Search Results for: Fashion
It’s Valentine’s Day, everybody. Everyone’s got their obligatory Valentine’s Day post, but I’m going to do things a little differently. You might say, I’m going to hack Cupid’s Day and inject a conversation about one of the breakout couples from Mr. Robot, Whiterose (BD Wong) and her loyal assistant/lover Grant (Grant Chang).
I finally had a chance to catch up on Mr. Robot a few months ago, and I realized how it slyly stacks its deck full of characters on the sexual spectrum. Tyrell (Martin Wallström) fell into the fanatical side of love with Mr. Robot, and while the show never portrayed Mr. Robot as purposefully leading Tyrell on, fanfiction writers could certainly find moments within the show to insert an alternate narrative of Mr. Robot using Tyrell’s fanaticism to Mr. Robot’s advantage. Darlene (Carly Chaikin) slept with FBI agent Dom(Grace Gummer) to try to help Elliot reverse the damage Mr. Robot’s caused. In previous seasons, Trenton (Sunita Mani) showed feelings toward Darlene and Angela (Portia Doubleday) has an intense makeout session with Shayla (Frankie Shaw).
All of those portrayals of sexual representation are cool in my book. But my favorite coupling out of everyone is Whiterose and Grant. Their time together evolved in this recent third season, culminating in Grant having to make the ultimate sacrifice. Technically, though, Whiterose decided his fate for him, citing Grant’s unchecked jealousy surrounding Whiterose’s interest in Elliot as an element that would get in the way of future plans.
Season 3 was basically a vehicle for Whiterose and Grant’s storylines. One of the consistent parts of the season was that it was literally not about Elliot; every other main character rose up to compete for the title of main character, and honestly, any character on the show could easily have their own spinoff. Whiterose and Grant certainly took this season and ran with it, and I was ready to go on their ride towards world domination. There large chunks of the show where I was actively rooting for them to win, to be honest.
I wanted to see what a world would be like under Whiterose’s thumb. Technically, if the season’s allusions to Whiterose’s influence in our presidential election are any indication, we already are living in Whiterose’s America. But while it’s hell living in it, it’s fun to see society from her lofty, expensive perch, where she’s outfitted in the finest of Rich Aunt fashions, drinking her champagne in the fluted glass handed to her by her one and only Grant, who’s dressed in the finest suit Tom Ford can muster. It’s a dream world of excess and financial debauchery, and in these times, which resemble the 1980s in terms of the juxtaposition of wealth in the media (like Dynasty and Dallas) amid rising costs and and an impending deficit, it’s a relief from our economically poor lives to watch how the other half lives (and makes life terrible for the rest of us). It’s a perverse fantasy, but it’s a fantasy nonetheless, and Whiterose and Grant sold it in spades.
It’s also a great character touch to show how devoted and in love Grant actually is with Whiterose, and the show makes our voyeristic time as viewers even better by showing that Grant’s love is not one-sided. Despite Whiterose’s ultimate dispatching of Grant, we do see how she does truly care about him. In Whiterose’s world, a world in which she gets rid of anyone in her way regardless of their station or their worth as a person, it means something to see her shedding tears and saying her final goodbyes (albeit while relaxing in her bubble bath with champagne) to a man who has meant so much to her. She has narcissistic tendencies, sure. But no one can say she didn’t actually love Grant. The only wedge between them is her greater love for her ultimate mission; to take power from Evil Corp’s Phillip Price (Michael Cristofer) and destroy him where he stands.
As far as character development goes, Whiterose and Grant are about as enigmatic, engaging and fun to watch as you can get. Again, you really want a show just about them and their machinations. But of course, just because I love their characters, that doesn’t mean I’m not without awareness of the thornier aspects of their representation, Whiterose in particular. Whiterose is probably a cause for contention among trans viewers, since Whiterose is identified as transgender, yet she’s played by a cisgender man.
Wong himself said to Vulture’s Matthew Giles how he initially resisted taking the role, not wanting to take the role from trans actors. He also didn’t want the character to be another stereotype of an “evil trans person.” According to Wong, he was told creator Sam Esmail did meet with trans actors, but didn’t hire any of them, wanting Wong instead. As Esmail himself told Buzzfeed’s Ariane Lange, Wong was his first choice for the role.
