30 Signs You Follow Too Many Fashion Bloggers on Instagram by P Samotin

In an obsessed society of Social Media and the want to be famous, I found this article particularly amusing.  I love what I do and adore talking to people, but when do you say enough is enough.  Is it all a facade?  Indeed I think the world of Instagram is.  Most bloggers are given money to be seen in a garment, go to a caffe or review food.  Are they making this lifestyle or is the facade driving them.  It is an interesting argument.  I see so many things that I adore on Social Media and it is great to showcase new talent and share what you love, but are their too many chefs in the kitchen?

Let us see?

1. You get confused when you sit down to a meal because you’re not seeing it from an aerial perspective.

2. You think it’s weird when people on the street place their arms inside their coat sleeves. 

 

Instagram/@weworewhat

3. Your index finger’s always numb from tapping for credits.

 

Instagram/wethepeoplestyle

4. You start wondering why your workspace never has things like fresh-cut flowers, charming patisserie, a single opened lipstick, a poignant book, sunglasses, and 32 pretty candles.

 

Instagram/@thisisglamorous

5. For his birthday, you buy your boyfriend a DSLR camera even though he really wanted concert tickets.

6. On weekends, you don’t look at Instagram until noon so as to avoid an endless stream of lattes with heart-shaped foam. 

 

Instagram/@eatsleepwear

7. So. Many. Bowls. Of. Berries.

 

Instagram/@sincerelyjules

8. Thanks to in-the-mirror selfies, you’ve seen the inside of more girls’ bedrooms than the captain of the football team did in high school.

9. You’ve seriously contemplated quitting your job and starting your own business that exclusively sells pink roses to bloggers.

 

Instagram/@sincerelyjules

10. Speaking of which, you no longer think it’s odd that pretty much any close-up of flowers will get 30,000 likes and comments such as “you’re amazing” or “your life is so wonderful.” 

 

Instagram/@garypeppergirl

11. You’ve spent more time studying jewelry-stacking techniques on Instagram than you did for the SATs.

 

Instagram/@blaireeadiebee

12. You start following National Geographic, a few NBC News anchors, some baseball players, and your 13-year cousin who only posts pictures of Harry Styles because the imagery on your feed is starting to all blur together. 

13. $600 for a pair of summer espadrilles with interlocking Cs is starting to seem pretty damn reasonable. 


 

Instagram/@_happy_hour

14. When you’re feeling particularly unpopular on Instagram, you post a bunch of macarons. 

 

Instagram/@damselindior

15. You totally understand that vacation photos don’t count unless they’re seen through a pair of sunglasses or wine glasses. 

 

Instagram/@eatsleepwear

16. Photos start to look weird if there aren’t any bottles of juice or half-finished iced coffees involved.

 

Instagram/@sarahyates

17. Seeing expensive designer items partially obscured by something totally mundane seems more normal than seeing the entire designer item.

 

18. You can’t help but question whether any bloggers are lactose intolerant, because they sure eat a lot of ice cream cones. 

Instagram/@songofstyle

19. You start to wonder why nobody ever takes photos of you posing like you’re in a Bob Fosse musical.

 

Instagram/@natashandlovu

20. You start captioning all your photos “new on the blog” even though you don’t have a blog. 

21. You religiously take downward-facing shoe selfies, even if you’re wearing old gym trainers or house slippers. (#Comfy)

22. You’re endlessly searching for that magical utopia where Céline and Chanel seem to cost the same as Zara and H&M.

 

Instagram/@brooklynblonde

23. When in doubt about the resonance of a photo, you toss in a couple pairs of random sunglasses.

Instagram/songofstyle

24. You went and had your eyes checked because you’re always seeing triple. 

Instagram/@stylenina

25. You’re starting to think you live in L.A. at dusk.

Instagram/@alwaysjuding

26. When you’re bored, you arrange random stuff on the floor.

 

