Joanna London Fashion

My Memory with Philip (Thursday, 28th January 2021) RE: Podcast interview with Philip Treacy I must say I found that pod cast extremely interesting and it also brought back a lot of memories. I have loved your designs since I first seen your creations. This was approx 1987; we where both students in the same competition in London in the Odeon cinema Leicester square.  They where 100's of students from the UK and Ireland. When your dress came on stage I was in awe. A beautifully crafted victorian inspired, I may say, dark red dress. But what really struck me was the way you got the model to walk slowly across the stage. Setting her in another world, it was a lesson for me. From that moment on I never forgot your name.   I went on and finished my degree in fashion in Dublin. Trying to perfect my craft by working with the best and developing my own designs. I went on to set up my own Couture service making bespoke designs for my clients. Like you everything you said about working with

  FADE IN: ROLL CREDITS TITLE “BRAND Á PART” CUT TO: EX. DAY - PARISIAN CAFÉ BEATRICE is talking to PIERRE about the subtle differences between the existential philosophies of Sartre and Kierkegaard.   BEATRICE No Pierre ––you don’t get it ––yes, sure ––Sartre made a lot of the existential problem of someone identifying merely as a waiter ––but he was wrong to assume that this problem is an ontological one ––it is not: it is rather a teleological one, a problem of purpose, not essence ––it is here that Kierkegaard has the upper hand ––it is he, and he alone, who shows that the problems of existence has to do with “role” ––why, if being a waiter were ontological, then waiter would be a category of essence, rather than, as it is, a category of contingence ––one is not being waiter in the manner a chair is being a chair ––a waiter is a role, not a being ––an mode of existence and not something existent independent of all existential contingents ––it is to a human being w

  FADE IN: ROLL CREDITS TITLE “ONCE UPON A MIDNIGHT DREARY” CUT TO: EX. NIGHT - GRAVEYARD The camera pans down on a graveyard and pushes in to discover a woman standing by one of the large headstones there, her name is ELEANOR and she’s waiting for EDGAR. NARRATOR “Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore ––While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. ‘’Tis some visitor,’ I muttered, ‘tapping at my chamber door—             Only this and nothing more.’…” A man’s voice can be heard echoing through the graveyard stones – EDGAR Eleanor!! ELEANOR reacts to the source of the voice – ELEANOR Edgar! Oh, Edgar darling ––I’m over here. EDGAR Ah, found you at last. ELEANOR Oh Edgar ––it’s beginning to rain ––did you pack a brolly? EDGAR No Eleanor I did not ––but then, just as with MacArthur’s Park in the

H is for  Houndstooth Houndstooth is a textile pattern characterised by broken checks. A woven wool fabric worn by people over  two  millennia ago, as it has been found in badlands in Sweden dating from around 100BC. Today it has been appropriated by the upper classes and is given an expensive spin by the likes of McQueen [before his wardrobe defunct-ion ––obviously] of all people. I guess, therefore, the formula for successful fashion requires nothing more than going to your nearest boglands with a shovel, however, in the case of Galliano, considering his taste of the really antique, you may find him bothering his local tarpit for what cavemen wore .

G is for Gothic Traditionally, in literature, the Gothic means: that which is gloomy, grotesque, dark and scary. H owever,  in fashion it means: something akin to "Romantic", for some strange reason. I guess, if this is the case, that if one were to go on a fashion date with a literary type one ought not to expect a romantic fission with with someone darkly handsome, but, rather, a night out with Quasimodo’s book club.