For Esmail, stated Wong, the character opportunity Whiterose presents is a chance for Esmail to show the dynamics of the gender power struggle in business.
“There’s a great challenge in being a powerful woman in a powerful white man’s world,” said Wong to The Hollywood Reporter‘s Chris Gardner. “I think that it’s part of his choice to make her a person who needs to be gender fluid to get what she wants.”
To his credit, Wong doesn’t give himself a break when it comes to the type of role he’s playing. “There’s a lot of things we can discuss that are connected to it. There’s also the casting of me in this part, which is not cool to trans people,” he said. “Like Asians, trans actors don’t get a lot of opportunities. There are arguably mitigating factors in this particular role because there is gender fluidity and she has to interface as a man and as a woman.”
Pajiba’s Riley Silverman rightly takes Wong and Esmail to task for utilizing a cis male actor for a transgender part. For Silverman, the role of Whiterose smacks of cis-privileged hubris and appeals primarily to cisgender viewers, like Silverman’s friend.
“I no longer blame my friend for being so excited about the character. Or for applauding. I feel like that was exactly what creator Sam Esmail was going for,” wrote Silverman. “He wrote Whiterose as the kind of character who with-it cis viewers would pump their fists at and say yeah, just like I imagine he did himself when he was writing her.”
But while citing the holes in both Wong and Esmail’s rationalization of a cis male playing a trans woman, Silverman still has sympathy for Wong and the real reason he took the role, which he explained in Vulture.
“I feel kind of like, as a minority with limited opportunities, I did not have the luxury of being able to turn down this role based on my wish that in an ideal world a trans actor could illuminate this part with ‘authentic trans insight.'” he said. “I will also add for whatever it’s worth that Whiterose does have both female and male personae. So I did basically cash in that chip I got as a minority at the beginning of the game, decided to accept the role, and I also accept the responsibility and consequences of that.”
“In this, I do legitimately feel empathy for BD Wong,” wrote Silverman. “He’s not Scarlett Johansson, who could have simply turned down Ghost in the Shell. He’s an actor who is successful but still likely needs to take most jobs that come his way, aware that even if he’s working steadily now that tap could be turned off at any time. But I also legitimately wonder whether he would accept that same excuse from someone like me if I were cast as a radical reimagining of Song Liling in a new adaptation of M. Butterfly. And I wonder, if that happened, if I would take that part.”
It’s an interesting conundrum when the actor knows their presence as the character is problematic. But it’s equally problematic that there aren’t enough complex roles for everyone in Hollywood. The drought of meaningful roles forces some actors to take roles they’d rather not, such as Wong taking on this role. I’m sure he saw it as a once-in-a lifetime opportunity; there aren’t too many times you can play a character on a critically-acclaimed show that premiered at SXSW of all places. But, as Wong well knows, accepting the role takes an opportunity away from a trans actor. What could a trans actor have added to the role if given the chance? Why didn’t Esmail reconsider the ramifications of casting a cis male in the role, especially after he saw trans actors for the part? I don’t have the answers; we need to ask Esmail these questions. Thankfully, the character of Grant is devoid of these serious representation discussions, seeing how he’s played by a cis male.
While Chang doesn’t say much as Grant, he emotes through his body and especially his eyes, giving Grant a quiet sturdiness, a sense of patience that–while worn thin sometimes from Whiterose’s deliberate nature–is built from his trust in Whiterose. He also commands the presence of a leading man from midcentury leading men like James Shigeta as well as an undercover machismo that he sublimates for the sake of Whiterose’s dominant personality. But on occasion, it comes through, like when he wants Whiterose to just act instead of monologue and plot, or when he convinces Whiterose to finally let him take the reins of a mission, asserting his more traditionally masculine personality when it comes to romantic societal norms. However, despite his simmering frustration at not being able to assert his masculinity the way he’d like due to Whiterose’s position as the mastermind, he still finds power in letting her lead. He’s a man’s man in some ways, but he’s also highly attracted to strong, take charge women.
