/fa/ - Fashion

Fascinating Fascism
by Susan Sontag (1933-2004)


New York Review of Books
February 6, 1975

republished in:
Under the Sign of Saturn
(New York, 1980), pp. 73-105.

The Last of the Nuba by Leni Riefenstahl (1974)
SS Regalia by Jack Pia (1974)
I

Riefenstahl: Last of Nuba, coverFirst Exhibit. Here is a book of 126 splendid color photographs by Leni Riefenstahl, certainly the most ravishing book of photographs published anywhere in recent years. In the intractable mountains of the southern Sudan live about eight thousand aloof, godlike Nuba, emblems of physical perfection, with large, well-shaped, partly shaven heads, expressive faces, and muscular bodies that are depilated and decorated with scars; smeared with sacred gray-white ash, the men prance, squat, brood, wrestle on the arid slopes. And here is a fascinating layout of twelve black-and-white photographs of Riefenstahl on the back cover of The Last of the Nuba, also ravishing, a chronological sequence of expressions (from sultry inwardness to the grin of a Texas matron on safari) vanquishing the intractable march of aging. The first photograph was taken in 1927 when she was twenty-five and already a movie star, the most recent are dated 1969 (she is cuddling a naked African baby) and 1972 (she is holding a camera), and each of them shows some version of an ideal presence, a kind of imperishable beauty, like Elisabeth Schwarzkopf's, that only gets gayer and more metallic and healthier-looking with old age. And here is a biographical sketch of Riefenstahl on the dust jacket, and an introduction (unsigned) entitled "How Leni Riefenstahl came to study the Mesakin Nuba of Kordofain"—full of disquieting lies.

Fuck off

>>11626214
Compared with the introduction, the jacket of the book is positively expansive on the subject of the photographer's career, parroting misinformation that Riefenstahl has been dispensing for the last twenty years.

It was during Germany's blighted and momentous 1930s that Leni Riefenstahl sprang to international fame as a film director. She was born in 1902, and her first devotion was to creative dancing. This led to her participation in silent films, and soon she was herself making—and starring in—her own talkies, such as The Mountain (1929).
These tensely romantic productions were widely admired, not least by Adolf Hitler who, having attained power in 1933, commissioned Riefenstahl to make a documentary on the Nuremberg Rally in 1934.

It takes a certain originality to describe the Nazi era as "Germany's blighted and momentous 1930s," to summarize the events of 1933 as Hitler's "having attained power," and to assert that Riefenstahl, most of whose work was in its own decade correctly identified as Nazi propaganda, enjoyed "international fame as a film director," ostensibly like her contemporaries Renoir, Lubitsch, and Flaherty. (Could the publishers have let LR write the jacket copy herself? One hesitates to entertain so unkind a thought, although "her first devotion was to creative dancing" is a phrase few native speakers of English would be capable of.)

Post some more inspo, fampai

Fuck right off to your containment board, you fuck.

>>11626220
The facts are, of course, inaccurate or invented. Not only did Riefenstahl not make—or star in—a talkie called The Mountain (1929). No such film exists. More generally: Riefenstahl did not first simply participate in silent films and then, when sound came in, begin directing and starring in her own films. In all nine films she ever acted in, Riefenstahl was the star; and seven of these she did not direct. These seven films were: The Holy Mountain (Der heilige Berg, 1926), The Big Jump (Der grosse Sprung, 1927), The Fate of the House of Habsburg (Das Schicksal derer von Habsburg, 1929), The White Hell of Pitz Palü (Die weisse Hölle von Piz Palü, 1929)—all silents—followed by Avalanche (Stürme über dem Montblanc, 1930), White Frenzy (Der weisse Rausch, 1931), and S.O.S. Iceberg (S.O.S. Eisberg, 1932-1933). All but one were directed by Arnold Fanck, auteur of hugely successful Alpine epics since 1919, who made only two more films, both flops, after Riefenstahl left him to strike out on her own as a director in 1932. (The film not directed by Fanck is The Fate of the House of Habsburg, a royalist weepie made in Austria in which Riefenstahl played Marie Vetsera, Crown Prince Rudolf's companion at Mayerling. No print seems to have survived.)

