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I kēia mau lā, ua paʻi ʻo New You magazine i ke kiʻi o Carmen dellʻOrefice ma ka uhi. ʻAʻole hiki ke lilo kēia hanana i mea ʻike inā ʻaʻole no ka makahiki o ke kumu hoʻohālike. He 84 makahiki ʻo Carmen dellʻOrefice a ua ʻike mua ʻia ma ka uhi o Vogue i ka makahiki 1946.
No ka lōʻihi o kāna ʻoihana i ka ʻoihana hoʻohālike, ua helu pololei ʻia ʻo Carmen i ka Guinness Book of Records. Ua hoʻopiʻi maikaʻi ʻia nā laurels o Carmen e Daphne Self: ʻo ia ʻo 86, e hāʻawi iā ia i ke kuleana e manaʻo ʻia ʻo ia ke kumu hoʻohālike kahiko loa ma ka honua. Ua hōkū ʻo ia i kahi pāʻoihana no nā sneakers Vans no ka hale kūʻai Swedish & Nā moʻolelo ʻē aʻe. Ma nā kiʻi, hoʻonoho wiwo ʻole ʻo Daphne ma hope o ke kumu hoʻohālike 22 makahiki ʻo Flo Dron. He maʻalahi ka wehewehe ʻana i kēia ma ke ʻano he ʻike hoʻolaha hoʻolaha: ʻokoʻa nā hanauna - nā kupuna wahine a me nā moʻopuna - ua hui pū ʻia i ko lākou makemake i nā sneakers Vans. Akā aia kekahi mea ʻē aʻe ma hope o kēia: kahi hōʻailona o kahi ʻano hou - ke hele mai nei nā wahine o ka wā kahiko.
Ma mua o ko mākou mau maka, ua nalo koke ka nani o ka nani: he ʻōpio, ʻeleʻele lahilahi me nā ana o 90-60-90. Akā, komo nā kino "non-formatted" hou i ka lewa: ke kaumaha nui, ʻelemakule, kino kīnā, nā hiʻohiʻona transgender. A e kūʻē i kēia ʻano, i nā mahina i hala iho nei, ua ʻālohilohi nā nani ʻoliʻoli a nani o nā makahiki holomua i ka nūhou.
E heluhelu hou:
- "Ke loli nei ko mākou manaʻo o ka nani"
Hōʻike ʻia ka mea mele mele mele kaulana ʻo Joni Mitchell ma Saint Laurent's Spring/Summer 2015 campaign: ua hana ka mea hoʻolālā ʻo Hedi Slimane i kahi lole hoʻoheheʻe ʻia i hoʻoulu ʻia e ka poʻe nona i kūpono loa i kona ʻano lole i kona wā ʻōpio. Eia naʻe, i ka manawa like, ua ʻōlelo ʻo Mitchell, i ʻike ʻia no kāna mau ʻōlelo hoʻohālikelike ʻole, e pili ana i ka hana ʻana o Slimane me ka ʻole o ka hoʻomaikaʻi ʻana i ka hana i manaʻo ʻia mai nā "ʻelele" o ka brand: "ʻAʻole kēia mau hana hou, akā ʻoluʻolu lākou e ʻaʻahu. ua loaʻa kēia ʻano gizmos i nā manawa like ʻole o koʻu ola. A ʻaʻole i liʻuliʻu, ua ʻike ʻia kahi kiʻi holoʻokoʻa o Mitchell i nā lole hoʻolālā a me kahi kūkākūkā kikoʻī me ia ma ka uhi o kahi puka puna kūikawā o New York Magazine i hoʻolaʻa ʻia i ke ʻano.
