TOW #7 "Louis Vuitton Spring 2016 Ready-To-Wear"

          The 2016 Vuitton Spring Ready-To-Wear show hit an entirely new note for the world renowned house of couture, and to be completely frank: I was more than pleasantly surprised. I could not be more inspired, nor more intrigued with the show from start to finish. Creative director Nicolas Ghesquiere can be credited with much of the show's success, and for sharing the rich flavor that he brought to Balenciaga for fifteen years with Vuitton, since he began working there in 2014. As a well-respected, and dare I say iconic, A-lister in the fashion world, Ghesquiere is already very established, and was therefore was able to take major risks. 

         Ghesquiere described the classic element of travel that Louis Vuitton is known for as one of his biggest influences in the design process, yet he strove to communicate a different kind of travel to an incredibly relevant destination: the digital world. He used lots of luggage inspired prints and accessories in almost every look. Additionally, throughout the show, he used music from Tron: Legacy in addition to the opening music in the popular game Minecraft to show the influence technology has had on him, while also depicting the beauty in it. He tapped into fond memories of his own childhood, helping the show feel much more intimate and to help viewers connect with the avant-garde clothing line.
           This collection is highly acclaimed for the several sets of juxtaposition it brings to attention, but also weaves together through innovative pieces and styling. He highlights the balance of classic and modern, hard and soft, the girly girl and the rockstar, and was able to leave his audience speechless. For this show in particular, Ghesquiere gave himself a very difficult task, in making a brand first established in 1854 feel modern, but also staying true to the Louis Vuitton name and aesthetic. His use of textiles were essential in this process, and also in acheiving his purpose. His credibility, emotional appeal, travel motif, and use of juxtaposition were absolutely essential in showing the versatility and timelessness of the Vuitton brand, while also making a stance in depicted the beautiful way that technology has enriched our lives. 

I accessed both the video of the show and the photo gallery on the LV website: http://us.louisvuitton.com/eng-us/stories/womens-spring-summer-16-show

This is the first look in the collection, and it truly took my breath away. The innovation behind the construction is remarkable, as well as the strategic styling and mix of prints that almost seems too good to be true.

TOW #6 "The Lonely Death of George Bell" N. R. Kleinfield

         In the, "The Lonely Death of George Bell," N. R. Kleinfield uses a recount of the death of a New York man by the name of George Bell to reveal that only death can truly tell the secrets that went unknown in an individual's life. The author,  N. R. Kleinfield, gave a very unique perspective, as he has written for The Times since 1977, and is an avid member of the Metro department's investigation team. His high-level knowledge of the subject shone through, as well as his obvious talent and experience as a writer. In his piece, he describes the events before and after Bell's death, and in doing so reveals a message that goes far beyond the realm of traditional journalism. He uses his ability to accurately report to prove that while death is relatively easy to measure, on the contrary, measuring life is much more complicated.
        Through the use of anecdotes, imagery, and statements from other professionals alongside those who knew Bell, Kleinfeild was able to masterfully achieve his purpose, and teach his audience about how the events after one dies are a direct result of the way that one lived their life. He shows the importance of companionship, through anecdotes of friends Bell kept, as well as imagery to show the detrimental effects that mental illness can have on someone. He uses a vivid image of Bell's apartment to demonstrate this, and make his purpose resonate with the audience, "Hoarding is deemed a mental disorder... Amid the mess were a half-dozen unopened ironing board covers, multiple packages of unused Christmas lights, four new tire-pressure gauges," (Kleinfeld, pg. 1). This mixed with the testimonies of people who knew Bell before his mental disorder consumed his apartment, and his life, say something incredibly powerful. By employing these rhetorical devices, the author is able to achieve his purpose, and show that much of a person's life is revealed only after their death. I really enjoyed this piece, as it was insightful, well-written, and communicated a fresh and unique perspective.

I accessed this article The NY Times website: http://www.nytimes.com/2015/10/18/nyregion/dying-alone-in-new-york-city.html?hp&action=click&pgtype=Homepage&module=photo-spot-region&region=top-news&WT.nav=top-news&_r=0

The following image was included in the article, and was taken shortly after Bell was found dead in his apartment.

