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Is the Future of the Black Community only in Sports and Music?

Communities
November 18, 2019 19:13

What should be the goals of the black community? How does the black youth develop in your country?

In the early 1990s, shortly after the end of the Cold War, many africans migrated germany. This generation of migrants also included my parents. The racism was very present and very aggressive at the time: being black was not meant to be cool. Our parents' primary struggle was to be recognized as blacks and find a place in society. Nowadays we belong to a generation that was born in germany and grew up here. But what is our job? The first point is: Be proud of who u are. To love and respect oneself does not mean to hate others. It is necessary his knowing identity and for that it is important for us as a community to know our roots and stories.

For the history point - who actually tells the African story? The entities that are ours, writing history secretly determines who we are. Like a Theodore Roosevelt said, "The more we know about our past, the more we can prepare our future.". IfI I want to know the story of my family, then I do not ask my neighbours! We have to tell our story our selves, and we could and should do so support successful black historians, such as Cheikh Anta Diop. But a Cheikh Anta Diop is not considered a role model among black teenagers. Drake or Lebron James for example already take that position. A dunk by Lebron James can make millions of basketball fans happy, but a dunk doesn't us as a community much further.

Our responsibility does not apply to a basketball court. A music video by Drake also does make people respect black culture ourselves. Nowadays blackness has a certain "coolness" to it, and fortunately you can see more and more black people on TV and in movies. In the modeling industry nowadays there is a lot more diversity and more people are recognizing the beauty of being black. Currently, we have an increase of black people who are very successful in the sports and music business, who are able to finance a certain standard of living. But being black should not just mean that you can provide entertainment with music or sports. We need to think about the community as a whole and educate ourselves with our history and our past.

We need to rid ourselves of the minority complexes that have been ingrained in us from decades of systematic racism and grow our potential in society. Especially after the long humiliation that has befallen our ancestors, it is important that our community stands up and acknowledge itself instead of seeking the esteem of others.

Independently educating yourself is essential to breaking out of the stereotypes that are assigned to us. Being aware of who you are and where you come and opening a dialogue with older generations is essential, as they can transfer their knowledge about icons like Malcom X and Patrice Lumumba to the next generations. Through education we can learn to appreciate each other equally and prove to ourselves that we are capable of more. The only way we can leave the generational trauma and expectations induced by colonialism and slavery behind, is by perpetually furthering our knowledge, being aware of our history, and crossing boundaries that have never been crossed.

I'm not impressed when Stephen Curry throws a three pointer twelve times in a game. I'm not impressed when an African country is playing in the World Cup for the first time. I would be much more impressed, if black people would focus on the passion and struggle of the community represented. The next generation must look in the mirror with pride, and know that being black carries a huge responsibility that can often be a burden, but also a welcomed challenge, meant to be seized with an open mind and a head held high.

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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.

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