Lesbian fashion 2017

Lesbian fashion 2017 DEFAULT




'Project Runway' designer shows items at Paris Fashion Week
Special to the online edition of Windy City Times
by Terri-Lynne Waldron

This article shared 1086 times since Tue Oct 31, 2017

Openly gay fashion designer Matt Sarafa aspires to be on the same level as some of the greatest designers in fashion. The 19 year-old designer is a reality show veteran and is currently on his third collection, ROLEPLAY. Sarafa talked to Windy City Times about his reality TV experience, his fashions lines and why school is important to him.

Windy City Times: You are currently attending UCLA. How do you balance school with being a designer?

Matt Sarafa:

I am currently so busy and I have a million things going on. I'm the type of person that can multitask really well and I am really focused on school, but since I've been little, I've been really career-oriented and I knew that I wanted to have my own business and my own company. Fashion has been my dream since I was 7 years-old.

WCT: Why is school so important to you?


For my parents, education is very important, and I think it's great to have something to fall back on just in case everything doesn't work out—always have a plan B. I think it's important to be well-rounded as a person. Here at school I'm not just learning about fashion, I'm learning about so many different things and I'm also getting the life experience of being a college student, and if I hadn't done that, I would have regretted it later on in life.

WCT: You appeared on the first season of Project Runway: Threads, in 2014, when you were 16. Why did you choose to go on that show?


At the time when the opportunity presented itself to me, I thought that it would be an amazing career move and my chance to show my design skills and my passion for design to all of America and internationally as well. In the end it was an amazing thing because it opened up the door for so many more opportunities. Without doing that show, I wouldn't have gotten Project Runway: Junior and, without Project Runway: Junior, I would not have had my own clothing line and shown at New York Fashion Week and Paris Fashion Week.

WCT: Your collections include Hott Me$$, FAKE—which made its debut at New York Fashion Week this spring—and you recently came back from Paris Fashion Week, where you debuted your spring/summer collection, ROLEPLAY. What was that experience like?


Paris Fashion Week was really incredible, and I was the second youngest designer to show a collection there which was super exciting. I had never actually been to Paris before. It's such a magical city. Being there during Fashion Week with all of the fashionable people and the beautiful architecture—it was such an amazing week and I got to bring my team out there. It was really an amazing experience and it felt surreal the entire time I was there.

WCT: Describe the difference between your FAKE collection and your ROLEPLAY collections.


My FAKE collection was a fall/winter line and it was much different from my ROLEPLAY collection. I wanted to go lighter and more fun and playful with [ROLEPLAY] so I tried to stray away from using any black in the collection because I wanted it to be really light and airy and fun. I wanted to incorporate more colors than I usually worked with before. In the spring it's all about pretty colors, lightness and fresh, so I really wanted to do that. In contrast, in my New York Fashion Week line [FAKE], there was a lot of dark colors, a lot more edginess.

WCT: Are your collections inspired by anything in particular?


Usually when I come up with a collection, it has a backstory to it. My most recent collection, ROLEPLAY, was inspired by gender roles. The main color of the collection was a baby blue and baby pink and throughout the collection I was playing with masculinity and femininity and how their tied to these different colors. How the girls are only supposed to wear the pink and the boys are only supposed to wear the blue. And as a man wearing pink he is less of a man. FAKE was inspired by social media and how we only put our best self forward on social media. Were always posting pictures where we're on a cool vacation or we're looking our best. We never post the negative parts of our lives.

WCT: What about Hott Me$$?


That was a little bit different. That was the line I did right after I came out of Project Runway: Junior. On the show that kind of became my little catchphrase and I build the collection around that. That was really special because that was the first project that I ever put out for sale to the general public.

WCT: Is Lady Gaga still your fashion icon?


Yes; I love Lady Gaga and I really admired her since I was younger. I love super-edgy and over-the-top different clothes and I love people who aren't afraid to express themselves to the fullest. I think that's what really attracted me to Lady Gaga in the first place.

WCT: Do people treat you any differently because you are a 19-year-old fashion designer?


It makes you have to work harder to get people to take you seriously. I've had so many doors and opportunities closed because of my age and people don't think your taking it seriously—they think it's a little hobby. I've been working really hard and I think these past couple of years—since I've been raking in all these accomplishments—people take me more seriously as a designer and that's what I want. I want to be a respected designer and up there with all the highest designers. That's my ultimate goal.

To find out more about Matt Sarafa, visit MattSarafa.com .

This article shared 1086 times since Tue Oct 31, 2017


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Lesbian Fashion Struggles is a humorous, heartbreaking, deeply personal collection of poems about growing up and living in the rural South as a conventionally-attractive blonde lesbian. Earleywine uses fashion as a lense through which to view her struggles with self-expression. The first poem of the book, “Where I Come From,” investigates Earleywine’s ancestral queer history of “women / from the Old South who never married / who lived in their aprons and their closets.” In a way, this poem reads as a dedication: “I talk and I talk and I open / my mouth because they couldn’t, / because they can’t / anymore.”

