ANNA WINTOUR THE AWAKENING
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PACIFIC RIM
No further comment...for now!
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Alright.
I will make a comment.
First to say
something about the fashion press and magazine editors and their staff in general
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Fashion artists, designers and haute couturier do not design for the fashion press
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They design for private clientelle and store buyers
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Originally back during King Louie I4th the French textile manufacturers created fabrics hoping the Queen's dressmaker chose their fabric so when the Queen wore something in public every French woman would immediately buy that fabric and give it to a dressmaker. Every woman wore that style dress and fabric or was out of fashion, so fashion is based on volume of selling one thing to everyone.
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That one thing lasted only one season and went out of fashion once the queen appeared in a different dress style and different fabric the next season
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Queen's were expected to wear silk but the fabric manufacturers convinced King Louie to have his queen wear cotton so they could sell thousands of yards of cotton, which was only worn by the poor
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This boosted sales of cotton reaching a larger buying population that before had'nt or couldn't afford silk
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Now a poor farmer's wife, not havjng a dress maker, could make her own dresses and dress like a queen and be in fashion
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Seems, no, actually it makes common marketing sense
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There wasn't any fashion press nor was any needed
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Fashion didn't depend on a fashion press
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NOW
Though I haven't checked when the first fashion reporter began historically I would say it was probably sometime during or after Charles Frederick Worth, in the late 1800s, a pennyless Britisher who went to Paris and started the first Paris Haute Couture with his atelier above the Cafe de la Paux
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His success in Paris might have inspired someone from England to go to buy or sketch, steal a scrap of fabric, something from him and took it to London and through gossip, dressmakers copied it from the fabric by fabric manufacturers making Paris fashion affordable in London and now as haute couture and was first only available for the British Royal Family
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That then required spies, that morphed from gossipers to go and secretly sketch Paris fashion, taking the sketches back to London
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They, the gossipers, became fashion reporters and fashion photographers that organized into groups creating fashion magazines
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Now why fashion designers and couturier do not design for fashion press is because fashion editors and reporters never buy anything
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Like the parasites that they are and the wealthy but cheap woman and movie stars don't buy anything
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They persuade a designer to loan them something to wear at an important event, be seen by a reporter and that turns up in a magazine or newspaper
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Their claim is if they wear this, because of their importance, it will be seen and make the designer famous
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Very likely what is shown in the magazine doesn't sell because now really wealthy people don't but what is shown in magazines
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So like in France in order to bring poor people into buying they have to create cheap goods and claim it is luxury and fashionable but produced in mass manufacturing, copies, tee shirts, hand bags
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You now see how Dior, Chanel, Louis Vuitton, Gucci, Yves Saint Laurent morphed into the fashion limelight and are flooding the market with a name and logo after they long have died
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The public, en mass, are addicted to this method and basic manipulative fashion people morph into editors in chief for
a fashion magazine
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This is basically what Piranna Wintour understood and through her father's vicious and fear combined method of operating this, with her own version of fear tactics
has finally managed to dominate Vogue magazine and international fashion advertising
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Yes. Advertising, and not fashion. Advertising through their personal opinionx, not because it is fashionable
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At the moment all this and other scams in fashion are being dug up into facts and dismissing luxury fiction
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Since my surname
LUKSUS
translates into Luxury, Only I can create luxury
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Now in my case, not ever being involved with fabric or fashion before 1961, I was trained in dance and drama, art and music
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As a boy my family were like those early French farmers getting cotton fabric and making house dresses. My mother needed size 16 and designers only made sizes up to 12 or maybe 14 rarely so she had to make her own fancy dresses. Rayon from natural wood was like but not silk and cost like cotton
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I never sewed any dresses for her. I took care of feeding animals and buying chicken feed, mash, in 25 or 50 pound bags, what I could carry at 12 years old
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Chicken feed came in soft cotton fabric printed in small floral patterns so I picked our the best prints and colours. I avoided those stamped with their source.
