タヴィ・ゲヴィンソンのインスタグラム(tavitulle) - 9月10日 23時42分

My favorites from @Calvin Klein and a page from Steve Erickson's Shadowbahn, which also pieces together relics of American mythology to create some cohesion out of our current/historical/perpetual fragmentation. Industrial fabrics printed with the new logo, plastic printed with Andy Warhol's Death and Disaster series, Sterling Ruby's yarn and quilts. Bowie's "This Is Not America" played, as it did in February, the way many of last season's motifs carried over--going deeper rather than moving on.
I looked at that collection in the store earlier this week. Trying on the marching band pants and cowboy jackets gave me a weird aseptic deja vu of the deja vu I would invent for myself at the thrift shops where I grew up, gravitating toward old cheerleader uniforms and 50s housewife dresses, imagining their previous owners, wanting to inhabit the American Dream even as I knew it was really both myth and nightmare. Campiness was my way to forge a connection to my midwestern high school experience, even though it looked ironic. But those dresses rarely fit, and when they did, it felt wrong. Shortcomings are very American too.
Wearing and watching Raf Simons for CK is like rediscovering those thrift store artifacts in Erickson's alternate history of the United States, where half the states have seceded from the Union, all music has ceased to exist, and Elvis is reborn as his stillborn twin (and that's who's pictured in Warhol's Double Elvis). American nostalgia distilled and sterilized, more confining than romantic. All those old motifs, like all my campy American obsessions, now just read as foreshadowing.

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