It\'s hard to talk about sex and fashion right now, or sex and models, or sex and advertising activities, if there\'s no post
All of this is the lens of Weinstein.
Every discussion, every photo, looks different.
May be suspected.
However, sex has been a basic tool for fashion sales for many years.
No one uses it more effectively than Calvin Klein. In a pre-
In the Internet world, he created a global brand with an astonishing inflammatory image.
Before the virus spread, his advertising campaign did the same. it was born in a wave of anger and seemed obsessed.
Solving this problem is part of understanding how we get here.
Why is it obvious in the new coffee?
9. table bookpound, 463-
Page $150, this is the first article Klein wrote.
In the three years of production, it was cut from the 40,000 images created in a career that lasted more than 30 years. It\'s an eye-
An opening speech by a person who has been relatively silent about his career and fashion since he retired in 2004.
At the age of 60, he sold the company to PVH, and later he cut off contact with the brand under his name (
Now designed by Raf Simons).
Not only did the book remind Klein of the clothes he made, but it also reminded the debt that today\'s minimalist owes him, but the chaos he caused, and the attitude and expectations it shaped us.
He did this in his infamous campaign, such as Brooke Shields, \"I have nothing to do with my Calvin,\" and was banned by ABC and CBS in New York on 1981,
Kate Moss\'s topless obsession with advertising and her lingerie campaign with Markey mark;
Steven Mercer\'s 1995 \"teen porn\" jeans campaign (
Clinton condemned the Justice Department investigation);
And photos of all kinds of nudity and body parts, glowing and intertwined.
The most designer coffee
To be honest, the table books are just shiny accessories for the self and the living room.
This is likely to be different: again, given the current conversation, the lightning bolt of debate and possible blame.
Of course, it will raise questions that should be raised.
Especially at the age of 74, Klein has been busy building houses and designing uniforms for Harlem country College, and he is prepared to consider many of them --
If this problem is not solved completely.
Q: Why did you decide to publish a book eventually?
A: people made this proposal many years ago. Mrs.
The first one I asked was Onassis. God knows why.
Anna Wintour has been urging me to do so for a long time.
But I don\'t like looking back.
I like to live in the present and think about the future.
Also, I think it may be emotional and I don\'t want to go there.
But I often talk to students and I realize they know my name, but of course they don\'t know the images we use.
I hope they can learn from it.
Q: Given the current boom in discussion about women being uncomfortable, do you think people will doubt this image?
A: I have never thought that the publishing conference will be held at the same time as this conversation, but I also think it is time for this conversation.
But all these pictures come from my life in one way or another, especially my life with Kelly [His ex-wife.
This does reflect what is happening.
1970 is a crazy time in New York.
Berlin in the 1920 s, Paris in the 1930 s, New York in the 1970 s.
This carnival started with my thoughts on Studio 54.
People ask me if that\'s true. Probably, yeah.
Q: Harvey Weinstein explained his behavior with the culture of 1970 people.
A: But what happens in culture does not give anyone the right to act in an abusive way.
As far as Harvey is concerned, not everyone is doing what he did at 1970 and after.
This has nothing to do with culture;
It\'s about characters.
He used his position to use women from the beginning.
Q: Are you deliberately provocative?
A: I was watching the game when I thought about our first perfume event and they always let these young and beautiful girls through a wheat field.
I just thought, \"Is that why women buy perfume?
Because they want to eat wheat? \" No.
They buy it because they want to attract men or they want to attract themselves.
So I always put men and women together.
Is this a provocation?
This is real.
In those days, I will watch \"Vogue\", which is hundreds of pages thick, and I hope my company will stand out from the crowd. So I did six-, eight-page spreads —
Once I made a 27page outsert.
They don\'t always talk about sex, but they often go in that direction because that\'s me.
That\'s who I am.
I did what I did and I put it there for the students.
Q: How did you choose the picture?
A: I picked these pictures as usual: What made my heart beat faster.
No matter which photographer is shooting, we will discuss what we want to say, where we will shoot and who the model will be.
In the early days, I was shooting, styling.
Then I will edit the film in the evening.
We always try to make ourselves more creative and passionate, and sometimes we go beyond the top.
Sometimes we push the envelope too far.
I understand.
For example, there was a film called child pornography.
This is a pair of jeans, taken in a place that looks like a basement with multiple sections of pine paneling and shag carpet.
