Racialicious

Racialicious is a blog about the intersection of race and pop culture. Check out our updates on the latest celebrity gaffes, our no-holds-barred critique of questionable media representations. If you've been on the blog, you know how this Tumblr works, too. Including the moderation policy.
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Posts tagged "fashion"

childrenwithswag:

Zac Age 3

New York City

I often feel invisible. When I tell people that I grew up on an Aboriginal reserve, they look at me like I’m a mythical unicorn, even though more than a million people in Canada identify themselves as First Nations, Métis or Inuit. I probably wouldn’t have thought we existed either if I hadn’t grown up on the Six Nations reserve in Southwestern Ontario. Back then, I only saw people who vaguely looked like me on CBC’s North of 60. It was slim pickings as far as cultural references were concerned.

But today, instead of homages rooted in realism like the CBC offered in the ’90s, all I see in the mass market is a shiny commercial version of “Native Americans” rooted in stereotypes from westerns, Disney cartoons and sports mascots.

It’s disheartening that so few people are aware that headdresses, bonnets and totem poles are still spiritually relevant to vibrant Native cultures. To glamorize—or make light of—the misuse of dated and cartoonish images is to support a legacy of genocide and racism. The after-the-fact apologies aren’t enough. While groups like No Doubt may say they never meant to “offend, hurt or trivialize Native American people, their culture or their history,” they did.

How can anyone assume that referencing “Indian” motifs without care or caution wouldn’t be hurtful, trivial or, indeed, racist? I was dumbstruck when I saw the spring/ summer issue of AnOther Magazine. The biannual fashion and culture publication photographed Michelle Williams wearing black braids, a sad expression and what could arguably be considered redface. (Imagine your reaction if she’d been wearing blackface and cornrows.) In response to an immediate backlash, the magazine echoed those other apologies, writing “While we recognize the seriousness of this debate, the image in question in no way intends to mimic, trivialize or stereotype any particular ethnic group or culture.”

Finally, fedoras for a good cause! Check it out:

Women wear many hats - as community leaders, mothers, workers, volunteers, and much more.  To celebrate this, the We Belong Together campaign is using the fedora as a metaphor for the many hats that women wear to create a brighter future for all.  It is also a symbol of the need for immigration reform that treats women fairly, and a declaration that though women wear many hats, on this issue we speak with one voice.

There are 11 million people living in the United States without legal status and more than half of these immigrants are women. Current immigration laws discriminate against women who want to work in this country; separate parents, children and partners; prevent families from reunifying as a result of endless family visa backlogs; and jeopardize women’s autonomy and safety. We now have the historic opportunity to transform conditions for immigrant women, LGBT families, and their loved ones.

Congress is poised to vote on immigration reform legislation this year. The Senate will debate and vote first, in the weeks following Memorial Day. Our goal is to pressure Congress to support a bill that fixes our immigration system and provides a pathway to citizenship for all 11 million undocumented immigrants, while also treating women and LGBT families fairly.

We are more likely to achieve this goal if women, the LGBT community, and allies make our voices heard. The Fedoras for Fairness campaign (#Fairdora) is an effort to demonstrate our support while calling on others to join us.

We Belong Together is led by the National Domestic Workers Alliance and the National Asian Pacific American Women’s Forum,  and driven by the participation of women’s organizations, immigrant rights groups, children, and families across the country.

womensweardaily:

Bridget Foley’s Diary: Vera’s Vision

WWD: How do you describe what you do?
Vera Wang:
I love sportswear in my own weird way. Fashion is such a personal journey for me. I’m much more of a girl that’s a T-shirt, legging, layering kind of thing, and outerwear. And yet, where my career has led me from the very beginning is into evening, or whatever Collection can be called today. In a way, it’s fighting a stereotype. Certainly when you’re considered a bridal designer, that implies you’re limited to doing a ballgown, which is so not what I think I’ve contributed to bridal. I’ve tried to explore the bridal vocabulary in a million different ways over 23 years.

For the full interview

Fascinating comment:

WWD: You’re a big fan of other people’s fashion.
V.W.:
 I respect. I stand in awe. I share how the journey is, how complicated things are. Everyone’s journey is different, but issues come up. A lot of younger designers are friends. I’m not mentoring them, but I stay very much in touch. I hope that they make the right decisions. I really adore Alexander [Wang] because we’re both Chinese and he calls me sort of his aunt. He’s very, very respectful to me, and we have an inner dialogue about being Chinese. That’s such a wonderful solidarity that I feel, in addition to all the Asian designers that exist now that are proliferating everywhere.

womensweardaily:

Homecourt Hand: Meet the Chandlers

Kimberly Chandler — recent New York Fashion Week front-row ubiquitor, mother of three, Hurricane Sandy relief effort organizer and owner of one of the chirpier personalities in the borough of Manhattan — learned something about her social resilience earlier this month when she attended The Costume Institute gala at The Metropolitan Museum of Art by herself.

“I was so impressed with myself after it was over,” she says a few weeks later. “I feel like if you can walk that red carpet by yourself…I was like, ‘Oh, I’m good for anything else. I’m golden.’ I had a bit of a meltdown and then I pulled myself together.”

