quotidian / journalist's garb: 'zodiac' (2007)

The rise and fall of writer for the San Francisco Chronicle Paul Avery in Fincher's Zodiac is easily charted through his clothes. We begin with ascots of varying colors and designs; mainly jewel tones like bottle green and navy blue and a surprising canary yellow. All against emerald and mustard-toned button downs sometimes sitting underneath a satin vest of similar hues that probably belongs with a flashy three piece suit tucked away somewhere in his wardrobe. Paul Avery is doing well. He's the Chronicle's top crime writer and after the Zodiac case breaks in 1969, the anonymous killer eventually writes to Avery directly showing Avery's importance and status at the newspaper. Played so elegantly by Robert Downey, Jr. (pre-Tony Stark during his "comeback phase") Paul Avery is notorious. He's brash, he chain smokes, drinks straight liquor at the bar after work. He's social and confident and cocky and he outshines Jake Gyllenhaal's Robert Graysmith as Graysmith becomes enthralled with the case and eventually proves to be more helpful than Avery himself. Paul Avery is depicted as someone who thrives off of his social status. If he's well respected, praised, and admired at work then he's doing well. As soon as the Zodiac case blasts off across the state of California, and more and more chaos clings to the Chronicle and those around it, Avery begins to slip away from his spotlight.

As the Zodiac case begins to grow bigger than Paul Avery ever expected it to (he laughed at Graysmith's fascination), Paul Avery begins a noticeable decline. He starts to do away with the jewel-toned silk shirts and ascots and dons more of a grungy 70s look with denim and corduroy shirts in safe shades of blue, layers of beige cargo jackets and army vests (a nod to his service in Vietnam), and light wash jeans. Jeans at the office. The story focuses itself on Robert Graysmith and his ad nauseam search for the Zodiac killer. Eventually Paul Avery fades from the main story line as well as the lives of the characters in the film. When Graysmith pays a visit to Avery to request some old Zodiac documents from the retired reporter, we see Avery's rock bottom: living on a dirty house boat, drinking at 9am, silk shirts no where to be found. His only priority is far from Graysmith's and he becomes horrified at the state of decline of Avery. And so do we. His unhinged behavior: fighting with lead detective Dave Toschi (an extremely handsome Mark Ruffalo wearing true 70s plaid blazers), barking and disrupting office moral at the Chronicle, and preying on Graysmith and his introverted and shy tendencies all lead to his demise in the film. This isn't to say that cargo jackets and jeans are the uniform of demise but when you started with silk shirts and ascots, its hard not to associate the two with success and failure.

quotidian / journalist's garb

September's series on quotidian films is all about the journalist's uniform. Something about it feels very back to school. The journalist in the movies I'll cover always wears no-nonsense clothes; something light and easy, something that doesn't require a lot of thought and isn't flashy or distracting. A lot like a school uniform. The clothes don't really do the talking; the hard hitting story does, of course. But I like to look at clothes that aren't out of control. I like them to work with the character, not against. I like them to take a back seat to the real story at hand. I like them to feel lived in and real. I relate a lot to the Andrea Arnold's and Richard Linklater's and Sean Baker's of the world because they tell stories about everyday life. And with everyday life comes everyday clothing: the trusty denim you keep in the back of your closet as a fail safe, the same old white linen button down that you wear under sweaters at work during the fall and over a swim suit in the summer, and white sneakers that go with absolutely everything.

So throughout September, as the kiddos go back to school and we all gawp over the back to school supplies section at the market, I'll be watching journalists report on some of the most iconic stories in history while wearing unimpressive khakis and sweaters using fresh legal pads and new ink pens. After studying journalism right out of high school in a big city, this will be a nostalgic series, one that I'm ready to welcome along with a crisp breeze and the first leaves that change color.

All the President's Men (1976), The Post (2017), Zodiac (2007), Spotlight (2015), Nightcrawler (2014)

Fashion Week Favorites - Paris A/W 2017

Ann Demeulemeester



When I think of Ann Demeulemeester, I think of black combat boots, matching all-black outfit. Those are still here in her autumn/winter collection but with this added sense of romance. All classic elements of romance but they're called classics for a reason: ruffled collars, flowing whites, fur, unkept hair, loose silhouettes, pink!

A.P.C.