Ma ke ano like, ua koho ka brand Céline i ka mea kākau kaulana a me ka mea kākau moʻolelo ʻAmelika, ʻo Joan Didion, 80 mau makahiki, ʻo ia ke alo o kāna hoʻolaha hoʻolaha hou. ʻO kāna kiʻi i loko o nā aniani ʻeleʻele nui i hele a puni ka paʻi, akā ua hui pū nā ʻōlelo. ʻAʻole hauʻoli ka nui o ka poʻe mahalo i kā Didion moʻokalaleo i ke ʻano o kā lākou kiʻi i ka hoʻolaha ʻana ... Ua huhū ʻo Adley Freeman o ka nūpepa The Guardian: "Ke kaumaha nei au i ka hoʻohana ʻana o kahi brand fashion i ka inoa a me ka mana noʻeau o Didion e kūʻai aku i nā aniani makai nui loa" (1) . Eia kekahi, ua ʻike ʻia ʻo Joan Didion i kona ola a pau ma ke ʻano he wahine me ke ʻano o ke ʻano o kēlā me kēia kanaka: ʻo kāna mau kuhukukū ʻeleʻele a me nā mea nani avant-garde ua hala lōʻihi i loko o ke ʻano o nā mea kiʻiʻoniʻoni - hoʻonui pū kēia mea i ka "symbolic capital" o ka hoʻolaha Céline. . A ʻaʻole mākou e kamaʻilio e pili ana i ka mea kahiko o ka "makahiki fashion" 94-makahiki-kahiko Iris Burrell Apfel - ma hope o ka hōʻike ʻana o kona mau lole ponoʻī ma ka Metropolitan Museum of Art, hauʻoli kekahi hale hōʻikeʻike lole e hoʻokipa i kēia hōʻike, i kēia manawa. kaahele i ka honua.
Akā, lawa paha nā hiʻohiʻona - ʻike ʻia ke huli nei ke ʻano i nā wahine ʻelemakule. No ke aha mai? ʻO ka mea mua ma ʻaneʻi, ʻoiaʻiʻo, nā kumu socio-economic: e like me nā helu helu, ke piʻi nei ka hapa o ka poʻe o ka "kolu makahiki" i ka heluna kanaka o ka honua i kēia manawa, he ʻoluʻolu lākou, hele nui, alakaʻi i kahi ʻano hana ola a ʻaʻole makemake e ʻaʻahu i nā ʻaʻahu ʻeleʻele haʻahaʻa o nā wahine kahiko. ʻO nā hui nui, ʻoiaʻiʻo, hoʻokō i nā koi o ka mākeke, ʻaʻole makemake e haʻalele i kēia ʻāpana hoʻohiki a maikaʻi hoʻi o ka mākeke nui, a ʻo ke ʻano o ka poʻe ʻelemakule ke loaʻa nei ka manawa i waena o nā hale kūʻai nui. ʻO kekahi kumu koʻikoʻi ʻo ka nui o nā mea kūʻai aku waiwai o nā hale haute couture he mau wahine kahiko mai nā ʻāina Arab, ka poʻe i mahalo nui ʻia e nā couturiers e kū ana i ke kua o ka hāʻule nui ʻana o ka noi no nā lole hoʻolālā pipiʻi (ʻoiaʻiʻo, mahalo i kā lākou kauoha, he nui haute. Noho wale nā hale couture). ʻO ka mea hope loa, ma nā ʻōlelo politika, ua kākoʻo piha ʻia ka hoʻopiʻi ʻana i ka makahiki "kolu" e ka manaʻo o ka "diversity" (diversity) a me ka hoʻomanawanui, mahalo i ka manaʻo ʻole o nā wahine kahiko he "mea liʻiliʻi ʻike ʻole", ʻaʻole hilahila e haʻi i ka lehulehu. ko lakou makemake a me ko lakou makemake. ʻOi aku ka nui o nā wahine makua ma mua o ka wā ma mua, e hauʻoli nei i ke ola. ʻAʻole ia he coincidence ka nui o nā moʻolelo e pili ana i ke aloha i ka wā makua i kēia lā, e like me "On Christmas Eve" na Rosamund Pilcher a me "Grandma Poppy" na Noel Chatelet (2).
I kekahi manawa, ʻo Roland Barthes, ka nānā ʻana i ka moʻomeheu o ka ʻōpio a me kahi kino lahilahi, i ʻōlelo me ka minamina e noho aliʻi ana ka "racism of the young" i ke ʻano. I kēia manawa, me he mea lā ua haki ka hau: ʻo ka lauoho hina ke ʻano o ke kau.
1. No nā kiko'ī, e nānā
2. R. Pilcher "On Christmas Eve" (Word, 2002); N. Châtelet “Lede i ka uliuli. He pua popi ʻo kupuna wahine ”(Labyrinth, 2002).