This Printed name labeling exposed the print for what it was, from chicken feed
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My mother made much of her daily work clothes from them
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My experience with dance and drama led me to the stage also when I was 12 years old but at six I danced on stage at the
Goodman Theatre
connected to the
Chicago Art Institute
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I learned not to look into the stage ljghts or the audience but some where in between so I never knew who was in the audience
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I carried this technique when showing my ready to wear and couture collections in NYC and Paris
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Now unless someone in the audience came up to me afterward I never knew if they were there so though I was told by my staff that Diana Vreeland attended, it wasn't likely, after the show she presented herself
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She selected what to publish and hurried on to the next show on the fashion calender, to show or not show in Vogue, and until it appeared I only knew what photographers selected but not what would be published, possibly nothing
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My concern was only who was buying and not showing so Vouge might have revealed my name but didn'f influence anyone buying
We just indulged the press but didn't trust any of them
If you didn't understand this before then if you have read this this far you know now
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My path to what ever I wanted to achieve in life had nothing to do with fabric or fashion but by studying art and architecture I needed to earn a living so living in Athens, Greece I took up wool weaving then in Venice, Italy, silk printing
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I returned to Philadelphia and decided to call myself a Fabric Designer and set up a small shop custom making fabrics for interiors and furniture
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For silk print, not so easy, I discovered Hindu Indian Tie Dyeing and this I made contemporary and could do as an artist
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I only planned creating silk print locally butir head buyer went to Nan Duskin with 2 silk cocktail dresses and tie dyed silk scarves that I hoped were good enough for them to buy
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They were, but not by the but the head buyer who sent me to Count Ferdjnand Sarmi in NYC who ordered specifically six 5 yard samples in different colours for me to invent
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He bought and placed them in his finale for his Spring-Summer-Resort collection 1962
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The press and buyers were stunned by tbem and soon after when they knew who made them I became famous and in demand over night
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This is the first and best colour photo of one published in Harper's Bazaar in 1962
JAIPUR
not revealing the artist and who created it drove the fashion press into a frenzy wanting to be first to discover the source and the great mystery for the press adding greatly to my fame
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It took me a few weeks to digest this event and in that time managed to apply my indifference to this fame and great challenge with what I learned being on the stage, Seeong and yet not seeing
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I visited both the New York fashin office and Women's Wear Daily the same late one night with less than one hour between
Both immediately gave me interviews and publish my name that same night
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This was my perfect strategy
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I was not really a designer. I was just an artist and continued as such after a similar continuous success designing couture in Paris
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Taking on financial backing destroyed both my fabric and fashion companies I set up in Bennington, Vermont and NYC
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From this disadtrous event I never signed a contract again
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Logically I had no further reason to create fabrics or clothing buf instead picked back up on my path to travel the world and meet remarkable men
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I left fashion parasites and vultures behind and would never, bad I continued in fashion design, invited any member of the fashion press again, and like a true haute couturier, like Manbouche and Balanciaga, stay away from fashion press and fashionistas
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So when
ANNA WINTOUR
perched on herself on a branch at British Vogue, then New York Vogue, I was in no way available for her
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I did remain fashion conscious and dominated Halston by selecting seasonal colours that he spied for and me knowing he would, plus fabric choices in unusual silks and they dominated his collections until I cut him off when he became known for taking Cocaine at Studio 54
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He never bought fabrics of mine from my NYC fabric agents,
Emil Sormani
and
Pierre Godart
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SO
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ANNA WINTOUR
never won over, caused any fear or dominated any living greatly known designer like Saint Laurent or Lagerfeld.
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So her only power over anyone is worthless dominates nobody of importance but unknown wannabe designers she picks up like homeless orphans and uses fear tactics on her Vogue staff that she selected and hired after firing the previous staff running Vogue successfully as a fashionable icon before her. She has contributed nothing but a stupid image of herself
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It is time we give high praise where it is deserved and absolutely not to her
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She made her own bed and baked her own cake and sleeps in one and long ago ate the other
She is behind the designer bags, accrssories, shoes, blue jeans and logo tee shirts that are being mass produced in China and has now been called for disolution
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This now is also leading to her deresolution and togethet with Trump wiil be deresed come 2028
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A good riddance for both
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I write this as calmly, politely and seriously as I possibly am able leaving out any emotion or anger as possible, though I find no plsasure in doing so
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I never met or spoke to Anna Wintour
in all the years she has dominated the fashion world advertising press
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Yes advertising press and not fashion press
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Anna was an anonomous nobody in NYC in the mid 1960s when I was top in fashion and in Vogue with the greatest number of colour pages it ever published.