Instagram/@collagevintage

27. You feel like the last person on earth who hasn’t mashed avocado on toast.

Instagram/@krystal_bick

28. You’re physically incapable of drinking out of a mug unless it has your first initial on it.

Instagram/@nicholeciotti

29. You had no idea that so many girls your age were so fascinated by root vegetables.

Instagram/@gerihirsch

30. You no longer need therapy to help you conquer those self-esteem issues. 

Instagram/@theyallhateus

 

Racing Fashion "Food for Thought"

 

 

 

Ethical Fashion Bloggers

Something I am really excited about is Ethical Fashion Bloggers where there may not have been a post in about a year, but the message is still getting out there.  

Do you know where your garments are made?  It is thinking about the inspiration and who has made your garment and knowing about the sewing and longevity of the item.  There is so much more to fashion than simply wearing an outfit.  Say who you are and be smart about the choices you make in fashion.

Many times I will be critiqued about a hat or dress I may wear and some may say they "Hate it".  This is a huge opportunity to tell people that it pleases me because you are having a feeling about how I am dressing.  It is an art to dress and how you are perceived.  You can wear something that is high street, safe and accepted by so many in pop culture of you can stand alone and look silly to some, but have an opinion that you will stand out and give people emotion about the way you dress.  It is very exciting and therapeutic.

April 24th is Fashion Revolution Day, a worldwide event that brings together a movement of people, all working to raise awareness of the true cost of fashion, showing the world that change is possible and celebrating all those involved in creating a sustainable future. Are you in?

Getting involved is simple. All you have to do is
Start a conversation by asking brands ‘who made your clothes?’
Share a photo of you wearing your clothes inside out and ask ‘who made my clothes?’ on social media with the hashtag #FASHREV.
Check out the events happening in your local area on the website fashionrevolution.org/

The ethical fashion blogging community is an extremely passionate, tight-knit bunch, of which I am proud to be a part. We use our voice to promote a range of issues from sustainable fabrics through to corporate social responsibility.

Peer into the Twitter-verse (a mash-up of Twitter universe) and you will read a range of tweets around topics such as:

* Is Organic Cotton Really Sustainable?

* How Ethical Fashion is Helping the Lives of Women

* The Big Fashion Labels Embracing Sustainability

* ‘No Shopping’ Challenge

We don’t only use Twitter. We’re embracing Pinterest, Facebook and Instagram too.

Our community is also increasing in size with bloggers and brands jumping on board “Team Ethical”.

So what can ethical fashion bloggers do in 2015 to keep this momentum going?

Build relationships with brands

The next time you get a press release, event invitation or marketing email instead of just skimming through the information and writing a quick post about the product or brand, why not go one step further and complete a detailed interview? Or better yet, phone the brand and ask for a telephone interview? Follow up by befriending them on social media. Getting to know each other and working together is the only way forward for ethical fashion.

Collaborate with other bloggers

One of the ways to promote ethical fashion is to reach out to ‘normal’ fashion bloggers. Whilst it can be difficult to collaborate with a blogger that doesn’t share the same values, opening the lines of communication is the first step to helping them understand – and hopefully convert to – ethical fashion. And to be honest, I myself wasn’t always an advocate for sustainable and socially responsible fashion. It was through experience (gained first hand when I travelled to China in the hopes of starting a fashion label) and knowledge that I became more aware of the impact of my fashion choices.

Be professional and learn to edit

Like with all other industries, the ethical fashion industry relies on good quality online content to help promote its cause. Posts that are rife with spelling errors, poor grammar and blurry images just won’t suffice. To ensure that we are not seen as ‘cowboy’ bloggers who are too hippie to care about our readers, let’s take blogging seriously and edit our work. You can do this by:

* spell and grammar checking

* checking for punctuation

* writing effective headlines

* checking names are correctly spelled especially names of people and brands

* attributing your sources (especially for photographs and statistics)

* using high quality images

Now I know that I’ve only scratched the surface so if you have any other advice for bloggers, feel free to share them!

