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FASHION

Stockholm teacher redefines what it means to dress for success

American-born school teacher Aimee Lambert Poor has decided to reassess her wardrobe in an innovative effort to raise awareness and money for the homeless, explains David Bartal.

Stockholm teacher redefines what it means to dress for success

Stockholm school teacher Aimee Lambert Poor won’t have much trouble deciding what to wear this week. In fact, she won’t have to waste any time looking in her wardrobe during all of September, and most of the following month. Aimee has resolved to wear the same dress for 50 days, as a means of raising funds for homeless people.

Members of her family, friends and a number of her colleagues at Engelska Skolan Norr in Stockholm have agreed to sponsor her, some promising to give a few kronor per day to the charity for the entire 50-day period, and there have been other gestures of support.

“One of my fellow teachers said she will wear the same shirt for almost a week as a show of solidarity. Another promised to wear the same socks for 50 days, but I don’t believe him,” Aimee says with a laugh.

The fact that up to 5,000 people in Stockholm are homeless has prompted Boston native Lambert Poor to launch the unusual fundraising drive to support the disadvantaged.

Lambert Poor, who works as a fourth grade school teacher at the bilingual public school, has vowed to wear only one dress until October 20th.

The money she raises through sponsorships will go to Föreningen Ny Gemenskap (New Community Association), which provides housing, food and cultural activities for the homeless.

“We are naturally very glad when someone wants to help us,” said Ny Gemenskap manager Anna Malmqvist, when asked to comment upon the One Dress: 50 days project.

Approximately 200 people come to the organization’s shelter every day, most of whom are homeless; many have problems with drugs or alcohol.

The school teacher’s only dress for the seven-week period is a simple, grey Calvin Klein number she bought for 38 dollars at discount retailer Marshalls in Bedford, Massachusetts.

Lambert Poor grew up on Commonwealth Avenue in Boston, one of the town’s main thoroughfares, and graduated from nearby Wheaton College in 1984. Since then she has lived abroad for 25 years — in Japan, the UK, and Sweden.

The long-time expatriate sees her plan to wear the same dress for an extended period as an opportunity to explore her own feelings about fashion.

“I am very interested in clothes. You could even call it an obsession. I love to go shopping,” she explains.

When and if her dress-as-uniform gets dirty, Aimee plans to wash it in her sink at home.

“I suppose I can dry it at night with my hairdryer,” she adds.

She also hopes that it will take her less time to get ready for work in the morning, now that the choice of what to wear has already been made.

Lambert Poor sometimes feels that she owns too many things. Thus she also sees her one-dress-for-50-days project as an exercise in using less.

How did her husband react to the news that his wife would be wearing the same dress for 50 consecutive days?

“He was moderately enthusiastic,” Lambert Poor replies with a smile.

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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