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Select writings from the Loveship archive 

Unedited Bitch, March 13, 2012:
This is the full transcript of an interview I gave for an article in Bitch magazine. 

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Approaching Unfinished, November 5, 2011

I am consciously embracing my lack of polish. I do not complete my style 100 percent. And yet I take time in every step of the process, from choosing the garments, to arranging them on my body, to taking away when there is one element too many, to piling on misshapen volumes on days when I need the protection. I like to untuck, or roll up, layer or leave undone in ways someone, somewhere, once told me I shouldn't.

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"It's true that I'm passionate about clothes." March 10, 2011:

Aesthetic experience awakens something indescribable that makes demands of us. I can't not be inspired when in awe of a garment. I can't resist the urge to care for it deeply, even its passing image on a glowing screen. I can't imagine an inability to be with things in this intimate way. Take these things away and the inevitable result is a deep sadness. A lack of pride in one's appearance can be truly damaging.

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"Interpellation," November 13, 2010:
In which Susie answers 10 common questions in a chain survey.

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On July 23 2010, a link to  "Does the Runway Lie?" by Cathy Horyn, who never shies away from some necessary real talk:
"In fact, the modern runway is a lie. It has allowed very average designers with a powerful tabloid sense of communication to be perceived as great talents. It plays tricks on your senses – senses, of course, that have been radically altered by a culture that demands sound bytes and seems to be in constant fear of boredom." -Cathy Horyn

Carmel Snow and Diana Vreeland

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Reading fashion through Marina Abramovic, from June 29, 2010:

"It’s why I chose the dress code for the dinner that Riccardo had to celebrate the end of the piece: black and white and gold. It’s how I live my life, all extremes, plus gold to let the light in." -Marina Abramovic

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Michael shows some love for Mr. David Lynch, from May 10, 2010:

You see, there is a fine line between what Lynch does and looking like your lazy, balding uncle. But Esquire tells you that you can't do it because it reinforces them as somehow important, vital to our tenuous grasp on the ever-changing world of men's style. It's style writing like this that keeps publications like Esquire in business--they make you think you need them, because without them, you're doing it wrong.

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A Philosophy of Clothes?, March 25, 2010:

"In our depressingly sick society, we must fashion a new garment, a new and splendid outfit to clothe the naked body politic. And it must be a beautiful garment. Against the dominant utilitarianism that reduces all human experience to a mechanism of profit and loss governed by a crude hedonistic calculusm the body politic needs a sumptuous and gorgeous new frock." -Simon Critchley

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Susie observes the act of female observation, from February 22, 2010:

Female 1 was wearing an adorable faux fur leopard print coat. I sat down behind her, because I liked her coat and fur ear muffs. I said nothing. It was too early to go talking to strangers. The vibe was not right for breaking the necessary morning commute silence. 

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From "Paradigmatic," November 30, 2009:

Chances are good that most of the people purchasing "authentic" or "heritage" branded clothing are not tanning leather or building railroads. (Although, that possibility may not be far off.) But communities of pleasure form around particular aesthetics, creating dialogue. It is less interesting to criticize the look, and more interesting to ask what is being communicated. We could be talking about anything from quality, cut, and construction, to gender, class, ethnicity, access, and even democracy.

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