>>11626228
Fanck's pop-Wagnerian vehicles for Riefenstahl were not just "tensely romantic." No doubt thought of as apolitical when they were made, these films now seem in retrospect, as Siegfried Kracauer has pointed out, to be an anthology of proto-Nazi sentiments. Mountain climbing in Fanck's films was a visually irresistible metaphor for unlimited aspiration toward the high mystic goal, both beautiful and terrifying, which was later to become concrete in Führer-worship. The character that Riefenstahl generally played was that of a wild girl who dares to scale the peak that others, the "valley pigs," shrink from. In her first role, in the silent The Holy Mountain (1926), that of a young dancer named Diotima, she is wooed by an ardent climber who converts her to the healthy ecstasies of Alpinism. This character underwent a steady aggrandizement. In her first sound film, Avalanche (1930), Riefenstahl is a mountain-possessed girl in love with a young meteorologist, whom she rescues when a storm strands him in his observatory on Mont Blanc.

>>11626225
if there is more animo for this thread I could continue. If

>>11626227
>>11626217

really crowd out those in favour, I will just keep the images and stuff to myself.

>>11626227
>>11626217
There's so many threads asking for fascist-core, this is perfect thread for them. Just ignore and hide and move along

>>11626227
rude

>>11626233
Riefenstahl herself directed six films, the first of which, The Blue Light (Das blaue Licht, 1932), was another mountain film. Starring in it as well, Riefenstahl played a role similar to the ones in Fanck's films for which she had been so "widely admired, not least by Adolf Hitler," but allegorizing the dark themes of longing, purity, and death that Fanck had treated rather scoutishly. As usual, the mountain is represented as both supremely beautiful and dangerous, that majestic force which invites the ultimate affirmation of and escape from the self—into the brotherhood of courage and into death. The role Riefenstahl devised for herself is that of a primitive creature who has a unique relation to a destructive power: only Junta, the rag-clad outcast girl of the village, is able to reach the mysterious blue light radiating from the peak of Mount Cristallo, while other young villagers, lured by the light, try to climb the mountain and fall to their deaths. What eventually causes the girl's death is not the impossibility of the goal symbolized by the mountain but the materialist, prosaic spirit of envious villagers and the blind rationalism of her lover, a well-meaning visitor from the city.

those are some nice texts
too bad you all look like literal retards in real life
someone post that one /pol/ meetup picture

>>11626261
Where are you getting these from?

>>11626261
The next film Riefenstahl directed after The Blue Light was not "a documentary on the Nuremberg Rally in 1934"—Riefenstahl made four non-fiction films, not two, as she has claimed since the 1950s and as most current white-washing accounts of her repeat—but Victory of the Faith (Sieg des Glaubens, 1933), celebrating the first National Socialist Party Congress held after Hitler seized power. Then came the first of two works which did indeed make her internationally famous, the film on the next National Socialist Party Congress, Triumph of the Will (Triumph des Willens, 1935)—whose title is never mentioned on the jacket of The Last of the Nuba—after which she made a short film (eighteen minutes) for the army Day of Freedom: Our Army (Tag der Freiheit: Unsere Wehrmacht, 1935), that depicts the beauty of soldiers and soldiering for the Führer. (It is not surprising to find no mention of this film, a print of which was found in 1971; during the 1950s and 1960s, when Riefenstahl and everyone else believed Day of Freedom to have been lost, she had it dropped from her filmography and refused to discuss it with interviewers.)

>>11626210
But OP we already have a cringe thread

>>11626272
>>11626281
I like the fashy look to some extend, and am interested in it although i am nowhere near a /po/lack. Consider this an attempt at providing a public service, all /po/tards in one place, a special little ethno state just for them, so they don't bother others, and you can cringe at them from a distance if you want.

