone is competing with everyone else for attention. Bovino’s display of muscular militarism can not be taken at face value. It should be seen for what it is (and was for Moon, Sioux, and me): a gimmick and a gambit.

In Subculture: the Meaning of Style, the English sociologist Dick Hebdige wrote about mods, rockers, Teddy Boys, Rastas, and other British music scenes of the 1970s. Hebdige’s exegesis of London punks has stuck with me the most, particularly his analysis of their deployment of the swastika. At one point, Hebdige quotes a “punk on the street” speaking with the kind of terse, uncomplicated logic one expects from a disaffected working class Brit: “Punks just like to be hated.”

I look back to my dalliance with Nazi chic as being of a very specific time and place, a context far removed from the present. It’d be in bad taste, and probably insensitive, for me to do today what I did back then.

The 2000s were a different time: no omnipresent cameras, no social media, no hashtags. In the intervening two decades, consciousness has been raised among the liberal class; similarly, the impulse to create a capital-S Spectacle has risen among the illiberal one. 

Would that the consciousness of so-called progressives continued to higher spheres, we might be spared their obnoxious sermons; would that people like Bovino not bait them so expertly, we might be able to think about other things for a change."]]></description>
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    <title>Sizing chaos</title>
    <dc:date>2026-02-20T05:34:19+00:00</dc:date>
    <link>https://pudding.cool/2026/02/womens-sizing/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>clothing women girls infographics fashion visualization data bodies 2026</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
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<item rdf:about="https://www.wired.com/china-issue/">
    <title>23 Ways You’re Already Living in the Chinese Century | WIRED</title>
    <dc:date>2026-01-21T07:20:21+00:00</dc:date>
    <link>https://www.wired.com/china-issue/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The robotics explosion. The energy revolution. The cultural takeover. It’s everything you wanted for the United States—but done better in China.

A decade ago, China’s political leaders laid out an ambitious industrial plan: By 2025, they pledged, their country would be a world capital, with the goal of moving from “Chinese speed to Chinese quality, the transformation of Chinese products to Chinese brands.” This is the difference, they wrote, between “Made in China” and “Created in China.”

At WIRED, we never take what the government (ours or anybody else’s) says at face value. Still, as journalists, we respect the ability to hit a deadline. While the president of this country is promising to make America great again as he strips it for parts, Chinese business and political leaders have quietly seized the moment. This is not to say that China’s economy, let alone its repressive totalitarian government, runs perfectly. But today there’s almost no limit to what is created in China, then eagerly consumed by the rest of the world.

WIRED’s reporters have chronicled the transformation in the Made in China newsletter—and now we’re bringing you this special issue. Here are 23 ways China is rewiring the future.

—The Editors

1. Your next coworker is a two-legged Chinese robot.

A staggering 200-plus Chinese companies are trying to build humanoid robots. In the US, it’s closer to 16. Read more: https://www.wired.com/story/china-humanoid-robot-coworkers/

2. Your precious woo-woo crystals are the product of a small-town Chinese venture.

“Nature has been very kind to Donghai,” explains a plaque at the Donghai Crystal Museum. Blessed with rich deposits of clear quartz, this county in eastern China once supplied raw material for Mao Zedong's transparent coffin. Today, thanks to decades of cutthroat capitalist hustle—including an army of 24/7 livestreamers raised by a local Party secretary—Donghai orchestrates the multibillion-dollar global crystal trade. Here’s where that tower of Brazilian amethyst in a London yoga studio, that Colombian quartz on the reception desk of a Miami Botox clinic, and that Zambian citrine in an overpriced tourist shop in Tulum really came from. Read more: https://www.wired.com/story/china-crystal-capital/

3. You’ll gladly drink Franken-milk.

40,000

Amount of milk, in pounds, that a cloned "super cow" in China can produce annually—almost double the output of a typical American bovine.

4. That new battery factory down the street? It’s Chinese.

“Made in China” used to be—and still often is—a label for cheap labor, knockoffs, and $5 gadgets. Now it also means state-of-the-art technology assembled anywhere in the world. To illustrate the trend, WIRED mapped the global manufacturing footprint of China’s massive battery industry. In 2024, more than 80 percent of the world’s battery cells were produced in China. Today those companies are rapidly expanding and building factories on nearly every continent. Read more: https://www.wired.com/story/chinese-ev-batteries/

5. Your American-made EV is lame.

16,000,000

Estimated number of Chinese-made electric vehicles sold in 2025. In that time, the US sold roughly a tenth as many.

6. Your one-party nation will conquer the moon.

For the past six years at least, the United States and China have been locked in a space race to put people on the moon. The US mission, however, has been a boondoggle from the start. NASA’s leaders settled on a plan of baffling complexity: a single trip to the lunar surface could require 40-plus rocket launches, while China’s mission will have two. Then President Trump pushed thousands of NASA employees to quit; the White House proposed a massive budget cut; and Trump installed a former reality TV star as NASA’s part-time acting chief. If you want a microcosm of the political psychosis gripping Washington, you could do worse. As one former top-ranking NASA official put it, “We did the worst of all worlds. We positioned it as a race without planning to win.” Read more: https://www.wired.com/story/china-us-moon-race-trump-losing/

7. Your fashion is fast.

26,000,000

Tons of clothing waste produced in a year by China, the largest manufacturer of textiles worldwide.

8. Your genome is at the mercy of a capricious Chinese ex-con.

In 2018, a scientist named He Jiankui revealed that he had created the world’s first gene-edited babies. The Chinese government sent him to prison for three years. Now a free man, He relies on private donors to fund his work at a small independent lab in Beijing. WIRED caught up with him as he tries to reestablish himself as “China’s Frankenstein.” Read more: https://www.wired.com/story/china-he-jiankui-gene-editing-alzheimers/

9. You can change history by contributing to a crowdsourced online sci-fi novel.

Ma Qianzhu was unsatisfied with Chinese progress. An engineer at a large state-owned enterprise, he belonged to a generation that grew up believing engineering is destiny, that China’s future would be built, bolt by bolt, by people like him. Then Ma discovered something extraordinary: a wormhole to the late Ming Dynasty. With more than 500 peers, he commandeered a ship and traveled back in time 400 years, to a preindustrial China wracked by foreign invasion and internal decay. Their mission: trigger an industrial revolution in the past that would, in the future, make modern China great (again).

This, strictly speaking, did not happen. It’s the plot of The Morning Star of Lingao (临高启明), a sprawling, collectively written science-fiction web novel that has consumed a corner of the Chinese internet for nearly two decades. It now totals millions of words. It has never been translated into English. Almost no one in the West knows it exists. Read more: https://www.wired.com/story/china-sci-fi-morning-star-lingao/

10. Fireworks are passé. You want drone shows instead.

15,947

World record for most drones controlled by a single computer, at a show in Liuyang last year.

11. Your AI boyfriend lives in China.

Jade Gu was playing a romantic video game on her phone when she saw Charlie—and fell in love. Being an in-game character, Charlie wasn’t the most available boyfriend. So Gu re-created Charlie as a chatbot. Then she started occasionally hiring a cosplayer to impersonate Charlie on dates with her around Beijing. In China, where women dominate the market for AI companions, Gu is one of many women who are finding creative ways to be in love. Read more: https://www.wired.com/story/china-ai-boyfriends/

12. Your AI overlords have overlords.

While the European Union inches its way toward comprehensive AI regulation—and the US pretty much twiddles its thumbs—the Cyberspace Administration of China has worked out a more ad hoc approach to oversight: the algorithm registry.

Any company launching an AI tool with “public opinion properties or social mobilization capabilities” must first show the CAC how the product avoids some 31 categories of risk, from age and gender discrimination to psychological harm to “violating core socialist values.”

Over time, the CAC has inadvertently created the most detailed map of a nation’s AI ecosystem anywhere in the world. WIRED looked inside. Read more: https://www.wired.com/story/china-ai-boom-algorithm-registry/

13. You think buildings take too long to build.

29

Hours it takes the Chinese company Broad Group to erect a 10-story building.

14. Your clean-tech utopia is entirely Chinese-made.

By now, major headlines have caught on to the reality that China’s renewable energy revolution is one of the biggest stories in the world, while Donald Trump’s anti-renewable vision of American energy dominance is a backward sideshow by comparison. But chroniclers of this green tech transformation almost always understate its chaos. At this point, it is far less a tightly managed, top-down creation of state subsidies than a runaway train of competition. The resulting, onrushing utopia is anything but neat. And absolutely no one—least of all some monolithic “China” at the control switch—knows how to deal with its repercussions. Read more: https://www.wired.com/story/china-renewable-energy-revolution/

15. You care about solar.

256

Gigawatts of new solar capacity that China—the world's worst polluter—installed in the first half of 2025, more than double the rest of the world.

16. You can use Big Brother to help find your birth family.

Every year, more Chinese adoptees send off DNA kits, upload photographs, or submit their DNA to the National Reunion Database. As databases grow and social networks interconnect, the chance of reunion grows. Chinese police now use not only DNA analysis but also face recognition to help families reunite. Some adoptees post their story on RedNote, a social media platform similar to TikTok. What once felt like an impossible quest now feels like a movement. For Youxue and thousands of others, every reunion proves that the past is not sealed off forever. Read more: https://www.wired.com/story/china-adoption-birth-parents/

17. You don’t care if most of the internet is off-limits.

WIRED took a peek over the Great Firewall to see how a billion-plus people fill their home screens. These made-in-China apps are must-haves (because you can’t have anything else).

18. Your kids’ new obsession is a blockbuster animated movie franchise from China.

Is Ne Zha the ugliest main character in the history of animated cinema? The Hunchback of Notre Dame might have him beat, but Quasimodo’s ugliness is ennobling; Ne Zha’s is corrupting. Not only does he have sunken eyes, bad teeth, and the world’s worst haircut, he’s also a complete shit. He throws tantrums. He breaks things. He drops trou and pisses wherever he pleases. The Americans I know who’ve tried to watch either of his two movies shut them off within moments, disgusted.

Not that this little freak needs Americans. Ne Zha II, which came out in China last year, was the first non-Hollywood film to hit $1 billion in a single market. Eventually it doubled that, making it the biggest animated movie of all time. When A24, the hotshot indie studio, picked it up for American distribution, with Michelle Yeoh lending her credibility to the English-language dub, the reaction was: How have I not heard of this? (The first Ne Zha barely registered in America.) Followed by: Why is it so gross? Expand

19. You realize privacy is a pipe dream.

700,000,000

Number of surveillance cameras across China—more than the rest of the world combined.

20. Your taste is Chinese taste.

Increasingly, it’s not imported luxury goods that are popular in China—it’s homegrown items. Here are some of the most quirky trends we’ve spotted recently. Some of them might be showing up in America’s malls. Some never will. [10 items detailed]

21. Your smartwatch dictates your social life.

For some Chinese kids as young as 5, a smartwatch from a company called Little Genius has become the center of their social world. They chat and share videos, run and play Ping Pong, and send “likes” to their friends, among countless other activities. The more engaged they are, the higher kids rise in Little Genius’ social rankings—a dynamic that can fuel relentless competition. Some kids or teens have reportedly used bots to juice their numbers, hacked the devices to dox their enemies, and even dated people they’ve met through their watches. Read more: https://www.wired.com/story/kids-in-china-are-scheming-and-buying-bots-to-win-clout-on-their-watches/

22. You wish you commuted to work on a Chinese train.

30,000

Miles in China’s high-speed rail network. America's national rail operator, Amtrak, runs 21,000 miles, almost none of it high-speed.

23. The toy you want most in the world is still a Labubu.

Why did the entire world go mad for a grinning rabbit-gremlin collectible from China? Everywhere Labubu went last year, I went too. I made pilgrimages to stores across four countries. I time-traveled to Hong Kong’s early-2000s underground toy scene. If some of the mania around Labubu has cooled, that's just what the company wanted, its COO, Si De, told me. Pop Mart significantly ramped up production last year, and it cracked down on scalpers, which made Labubus easier to buy.

Still, China’s first big global pop culture hit isn’t going anywhere. Pop Mart has expanded manufacturing to Vietnam, Cambodia, Indonesia, and Mexico. Sony Pictures has a Labubu feature film in the works. Even Tim Cook has a Labubu now. —Zeyi Yang"]]></description>
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<item rdf:about="https://om.co/2026/01/16/our-algorithmic-grey-beige-world/">
    <title>Our Algorithmic Grey-Beige World – On my Om</title>
    <dc:date>2026-01-18T00:44:49+00:00</dc:date>
    <link>https://om.co/2026/01/16/our-algorithmic-grey-beige-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["start my morning going through nearly 250 feeds that flow into my “reader” app. Today, two quotes stood out in my early morning reading.

<blockquote>“The main purpose of my work is to provoke people into using their imagination. Most people spend their lives housed in dreary, grey-beige conformity, mortally afraid of using colours.” — Verner Panton, Designer.

    “Writing is hard. And I’ll also say, writers are born, not made. The more you teach someone how to write the more you risk squeezing the creativity out of them. We don’t need me-too, we need unique.” — Bob Lefsetz, Writer</blockquote>

Both were saying the same thing, albeit about two different aspects of culture and society. And they were only echoing Oscar Wilde’s erudite observation from 1891.

<blockquote>“Most people are other people. Their thoughts are someone else’s opinions, their lives a mimicry, their passions a quotation.” — Oscar Wilde, Novelist</blockquote>

Wilde is one of my favorite writers because he was so eviscerating and devastating in his observations, no matter the cost. He said that just before the Victorian society destroyed him for refusing to conform to its sexual norms. Individuality and the ability to stand outside has always come at a price. That is why people don’t want to stand out. They conform.

Psychologist Rollo May, observing 1950s America: “The opposite of courage in our society is not cowardice, it is conformity.” May diagnosed this when McCarthyism was literally hunting down anyone who thought differently.

Four quotes, separated by over a century, say the same thing. And yet, what Panton, Wilde, and May couldn’t anticipate was how technology would industrialize conformity. Wilde saw people living as mimicry in 1891. May diagnosed conformity in the 1950s. Both described social pressure.

What used to require shame and ostracism is now baked into the internet’s economic infrastructure. The algorithmic reality of technology platforms has codified conformity into the human condition. And it is very profitable—the real late-stage capitalism. Things are going to get worse with the new AI, that leans into the “mid” as a default, built entirely on the notion of conformity.

Today, open YouTube and every single thumbnail looks the same. Shocked faces, specific color contrasts, carefully positioned text overlays. Same voice. Same cadence and energy level. And videos have roughly the same lengths. The algorithm rewards these patterns with distribution and punishes deviation with obscurity.

Creators choose grey-beige conformity because it works, and the algorithm rewards sameness. My carefully curated list of creators has devolved into sameness. Whether pen reviewers, photographers, music bloggers, history tellers, or science bloggers—it is clear they are praying at the feet of the gods of algorithms.

Spotify has done the same with subtle algorithmic music. Don’t tell me you don’t hear that “Spotify sound” in music production. Songs engineered to be short, to provide an instant dopamine hit. The first 30 seconds have to hook listeners before they skip. After that, who cares? After all, Spotify pays the same for 30 seconds or three minutes. Everything is now made to belong on a Spotify playlist.

Spotify, let’s face it, is still in kindergarten compared to Instagram and TikTok. Those two have scaled, metastasized, and gamified conformity to a whole new level. The grey-beige aesthetic is what gets distribution. Color, weirdness, genuine imagination get algorithmically ignored. Match whatever narrow aesthetic the platform currently amplifies, or else move on to the backwaters. Those who think they’re being creative because they’re “creating content” are just living at the whims and fancies of the algorithm, painting by numbers in templates already defined.

As Wilde said, their creative output is just a reflection of the algorithm, their “content” a mimicry, their creativity just a joke. The sad part is that Instagram and TikTok’s ability to unleash conformity at global scale impacts the offline world as well.

It was a trend first noted in 2016 by (now) New Yorker writer Kyle Chayka in his piece for The Verge, “AirSpace.” To jog your memory: AirSpace is a phenomenon where Airbnbs, coffee shops, and co-working spaces across the world look identical. Reclaimed wood, industrial lighting, minimalist furniture, the same Edison bulbs hanging over the same avocado toast. Every coffee shop became Sightglass circa 2008. The goal isn’t uniqueness. It’s matching what performs well in photos and gets bookings.

It is ironic. The whole point of Airbnb was that each location was supposed to be quirky and unique. If I wanted sameness, I would prefer the bland efficiency of a J.W. Marriott or a Hyatt. At least I don’t have to make my own bed and get freshly laundered shirts by end of day.

Silicon Valley amplified this blandness. It is the people. It is rare to find people who are interesting, unique, and have strong enough opinions to have convictions, especially public ones. This lack of imagination is reflected in the dress code of the Valley.

Steve Jobs inspired many to wear black turtlenecks. Mark Zuckerberg jumpstarted the uniform of grey hoodies. And who can forget the half-a-decade-long orgy of mediocrity and lack of taste: Allbirds, those wool sneakers that became the unofficial shoe of tech, as if an entire industry collectively forgot how to dress themselves. The mimicry wasn’t about fashion. It was actually a simple signal: I belong to the winning template. It was farthest from it. In my essay, Sometimes a Shoe is not a Shoe, I wrote:

<blockquote>Right through the mid-nineties, non-conformists dominated the technology industry. The first uniform for the valley was: no uniform. It was a place where misfits fit together. The emergence of the internet was the start of conformity. …. As the technology industry became the cultural zeitgeist, it became necessary to advertise to the world that you were part of the tech set. And the easiest way to do so was through a uniform.</blockquote>

The Silicon Valley doyens mimicked Jobs’ turtleneck the way courtiers copied Louis XIV’s walk. Same impulse, faster cycle. What took Versailles years now takes months, thanks to Instagram.

The algorithm spots the trend. Temu gets to work. The factory produces it, the platform (Instagram and TikTok) distributes it, all before the original gets cold. The industry that built the algorithms couldn’t escape the algorithmic thinking. Even their own look has become content optimized for recognition. Zuck wears a big thick silver chain over his black T-shirt? Six months later, every founder worth their pre-seed dollars sports the look. Make that three months.

Back in 2007, I wondered about the commodification of social interaction. I mused about a future where human connection became a product to optimize. Nah, I didn’t expect this. We’re living in the endgame. Algorithmic reality doesn’t just commodify interaction. It standardizes imagination. The algorithms squeeze creativity out of millions by showing them exactly what “works.” We don’t get unique. We get infinite variations of the same.

And yet here we are. Our algorithmic gods are our teachers, tastemakers, and economic incentive all at once. Fall in line, and get paid. What May called courage banishes you to a world of lower distribution, fewer views, less income. It’s safer to wear the cloak of grey-beige conformity.

Even supposed refuges aren’t safe. Take fountain pens, a hobby I love and collect because they are an expression of a very unique art form. I am very deliberate in my likes. I wrote about this in my essay, “Designing a Life.” Just as my photos, my playlist, and my wardrobe are a reflection of my inner self—likes, loves, and desires—my approach to hobbies like fountain pens is the same.

Even in a hobby where hundreds of variations of pens are released every year and infinite inks are made available, I see people being so uncreative and becoming part of the “herd.” And you quickly realize that a lot has to do with the QVC-like charms of Instagram. It is so easy to be swayed by the sameness-disease.

