#mexican vogue

[newfashionlove]

Camila Mendes for Mexican Vogue

[mexican-postcards]

Yalitza Aparicio for Vogue México

[mickeyerms]

Escena Ballroom CDMX

ANIVERSARIO HOUSE OF REBEL

La categoría es :

DAVID BOWIE

[wallpapers4screen]

[rabbit-in-blue]

@voguemexico

・・・

#YalitzaAparicio, #KarenVega, #RosarioMendoza y otras mujeres celebran a las trenzas como símbolo de identidad propia y cultural en la edición del 25 aniversario de Vogue México y Latinoamérica.

“Cuando trenzo mi cabello es como atrapar mis vivencias, es unir cada uno de mis sentimientos y pensamientos para convertirlos en fortaleza”, comparte la actriz y activista mexicana, #YalitzaAparicio.

Adentrándonos en la tradición, descubre esta historia en nuestro link en bio. ¡Únete a la celebración de #Vogue25!

Fotografía: @enriqueleyva_

Estilismo: @ruthbuendiap

Texto: @karina_ulloa

Peinado: @aldo.ek

Maquillaje: @aleidaregg

Talento: @yalitzaapariciomtz @karenespinosavega @zentyaecheverria

Asistente de estilismo: @cesiafarfan

[memolinos]

MALIZIA

Tear Us Apart - Voguing on Lava from Hell remix

Go listen, like, share and reblog

[formulafuck1]

Knew he was my fave for a reason 🤣🙌🏼

If there’s one thing about George, it’s that he’s learned to embrace the meme

[flagellant]

the 2025 met gala exhibition will be on "the carrier bag theory of fiction", to discuss the intersections of humanity, handbags, and history. Quanah Runninghorse will be invited to give one of the opening speeches at the gala; she will be dressed in a beautiful sculptural gown of jet black beads shaped as a gigantic anaconda which is constricting her body from neck to ankle; she holds its articulating jaws open at her side, where strings of crimson swarovski crystals glisten and dangle from its maw as she strangles it back. her talk on the history of indigenous people in the fashion politics of Paris will be mysteriously borderline inaudible in nearly all recordings due to her microphone being turned off 17 seconds into the speech. she is applauded politely off the stage. other noteworthy celebrities are Kim Kardashian wearing an insensitive bespoke headdress and carrying a clutch made of two halves of a pearl oyster which when asked she will claim is abalone. lady gaga wears a dress entirely made of upcycled Goop tote bags designed by McQueen. florence welch will make headlines for her Mexican catechism dress soaked and crusted in river water and a long train covered in mud, a vision of hypocritical ideas of Christian grace and acceptance and God's love contrasting with conservative ideas of Illegal Aliens. To be more specific the headlines she makes when Vogue covers this she will be accused of not doing her homework or following the theme. Drake will attend in a black tailored suit with a white shirt and black bowtie, and Megan Thee Stallion and Kendrick Lamar will steal the show by shooting him to extremely painful death with the handguns designed for Romeo + Juliet (1996). Apollo, dressed as Meryl Streep reprising her role in The Devil Wears Prada, will purse his lips disapprovingly until Anna Wintour reveals that dinner will be a hundred pure white heifers slaughtered in her name to appease him. 25 years from now this sacrifice will be studied as the reason why the pandemic finally actually ended, despite the fact that that year's met gala theme will be about how all of us who are still alive have Long COVID.

[rwrbmovie]

BTS of #RWRBMovie: 'z' in your last name

TZP via HOLA:

Clifton Collins Jr., who plays my father in the film, was amazing. I knew of him. I’d seen his projects, but we’d never crossed paths before. And then we met and we just got along, thick as thieves. And he’s like an OG Mexican from Los Angeles which was so colorful. He made it feel like there was family on set. Same with Matthew being Puerto Rican. Their influences help you get into that vibe, and then you do the scene and it’s wonderful. You really bring that accuracy to it.