>>11626279
The jacket copy continues:
---
Riefenstahl's refusal to submit to Goebbels' attempt to subject her visualisation to his strictly propagandistic requirements led to a battle of wills which came to a head when Riefenstahl made her film of the 1936 Olympic Games, Olympia. This, Goebbels attempted to destroy; and it was only saved by the personal intervention of Hitler.
With two of the most remarkable documentaries of the 1930s to her credit, Riefenstahl continued making films of her devising, unconnected with the rise of Nazi Germany, until 1941, when war conditions made it impossible to continue.
Her acquaintance with the Nazi leadership led to her arrest at the end of the Second World War: she was tried twice, and acquitted twice. Her reputation was in eclipse, and she was half forgotten--although to a whole generation of Germans her name had been a household word.
----

i get it you cant get laid

>>11626290
Except for the bit about her having once been a household word in Nazi Germany, not one part of the above is true. To cast Riefenstahl in the role of the individualist-artist, defying philistine bureaucrats and censorship by the patron state ("Goebbels' attempt to subject her visualisation to his strictly propagandistic requirements") should seem like nonsense to anyone who has seen Triumph of the Will—a film whose very conception negates the possibility of the filmmaker's having an aesthetic conception independent of propaganda. The facts, denied by Riefenstahl since the war, are that she made Triumph of the Will with unlimited facilities and unstinting official cooperation (there was never any struggle between the filmmaker and the German minister of propaganda). Indeed, Riefenstahl was, as she relates in the short book about the making of Triumph of the Will, in on the planning of the rally—which was from the start conceived as the set of a film spectacle

>>11626210

I like this idea desu. Here is one from me.

Please post more anon. This is some pretty interesting stuff!
>>11626217
>>11626227
>>11626272
>>11626281
>>11626294
>"I'm going to complain about other people's voluntary use of a publicly accessible image forum! HHHMPH >:(("


Don't like it join a different discussion. This is a great way to corral all the /pol/lacks that you faggots are complaining about and let them do their thing in one place.

inb4 hurr durr not fashion

These people are clearly interested in developing their own aesthetic and are discussing it in the appropriate forum.

>>11626294
>>11626281
>>11626227
>>11626217
Go back to your Rick Owens and Streetwear threads

>>11626355
Olympia—a three-and-a-half-hour film in two parts, Festival of the People (Fest der Völker) and Festival of Beauty (Fest der Schönheit)—was no less an official production. Riefenstahl has maintained in interviews since the 1950s that Olympia was commissioned by the International Olympic Committee, produced by her own company, and made over Goebbels's protests. The truth is that Olympia was commissioned and entirely financed by the Nazi government (a dummy company was set up in Riefenstahl's name because it was thought unwise for the government to appear as the producer) and facilitated by Goebbels's ministry at every stage of the shooting;[2] even the plausible-sounding legend of Goebbels objecting to her footage of the triumphs of the black American track star Jesse Owens is untrue. Riefenstahl worked for eighteen months on the editing, finishing in time so that the film could have its world premiere on April 29, 1938, in Berlin, as part of the festivities for Hitler's forty-ninth birthday; later that year Olympia was the principal German entry at the Venice Film Festival, where it won the Gold Medal.

>>11626393
More lies: to say that Riefenstahl "continued making films of her devising, unconnected with the rise of Nazi Germany, until 1941." In 1939 (after returning from a visit to Hollywood, the guest of Walt Disney), she accompanied the invading Wehrmacht into Poland as a uniformed army war correspondent with her own camera team; but there is no record of any of this material surviving the war. After Olympia Riefenstahl made exactly one more film, Tiefland (Lowland), which she began in 1941—and, after an interruption, resumed in 1944 (in the Barrandov Film Studios in Nazi-occupied Prague), and finished in 1954. Like The Blue Light, Tiefland opposes lowland or valley corruption to mountain purity, and once again the protagonist (played by Riefenstahl) is a beautiful outcast. Riefenstahl prefers to give the impression that there were only two documentaries in a long career as a director of fiction films, but the truth is that four of the six films she directed were documentaries made for and financed by the Nazi government.

>>11626392
>>11626386
Seconding both of these

>>11626272
just google NPI conference/meeting pictures. they do the buttoned up look with dark colours, however many fail to make the grade. just like a lot of dudes wearing full rick or hedi and just well... failing to get it right.