I fight everyday, to not be swayed by the machines, and let me taste over ride the blandness I see around me. And yet, I have fallen victim a couple of times."]]></description>
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<item rdf:about="https://www.youtube.com/watch?app=desktop&amp;v=4VJxJesgF8Y">
    <title>how one company broke sewing for EVERYONE - YouTube</title>
    <dc:date>2026-01-05T06:26:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?app=desktop&amp;v=4VJxJesgF8Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["0:00 Meet Joann
03:12 Chapter 1: How Sewing Evolved
16:27 Chapter 2: How Joann Rose
28:51 Chapter 3: Material Literacy
35:28 Chapter 4: Playing Dress-Up 
43:08 Chapter 5: The Real Villain
57:04 Chapter 6: How Joann Fell
1:22:29 Chapter 7: What’s Left Behind
1:45:56 Chapter 8: The Next Chapter"]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/">
    <title>The Swiss Watch Industry Needs Bernhard Lederer's Philosophy</title>
    <dc:date>2026-01-02T12:57:08+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the first time, I found myself wholeheartedly agreeing with a press release [https://lederertimepieces.com/wp-content/uploads/2025/08/DP2-LEDERER-CIC39mm-T2.pdf ] that just landed in my in-box. This was disorienting. Agreement is not a position I’ve found myself taking vis-a-vis press materials before. Most aren’t pushing anything to agree or disagree with in the first place. But as I read the PDF explaining Lederer’s new watch (the CIC 39 [https://lederertimepieces.com/watch/cic-39-racing-green/ ], already sold out), I was nodding my head approvingly the whole way down.

The watch takes on the historically significant and rather fascinating detent escapement [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ] invented by Abraham-Louis Breguet, but what struck me about this press release was the philosophical statements woven into almost every paragraph. Together, these statements formed a coherent—yet wonderfully dreamy—philosophy of watchmaking that also (perhaps unwittingly) lodges a long-needed critique of the Swiss watch industry writ large.

[photo of Lederer CIC 39]

I mean, this is a really good press release. It comes from Bernhard Lederer, one of the few great living independent watchmakers to come out of the generation that gave us Philippe Dufour, F. P. Journe, Kari Voutilainen and Laurent Ferrier—a tiny ilk of true masters.

Check out these extracted bits from the CIC 39’s press release, which in condensed form read like a hybrid of Wittenstein’s Tractatus Logico-Philosophicus and Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

“…a watch is never an object, it is a manifestation of thought.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“Advancement cannot betray the craft.”

“Independence is not solitude….”

“Aesthetics arise not from decoration…”

“Every aesthetic choice in the [watch] exists to serve the mechanics.”

“…the elegance of a mechanism that has nothing to hide, only truth to reveal.”

“A movement should teach.”

“Its architecture is not merely functional; it is didactic.”

“Each wheel, bridge, and lever is placed with intent so that the movement reads clearly, teaching the eye how energy travels and how precision is earned.”

“…the [watch] expresses precision with a calm, almost meditative authority.”

“[The watch] does not demand attention; it invites a quieter form of fascination.”

[photo of Lederer CIC 39 movement from back of watch]

“…a quieter form of fascination.”

Many years ago, I started a podcast called Beyond the Dial that set out to explore the intersection of aesthetics and mechanics in watchmaking. I didn’t set out to explore mechanics and aesthetics separately, or even in parallel; I intended to explore the intersectionality of mechanics and aesthetics, what I envision as a kind of blurry overlaying of the Venn diagram’s circles into a unified field of aesthetic-mechanical creation from which those attuned to it could sometimes derive a state of prolonged wonder, a horological high.

A few truly great watches seamlessly fuse mechanics and aesthetics: Patek Philippe’s Ref. 1518, F.P. Journe’s Chronomètre à Résonance, the Lange 1, Jaeger-LeCoultre’s Master Hybris Mechanica Calibre 362. These watches, and precious few others, have transcended trends and can reliably engender the horological high, that uniquely prolonged state of wonder, that “quieter form of fascination,” as Lederer aptly puts it.

On the podcast, I struggled to express what this high was, exactly. I used phrases like “the phenomenology of watches,” [https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/ ] “mechanical wonder,” [https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/ ] and “tripping on watches” to expound the idea that—since telling the time was no longer the point of looking at a mechanical wristwatch—experiencing a heightened state of mind might be. 

Watches are aesthetic objects, of course. All objects are. But when I allow watches to become mere objects of style, the psychological balm, the horological high, the sweet buzz of time abstracted via a tiny machine…it all just evaporates. When this happens, I find myself chasing down some passing trend [https://www.hodinkee.com/articles/vintage-vacheron-allen-farmelo ], or vying for social position in the horological hierarchy, worried about what so-and-so would think of my so-called wrist-game. And then I’d grow cynical about watches and, in the end, bored with them.

[photo of Lederer CIC 39]

Grokking mechanics to some degree is fundamental to my achieving the horological high, “the quieter form of fascination.” Promoting this state of mind, I will argue, should be the core mission of the Swiss watch industry. This message is implicit in Lederer’s philosophy.

The Sweeping Problem

I believe that social media and the mass popularization of watches it helped foster have made it much harder to filter out the buzz of fast-fashion and tune into the hard-hitting horological high I was pushing via Beyond the Dial. 

With a tiny glimmer of hope, I sense a return to mechanical concerns across the industry as the post-pandemic markets calm down. I sense that serious watch maisons are realizing that something more than a sage-green dial or some clever “collab watch” is required to draw serious collectors back to their latest offerings. The bubble burst around 2023, and now the hype-fest is cooling down. I’m seeing little glimpses of a return to mechanical concerns from Panerai, Breguet, Vacheron Constantin, and even Rolex.

Lederer’s recent release of the CIC 39 (as well as the other five watches in his Masters of Escapement [https://lederertimepieces.com/wp-content/uploads/2025/08/2025_Press-Dossier-LEDERER_Bernhard-Lederer-Biography.pdf ] series) may point the way for the watch industry to regain its hold on generating that elusive sense of mechanical wonder in its customers. This is certainly the highest calling of the enterprise called watchmaking, and it is well worth considering how the Swiss watch industry can humbly return that sense of mechanical wonder to primacy.

The Language of a Master

The philosophy of Lederer, so eloquently woven into this recent press release, is built from the astute language of a master who knows about mechanical wonder, about attaining horological highs, about transcending the surface of visual aesthetics (i.e., going beyond the dial) and basking in the blurry merger I call mechanical-aesthetics.

If Lederer’s philosophy of watchmaking wasn’t sincere, this language would be easy to dismiss as just more high-handed marketing fluff, of which a great deal emanates from the Swiss watch industry. But the Lederer release rings sincere—even humble—when considered within the context of the mechanical problems with which he toils.

[photo of Bernhard Lederer]

“A mechanism must solve a real problem. If it doesn’t, it remains an idea, not watchmaking. For centuries, the detent escapement had potential locked inside it. I wanted to give it a voice,” Lederer is quoted as saying in the press release for the CIC 39.

I’m reminded of John Coltrane, the jazz saxophonist who toiled humbly for well over a decade before finally figuring out how to go beyond the bold accomplishments of Charlie “Yardbird” Parker. Many great artists toil tirelessly in the shadow of a specific forebearer, a (usually deceased) master who haunts them with lingering unanswered questions.

[photo of John Coltrane]

Coltrane once said [https://www.penguinrandomhouse.com/books/592345/3-shades-of-blue-by-james-kaplan/ ], “I’ve had a strange career. I haven’t yet quite found out how I want to play music. Most of what’s happened these past few years has been questions. Someday we’ll find the answers.”

“We go where watchmaking has questions left to answer,” Lederer says in the press release, sounding just like Coltrane.

The Detent Escapement and its Problems

Others of Lederer’s generation have toiled with Breguet’s escapements (both the natural and detent mechanisms), including Laurent Ferrier [https://laurentferrier.ch/blogs/news/in-depth-look-laurent-ferriers-natural-escapement ] and Kari Voutilainen [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ]. The problems inherent to these mechanisms loom large, nagging the great masters to solve them.

You can find dozens of videos [https://www.google.com/search?udm=7&q=detent%20escapement&sqi=2 ] depicting the detent escapement’s fascinating motion, which will serve you better than my attempts at explanation. What I can confirm is that for centuries the detent escapement had suffered from limitations that make it unsuitable for use in everyday watches. It’s hard to get going once the movement has stopped, for one, and it is prone to instability at low amplitude, which is required for any meaningful power reserve in the relatively small space of a wristwatch movement. 

Lederer claims to have toiled—and, importantly, failed repeatedly—with the detent escapement for decades, slowly building up his understanding of the mechanism’s limitations and eventually finding workable solutions.

[photo of Lederer CIC 39 movement showing detent escapement]

The result of Lederer’s protracted effort is a gorgeous movement that runs the revised detent escapement off of a center-mounted balance cock. The escapement drives two independent gear trains, a configuration similar to the natural escapement-driven movement in his Central Impulse Chronometer [https://www.phillips.com/article/162598500/in-depth-the-lederer-central-impulse-chronometer ] of 2022, one of the six movements that Lederer is releasing as part of his Masters of Escapement series.

Humility and Slowness Can Reset the Watch Industry

As I read the press release for this watch, I hear a not-entirely subtle critique of the mainstream Swiss watch industry. Lederer’s philosophy of watchmaking is tersely in opposition to what has become the operable norm of Swiss watchmaking today: namely, that style and decoration (from gratuitous dial treatments to gaudy pave cases and trendy reissues) dominate watch design.

“Aesthetics arise not from decoration…”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

In espousing this philosophy, Lederer is, I think, showing the watch industry how it might rearrange its priorities and, with that, keep itself from bleeding out while caught in the hype-trap. The underlying message is that the marketing strategies of large luxury groups have sacrificed too much in service of social media’s voraciousness and the fashion industry’s quarterly renewals. Watchmaking that allows the inherently slow development of genuine mechanical innovation to (literally) undergird aesthetics can never keep that pace.

It is abundantly obvious to me that the reason Swiss watchmaking today can feel so spurious, so devoid of meaning, at times so blatantly dumb, is that too many brands insist on attempting to keep an unreasonable pace dictated by the demands of their marketing departments and not their R&D divisions. This hyper-pace has resulted in a splintering of annual collections into monthly, sometimes weekly, introductions of new dial colors, limited editions wrapped in weak partnership narratives, endless announcements about who wore which watch to what red-carpet event, and the press release I received last year asking me to tell my readers about a new strap color on offer for a watch already released multiple times with increasingly horrendous dial colors. I’m confident that this is the “noise” to which Lederer refers.

[photo of Lederer CIC 39]

With a measure of compassion, I understand that the onset of social media, the broadening of luxury markets, and the demand for quarterly ROI have pressured the great watchmakers of Switzerland (and elsewhere) to hustle beyond their capacity for genuine innovation. We all get it on some level; the impact is felt across industries around the world—including journalism.

But wasn’t watchmaking meant to be that one oasis of enduring sanity in a desert of spurious luxury madness? Or, shouldn’t it be?

Over and over we’ve seen the mandates for growth destroy the integrity of horological endeavors ranging from publications [https://www.wsj.com/style/fashion/hodinkee-luxury-watches-ben-clymer-b4078322 ] to philanthropic programs [https://robbreport.com/style/watch-collector/lists/15-watches-withdrawn-from-onlywatch-auction-1235595062/ ] to entire watch brands [https://robbreport.com/style/watch-collector/lists/bremont-watches-are-suddenly-good-investments-here-are-10-to-get-now-1235799724/ ]. At some point an industry gets stretched too far and can lose something essential, allowing consumer cynicism to creep in. Watchmaking has to at least consider resetting its priorities around something other than striving to keep pace with the mad tempos of social media and the world of fashion into which it seems so desperate to enter.

It’s time to put mechanical wonder back at the center of watchmaking, to respect the actual history of mechanical watchmaking rather than perennially spinning that history up into some seasonal marketing campaign, to more slowly help neophytes come to understand the subtleties of mechanical watchmaking rather than trying to degrade their sense of self in order to convince them to buy this week’s offering. We’ll get fewer bubbles this way, but they won’t burst their wet mess all over the quarterly reports, either.

Without a reinstatement of a core philosophy that prioritizes meaningful horological achievements, we’re going to end up in a world of uninspiring watches traded as the coinage of social capital. The world needs that about as much as it needs another smooth jazz record."]]></description>
<dc:subject>watches watchmaking 2025 lederer philosophy bernhardlederer philippedufour fpjourne karivoutilainen laurentferrier wittgenstein sunryusuzuki zen zenbuddhism aesthetics solitude independence sincerity stectacle thought elegance fascination attention mechanics phenomenology watchcanon socialmedia panerai breguet vacheronconstantin rolex switzerland johncoltrane charlieparker jazz music detentescapement humility slowness slow decoration philanthropicindustrialcomplex charitableindustrialcomplex cynicism consumerism consumption art abraham-louisbreguet luxury fashion wonder horology markets innovation marketing hype understanding allenfarmelo escapements watchmovements</dc:subject>
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    <title>Clarks and Jamaica - YouTube</title>
    <dc:date>2026-01-02T06:26:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wexVwwpCH-U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The connection between Clarks and Jamaica goes back a long way. 

To celebrate this special relationship, we spoke to some of the biggest names in Jamaican culture to find out what Clarks means to them.

We want to give back to a place that has given us so much. So, we’ve teamed up with Koffee and her Families Rule/MTLT charity that strives to empower kids through training, mentorship and scholarships.

We would like to give thanks and appreciation to the crew that helped bring this project to life:

Director/DOP: Gabrielle Blackwood 
Main campaign photographer: Nicki Kane 
Photographer/Videographer: Yannick Reid 
Stylist (Koffee):Troy Williamson
Hair & Make up: Melissa Dawkins 
Fixer: Alex Moore 
Production manager: Lisa Smith 
Sound: David Osbourne
Gaffer: Earl Brown
Lighting technician: Troy Forest
2nd Camera Mark Lecky - @jamrockards
Focus Puller Alexander Delaphena - @pulledfocusja
2nd AC Rocky - @rockyrocstone"]]></description>
<dc:subject>clarks jamaica shoes boots footwear 2021 clothing fashion</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=JzAgs47Idzw">
    <title>Why Jamaica Is Obsessed With A WWII Boot. - YouTube</title>
    <dc:date>2026-01-02T06:25:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JzAgs47Idzw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Clarks Desert boots -- one of the most iconic boots of all time, we know that. What we (I) didn't know however, was how much Jamaica loves Clarks. From the Desert Trek to the Desert Boot around the Wallabee and beyond, there is nothing out there like the realtionship between Clarks and Jamaica. Today, we dive into this! Via the Desert Boot, Astorflex, and a few other things! Oh, and please listen to the Vybz Kartel song, "Clarks" when you get a chance. It's amazing."]]></description>
<dc:subject>clarks jamaica shoes theironsnail michaelkristy clothing fashion footwear 2025</dc:subject>
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    <title>Substack's Stacked Debates: Utopia - Can you teach an AI taste? - YouTube</title>
    <dc:date>2026-01-01T04:18:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fAxRj3njH7I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Substack's Stacked Debates: Utopia - Can you teach an AI taste? 
Jasmine Sun vs. Robin Sloan"]]></description>
<dc:subject>robinsloan jasminesun humans humanism ai artificialintelligence taste 2025 deepmind alphago music culture finitude human humanity technology experience surprise insight fashion musicmaking confidence computers computing effectivealtruism spotify claude anthropic chatgpt openai deepseek courage specificity decisionmaking stakes risk risktaking dreams dreaming choice quality quantity decisions</dc:subject>
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<item rdf:about="https://lmnt.me/blog/and-stay-out.html">
    <title>And Stay Out</title>
    <dc:date>2025-12-05T01:39:59+00:00</dc:date>
    <link>https://lmnt.me/blog/and-stay-out.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alan Dye may have left for a more lucrative offer from Meta, but this is absolutely a good thing for Apple, which also benefitted from “losing” Jony Ive.

There’s no doubt Jony has good taste, by the way. He and his team designed great products during the first half of his tenure at Apple. But as he became wealthier, he started to conflate good taste with luxury. Jony often described Apple products with words about craft, material, and precision, all things that appeal to a luxury market. Apple shifted away from making products “for the rest of us” and started making products that appealed specifically to rich people.

Not to put too fine a point on it, but they started making products that appealed to themselves. Because since Steve Jobs died, Apple, its executives, and its corporate employees got significantly wealthier. It wasn’t just Jony who took an interest in luxury. The whole company did. Anyone with even a little bit of power in the company started to dress more expensively. They all look like they could walk right out of a fashion advertisement.

This is all to say Apple’s restyling was not just with iOS 7 or even Liquid Glass. It was in how Apple presented themselves as people who had good taste, because that’s their way of communicating authority on the subject of design.

It’s like the trope of overlaying the golden ratio on a logo, or drawing excessive guidelines to “prove” it was thought through. To me, if you have to explain it for people to get it, then it’s not that good, actually. And that’s how all those video presentations from Jony or Alan sound to me. It’s just marketing with a veneer of design. I think we all know that.

Speaking of those video presentations, I recall Jony’s use of the word “familiar” during the introduction of Apple Watch. He used it as a way to bridge the gap between iPhone and Apple Watch. If I remember correctly, Alan Dye also used this word when introducing Liquid Glass. Despite using this word, modern UI design has drifted away from what’s familiar, both in real world analogs—that we called skeuomorphism—and from traditional UI elements and arrangements that many of us have used for many years.

Familiarity is a great tool designers can use to get people quickly to an understanding about what they’re using. Not just in software, but in real life, you can utilize certain forms and materials to encourage people to use something in a way they already know how. It’s only when something feels unfamiliar that we become puzzled and ask for help.

And hasn’t this been happening—ironically—more since they started using this word? How many of us have searched the Internet for ways to “turn off” a new thing or “revert” to a previous arrangement of UI to feel more familiar? How many times has Apple specifically introduced a new setting just so we can do that? I use the “Tinted” setting for Liquid Glass, the “Bottom” tab style in iOS Safari, the “Classic” view for Phone, and “List View” rather than “Categories” in Mail.

Neither Jony nor Alan should ever have been in charge of UI design or product design. Elevating Jony was a bad decision on Tim Cook’s part. And it’s unfortunate that resulted in Jony putting Alan into this position to begin with, because it only lengthened this period of time where bad taste and poor sensibility in software prevailed. There was no reason to believe Jony would be good at this, and there was never any evidence Alan would be good at this either. I’ve never found any examples of Alan’s professional work prior to having this job. In any case, I hope neither of them step foot inside Apple ever again.

I don’t have much to say about Steve Lemay. He was the hiring manager for my first interview at Apple fifteen years ago. It didn’t work out, and I went to work on iTunes and iLife instead. But he had already been at Apple for a long time, and I have lots of respect for him for his platform knowledge and expertise. I don’t expect any big changes because I don’t think he or Apple are looking at this as an opportunity to undo Jony and Alan’s influence on the company, but I do sincerely think this will all feel better with Lemay’s leadership. I wish him the best."]]></description>
<dc:subject>2025 apple louiemantia alandye ui design jonyive wealth taste productdesign luxury eattherich fashion liquidglass authority excess veneer familiarity ux timcook stevelemay</dc:subject>
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<item rdf:about="https://i-d.co/article/the-emperors-new-grocer/">
    <title>The Emperor’s New Grocer</title>
    <dc:date>2025-11-09T17:42:22+00:00</dc:date>
    <link>https://i-d.co/article/the-emperors-new-grocer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New York’s hottest status symbol is a grocery store selling nothing."

...

"Andrea Hernández, creator of the popular Substack Snaxshot—aptly dubbed by The New York Times the Nostradamus of snacking—has another name for stores like Erewhon: Hypebeast grocers. “It doesn’t seem like there’s enough in the store to make sense.” Hernández tells me, “There’s a difference between selling gourmet items versus selling the hype around the grocery store itself. Erewhon is the Supreme of grocery stores. The $30 smoothie I must try… They create an aura of scarcity.” The phenomenon is international. In Seoul, Monday Morning Market drops groceries like capsule collections.