When it’s all said and done, Whiterose and Grant were, for me, the most engaging part of Mr. Robot Season 3. It was the first time I could have done without Elliot’s storyline, since in some ways, he was actually slowing things down. For the latest season, the drama was centered around Whiterose’s next move, and how she’d employ her best guy to carry out her deeds. But that doesn’t mean I’m avoiding the conversation to be had about Wong playing a transgender character, something he feels quite uncomfortable about, despite agreeing to take the role. As Wong said to Vulture, Whiterose acts as an opportunity to open dialogue on transgender characters and trans representation in the media. However, one element of that conversation should include if the conversation can be advanced if cisgender actors keep shutting trans actors out of roles, effectively shutting them out from their seat at the table.
What do you think about Whiterose and Grant? What do you love about them and how do you feel about Wong taking the role of Whiterose? Give your comments below!♦
It took me a full day, but I’ve finally seen the music video for SZA and Kendrick Lamar’s Black Panther song, “All the Stars.” As someone who saw Michael Jackson’s “Remember the Time” music video when it premiered during primetime television back in the ’90s, I thought I’d never see a music video rival it as the most unapologetically black music video ever. While Beyonce might have won 2016 and 2017 with her Lemonade visuals and Southern Gothic aesthetic, I think “All the Stars” tops it and even “Remember the Time” as the most awe-inspiring music video I’ve seen in years. Marvel, you’ve completely undone yourself with this entire Black Panther franchise; I hope y’all at Marvel understand exactly why the outpouring of creativity and love is overflowing for this movie.
If you haven’t seen it yet, I implore you to drop everything you’re doing and watch it right now. Real talk: this music video just might make you cry.
If there’s a way to frame an entire music video and put it on my wall, I would. This music video is not only gorgeous, but it’s a love letter to Africa–a homage to the continent’s rich past, vibrant present, and a future filled with possibilities. It, like Wakanda, shows a glimpse into an Africa the West hasn’t seen; an Africa that is seen without the lens of colonialism and imperialism.
I might have had my DNA test done to reveal exactly what parts of Africa I come from, but at the end of the day, I’m still an African-American who is divorced from many of my ancestors’ cultures, so unfortunately a lot of the references in this video have gone over my head. Thankfully, my DNA test has allowed me to start researching my various peoples and their cultures and, particularly for this video, there are posts outlining many of the video’s cultural elements. But even with my limited knowledge, there were three moments out of the many that stood out the most to me.
1. The ocean of hands
There was something so eerie, haunting, and strangely calming about this opening scene featuring Lamar on a raft in the middle of a sea of black arms and hands. What I immediately thought of was the Atlantic Slave Trade, which trafficked at least 10 to 12 million Africans from their homelands to the New World. That stretch of sea is filled with the ghosts of my ancestors, and to see Lamar riding the waves of their hands reminded me how even in death, they made it possible for me to survive.
I also saw the haunting sea in reverse; it was as if those same souls that were lost centuries ago were able to find their way back home in the afterlife. Despite their tribulations on earth, they were able to find peace. From that point of view, it’s as if those same souls are guiding Lamar back to the lands of his ancestors. There was so much said in that scene without Lamar ever saying a word.
2. The Dandies
I’d written about the political importance of Africa’s dandies before in my Black Panther fashion post, but to keep it brief, the dandy movement is one that reclaims African pride by turning Western/colonial fashion inside out and repurposing it as both a form of wearable protest and a sign to the world of Africans’ humanity. To see the dandies put on display like this warmed my heart–the sartorial excellence of course is fun, but showcasing movement’s political relevance in this way has only made the dandy movement stronger, and as far as I’m concerned, that can only be a great thing.
3. The goddesses
The final shots of the music video have Lamar in what looks like an temple comprised of imagery and symbols of several African cultures standing in awe of giant women clad in gold. Clearly, these women are the goddesses of old, and Lamar is paying his respects to them. For me, these women represent the lost goddesses of African religions. When I say “lost,” I don’t mean they’re lost to the world; there are many who still worship the gods and goddesses of the Yoruba and Igbo people, for instance. What I mean is that they’re lost to me. The slave trade made us African-Americans lose everything, including our religions, and seeing these women act in place of those goddesses made me realize that the music video was, once again, bringing us black viewers–and Lamar–back in touch with our roots. These goddesses act as messengers to the rest of the world that Africa is the motherland; Africa is meant to nurture, to uplift, and be respected and honored. Lamar seemed like he got the message. But if it still wasn’t clear to some viewing, the music video cuts to SZA’s hairstyle, which is in the shape of the entire continent. It was a stylistic and elegant version of a mic drop.