Author’s Bio

Jennifer Nini is the founder of Eco Warrior Princess, an eco fashion and green lifestyle blog. She is also member of the Ethical Fashion Forum. She studied Fashion Business, works as a freelance writer and is currently establishing a permaculture farm and organic food business in Australia.

Click Here for site details.

 

100 Years of British Vogue

May 1926 cover by Eduardo Benito | Source: Condé Nast

LONDON, United Kingdom — In 1916, the British edition of Vogue was brought into the world by Condé Montrose Nast, an Anglophile American and the eponymous founder of the now world-famous publishing house. The publication of a British edition of Vogue was, however, met with a certain reluctance by American Vogue, which, in the hope of bolstering its income by attracting advertising from British companies, had been distributed in affluent boroughs of London since 1912.

 

That ‘ruse’ was successful, but only up to a point. By 1914, American Vogue was selling around 4,000 copies in England, which was quite impressive in a country that at that time still believed it had a God-given monopoly on style, taste and class. The English readers certainly didn't buy American Vogue for the advertisements of American luxury goods any more than the coverage of American high society, dismissed in Mayfair and ‘the shires’ as vulgarly arriviste. Perhaps the real buyers were the American expats.

However, as World War One continued, the situation changed with dramatic speed. English women had always preferred magazines from Vienna and Paris to those from New York, but the European magazines stopped coming as the hostilities stepped up. As a result, by 1916, the sales of US Vogue had quadrupled. Then came the blow. In the United States, paper shortages meant that print numbers were substantially reduced and shipping 'non-essentials’ to England from America was almost entirely banned. Condé Montrose Nast’s formula was destroyed by the imperatives of the U.S war effort.

Thus, after a certain amount of head-scratching and number-crunching, Condé Montrose Nast and his business team decided to risk publishing a British edition of Vogue. British Vogue would carry British advertisements for financial expediency, but would be supported by editorial fashion pages predominantly commissioned in New York.

On September 15, 1916, the first edition appeared, along with assurances that “each issue will be supplemented with carefully selected articles dealing with English society, fashions, furniture, interior decorating, the garden, art, literature and the stage.” All for a cover price of one shilling. Photographs of society figures including Lady Wellesley (by Hoppé) and Mrs John Lavery, wife of one of London's most successful portrait painters, were prominently featured in issue one, no doubt carefully chosen as a sop to the English upper classes.

Right from the beginning, photography was a powerful selling point for British Vogue, as it was for the American edition. Although fashion drawings featured heavily, and remained in the magazine until the 1950s, film was bringing a new reality to entertainment. Photography would gain an early foothold and come to dominate fashion completely. It is true to say that some of the world’s most iconic images of style in the 20th century originated on the covers and in the editorial pages of Vogue magazine. Some even had humour, like the famous 1970s cover of perfect white teeth tearing into a vivid green jelly — hardly glamorous but stylish nonetheless.

During the 20th century, American Vogue commissioned Cecil Beaton's pictures of the Duchess of Windsor on her wedding day, high fashion from the likes of Richard Avedon, including a famous picture of model Dovima wearing a Yves Saint Laurent designed Dior evening gown surrounded by elephants, as well as portraits of Hollywood stars, such as Sophia Lauren photographed by Irving Penn. The images would appear first in American Vogue and then in the pages of international Vogue editions — including British Vogue. Even in the great swansong days of haute couture during the 1950s Paris coverage was normally shared by the editions.

By this system the high-level of glamour so essential to the Vogue philosophy and its image could be serviced and controlled from New York. In 1950, there was a famous occasion when Edna Woolman Chase, editor-in-chief of all the Vogues, took exception to a picture in British Vogue of a modern woman, cigarette in mouth, fumbling in her bag for her lighter. So not Vogue. So inelegant. To show the true Vogue way, she mailed a highly stylised Penn picture of a model in a Dior dress, smoking elegantly with a long cigarette holder. One can imagine the reaction in London where it was generally felt that British Vogue could look after itself, thank you very much.