>>11626408
It is hardly accurate to describe Riefenstahl's professional relationship to and intimacy with Hitler and Goebbels as "her acquaintance with the Nazi leadership." Riefenstahl was a close friend and companion of Hitler's well before 1932; she was a friend of Goebbels, too: no evidence supports Riefenstahl's persistent claim since the 1950s that Goebbels hated her, or even that he had the power to interfere with her work. Because of her unlimited personal access to Hitler, Riefenstahl was precisely the only German filmmaker who was not responsible to the Film Office (Reichsfilmkammer) of Goebbels's ministry of propaganda. Last, it is misleading to say that Riefenstahl was "tried twice, and acquitted twice" after the war. What happened is that she was briefly arrested by the Allies in 1945 and two of her houses (in Berlin and Munich) were seized. Examinations and court appearances started in 1948, continuing intermittently until 1952, when she was finally "de-Nazified" with the verdict: "No political activity in support of the Nazi regime which would warrant punishment." More important: whether or not Riefenstahl deserved a prison sentence, it was not her "acquaintance" with the Nazi leadership but her activities as a leading propagandist for the Third Reich that were at issue.

very good thread OP
I wonder what the connection between minimalism and fascist clothing is? Certain patterns can be commanding yet most uniforms lacked one, must be the stark lines and so on that amalgamate the two

.

>>11626210

Skinhead fashion, fascist fashion, classic nazi undercuts,

German propaganda is pretty /fa/ desu, especially the idealized blonde Aryan woman.

>>11626392

fuck off fascist scum.

>>11626450
all of the fash look is derived from uniforms. so the colour range is limited by definition. dour colour dominate. loden grey and green, feldgrau, a lot of greys in general, brownish ranging to off white (white is hard to keep clean in the field) and of course the SS staple/mussolini storm trooper black.

the uniform look symbolizes unity of purpose and identity. also it dimishes the individual as part of the look. I always considered people who wear 'total looks' by certain designers little soldiers serving their couture fuhrer.

>>11626440
The jacket copy of The Last of the Nuba summarizes faithfully the main line of the self-vindication which Riefenstahl fabricated in the 1950s and which is most fully spelled out in the interview she gave to Cahiers du Cinéma in September 1965. There she denied that any of her work was propaganda—calling it cinema verité. "Not a single scene is staged," Riefenstahl says of Triumph of the Will. "Everything is genuine. And there is no tendentious commentary for the simple reason that there is no commentary at all. It is history—pure history." We are a long way from that vehement disdain for "the chronicle-film," mere "reportage" or "filmed facts," as being unworthy of the event's "heroic style" which is expressed in her book on the making of the film

>>11626450
>I wonder what the connection between minimalism and fascist clothing is?

I think it is that they use minimal designs, but with each small part is a lot of thought. Like striking the hammer just right and wallah.

>>11626482
>>11626450

Commies have no appreciation for objectively attractive/good things.

>>11626479
Although Triumph of the Will has no narrative voice, it does open with a written text heralding the rally as the redemptive culmination of German history. But this opening statement is the least original of the ways in which the film is tendentious. It has no commentary because it doesn't need one, for Triumph of the Will represents an already achieved and radical transformation of reality: history become theater. How the 1934 Party convention was staged was partly determined by the decision to produce Triumph of the Will—the historic event serving as the set of a film which was then to assume the character of an authentic documentary. Indeed, when some of the footage of Party leaders at the speakers' rostrum was spoiled, Hitler gave orders for the shots to be refilmed; and Streicher, Rosenberg, Hess, and Frank histrionically repledged their fealty to the Führer weeks later, without Hitler and without an audience, on a studio set built by Speer. (It is altogether correct that Speer, who built the gigantic site of the rally on the outskirts of Nuremberg, is listed in the credits of Triumph of the Will as architect of the film.) Anyone who defends Riefenstabl's films as documentaries, if documentary is to be distinguished from propaganda, is being ingenuous. In Triumph of the Will, the document (the image) not only is the record of reality but is one reason for which the reality has been constructed, and must eventually supersede it.