There’s a line in the film when Alex and Henry are in Paris, and Henry asks him a question about his mom’s campaign, and Alex starts telling him about his father and his abuela coming to the States. The line is something like “If you’re an immigrant in America and you have a ‘Z’ in your last name, there’s a lot of people in positions of power that don’t look and sound like you. I’ve been given the opportunity to be someone in the world that my father didn’t see when he was growing up.” As someone with two ‘Zs’ in his last name (laughs), that was a tough scene for me because I had to be there as Alex and not as Taylor. It was very emotional to think of my family and what they went through to come to the United States. Even though they came here a long time ago, you still think about all of the people that are coming to America today and about all of their stories. Alex realizes that his father didn’t have any role models growing up and now he’s a congressman. That fuels his fire to be the change. That was so exciting for me.

From NYT:

For both Zakhar Perez and the director, the character Alex’s biracial identity was particularly meaningful. López grew up in Panama City, Fla., with his Puerto Rican father and Polish Russian mother, while Zakhar Perez is of Mexican, Middle Eastern and Mediterranean descent and was raised in northwest Indiana, where he said there was only one other Mexican family. “Matthew and I talked a lot about the mestizo journey,” Zakhar Perez said in a video call before SAG-AFTRA, the actor’s union, went on strike. “Being part Mexican, part lots of other things, I don’t want to say you’re forgotten, but in today’s world, it’s like, you’re either this or you’re that. There’s nothing in between. I’m kind of a cultural chameleon.” “As a young Latiné queer man, I never read something that centered someone like Alex,” López said, echoing his star. “If I had been presented with this character when I was in my late teens, early 20s, it may have changed how I thought about myself.”

From Windy City Times:

Was the part about having a Z in your last name personal or the book? ML: It was personal. That was about me and Taylor. It came from a conversation that Taylor and I had when making the film.

From Metro Weekly:

Alex has a line about grow ing up in Texas as a kid with a last name that ends with Z, which is I guess something else you can relate to, Florida style. ML: And Taylor Zakhar Perez also. Taylor and I talked about that scene a lot as being something that we both understood. My aunt Priscilla Lopez is a beloved, beloved stage actor. She was in the original cast of A Chorus Line. And there's a story that she tells about Mandy Gonzalez, who was in In the Heights with her, and Mandy once told Priscilla that Priscilla made it okay for her to be someone with a Z in her last name. And that was a thing that Taylor and I spent a lot of time discussing as well. It was important to me that that scene be in the movie. There was never a chance in hell that that scene was ever getting cut.

From Teen Vogue:

TV: One of my favorite parts is when they’re in Paris, and Alex talks about being a young person of color coming up from Texas and not seeing anybody who looked like himself or his dad in politics, and Henry’s response to that simply being: “I’m learning.” I don’t know if you were in the theater for that one, but half the crowd was like, awwwww. ML: Yeah, I was for that. TV: I’m married to a white man, and I was like, that is the perfect thing a white man can say in that situation. ML: I’m married to a white man, too. Speaking as someone who is a person of color married to a white man: that’s like the ultimate thing you ever want your white boyfriend or husband or partner to say. That’s it. “I’m learning.”

ML via THR:

There’s a scene in the movie that is very much me, which I gave Taylor after they’ve had sex for the first time. They’re there in pillow talk mode, and he tells Henry about what it’s like to be the son of an immigrant with a Z in your last name. It was really important to me to talk about growing up with a Z in your last name and even just how our names are pronounced, the spellings of our names sometimes if you have Latin ancestry. To have to answer for your name has always been something for me that I struggled with until I stopped struggling with it. So, I needed to put that into Alex’s story and when it came time to shoot that scene again, it was something I didn’t have to explain to Taylor Zakhar Perez. He got it instantly. The only thing that I did screw him up with is like, “We’re going to do this [scene] as a oner, and we’re going to do it as a top shot that starts in a wide shot and comes all the way down to your face, and we’re not going to leave this scene until you get it right in one.”

[dozydawn]

“When I made hand painted Papier-mâché jewelry with supplies from the hardware store and it made the cover of Mexican Vogue…”

Jewelry by Cynthia Rybakoff.

Model: Jana Rajlich.

