Fashion on a personal level by Kasiana Jimenez

 A fashion coordinator, a ceo, a mother, and a grandmother, she is a women that wears so many different hats. She not only has these titles, but does every single one to perfection. When having to interview someone of that stature can always be a little uncomfortable. Especially when you have to ask questions that normally you never discuss. Luckily, in my case I had the privilege of it being my grandmother. It was amazing to see her eyes light up with each question, and it made understand that I had never asked her before. It was as if she had been waiting for someone to ask her about her passion. Of course I had seen her have passion for all her creative work, but it was different when she talked about how it all started. I was shocked about how long she's had a passion for fashion. On our 9th question I had asked her What has kept her in fashion for so many years. I expected an answer of all I just like or it's something fun to do. I never expected the story that she told me about her when she was a little girl and my grandfather. It was a story that I have never heard before, I never knew that her father took her out of the shop on Saturdays. I never knew that they would have to put her to sleep in the clothes in the clothes she bought because she would refuse to take it off. Besides, such an amazing story I was able to see more about the creative industry. We have always seen the creative industry through the eyes of “The Culture Industry” by Theodor Adorno and Max Horkheimer. They have shown that the Culture industry had come out of the late Capitalist movement, basically all products that were being produced were only meant to be the ones that could sell to large audiences (Theodor Adorno and Max Horkheimer, 1944) . It longer was about the art, but about what could make a profit. Yet, with my grandma I was able to see that while there is this capitalist movement to it, the idea that art is still amongst the people. She has the understanding of the production line, her company is still very grassrooted. She uses locals for everything, and needs her clients to tell her there still in order to create. At the same time, it showed me that creative work while tiring makes it all worth it when you can see your product come to life. However, when my grandma was talking more about her clients and the social class that they reside in. This got me thinking about in Nobrow, “the challenge that elite institutions such as the major museums face is how to bring commercial culture into the fold” (Seabrook, 1999, 1). The connection of high culture stealing from low culture and making a profit it. It remembered me of one of her clients, that came to her wishing to dress more “street”, cause she had an event at wynwood and wanted to fit in. Yet, at the same time make look high fashion, off the runway. Lastly, thinking back to the interview another thing that struck me was how much work does go into the fashion business. How many tile, fabric, and design shops have had to close their business for Covid. The are the backbone of fashion, without it we can not make new materials and new products to sell. However, it made me question that if then is that playing into the commercial culture? Are these just products that we trying to sell for people to buy and desire them. Could it be that because it is grassroots atlesast in the business of my grandma that is still not apart of the commercial world? It is something that I have gone back and forth on alot. At the end I think that throughout the interview i thought and learned more about the creative culture industry. I think that it was interesting to see passion and the process behind everything that has been created thus far. As well as, the dedication of being in one field of work for nearly three decades Support and Resources. Theodor Adorno and Max Horkheimer, 1944 Seabrook, J. (1999). Nobrow-Culture. New Yorker