In stark relief, Hernández describes our parents’ buying habits. They went to the store, and then got out. The big choice in the cereal aisle would be buying a private label (ShopRite’s own) over a name brand (Barilla) for the sake of affordability and value. Then, “Along comes our generation, growing up with social media and inheriting the behaviors of affordable affluence. It’s the lipstick effect.” You may not be able to afford a Birkin, but you can go and try a $20 strawberry at Erewhon and post about it in the same way. Whether you eat the berry at all, actually, doesn’t matter.

How many people can really afford to do a full shop at one of these stores? In 2023 New York Magazine ran a sobering profile about the Angelinos going into debt to afford their Erewhon habit—people fixated both on the potential wellness benefits and the potential upward mobility Erewhon has to offer. Hernández remarks, “It’s depressing to think that this is the way that we are able to kind of have that same dopamine hit of keeping up with the Joneses, but it’s like, what’s in your grocery cart?” 

After the development of the first self-service grocery store Piggly Wiggly in 1916, packaging began to take on a more and more significant role in how we eat. There was an attempt to make products you might otherwise pass up in a grocery aisle more attractive. Now, with the advent of social media, branding, aesthetic intrigue, and hype are everything. “It’s the Trojan-horsing of aesthetics, the yass-ification of everything. Like, why does a can of beans have to look like that?” says Hernández. As she points out, Happier Grocery even offers transparent bags with the logo—like a walking display case for your carefully selected nut milks and pre-washed salad. 

The issue, Hernández feels, is that we’ve “shaped grocery stores in our clout-chasing image.” She explains, “We’re the apex consumers, and we’re treating grocery stores like luxury stores. Everything around us has to signal something because of social media.” Nussdorf, however, is skeptical of how Erewhon and its direct competitors’ clout chasing will translate to a New York audience: “I don’t think these smoothies with these influencers or designers in New York City that some of these other competitors are doing is making them that much money.”

These “HypeMarts” have more shared DNA with Balenciaga or Telfar than they do with a Whole Foods, relying on scarcity, drops, and branding for business. Beyond acting like clothing brands, these grocery stores also have their own clothing brands. Hernández tells me, “Happier grocery sells $120 jackets. Erewhon has been dropping, like, merch capsules.” Happier Grocer was created by a former Marc Jacobs designer and is owned by the same team that runs the W.S.A. building in FiDi and S.A.A. in Bushwick—two fashion hot spots—and the luxurious Cayman Heights hotel Palm Heights. Flamingo Estate, a popular lifestyle brand that sells a $80 jar of dried strawberries, has the tagline “Mother Nature is the last great luxury house.”"

...

"Culturally, as our grocery stores have trended sparer, so too have our bodies. For the past two years, publications across the world have published, repetitively and without satisfaction, about whether being ultra thin was “back.” According to CNN, as of 2024 1-in-8 American adults has taken Ozempic or another GLP-1. For Hernández these grocery stores represent the final evolution of consumerism: When you see groceries not as a necessity but as luxury good.  “It’s fucking dystopian as hell at a time where you have food inaccessibility, and people are having to DoorDash or eat Taco Bell because it’s cheaper than going to the grocery store. In Austin, there’s a store that’s opening soon with underground delivery because it’s cheaper and doesn’t have any overhead costs.” The brand (can we even call it a store?) is called Goods and advertises two-minute grocery delivery via “underground delivery” sent to a pickup lane near you. Hernández speculates, “Maybe we are going to start getting more groceries from underground tunnels, and then only if you can afford it, you’re gonna go have that luxury experience of going to an actual grocery store.” If that all sounds like a pipe dream, then it’s worth noting that when Erewhon debuts a new product, they often set up a selfie station with vegetables as the photo backdrop. Hernández, who grew up shopping at local markets in Honduras, turns somber: “We cannot unlearn convenience. We’re basically cosplaying being able to connect with what nurtures us.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=txUkotYOhac">
    <title>TECHNIQUES to Create Unique Paint Like Photos // Saul Leiter - YouTube</title>
    <dc:date>2025-10-12T04:43:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=txUkotYOhac</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Saul Leiter, a pioneer of color street photography, blended painterly composition, abstract framing, and atmospheric elements to create some of the most distinctive images in the genre. Working largely within two blocks of his East Village home, Leiter used long focal lengths, reflections, rain, and obscured subjects to produce intimate, timeless scenes of New York life in the 1950s and ’60s. Though he spent decades largely unknown, his rediscovered work—spanning street, fashion, and painting—now stands as a masterclass in quiet observation and subtle beauty.

Chapters:
0:00 Overview/Intro
0:29 Bio
1:39 Fashion Photography
2:56 From B&W to Color Film
4:25 Influence of Painting on Photos
5:08 Abstract/Unique Photo Techniques
6:34 NYC the Canvas for Photography
8:29 Street Photography Fame in Old Age"]]></description>
<dc:subject>saulleiter 2025 developingtank photography streetphotography fashion nyc oldage</dc:subject>
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<item rdf:about="https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics">
    <title>How luxury brands engineer desire with behavioural economics | Psyche Ideas</title>
    <dc:date>2025-10-03T16:32:15+00:00</dc:date>
    <link>https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From scarcity to market architecture, luxury fashion is manipulating our tastes. But a vintage countermovement has begun"]]></description>
<dc:subject>luxury economics manipulation vintage 2025 charlottewren architecture fashion capitalism behavior scarcity psychology consumerism consumption society louisvuitton christiandior fendi givenchy celine gucci sybmolism chanel zara h&amp;m versace escada plannedobsolescence authenticity individuality quality self-expression beauty aesthetics myth myths online marketing hype ads advertising exclusivity hermès tommyhilfiger danathomas china handmade dior</dc:subject>
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    <title>Ken Sakata (@frontofficeco): &quot;How do you design clothes that Japanese people love? Western vs Japanese Aesthetics &quot;</title>
    <dc:date>2025-09-29T19:36:58+00:00</dc:date>
    <link>https://substack.com/@frontofficeco/note/c-117030760</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you design clothes that Japanese people love? Western vs Japanese Aesthetics"]]></description>
<dc:subject>kensakata clothing design fashion japan materials wabisabi beausage degradation aesthetics west decay impermanence symmetry asymmetry understated apparel donaldkeene suggestion restraint color colors irregularity handmade human humanism unevenness simplicity fabric decoration perishability durability worldview</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2025/09/22/inside-uniqlos-quest-for-global-dominance">
    <title>Inside Uniqlo’s Quest for Global Dominance | The New Yorker</title>
    <dc:date>2025-09-26T07:56:17+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brand conceives of itself as a distribution system for utopian values as much as a clothing company. Can it become the world’s biggest clothing manufacturer?"]]></description>
<dc:subject>uniqlo 2025 laurencollins clothing apparel retail fashion</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.washingtonpost.com/style/fashion/2025/09/11/luxury-designer-fashion/">
    <title>What does ‘luxury’ mean today? - The Washington Post</title>
    <dc:date>2025-09-24T16:47:02+00:00</dc:date>
    <link>https://www.washingtonpost.com/style/fashion/2025/09/11/luxury-designer-fashion/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We surveyed dozens of members of the fashion industry to find out."

[via (PDF there):
https://www.are.na/block/39806870 ]

"Luxury is life without a phone

“Luxury today is living in real time, off the phone. I recently found some freedom from the bondage of my phone addiction via the Brick app. I’ve currently been Bricked for 24 hours, 50 minutes and 35 seconds. Pure luxury.” — Mel Ottenberg, editor in chief of Interview Magazine

“Luxury is being about to put my phone away for at least 72 hours (or thereabouts). I want to let go of feeling the pressure of time, or having to answer to anyone. Luxury for me would be having the people I love right by my side, ideally in a cozy home surrounded by nature, and lots of yummy food within reach. It is a total palate cleanser from the busy, buzzing, exciting world of traditional ‘luxury’ that I usually inhabit, which is why I cherish these moments as much as I do.” — Chioma Nnadi, British Vogue head of editorial content

Luxury is freedom

“Luxury is the freedom to take your time.” — Sara Moonves, editor in chief, W Magazine

“To me, luxury in 2025 has a lot to do with escapism. On a basic level, this might look like a weekend trip without email, taking an hour out of your day for a procedure like a massage, or spending an afternoon at a store. It escalates from there: longer, more exotic trips and retreats (to move freely and easily through the world is an incredible privilege), and spending more time on yourself and with loved ones. Of course, the more luxurious your life is, the less likely you are to have a nine-to-five job — the pinnacle being a complete detachment from reality. I’m not saying this is something to aspire toward. Luxury has never been righteous; it refuses to engage with the news or even social media. In this way, luxury can be gross and lonely, too. It’s the ridiculously rare and expensive thing that no one else has, but it’s also the life no one else has — the castle on a private island, or the apocalypse bunker in New Zealand. The kind of luxury, or escapism, that I’m looking for, instead, is the freedom to ditch convention — to sleep until noon or eat dessert before dinner — and reassimilate at my leisure.” — Emilia Petrarca, writer"

...

"For Rick Owens, who writes in all-caps, it’s taking a nap

“TAKING A NAP EVERY DAY IS MY MOST EXTRAVAGANT LUXURY. WHAT COULD POSSIBLY BE MORE PRECIOUS THAN TIME, PEACE AND PERSONAL SPACE?” — Rick Owens, designer

And for Thom Browne, who writes in lowercase, it’s doing as he pleases

“to me, luxury is getting to do exactly what you want to do at the highest level … no compromise …” — Thom Browne, designer

And for Law Roach, it’s just being able to afford something

“In this economy, anything you can afford that makes you happy is luxury.” — Law Roach, image architect"

...

"It can even be quintessential human experiences

“At a time when both money and knowledge have become inflated to the point of meaninglessness, I would say that friendship is the ultimate luxury. On average, people have fewer friends now than at any time in human history. And friendship is the only form of access that can’t readily be bought, sold, or researched. When I was 10 years old, my mother took me to dinner at her friend’s apartment near Boulevard St. Germain in Paris. On the way there, she said to me, ‘What you are about to experience is very special. People can come to this city for their entire lives, stay at the fanciest hotels, eat at the best restaurants, and they will never eat dinner at a real Parisian person’s apartment.’ That is the luxury of friendship.” — Thom Bettridge, i-D editor in chief

“Ultimately, regardless of who you are, luxury could be anything that brings you true joy. It could be a perfect potato chip or a giant bowl of caviar. It could be jeans that make you feel more confident or a hand-tailored suit. It could be a day with nothing on your calendar and no devices nearby, or a night spent with loved ones and pets. I personally feel that if luxury is something that focuses on a purchase, it should never be thought of as something you use only for special occasions. The idea of being able to wear your favorite piece that makes you feel great on a regular basis for years to come, that’s luxury.” — Michael Kors, designer

“Due to a mix of postpartum hormones wreaking havoc on my moods and hairline, and the horrible headlines every 30 seconds — luxury in 2025 is a day (hour?) without any dread crawling into my personal space. Luxury is singing Minnie Riperton’s ‘Lovin You’ with my baby and watching her tongue-out grin because she’s very into her whistle tones right now.” — Cecily Strong, comedian"

...

"Or information. Or a future.

“Luxury is not having to get your news from papers owned by enablers of fascists.” — Justin Vivian Bond, singer

“Today, the greatest luxury for humanity would be simply having a future. All other luxuries have cost us our souls and our very humanity.” — Michèle Lamy, designer"]]></description>
<dc:subject>luzury fashion 2025 melottenberg slow chiomannadi freedom saramoonves business emiliapetrarca consumption consumerism cecilystrong michaelkors thombettridge lawroach rickowens thombrowne michèlelamy justinvivianbond future fiendship</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
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</item>
<item rdf:about="https://davedye.com/2023/04/12/another-post-on-posters/">
    <title>ANOTHER POST ON POSTERS. | STUFF FROM THE LOFT.</title>
    <dc:date>2025-07-28T22:51:59+00:00</dc:date>
    <link>https://davedye.com/2023/04/12/another-post-on-posters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Clever-clogs, San Franciscan adman Howard Gossage once said that advertising had a responsibility to society not to pollute our environment.
Particularly outdoor, as everybody was exposed to it.
I’m sure everyone in marketing at the time nodded sagely in agreement, then got back to polluting.
After all, job one is shifting product.
Creating a more pleasant trip to the shops is an indulgence.
Isn’t it?
If you believe dull, ugly ads shift more product.
Do they get you to buy?
Are they easier to remember?
Of course not.
So why are our streets filled with them?
Maybe it’s inappropriate to be playful and fun when times are tough?
Times like these call for ‘hard working ads’!
Every Creative will have been told, solemnly, ‘Now this one needs to be a hard-working’.
(Like you’re just fucking about the rest of the time to amuse yourself.)
Nope, this time, they actually need to sell some shit, so keep it straight, don’t go all creative on us.
Ok, so what is the information we need to deliver without diluting it with our fancy creativity?
The magic bullet?
Ah! ‘Our product is…(wait for it)…good’.
Great.
It’s not to say that every message needs to be put through some kind of creative filter.
Let’s say the BMW i3 goes for 300 miles on a single charge – you probably don’t want to veer too far from that set of words.
But if the information was, what the headline became ‘As promised, the all-electric BMW i3’ you should veer.
Or flee even.
Not to keep yourself amused but to generate interest from others.
Simply introducing a product or is saying it’s good isn’t hard-working.
It’s dull and unbelievable.
Like saying your son is so handsome or you’re a great golfer.
There has never been more products available as there are today.
And there’s never been fewer differences between them.
Take cars, I’m in the process of buying one – asking dealers what the difference between model x and model y is like debating a politician.
“What does the extra £5k get me?”
“It gets you the ABC Model.”
“I know, but why’s it better than the CBA Model?”
“It’s the ABC Model…it’s superior.”
“In what ways?”
“Multiple.’’
“What specifically?”
“All round, it’s a superior car…it’s the ABC!”
Oh FFS!
That’s a big purchase, imagine asking someone at Sainsbury’s what the difference is between soaps – “The one on the left has the word ‘Pears’ printed on, whereas …”
But you still have to choose one soap over the others.
If you can’t differentiate them by what they do, you are forced to differentiate them by how they present themselves.
The name, packaging, marketing and so on.
Never was this more true than in the lager category.
BMP used to regularly launch new beers, beforehand they’d conduct some blind taste tests, to see how their new brew fared against the competition.
They concluded that ‘beer drinkers drank the advertising’ because they couldn’t taste the difference between one pint and another.

Today, most categories today are like the lager category -very few tangible differences between brands.
So what you say is less important than how you say it.
Simply saying your lager is awesome won’t do it.
You have to be creative.
You have to conjure up a personality to separate yourself from your competition.
What kind of personality appealing?
Well, no one’s looking to be bored – so don’t be dull.
I’m sure I’m not alone in finding bullshit off-putting – so be honest.
Given the choice, I prefer self-deprecation to self-aggrandising.
I’d guess people prefer buying from intelligent companies rather than dumb ones.
I like those who make me smile, laugh even.
I’m more likely to look at something attractive than ugly, hence the word ‘attractive’ I guess.

Oatly is a good example.
I like them.
What’s the difference between them and other Oat Milks?
No idea.
But I like the cut of their jib.
They don’t take themselves too seriously, occasionally make me smile, they just seem cool.
Next time I’m in Tesco’s, staring at Oatly and the 30p cheaper oatmilk next to it in the fridge, I’ll probably go Oatly.
30p!
Those 30p’s can really start adding up back at Oatly Towers in Malmö.
Would I feel that way if Oatly said stuff like this…"

[several examples, usually in pairs for comparison]

"Here’s Howie again – ‘The buying of time or space is not taking out of a hunting licence on someone else’s private preserve, but it is the renting of a stage to perform.’
We can’t make people engage with our ads, but we can try to engage them.
If we fill our streets with dull, shouty creative work, it devalues those spaces.
Maybe there’s a tipping point – when people assume there won’t be anything interesting on those posters up ahead –  so don’t turn their heads.
On that head movement rests the success of the outdoor industry.
Maybe we’d engage more people if we gave them more engaging content?
A reason to look.
Maybe even make them smile.
Maybe Mr Gossage was right; we shouldn’t pollute our streets.
Maybe it’s not only morally right, maybe it’s financially right too."]]></description>
<dc:subject>davedye howardgossage ads advertising environment environmentalism marketing creativity fashion levis theeconomist volvo richseigal davidabbott chiatday humanity humanism posters</dc:subject>
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<item rdf:about="https://robbreport.com/style/watch-collector/neo-vintage-watch-postmodernism-1235821244/">
    <title>How Postmodernism Saved the Mechanical Watch Industry in the 1980s</title>
    <dc:date>2025-07-27T00:56:58+00:00</dc:date>
    <link>https://robbreport.com/style/watch-collector/neo-vintage-watch-postmodernism-1235821244/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watches from the 1980s and '90s are not as easy to understand as one might imagine."

...

"Why would a watch collector need or want to understand the notoriously vague and confusing concept of postmodernism?

One answer is that watchmaking went through “a postmodern moment” starting in the 1980s, and many of those “postmodern watches” are now collectible vintage and neo-vintage timepieces. A neo-vintage watch is roughly 20 to 40 years old, and a vintage watch is older than 40 years. The current market data shows neo-vintage watches to be very good value, especially from Rolex, Patek Philippe, and Audemars Piguet.

Another reason for a watch collector to understand postmodernism is to gain insight into the artistic moment in which these collectibles emerged. Just as one can better understand and appreciate a watch from the 1920s by knowing about the Art Deco movement, or a watch from the 1930s by understanding the Bauhaus school’s ethos, or a 1950s watch by knowing about mid-century modernism, one can better understand watches from the 1980s and ’90s by knowing something about the postmodernism.

And more specifically, it’s reasonable to assert that postmodernism saved the Swiss mechanical watch industry in the 1980s. As we shall see, the creative freedom that postmodernism bestowed on watch designers in the early 1980s became the force behind the mechanical watch revival of the 1980s and ’90s.

What Is Postmodernism?

To understand postmodernism, we must first understand modernism. In the late 1800s, the Western world industrialized, secularized, urbanized, and democratized radically. In response, modern philosophy, art, literature, politics, architecture, psychology, and so on emphasized individuality, subjectivity, mechanization, technology, and novel social structures. By the early 20th century these concerns were broadly expressed through abstraction, absurdism, and surrealism in the arts, as well as through stripped-down design aesthetics as seen in unadorned concrete buildings, sleek automobiles, and even straight-forward watches like the Patek Philippe Calatrava reference 96 of 1932, the quintessential “modern watch” thought by many to have been inspired by the Bauhaus school.

[image: "Patek Philippe Salmon Dial: This Patek Philippe Calatrava with a salmon dial dates to the 1990s, but is a nearly exact replicaa of the reference 96 from the 1930s. This makes it a quintessential postmodern watch."]
Phillips

Modernism clung to two ideas that postmodernism would reject: 1. that human history follows a linear, progressive, forward trajectory, and 2. that universal truths fueled that trajectory. In rejecting those two core ideas, postmodern art and design representatively broke with linear historical progress by embracing pastiche (art that imitates a much older style), and it broke with universal truths by embracing collage (art that mashes seemingly unrelated forms together to deconstruct clear meaning). Pastiche and collage will remain our focus here.