The rehabilitation of proscribed figures in liberal societies does not happen with the sweeping bureaucratic finality of the Soviet Encyclopedia, each new edition of which brings forward some hitherto unmentionable figures and lowers an equal or greater number through the trap door of nonexistence. Our rehabilitations are smoother, more insinuative. It is not that Riefenstahl's Nazi past has suddenly become acceptable. It is simply that, with the turn of the cultural wheel, it no longer matters.

I'd try it but I don't know where to get muh inspo from

Allow me to postulate for a moment, I apologize if I may be a little incoherent.


The "alt-right"/pol/young, philosophically right wing kids are a subculture without tribal identifiers, due to the anonymity it grew out of. As such, most fashy goys dress like normies or total shit, and are beginning to realize that if they are to adopt a worldview that places aesthetics/beauty/order as the highest values of society, they need to embody those things themselves.

Part of that is sharpening the mind, which is done through debate and reading and tipping your fedora. Another part is strengthening the body, by exercising (duh). Lastly, you need a means of making yourself identifiable to other people like you, which is where a defined fashion aesthetic comes in, and why there are so many /pol/acks lurking /fa/ currently.

>>11626502
Instead of dispensing a freeze-dried version of history from above, a liberal society settles such questions by waiting for cycles of taste to distill out the controversy.

The purification of Leni Riefenstahl's reputation of its Nazi dross has been gathering momentum for some time, but it has reached some kind of climax this year, with Riefenstahl the guest of honor at a new cinéphile-controlled film festival held in the summer in Colorado and the subject of a stream of respectful articles and interviews in newspapers and on TV, and now with the publication of The Last of the Nuba. Part of the impetus behind Riefenstahl's recent promotion to the status of a cultural monument surely owes to the fact that she is a woman. The 1973 New York Film Festival poster, made by a well-known artist who is also a feminist, showed a blond doll-woman whose right breast is encircled by three names: Agnès Leni Shirley. (That is, Varda, Riefenstahl, Clarke.) Feminists would feel a pang at having to sacrifice the one woman who made films that everybody acknowledges to be first-rate. But the strongest impetus behind the change in attitude toward Riefenstahl lies in the new, ampler fortunes of the idea of the beautiful.

>>11626509
The line taken by Riefenstahl's defenders, who now include the most influential voices in the avant-garde film establishment, is that she was always concerned with beauty. This, of course, has been Riefenstahl's own contention for some years. Thus the Cahiers du Cinéma interviewer set Riefenstahl up by observing fatuously that what Triumph of the Will and Olympia "have in common is that they both give form to a certain reality, itself based on a certain idea of form. Do you see anything peculiarly German about this concern for form?" To this, Riefenstahl answered:
---
I can simply say that I feel spontaneously attracted by everything that is beautiful. Yes: beauty, harmony. And perhaps this care for composition, this aspiration to form is in effect something very German. But I don't know these things myself, exactly. It comes from the unconscious and not from my knowledge. . . . What do you want me to add? Whatever is purely realistic, slice-of-life, which is average, quotidian, doesn't interest me.... I am fascinated by what is beautiful, strong, healthy, what is living. I seek harmony. When harmony is produced I am happy. I believe, with this, that I have answered you.
---

>>11626220
What's the name of this model?

>>11626567
Janis Ancens

>>11626551
That is why The Last of the Nuba is the last, necessary step in Riefenstahl's rehabilitation. It is the final rewrite of the past; or, for her partisans, the definitive confirmation that she was always a beauty freak rather than a horrid propagandist.[4] Inside the beautifully produced book, photographs of the perfect, noble tribe. And on the jacket, photographs of "my perfect German woman" (as Hitler called Riefenstahl), vanquishing the slights of history, all smiles.

