[...]equence in which the subject has their own part to play and in which permutations of roles and attributions are possible”
='at'>@="frds scrmbld">Hoda, ="frds scrmbld">Pierre, ="frds scrmbld"nttrm="Alice,Shariati">Ali

(Zizek='lgc'>:) through ="trms">fashion we learn how to desire ='lgc'>='lgc'>--> how to desire our own subjugation, as well as the possibilities of our own freedom

='strcls'>*political potency of desire='strcls'>* (='lgc'>='lgc'>--> do we need to recognize and manipulate it to our advantage='qstn'>? ='at'>@="frds scrmbld">Foad)
توان سیاسی میل


="large lg2" stl="font-size:111%"> ='lgc'>[looking for='qstn'>?='lgc'>] proper names ='lgc'>='lgc'>--> quickly recognized for offering some sense of sonic semblance in a sea of deconstructed phonemes in Anglo-shaped mouths

='at'>#wear my ="trms">lecture


='strcls'>*fantastic critique='strcls'>* ='lgc'>=/= parochial critique (usually rational economic)

='lgc'>[unpossessed persons are the ones who usually talking about magic, and transformative potentlies='lgc'>]

people who don't care about ='strcls'>*dressing up='strcls'>* are ="trms">situating dress reform (="trms">fashion) in a type of neutered and dis="trms">embodied utilitarianism (='lgc'>--="frds scrmbld">Janina='lgc'>='lgc'>--> ignorant to ="trms">fashion's textures and to the ways that ="trms">fashion's formal dimensions could motivate the body to move beyond the pleasure principle)

politics and feelings of pleasure and displeasure ='lgc'>--Gernreich='lgc'>='lgc'>--> absolutely central to any critical understanding or experience of the ="trms">world

='at'>@="frds scrmbld">Jassem='lgc'>: desires (always, even in the most strict desire regimes) could lead us astray

(the radical moment) when my body pursues its own ideas (='lgc'>~/= the ideas that i do)


post-structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list textiles (a ="trms">different form of political activity) ='lgc'>=/= radical politics (such as movements and so on)
='thdf'>that is why i cannot simply critique existing forms for their morality nor simply offer humanist solutions to the problems (of capitalism, ="nms">Iran, etc.) like Gernreich, i am recognizing that by reinforcing or relaxing shapes and ="trms">materials of the there-is, i could direct the ways our desires became caught-up in the ="trms">system's works, or that certain ="trms">materials only worked in certain ways



affordable (double)knit fabrics='lgc'>: made of variable columns of ="trms">inter-looping yarns, ='lgc'>[they='lgc'>] are made to stretch in a variety of directions ='lgc'>=/= non-elasticated woven fabrics
='lgc'>='lgc'>--> texture of the night, (use it) to drape oneself over the arm of a couch, or to run after someone leaving a party a little too early

paths and forms of pleasure that Gernreich hoped to see all young people exploring

='lgc'>[...='lgc'>] Meanwhile ‘Man’ is temporarily bereaved. But they will find a new way. ='strcls'>***And the new way will have important consequences for clothes='strcls'>*** -Gernreich

capitalize='lgc'>: transformation of unexpected ='lgc'>--into='lgc'>='lgc'>--> simple ='lgc'>--into='lgc'>='lgc'>--> expectable ='lgc'>--into='lgc'>='lgc'>--> convention/style

images of hyper-sexualized damsels laid amidst tall grasses (most controversial 19th or 20th century ="trms">figurations of women) ='lgc'>='lgc'>--> ='lgc'>[that is not enough='lgc'>--it falls short in showing='lgc'>] the way that these suits clearly encourage their wearers to close their eyes and explore the kinky pleasure found ="trms">specifically in the way PVC peels from your flesh in one long s="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurp

plastics don't have the same ‘="trms">memory’ as textiles
they don't hold ="trms">onto the ="trms">past
they won't stay obediently ="trms">folded like a cotton calico

vinyl swimsuit
='strcls'>*these designs proliferated a multi-faceted understanding of one's own skin='strcls'>*
="prgrph">-exposed skin feels so starkly and qualitatively ="trms">different than a torso left to sweat it out under a nearly non-porous plasticine cloth


xxxx

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(we are in) style wars='strcls'>***

critical considerations of style ='lgc'>='lgc'>--> think across subjectivities ='and'>& cultural practices

="large lg1" stl="font-size:123%"> ='strcls'>*="trms">aesthetics of mending='strcls'>*

mend='lgc'>: replacing a part or putting together what is torn or broken
(='lgc'>='lgc'>--> regarding ="nms">ajayeb, reparative, re="trms">figurative ="trms"nttrm="already,spread">reading of the ="trms">past, mending of ='strcls'>*those thing that seem beyond repair='strcls'>* ='lgc'>='lgc'>--> important for ="nms">Tehran's landscape of ="trms">affect and aspiration)

="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: how arrangement of masculinity (='lgc'>~= acts of violence and wounding) might be ='strcls'>*styled otherwise='strcls'>*

