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Vestoj Co-op

@vestojco_op

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Clothes have meaning and particular functions; I wear my jacket for interviews or special occasions where I want to create an impression. I love this coat for its options: close it and you are bulletproof, open it and you play with layers and their meaning.’
- Sophie

Photo credit: Melanie Griffith in ‘Working Girl’ (1988) taken by @sophieabriat by @vestojco_op

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3 years ago

‘Shower, shower, shower. You said everything out loud as you got ready. Shampoo. Conditioner. Hammam shower gel. Foam face wash. Towel. Cream. Comfy bra. Comfy knickers. Comfy socks. The word comfy made you feel safe. You’re good, girl, you’re good. If you’re not gonna jerk off, you deserve a puff. You know why? Because you paid your dues, you paid your dues! Comfy leggings!’
- Rajaa Khalid in ‘Fever Fresh’.

Rajaa Khalid is a Saudi-born artist and writer from Dubai. Her short story is now available via our bio link.

Photo credit: Unidentified photographer, Weegee in car, ca 1943. by @vestojco_op

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3 years ago

‘Things change slowly, bit by bit, and then, all at once, they change very quickly. The vibes shift. I moved house and sold my old designer clothes and paid off a credit card bill. I sold my archive Raf Simons and bought Lemaire.’
- Felix Petty in ‘And Then It’s Cringe And It’s Everywhere’.

Read Felix’s essay on the ruptures and rebirths inherent to the fashion cycle by following the link in our bio.

Photo credit: Xenon Straub, Immobility of the Meat Satellite Precursor, When Legs Are of No Benefit, 2001. Courtesy MoMA. by @vestojco_op

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3 years ago

‘I like that sense of a bit of kinkiness infesting the everyday, the idea of a bit of minor, non-confrontational subversion. It’s something that reminds me of the brilliant Jordan Mooney (of Sex and the Sex Pistols fame) whom I’ve interviewed several times and who wore a lot of fetish-wear when working in Westwood’s shop - not as a statement of sexual tastes as is often incorrectly assumed, but purely because she liked the power and sense of discipline inherent to the aesthetic. Plus these boots are so big and dominant that they always feel extremely empowering to wear. They’re impossible to wear without a stride of confidence - they summon confidence on your behalf. That’s something that’s resonating with me even more strongly at the moment as I’m five months pregnant. For me at least, your relationship with your body can change on a daily basis, and not at all in ways you’re expecting. For me, to whack on a pair of power boots succinctly counteracts a lot of other confusing, body-based emotions.’

Photo credit: Katie Baron. by @vestojco_op

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3 years ago

‘Looking at the history of science, we cannot deny that paradigms change and are still changing. Who then takes on and succeeds in such a task and from what position are the individuals operating who set in motion such disruption?-
- Aurelie Van de Peer &Merel Lefevere in ‘Little Doubts Everywhere’.

Read Van de Peer and Lefevre’s essay on the type of doubt that circulates most in the high-fashion industry via the link in our bio.

Dr. Aurélie Van de Peer is a fashion scholar, writer and lecturer, affiliated with Ghent University and the Master Fashion Strategy program of ArtEZ University of the Arts.

Dr. Merel Lefevere is a philosopher of science who specialises in theories of unification and feminist social epistemology at the Department of Philosophy and Moral Sciences, Ghent University.

Photo credit: Harry Callahan, Acme Sign Shop, Providence, 1977. Courtesy of ICP. by @vestojco_op

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3 years ago

‘Well, I should say you’d better think. It don’t sound very becomin’ for a woman of your age, an’ professin’ what you do. Now you’d better go an’ get out that dress, an’ rip the velvet off, an’ sew the lace on. There won’t be any too much time. They’ll start early in the mornin’. I’ll stir up a cake for you to carry, when I get tea.’
Photo credit: Alice Neel, Woman on a Train, ca. 1940, Watercolour on paper.’
- Mary E. Wilkins in ‘A Gala Dress’.