Admittedly, if the book were not signed by Riefenstahl one would not necessarily suspect that these photographs had been taken by the most interesting, talented, and effective artist of the Nazi era. Most people who leaf through The Last of the Nuba will probably see it as one more lament for vanishing primitives—the greatest example remains Lévi-Strauss in Tristes Tropiques on the Bororo Indians in Brazil—but if the photographs are examined carefully, in conjunction with the lengthy text written by Riefenstahl, it becomes clear that they are continuous with her Nazi work. Riefenstahl's particular slant is revealed by her choice of this tribe and not another: a people she describes as acutely artistic (everyone owns a lyre) and beautiful (Nuba men, Riefenstahl notes, "have an athletic build rare in any other African tribe"); endowed as they are with "a much stronger sense of spiritual and religious relations than of worldly and material matters," their principal activity, she insists, is ceremonial. The Last of the Nuba is about a primitivist ideal: a portrait of a people subsisting in a pure harmony with their environment, untouched by "civilization."

>>11626581
All four of Riefenstahl's commissioned Nazi films—whether about Party congresses, the Wehrmacht, or athletes—celebrate the rebirth of the body and of community, mediated through the worship of an irresistible leader. They follow directly from the films of Fanck in which she starred and her own The Blue Light. The Alpine fictions are tales of longing for high places, of the challenge and ordeal of the elemental, the primitive; they are about the vertigo before power, symbolized by the majesty and beauty of mountains. The Nazi films are epics of achieved community, in which everyday reality is transcended through ecstatic self-control and submission; they are about the triumph of power. And The Last of the Nuba, an elegy for the soon-to-be extinguished beauty and mystic powers of primitives whom Riefenstahl calls "her adopted people," is the third in her triptych of fascist visuals.

In the first panel, the mountain films, heavily dressed people strain upward to prove themselves in the purity of the cold; vitality is identified with physical ordeal. For the middle panel, the films made for the Nazi government: Triumph of the Will uses overpopulated wide shots of massed figures alternating with close-ups that isolate a single passion, a single perfect submission: in a temperate zone clean-cut people in uniforms group and regroup, as if they were seeking the perfect choreography to express their fealty. In Olympia, the richest visually of all her films (it uses both the verticals of the mountain films and the horizontal movements characteristic of Triumph of the Will), one straining, scantily clad figure after another seeks the ecstasy of victory, cheered on by ranks of compatriots in the stands, all under the still gaze of the benign Super-Spectator, Hitler, whose presence in the stadium consecrates this effort. (Olympia, which could as well have been called Triumph of the Will, emphasizes that there are no easy victories.)

>>11626507
On this topic, I think it should be noted that while the pieces themselves should be at least kind of traditional, the color, cut(details maybe? newfag sorry), materials in should be played with. While the foundation of the new right wing is rooted in tradition, it also must look forward for new solutions and progress where necessary.

>>11626581
Fellow Latvian. I had a feeling I had seen him somewhere. Thanks for clarification.

What the fuck are all these words I have to read? This isn't GAT rickyraffy memeposting. I'm triggered

>>11626583
It is Götterdammerung time. The central events in Nuba society are wrestling matches and funerals: vivid encounters of beautiful male bodies and death. The Nuba, as Riefenstahl interprets them, are a tribe of aesthetes. Like the henna-daubed Masai and the so-called Mudmen of New Guinea, the Nuba paint themselves for all important social and religious occasions, smearing on a white-gray ash which unmistakably suggests death. Riefenstahl claims to have arrived "just in time," for in the few years since these photographs were taken the glorious Nuba have been corrupted by money, jobs, clothes. (And, probably, by war—which Riefenstahl never mentions, since what she cares about is myth not history. The civil war that has been tearing up that part of the Sudan for a dozen years must have scattered new technology and a lot of detritus.)

Although the Nuba are black, not Aryan, Riefenstahl's portrait of them evokes some of the larger themes of Nazi ideology: the contrast between the clean and the impure, the incorruptible and the defiled, the physical and the mental, the joyful and the critical. A principal accusation against the Jews within Nazi Germany was that they were urban, intellectual, bearers of a destructive corrupting "critical spirit." The book bonfire of May 1933 was launched with Goebbels's cry: "The age of extreme Jewish intellectualism has now ended, and the success of the German revolution has again given the right of way to the German spirit." And when Goebbels officially forbade art criticism in November 1936, it was for having "typically Jewish traits of character": putting the head over the heart, the individual over the community, intellect over feeling. In the transformed thematics of latter-day fascism, the Jews no longer play the role of defiler. It is "civilization" itself.

no ones gonna read this wall of text nigga. youre going through a phase. most people grow out of it when they hit 18. youre a late bloomer. or an underage. doesnt matter. just stay in your /pol/ safespace and sperg in your echo chamber.