Italian theorist and author Umberto Eco has written that, “Postmodernism is an all-purpose term, which can be applied to many—perhaps too many—things.” While postmodernism is, indeed, a very confusing and vague concept in its broad applications, narrowing our focus onto the mechanical watch revival of the 1980s and ’90s provides a surprisingly clear case study of postmodern design.

Quartz Was Modern. The Mechanical Watch Revival Was Postmodern.

When Seiko released the quartz Astron watch in 1969, the Swiss mechanical watch industry fell into what we now call the Quartz Crisis. As many as 500 individual watch-related businesses are thought to have gone out of business in Switzerland during the 1970s. Quartz watches were eventually quite cheap, and they “democratized” high precision timekeeping. Quartz watches were modern in that they appeared to be an inevitable step in the linear progress of modern timekeeping technology.

But in the early 1980s, something unexpected happened in the watch world, and it wasn’t the SWATCH. It was a cadre of mechanical watch companies that insisted that the mechanical watch was not just an anachronism for stuffy elites but a relevant artform.

[image: "Blancpains dating to the early 1990s. These watches exhibit the refinement and style of watches from the 1940s, and helped revive Switzerland's mechanical watch industry. Blancpain watches dating to the early 1990s. These watches exhibit the refinement and style of watches from the 1940s, and spurred the mechanical watch revivial."]

At the 1983 edition of Baselworld, Jean-Claude Biver, now the world’s most famous horological CEO, relaunched Blancpain, a storied watch brand which had gone out of business during the Quartz Crisis. Blancpain’s new slogan was, “Since 1735 there has never been a quartz Blancpain watch. And there never will be.” Under Biver’s visionary leadership, Blancpain embodied the postmodern impulse toward pastiche, offering traditionally styled mechanical watches that unabashedly broke entirely with the linear march of progress suggested by quartz watches.

In lock step with this anachronistic impulse, in 1989 Vacheron Constantin launched its Historiques collection at Baselworld. Until then, Vacheron had always marched straight forward, updating its collection (however subtly), offering the latest styles (however conservatively). But the 1990s saw Vacheron Constantin recreating watches of the 1920s and 30s. In 1989, Patek Philippe released the decidedly antique-looking reference 3960, a 33 mm Calatrava with old-school lugs, Breguet numerals, and enamel dial, and a hunter case—each of these antique features helping make this watch a work of pastiche.

[image: "The author's 1990 Vacheron Constantin Historiques in platinum is the very first watch that the brand released "from the back catalog.""]

We could go on with examples of postmodern pastiche watches from the 1980s and ’90s, but suffice to say that when you see small dress watches from the 1980s and 1990s that look like they’re from the early 20th century (and there are a lot of them), you’re looking at one type of postmodern watch.

The Avant-Garde Mashups of the 1980s and ’90s

The postmodern impulse toward collage was embodied in another type of watch that emerged in the 1980s and 90s, notably from Alain Silberstein and Ulysse Nardin. These watches took an avant-garde approach, pushing together visual and mechanical forms that no one had seen together before. Notably, these watchmakers were vocal about the mechanical watch revival, and they aligned themselves with Biver and others who were forging new paths for Swiss mechanical watchmaking.

[image: "Silberstein's designs echoed Kandinski paintings, Bauhaus aesthetics, while mashing up odd materials into complicated mechanical watches. This one dates to the 2000s."]

Silberstein was trained in design in Paris during the 1960s and 70s by a professor who had been a student in the Bauhaus. This direct lineage tied Silberstein to a modern design focused on primary colors and basic shapes as well as abstract, collage-like forms as evidenced in Kandinsky’s paintings. But, crucially, Silberstein was mashing these modern ideas together during the 1980s and ’90s within the largely conservative and functional form of the wrist watch. It was a bizarre impulse, really. (Silberstein designed for other brands on contracts that required non-disclosure, and yet it’s almost impossible not to see his influence on SWATCH, which cast a broad postmodern tone for watches during the 1980s and ’90s).

Another maverick in postmodern watchmaking was Rolf Schnyder, who was heading up Ulysse Nardin through the 1990s. This decade saw wild experimentation with mechanical forms that were exposed on the dial in ways that—though familiar to us today—shocked collectors at the time. This avant-garde work of Ulysse Nardin culminated in 2001’s Freak, a watch that Schnyder and watchmaker Ludwig Oechslin conceived of together. With “no hands, no dial, no crown,” as the brand likes to brag today, the Freak brought together the technical prowess of the Vatican clocks Oechslin had restored, a modernist affection for machinery, the postmodern impulse to invert interiors (e.g., 1977’s Centre Pompidou in Paris), and a futuristic sensibility that managed to evoke 21st-century space travel before the century began.

[image: "The Ulysse Nardin Freak of 2001 embodies the avant-garde impulses of postmodern collage and irreverance."]

The Postmodern Impulse in 21st-Century Watchmaking

From an art-and-design perspective, it’s fair to say that we are still in the postmodern moment. Since the 1980s, we’ve grown so accustomed to pastiche and mashups that we hardly notice the constant irreverence toward linear time (everything is retro-styled, referential, or sampled) and toward universal truths (relativism and alt-facts prevail). We live in a thoroughly postmodern world. Aesthetics that once shocked us—and even seemed violent toward modernism—are banal today. From music to fashion to interior design, we mashup breezily, as if we’re tossing a light cultural salad to nourish us while we scroll the anarchy of social media.

We are so engaged in postmodernism that it can be easy to miss it in today’s watches. That impulse is more readily evident in the creations of, say, MB&F or Greubel Forsey, which draw on Silberstein’s and Ulysse Nardin’s avant-gardism, but what about that impulse as it emerges in more staid brands, such as Patek Philippe?

[image: "Given the numerous design antecedents mashed up in the Patek Philippe 5226g, it is difficult to think of it as anything other than quintessentially postmodern."]

I recently wrote that the Patek Philippe Calatrava reference 3226g was the greatest watch of the 21st century (so far, anyways), and I want to return to this timepiece, as it is surprisingly—indeed, stealthily—postmodern. I offer this analysis for no other reason than to help train our eyes on the postmodern impulses that make up so much of watchmaking since the 1980s, and because pretty much every watch brand other than Rolex is mashing up in a breezy retro-chic fashion that can, at times, be a bit difficult to get our heads around as we attempt to appreciate what these design departments are doing.

So, the curious case of the 5226g leads us to see how postmodernism has opened the door to free design mashups, but this watch uniquely uses both pastiche and collage to create something decidedly 21st-century in nature. The overall colorway is taken from a rare 1930s Calatrava Reference 96 called the Nightwatchman. The lugs derive from the 1960s 3448 perpetual calendar. The dial is derived from a 1970s camera body. The hobnail pattern along the case band is from a 1970s 3520 bezel. The numbers and hands are borrowed from the current 5172G. This 5226g is a masterful mashup that is entirely irreverent to the notion of linear progress. It is, in essence and despite the rather mundane first-impression it gives off, entirely postmodern.

So What?

Understanding this much about postmodernism and watches may do nothing to increase their value—then again, who knows, given the persuasive nature of elevated cocktail party conversation. But rather than merely offering up an intellectual take on neo-vintage watches, I hope to introduce into the dialogue of watch collectors a clearer sense of what it is we are looking at as a whole generation of interesting watches begin to find their way to antique status, onto the auction block, and into our collections. If nothing else, I hope this little digression into postmodernism provides a modicum of insight the next time you look down at your wrist for the time."]]></description>
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<item rdf:about="https://robbreport.com/style/watch-collector/watches-fashion-gender-1235569136/">
    <title>Why It's Time to Break Out of Our Gendered Views on Watches</title>
    <dc:date>2025-07-26T23:00:52+00:00</dc:date>
    <link>https://robbreport.com/style/watch-collector/watches-fashion-gender-1235569136/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can we bend our ideas about the purpose of watches?"

...

"[image: Andy Warhol]

There is a known tension between those who believe watches are fashion items and those who uphold that watches are more than, better than, and beyond fashion. I find this tension fascinating, and I think it has much to do with the complex ways that gender influences our varied perspectives on the long-standing battle between fashion and function.

The Dynamics of Watches, Fashion, Gender & Sexism

My former colleague at Hodinkee, Malaika Crawford, has been using her tenure as a watch journalist to show us the connection between watches and fashion. Malaika has been met with the heated, polarized, and often straight-up sexist responses that too often characterize the “conversation” in Hodinkee’s notoriously combative comments sections. Malaika’s is one of just a few voices connecting fashion and watches among us watch journalists, and her persistence has brought the topic to the forefront of the conversation. For this alone Malaika deserves our applause.

Foregrounding fashion and watches has brought obvious discomfort to many people, and from what I can tell those experiencing discomfort are men. This doesn’t surprise me for many reasons, including but not limited to the following: Some men eschew the notion that they participate in fashion; some like to mansplain and troll; and some men are (however unknowingly) uncomfortable with women possessing authority in the watch space.  

[image: "In 1983, Swatch blurred the barrier between men’s and women’s watches with a playful spirit that captured the androgyny of the era."]

To put it more pointedly: The watch enthusiast scene has long been a rather nerdy good old boys club mostly unconcerned with fashion, and today’s neophyte-heavy watch scene has fostered what I think of as “a new bros club” that is also purportedly largely unconcerned with fashion. In my estimation, many watch collectors and enthusiasts were always going to ignore—even avoid—the proximity of fashion and watches, and they predictably resist having that proximity pointed out to them.

I detect currents of both sexism and hetero-normalism in this resistance to considering watches and fashion together. I want to be clear that I do not see these –isms as the whole story, and below I will make a case for not considering watches as fashion items. But before I do that, we must consider the important role that gender plays in this cultural conundrum.

[image: "Italian entrepreneur Gianni Agnelli (left) famously wore his watch over his shirt cuff. Fashion or function?"]

I’ve long detected and disliked the currents of sexism and hetero-normalism in the watch collecting scene, just as I’ve found them in guitar culture, hi-fi, jazz, motorcycles and all sorts of male-dominated enthusiast scenes I happen to participate in. (I’ve even noted similarities between these enthusiast scenes and the gun enthusiast scene in which absurd machismo often goes unchecked.) Almost without fail, every male-dominated enthusiast scene has a posse of outspoken men who obnoxiously defend the hegemony of their traditionally gendered point of view. I’m convinced men don’t carve out and defend these positions knowingly. There’s the occasional overtly sexist troll who knows what he’s doing, but mostly these defenses appear to spring up from largely unconscious gender norms.

I’m making a rather touchy assertion—some would even call it an accusation. I understand why one wouldn’t want to think about –isms when indulging their hobby, but I also think enthusiast spaces are particularly rife with unchecked behavior that we know better than to indulge in professional spaces and even among family. Sometimes it is exactly our leisure time that finds us bickering from unexamined positions. I think we can learn from looking at those tendencies.

[image: "Julia Roberts wearing a larger Chopard Alpine Eagle over her cuff in the manner of Italian auto tycoon Gianni Agnelli."]

Gendering Our Perspectives on Watches

It’s been my impression that men who indulge fashion often play with, indulge and express gender more fluidly than men who eschew fashion. (I fit this description of a somewhat fluidly gendered guy who dabbles in fashion.) I’d also suggest that those who are into both fashion and watches don’t tend to sequester themselves in watch-centric scenes. This isn’t to suggest that fashion-oriented men lack horological knowledge or interest; to the contrary, those who know fashion often bring compelling insight to bear on how culture and watches interact.

Think of Andy Warhol who owned over 300 watches and knew Rolex and Patek reference numbers as well as anyone, but for whom watches were just one small piece of his broad fascinations with art, fashion, publishing, pop culture and so much else. The perspective that considers watches as part of fashion and expressive culture more generally is neither better nor worse than a nerdy watch-centric perspective, but these perspectives usually focus on rather different aspects of watches.

[image: "Christie’s auctioned one of Andy Warhol’s Patek Philippe Calatravas in 2021."]

I’ll use myself as an example of how gendered perspectives operate to form our views on watches.

I’m half Warhol and half good old watch nerd. I adore Gucci (the cuts and fabrics) Ferragamo (the shoes) and Cucinelli (the knits), and I know just enough about my tastes and my body to mostly avoid British and American fashion designers. Sometimes I spend real money on clothes. But I’m not obsessed with fashion; I don’t read fashion magazines or follow the seasonal collection drops, or remember the name of the man who just took over at Gucci, for example. But I indulge fashion in my own way and am super comfortable with it. As such, I neither struggle to accept the proximity of watches and fashion, nor do I relegate watches solely to the world of fashion. We might say that I’m “on the continuum” between the hypebeast and watch nerd.

I can’t help but notice that my somewhat complex gender identity aligns with my interests in fashion and watches. The more fluid and feminine-leaning side of me tends to consider a watch as an accent to an outfit (as an item of fashion), while the more standard-issue American-dude side of me tends to geek out over specs, performance, condition and price (as a functional item or a collectible). For me, watches are simultaneously fashion accessories and geeky mechanical objects. It is my unique gender mash-up that seems to let me experience both without a hint of cognitive dissonance. 

[image: "Storied fashion houses like Gucci are entering the realm of high horology and often winning over die-hard fans of traditional horology."]

Clearly I find it impossible to avoid talking about gender when discussing fashion and watches, and I acknowledge that my bringing gender to bear on this topic is itself potentially troubled. Perhaps my need to bring up gender here is just me echoing that male discomfort with thinking of watches as fashion items. I hope not, but I refuse to dismiss the possibility that I’m unknowingly exhibiting an –ism or two here.

Why Does Fashion Anger Some Watch Aficionados?

I think this boils down to the fact that fashion operates largely on seasonal trends whereas watches—traditionally—have followed a far longer cycle of aesthetic transformation. For hardcore watch enthusiasts who buy watches to own and wear for decades and then hand down to the next generation, associating watches with the transient nature of fashion is offensive.

[image: "Patek Philippe’s long-running ad campaign pushes the notion that watches are timeless family heirlooms. “You never actually own a Patek Philippe. You merely look after it for the next generation.”"]

Nothing spells out the watch aficionado’s disdain for transient fashion trends better than the derogatory phrase “fashion watch.” Fashion watches tend to be cheap and disposable items that follow seasonal trends. For many people, the value of a quality watch is that it is the very opposite of fashion: It will last indefinitely; it will not go out of style; it will go up in value; it will accrue personal meaning across decades and perhaps multiple lifetimes; it will remain emblematic of its owner, no matter what that person wears on any given day in some soon-forgotten fashion cycle.

If one were to fully buy into this position, one would likely more readily equate watches with jewelry than with fashion. Diamonds are forever, of course, and jewelry is handed down through the generations just as watches are. I’ve often heard people refer to watches as “jewelry for men.” 

[image: "Even the larger Audemars Piguet Royal Oaks are now difficult to call men’s watches. The brand has purposefully blurred binary gendering, well ahead of its counterparts Patek Philippe and Vacheron Constantin."]

There’s another reason that considering watches as fashion items offends some watch enthusiasts. This is a little harder to decode, and it more complexly involves gender. 

There is an idea among some traditionally oriented men that a wardrobe should be built of classic staples that can last decades and never go out of style. We would tend to call this “tailoring” for those who wear suits, but the idea of long-lasting classic pieces now extends across much more casual styles. We can spend hundreds on high-end denim that we break in and wear for decades. A fine cashmere sweater costing four figures should be conservatively styled so as to endure across trends. Shoes—and now expensive work boots—that can be resoled again and again are considered a good investment. Practicality, function, and durability are central concerns for many men, and the latest fashions are decidedly not of interest in this regard.

[image: "Kenneth Goh, Harper’s Bazaar Singapore editor-in-chief, wears a scarf, a red double-breasted coat and a black Chanel bag during Paris Fashion Week in March 2024."]

In my opinion, a focus on enduring style and quality aligns quite naturally with a watch purchase. I tend to buy rather classic watches that I believe will not go out of style, and when I spend good money on, say, a Gucci sweater, I buy rather placid pieces that I imagine I will wear into old age. Despite my being very open to fashion, I don’t consider buying a watch a fashion decision. Style, sure, but fashion no.

As practical and straightforward as all that sounds, there is a slightly troubling component of gender at play here. Let’s consider some stereotypes to tease out what that gendered component might be.

Consider the stereotypical woman who refuses to be seen in the same dress twice, and consider the stereotypical man who wears the same three to five suits with either a blue or white shirt to work for years on end. Consider the stereotypical woman loaded up with shopping bags, and consider the stereotypical man rolling his eyes at the credit-card bill. Consider the stereotypical woman paging through Vogue, and consider the stereotypical man reading Popular Mechanics. These stereotypes are familiar to us because they play out in the media again and again, but also in our lived culture.

These stereotypes hinge on normalized binary gender roles, and those gendered perspectives inflect how some people think about watches and fashion.

[image: "Ernest Hemingway, 1959, an icon of American masculinity in traditional garb and small watch. A recent biographer suggests that Papa bent his gender liberally in his romantic relationships."]

Emphasizing Function Is a Gendered Position

Many men will speak of clothing—and of course watches—in the same terms that they speak of tools, cars, lawn-mowers and other functional items. Clothing can be praised as durable, functional, well-crafted, and perhaps as a needed missing piece in a carefully curated wardrobe, just as a quality hammer or drill-bit set might help round out one’s tool chest. That we speak of “tool watches” as opposed to “dress watches” affirms the fascination with functionality, and that tool watches have come to dominate men’s watch styles strikes me as predictable (despite whatever low-grade trend toward dress watches may be currently emerging).

Being fascinated with the mechanics of watches—or anything mechanical—is a stereotypically male fascination. Talking about the specs and mechanical prowess of cars and motorcycles and guns and knives and watches all sounds the same to me. I get a bit tired of it, if I’m honest. I’m actually more interested in the emotional and aesthetic connections we form with mechanical objects, especially watches. To be frank, I relate to my watches more as companions than as tools.

[image: "The Patek Philippe 6400/403G Grand Complication with Emeralds and Diamonds measures 49.4 mm across. This pairing of jewels and an enormous case perhaps blurs gender categories."]

We hetero-normal dudes may feel special and fancy wearing our two-tone Submariner, but we’re more likely to point out that the bracelet is still pretty tight, that it runs within two seconds per day, that it has a silicon hairspring, that the ceramic bezel is scratch proof, and that we got a good deal on it. I suggest that this tendency to default to functional concerns is linked to—and I’d argue a direct expression of—gendered norms. And so, I conclude, dismissing the connection between watches and fashion appears linked to gender in rather obvious ways.

It’s All Good, Bro

Just because these fascinations with durability and mechanical prowess are highly gendered doesn’t mean that these fascinations are somehow devoid of legitimacy or without merit. It’s not, in my estimation, far-fetched to equate fashion with inevitable—sometimes almost immediate—obsolescence. The first definition of “fashion” is “a popular trend,” which doesn’t exactly suggest long-lasting goods. Fast fashion has only made these impressions much darker in terms of the environmental impact of hyper-capitalism.

I find it reasonable to consider a purchase of a watch that will last indefinitely and cost thousands as being well outside the realm of fashion. This doesn’t mean that the watch won’t end up playing a role in your outfits—of course it will, by definition, become an integral part of your wardrobe. We wear watches just as we wear clothes. But a watch is also much more than a fashion accessory.

