She highlights that “all needed” to be happy was each other’s company. The bridge combines the physical and emotional aspects of their relationship. ![]() While the first chorus focuses more on a physical aspect of the relationship, the emphasis here is simple and emotional. There is an innocence in the kinds of moments that Betty recalls in the second chorus. Again, Betty shows her insight and her awareness of the situation, defying the cliche of a young person not having an understanding of life. By trying to have more, he has lost what mattered. When you are young, they assume you know nothingīecause this song is connected to “august” and “betty,” we know that she is talking about James’s infidelity with another girl. This feeling is likened to when a long lost item of clothing is found and is treasured once again. You put me on and said I was your favoriteīetty often felt forgotten and like she was second best to those around her. RefrainĪnd when I felt like I was an old cardigan “Baby, kiss it better,” could be what he did for her once, at the beginning of their relationship, and what she hopes he will do now to ease the pain he has caused her. The past tense of knew, however, means that things have changed. She has an intimate understanding of him through the moments they shared in their relationship. “When you are young, they assume you know nothing” is one of the most repeated lines in the song and is used to highlight how much Betty knows about love and pain (she has unfortunately become very experienced with both.) Chorusīetty knows him, truly and deeply. “Sensual politics” could refer to the freshness of the political world to someone just entering it, or it could be a reference to the complicated social politics of high school. The first verse sets the mood of teenagehood with vintage T-shirts and excitement over new cell phones, because that freedom of young adulthood is still so new. When you are young, they assume you know nothing When you are young, they assume you know nothing “betty” is also the song that tells us the names of the characters. “betty” is the conclusion and tells the story through the eyes of James. “august” is the second, and follows the other girl who James (the boyfriend) cheats with. “cardigan” is the first, written from the perspective of the girlfriend who is cheated on. “cardigan” is one of three songs believed to be part of what Taylor calls the “teenage love triangle” trilogy. “When you are young, they assume you know nothing” The result is a beautiful and melancholy album that deals with themes of loss, love, regret, death, rage, and growth. For “Folklore,” she has chosen to primarily tell stories that either belong to others or to characters that she has created. Taylor’s latest album is not as autobiographical as her previous albums have been. A cardigan that still bears the scent of loss twenty years later …” The young woman in “cardigan” who is haunted by the memory of her first love’s infidelity is not Taylor, but a character named Betty. The collection’s voulez-vous couchez avec moi came at the finale, when Lagerfeld sent out a parade of cool, virginal white summer dresses that seemed to have been assembled using the contents of a linen closet and featured embroideries and openwork typically used for bedclothes.“It started with imagery,” Taylor posted on Instagram about her surprise eighth album, “folklore.” “Visuals that popped into my mind and piqued my curiosity. There was also a series of floaty romantic embroidered dresses in the softest of pastels. This was the erogenous zone that would interest Lagerfeld for the next few seasons.Īnother way that the designer played with the innerwear-as-outerwear trend was to pair bras, rather than shirts or tees or tanks, with tweedy jackets. Men’s briefs, Lagerfeld told the New York Times, are “the last thing women haven’t taken from the men.” Ultimately, though, the real news here was in the hyper-femininity of the opening look’s back-zipped corset and the generous 18th-century-style décolletage it created. Unlike the Marky Mark and Kate Moss ads of the same year, at Chanel the effect wasn’t sizzle but camp. Lagerfeld’s main conceit for the season was to pair the house’s tweed jackets with logoed men’s briefs à la Calvin Klein. The likeness was uncanny, and in retrospect should have been a hint that there was some funny business afoot. Karl Lagerfeld cast many models as Cocos over the course of his career it was comedian Sandra Bernhard’s turn to play the part of Mademoiselle in Chanel’s spring 1993 show. These shows might be pre-internet, but they contain many Instagrammable moments. They honor the memory of Karl Lagerfeld, the giant and prolific talent who designed them, and speak to the 2010s obsession with all things 1990s. Editor’s note: Vogue Runway is closing out the decade by adding six archival Chanel shows to our collections archive.
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