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Every imoprtant fashion reporter attended my showings with their assistants but never Anna Wintour
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No one knew her nor heard of her
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There was no way she could not have known of me, and why she is afraid of me but that is because I was, as others put it, Diana Vreeland's darling designer
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Diana Vreeland powered Vogue Magazine democratically making Anna Wintour wanting to control it with all her dictatorial desire
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Once she did she destroyed it.
Anna Wintour is the
Donald Trump
of
Vogue Magazine
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She needed to wipe out
Diana Vreeland who had greater power then Wintour could ever have
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I walked off fashion and mostly fabric design in 1972, just after 1971 when Vreeland retired.
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My last time in designing for Galanos in 1976 if in Vogue in colour, I don't remember any, with I designed influenced by Tibet was for James Galanos.
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I didn't make any appearances in New York or Paris fashion after 1968
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I was finished with fashion so I don't know who was editor in chief after Vreeland
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I heard of
Tyrannisauraus Rexanna from
THE DEVIL WEARS PRADA, movie then heard it was based on Wintour at Vogue
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I never mer or saw her and she did nothing for or to me. I belonged to American Fashion during its last real Golden days
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I have nothing to admire in this cold dead Piranna nor do I approve of anything she has done whilst in Vogue or with the Met and its costume wing like Trump, she changed into her name.
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I know absolutely nothing about her except what has been written about her. From my position in fashion, being very knowledgeable in fashion press affairs, I have witnessed good, indifferent, fickle, untrustworthyness, loyalty and bad
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Piranna is something else, something sinister, evil, so it she can never be in my universe
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She might control Vogue but Vogue has no place in my life. It doesn't exist since 1971
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As fashion designers it isn't easy to ignor what the editors and reporters state in their articles but for a great part they exagerate and write much negative information that a designer cannot correct. No matter how wrong and misleading they are they do not ever correct their errours. We Designer/Artists are not dead meat for vultures!
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Anna Wintour has never written or talked about me snd for that I am very grateful. I have no reason to fear or hate her. Nor do I find anything admirable about her.
I can understand how fashion designers are forced into silence from her meddling in their artistic expressions and for this I am pleased that I am not active where she might review or meddle in my work or life.
I do feel she has been working in this position for some time and far too long. Up until "The Devil zwears Prada" she was an odd ball entertainment, but after she was a stale bore. More time passed than anyone with her method of operation deserves. Fashion is a place of amusement and not an insane assylem for the damned. It needs new blood totally unlike the clotted blood now pooling, and I look forward to the day I no longer have to avoid the displeasure she presents or see photos or hear about her.
She is not suitable in fashion for me to praise and considering how fashion designers like myself become victims, unable to respond without appearing bitter in a dsfensive way from the ill treatment she offers like that of a hungry for blood thirsty female Tyrannisauraus Rexanna
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😇
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Sorry Anna, but you just don't fit in
MY UNIVERSE!sS
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! IMPORTANCE NOTICE !
Fashion editors and
fashion reporters/columnists
feel free to write some of the worse stories about both the professional work and personal impressions the have about fashion designers often not only destroying their hard work and their personal livrs but relentlessly destroying them They seem to take pleasrue, often actually do, in destroying a designer's life.
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Most designers are timid and unable to fight back but instead continue to be abused.
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I know from long experience but in my observations I have found most of these women fashion news gossip people to be ugly cows, mentally frustrated sexually and not talented enough to actually perform as human beings.
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Now we have this rampaging disaster of a female Golem dominating Vogue and the Metropolitan Museum of Art costume wing with her obnoxious presence and dismal sense of what good fashion design is and letting any fool on her red carpet and invitation list
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Well it is time to knock these xxxxxx down and expose their dismal life styles in a fair retaliation
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With luxury goods falling disgracefully destroyed and the haute couture primarily dead there is nothing to lose that hasn't already been lost so now let us fashion artists destroy these crazy media bitches with the truth about them.
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TZAIMS LUKSUS, FRSA
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