The first editor of British Vogue was Dorothy Todd who, even at the time, was considered a strange choice. An intellectual and lesbian, she had no interest at all in fashion, including American fashion. She immediately set out to ignore the fact that Mayfair was Vogue's natural environment and, encouraged by her friend Virginia Woolf, pinpointed the magazine’s home as Bloomsbury. Her tenure was brief, lasting a single year. She was replaced by Elspeth Champcommunal, who had previously worked in couturier Worth's London office. By contrast, Champcommunal was entirely focused on high fashion and style.

January 1974 cover by David Bailey | Source: Condé Nast

By the end of the war in 1918, a balance had been achieved: a tacit acceptance that England had class and America had glamour, a balance that was broadly adhered to in the pages of 'Brogue' (as the American office called the English edition). But problems remained, and, in 1924, British Vogue was losing at least £25,000 a year — a lot of money in those days. Having proved she lacked commercial sense, Elspeth Champcommunal was replaced by Dorothy Todd, who was reinstated as editor-in-chief.

Things were so desperate that Edna Woolman Chase was drafted to England to sort everything out. A clever businesswoman, a born editor and a martinet — in New York she insisted that the female staff on Vogue wear hats, white gloves and silk stockings in the office — she immediately appointed a new editor, Alison Settle, who stayed for nine years. It was during her reign that the unique formula for British Vogue began to emerge. In essence, it was to champion dress with common sense, so as long as it was stylish.

Anyone looking through copies of the magazine from the 1930s and 1940s will see that, although there are plenty of beautiful couture gowns, photographed by the world’s top glamour photographers such as Horst P Horst and Baron George Hoyningen-Huene, Erwin Blumenfeld and, of course Cecil Beaton, there are also just as many everyday clothes as well as Vogue dress-making Patterns — a big money-spinner on both sides of the Atlantic.

British Vogue was next edited by Elizabeth Penrose, but it was with the appointment of Audrey Withers in 1940 that true confidence came. Withers arrived for her interview in borrowed clothes, having nothing suitable to wear or buy, having been out of work for some time. Her starting salary was £5 per week. She believed that Vogue's job was to give service and pleasure in equal parts to its readers. She stayed at Vogue until 1960 — but lived to be 96.

It is true to say that the middle years of the 20th century saw Vogue opening out to encompass not only new attitudes but also a wider readership. It introduced new features with catchy headings: “People are Talking About…” which covered the high–brow arts; “More Dash than Cash,” which looked at clothes at more accessible price points; and “Mrs Exeter,” a feature set up to prove that, as the readership relentlessly dropped in age, upper-class values were still being upheld.

Strong editors like Ailsa Garland (1960-1964), who left the magazine to go to the Royal College of Art in order to run its fashion course, and Beatrix Miller (1964-1986), the doyenne of Vogue’s modern editors, oversaw many of these changes. Miller was a woman respected for her judgement and held in awe by her adoring 'Voguettes' who worked under her (always calling her Miss Miller). Privately educated in Canada and then at the University of Paris, “Bea” Miller was given the editorship of Queen by its owner, Jocelyn Stevens (grandfather of Cara Delevingne), before becoming editor of Vogue in 1964, where she remained until her retirement over 20 years later. In style, originality and determination she was British Vogue’s answer to Diana Vreeland.

Miller may now be remembered as formidable but she ‘got’ swinging London. Although very patrician in manner and speech, she understood ‘The Cockney Trio’ of photographers: Brian Duffy, David Bailey and Terence Donovan, all working class guys much less interested in the dress than in the girl wearing it. The girl was usually Twiggy, Jean Shrimpton or Penelope Tree, the dress was increasingly from a London designer such as Thea Porter, Ossie Clark, Mary Quant, Jean Muir, Bill Gibb, Foale and Tuffin and, almost inevitably, the hair was by Vidal Sassoon.