Overall, the entire music video left me feeling hopeful and, honestly, a little misty-eyed. This is the Africa I’ve always wanted to see portrayed. This is affirming on a gutteral level, more than I thought a music video could ever be. I’ve come away from it feeling like I’ve retained a chunk of my cultural identity that had been lost. As much as it is a cliche to type, I can honestly say I feel seen. This music video is definitely 2018’s version of “I’m Black and I’m Proud.”
How did you feel after watching the music video? Give your opinions in the comments section below!
Halima Aden on the cover of CR Fashion Book
Model Halima Aden is giving black Muslim girls the visibility they deserve. Dec. 24, she tweeted out how she’s achieved success without sacrificing who she is.
“You can walk the red carpet, walk in fashion shows, and still be a cover girl while remaining true to yourself!” she wrote online, along with posting several of her high fashion covers for Allure, Vogue Arabia, Grazia, and CR Fashion Book.
You can walk the red carpet, walk in fashion shows, and still be a cover girl while remaining true to yourself 😘 pic.twitter.com/vOiKc42v8p
— Halima Aden (@Kinglimaa) December 24, 2017
Born in a Kenyan UN refugee camp to Somali parents fleeing their home country in the early 1990s and relocating with her family to Minnesota when she was seven, Aden has always paved the way for more inclusion and diversity in beauty and fashion. When she competed in the 2016 Miss Minnesota USA pageant, she was the first contestant in America to compete while wearing a hijab. She’s also the first Muslim model to dress conservatively and wear a hijab while working.
“To understand the importance of representation you have to ask people who’ve never felt like they were represented fairly,” she told Harper’s Bazaar. “For me, anytime I saw somebody who dressed like me in a movie, the character was someone oppressed. There was a narrative to it that didn’t match mine. Same thing with the news. Every time I saw somebody who looked like me, chances were they were doing something bad. Now, I get to represent my community to the majority.”
Read more of her story at the Harper’s Bazaar link above.
Bruno Mars and Cardi B have changed the game with their In Living Color tribute video for the “Finesse” remix. Yes, I’m gonna be that bold and write such a claim, solely on the fact that the video made it concrete that ’90s fashion is here to stay. ’90s fashion has been havinng a resurgence for a couple of years now, and between 2017 and 2018, late ’80s and early ’90s fashion have become an even stronger “cool kid” calling card, especially since brands like Tommy Hilfiger and Nauticaa are making tons of money with their vintage or vintage-leaning lines, like Tommy Jeans, Fila Heritage, and Reebok Classic and Nautica’s Lil Yachty collection, which brings back themes of ’90s Nautica. It’s either highly ironic or highly masterful that Bruno’s 24K Magic plays right into this trend.
So how can you get the look? Well, one way is to scour your local thrift stores and/or garages. Another way is to get ’90s-esque fashion from affordable (or at least “reasonable”) stores like Forever 21, Zara, Macy’s, J.C. Penney, etc. However, if you’re looking to go completely authentic while buying brand new clothes (and you have some expendable dollars to spend), here are some clothing choices from choice brands that were huge in the ’90s, but now use their ’90s cred to make boutique items.
One of the breakout fashion stars of the “Finesse” music video is Cardi B’s multicolored bomber jacket. It’s hard to tell if it’s actually vintage or if it’s of today, but regardless, it brings back tons of ’90s memories.
One of the ’90s brands that was big on multicolored jackets was Cross Colours. Believe it or not, Cross Colours is still in existence, making awesome jackets and shirts. Take for instance this colorblocked hooded jacket.
This jacket immediately takes you back to the early ’90s, which was not only big on bright colors, but also Afrocentrism. It’s more evident in some of Cross Colours’ other jackets, but this one also carries the same themes of Afrocentrism, with the emphasis on red, black, and green, the colors of the Pan-African flag.
Throughout the ’90s, particularly the mid-’90s, stripes were big. Striped hoodies in particular seemed really big. I couldn’t tell you why stripes were so popular, but they were; perhaps it’s because it seemed more modern than the deconstructivist/’80s art deco patterns that were slowly fading out. Stripes are a lot more streamlined than the busier patterns of earlier years, and maybe that hint of futurism poked at the burgeoning world of the internet. I don’t know, but it’s a theory.
