editor-in-grief

my archive of textiles, hopes and dreams

[chthonic-eldritch-terror]

Yet another day in which I slave under capitalism and cannot dig my toes into fresh mud and become one with the bog

[editor-in-grief]

Make-up at Rick Owens SS27 in Paris

[editor-in-grief]

This is the Tarkhan dress, the oldest woven garment ever discovered. Excavated in southern Egypt, it is more than 5,000 years old. Once, someone wore this as part of their everyday life.

[editor-in-grief]

Backstage at John Galliano spring 2011

[fromthedust]

Broad Collar of Wah - blue faience - Egypt (Middle Kingdom) - 1981-1975 BCE

[editor-in-grief]

Feminist icon from ancient Egypt: Queen Hatshepsut Hatshepsut began as queen regent after her husband's death, but instead of dutifully waiting for her son and heir to grow up, she took one look at the situation and promoted herself pharaoh instead. To navigate Egypt's decidedly male-dominated power structure, she adopted the titles, clothing, and imagery of a male ruler, often appearing with masculine features and the ceremonial beard. At the same time, she emphasized both masculine and feminine qualities, presenting herself as both mother and father to the realm. Her reign brought prosperity, stability, and peace.

Some have even claimed her as a non-binary icon, though that's very much up for debate. While Hatshepsut happily raided the masculine side of the royal wardrobe and blurred gender expectations, most historians see it as a calculated political strategy rather than evidence of a non-binary identity. But who knows.

[editor-in-grief]

Spiky brows & (faux) bridge piercings for Poster Girl SS23

[editor-in-grief]

Melancholic romance at the runway of Ann Demeulemeester Fall RTW 2024

[editor-in-grief]

This colourful golden armlet is about 3,500 years old and belonged to the Egyptian Queen Ahhotep I. Alongside this piece, she was buried with many other treasures, including several weapons which was something that was unusual for women’s tombs at the time.

[editor-in-grief]

The catwalk or big fashion space, even though it may showcase powerful images of fashion resistance, is itself part of a system of capital accumulation that disregards – while it depends on – the care work of women.

Even when designers are intending to challenge the status quo, anti-fashion by design can unintentionally be pro-fashion in fact, as cumulatively, it conjures the illusion that big fashion can fix itself. Ultimately, big fashion reinforces the competitive scarcity mindset born out of breaking of communal bonds. It promotes materiality, rather than collective participation, as the solution to our need for belonging and acceptance.

Jon Astbury & Karen Van Godtsenhoven, Dirty Looks: Desire and Decay in Fashion (SPBH Editions; August 1, 2025), p. 165

[editor-in-grief]

Snapshots I took of the exhibition Weaving, embroidering, embellishing. The Crafts and Trades of Fashion at the Palais Galliera in Paris last week

[editor-in-grief]

Jewellery at Gucci Fall 2017 RTW

[editor-in-grief]

Was blown away by this ensemble by Yohji Yamamoto (SS1997) which is on show right now as part of the Weaving, Embroidering, Embellishing. The crafts and traits of fashion exhibition at the Palais Galliera in Paris.

Funny how the light of the runway photos makes the colours of the garment appear so much bolder, whereas in reality they are a lot more subdued.

[editor-in-grief]

“Lettie looked up, glowing with health and beauty which even sorrow and black clothes could not hide.”

Howl’s Moving Castle, Diana Wynne Jones, pg 6

[editor-in-grief]

Simona Rocha's Disgruntled debutante collection (SS26)

[editor-in-grief]

Simone Rocha AW2019

[cinematicmasterpiece]

romeo + juliet (1996)