Why aren’t we talking about how political Kanye’s show was? The #Yeezy army metaphor was taken a step further by both #KanyeWest and artist #VanessaBeecroft, who also created the performance of the inaugural show. The first group of models in ballet beige – deliberately platinum blonde and eerily Aryan looking – filed out and fell in line in accordance with their drill sergeant barking at them. The second row, gradated in a darker beige and matching up with the Asian and brunette models, also fell right in line and marched forward. The third line-up of all black models in their darker taupes and light browns, when asked to fall in line, meandered forward in haphazard fashion. The final group of darker-skinned black models dressed in dark browns and blacks trudged out lifelessly. When the entire cast filed out together in their utilitarian garb, shaded like a skin foundation counter, this didn’t feel like an empowered army but an imprisoned one. There was something uncomfortable about the set-up. The choreography seemed to deliberately conform to stereotypes that West himself has fought through his lyrics to dispel. Most markedly, @IanConnorsrevenge, was singularly and very purposely smoking like he didn’t give a shit, as his model cohorts stood deadly still. Lo, the lone rebel, who won’t fall into line, and happens to be black. It couldn’t be more overt in its reference to the racial inequalities of America and beyond. In a brief backstage interview with @voguemagazine, West insisted he was just creating a “painting” where the clothing became a canvas for colour. And yet it’s hard not to read into the choreography of the show as West’s personal piece of social commentary. The blackest of black people enslaved. The whitest of white people following orders like minions. And in between, dissidents flouting the rules. – words @susiebubble #dazedinstastory Read the FULL piece now at dazeddigital.com [direct link in bio]

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Dazed Magazineのインスタグラム(dazed) - 9月18日 00時19分


Why aren’t we talking about how political Kanye’s show was?

The #Yeezy army metaphor was taken a step further by both #KanyeWest and artist #VanessaBeecroft, who also created the performance of the inaugural show. The first group of models in ballet beige – deliberately platinum blonde and eerily Aryan looking – filed out and fell in line in accordance with their drill sergeant barking at them. The second row, gradated in a darker beige and matching up with the Asian and brunette models, also fell right in line and marched forward. The third line-up of all black models in their darker taupes and light browns, when asked to fall in line, meandered forward in haphazard fashion. The final group of darker-skinned black models dressed in dark browns and blacks trudged out lifelessly. When the entire cast filed out together in their utilitarian garb, shaded like a skin foundation counter, this didn’t feel like an empowered army but an imprisoned one.
There was something uncomfortable about the set-up. The choreography seemed to deliberately conform to stereotypes that West himself has fought through his lyrics to dispel. Most markedly, @IanConnorsrevenge, was singularly and very purposely smoking like he didn’t give a shit, as his model cohorts stood deadly still. Lo, the lone rebel, who won’t fall into line, and happens to be black. It couldn’t be more overt in its reference to the racial inequalities of America and beyond.
In a brief backstage interview with @Vogue, West insisted he was just creating a “painting” where the clothing became a canvas for colour. And yet it’s hard not to read into the choreography of the show as West’s personal piece of social commentary. The blackest of black people enslaved. The whitest of white people following orders like minions. And in between, dissidents flouting the rules. – words @スージー・ロウ #dazedinstastory

Read the FULL piece now at dazeddigital.com [direct link in bio]


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