="trms">literal ="trms">fashion victim of war hero
“every man” will put himself on the line, and earn his masculinity via rituals, ="trms">narratives, and professions that are predicted on brutality='lgc'>--and that he will do this without grievance or hesitation

to be a man under such conditions, is to enter into a deeply gendered dialectic forged through acts of wounding and care that ="trms">demand “men” to hurt, and “women” to do the work of mending

...the ways ="trms">modern gender binaries synthesize sexual ="trms">difference


business of state violence='lgc'>: accepting ='thdf'>the notion that our identities are forged through ="trms">obligatory acts of barbarism

how each of us work to fix identities

to do the maintenance work that ="trms">modernity requires each of us

relic enduring centuries ='lgc'>='lgc'>--> cultural need to ="trms">materially substantiate the distance that lies between proper and improper forms of masculinity (dandy and war hero)
='strcls'>*="trms">routine and ="trms">spectacular acts of wounding that gender identities pre="trms">suppose='strcls'>*
='lgc'>--also='lgc'>='lgc'>--> attest to the critical will to desire ="trms">different forms of masculinity

(artifacts preserved in climate controlled bubbles survive time to tell many ="trms">stories)

conspicuous ornaments of legend

masculinities (and femininities) secured through woundings


(the work of) the maintenance of a particular form of gossip


="large lg3" stl="font-size:110%"> towel
complex ="trms">figuration of gendered ="trms">social ="trms">relations

which relics in contemporary ="nms">Iran are emblematic of how and why the gender binary is imperative='qstn'>?

...relentless and futile acts of tearing and repairing

='strcls'>*we need to ="trms">imagine how to restyle the ="trms">relation between wounding and care so we can start to transform the fabric of our ="trms">society='strcls'>*
(="ppl">="ppl">="trms"nttrm="search">Archer)

="large lg4" stl="font-size:112%"> ='at'>@="frds">Sina='lgc'>: deconstructing the work of mending ="nms">ajayeb


='lgc'>[stitches='lgc'>] pierces the substrate it is repairing, performing a modest violence upon what is to be mended, and reminding each of us of our sensitivity, vulnerability, and mortality
(Mark Newport)

linger in the cut produced by the suture (='lgc'>=/= patch over the proper wound)

(what kind of mending dares us='qstn'>?) to consider ="trms">different, less clear-cut paths of ="trms">relation and being (='lgc'>--='not'>✕='lgc'>='lgc'>--> masculinity's wounded duty)

="large lg5" stl="font-size:154%"> ="ppl">Freud's ="trms">fold of castration ="trms">anxiety, fetishism, and Oedipus complex un="trms">fold in feminized form of labor to stitch and sew, to mark the wounds that “men must suffer” ='lgc'>='lgc'>--> ="trms">fashion ="trms">material ritual, transforming and ideologically reinforcing femininity

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(="frds scrmbld">Janina's distinctive sartorial sensibilities)
(The Flash TV series charachers, each a free-="trms">agent entrepreneur, the personification of neoliberal ="trms">agency)
="prgrph">-performing the ="trms">affective venture and glamour labor, characteristic of the cultural industries today, (="trms">embodying the) hypermediated brand intrusion and suffusion
="prgrph">-using your own self-consciously branded personae to stand out in a ="trms"nttrm="cluster,club">cluttered field of visual noise
“famous for being famous” ='lgc'>='lgc'>--> the ="trms">fable of “that which captures our gaze, does not capture our respect”
="prgrph">-fame is built out of ="trms">material human bodies moving through physical space, engaging and ="trms">interacting with other ="trms">material human bodies. it is forged in a ="trms">social somewhere.
...photographed on the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right sidewalks at the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right times by the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right photographers
="prgrph">-persistent logic of image accumulation and circulation
="prgrph">-photographer’s exceptional status='lgc'>: the ‘decisive moment
="prgrph">-making yourself into a street style sensation through sheer force of will
='strcls'>***practice of distinction='strcls'>*** (='lgc'>='lgc'>--> you have to make it appear that other people are more ="trms">interested in you than you are in them)
...take someone’s photo, post it online, appropriate their ="trms">social capital, then ditch them and move on (a game played throughout the ="trms">fashion industry) ='lgc'><='lgc'>-- constant and well-managed visibility
(the misleading idea of) “style ='lgc'>==> to be picked out of a crowd” ='lgc'>[style, that little something extra as vague and indeterminate as Weberian charisma that most people simply do not possess='lgc'>]
="prgrph">-the ="trms">fashion photographer's eye='lgc'>: the ="trms">affective ="trms">instrument through which the photographers feels what she sees (intuitive, ="trms">embodied, automatic, as a style radar)
street style star ='lgc'><== the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right people like you
="prgrph">-what is new in new moment of public viewing='qstn'>? can we have a public moment (exhibition, etc.) and concider glamor and ="trms">fashion and ="trms">modernity coinciding with ="trms">technology and digital platforms='qstn'>?
(for me still the inner t[...]