We thought it was interesting and provocative, but the Justice Department didn\'t.
They investigated us.
But for a year, everyone was talking about family values, and Bill Clinton, then president, stood up and said he didn\'t approve of Calvin Klein)
I ended the campaign and ran a page ad in The New York Times trying to apologize.
Steven Mesel shot and killed it, and until today he was still unable to overcome the attack.
For me, it came with the territory.
Q: Are you used to that?
A: My feeling is: if you start thinking about what other people might think before designing something or putting an image outside, you will never accomplish anything.
I set up my company with my childhood friend.
Like Donna Karan and Ralph Lauren.
We built it based on creativity, assuming it would be profitable if people wanted what we created.
Q: Why did you stop?
I left because I thought I had done everything I wanted creatively.
I don\'t want to expand into areas that don\'t feel natural, and I don\'t want to design the same thing for the rest of my life.
I have a design studio for every collection and I am there from beginning to end and there will be young people painting and they will show me what they have painted and I will say, \"but we have done it.
They will say, no, it\'s new.
I will say, \"but I remember.
I just thought, if I don\'t do it now, when?
\"I want to change my way of life.
Now the big companies have swallowed up the designers and they have been there for two years and then move on.
I think it\'s unfortunate.
Q: Given your own contribution to the brand, do you have any responsibility for this?
A: I \'d better not comment.
I don\'t read fashion magazines.
I haven\'t had it for a long time.
Nowadays, it\'s hard for the New York Times to talk about sex and fashion, it\'s hard to talk about sex and models, it\'s hard to talk about sex and advertising campaigns, no posts
All of this is the lens of Weinstein.
Every discussion, every photo, looks different.
May be suspected.
However, sex has been a basic tool for fashion sales for many years.
No one uses it more effectively than Calvin Klein. In a pre-
In the Internet world, he created a global brand with an astonishing inflammatory image.
Before the virus spread, his advertising campaign did the same. it was born in a wave of anger and seemed obsessed.
Solving this problem is part of understanding how we get here.
Why is it obvious in the new coffee?
9. table bookpound, 463-
Page $150, this is the first article Klein wrote.
In the three years of production, it was cut from the 40,000 images created in a career that lasted more than 30 years. It\'s an eye-
An opening speech by a person who has been relatively silent about his career and fashion since he retired in 2004.
At the age of 60, he sold the company to PVH, and later he cut off contact with the brand under his name (
Now designed by Raf Simons).
Not only did the book remind Klein of the clothes he made, but it also reminded the debt that today\'s minimalist owes him, but the chaos he caused, and the attitude and expectations it shaped us.
He did this in his infamous campaign, such as Brooke Shields, \"I have nothing to do with my Calvin,\" and was banned by ABC and CBS in New York on 1981,
Kate Moss\'s topless obsession with advertising and her lingerie campaign with Markey mark;
Steven Mercer\'s 1995 \"teen porn\" jeans campaign (
Clinton condemned the Justice Department investigation);
And photos of all kinds of nudity and body parts, glowing and intertwined.
The most designer coffee
To be honest, the table books are just shiny accessories for the self and the living room.
This is likely to be different: again, given the current conversation, the lightning bolt of debate and possible blame.
Of course, it will raise questions that should be raised.
Especially at the age of 74, Klein has been busy building houses and designing uniforms for Harlem country College, and he is prepared to consider many of them --
If this problem is not solved completely.
Q: Why did you decide to publish a book eventually?
A: people made this proposal many years ago. Mrs.
The first one I asked was Onassis. God knows why.
Anna Wintour has been urging me to do so for a long time.
But I don\'t like looking back.
I like to live in the present and think about the future.
Also, I think it may be emotional and I don\'t want to go there.
But I often talk to students and I realize they know my name, but of course they don\'t know the images we use.
I hope they can learn from it.
Q: Given the current boom in discussion about women being uncomfortable, do you think people will doubt this image?
A: I have never thought that the publishing conference will be held at the same time as this conversation, but I also think it is time for this conversation.
But all these pictures come from my life in one way or another, especially my life with Kelly [His ex-wife.
This does reflect what is happening.
1970 is a crazy time in New York.
Berlin in the 1920 s, Paris in the 1930 s, New York in the 1970 s.
This carnival started with my thoughts on Studio 54.
People ask me if that\'s true. Probably, yeah.