Miller created a Vogue that spawned an amazingly wide range of radical young talent. Photographs of impossibly elegant, statuesque models like Barbara Goalen were reserved for the coverage of Paris couture, shot by Penn, Avedon, Beaton or Norman Parkinson. But the Kings Road, Biba and Mary Quant were now at the heart of British Vogue. Those sorts of clothes required a much less formal image, provided by young photographers such as Ronald Traeger, Peter Knapp and Barry Lategan. With the help of brilliant stylists such as Grace Coddington and Liz Tilberis (who replaced Anna Wintour as editor in 1987), Miller re-aligned British Vogue. When, in 1985, she retired, she handed on a magazine in line for the next development — which happened to be in the shape of Anna Wintour.

From a family of journalists, with experience in magazines on both sides of the Atlantic, Wintour was every bit as single-minded as her predecessors, and possibly more so. Other journalists were scared stiff. They made up plays on her name — Nuclear Wintour, Wintour of our Discontent — they had no effect. She continued to make Vogue's pages both cool and exciting. She put the trade in a spin by making London fashion as sassy as the best New York could muster, and her message was always delivered with dramatic directness. Of all the stories that have clustered like barnacles around her London years, my favourite is that after a coats shoot, the samples were all returned with at least six inches sliced off the hem. I like to think it is true.

When, inevitably, the call from New York came, offering her the role of editor-in-chief of American Vogue, Wintour was off like a shot. Her role as editor-in-chief of British Vogue was taken — to the surprise of some — by one of 'Bea' Miller’s protégés: Liz Tilberis. Miller described her as having “boundless energy and high aspirations,” she should have also added ‘unbeatable determination’. How else could Tilberis have achieved her greatest coup: The Princess of Wales, on the cover of British Vogue, photographed by Arthur Elgort? In a second coup, she broughtBruce Weber over to the magazine. Tilberis, who had worked as a stylist at Vogue for 20 years before becoming editor, was like her mentor, a no-nonsense editor. For many, her greatest moment took place in Paris while waiting in a jostling crowd outside a show. A security guard pushed one of Tilberis’ ‘Voguettes’ roughly into the queue and clearly hurt her. Instantly, Tilberis punched him, shouting, “don't you dare touch one of my girls!” It was a moment of joy for all of us who witnessed it and she became an instant heroine for the rest of the season.

Tilberis left British Vogue to edit U.S. Harpers Bazaar. Her place was taken by the present editor, Alexandra Shulman, who has held the role for 24 years — longer than any other British editor. During her tenure, the movements towards youth, freedom and informality, begun in Milller’s Vogue and carried forward by Wintour and Tilberis, have largely overwhelmed Vogue’s old standards of high-fashion dress. Now, competing with Condé Nast’s own Love magazine, and the many infant fashion magazines that are more accurately described as ‘attitude’ magazines, British Vogue has the highest sales it has ever had, with a combined print and digital circulation of 200,058 per month (ABC Jan - Jun 2015).

Since Shulman took over British Vogue's editor's desk, its breadth of subject matter has grown appreciably — a reflection of two things for which few editors of fashion magazines are famed: her education and her intellect. Fashion must be widely eclectic in order to satisfy a growing readership. As Shulman herself says: “Vogue is a mass market magazine and it can never be as far out as more trendy rivals…. It is great to have a public voice, although it is always a collaborative voice… more of a chorus perhaps.”

Thank you to Business of Fashion for this article, Click Here. 

Top Tips to prepare for the Fashion Industry

1. Read, read, read. Read blogs, read magazines, read books, and learn about the industry. You’ve got a much better chance of getting accepted to a good fashion school if you know who Haider Ackermann and Junya Wantanabe are, or that Yves Saint Laurent invented the concept of ready-to-wear and Donna Karan invented the bodysuit. So get reading.  Magazines will help you keep up with the latest of fashion, but you really need to know the fabrics, cuts and stitching.  Have an elaborate amount of coffee table books that you can simply sit down at any time and start reading, pick them up and put them down.