It’s a few weeks after she donned a Rodarte dress and strode that red carpet solo. Chandler is sitting in an oversize leather armchair in a faux living room at Canoe Studios on the west side of Manhattan on a humid, occasionally rainy May weekday. Today she wears a white collared Suno dress with black and blue geometric accents on its shoulder and skirt. Though her chair is several times too large, her posture is finishing-school straight. A few feet away, her husband, Tyson Chandler, the 7-foot, 1-inch starting center for the New York Knicks, has no trouble filling out his matching seat.  For More

stylekorea:

Harper’s Bazaar Korea

Title: The Gentleman

Model: Daniel Henney

Photographed by Hong Jang Hyun

June 2013

(via modelsofcolor)

May is officially Asian-Pacific American Heritage Month, and when we consider their many contributions to society, we can’t help but recognize their influence in style. From streetwear icons like Eddie Huang and jeffstaple to designers like Phillip Lim and Alexander Wang, Asian-Americans have done a lot to shape the way we dress today. That’s why we culled some super-practical style tips from men all over the spectrum, from entertainers, creatives, and designers, here are 10 Style Tips You Can Learn From Famous Asian-Americans.
Jian DeLeon, “10 Style Tips You Can Learn From Famous Asian-Americans," Complex Style 5/6/13

black-culture:

Young British model, Jourdan Dunn, Reveals Makeup Artist Refused To Touch Her Because She Was Black

Young British model, Jourdan Dunn is speaking out about the racism that still exist in her high profile profession. The 22 year old model recently revealed , in an interview with Net-A-Porter’s The Edit, that she too has faced racism like her colleague model, Chanel Iman. Like Iman, Dunn reveals how she has been turned away from castings because the agents filled their quotas with enough black girls. But her situations have been far worse than that. Jourdan also talks about a time when a white make-up artist would not touch her face because she was black.

But how does a model whose career has been ignited by campaigns with Yves Saint Laurent. Tommy Hilfiger and Burberry, hold it all together and wins in spite of the odds against her? Dunn says that it is through having strong mentors and people around her that encourage her to do her best. Those mentors and friends include W’s Edward Enniful and makeup artist Pat McGrath. Dunn says that her mother built up her self-esteem and was a great role model for her.

Dunn also sees the bigger picture in the obstacles that she faces within the modeling world. She does it all for her 3 year old son, who battles with sickle cell disease.  Dunn is the first black model in ten years to walk in Prada’s fashion show. She has also graced the cover of Teen Vogue and won Model of the Year at the British Fashion Awards.

Dunn was discovered in Hammersmith Primark in 2006 and signed to Storm Model Management in London.  In 2008, Steven Meisel selected Dunn to appear on the cover of the Vogue Italia issue. The issue held great significance because it was an issue devoted entirely to black models.Dunn is known for her signature walk and killer legs. Although black is beautiful, it is still hard for dark people of color to get ahead. Many dark people in the entertainment industry have to be ten times bolder or better in what they do, and even coming out and speaking against the industry can get you blacklisted. While this type of behavior in the industry may be nothing new, in this day and age it is worth noting that it is still a hindrance and an issue that needs to continually be addressed in order to effect change.

"Jourdan also talks about a time when a white make-up artist would not touch her face because she was black."

Because. She. Was. Black.

No further comment.

(via deliciouskaek)

blackandkillingit:

Black Girls Killing It Shop BGKI NOW

Your Racialicious Ridiculously Fabulous for your Tuesday.
You’re welcome.

blackandkillingit:

Black Girls Killing It Shop BGKI NOW

Your Racialicious Ridiculously Fabulous for your Tuesday.

You’re welcome.

Now I’ve really seen it all. Michelle Williams is on the cover of AnOther Magazine, in apparent Redface. Michelle burst into the spotlight when she was nominated for a Best Supporting Actress Oscar for her role in Brokeback Mountain (2005). Later, she was nominated for Oscars for her work in Blue Valentine (2010) and Marilyn (2011). She is now starring as Glinda The Good Witch in Oz: The Great and Powerful (now in theaters).

Dressed in a braided wig, dull beads, and turkey feathers while sporting a decidedly stoic expression, AnOther Magazine and company ups the ante by putting Michelle in a flannel shirt, jeans, and what appears to be some sort of academic or legal robe. I smell an attempt to portray reservation nobility. Are they endeavoring to capture the spirit of the American Indian Movement (AIM) circa 1973? Is this an ad for the Native American Rights Fund (NARF) or the American Indian College Fund (AICF)? Nope. It’s a 33 year old white actress hyping her latest Hollywood project by wearing a cheap costume designed to make her look like she’s the member of another race.

Am I glad that unlike most racist, stereotypical caricatures of American Indians in pop culture today (Victoria’s Secret’s Racist Garbage Is Just Asking for a Boycott), Michelle is not practically naked? Yes—but just as Blackface is never okay, Redface is never okay. Ever.

Ruth Hopkins, “Why Is Michelle Williams In Redface?”, Jezebel 3/12/13