[bacusdraculacape]

My interpretation / findings regarding TLSP: Everything You’ve Come To Expect (album)

PART 1: The Album Cover

The initial interesting thing about EYCTE is it’s album cover:

The image is a photograph of Tina Turner taken from a photography session on 25 November 1969 by photographer Jack Robinson.

Jack Robinson is renowned for his work in the 1960s for his photography of fashion and celebrity portraits he shot for Vogue and Vanity Fair. In 1972, he gave up photography and found a creative outlet in the designing of stained glass windows. However, what’s most prominent and most interesting to me about him is that his work preserved valuable glimpses into the New Orleans gay subculture of the 1950s. During this time, Jack fell in love with a young man named Gabriel, whom he photographed many times - often in the nude. In 1954, Robinson and Gabriel travelled to Mexico. There, Robinson captured Mexican scenes in large and medium format photographs. He also photographed his travelling companions, including Gabriel and Betty Parsons- an American artist, art dealer, collector, and lesbian well renowned for her early promotion of Abstract Expressionism.

Aswell- the album cover for EYCTE is an image of Tina Turner- well-renowned singer/songwriter who is famously known for standing up and advocating for LGBTQIA+ community and rights in times when rarely any celebrities would because as we know they were irrational cowards then unfortunately.

Anyways ;) according to interviews, Alex Turner had the photograph hanging in his kitchen, and both our Monkey and Turtle (Miles Kane) liked the image so much that they ended up using it. When they got permission to use it, the original b/w photograph was giving a goldeny / orangey / yellowish tinge- On the LGBTQIA+ flag yellow represents sunlight. Orange represents healing. Sunlight is commonly a metaphor for: the light of truth and being. And the definition of healing is: to make well again.

Sources of info:

Tina-turner-jack-robinson-november-25-1969

Jack Robinson.html

Betty Parsons.html

Dealer-betty-parsons-pioneered-male-abstract-expressionistsbut-who-were-the-unrecognized-women-54682

images taken from pinterest :)

[mickeyerms]

Category is : VERDE

Ballroom Ciudad de México

[voguecovers]

• Vogue México y Latinoamérica, September 2024

Mexican actors Diego Luna, Gael García Bernal and Eiza González, photography by Sharif Hamza

❛ Eiza wearing Gucci dress and Cartier jewellery, Diego wearing Saint Laurent by Anthony Vaccarello and t-shirt by Brunello Cucinelli, Gael wears a sweater from Michael Kors Collection, pants from Brunello Cucinelli, boots from Gianvito Rossi and a watch from Cartier, styling Celia Azoulay, head of content Karla Martinez de Salas

25th Anniversary Vogue México y Latinoamérica

[vitsa-didicoy]

a thing ill love forever is when two different cultures have similar cuisine, clothing, dance, etc. and my favorite example of this is hair ribbons

though ribbons braided into hair can be tied to many different cultures i want to highlight mexican and rromani braids in particular

credit goes to KesalisCreations on Etsy for this image of rromani hair ribbons, which they make and sell themselves

and here are some braids worn by the Chinas Oaxaqueñas, female folk dancers in Oaxaca, Mexico

credit to Vogue

[dizzymisslizzie]

Several Sentence Sunday

Alex is a model and Henry is a writer interviewing him for his first Met Gala.

“Alexander, are you excited for your first Met Gala?” Henry asks as he stands smiling next to his cameraman, Sarge.

“I’m excited to see some old friends and meet some new ones. And see what everyone is wearing, of course!” Alexander Claremont-Diaz says from the white couch of his hotel suite. He sips a cup of coffee that smells of cinnamon. It’s warming Henry’s soul in a way that’s making his brain fuzzy. Good thing Vogue gave him very specific questions, he’ll do his in depth interview tomorrow before Alexander goes to the GLAAD awards.

“Tell me about your outfit for tonight.” Henry smiles politely and tries not to let the shirtless Adonis see the blush.

