Bans Off Our Bodies Women’s Rights Are Human Rights Shirt
We come to 2019, which was a year of rekindling that relationship with GIRL me that became even more urgent and necessary. Unattached except to Nico. No significant other anymore. Ready to throw caution to the Bans Off Our Bodies Women’s Rights Are Human Rights Shirt also I will do this wind. Or perhaps in a Copenhagen downpour. In August, during a visit to Copenhagen for Fashion Week. I’m joined by my fellow #GanniGirls for the SS20 Double Love show. On an inner-city tennis court. On verdant green tarmac, ten years of Ganni’s unadulterated mix-it-up, let-her-be of wardrobe contradictions was celebrated in their anniversary show. Who doesn’t love the smell of hopeful rain? When the skies truly opened up (and I can attest to having to stand under a toilet hand dryer for ten minutes afterwards) I leapt. Ran. Jumped. “Let go” sang MØ. So I did. Because at the heart of a hashtag, #GanniGirl has nothing to do with physical age, demographic, or a tick box. She can’t be held down. She won’t be defined by neat niceties. Or gender. Or race. Or background. She’s GIRL. He’s GIRL. They’re GIRL. You’re GIRL.
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Official Bans Off Our Bodies Women’s Rights Are Human Rights Shirt
Susie Lau is a British journalist and contributor to Ganni: Gimme More (Rizzoli), from which this is excerpted. For as long as I can remember, I’ve admired the Bans Off Our Bodies Women’s Rights Are Human Rights Shirt also I will do this way writers dress. Good style, it seems, by measure of the frequency with which it appears, is a trait practically essential to those who achieve prolific careers in publishing. Who would not fall as infatuated with Kathy Acker in her leathers as they would for her irreverent prose? Same for Patti Smith, so gothic and uncouth at first impression, and James Baldwin, immortalized through his essays and his clothes as enduringly debonair. Though particulars vary widely between personalities, most writers tend to package their iconic literary sensibility into a unique personal aesthetic. Consider Jack Kerouac—could he have written On the Road in anything less American than a gingham button-down and medium wash denim? And would Sylvia Plath, hugely responsible for the popularity of modern poetry, have seduced her audiences without her mid-century sensibility, in outfits simultaneously kitsch, adorable, and impossibly chic? I suspect these icons were part of my initial attraction when pursuing my career: I like shoes and pretty dresses, and I like people that like them, too. Fashion and writing, though distinct and separate industries, often find themselves intertwined, even married. Many writers begin their careers writing for magazines, which feature glossy advertisements for designer fragrances and spreads of ready-to-wear collections. Others model, such as Arthur Miller in khakis for Gap and Joan Didion pouting in oversized sunglasses for Phoebe Philo’s Celine.
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