The whole Vetements/Balenciaga-drap/wrap-your-coat-around-your-neck-and-shoulders thing is kind of interesting but I think at A.P.C. it genuinely looks cool and effectively does what it sets out to do: evoke a feeling of effortlessness. And that color of the denim on top of the camel is exactly what I'm looking forward to not just in the winter but for this spring as well. And the utilitarian-colored look on the right is perfect as well. It's uniform, it's easy, it's got a sense of put-togetherness. How many dashes can I use in this paragraph.

Balenciaga



I am excited for Demna Gvasalia at Balenciaga. When a new designer comes to a very old and historic house like Balenciaga, they go through the archives. It's very clear what elements Gvasalia took from the house's archives: pure elegance, massive couture shapes (even in the sweaters and the coats - and even, in a way, in those shopping bags). And I like that there isn't a huge mix of "the old couture shapes" and "new, young styling". It's a pure homage to Cristbóbal.

Carven



I mean this colors are my jam. Obviously. And we all know I love a good contrast. And that print is a minimalists' wet dream. The silhouettes are masculine and powerful but those colors bring it right back down to a more emotional and youthful feeling.

Chanel



Not the most exciting Chanel collection, but possibly the most comfortable? I mean, you can't be wearing leather and constricting clothes and whatnot when you're headed to space, can you? Roomy trousers, oversized tweed pinafores, low-heeled boots; it's classic Chanel except in space, escaping the turmoil of today.

Dries Van Noten



I have been a fan of Dries for years and years. I've stayed devoted because for some reason, I love the color and print play even though throughout my teen years I was faithful to all black and now I love blush tones. As I've grown older, I've learned to appreciate the maturity to Dries' clothing. There's a longevity to his designs, which is evident in this specific collection see as it's his 100th show (featuring some of the best models of the past 20 years). Although there's a holographic skirt-suit and loud prints, this autumn/winter collection is full of minimal classicism that will last for years to come. (Also who's excited for the Dries documentary!?)

Ellery



As I'm sure I've mentioned before, I love this new raw, minimal, abstract aesthetic that seems to be taking over Instagram. Colors like mustard, cherry red, camel, dark denim blue, and lots of black, white, and beige are flooding cool girls' Instagrams from left and right. Simple shapes, cropped, flared trousers, block-heeled ankle boots, fringe, crochet, linen, maybe some faux fur in the winter are all the elements you'll need to complete the look. And maybe a few pieces from Ellery. like the earrings, said camel suit, all of the last featured look. It's like these girls stole an art professors wardrobe and made it cool by listening to Frank Ocean.

Givenchy



Au revoir, Ricardo Tisci. While we wait for the new creative director to make their debut, the house of Givenchy put together a sort of capsule collection of Tisci's greatest hits from his 11 year reign. I think this was a great idea during the lull between designers. Celebrate the past, recognize it's greatness, and cleanse the palette for the new kid by throwing so much of one aggressive color in your face that you'll be ready for whatever comes next.

Lanvin



One of my favorite collections from Paris, Lanvin did what I love most: black, pointed toe combat boots mixed with a blush pink chiffon dress. Some might say this collection is boring; because Alber Elbaz isn't at the house anymore. But what matters is that the elegance and the Parisian attitude are there. And they sure are.

Maison Martin Margiela



This is reasonable pulled back compared to other Margiela shows under John Galliano. But that slightly off feeling is still here. And what would a Margiela show be without the Tabi boots? They were the first shoe to make me perk up, as they should. I like the looseness of this collection: the oversized pant suit, the long (LONG) sleeves on the turtle neck and all of the strings and scarves being whipped around as the models head down the runway.

Nehera



It's that same minimal, raw, abstract and organic look. The granny in me is telling you, it's all over Instagram, it must be cool. And it does look cool; it looks effortless which will always be something everyone always wants. But there's something put together about this mini-trend. Because these girls - and Nehera's women - are wearing blazers and turtle necks and are strict about their abstract earrings. Maybe we've found the happy medium between put together and effortlessness.

Vanessa Seward



Oh how I do love Vanessa Seward's love for 70s and 40s silhouettes. I really don't have much to say here other than I really do damn love this collection. Because it's sexy - the blazer dress, the tights, the platform heels! It's masculine - the high necks, the collared shirt with the sweater vest! This gal does it all.