Q: Harvey Weinstein explained his behavior with the culture of 1970 people.
A: But what happens in culture does not give anyone the right to act in an abusive way.
As far as Harvey is concerned, not everyone is doing what he did at 1970 and after.
This has nothing to do with culture;
It\'s about characters.
He used his position to use women from the beginning.
Q: Are you deliberately provocative?
A: I was watching the game when I thought about our first perfume event and they always let these young and beautiful girls through a wheat field.
I just thought, \"Is that why women buy perfume?
Because they want to eat wheat? \" No.
They buy it because they want to attract men or they want to attract themselves.
So I always put men and women together.
Is this a provocation?
This is real.
In those days, I will watch \"Vogue\", which is hundreds of pages thick, and I hope my company will stand out from the crowd. So I did six-, eight-page spreads —
Once I made a 27page outsert.
They don\'t always talk about sex, but they often go in that direction because that\'s me.
That\'s who I am.
I did what I did and I put it there for the students.
Q: How did you choose the picture?
A: I picked these pictures as usual: What made my heart beat faster.
No matter which photographer is shooting, we will discuss what we want to say, where we will shoot and who the model will be.
In the early days, I was shooting, styling.
Then I will edit the film in the evening.
We always try to make ourselves more creative and passionate, and sometimes we go beyond the top.
Sometimes we push the envelope too far.
I understand.
For example, there was a film called child pornography.
This is a pair of jeans, taken in a place that looks like a basement with multiple sections of pine paneling and shag carpet.
We thought it was interesting and provocative, but the Justice Department didn\'t.
They investigated us.
But for a year, everyone was talking about family values, and Bill Clinton, then president, stood up and said he didn\'t approve of Calvin Klein)
I ended the campaign and ran a page ad in The New York Times trying to apologize.
Steven Mesel shot and killed it, and until today he was still unable to overcome the attack.
For me, it came with the territory.
Q: Are you used to that?
A: My feeling is: if you start thinking about what other people might think before designing something or putting an image outside, you will never accomplish anything.
I set up my company with my childhood friend.
Like Donna Karan and Ralph Lauren.
We built it based on creativity, assuming it would be profitable if people wanted what we created.
Q: Why did you stop?
I left because I thought I had done everything I wanted creatively.
I don\'t want to expand into areas that don\'t feel natural, and I don\'t want to design the same thing for the rest of my life.
I have a design studio for every collection and I am there from beginning to end and there will be young people painting and they will show me what they have painted and I will say, \"but we have done it.
They will say, no, it\'s new.
I will say, \"but I remember.
I just thought, if I don\'t do it now, when?
\"I want to change my way of life.
Now the big companies have swallowed up the designers and they have been there for two years and then move on.
I think it\'s unfortunate.
Q: Given your own contribution to the brand, do you have any responsibility for this?
A: I \'d better not comment.
I don\'t read fashion magazines.
I haven\'t had it for a long time.
Nowadays, it\'s hard for the New York Times to talk about sex and fashion, it\'s hard to talk about sex and models, it\'s hard to talk about sex and advertising campaigns, no posts
All of this is the lens of Weinstein.
Every discussion, every photo, looks different.
May be suspected.
However, sex has been a basic tool for fashion sales for many years.
No one uses it more effectively than Calvin Klein. In a pre-
In the Internet world, he created a global brand with an astonishing inflammatory image.
Before the virus spread, his advertising campaign did the same. it was born in a wave of anger and seemed obsessed.
Solving this problem is part of understanding how we get here.
Why is it obvious in the new coffee?
9. table bookpound, 463-
Page $150, this is the first article Klein wrote.
In the three years of production, it was cut from the 40,000 images created in a career that lasted more than 30 years. It\'s an eye-
An opening speech by a person who has been relatively silent about his career and fashion since he retired in 2004.
At the age of 60, he sold the company to PVH, and later he cut off contact with the brand under his name (
Now designed by Raf Simons).
Not only did the book remind Klein of the clothes he made, but it also reminded the debt that today\'s minimalist owes him, but the chaos he caused, and the attitude and expectations it shaped us.
He did this in his infamous campaign, such as Brooke Shields, \"I have nothing to do with my Calvin,\" and was banned by ABC and CBS in New York on 1981,
Kate Moss\'s topless obsession with advertising and her lingerie campaign with Markey mark;
Steven Mercer\'s 1995 \"teen porn\" jeans campaign (
Clinton condemned the Justice Department investigation);
And photos of all kinds of nudity and body parts, glowing and intertwined.