TOW #5 "Who Can Be Finished With Alice?" by Adam Gopnik

         Adam Gopnik has been writing for The New Yorker, since 1986. He is known for his critiques of artwork, humorous editorials, and book reviews. In his essay, Who Can Be Finished With Alice?, he shares his thoughts on Lewis Carroll's two Alice books, and details the impact they have had on society.  Although I have personally always been a huge fan of Carroll's works, Who Can Be Finished With Alice?, would also probably resonate with those who are not as fascinated by the series, and help explain why the two books are such significant pieces of literature. Gopnik utilizes a high level vocabulary, and several allusions to pop culture and politics, so a more mature audience can probably get more out of reading this particular piece. He begins by making connections to characters in the books and GOP candidates for the 2016 election, beginning with none other than Carly Fiorina put next to the Red Queen. He then switches gears, and talks about the composition and publication of several annotated versions of the Alice books, specifically Gardner's famous collection of analysis regarding the books. In doing so, he is able to show the importance that the books have in the connections that they make, but also in the connections that readers are able to draw from them individually. He references experts on the book series, such as Gardner, but also iconic celebrities such as John Lennon. He writes, "'I was passionate about Alice in Wonderland and drew all the characters. I did poems in the style of Jabberwocky. I used to live Alice,' John once said," (Gopnik, pg. 1). By showing the impact that the book had on particularly important people, Gopnik is able to show the scope that the books have had culturally. Through many references, metaphors, and allusions, he shows that no one can ever really be finished with Alice, as she is ingrained in our society and way of life. 

I accessed this essay virtually on The New Yorker's website: http://www.newyorker.com/books/page-turner/who-can-be-finished-with-alice?intcid=popular

In 2009, Disney made another version of Alice in Wonderland featuring a star-studded cast, an updated storyline, as well as lots of cutting edge  technology to blend real actors with the surrealism that the series is known for. 

TOW #4 IRB "Don't Get Too Comfortable" by David Rakoff

        In his novel, Don't Get Too Comfortable: The Indignities of Coach Class, The Torments of Low Thread Count, The Never-Ending Quest for Artisanal Olive Oil, and Other First World Problems, Rakoff writes in the style of several essays strung together by the common thread of the self-indulgence, a token of the American way of life. Although residing in New York for most of his life, originally coming to America as an immigrant, he has a refreshing outsiders take on the way of life that is thought of as common place. He admits to, while also picking fun at the idea of such excessive means of living in his autobiography. The tenth chapter in the book particularly caught my attention, as an exemplar of what, Don't Get Too Comfortable, is trying to achieve, as well as the rhetorical devices and strategies it utilizes in order to do so in such a meaningful way. 

       Humor is perhaps, the most important part of the book. Most of his audience participates in the lifestyle that he so adamantly mocks, so it is crucial for him to sugarcoat his criticisms with wit and sarcasm, in order to keep his audience entertained, rather than feeling attacked. After an encounter with the very rude Karl Lagerfeld on a trip to Paris, Rakoff describes, "His large doughy rump dominating the miniature piece of furniture, like a loose, flabby, ass flavored muffin overrisen from its pan, he resembles a Daumier caricature of some corpulent, inhumane oligarch drawn sitting on a commode, stuffing his greedy throat with the corpses of dead children," (Rakoff, pg. 143). Not only does he dazzle his audience with clever, yet vivid imagery and allusion, he also employs a humorously obscene vocabulary and diction. His disdain toward people such as the well-known designer could not be more obvious, yet in writing so wittily, he disguises his loathing in a matter that will cause readers to crack a smile at the very least. Although there is some disconnect caused by the fragmented manner in which the book is written, Rakoff is very successful in achieving his purpose, through the use of many rhetorical devices. 

The book's cover sets the tone for the clever, yet relatable, narrative that Rakoff's autobiography entails. The blade carving out a patch of the floor beneath the luxurious chair depicted prepares readers to be a bit uncomfortable, as the book addresses many things that are seldom included in American writing.