“It’s a custom suit by Alexander McQueen, I absolutely love the brilliant colors and three dimensional effects of the crystal flowers sewn into the accessories while the embroidery on the jacket and pants celebrate my Mexican heritage.” Alexander tells him as the beautifully vibrant jacket that matches his aura somehow slips over his perfect shoulders. Henry specifically appreciates that he’s shirtless under jacket.

The interview continues as Alexander has his perfect curls styled and he tells Henry about his love of fashion coming from his mom.

Henry is wrapping up the short interview and is thanking Alexander for his time.

“No problem, sweetheart. Would you like to have lunch with me tomorrow before our interview? Off the record?” Alexander smiles at Henry and he’s never felt his insides so molten.

“Why… yes, that would be lovely.” Henry smiles crinkles his eyes and he doesn’t care to keep his professional mask on in this moment.

“It’s a date then. Here’s my number. And call me, Alex.” The smile turns Henry into a pile of goo.

“See you tomorrow, Alex.” Henry says, suddenly shy. Alex winks and then turns his attention to Sarge and says his thanks and goodbyes.

Sarge and Henry walk to the elevators, “Someone has a booooyfriend!” Sarge teases.

“I… I hope so…” Henry says with a shy smile and Sarge gives him a kind smile and a pat on the shoulder. Hope. He’s molten with hope.

[archive-poetry]

—m. regan, gender/rant

poem taken from Transgender Tapestry, issue #98, summer 2002. scans of issue #98 are available via the internet archive.

Transgender Tapestry is a magazine that ran from the late 70s to the early 2000s. you can access other issues of the magazine and related newsletters via the digital transgender archive or via the internet archive.

transcription under the cut!

note: I divided the poem into paragraphs even though it's originally all one block of text because tumblr has a character limit per block, and for readability. I tried to stick to dividing it between sentences, but I will say that I can't actually tell if some of the punctuation marks in the poem are periods or commas.

gender/rant

by m. regan

i have seen the best minds of my generation, (fucked) UP by gender, by what we (think) it means, what it's supposed to mean, by what we (want) it to mean—i have seen "girls” slapped down by the word (itself) made a mockery of their own arms, i have seen "boys” of every age, stripped of their finery, i have NEVER seen a "boy” or "girl” only girl-boys, boy-girls, boy-boys and girl-girl-boy -girls—this is the LAST line in the LAST bit of sand, all other battles begin and END here—this is not a list of performative acts, not a choice between one of two, "fuck the binary” the t-shirt says and i laugh, laugh and say when you are NOT one or the other you are either NEITHER or BOTH, you are a/lone you are (me) and we are forced to call each (other) by NAMES not categories not (pro)nouns, professional/nouns pro-active, I have seen legs and backs stacked in rooms waiting to be assembled and sent to the “boys” room/“girls” room (waiting) to be assigned a label, outside of which your hands, your eyes, will not matter will never (matter)—outside of which (nothing) else you ever are, have been, will be, will EVER, i have seen and i have (never) touched another single HUMAN being on ANY (single) street without a metal spike suspended over (me) over my (face) how many articles of clothing (make) you into a lateral plate, a horse, a shallow groove, an archangel, a metal bar?

this is not a (straight) thing not a (gay) thing not a “woman" (thing) not a "man” (thing) a thing/thing this is (not) queer, not/trans, not Elle/GQ/Vogue not fashion not any/thing that would make (you) comfortable this is not (a word) that you would RECOGNIZE, not a world you would (wreck) in the night i have seen us (ALL) dividing, cutting ourselves into gestures/performance/acts of clothing that ROT/scraps of meat and bone—if (you) asked everyone/and we DO/if you (asked) all the “women" to stand on one side of the/prom/room and all the "men" to stand/prom on the/other side, this is to SAY what could (be) simpler? this is to SAY that some of (us) would NOT stand could not (stand)—in 3rd grade carter gilliam passes me a note that says “if you were a ‘boy’ I would like you" in 4th grade I am skiing/badly in VIRGINIA and a small creature in a flowered skisuit sits next to me on the lift and says, “my parents would never let me ski alone, if you were a ‘girl,’ you'd understand" I gentle my grandmother into the car she says what a sweet "girl" I am I give an old mexican “woman" my seat on the bus, she says I am a "gentleman,” my wife is lucky to have me.