In the end, I don’t think we get much from sustaining the tension between these varied gendered perspectives on watches, and I’m pretty sure we lose out when we force a binary decision between these perspectives."]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/">
    <title>Podcast Insights E25 - Horological Hedonism &amp; The Aesthetic Revolution - BEYOND THE DIAL</title>
    <dc:date>2025-07-25T00:22:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Horology Inc. provides us with a vast array of dial colors able to splash dopamine onto our opiate receptors. We often dismiss new colors as a superficial trend lacking horological innovation, but Allen argues that – because splashy dials spontaneously inspire joy, beauty, and emotions that, science has shown, replicate our experience of Love – great dials may be closer to the center of The Aesthetic Revolution than we ever imagined."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e25-horological-hedonism-the-aesthetic/id1472733566?i=1000521469976
https://open.spotify.com/episode/23elM3og53AMfwa65bDLyW ]]]></description>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/">
    <title>Podcast Insights E17 - The Aesthetic Revolution (Will Be Beautiful) - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:13:12+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What started as a cute aphorism has grown into a socio-economic theory. Allen works his way through the assumptions that make up this theory, drawing on personal memory, Marxist and Anarchist failures, Pan-Indigenous Environmentalism, and, of course, horological love. The goal? Nothing short of transforming Late Capitalism through our built-in human love of Beauty."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e17-the-aesthetic-revolution-will-be-beautiful/id1472733566?i=1000474649630
https://open.spotify.com/episode/350bhPLlRJLgrDipWJzcVI ]]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d2ef62acc1fa/</dc:identifier>
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    <title>Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style - YouTube</title>
    <dc:date>2025-07-12T01:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=W_2wu02kxZE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dive into the captivating world of jazz and fashion with the second episode of our four-part Jazz Minute series. For the third Jazz Minute episode focusing on the history of jazz fashion, we look at the impact of Afrocentrism, Afrofuturism, and Eastern Philosophy on jazz’s visual style."

[See the entire series:

Jazz Minute: Jazz & Fashion Pt.1- Betty Davis’ Influence on Miles Davis
https://www.youtube.com/watch?v=gOAuWe-qDSE

Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide 
https://www.youtube.com/watch?v=WwvZeav_OBQ

Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style 
https://www.youtube.com/watch?v=W_2wu02kxZE

Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons 
https://www.youtube.com/watch?v=yJT5aY2SIZ0 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=yJT5aY2SIZ0">
    <title>Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons - YouTube</title>
    <dc:date>2025-07-12T00:33:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=yJT5aY2SIZ0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The story of fashion in jazz is still being written, and the next chapter is happening now. Who do you think embody fashion in jazz today? In this fourth Jazz Minute episode exploring the history of jazz fashion, we look at the innovative musicians who are pushing the jazz tradition forward while blazing new trails with their visual flair. If there is one rule that applies to jazz artists in the 21st century, it’s that individual expression triumphs over trends."

[See the entire series:

Jazz Minute: Jazz & Fashion Pt.1- Betty Davis’ Influence on Miles Davis
https://www.youtube.com/watch?v=gOAuWe-qDSE

Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide 
https://www.youtube.com/watch?v=WwvZeav_OBQ

Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style 
https://www.youtube.com/watch?v=W_2wu02kxZE

Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons 
https://www.youtube.com/watch?v=yJT5aY2SIZ0 ]]]></description>
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<item rdf:about="https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/">
    <title>It's Beginning to Feel a Bit Like The Future | 2517 - thejaymo</title>
    <dc:date>2025-07-05T16:51:57+00:00</dc:date>
    <link>https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I turn 40 in a few weeks, and I’ve realised something.

That it’s beginning to feel a bit like the future.

Looking around in 2025, the future I was sold as a turn of the millennium teen has arrived: pocket supercomputers, wireless internet, AR glasses, VR goggles, and synthetic minds [https://thejaymo.net/category/ai/ ]. Yet, the part I needed: an affordable home, a stable climate, data privacy, and fresh water free of microplastic, never really showed up.

The future worth growing old in was drowned in a bucket in the name of profit.

It feels like the future has run out of road. 

Vanessa Andreotti calls this moment [https://decolonialfutures.net/hospicingmodernity/ ] “the storm where ways of knowing are dying”. Where the tarmac ends, the work of hospicing modernity begins. We must stay by the bedside of a story that can no longer walk. 

Dougald Hine [https://dougald.substack.com/ ] says that the condition of modernity can be measured by a society’s proximity to the future. How close it feels and how much of it is sensed ahead. Bruce Sterling made a similar point in his closing keynote at Interaction 2011 [https://web.archive.org/web/20110306171125/http://www.ixda.org/resources/bruce-sterling-closing-keynote ], noting how, for the Victorians, media was full of future: in postcards, Jules-Verne and world-fair dioramas etc.

“You could hardly open a magazine in the 1890s without stumbling over a chrome-and-steam vision of the year 2000” he said.

Late-Victorian culture was an era of high colonial modernity, and as a consequence of that worldview, they lived with a surplus of future. Their future’s horizon was more than a century ahead. We, meanwhile, struggle to even picture five years ahead, we have mislaid our sense of the long now.

The Victorians overdosed on a ‘single story of forward’ and it influenced all that came after. Our task is to hospice their dying stories and midwife what may come next.

I was in my twenties when I fell into Solarpunk [https://thejaymo.net/solarpunk/ ], and I’ve spent much of the last decade arguing that we must re-future society [https://thejaymo.net/2024/06/21/solarpunk-means-dreaming-green-human-entities-2024/ ]. Imagine new possibilities, new ways of living and being in the world [https://thejaymo.net/long-form/solarpunk-rusted-chrome/ ]. It’s not, and has never been, a call to rekindle the logic of modernity, or to push back the future’s horizon. But instead it’s an invitation to sketch out the landscape on the other side, to speculate on whatever’s coming.

We need to reconnect our 2000 year old eschatological hunger and obsession with teleological progress – the sense of movement along a timeline – back into culture. We don’t need a single straight line, nor to make predictions. Instead we must refill the future with possibility. 

On July the 2nd we passed a midpoint; every sunrise now places us closer to 2050 than to 2000. 

I’ve been reading Colette Shade’s book: Y2K: How the 2000s Became Everything [https://bookshop.org/p/books/y2k-how-the-2000s-became-everything-essays-on-a-future-that-never-was-colette-shade/21416954 ]. Essays on the Future That Never Was, and having lived through that era, I realise the year 2000 now feels as distant as 1975 did at the time. forever ago. 

Perhaps this distance explains the resurgence of Y2K [https://thejaymo.net/2023/11/12/301-2337-like-we-did-in-y2k/ ].

Since the crash of 2008 our culture has swung on a Janus-shaped hinge: once future-oriented, it pivoted towards the past. But now box-office returns for Marvel films are sliding; Star Wars soon turns fifty; and corporate media continues to culturally frack the last millennium [https://thejaymo.net/tag/cultural-fracking/ ] while fashion loops nostalgia ever faster.

Hardly anyone is talking about 2050, let alone 2100.

In my adult lifetime we’ve become a civilisation that looks backwards, and this pivot from future to past is (I think) a consequence of fraying narratives and ossified economic structures. 

We stopped looking toward the future, and instead stare at the past because we cannot bear to face the present.

Yet it is precisely from the now—from an honest reckoning with the present—that possible new futures emerge. And we must fill them with spirit and story, and both can only arise from living ground.

In the book of Genesis, Lot’s wife looks back at Sodom, and is struck down by God, turned into a pillar of salt. I have always read this as an allegory for nostalgia. A gaze turned toward a past robbed of vitality. Salt, inert and crystalline, entombs her longing; she does not perish by fire but by inertia. 

Nostalgia evokes history without life. It treats the past as though it were no longer alive, yet in reality, the present is nothing but the living outcome of that past. And if we linger too long on an inert yesterday, we too risk sharing Lot’s wife’s fate.

Sterling’s 2011 challenge still stands: “try to find a picture of 2100 today and the page is blank.”

Which is why we must at least attempt to reclaim some proximity to the future. We must try to fully inhabit possible futures. We have to stop strip-mining yesterday and act as though the future is already here, because in many ways it is.

We do not need 2100’s chrome skylines sketched out in neon; we need conversation, and kitchen gardens, and mutual aid that practises 2100’s ethics today. We must also try to midwife the not-yet future without suffocating it with recycled utopias. 

Every morning now tips us further into the un-imagined. Possibility is underfoot, not over the horizon.

Solarpunk [https://thejaymo.net/solarpunk/ ], at its best, is part of this midwifery: a seed catalogue rather than a master plan."]]></description>
<dc:subject>jayspringett thejaymo y2k nostalgia modernity solarpunk vanessaandreotti dougladhine future julesverne brucesterling inequality 2025 1890s 2100 2000 victorians 1975 coletteshade 2008 greatrecession globalfinancialcrisis 2050 imagination ai artificialintelligence ar vr computing computers wireless housing homes climate climatechange environment globalwarming data dataprivacy privacy microplastics culture society living howwelive life being waysofbeing speculativefiction speculation speculativedesign starwars media fashion past present futurism scifi sciencefiction conversation mutualaid ethics possibility</dc:subject>
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</item>
<item rdf:about="https://futuress.org/stories/feminist-paths-with-mood-boards/">
    <title>Creating Feminist Paths with Mood Boards</title>
    <dc:date>2025-06-24T19:48:43+00:00</dc:date>
    <link>https://futuress.org/stories/feminist-paths-with-mood-boards/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Suggestions for an intersectional feminist citational practice to visual references."]]></description>
<dc:subject>fiorianefomisslin feminism moodboards design 2025 culturalappropriation co-option cooption plagiarism oppression citation saraahmed patriarchu communication gucci creativity heterogeneity visual connection connections authorship intellectualproperty ip ayanakamura kyojino arianagrande fashion creepyyeha power whitesupremacy references sikh anulingala culture appropriation images insporation use cooptation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a53ec3369c82/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=gOAuWe-qDSE">
    <title>Jazz Minute: Jazz &amp; Fashion Pt.1- Betty Davis’ Influence on Miles Davis - YouTube</title>
    <dc:date>2025-06-21T23:09:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gOAuWe-qDSE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch more SFJAZZ videos + episodes of Jazz Minutes: https://www.sfjazz.org/athome/gallery/

SFJAZZ presents another Jazz Minute – a brief look at important figures, movements, and moments in jazz history and the present day, in both the San Francisco Bay Area and around the world.      

Dive into the captivating world of jazz and fashion with the first episode of our four-part Jazz Minute series. This inaugural episode focuses on the impact Betty Davis had on Miles Davis' fashion style. Her influence extended beyond music, shaping the visual aesthetics of jazz during a pivotal era. Stay tuned for more episodes that delve into the intricate relationship between jazz and fashion, featuring other influential figures and moments."

[See the entire series:

Jazz Minute: Jazz & Fashion Pt.1- Betty Davis’ Influence on Miles Davis
https://www.youtube.com/watch?v=gOAuWe-qDSE

Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide 
https://www.youtube.com/watch?v=WwvZeav_OBQ

Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style 
https://www.youtube.com/watch?v=W_2wu02kxZE

Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons 
https://www.youtube.com/watch?v=yJT5aY2SIZ0 ]]]></description>
<dc:subject>jazz milesdavis music fashion 2025 bettydavis history sfjazz terenceblanchard bettmarbuty 1960s 1970s clothing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1e0e4f789235/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=WwvZeav_OBQ">
    <title>Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide - YouTube</title>
    <dc:date>2025-06-21T23:07:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WwvZeav_OBQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch more Jazz Minute Episodes here
https://www.sfjazz.org/onthecorner/jazz-minute/

SFJAZZ presents another Jazz Minute – a brief look at important figures, movements, and moments in jazz history and the present day, in both the San Francisco Bay Area and around the world.   

For the second Jazz Minute episode focusing on the history of jazz fashion, we discuss the transitional period from the Swing Era of the 1930s to bebop in the late 1940s. This era marked a shift to what many would consider the quintessential look of jazz musicians in popular culture.

Learn more at SFJAZZ.org"

[See the entire series:

Jazz Minute: Jazz & Fashion Pt.1- Betty Davis’ Influence on Miles Davis
https://www.youtube.com/watch?v=gOAuWe-qDSE

Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide 
https://www.youtube.com/watch?v=WwvZeav_OBQ

Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style 
https://www.youtube.com/watch?v=W_2wu02kxZE

Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons 
https://www.youtube.com/watch?v=yJT5aY2SIZ0 ]]]></description>
<dc:subject>fashion jazz music sfjazz 1930s bebop bohemia history cabcalloway billyholiday milesdavis dizziegillespie theloniousmonk clothing culture beatnik film mainstream cartoons tv television subcultures terenceblanchard</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=kc8TSXHZwxo">
    <title>The Dark Truth Behind Ashton Hall’s Morning Routine w/ Matt Bernstein - YouTube</title>
    <dc:date>2025-06-02T05:48:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kc8TSXHZwxo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ever since Ashton Hall's morning routine went viral last week, I've been dying to chat about it with my friend ‪@MattBernstein1‬ about it all. 

We joined up to break down the history and evolution of modern masculinity, the allure and absurdity of the modern "alpha male" archetype, the rise of isolationist masculinity and exactly how things ended up this way, and what videos like Ashton Hall's can tell us about the future of masculinity."]]></description>
<dc:subject>taylorlorenz ashtonhall mattbernstein 2025 masculinity socialmedia influencers wellness isolation isolationism antisocial personalbranding politics men gender ryanbroderick exercise optimization discipline aesthetics tiktok stoicism toughness genderroles patriotism consumerism consumption economics status class materialism clothing wealth sexuality self-helpculture dalecarnegie tonyrobbins self-help influence prosperitygospel americandream individualism napoleonhill reaganism greed finance 1980s 1970s 1960s 1950s 1940s power narcissism opulence 1990s 2000s metrosexuals fashion grooming hygiene davidbeckham homophobia fitness performance americanpsycho patrickbateman globalfinancialcrisis greatrecession self-reliance hustleculture independence relationships friends community families loneliness autonomy liberking survival survivalism bootstrapping venturecapital entrepreneurship garyvaynerchuk tailopez danbilzerian ostentation steroids bodybuilding appearance health 2010s podcasting jordanpeterson joerogan alp</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:db478d349f1d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattbernstein"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:napoleonhill"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reaganism"/>
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    <dc:date>2025-05-13T20:13:01+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2025/03/gary-shteyngart-bespoke-suit-mens-fashion-self-love/681441/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A perfect suit, made by an expert tailor out of superlative fabric, would do nothing less than transform me."]]></description>
<dc:subject>garyshteyngart 2025 clothes fashion clothing tailoring suits</dc:subject>
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    <dc:date>2025-04-27T22:34:00+00:00</dc:date>
    <link>https://www.bloomberg.com/features/2025-maga-man-style-history/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Evolution of the Alpha Male Aesthetic

If you’ve noticed a certain look common to the manosphere, you’re not mistaken. A visual identity has taken hold, with roots that trace back decades."]]></description>
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    <title>Why do AI company logos look like buttholes?</title>
    <dc:date>2025-04-16T06:38:16+00:00</dc:date>
    <link>https://velvetshark.com/ai-company-logos-that-look-like-buttholes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:


"Why do so many brands change their logos and look like everyone else?" (2020)
https://velvetshark.com/why-do-brands-change-their-logos-and-look-like-everyone-else ]]]></description>
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<item rdf:about="https://www.blackbirdspyplane.com/p/is-buying-things-bad">
    <title>Is buying things bad? - Blackbird Spyplane</title>
    <dc:date>2025-03-18T22:02:40+00:00</dc:date>
    <link>https://www.blackbirdspyplane.com/p/is-buying-things-bad</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“How can I square my love of things/objects with my belief that consumption is bad news?” — henrystreetstudio

First things first: In addition to being earth’s No. 1 sletter philosophically, we are also earth’s No. 1 most anti-consumerist dope-clothes celebrators, so we feel you. Wearing great clothes is many times cooler than buying them, and the more you buy, the less you’re able to wear, so the inverse relationship between sauce and consumption is clean cut.

But here’s a story to help push things a little deeper. Recently, a good friend of ours found herself on a Saturday morning with nothing to do the rest of that day. On a whim, she decided to dress up and go to the symphony solo. A fantastic plan.

Looking at tickets online, she balked momentarily at the price — ~$70 + fees, if I’m remembering right — before saying, ‘F**k it,’ and smashing the cop. And by the time she took her seat and the house lights went down, she couldn’t believe her ticket didn’t cost more. She marveled at the talent and feeling of the musicians and conductor doing their thing onstage. She imagined the upkeep of the concert hall. She thought of the armada of staff, seen and unseen, working to keep it all humming smoothly.

Each one of these people, she thought, deserved to be not only paid, but paid well. Because the overall effect of their labor was so much more than the sum of its parts — an effect familiar to anyone who’s experienced the powerful phenomenon of people coming together to make music ring through the air.

[images: "On 7/7/07, 77 drummers (including Andrew W.K., inset, wearing a great outfit) formed a spiral on the East River in Williamsburg and drummed together in a public performance called 77BoaDrum, led by Eye from Boredoms. We were there and as a result we know secrets of the universe that people who were not there don’t know."]

Our friend’s symphony experience strikes me (Jonah) as a useful parallel when it comes to thinking through the experience of buying, say, a brilliantly designed, carefully made garment while A) tripping out over its price tag and B) fretting about participating in our deadening consumer culture.

Few people would describe buying concert tickets as an act of “consumption,” even though, in our market economy, it is exactly that. By contrast, copping clothes routinely strikes us as somehow coarse … more enmeshed in, and thus more polluted by, rank consumerism and materialism. We’re inclined to feel a guilt and a grodiness about buying pants that we don’t feel when we spend money elsewhere in the “culture market.”

Several compelling factors help explain this difference. For one, clothes are literally material, taking up room, using up resources, and extending an enormous physical and ecological footprint outward through space and time. Whereas musical notes in a concert hall quickly evanesce into nothingness, lingering only as memories and emotions.

Also, clothes are a human necessity that, like food and shelter, lends itself readily to commodification, greed and fetishization, whereas we tend to see music as more purely artistic — more “superfluous” to human existence (even if it’s crushingly bleak to imagine life without it), but more exalted for it.

Then there’s the connected matter of profit. Most musicians, even pros at the height of their fields, are not getting rich, but the guy who owns LVMH goes back and forth with the guy who owns Tesla for the title of world’s richest man. We know, in other words, that the margins on Beautiful Clothes and other Beautiful Made Things can be grotesquely profitable — for Owners and Shareholders, at least — in a way that the margins on Beautiful Shostakovich Concerts tend not to be. For a conscientious person, this knowledge can make spending money on one harder to feel as good about as spending money on the other.

Is the presence of profit itself bad? In absolute terms, that’s up for debate. But the more pressing question here is, Who is profiting? When you buy a ticket to an NBA game, you’re contributing to the wealth of exorbitantly rich people, too. But at least the rich people on a basketball court, i.e., the players, are getting a ton of bread for being nice with it to a superhuman degree that thrills and inspires us, and, over time, destroys their bodies.

The team owners, meanwhile, are not nice with it and do not incur the same bodily costs, yet they tend to have tons more money than most of the athletes do. (This is why it is tight & big-brained to support NBA players’ strikes, and corny & misguided to hate on them.)

“Jonah,” you’re probably thinking. “I’ve been with you every exhilarating step of the way so far. Bravo. I don’t know exactly how you’re going to pull it off, but I feel a pleasant shiver because I sense you’re about to tie all these examples together in a masterful mixed metaphor that brings us home.”

Yes. Here goes: When you encounter a beautiful slapper, especially one with a price tag you’re inclined to balk at, ask yourself, Are these pants a symphony?

Ask: “Did a constellation of human (and perhaps even non-human) beings come together and give immensely and ingeniously of themselves in the creation of this garment?”

[image: "ASK YOURSELF: "ARE THESE PANTS A SYMPHONY?""]