>>11626507
well said

>>11626210
http://www.myadhd.com/treatmentsforadhd.html

>>11626603
>a phase.

Yeah.. About that.

>>11626599
What is distinctive about the fascist version of the old idea of the Noble Savage is its contempt for all that is reflective, critical, and pluralistic. In Riefenstahl's casebook of primitive virtue, it is hardly—as in Lévi-Strauss—the intricacy and subtlety of primitive myth, social organization, or thinking that is being extolled. Riefenstahl strongly recalls fascist rhetoric when she celebrates the ways the Nuba are exalted and unified by the physical ordeals of their wrestling matches, in which the "heaving and straining" Nuba men, "huge muscles bulging," throw one another to the ground—fighting not for material prizes but "for the renewal of the sacred vitality of the tribe." Wrestling and the rituals that go with it, in Riefenstahl's account, bind the Nuba together. Wrestling
---
… is the expression of all that distinguishes the Nuba way of life. … Wrestling generates the most passionate loyalty and emotional participation in the team's supporters, who are, in fact, the entire "non-playing" population of the village. … Its importance as the expression of the total outlook of the Mesakin and Korongo cannot be exaggerated; it is the expression in the visible and social world of the invisible world of the mind and of the spirit.
---

>>11626217
>>11626227
>>11626272
>>11626281
>>11626294
>>11626475

>>11626615
In celebrating a society where the exhibition of physical skill and courage and the victory of the stronger man over the weaker are, as she sees it, the unifying symbols of the communal culture—where success in fighting is the "main aspiration of a man's life"—Riefenstahl seems hardly to have modified the ideas of her Nazi films. And her portrait of the Nuba goes further than her films in evoking one aspect of the fascist ideal: a society in which women are merely breeders and helpers, excluded from all ceremonial functions, and represent a threat to the integrity and strength of men. From the "spiritual" Nuba point of view (by the Nuba Riefenstahl means, of course, males), contact with women is profane; but, ideal society that this is supposed to be, the women know their place.

The fiancées or wives of the wrestlers are as concerned as the men to avoid any intimate contact … their pride at being the bride or wife of a strong wrestler supersedes their amorousness.

Lastly, Riefenstahl is right on target with her choice as a photographic subject of a people who "look upon death as simply a matter of fate—which they do not resist or struggle against," of a society whose most enthusiastic and lavish ceremonial is the funeral. Viva la muerte.

>OP

>>11626612
why would i spend my early-adult life watching some 50 year old blogger talking about iq distribution on youtube? is being part of the white iq distribution (which tells nothing in itself) the only thing you can be proud of? what you doing with your life that makes you so insecure that you need to watch these videos. but more importantly, why you think that other people care about your autism?

Couple more thoughts I want to get out on this topic.

If /fa/shy general becomes a thing, the copypasta absolutely has to mention (as close to the top as possible) that the thread is NOT a place for political discussion, but discussion ONLY of the aesthetic trying to be defined.


Also, if people decide to come in and shitpost to derail the thread, just don't respond to them. Replying to "le go back le containment board" posters only validates their purpose, which is to discourage dialogue and organization that they dislike.

>>11626664

Black Lies Matter.

>>11626679
nice argument

>>11626217
>>11626227
>>11626272
>>11626281
>>11626294
>>11626392
>>11626464
>>11626468
>>11626475
>>11626603
>>11626612
>>11626611
>>11626624
>>11626632
>>11626648
>>11626664
None of this is productive or on-topic dialogue. Please take your political arguments to /pol/, we are discussing fashion.

