Andre leon tally gay
The truths he reveals about how his world repeatedly wounded him are searingly painful to accept. Even worse, he was blind to his own failures to bring Blackness to fashion when his Blackness was very clearly being repressed. However, throughout his memoir, Talley offers repeated flashes that zero in on race that, truthfully, are piquant enough for a vigilant reader.
He discusses colors, fabrics and textures as if they were the children he does not have. Beyond my superficial connections to the former creative director of Vogue, my admiration for Talley comes from the respect I owe him for existing in an industry that has historically had little-to-no room for men who look like me.
These articulations and details of his feelings and memories inspired me, but also made me question why his position on race has not been as distinct as his processing of fashion. Great analysis of the book. Share this article:. Yet unlike previous glossy docs such as “The September Issue.
Clay Morris is a member of the style team and a sophomore double majoring in Journalism and Political Science. Talley is consistent in his detailed account of his outfits and those of peers from events that occurred more than thirty years ago. Photo: Dimitrios Kambouris/Getty Andre Leon Talley has never met a label he didn't like.
Talley has always been vocal about falling in love with the fashion world because of the comfort he found in its escapism from a very young age and his general feelings of being an outsider. Close Menu Fashion. Latest posts by Clay Morris see all. André Leon Talley (October 16, – January 18, ) was an American fashion journalist, stylist, creative director, author, and editor-at-large of Vogue magazine.
With this acceptance of the ebbing and flowing of his existence in the fashion world, Talley whispers to me personally that the most valuable asset I will ever have as a Black man, a Black journalist, is my self-worth. His words carefully detail episodes from his career that consist of him gallivanting around Paris with Yves Saint Laurent and his muse Betty Cartroux, and begging for Manolo Blahnik to put him down while at the wedding of Paloma Picasso.
But even in an intimate setting, a memoir, Talley does not develop the very thoughts on race and fashion that he has introduced. Instead, Talley leaves gaps in such inquiries as if he expects for someone else to fill them in, and as if he is removed from the quandaries of race.
Thanks for this Clay! “The Gospel According to André” follows the gregarious, larger-than-life editor, stylist and fashion icon André Leon Talley. Tags Black , fashion , Gay , Race , review , style. Except for "gay." In a profile in Vanity Fair 's September issue, Talley, the iconic fashion editor who.
The elegance in the recounts of his time in the fashion world is southern while positively posh. There is a reason he is known to refer to his clothes as armour, as he does in this memoir. January 20, “Not heterosexual” but not liking the label “gay,” André Leon Talley identified himself as “fluid in my sexuality” and having had “very gay experiences.” If his identity was somewhat nebulous, crystal clear is that Mr.
Talley was an outspoken fashion icon who at six foot 6 inches tall could not be missed on the red carpet or overlooked wherever he might appear. Author Recent Posts. [1] He was the magazine's fashion news director from to , its first African-American male creative director from to , and then its editor-at-large from to Often regarded as a fashion icon, he was.
Clay Morris. As a Black person — as a Black gay man — like Talley, I had no option but to be a vigilant reader as I devoured his transition through pain, triumph and peace in two days. Talley is not blind to racism as much of this criticism implies, but instead the issue is that he oversimplifies it often as is evidenced by his too short consideration of how Scott Barrie, a Black designer who died from AIDS complications, could have changed fashion.
Very detailed and gives me an understanding of the read without spoiling it all. Keep up the great work.