Then, even if it’s clothing you have no strict empirical need for — much the same way you have no strict empirical need to attend a live performance of Steve Reich’s “Octet” — ask yourself, When it comes to beauty, doesn’t “need” transcend the empirical?

And then ask yourself, “Was this slapper envisioned, cut & sewn by the design and craftsmanship equivalent of, e.g., the ‘95 Houston Rockets, among them Hakeem Olajuwon, Robert Horry, Vernon Maxwell, Kenny Smith, Sam Cassell (clutch off the bench), coach Rudy Tomjanovich, his staff and the workers at Summit arena in the 1994-95 season??

“And does the money I put towards the slapper go toward the livelihoods of those people, rather than getting disproportionately sucked up by some swagless, margin-maxxing goober??

[image: "Clyde Drexler in the fantastic (Missoni?) vest on Leno days after winning the 1995 NBA Championships with the Rockets. Photo via NBC/Getty Images"]

And, finally: “Wearing this piece, do I feel like the Sauce Lord equivalent of Clyde Drexler wearing a pimp sweater-vest days after winning the championship and sharing a laugh with Jay Leno?”

The answer to all these questions, when it comes to clothes, is very rarely yes. It’s wise for lots of reasons to err on the side of not copping in the majority of instances when it isn’t.

But sometimes — miraculously, incredibly, enchantingly — it’s yeses across the board. The symphony is in tune, the air shimmers with song, the team is looking good, the ring is in sight.

Don’t give yourself such a hard time for wanting a ticket!"]]></description>
<dc:subject>blackbirdspyplane consumption consumerism 2025 experience concerts symphony clydedrexler fashion materialism profit profits capitalism life living clothing wealth houstonrockets samcassell kennysmith vernonmaxwell roberthorry hakeemolajuwon rudytomjanovich 1995 softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vernonmaxwell"/>
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<item rdf:about="https://gameplayer.substack.com/p/the-culture-wars-in-football-why">
    <title>The Culture Wars in Football: Why Gen Z Fans Are Forcing Clubs to Rethink Everything</title>
    <dc:date>2025-02-23T18:21:11+00:00</dc:date>
    <link>https://gameplayer.substack.com/p/the-culture-wars-in-football-why</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Legacy Won’t Save You—Why Cultural Capital is Football’s Future."

...

"Football clubs, brands, and agencies are scrambling to understand what the hell is happening with the new generation of fans who don’t seem to play by the old rules. The reality? Gen Z isn’t abandoning football; they’re just rejecting the outdated, out-of-touch models that clubs have relied on for decades. The tribal loyalty, the club-first mentality, the blind allegiance—it’s all being replaced by something more fluid, more digital, and more culturally aware. And honestly? I love it."

...

"Authenticity Over Legacy & The Power of Cultural Capital

Younger fans aren’t as obsessed with lifelong club loyalty—they care about players, stories, and culture. Gen Z will ride for Vinícius Jr. just as hard as they will for Jude Bellingham, regardless of what club they play for. They’ll buy a Venezia kit just because it’s beautiful and the shoot had a clean aesthetic of some photogenic local fans they could identify with. But they’ll follow a team not because their dad did, but because they did something provocative—something that got kids talking and reenacting at school, rapping the verse, or wanting to buy the hoodie. And clubs? They need to react—and react fast—because they’re already way behind the curve.

Clubs that once rested on their laurels (cough Manchester United cough) are being forced to rethink everything. Gen Z wants a club with purpose—not just a business disguised as a badge. But purpose isn’t just about social responsibility—it’s about creating iconic moments that fans connect with emotionally and remember for life.

Think about Nike’s ‘The Cage’ campaign. That wasn’t just an ad; it was a cultural moment. It disrupted the norm, injecting creativity into a world of chaos and delivering something unexpected. People still reference it today because it felt like football. Or look at the ‘Be A Londoner’ campaign, which resonated with an entire city. That’s what we call in my office ‘cultural capital.’ It’s the difference between just existing in the market and owning the narrative.

Football brands—whether clubs or commercial entities—shouldn’t be obsessed with just pumping out consistent content for the algorithm all the time. That’s playing the short game. You can score quick legs and still lose the set. Don’t think Luke Littler, think longer, impactful campaign moments that create new legacy and leave lasting impressions on fans."

...

"The Digital-First Generation & The Death of Passive Fandom

We’re in an era where a kid in Lagos can feel as connected to FC Barcelona as someone who lives in Catalonia. Scratch that, we’re in an era now where a kid from Macedonia wears a Nigerian football shirt because his favourite artist repped it in the music video of his most played song on Spotify. Football is no longer just about what happens in a stadium. Younger fans want authenticity—and they can see through half-hearted attempts at relevance. Just look at how badly the Man City x Oasis merch collaboration bombed. Slapping City players in Oasis tees and hoodies, placing them on a cold set behind a camera, and expecting magic to happen? It didn’t. It was soulless, wasteful of the players’ time, and had no real creative vision. It wasn’t cool, it wasn’t engaging, and younger fans saw right through it. Sterile, forgettable, overpriced. Zero cultural capital."]]></description>
<dc:subject>jordanwise football soccer futbol fashion 2025 genz legacy authenticity brands branding sports fandom mancity manchestercity oasis venezia generationz zoomers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f81190482cb/</dc:identifier>
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<item rdf:about="https://aeon.co/essays/luxury-fashion-in-the-artisanal-tradition-is-a-good-thing">
    <title>Luxury fashion in the artisanal tradition is a good thing | Aeon Essays</title>
    <dc:date>2024-09-28T03:28:59+00:00</dc:date>
    <link>https://aeon.co/essays/luxury-fashion-in-the-artisanal-tradition-is-a-good-thing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The waste and exploitation of fast fashion shouldn’t blind us to the joys of making beautiful clothing with care"]]></description>
<dc:subject>luxury making art care handmade fashion design 2024 clothing srg glvo</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=lBhd15h9mQk">
    <title>Cedric Bellon Sustainable tool watches - the project - YouTube</title>
    <dc:date>2024-09-27T06:45:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lBhd15h9mQk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first sustainably produced tool watch. A tribute to the women and men whose work contributes to a better future, and an ode to craftsmanship and the people of watchmaking. A concrete step towards a more sustainable watch industry. https://watchangels.ch

The purpose of this project is about minimizing the environmental impact of the watchmaking industry. It aims at reducing its chemical footprint, the energy consumption, synthetic materials use and CO2 emissions as much as possible. 

Why a tool watch? A mechanical tool watch is the quintessential basis for a sustainable watch: simple, reliable, repairable, timeless… It’s made to last and stay out of fashion cycles. I wish the watch will be like hand tools used in any workshop: naturally gorgeous in their simple function, taking on a patina over time, and even more beautiful after years of use. 

The case is made in 100% recycled and certified stainless steel, an industry first as far as I know.

Support my vision and project on https://watchangels.ch "]]></description>
<dc:subject>cedricbellon watches watchmaking 2020 sustainability materials energy emissions fashion</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:46d15d220756/</dc:identifier>
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</item>
<item rdf:about="https://www.theredhandfiles.com/do-you-work-out-before-you-go-on-tour/">
    <title>Do you work out before you go on tour? - The Red Hand Files : The Red Hand Files</title>
    <dc:date>2024-08-16T16:53:34+00:00</dc:date>
    <link>https://www.theredhandfiles.com/do-you-work-out-before-you-go-on-tour/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ISSUE #164 / AUGUST 2021

***

Do you work out before you go on tour?
KEVIN, LONDON, UK

You always wear a suit. Do you ever just slob around in a tracksuit like the rest of us?
RAY, LEEDS, UK

The news of Charlie Watt’s death is terribly sad. I was wondering if you felt any kinship to him as not just a musician but a sharp dressed musician?
SARAH, TORONTO, CANADA

What’s with the duplicate question bullshit?
BARBARA, CLEVELAND, USA

***

Dear Kevin, Ray, Sarah and Barbara,

About ten years ago I decided that it might be a good idea to get in shape for an upcoming tour and so I booked some training sessions at a local gym in Brighton. I’d never trained or even entered a gym before and I also didn’t have any kit, and so, in preparation, I ordered a tracksuit from Amazon. When it arrived the tracksuit was very small — I think it was actually a child’s size. I had forgotten to order trainers but found an old pair of giant white sneakers that had belonged to one of the kids. As I left the house for my first session at the gym I was aware that I looked ridiculous and so I stuck on a bucket hat that was lying around in an effort to disguise myself.

I spent the most punishing hour of my life in the gym that day, with a trainer who, as far as I’m concerned, basically violated me. Drenched in sweat, I left the gym vowing never to return. On the drive home I suddenly remembered that I had promised Susie that I would pick her up from Heathrow — I also realised that I was late and had no time to go home to change out of my gym clothes but I thought, ‘Fuck it, I’ll drive straight to the airport, run into the terminal to meet her and then get out of there, no one will see me.’

When I arrived at the airport I needed to have a piss so I stopped at the bathrooms and as I walked back out, in my tiny tracksuit, my giant white trainers and my bucket hat, there, walking toward me, was Charlie Watts of The Rolling Stones. He had silver hair and was dressed in an elegant pearl-grey three piece suit, a button down checked shirt and a tie. He literally glowed with a kind of inner serenity, and as we passed each other we locked eyes for a moment and he smiled at me — not an unkind smile, but not a kind one either, rather the impassive look one animal might give to another in the wild, that signalled their complete and total supremacy.

As I watched Charlie Watts disappear into the crowd, I rearranged my bucket hat, and thought, “There goes a truly great drummer,” which is what I thought when I heard the news this week of his passing — “There goes a truly great drummer.”

Love, Nick"

[via:
https://social.ayjay.org/2024/08/16/my-alltime-favorite.html

"My all-time favorite edition of Nick Cave’s Red Hand Files is this one, about an unfortunate encounter with Charlie Watts."]]]></description>
<dc:subject>2021 clothing style charliewatts rollingstones fashion nickcave redhandfiles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c47ef2954ee9/</dc:identifier>
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<item rdf:about="https://disconnect.blog/amazons-disastrous-plan-to-emulate-temu/">
    <title>Amazon's disastrous plan to emulate Temu</title>
    <dc:date>2024-07-01T01:17:27+00:00</dc:date>
    <link>https://disconnect.blog/amazons-disastrous-plan-to-emulate-temu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The ecommerce giant is continuing a race to the bottom for workers and the environment"

]]></description>
<dc:subject>amazon temu parismarx 2024 fashion fastfashion labor work workers environment shein manufacturing neoliberalism sustainability</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1d158ec532ca/</dc:identifier>
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<item rdf:about="https://restofworld.org/2024/vietnam-fashion-brands/">
    <title>Vietnam's made-to-measure fashion brands are thriving in the TikTok era</title>
    <dc:date>2024-06-13T05:28:13+00:00</dc:date>
    <link>https://restofworld.org/2024/vietnam-fashion-brands/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As shoppers sour on Chinese fast fashion, more sustainable Vietnamese brands — loved by K-pop artists and Western celebrities alike — are booming online.

- Vietnamese labels are finding fans online as fashionistas and celebrities embrace them.

- The items are of better quality and more sustainable than Chinese fast fashion.

- Vietnamese fashion brands may opt to stay small to remain distinct."]]></description>
<dc:subject>vietnam fashion 2024 china fastfashion nhungnguyen sustainability clothing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3ebe9dcbd46d/</dc:identifier>
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<item rdf:about="https://www.kqed.org/forum/2010101905396/jose-vadis-chipped-looks-at-life-from-a-skateboarders-lens">
    <title>José Vadi’s “Chipped” Looks at Life from a Skateboarder’s Lens | KQED</title>
    <dc:date>2024-05-27T23:20:11+00:00</dc:date>
    <link>https://www.kqed.org/forum/2010101905396/jose-vadis-chipped-looks-at-life-from-a-skateboarders-lens</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here:
https://podcasts.apple.com/us/podcast/jos%C3%A9-vadi-plumbs-californias-soul-in-inter-state/id73329719?i=1000538264140 ]]]></description>
<dc:subject>josévadi 2024 alexismadrigal place skateboarding skating sanfrancisco bart urban urbanism via:javierarbona oakland rockridge bayarea community pandemic coronavirus covid-19 dannysergeant johnlucero embarcadero wallerstreetskatepark skatetourism youthspeaks poetry writing howwewrite openmics slampoetry searscurb culture sucultures fortmiley geography stefanjanoski builtenvironment streets jasonmoran music sunra jazz improvisation subcultures film photography graphicdesign art creativity edtempleton documentation recording thrasher thrashermagazine ephemera archiving toymachine pomona children parents parenting trust agency coexistence cities fashion communities 1990s youth 2000s 1980s immigration generation police policing intergenerational norcal markgonzales jovontaeturner missionschool</dc:subject>
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<item rdf:about="https://www.theguardian.com/media/article/2024/may/20/counterfeit-cool-high-end-brands-urged-embrace-dupe">
    <title>Counterfeit goes cool: high-end brands urged to embrace rise of #dupe | Social media | The Guardian</title>
    <dc:date>2024-05-22T04:14:43+00:00</dc:date>
    <link>https://www.theguardian.com/media/article/2024/may/20/counterfeit-cool-high-end-brands-urged-embrace-dupe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gen Z are flaunting their knockoffs and imitations – so experts say companies should play along"

...

"High-end brands should “lean in” and embrace the #dupe subculture that feeds off recommending duplicates or cheaper alternatives to luxury products, social media experts have advised.

Dupes, knockoffs and brand imitators are not new: the first wave of beauty YouTubers were highlighting cheaper products as far back as 2010. But in the past, buying imitation goods was mostly done with the aim of passing the item off as the real thing.

The difference now is that buying #dupe is no longer the same as duping or being duped. With the rapid rise of shareable short-form video platforms, counterfeit has gone cool, with generation Z openly finding and flaunting their dupes.

“The rise of dupe culture speaks to a generational shift in consumption of goods and media,” said Jennifer Baker, the growth marketing leader at Grin, a creator management platform.

“Previous generations may have shopped for knockoffs on the sly, but gen Z has not only normalised buying knockoffs or generic products but has grown the #dupe movement into one of the most searched terms on social media.”

The change is so profound that research shows that even when gen Z or millennials can afford to buy a genuine designer item, many still opt for a dupe instead: nearly one-third of US adults said they intentionally bought a dupe of a premium or luxury product, with at least 11% of UK consumers buying one dupe product at least once every few months.

Half say they buy dupes for the savings, while 17% say even if they could afford the genuine article, dupes are a great alternative.

Insiders say dupe culture looks likely to become a permanent part of young shoppers’ habits, with “dupe discourse” permeating every online medium, from YouTube and Instagram to digital magazine listicles and blogs.

Most consistently tagged are items appealing to younger women – the internet’s heaviest users – including clothing brands Lululemon leggings, Skims shapewear, Bottega Veneta, Ugg, Charlotte Tilbury foundation, Adidas Sambas, Dior, Olaplex and Dyson.

So popular is the trend that TikTok videos with the #dupe hashtag have racked up nearly 6bn views to date. Playful variations of the phrase, such as #doop or #doupe, account for hundreds of millions more: type “I found the perfect dupe” into TikTok and watch the hundreds of thousands of videos pop up.

What constitutes a dupe varies from genuine counterfeits to advice on how to find cheaper versions of high-end products. In some cases, dupes are openly produced by retailers looking to undercut rivals – discount supermarket chains Aldi and Lidl are well known for their imitations of private-label products.

Stevie Johnson, the managing director of influencer marketing agency Disrupt, warned of a problem when bigger brands start duping smaller, independent ones. “But as long as the legal implications are adhered to, I don’t see too many dupe downsides,” he said.

Dupes are sometimes created by third-party manufacturers and sold on online platforms such as Amazon. These products can be openly marketed as dupes – but in other cases, influencers find them and highlight them on their platforms as being the “perfect dupe”.

Influencers fall into different camps too: from those who work for brands and creators in a paid capacity – who must use the hashtag #ad in a prominent position – and those for whom recommending dupes is an unpaid part of their online identity.

For gen Z, say experts, dupe discourse is less about curating authentic designer goods and more about consuming authentic social content to achieve the same look for less.

But since dupe products are often created by unknown brands, creator recommendations are more important than ever to determine the difference between an affordable substitute and a cheap gimmick.

This is why, said a consumer communications lead at TikTok, a good dupe recommendation can make a TikToker an overnight sensation.

“If a creator or influencer finds a cheaper product that everyone else wants to buy, they can become stratospheric overnight,” they said.

But wherever the dupe comes from, experts say companies should see it as an opportunity to strengthen their brand and freshen up their cultural relevance.

“Brands don’t need to worry about their reputation being damaged because it’s all so much in the open,” said Sophie Hardie, the client director at influencer marketing firm the Goat Agency.

“Instead of fighting dupes, high-end brands should use the dupe to light-heartedly engage with popular culture. They should engage with it directly – and authentically – to bring new people in and show a confidence in the power of their brand,” she added.

Johnson agreed, advising bigger brands to become more playful. “Brands are going to have to start playing with this a little bit more,” he said. “If they do, they can attract new customers that might not have initially come to them without the attention raised by the dupe.”

Ellyn Briggs, a brands analyst for the US tech research group Morning Consult, carried out research that found getting duped even had its benefits for the “dupee”, with approximately two-thirds of US adults saying they associate positive words such as “fashionable”, “trendy” and “elite” with often-duped brands.

“This means that the widely known presence of a dupe is effectively a consumer stamp of approval that companies should feel empowered to lean into – especially considering a wide majority of US adults view duping as a minor problem, if one at all,” said Briggs.

Last year, the sports clothing company Lululemon did just this. The luxury, $50bn company struck a marketing blinder by offering fans in Los Angeles who had bought a Lululemon dupe of its popular $98 Align tights the chance to exchange it in-store for the real thing.

Its “dupe swap” came after a post by the TikTok user Ariana Vitale about Lululemon dupes that got more than 955,000 views – leading to the generic hashtag #lululemondupes getting more than 150m hits.

“It felt like a very fun way to step into a cultural conversation,” said the Lululemon chief brand officer, Nikki Neuburger. “Part of why we had total confidence doing that is because we really do know our products are the best; and if you try them, we felt folks would have that sensory ‘Aha’ moment.”

The gamble worked: according to Lululemon, 50% of the more than 1,000 people who came to the swap were new customers – and half were under 30. The response far exceeded Neuburger’s expectations: her team is now considering expanding the swap idea to more events in other markets.

Olaplex is another luxury brand that has leaned fully into dupe discourse, generating millions of views and online conversations in just a few weeks.

Olaplex rolled out its newest haircare product last September – and, at the same time, sponsored TikTok influencers to hail a Olaplex dupe under the name Oladupé.

When the influencers’ link was clicked, however, people were taken to the official Olaplex page and told there was no dupe because nothing can be as good as the real deal."

[via:
https://www.watchcrunch.com/Porthole/posts/yet-another-homage-post-420519 ]]]></description>
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<item rdf:about="https://www.blackbirdspyplane.com/p/you-are-not-a-commercial-for-yourself">
    <title>You are not a commercial for yourself</title>
    <dc:date>2024-05-17T02:10:06+00:00</dc:date>
    <link>https://www.blackbirdspyplane.com/p/you-are-not-a-commercial-for-yourself</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where things get muddy is when our healthy desire for beautiful man-made things — intimately connected to our healthy desire for connectedness & community — gets hijacked and zombiefied by manipulative, profit-hungry, fundamentally anti-social souls…

There are mad depressing material illustrations of this, i.e., the people who make clothes are underpaid and treated like interchangeable cogs in a churning, monstrous, Gaia-polluting machine. And there are mad depressing symbolic illustrations: For instance, look at how the word “community” itself has been warped in recent years into a cynical marketing cliché to rival “storyteller” — annexed as the torched rhetorical territory of people who live to “move product” above all else.