2. Work in retail. Retail is sometimes a dirty word in fashion, but at the end of the day, the fashion industry is about selling clothes, and that happens on the shop floor. So try and get a fashion retail job. I know it doesn’t pay as much as other jobs do, but I can guarantee you that out of two candidates going for the same fashion job, the one with retail experience will definitely be chosen over the one without. Lululemon makes all their staff do half a day a week on the shop floor. That includes designers, buyers, and even the CEO! They value the retail shop floor experience enormously, and so should you. Get a part time job in one of your favorite stores, and you’ll also be eligible for discounts! Another thing to consider is graduate training programs, there are many companies that offer excellent programs for graduates. Find out what companies offer graduate training programs, get a jobs in their store, keep the job part time while you go to university and then work your way up from there!  Working in the industry again will have you with hands on experience at what is selling at what price point.  You can also just make sure you are checking the shopping centres like 'Westfield' to see what is happening for the seasons.  See what the focus is for each season.

3. Network. Fashion is all about who you know, so start networking at a young age. If there are influential fashion people in your town, contact them, try and get advice from them on how to get into the industry, make sure they know your name and face. It might be your mum’s friend, your neighbour, or the sister of someone you know. Let it be known that you are interested, keen, willing, AND polite.  Networking is usually a word I use for people who are climbing a ladder, but keep your great acquaintances close.  Don't burn a bridge unless you know you never want to work with that person in the future.  Don't use people and remember where they have taken you.  I have personally learnt so much from shoots that I did in my 20s and over 20 years later I am still dealing with the same people.  Don't take credit for other peoples work and collaborate with people. 

4. Do an internship. Internships are very useful ways of breaking into the fashion industry, and get you experience. This will help with school applications, getting better internships, and getting jobs. Best of all, this will give you a good indication of what the industry is like. I have many students who think they want to get involved in a certain part of the industry, they do an internship in that said field, and then decide it is not what they want to do. Most of the time, the job is not what you think it is, so it is better to get a feel for the industry/role now, rather than wait after you’ve blown $50K on an education.  Hands on educations is often better than having straight A's.  Be prepared to work and put your thinking cap on.  Be useful and think out of the box, make sure that you are going beyond yourself and being an asset to a company or business.  There are so many people that can just do a job, but these days in fashion you have to be self motivated and unforgettable.  

5. Start on your education now. You may be too young, or unable, to do a full time post-secondary course just yet, but you can most definitely start educating yourself. Many universities and colleges offer evening or weekend courses in fashion (again, a good opportunity to see if you actually WANT to pursue a job in the field.) If you are under the age of 18, I would recommend one of the short courses at Central Saint Martins, they do a series for 16-18 year olds. You can also take sewing classes, business classes, or read related textbooks. Most people don’t start their first day of university with a clean slate, the good ones already have some experience and education. So get started!

One last tip: Learning a (useful fashion) language, like French or Italian, may give you better access to schools and jobs. I would have never been able to study and work in Paris, the fashion capital of the world. The fashion industry is global, and contrary to popular belief, not everyone speaks English. So if you have high school French, keep it up by practicing it. Italian and Spanish are also very useful. If you are ready for a challenge, try learning Mandarin. China is the manufacturing hub of the world, and one of the most important new fashion markets. Having Mandarin on your resume will be a huge asset. (Did you know, it is the most widely spoken language in the world? Spanish is in second place. English is third!)

Racing Fashion, What I wore

Headwear by Philip Treacy, Pearls by Pearl Galleria

Top By Thurley, Skirt by Carla Zampatti, Shoes, Mimco, Bag, Moonshine

Everything I wear is owned by myself and not given to me for endorsement. 

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