She goes on to write about a subject well-traversed yet still important, the (non)acceptance of LGBTQ+ folks among their own families. The speaker’s experience, like many others, is mixed: her 93-year-old grandfather “assured me he thought no differently / of me, he asked if I wanted any of his old clothes” yet her father “at the family reunion… / introduces [her and her lover] as roommates, friends.”

Some of her strongest poems use fashion to question the impossible tradeoff between being oneself and being safe. In “Lipstick,” the speaker confronts her internalized misogyny that makes her reject markers of femininity in order to feel strong. However, instead of feeling strong with short hair and lipstick the shade of “camouflage,” she feels “washed out and smudged, / worn down to a nub.” She dreams of a shade “bright as a dare, not a blushing / apology, a shade so loud it / breaks teeth.” In the end, it’s not fashion that lends the speaker strength; it’s the freedom to choose how to live and look without the burden of others’ judgement. I never thought a book with the word “fashion” in the title could bring me to tears, but that is because of my own miscalculated rebellion from society’s expectations about what a woman should be. I wish I had this book when I was fourteen and trying to come to terms with my own queerness, but I’m sure glad I have it now.

Sibling Rivalry Press.

—Review by Ali Hintz

Sours: https://www.arkint.org/reviews/lesbian-fashion-struggles-capsule-review
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By Maya Singer

Photographed by Cass Bird

Consider, for a moment, the word model. Oxford Dictionaries offers several definitions of the term, including “a representation of a person, or a thing, or of a proposed structure,” “an example to follow or imitate,” and “a person employed to display clothes by wearing them.” All of these definitions coalesce around a central idea: That people often need to see a prototype in order to comprehend a possibility.

So, what does it mean to be a “lesbian model?”

Several of the hip, gorgeous lesbians shot by Cass Bird for this portfolio are career models, employed to display clothes by wearing them. Dilone and Heather Kemesky, for instance, are certified runway stars. Others display clothes by wearing them as a side effect of their glamorous day jobs—to wit, fashion designer Phoebe Dahl and Soko, a musician and actress. Some of them are just badass babes: Check out Lauren Wasser, for instance, raising her prosthetic leg as she hoists herself into a pull-up. What links them, aside from their looks, is that they’re all members of the tribe of lesbian cool girls—“celesbians,” as Bird jokingly refers to them. A confident lesbian identity is intrinsic to the coolness.

Which makes these women models in the other senses, too. Bird describes herself as a “dinosaur lesbian,” and says,  “I’m old enough that I still get excited when I encounter other lesbian couples. I didn’t have any exposure to out-and-proud lesbians as a kid, and when Ali and I were starting our family, we only knew a few other lesbian couples with children. I can only imagine,” she continues, “how great it must be for young women now, to be able to look around and see—yeah, this is how I could be.”

Which is to say, the lesbian cool girls—with their beauty, and their jet-set lifestyles, and their insouciant miens—are performing a vital role in bringing lesbians into the American mainstream. A teenager exploring her sexuality in the 1970s wouldn’t have known, just from photos, that model Gia Carangi was a lesbian. Today, a teenager can track the romantic ups and downs of Kristen Stewart and Cara Delevingne in the tabloids, just as straight kids have been able to do for eons with other super-celebs. They can see those women, and others of their ilk, starring in blockbuster movies and gracing the covers of magazines and landing multimillion-dollar beauty campaigns, and feel affirmed that a lesbian identity isn’t merely okay, it’s actually awesome, if you inhabit it with a certain self-assured éclat. And that has a political valence too.

“I knew, going into this shoot, that I didn’t want to include anyone who just, sometimes, or even mostly, dates women,” Bird notes. “I wanted lesbians. I wanted women who embrace that identity. Because as much as I understand the desire to get away from labels and signifiers, I also believe there can be power in a label—in people coming together as a group. That’s how you gain rights. It’s how you create a movement. For me,” she adds, “‘lesbian’ is equally a sexual identity as it is a political identity. And a cultural one.”

Bird exults in her lesbian identity. She loves bringing women into its fold, and she even takes pleasure in the stereotypes that have attached to the lesbian lifestyle, some of which, she affirms, have a basis in truth. “JD Samson and I did a project a while ago, where we visited a bunch of gay or lesbian RV parks,” she recalls. “And—seriously—lesbian-land was always a campfire, an acoustic guitar, and female bonding.” For this portfolio, Bird decided to have fun with some of those stereotypes, posing runway star Ruth Bell with the cats that, due to Bird’s home renovation, happened to be hanging out in her studio, and riffing on butch-dyke clichés by posing Dilone in front of a U-Haul. “I was hoping to get someone out to a baseball diamond,” Bird says with a laugh. “Softball—that’s the ultimate lesbian cliché. All those dumb signifiers . . . I mean, honestly, I think they’re great. Own ’em. It’s just another way of telling people: This is me, here I am. Here we all are. And you know what? We’re having a great fucking time.”

Senior Visual Editor: Emily Rosser
Visual Editor: Samantha Adler
Photo Producer: Ashley Solomon
Editor: Alessandra Codinha
Senior Designer: Sara Jendusa
Producer: Maleana Davis
Engineer: Gregory Kilian

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