where is (gender)? if it's on the body, then I got SCREWED In college they give me a (button) that says “I like girls” the t- shirt I bought at the mall says “chicks hate me” and I WILL I can and I will open your car door because we BOTH (know) that you can damn well do it your/self and you know that (I know) and that's WHY you let me do it and THAT'S why it means something DONOT be an (asshole), “she” can take care of herself, “he” isn't waiting for you to tell him he’s brilliant/are you SURE? this is SOCIAL CLASS/IFICATION if you (were) you'd understand—i am not solving (this) for you, I am not (telling) you a story, this is not a man/ual i am not a homo/fag/predatorylesbian/butch/dyke/femme/girlygirl/top/bottom your CLOTHES don't (fit) me, if you name me I DISAPPEAR if i don't name myself I DIS/APPEAR this is not an intellectual (exercise), i am putting morphine into J's mouth as she slips into a coma and i want to say FUCKGender there’s no TIME do you get it, there is no FUCKING time.

work it the FUCK OUT i have been cut and cut up and cut out and cut into and I don't want to cut anyone else i will call you whatever you call yourself, I will not (let you) die—how can you tell the truth if you won't confess? absolution? cancer will fuck (up) your day, but disdain, pretension and condescension will KILL you confessional poetry? goahead, shootmeinthefuckingBACK, poetry where you tell whatever truth is in yr. hands right now? is there (another) KIND? make what you (BELIEVE) I ob-ject to the I as/Object as objecti- fied, look, you idiot you are DYING (RIGHT) NOW, the class of the body, the hierarchy of language, my sister/brother’s friends want to be called Girls, tim calls his buddies at the bar the Girls, the waiter calls us Girls, cut, cut, stitch, cut cut, stitch, there’s no TIME I want to say there’s not enough time to do anything but our WORK/cut, cut. stitch, cut, the DREAM of a (common) language, you see?

“she” says, i had a dream about you and i say “yeah? was i taller?” he says “and what does your boyfriend think about you not having reconstruction?” the receptionist says, “yeah, we’ve had a lot of you guys through here this week.” do you get it? the language (is MATTER) matters, the sound of your voice shutting UP for a minute while i tell you (who) i am matters if we-re fixed if we don't (move), we (die)—it is not what comes OUT of the body that makes you ill, it’s what (stays) IN i have seen the best of all of us.

trying to get it RIGHT, trying to (figure) OUT which pronoun will (least) offend, i have seen our minds weighing each word, tossing them (carelessly), throwing hooks into each other, without ever feeling the LIMITS of language without (trying) HARDER “the mind,” bobbie says, “the mind throws the body away and runs” loren can bench 250 i can strip a 9mm in the dark, my (MOM) would kick your ass soon as (look) at ya, but it’s a baby BAT in the doorway, for christsakes, not a WILD BOAR, (call it) by whatever name fits (its) skin—i have seen privilege on 8 yr olds, have seen (reduction), essentialism. violence, have seen a (mother) stand in front of 70,000 people and say of her F2M child, “I love my son" i have seen mothers NOT (stand), i have seen the standing it/self mother so many, i have been a father for a day and a damn (good) one, i have seen the best, the best of all of us, “mad to (live), mad to breathe (free)” i have put my fingers onto the worn (rungs) of bunks in concentration camps, have seen that we all (die) the fucking SAME, each of us alone, with one breath stacked (slowly) upon the next, i have tried to make it last, to be polite, to correct you (gently) but there is NO time, get (busy) living/get busy (dying), but take your hooks out of my FACE, erase yourSELF FIRST, stand up or they will (DEVOUR) you, make your peace, “writing is a (debt) of honor to the (self),” when they (lock) the door take (off) the HINGES cut cut stitch, don't waste it, don't let ANYONE make you (small).

~~~~~~

max regan is a teacher and writer from the hills of Southern Virginia, currently living in Boulder, Colorado. Max is the founder of Hollowdeck Press and the the Administrative Director of the Summer Writing Program at Naropa University.