The co-opting of “community” into a sales strategy is insidious, not only because it reduces likeminded groups of people to consumer demographics, but because, in an era when we’re all encouraged to cultivate our own “personal brands,” it also reduces each of us to a salesperson, seeking out likeminded people in order to sell them things, whether it’s literal drop-shipped products someone peddles through a TikTok storefront or more-abstract products, e.g., the sense of envy we hope others feel when we post from a balling Tuscan vacation …"]]></description>
<dc:subject>identity clothes uniform fashion consumerism consumption community handmade 2024 blackbirdspyplane pollution sustainability storytelling soicalmedia self cooption personalbranding branding adamcurtis capitalism beccarothfield excess ozu wimwenders yasujirōozu co-option uniforms cooptation</dc:subject>
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<item rdf:about="https://www.nplusonemag.com/issue-47/reviews/super-cute-please-like/">
    <title>Super Cute Please Like | Issue 47 | n+1 | Nicole Lipman</title>
    <dc:date>2024-04-10T20:41:55+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-47/reviews/super-cute-please-like/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nicolelipman 2024 shein fastfashion internet web online socialemedia fashion money power retail capitalism marketing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=hByaKyEBVg8">
    <title>Rado x Kunihiko Morinaga : Portrait - YouTube</title>
    <dc:date>2024-03-27T16:39:32+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=hByaKyEBVg8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Discover the collaboration between Rado and Kunihiko Morinaga. in this portrait the japanese fashion designer explain us about the way he works, his vision of time and of course his latest creation the True Square X Kunihiko Morinaga Special Edition."

[See also:

"Rado x Kunihiko Morinaga - Master of My Own Material"
https://www.youtube.com/watch?v=EUQJ3bt6GiM

"TrueSquare x Kunihiko Morinaga"
https://www.youtube.com/watch?v=njTbPmI5P9s ]]]></description>
<dc:subject>rado watches 2024 kunihikomorinaga fashion light time anrealage materials</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=LU2QBuLSuHM">
    <title>My $400 AI shopping haul: how AI is changing the way we shop - YouTube</title>
    <dc:date>2024-03-25T20:53:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LU2QBuLSuHM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Generative artificial intelligence is all over the online shopping space — but has that actually made the experience better? The Verge reporter Mia Sato did a try-on and review of clothes by the AI fashion brand Finesse. And afterwards, she tested AI-powered e-commerce tools that generate images and product descriptions. Presented by Intel #AI #Technology

Read more: https://www.theverge.com/24087909/ai-shopping-tools-fashion-tech-finesse-pebblely-ecommerce 

00:00 Intro
00:35 AI shopping tools
02:19 Finesse and AI fashion
04:48 Generative AI in other retail spaces
05:54 Our Finesse order arrives
06:07 Finesse try-on section
09:06 Using Pebblely AI shopping tool to resell our Finesse haul
10:26 Auto Generating our product description on eBay
11:21 Did AI Improve our shopping experience?"]]></description>
<dc:subject>ai generativeai artificialintelligence 2024 miasato shopping ebay etsy finesse retail socialmedia bigdata renderings instagram manufacturetopurchase fashion clothing apparel doordash knitting crafting amazon fastfashion shien teemu aliexpress pebblely textgeneration genai</dc:subject>
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    <title>The Surprising Origins of Streetwear - YouTube</title>
    <dc:date>2024-02-01T20:14:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QX-hnxVghoM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hoodies, Graphic-Ts, Sneakers, casual comfortable clothes, all accentuated with designer-brands — these are just some of the pieces that make up streetwear, the global style that came from the fusion of Hip-Hop and Skater Culture.

Our host Dr. Taj Frazier meets with Chris Gibbs, Hip-Hop head, skater, fashion tastemaker, and owner of the famed LA streetwear boutique, Union, to learn how two different cultures came together to redefine how we dress."]]></description>
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<item rdf:about="https://slate.com/technology/2024/01/stanley-cup-tumbler-reusable-water-bottle-target.html">
    <title>Stanley cup: What is the craze really about? It's not hydration.</title>
    <dc:date>2024-01-27T21:02:24+00:00</dc:date>
    <link>https://slate.com/technology/2024/01/stanley-cup-tumbler-reusable-water-bottle-target.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Stanley Quencher H2.0, which has been trending on TikTok and inspiring stampedes at Target, is a quintessentially American vessel: great for people who love ice, who drive cars, or who are Just Too Busy to refill a smaller cup throughout the day. Until my editor asked me, in the wake of the craze, if I had “a reusable water bottle philosophy”—I write about climate change—I knew nothing about the Stanley.

Friends filled me in: The insulated walls keep the contents cold all day. The base fits in cupholders; the handle makes it easier to sip from a heavy thermos while multitasking. A standard Stanley cup holds 40 ounces and runs $45. As my sister-in-law explained, it’s the expensive, brand-name version of a cup she got from Costco. “Except it’s been cult-ified,” she said. It’s basically a Big Gulp with a glow-up.

On the one hand, good: A reusable cup is better than going through endless plastic bottles, cups, and straws. There are worse things than Americans getting really into fancy water bottles. A status symbol that comes with a lifetime warranty—that feels hopeful for the planet.

But, of course, people aren’t just buying one and using it for life. To keep plastic out of oceans and to cut carbon emissions, reusable cups need to be used and reused, again and again, not hauled around for a season or two (or paired with an outfit) and then relegated to the back of the cupboard when a new model becomes hot. (Remember S’well?)

Water bottle brands are fads. My reusable water bottle philosophy, if I have one, is that the best water bottle is the one you already have. That’s what’s good for the planet. But what reusable water bottles have become in our culture is very much not about environmentalism. They don’t fly off shelves because we care about plastic-free oceans, but, as with any fad, because we want to fit in. For this fad in particular, there’s also something else going on: Water bottles play to our thirst for perfect hydration.

Hydration, we’ve been told, is the answer to just about everything. In addition to keeping us alive, water helps us detox, supports glowy #cleangirl skin, and keeps us focused. Being hydrated gives us a competitive edge. Planners and habit apps help us diligently track eight glasses a day or more. We cannot, the ethos goes, be trusted to get enough water into our bodies on our own. We require help, and fancy tools.

As Slate’s Decoder Ring explored in a 2021 episode titled “The Invention of Hydration,” the fear that we might not be getting enough water was first popularized to help sell Gatorade. It was perfected to sell bottled water; today it helps move various reusable bottles off the shelves, from Stanleys to the Yetis that were in vogue before them, to “motivational” bottles that cheerfully encourage you to keep drinking water.

Getting enough water is not nearly as hard as we think. Humans obviously need water to survive. But the inherited wisdom—drink eight, 8-ounce glasses of water a day (about one and a half 40-ounce Stanleys)—is misleading. It comes from a 1945 recommendation for someone with a 2,000-calorie diet. But it includes water from all kinds of food and drinks: Downing eight glasses of straight water a day was never actually the goal.

Foods like watermelon and soup help us hydrate; so do less obvious things, like spinach. According to a 2022 paper, food might fill 20 to 50 percent of our daily hydration need. Coffee and tea also count. A 2014 study found that for coffee drinkers who were used to having caffeine in their systems, coffee was just as hydrating as water (the diuretic effect may negatively impact hydration if you drink a lot of coffee, or if you aren’t used to drinking any coffee at all).

While water bottles nudge us to imagine hydration as an individual responsibility, coffee and tea remind us that it can be a social joy. The coffee klatch, the afternoon cuppa; traditionally, hydration has been a byproduct not of careful management, but of quality time. Maybe you don’t need another water bottle. Maybe what you actually need is a tea kettle—or a workplace where people have time to take breaks. (Unsurprisingly, hospital workers see themselves as water bottle trend bellwethers.)

Of course, many people do need lots of water to be hydrated—and are perfectly justified in toting it around. Gender, body composition, and age all change how much we should drink; so does anything that makes us work harder: exercising, fighting infections, or sweating to cool down. Nursing moms (another early Stanley cup market) typically drink more water than they did prior to nursing. Where dehydration is a real threat is for farm workers, particularly as global temperatures heat up.

As it turns out, drinking when you feel thirsty, as long as you aren’t drinking something super sugary, is a pretty good way to stay about as hydrated as you need to be. No complicated calculations needed. Pause and notice your body; then pause and take care of your needs. If another reusable water bottle is helpful for meeting those needs—get one. Ideally at a thrift store.

But the reusable water bottle craze is not just about our physical needs. Achieving peak hydration offers a sense of control in an uncertain world. Emotional Support Water Bottles can serve as psychological ballasts. When we feel insecure—whether we fear layoffs or a shifting of the social winds or the climate apocalypse—humans have an uncanny ability to allow objects to fill the void. You don’t need a new water bottle. You don’t need to overhydrate to be great. But you do deserve to feel safe. The better we get at supporting each other, the more resilient we will be when the next water bottle fad arrives."

[See also:

"I Spent a Week Parading My Coveted Stanley Cup Around New York City
It did not go as planned."
https://slate.com/human-interest/2024/01/stanley-cup-pink-target-40-ounce-theft-new-year-starbucks.html

"The viral cups that people are fighting each other over contain lead.Stanley, the maker of the obscenely large adult sippy cups that people are going feral over, confirms that yes, one part of the cups is made with lead — but that exposure to it would be “rare.” Lead in drinking cups has been a problem with other brands’ products in the past.

Some background: people are stockpiling Stanley cups in a rainbow of colors. They’re losing their jobs at Target for these things. There are Stanley cup flippers who buy up limited edition colors and sell them for $200 on Facebook Marketplace. I have a feeling the lead will not dissuade the fans."
https://www.theverge.com/2024/1/26/24052103/the-viral-cups-that-people-are-fighting-each-other-over-contain-lead

"Do Stanley cups contain lead or pose a risk of lead poisoning? Experts weigh in
Recently, multiple social media users have posted about concerns that drinking from Stanley mugs poses a lead exposure risk. But is that true? Here’s what to know."\
https://www.nbcnews.com/health/health-news/stanley-cups-contain-lead-pose-risk-lead-poisoning-experts-weigh-rcna135584

"Even Honey Bears Now Carry Stanley Cups: Controversial Street Artist Fnnch Reveals a New Muse"
https://sfstandard.com/2024/01/25/san-francisco-street-artist-fnnch-has-new-stanley-tumbler-series/ ]]]></description>
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<item rdf:about="https://www.theguardian.com/fashion/2020/jun/16/william-gibson-im-always-striving-not-to-be-noticed">
    <title>William Gibson: 'I'm always striving not to be noticed' | Fashion | The Guardian</title>
    <dc:date>2023-12-26T00:42:14+00:00</dc:date>
    <link>https://www.theguardian.com/fashion/2020/jun/16/william-gibson-im-always-striving-not-to-be-noticed</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The sci-fi novelist on how he inspired the creation of a fashion line – and his nerdy fascination with military fatigues

...

"I became interested in clothing while growing up in a very small town in the southern US. I was an isolated kid, I wasn’t interested in sports, but in junior high it struck me that people communicated who they wanted you to think they were with what they were wearing. I developed a sort of anthropological mindset around it. I started looking at how clothes were sold to us, the narratives attached to everything, through advertising: “Wear this and be this.” That stuck with me.

In this photograph, everything I am wearing is by Acronym, a brand designed by my friend Errolson Hugh. It’s fantastically comfortable and functional. Putting it on cheers me up: it’s like suddenly my house has been improved and I know everything will work. It’s all interoperative, so, for instance, you can unzip the back of the jacket and wear the bag underneath. Or, on another model, a zipper allows you to remove the jacket while wearing a seat belt. It’s not so much that I would ever need to do that, but I love the idea that it’s possible.

Another thing I loved on first discovering Acronym is that there is almost no exterior branding. One of the things I don’t like about our culture of clothing is that “Look, this is Gucci!” thing. That always puts me off. In some ways, I’m always striving not to be noticed, which I think comes from being a very tall young man. It makes me happy if I actively like everything I’m wearing, but there isn’t any statement that I’m trying to reach.

In my book Pattern Recognition, I gave the protagonist, Cayce Pollard, allergies to branding, which I thought would be a good joke at first, but which the narrative began to take very seriously. Cayce’s approach to clothing seemed to anticipate the normcore trend; it also led to the creation of a fashion line – William Gibson x Buzz Rickson – inspired by a jacket I invented for the book.

My interest in clothing is very peculiar. I couldn’t tell you what’s in fashion this season, but, during lockdown, I passed the time by working out my size in various European countries’ military fatigues, which took an incredible amount of Googling and asking other people to measure their trousers. That’s my level of interest. I’m just a very nerdy guy."]]></description>
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<item rdf:about="https://www.heddels.com/2015/03/william-gibson-interview-buzz-rickson-line-tech-wear-limits-authenticity/">
    <title>William Gibson Interview - The Limits of Authenticity</title>
    <dc:date>2023-12-26T00:41:52+00:00</dc:date>
    <link>https://www.heddels.com/2015/03/william-gibson-interview-buzz-rickson-line-tech-wear-limits-authenticity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["William Gibson and his novel Neuromancer burst into the cultural consciousness in 1984. The book was in the first wave of cyberpunk and established ideas of cyberspace, artificial intelligence, and human augmentation that only to become more relevant with each passing year. His more recent work has examined everything from online message boards, viral marketing, and corporate terrorism.

It might seem odd to interview a science fiction author on a website that’s explicitly about blue jeans, but not every science fiction author has a capsule collection with Buzz Rickson’s. If Mr. Gibson knows anything as well as writing novels it’s clothing–specifically repro workwear, military wear, and technical streetwear (note the Acronym he’s wearing above).

In 2004 he launched a joint collection with the Japanese repro label of mil-spec jackets. They began with a black MA-1 and have slowly grown the line into several dozen flying jackets, deck jackets, and accessories. We recently connected with Mr. Gibson and discussed everything including the start of his collaboration with Rickson’s, his time as a vintage picker, and how the internet has changed the nature of fashion.

[image: tag inside a William Gibson collection garment for Buzz Rickson's]

Heddels (David Shuck): The Buzz Rickson William Gibson Collection has been around since 2004 so it predates all of the North American retail stores and most of the English-language message boards. If not in store or online, what was your introduction to Japanese repro clothing?

William Gibson: In 2001, I was writing a novel called Pattern Recognition. The protagonist was an American woman famous for the minimalism of her style. An internet buddy of mine in Seoul happened to visit Tokyo then, and told me he’d been able to buy a reproduction military jacket there, by a company called Buzz Rickson. He was excited about it, said their stuff was exquisitely made, hard to get. He had a pal at work who collected nothing but vintage US military *zippers*.

These guys had an otaku thing going on like nobody’s business. It was an N-1 deck jacket. I thought that the brand sounded right for my heroine, and I liked the idea of a passionate Japanese reproduction of an old US military garment, though at the time it was just an idea, because I’d never seen anything quite like that, though I’d been to Tokyo a few times. So I invented a jacket for her, but I made it a black MA-1, because I like MA-1s on women, and because she had a very limited color-range.

As it it happened, when the book was published in the UK, I was in London, found Buzz Rickson heritage jeans in American Classics, by Covent Garden, great old “ authenticity” shop. and bought some. So that was my rediscovery of rigid denim, overlapping my discovery of Buzz Rickson. I started buying LVC denim on eBay, when it was being designed in Tokyo but still made in their Valencia Street factory.

Eventually I received a baffled letter from Buzz Rickson, asking why I’d put their name on something they’d never made. I explained it as best I could, apologetically, and they told they really wanted to make that jacket. They’d been getting letters from people, asking where they could buy one. So the black MA-1 was our first jacket. I had them make it a few inches longer than the original pattern, though, because most MA-1s are a little too short for me.

[image: "The William Gibson Collection MA-1. Image via: Self Edge."]

H: What’s the process like in producing the collection?

WG: Most of the garments are US military patterns, full spec, but black. The fabrics are woven for the particular garment, in Japan, so the black nylon for the MA-1 and N-3B is custom-made. I make suggestions. My first, actually, was for a black N-1.

Another year I suggested they make chinos out of the black bedford cord they’d had woven for the shell of our N-1. I love those, but I actually prefer the black straight-leg five-pocket jeans that Self Edge had Sugar Cane (one of Buzz Rickson’s sister labels) make out of the same fabric. I really enjoy the process, such as it is. It’s as if I get to pretend for a few days that I’m Hiroshi Fujiwara, though they won’t always make what I ask for.

H: What do you think of American influence on Japanese fashions? I’ve always struggled with the fact that one of the most prized vintage items in Japan are A-2 jackets, the very jackets of the men who bombed them. Why have the American military and workwear aesthetics of the 40s, 50s, and 60s become such popular subcultures in Japan?

WG: Japan had a more radical experience of future shock than any other nation in the Nineteenth and Twentieth Centuries. They were this feudal place, locked in the past, but then they bought the whole Industrial Revolution kit from England, blew their cultural brains out with it, became the first industrialized Asian nation, tried to take over their side of the world, got nuked by the United States for their trouble, and discovered Steve McQueen! Their take on iconic menswear emerges from that matrix. Complicated!

H: Much of your work, particularly the Sprawl trilogy, explores the expanding influence of Japanese culture on the rest of the world. Do you think your predictions have become manifest? Has Japanese obsession with Americana has in turn affected the fashions of the United States?

WG: When I was first writing about Japan, it was at the peak of the Bubble. Bubble popped, but they kept on going. Japanese street style feeds American iconics back into America in somewhat the way English rock once fed American blues back into America.

H: To a certain extent, many of the items made by brands like The Real McCoy’s, Buzz Rickson’s, and Levi’s Vintage Clothing are knockoffs that happen to be better made than the genuine articles. Would you consider such items to be simulacra of the originals? Can a repro ever be anything more than a very well made copy?

WG: “Authenticity” doesn’t mean much to me. I just want “good”, in the sense of well-designed, well-constructed, long-lasting garments. My interest in military clothing stems from that. It’s not about macho, playing soldiers, anything militaristic. It’s the functionality, the design-solutions, the durability. Likewise workwear.

Military clothing is built to strict contract, but with the manufacturer cutting ever corner they can without violating the specifications. The finishing on a Rickson reproduction is exponentially superior to the finishing on most of the originals, and I’d much rather have a brand-new exact copy that’s more carefully assembled.

[image: "A reproduction A-2 Flying Jacket from The Real McCoy's. Image via: Blue in Green."]

H: The heritage/workwear movement of the last five-ish years mostly harkens back to the blue collar styles of the early to mid-twentieth century. One of the main buzzwords is “authenticity”–it was more authentic when people worked with their hands, products were made in the US, etc. Many companies go to extreme lengths to recreate the products that are supposedly authentic to that era–buttons, fabrics, zippers, stitches.

What fallacies do you see in this selective view of the past? Is this a reactionary and regressive movement? Are we no different than the Amish but focused on a different era?

WG: The difference between, say, Engineered Garments and, for instance, Iron Heart, is that Engineered Garments is nostalgic, while Iron Heart is atemporal. Iron Heart achieves that atemporality through an inherent tightness, a stubbornness of intent. Iron Heart clothes look brand new when you buy them. Hard, bright. Which was how real vintage looked when it was new. Like you could cut yourself on them. Then you wear them for five years and very gradually they change. Compared to that, Engineered Garments feels slightly pre-digested to me. Though to be fair, J.Crew makes Engineered Garments look like Iron Heart! I actually like Engineered Garments, the idea of it.