The most designer coffee
To be honest, the table books are just shiny accessories for the self and the living room.
This is likely to be different: again, given the current conversation, the lightning bolt of debate and possible blame.
Of course, it will raise questions that should be raised.
Especially at the age of 74, Klein has been busy building houses and designing uniforms for Harlem country College, and he is prepared to consider many of them --
If this problem is not solved completely.
Q: Why did you decide to publish a book eventually?
A: people made this proposal many years ago. Mrs.
The first one I asked was Onassis. God knows why.
Anna Wintour has been urging me to do so for a long time.
But I don\'t like looking back.
I like to live in the present and think about the future.
Also, I think it may be emotional and I don\'t want to go there.
But I often talk to students and I realize they know my name, but of course they don\'t know the images we use.
I hope they can learn from it.
Q: Given the current boom in discussion about women being uncomfortable, do you think people will doubt this image?
A: I have never thought that the publishing conference will be held at the same time as this conversation, but I also think it is time for this conversation.
But all these pictures come from my life in one way or another, especially my life with Kelly [His ex-wife.
This does reflect what is happening.
1970 is a crazy time in New York.
Berlin in the 1920 s, Paris in the 1930 s, New York in the 1970 s.
This carnival started with my thoughts on Studio 54.
People ask me if that\'s true. Probably, yeah.
Q: Harvey Weinstein explained his behavior with the culture of 1970 people.
A: But what happens in culture does not give anyone the right to act in an abusive way.
As far as Harvey is concerned, not everyone is doing what he did at 1970 and after.
This has nothing to do with culture;
It\'s about characters.
He used his position to use women from the beginning.
Q: Are you deliberately provocative?
A: I was watching the game when I thought about our first perfume event and they always let these young and beautiful girls through a wheat field.
I just thought, \"Is that why women buy perfume?
Because they want to eat wheat? \" No.
They buy it because they want to attract men or they want to attract themselves.
So I always put men and women together.
Is this a provocation?
This is real.
In those days, I will watch \"Vogue\", which is hundreds of pages thick, and I hope my company will stand out from the crowd. So I did six-, eight-page spreads —
Once I made a 27page outsert.
They don\'t always talk about sex, but they often go in that direction because that\'s me.
That\'s who I am.
I did what I did and I put it there for the students.
Q: How did you choose the picture?
A: I picked these pictures as usual: What made my heart beat faster.
No matter which photographer is shooting, we will discuss what we want to say, where we will shoot and who the model will be.
In the early days, I was shooting, styling.
Then I will edit the film in the evening.
We always try to make ourselves more creative and passionate, and sometimes we go beyond the top.
Sometimes we push the envelope too far.
I understand.
For example, there was a film called child pornography.
This is a pair of jeans, taken in a place that looks like a basement with multiple sections of pine paneling and shag carpet.
We thought it was interesting and provocative, but the Justice Department didn\'t.
They investigated us.
But for a year, everyone was talking about family values, and Bill Clinton, then president, stood up and said he didn\'t approve of Calvin Klein)
I ended the campaign and ran a page ad in The New York Times trying to apologize.
Steven Mesel shot and killed it, and until today he was still unable to overcome the attack.
For me, it came with the territory.
Q: Are you used to that?
A: My feeling is: if you start thinking about what other people might think before designing something or putting an image outside, you will never accomplish anything.
I set up my company with my childhood friend.
Like Donna Karan and Ralph Lauren.
We built it based on creativity, assuming it would be profitable if people wanted what we created.
Q: Why did you stop?
I left because I thought I had done everything I wanted creatively.
I don\'t want to expand into areas that don\'t feel natural, and I don\'t want to design the same thing for the rest of my life.
I have a design studio for every collection and I am there from beginning to end and there will be young people painting and they will show me what they have painted and I will say, \"but we have done it.
They will say, no, it\'s new.
I will say, \"but I remember.
I just thought, if I don\'t do it now, when?
\"I want to change my way of life.
Now the big companies have swallowed up the designers and they have been there for two years and then move on.
I think it\'s unfortunate.
Q: Given your own contribution to the brand, do you have any responsibility for this?
A: I \'d better not comment.
I don\'t read fashion magazines.
I haven\'t had it for a long time.