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Photo: Courtesy of NetflixAccording to Vanity Fair, Anderson discovered that the Free hasbulla 2023 shirt Besides,I will do this scripted series was being made while filming this documentary, and it “incited a painful aftershock of trauma” that plays out on screen in the new project. Of her decision to speak about the tape at length, Anderson says, “Nobody knew the truth—even I don’t know 100% of what happened, but I think what is most important is to share my human feelings and how much it hurt and how it undeniably defined me moving forward—in my career and my relationships.” White, meanwhile, describes the film as “raw, honest [and] really emotional,” adding, “We have this whole archive of Tommy and Pamela falling in love, and I think our film will really humanize them. I think they’re often seen as these larger-than-life… maybe even cartoon characters. When you watch this footage of them meeting, it’s really beautiful.”
Best of all, the Free hasbulla 2023 shirt Besides,I will do this documentary will be released on the same day as Anderson’s new memoir, Love, Pamela. Expect them both to be candid and eye-opening. There was a shift this year in the world of luxury fashion that seems to have gone unreported: Namely, the eye has become an unreliable narrator in a predominantly “visual” industry. Things are literally not what they seem to be. Designers have many ways of playing with perception—cut and construction, trompe l’oeil, and surrealist touches (shout-out to Elsa Schiaparelli) among them. Until the postmodern era, these methods were employed to enhance the figure and in pursuit of a set idea of beauty. (Think of how different the body sculpting of Christian Dior’s New Look and Rei Kawakubo’s Lumps and Bumps collection for Comme des Garçons are.) In designers’ embrace of a sort of antifashion ideal of “perverse banality,” this year we see another shift: One that’s not concerned with the body so much as context. Bottega Veneta’s Matthieu Blazy coined the term “perverse banality” to describe his look-alike leather jeans and workwear, but both Jonathan Anderson and Demna used commonplace, even plebeian, objects as stealth receptors of luxury, in the forms of a pigeon-shaped minaudière at JW Anderson and a Lay’s clutch at Balenciaga, respectively.
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