Natasha Stagg thinks it's a great time to be living in New York:
"I think I moved to New York with an idea of what type of writer I would be," Natasha Stagg told me over the phone, recently, during our conversation about her new book, Sleeveless: Fashion, Image, Media, New York 2011-2019.
When did Sleeveless start to take shape as a book? Its mixture of essays and fiction and the way they're arranged makes for such a distinctive framework; what was the original idea behind it? It's such an interesting time period to have to focus on, this era when fashion and media have changed so dramatically. One thing that stands out about your writing is its specificity, which is so present even while you're describing a time that feels so intangible, one that's challenging to pay too much attention to because of how rapidly it changes.
I think"release" is the best word for it. I always wonder why more people don't find it as relieving or relaxing as I do to write in a supposedly more literary way. And, by literary, I just mean, when I write, I want the focus to be the language and not necessarily the content; this is me trying to add to the canon or something, instead of reacting to a current moment or trying to come up with some answer to an issue.
I thought when [Me Too] was going on—I mean, I feel like it's over, it's already over, which is kind of sad—and, I don't know if you've felt this way too, but it just felt so exhausting to learn that a lot of people were doing really underhanded things and they were exploiting people sexually.
I hadn't thought about it, but I'm sure it's affected the way I present myself to the world, being around people whose job it is to present a self to the world in new and interesting ways. I think I'm still fascinated by celebrities, but in a way that is more interested in how anyone could possibly want to be one at this point—just because it seems totally exhausting and like the rewards are very imbalanced now with what gets lost.
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