INAUGURATION 2017: SARTORIAL SUBTEXT

The Obamas and the Trumps, Inauguration Day 2017.

Melania Trump's inauguration ensemble perhaps bore an even greater debt to Jackie Kennedy's than her RNC speech did to Michelle Obama's. The internet is a-flutter with comparisons; there would have probably been even more had Kellyanne Conway not showed up dressed as Paddington Bear.

Jacqueline and John F. Kennedy at his Inauguration, 1961.

It's a move reflective of her husband's campaign's nostalgic overtones and an aggressively "I'm-the-first-lady"-looking look, and yet--intentionally, I hope--her choice can also be interpreted as an olive branch, and perhaps even subversive.

Jackie Kennedy was a democrat whose famous powder-blue suit perfectly matched her husband's tie; collectively they recognized yet muted the traditional blue of their party in the act of becoming President and First Lady of the entire American populace. 

In contrast, Donald wore unadulterated Republican/MAGA red--and as a republican First Lady, the same powder blue carries different connotations. I'd read Melania's Ralph Lauren more as a Declaration of Independence from her husband if (in a coordinated effort that just had to be intentional) Michelle Obama wasn't wearing burgundy in contrast to President Obama's traditional, Democratic blue tie.

Mrs. Obama and Mrs. Trump today.

It has to be said that if you crop out Donald, it's a moving, beautiful image. Two powerful women, an African American and an immigrant, embracing one another warmly, clad in the color family of the other's party. It gives a sense of respect without deference, of a unified appeal for unity. They ooze FLOTUS glamour. It's worthy of the cover of Vogue.

It's also a sentiment that echoes Michelle's choices for both of her husband's own inaugurations. She wore yellow--the third, and only neutral, primary color--in 2009, and, along with her daughters, shades of violet in 2013--the secondary product of mixing red and blue.

The Obamas at his Inauguration in 2009.

Mrs. Obama with her daughters at her husband's Inauguration in 2013.

Maybe it's because I want to see it, to find something positive about this miserable day and the gut-wrenching Presidential ascension of a man whose behavior would have gotten him fired from basically any other job in this country instead of an experienced, resilient woman (who also wore Ralph Lauren today) succeeding a leader of such dignity and intelligence, but Michelle and Melania gave me a twinge of hope, which, as I looked closer, sartorial details seemed to support. It was not just Melania's suit, but also her gloves and shoes that were icy blue. The jacket has an enveloping high neck. Her diamond earrings reflect and appear the same color as her gloves. It's unilaterally, unequivocally blue, while if you look closely, Michelle's burgundy has flecks of navy, as well as navy trim around the collar and sleeves. Burgundy is the general impression, but it's a patchwork of colors creating it.

For a woman wrapping up her tenure, the crew-style top and short sleeves evoke a readiness to get to work, which is, of course, what we all need to do. And Melania seems, in, albeit, a quiet way, to want to help. With this outfit, she's fully accepting her supportive public role yet intimating that her own private opinions can differ from her husband's. I hope I'm right.

DELPOZO, WESTWORLD, AND FUTURISTIC NOSTALGIA

Delpozo's recent SS17 collection bordered on transcendent: organic yet architectural, somehow simultaneously channeling both sci-fi futurism and Victorian nostalgia. They are the kinds of clothes one might imagine wearing to a formal ball hosted by Luke Skywalker or a rave with Anna Karenina. As Vogue nicely put it, "The resulting lineup was a bit Old World, yet undeniably modern; even the designer's most otherworldly proportions felt featherweight."

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Delpozo SS17 - What to wear to a formal ball hosted by Luke Skywalker, or a rave with Anna Karenina.

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Depozo SS17 - Equally appropriate for futuristic human technocrat and wild-western cyborg.

I thought a lot about Josep Font's creations this week as I watched the first three episodes of HBO's new series "Westworld"--and not just because many of his designs would seem equally appropriate on its human women and robot "hosts." If the end goal of technical innovation is immortality, a key implied requirement is the ability to inorganically mimic the organic. Forget blinking buttons and spacesuits--the height of technical innovation is rather its own obfuscation, an unnatural return to nature not so much for the purpose of passing a Turing test as rendering one obsolete in the inextricable blending of the two. 

Based on Michael Crichton's 1973 theme-park-gone-wrong precursor to Jurassic Park but more like an extended sequel to 2015's Ex Machina, the new "Westworld" depicts an application of naturalistic technology aimed precisely at manufacturing pre-digital nostalgia into a highly-marketable recursive loop. It's a clever premise, appealing simultaneously to our fetishization of future and past, the glamour of immortality-seeking innovation and the glamour of the bloody Wild West in a way that, as Rolling Stone points out, feels very now. Perhaps that's because, according to Emily Nussbaum, what "Westworld" is really about is HBO today:

"Like HBO showrunners, Westworld’s designers “pitch” plot arcs. They “massage” story lines. They plant backstories to deepen characterizations. When glitches appear, they panic over the need to halt production, much as 'Westworld' itself did, when it shut down during shooting for a rewrite. They are uneasy, at times, about the ethics of their labor. In real life, 'Westworld' can’t just be good—it needs to be a hit, too. It’s HBO’s bid for a franchise to succeed 'Game of Thrones,' following two pricey flops, 'Vinyl' and 'True Detective.' For both the show and the show inside the show, the key is to reproduce the alchemy that HBO perfected when it slid the Bada Bing into 'The Sopranos'..."

Even from the opening credits to "Westworld"--a macro-lens tour through an über-stylized Vitruvian workshop of technical materials and human organs, eerily serenaded by a skeleton pianist who gives way to a player-piano--it's clear this show is HBO out-HBOing itself. 

When I picture the showrunners, they too are wearing Delpozo SS17.