In any case, the quintessential striped hoodie is showcased in rare form on Bruno as he exudes swagger and, yes, finesse, as the leader of this music video.
I feel like I’m a bit too young to remember Karl Kani as a name brand–the self-proclaimed “Originator of Urban Fashion” was established in 1989, one year after I was born–but that name was huge in the ’90s nonetheless, and judging by what the brand currently has for sale, it would seem that one of their specialties was the striped hoodie.
This hoodie, the Marcy Ave. Rugby Hoodie, has all of the things you want in a striped hoodie. It’s got bright colors, tons of interest, and it’s got short sleeves, perfect for that layered look Bruno is rocking in the above screenshot.
I wish hats could come back in style. One of the things I miss from the ’90s is the plethora of hats people wore on a semi-daily basis. The most popular proponent of ’90s hats was the titular character of Blossom, but hats were everywhere and on everyone, even on puppets–remember Jody from The Puzzle Place? She was a huge hat person. (The prime combo in the ’90s was the sun hat-flowery vest-long skirt combo. So much fabric, but it looked so cool.)
Between bucket hats, sun hats, baseball caps and all other manner of hats, there’s no way you can really go wrong when compiling a ’90s wardrobe. For this post, however, we’re focusing on the multicolored baseball cap, as shown on one of these dancers below.
Karl Kani comes correct again with their multicolored baseball cap, aptly called the “’90s Hat.”
This hat is pretty self-explanatory. It’s multicolored, it’s bright, it’s bold, and it screams ’90s. What more can you ask for?
The next component of quintessential ’90s fashion is mom jeans. I don’t know if they were called “mom jeans” back in the day–I just remember them as “jeans.” These jeans were not just popular with moms–they were popular for all women, even young teens. Just take a look at the fashion on the covers of The Babysitters Club books. They’re all wearing mom jeans.
Nowadays, mom jeans are coming back with a vengeance. Check out the stylish mom jeans on this dancer below.
Luckily for us, Jordache, the preeminent fashion jean brand, is still making mom jeans along with their more modern cuts.
The “Cheryl” High Waisted Mom Skinny Jeans are part of Jordache’s vintage line, and these pants give you everything you were asking for in a classic mom jean. It’s stone washed with a tapered leg, it’s got the classic high waist, and it looks like it’s just on this side of “cute.” It seems like the best mom jeans are just on the border between “cute and fashionable” and “horribly ill-fitting.” Just my opinion, anyways.
The last element of ’90s fashion I’m discussing in this post are the puffy sneakers. For some reason, sneakers are the mos vivid memories I have of ’90s fashion outside of all the Disney stuff I loved as a kid and the fashion tragedies I was subjected to (to this day, I hate stirrup pants). Perhaps it was because I was so connected to Michael Jordan’s career, like so many kids my age were, but I distinctly recall when the Air Jordans came out and the subsequent hype surrounding those shoes. Preceding that was the hype surrounding the Reebok Pump shoes. To this day, I still want both a pair of Air Jordans and Reebok Pumps. I still could get both, but I don’t feel like shelling out the money for it.
In any case, puffy, chunky sneakers were all the rage back in the day. Case in point–Bruno and his crew’s sneakers.
There are many routes you can go with ’90s sneakers–you can go to Nike, Fila, Reebok, and several other brands to get that right ’90s look. I chose to go with Reebok, since Reeboks had been my sneaker of choice in childhood (or, rather, my parents’ sneaker of choice for me.)
The Men’s Classics EX-O-FIT Clean Hi S and the Women’s Classics Freestyle Hi has that ’90s look down. To me, these sneakers are unisex, since a foot’s a foot. Also, Reebok tends to give the men’s sneakers more of a classic ’90s look, whereas the women’s side focuses more on fashion colors (too much more, I think). But regardless of which way you go, Reebok knows that its audience loves the early ’90s silhouette that made the brand famous, and it keeps that silhouette going, even in some of their more modern shoes.
After you get your ’90s wardrobe down, all you got to do is get some gold doorknockers or a chunky gold necklace, and you’ll be dripping in finesse, too.