Mary Eleanor Wilkins Freeman (1852-1930) began writing as a teenager to support her family and found success almost immediately. She continued writing throughout her life, and her children’s stories, poems, short stories and novels made her a prominent feminist author of the nineteenth century. ‘A Gala Dress’ is taken from ‘A New England Nun and Other Stories’ (1891) and is now available via our bio link.

Photo credit: Alice Neel, Woman on a Train, ca. 1940, Watercolour on paper. by @vestojco_op

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3 years ago

‘I wear this on rare, long holidays. A trip to Goa in February springs to mind, paired with freckles, floaral /which I only ever wear whilst abroad), naps, 217 unread emails, silk chiffon, and not much else. The smell reminds me of stickt skin, plump fruit and melanin. I wear this scent when I escape.’
- Fran Tomlinson.

Photo credit: Fran Tomlinson. by @vestojco_op

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3 years ago

‘I did my duties as a grandchild in the hospital that day too, only this time, it didn’t seem to work, or I couldn’t tell if it did because of the suit. I couldn’t see well and he simply could not have seen my face. It could’ve been anyone behind the blue polyester veil.’
- Monica Jae Yeon Moon in ‘Blue Polyester Hug’.

Monica Jae Yeon Moon is a writer in London. She served as Vestoj’s online editor in 2023. Read her essay on the borders that our clothes draw by following the link in our bio.

Photo credit: Image courtesy Ohlman Consorti, Vestoj On Everyday Life. by @vestojco_op

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3 years ago

‘I feel more estranged from physical touch than ever before and yet, by slowly discerning its outline, I am compelled by my encounters in the nascent world of digital fashion. The anthropologist Michael Taussig explores the question of touch in his 1991 essay, ‘Tactility and Distraction’, by way of Walter Benjamin’s concept of optical tactility.’
- Riana Patel in ‘Optical Tactility - On Touching, and Fashion For When We Can’t’.

Riana Patel trained as an anthropologist in Oxford, focusing on the political and cultural aspects of technology. She now works as a digital producer and researcher. Read her piece on touch and digital fashion via our bio link.

Photo credit: Maria Lassnig, A Pair of Gloves (for Parkett no. 85) 2006-09. Courtesy MoMA. by @vestojco_op

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‘These are iconic Dr. Martens black patent leather shoes with yelloe stiching from 1990. It’s been some time since I’ve had the shoes out and I was surprised to see the yellow stitching - fistly the yellow sticting wasn’t allowed at my school and secondly I would never choose it so perhaps the non-yellow stiching version wasn’t available at that time.’

Photo credit: Robby Ogilvy.

#Vestoj #VestojMagazine #FashionAcademia #FashionTheory #Fiction #IndependentMagazine #FashionResearch #Vestojstory by @vestojco_op

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3 years ago

‘Fanni stood looking at her, the smile fixed on her mouth, seeing again not in desire or envy but with awe the mascara on the lashes, the hats that varied from summer to winter, from Descat to Schiaparelli, marveling at the undying scent of Chanel in the Paris clothes.

“Is it possible, Fanni, I’m back?”’
- Kay Boyle in ‘Anschluss’.

Kay Boyle was an American poet, novelist, journalist and translator. As a young writer she worked for several fashion journalists, an experience which informed this excerpted short story “Anschluss,” originally published in Harper’s in 1939. A contemporary of William Carlos William, Gertrude Stein and Hart Crane, Boyle was a victim of McCarthyism in the 1950s and lost her position as a foreign correspondent for the New Yorker. She went on to participate in many activist movements, including the strike at San Francisco State University in 1968 and that decade’s protests against the Vietnam war. by @vestojco_op

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'Today’s most savy cultural producers know that we’ve begun to feel helpless in the face of climate catastrophe, rising fascism and, more recently, global pandemics, and are capitalising on that vulnerability.'
- Taylore Scarabelli in 'Doomsday Marketing - Or How Only The Rich Will Survive'.

Taylore Scarabelli is a New York-based writer whose work focuses on fashion, feminism and technology. She is fond of Ed Hardy and fist-size hoops. Her article on the fetishisation for end days is available via our bio link.

Photo credit: Micha Bar-Am, Israeli family portrait, preparations against possible gas attack during the Gulf War, Ramat Gan. 1991. by @vestojco_op

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