She apologized for all of them. “It was definitely one of those times when you really realize how important it is, the relationships that you have, because the people I have who are LGBT in my world, in my life, really were just so understanding,” Reid says of the bizarre blog-post drama. “So loving. It just really made me even more determined to be as good of an ally as possible. And so that’s what I’ve tried to be. Bottle-green dresses were all the rage in the Victorian era, and they had price tags to match. To achieve this lovely shade of green, the fabric was dyed using large amounts of arsenic. Some women suffered nausea, impaired vision, and skin reactions to the dye. But the dresses were only worn on special occasions, limiting exposure to the arsenic in the fabric. In the 1760s, aristocratic British men donned large wigs with a small hat or feather at the top. The young men who took up this fashion trend reportedly brought it back from their “Grand Tour” across Continental Europe in which they intended to “deepen cultural knowledge.” The style is, in fact, named after the Italian pasta dish, signifying sophistication and worldliness. In the end, it’s really that simple: Fashion is about clothes; clothes are about the body; the body is about the senses. As much as they are bearers of meaning and vectors for self-expression, clothes aren’t just abstract representations of a creative vision, however innovative it can be. They’re about the making and the craft that makes them come to life—an expression of human, very tangible, often superb creativity. Think of the relevance of couture. That’s why the best videos (Galliano’s Maison Margiela Artisanal obviously comes to mind, but also Dior Men and Gucci) were, in my opinion, the ones of designers opening up about their practice, revealing not only their visionary genius but the passionate, collaborative human effort that goes into bringing ideas, no matter how abstruse or hyperbolic, into reality.