With J.Crew, say, or Urban Outfitters, claims to authenticity tangle bizarrely with economies of scale, and we see “value-mining”, hollowing out the individual unit for maximum profit. T-shirt weaves conceived to require less cotton (“it looks authentically worn”). That’s when you get into seriously sad simulacra territory.

[image: "An Iron Heart chambray shirt (left) and a J.Crew chambray shirt (right)."]

H: What do you think of Needles and the way they frankenstein old clothes into new garments?

WG: I don’t think they have any grasp of source code at all. Their combination MA-1/M-65 field jacket actually negates the functionality of the M-65’s lower pockets. You can’t fucking put your hands in them. Freaks me out.

gibson_needles
Needles M-65/MA-1 Rebuild. Image via: The Bureau Belfast.

This stuff [the Victorinox Remade in Switzerland Collection], which I deeply regret having been unable to get at the time, is among the best upcycling of surplus garments I’ve seen.

Other best bits have all been from Portobello or Camden stalls, anonymous, made from WWII bivouac tents, plus some Berlin efforts, similar. And a take on the Levi’s trucker jacket that Monitaly cut from US surplus tents. Sorry I missed that one as well.

H: The clothing inspired by this period is often so expensive that the vast majority of consumers will never use these clothes for their intended purpose, manual labor. What’s the appeal? Why do we spend lots of money to dress like poor people from a hundred years ago?

WG: I don’t know about 1915, but in 1947 a lot of American workingmen wore shirts that were better made than most people’s shirts are today. Union-made, in the United States. Better fabric, better stitching. There were work shirts that retailed for fifty cents that were closer to today’s Prada than to today’s J.Crew. Fifty cents was an actual amount of money, though. We live in an age of seriously crap mass clothing. They’ve made a science of it.

H: In an essay you wrote for Wired you described much of the appeal of mechanical wind watches is their “Tamagotchi Gesture”, meaning the wearer has to actively keep them alive. Does raw denim and/or repro workwear/military wear have their own Tamagotchi Gestures? Would rituals like washing your jeans in the tub or DIY repairs qualify?

WG: Probably, though it’s a depressing thought.

H: You worked as a vintage picker during the 70s before your writing career took off. What were collectors looking for back then? Where and how did you find the goods?

WG: Not “worked as”, so much as “survived while unemployed in part by doing”. I developed an eye for downscale Art Moderne doohickies, just as that was starting to become a thing. I’d find chrome airplane ashtrays in charity shops. Cigarette boxes. Had there been an Internet, that stuff would have all migrated to Portobello Road by then.

When I started, there were no vintage clothing retailers in Toronto, that I knew of. The big charity stores were awash with amazing vintage clothing, but there was scarcely a market, so I never tried to resell any. Turnbull & Asser detachable-collar shirts, laundered in the 1950s and left in a drawer til the old dude died, one dollar at Crippled Civilians. Good as new.

H: Many of the most sought after vintage items are military pieces from WWII through Vietnam–A-2s, M-65s, MA-1s, Boondocker boots, etc. Will their popularity eventually fade away? Do you think any current pieces of military apparel will have the same lasting appeal?

WG: It will become not the thing, and then it will again belong to the people who totally get it, until it becomes the thing again. I think Caleb Crye’s combat pants, for Crye Precision, will be around after the wars they were built for are forgotten, but it’s too soon to wear them now without being taken for a mall-ninja.

[image: "Crye Precision G3 combat pants."]

H: Do you still collect vintage clothing or watches? If so, what are some of the prized pieces in your collection? What grails are you still hunting for?

WG: I’ve never actually been a collector. I like the learning-curve, but I buy things, sell them to finance other things. I have fewer than ten watches now, none amazingly rare, though some quite odd. Not a grail kind of guy.

H: In Pattern Recognition, Cayce dresses in clothing items called CPUs, or Cayce Pollard Units, which are “…either black, white, or gray, and ideally seem to have come into this world without human intervention…She is, literally, allergic to fashion. She can only tolerate things that could have been worn, to a general lack of comment, during any year between 1945 and 2000.” Is this an accurate appraisal of your personal style? If not, do you have a set of guidelines like Cayce that govern what you wear?

WG: She’s an exaggerated take on one impulse of mine. I have more technical streetwear than repro-vintage: Acronym (Errolson’s by far my favorite designer), Arcteryx Veilence, Outlier, Finnisterre (cold water surf clothing from Cornwall). The other side is the Self Edge side, where as I’ve said I really like Iron Heart. Stevenson Overall Company jeans. Some Nigel Cabourn. And actually quite a bit of Buzz Rickson William Gibson Collection.

My rule is that if Dick Cheney couldn’t wear it without creating a stir, I shouldn’t either. I like clothing that isn’t easily noticed. I know a man in London who wears Savile Row suits the way some people wear hoodies, and he says the greatest thing about them is that “nobody knows what you’ve got”. They actually have *no* labels. Very Cayce.

[image: "Dick Cheney in an N-3 snorkel parka at the 60th anniversary of the liberation of Auschwitz in 2005. It created quite a stir. Image via: Washington Post."]

H: I’ve often thought of raw denim as the world’s most subtle gang sign–you could be wearing Iron Hearts and a Rickson’s loopwheeled sweatshirt and 99 out of 100 people couldn’t tell you apart from someone who bought similar items at the mall. That 1 person, however, could spot you from 100 feet away and know exactly what brands you have on and probably how much wear you’ve put into them. Is that part of the appeal for you, that it isn’t easily noticed but it is by the people who care?

WG: Not so much, actually. It’s not about exclusivity, for me, or about *hyper-coded* exclusivity, or any kind of clubbiness. I’m embarrassed if I think anyone knows exactly what I paid for something, or even where I got it. I want what I’m wearing to feel good on, wear well, and to be extremely functional.

There’s an idea called “gray man”, in the security business, that I find interesting. They teach people to dress unobtrusively. Chinos instead of combat pants, and if you really need the extra pockets, a better design conceals them. They assume, actually, that the bad guys will shoot all the guys wearing combat pants first, just to be sure. I don’t have that as a concern, but there’s something appealingly “low-drag” about gray man theory: reduced friction with one’s environment. Arc’teryx Veilance had a lot of that in its original DNA, and I also find it, though probably for different reasons, in Outlier. Nothing worse than clothing that gets in its wearer’s way.

H: How has the internet changed the way we discuss clothing? Every subculture has been balkanized to message boards and niche sites (Heddels, for one) that cater to very specific interests. For many, the way they dress is determined more by where they hang out online instead of where they hang out in real life. Do you think regional styles and cultures will be completely supplanted by their online counterparts?

WG: For one thing, it’s made *visible* the ways in which various sorts of men think about clothing, and made that widely, democratically available to other men. That’s really quite remarkable, new, and something whose implications aren’t entirely clear yet. Men used to do this one-on-one, or in very small groups. But it required a sort of mutual permission, and more trust in other men than many had.

A cultural inability in this area was basically what made men’s magazines of the non-wank variety commercially viable. You couldn’t ask, but Esquire would tell you, on a monthly basis. But it’s easier to genuinely grasp a “look” if you can observe it being worn successfully on the street, which continues to give major urban centers an edge.

Today it’s not uncommon to see men who’ve gone to considerable care and expense to get some very specific look exactly wrong, and I suspect that that’s down to the internet. There are some things that bulletin boards can’t really convey. You have to see it being worn well.

H: How has online retail affected the way we buy clothes? As per the above question, having very specific taste means you have to buy your clothes online. Do you think brick and mortar retail going to fade away except for the die-hard establishments like Self Edge, Blue in Green, etc.?

Also, online shopping often makes me feel like I’m not really buying the physical product (how the fabric feels, fits, how heavy it is), I’m buying the picture of it instead. Are we inadvertently training designers to create clothes that photograph well instead of clothes that look good in real life?

WG: Designing for “rack-appeal” is all too common, and not new, and I don’t see how the web version really differs from that. Most of the clothing I like lacks rack-appeal, because it’s rigorously designed for functionality, comfort, fit, none of which have anything to do with how it looks on a hanger. You can’t get what it does for you by looking at photographs of it. Buying clothing that way is like buying your home off a website, without having been inside it.

Errolson Hugh sometimes speaks of clothing as “micro-architecture”, and I accept that quite literally. We live in our clothes. They’re the architecture closest to us.

H: Thanks for your time!

WG: I’ve enjoyed it. Thank you."]]></description>
<dc:subject>williamgibson clothing tacticalgear apparel fashion 2018 buzzrickson tactical patternrecognition errolsonhugh acronym caycepollard design</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Ralph_Nader">
    <title>Ralph Nader - Wikipedia</title>
    <dc:date>2023-12-26T00:12:48+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Ralph_Nader</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Personality and character traits

Nader has been described as an "ascetic ... bordering on self-righteous".[118] Despite access to respectable financial assets, he famously lives in a modest apartment and spends $25,000 annually on personal bills, conducting most of his writing on a typewriter.[119][120] According to popular accounts of his personal life, he does not own a television, relies primarily on public transportation, and over a 25-year period, until 1983, exclusively wore one of a dozen pairs of shoes he had purchased at a clearance sale in 1959. His suits, which he reports he purchases at sales and outlet stores, have been the repeated subject of public scrutiny, being variously described as "wrinkled", "rumpled", and "styleless". A newspaper story once described Nader as a "conscientious objector to fashion".[121]

Nader has never married. Karen Croft, a writer who worked for Nader in the late 1970s at the Center for Study of Responsive Law, once asked him if he had ever considered marriage, to which he reportedly responded that he had made a choice to dedicate his life to career rather than family.[122]"]]></description>
<dc:subject>asceticism ralphnader frugality publictransit modesty simplicity morality morals fashion clothing life living consistency self-righteousness typewriters style stylessness</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=EdL85EP7s5M">
    <title>Your Amazon Returns Are Thrown in the TRASH - YouTube</title>
    <dc:date>2023-12-23T06:13:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=EdL85EP7s5M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So-called "free returns” aren’t free at all. In this video, I share the surprising truth about the lies corporations tell you to make you buy more, and what REALLY happens when you send it all back. 

SOURCES:
Consumers spend 1 trillion in 2022: http://tinyurl.com/yzfvb69t
A fifth of holiday spending done online: http://tinyurl.com/muv56j7p
Sales up 37% since pandemic: http://tinyurl.com/54ejzx7n
Amazon bought Zappos for 1.2 billion: http://tinyurl.com/2twu5htr
Consumers consider free returns most favored: http://tinyurl.com/3dp6633s
Consumers will pay more for free shipping: http://tinyurl.com/y2ct3sdj
Etsy instructed vendors to raise prices to disguise shipping fees: http://tinyurl.com/y2ct3sdj
Amazon Prime has 200 million members: http://tinyurl.com/4cd8e6fk
We return up to 40% of what we buy: http://tinyurl.com/2twu5htr
A minimal amount of returns ever make it back to the shelf: http://tinyurl.com/2twu5htr
“Apparel is like vegetables”: http://tinyurl.com/2twu5htr
34 billion pounds of textile waste: http://tinyurl.com/ytspevcv
Fashion industry destroys product to avoid resale: http://tinyurl.com/3bee84wa
Mountain of clothes in Chilean Desert: http://tinyurl.com/mr938t8x
Robots can’t sew: http://tinyurl.com/4jabjmz8
Child Labor: https://www.youtube.com/watch?v=_ve6BqXzbjw
Amazon delivery drivers pee in bottles: http://tinyurl.com/4fydumyx
Amazon warehouse workers pee in bottles: http://tinyurl.com/5ebdu6ea
Returns in landfills nearly doubled since 2019: http://tinyurl.com/32z37ufr
Some brands have their own secondhand stores: http://tinyurl.com/4pz72p7v
Lululemon founder blames women for see through pants: https://abc7news.com/archive/9317396/
Lululemon founder isn’t opposed to child labor: http://tinyurl.com/ycktb4er
Lululemon founder dishonest with SEC: http://tinyurl.com/2v6nx8yw"]]></description>
<dc:subject>amazon shopping waste shipping returns adamconover 2023 capitalism zappos chile atacamadesert disposability fashion fastfashion psychology landfills consumption us apparel shoes pandemic lululemon jeffbezos amazonprime childlabor labor exploitation atacama</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=zO8eaI78Jg8">
    <title>Why Luxury Brands Are A Big Waste Of Money - YouTube</title>
    <dc:date>2023-12-15T02:52:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zO8eaI78Jg8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Luxury,” Socrates once declared, “is artificial poverty.” I’m not poor, but there’s nothing like an afternoon spent shopping for luxury goods to make me feel that way. On a recent jaunt through some of Midtown Manhattan’s snazzier stores, I began to wonder why this should be the case. When, I asked myself, did it become commonplace to charge several thousand dollars for a mass-produced handbag? How could the flimsy designer sundress I bought on sale — a “steal,” the saleswoman assured me — still wind up costing a whole month’s salary? Why is my favorite brand of lipstick more expensive than a nice bottle of Italian wine? When did these products’ values grow so distorted, and what is the would-be customer to make of it all?

In the midst of my consumerist crisis, the question I should have been asking was: Dana Thomas, where have you been all my life? In “Deluxe: How Luxury Lost Its Luster,” Thomas investigates the business of designer and luxury clothing, leather goods and cosmetics, and finds it wanting. Hijacked, over the past two or three decades, by corporate profiteers with a “single-minded focus on profitability,” the luxury industry has “sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers.” Hoodwinked? The truth hurts. After I read “Deluxe,” suddenly my new sundress no longer looked like such a steal. Au contraire, the book’s line of argument suggested, it was I who’d been robbed.

For Thomas, a cultural and fashion writer for Newsweek in Paris and the Paris correspondent for the Australian Harper’s Bazaar, the luxury industry is a sham because its offerings in no way merit the high price tags they command. Yet once upon a time, they most certainly did. In the 19th and early 20th centuries, when many of luxury’s founding fathers first set up shop, paying more money meant getting something truly exceptional. Dresses from Christian Dior, luggage from Louis Vuitton, jewelry from Cartier: in the golden period of luxury, these items carried prestige because of their superior craftsmanship and design. True, only the very privileged could afford them, but it was this exclusivity that gave them their cachet. Although they may have “cared about making a profit,” the merchants who served this pampered class aimed chiefly “to produce the finest products possible.” - Financial Times

But all is not lost even in today’s money-driven and fast fashion environment. Thomas shows how luxury still persists in a few brands such as Hermes, Chanel and Louboutin. Most of the book was horrifyingly candid for such a lover of designer goods like me, but I did enjoy the latter parts of the book that allow these wonderful brands to shine and stand against the dizzying avarice of others.

Christian Louboutin explains that “luxury is the possibility to stay close to your customers…about subtlety and details. It’s about service…Luxury is not consumerism. It is educating the eyes to see that special quality.”

Cristiane Saddi, a marketing director in Sao Paolo says that clients who frequent Daslu, a luxury fashion emporium, “don’t need the logo entry-level handbag or to wear labels or logos. We buy from luxury brands, but not ordinary products. You can see what is mass and what is special. Luxury is not how much you can buy. Luxury is the knowledge of how to do it right, how to take the time to understand and choose well. Luxury is buying the right thing.” - Eve Crabapple"]]></description>
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    <title>Luxury Fashion Is For Broke People - YouTube</title>
    <dc:date>2023-12-12T22:43:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FGDB22dpmwk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rich people don't actually buy designer brands, the poor do. Luxury fashion brands have secretly targeted the middle class for over a decade, getting people to overspend on Gucci belts, Louis Vuitton bags and other flashy goods. 

The CEO of LVMH, Bernard Arnault became the richest person alive with over $200 Billion Net Worth. LVMH is now the largest fashion company in the world, and they got there by ripping off regular folks like you and me."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=_e2eOMSzHMk">
    <title>Metaheaven, designers (The Netherlands) - YouTube</title>
    <dc:date>2023-12-03T07:06:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_e2eOMSzHMk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Metaheaven (The Netherlands)
Online lecture
22 November 2023

The work of Metahaven encompasses filmmaking, writing, and design. Their films include Capture (2022), Chaos Theory (2021), Hometown (2018) and Information Skies (2016), nominated for the European Film Awards 2017.
Recent publications include Digital Tarkovsky (2018), a book-length essay about cinema. In 2010, they published Uncorporate Identity, co-edited with Marina Vishmidt.

Their forthcoming book on art and cognition is scheduled to appear in Spring 2025 with Verso. They write the “Cognitions” blog with Zora Zine, and are regular contributors to e-flux Journal and Harvard Design Magazine.

Metahaven have presented solo exhibitions at MoMA PS1, New York, Yerba Buena Center for the Arts, San Francisco, Izolyatsia, Kyiv, ICA London, e-flux, New York, State of Concept Athens, and Stedelijk Museum Amsterdam, among others, as well as participated in group exhibitions at Artists Space, New York, the Museum of Modern Art Warsaw, M HKA, Antwerp, the Gwangju Biennale, and the Sharjah Biennial, Ghost:2561, Bangkok, and many others. Their work is featured in collections of the Sharjah Art Foundation, the National Gallery of Victoria, M HKA, the Victoria & Albert Museum, and the Stedelijk Museum Amsterdam, among others.

Metahaven are heads of department at the Geo-Design MA at the Design Academy Eindhoven since September 2023, a programme in which they previously taught since its start in 2020. They are artistic advisors at Rijksakademie, Amsterdam, and affiliate researchers at Antikythera, Los Angeles.

Metahaven‘s lecture is part of Fabrica’s “Co-ecologies” residency program curated by Carlos Casas."]]></description>
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</item>
<item rdf:about="https://www.npr.org/2023/11/14/1212661071/andre-3000-album">
    <title>André 3000's first album in 17 years, 'New Blue Sun,' is out now : NPR</title>
    <dc:date>2023-11-17T16:31:56+00:00</dc:date>
    <link>https://www.npr.org/2023/11/14/1212661071/andre-3000-album</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[NB: The transcript on the page is not complete: parts of the audio are not transcribed.

Too much to quote, so just this piece as a taste.]

"You've talked in recent years about having social anxiety disorder and how the need for isolation compounded that even further. Which, first of all, I want to say is so refreshing to me that we, as Black men, especially, are starting to be just more transparent with each other about mental health. But the fact that this album wasn't made in isolation and was a very collaborative process, can you talk more about how that gave you that sense of freedom and helped you get unstuck a little bit?

Yeah, totally. The environment was really important. And we're listening to each other, we're responding to each other, we're supporting each other at certain times. And that's the sound, so it's kind of mirroring real life. That's why I say when I describe it, which is hard to really describe, it's a full living, breathing album because it's fully alive. We didn't sketch it out.

And as far as anxiety and that kind of thing, yes, I have been diagnosed with that. But I realized that, like, life is life, man. Our grandparents didn't have these terms to describe these things, you know? They didn't have these diagnoses to describe these things. They may have been going through similar things, but they just had to live through it. That's what it is. Life is life and life will come at you in different ways, and it's for you to pay attention to what's happening. I don't feel worse or better than anybody else. I feel like what comes to you is for you.

I just use it as an instrument, just like it uses me. I wouldn't be here if it wasn't for these, what they call "ailments" and all this kind of stuff. I don't want to lean on it. And a lot of times, because now we have a name for it, we're starting to lean on these names and kind of like really dig into these names and really just try to just figure yourself out. And I'm not sure if sometimes you may give yourself a disservice once you start calling the boogeyman, the boogeyman. Then you start looking for it. So it's like, just live and take it day by day, man. Everything won't be great. The only thing I can say: Learn how to ride the roller coaster. The best thing you can do is learn how to ride the roller coaster with your hands up."]]]></description>
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