>>11626684

nice argument

>>11626664
>>11626648
>>11626632
>>11626624
>>11626612
>>11626611
>>11626607
>>11626603
Let's keep /pol/ politics, and politics in general in /pol/. This is a facist aesthetic men's clothing thread. Ideals and values are only relevant when discussed in regard to style and fashion for men in particular. Thank you.

>>11626638

It may seem ungrateful and rancorous to refuse to cut loose The Last of the Nuba from Riefenstahl's past, but there are salutary lessons to be learned from the continuity of her work as well as from that curious and implacable recent event—her rehabilitation. The careers of other artists who became fascists, such as Céline and Benn and Marinetti and Pound, are not instructive in a comparable way. For Riefenstahl is the only major artist who was completely identified with the Nazi era and whose work, not only during the Third Reich but thirty years after its fall, has consistently illustrated many themes of fascist aesthetics.

Fascist aesthetics include but go far beyond the rather special celebration of the primitive to be found in The Last of the Nuba. More generally, they flow from (and justify) a preoccupation with situations of control, submissive behavior, extravagant effort, and the endurance of pain; they endorse two seemingly opposite states, egomania and servitude. The relations of domination and enslavement take the form of a characteristic pageantry: the massing of groups of people; the turning of people into things; the multiplication or replication of things; and the grouping of people/things around an all-powerful, hypnotic leader-figure or force. The fascist dramaturgy centers on the orgiastic transactions between mighty forces and their puppets, uniformly garbed and shown in ever swelling numbers. Its choreography alternates between ceaseless motion and a congealed, static, "virile" posing. Fascist art glorifies surrender, it exalts mindlessness, it glamorizes death.

>>11626684
>>11626700

>>11626664

>only thing you can be proud of?

Not the OP but I'd love to be proud of my individual accomplishments, but large swathes of minorities seem to be hell bent on pursuing collective identities.

inspo

>>11626702
Keep it up
Enjoying this so far
Annoyed that you left in movie spoilers though kek

>>11626700
but my questions are still unanswered anon. what makes you watch these videos? are you trying to cover-up the fact youre a failure by being part of the white iq distribution?

>>11626709
>but large swathes of minorities seem to be hell bent on pursuing collective identities.

This, whites gaining an identity is a self defensive reaction to a non white existential threat.

>>11626706
>>11626709
>>11626715
>>11626719
Off topic. Shut up or leave.

>>11626706
>>11626709
>>11626715
>>11626719
Okay, let's repeat: Let's keep /pol/ politics, and politics in general in /pol/. This is a facist aesthetic men's clothing thread. Ideals and values are only relevant when discussed in regard to style and fashion for men in particular. Thank you.

>>11626702
Such art is hardly confined to works labeled as fascist or produced under fascist governments. (To cite films only: Walt Disney's Fantasia, Busby Berkeley's The Gang's All Here, and Kubrick's 2001 also strikingly exemplify certain formal structures and themes of fascist art.) And, of course, features of fascist art proliferate in the official art of communist countries—which always presents itself under the banner of realism, while fascist art scorns realism in the name of "idealism." The tastes for the monumental and for mass obeisance to the hero are common to both fascist and communist art, reflecting the view of all totalitarian regimes that art has the function of "immortalizing" its leaders and doctrines. The rendering of movement in grandiose and rigid patterns is another element in common, for such choreography rehearses the very unity of the polity. The masses are made to take form, be design. Hence mass athletic demonstrations, a choreographed display of bodies, are a valued activity in all totalitarian countries; and the art of the gymnast, so popular now in Eastern Europe, also evokes recurrent features of fascist aesthetics; the holding in or confining of force; military precision.

>>11626715

Read this idiot.
>>11626719
>This, whites gaining an identity is a self defensive reaction to a non white existential threat.

>>11626679
>Black Lies Matter.

It not about our fucking egos moron, we even admit Ashkenazi Jews and East Asians are more intelligent than us.

We need to find the correct stats to stop the dangerous lies that come out of the left such as the Black Lives Matter Movement, Gender pay gap and general anti white male rhetoric.

Get your head, out, of, your, ass.

>>11626711
>inspo

>>11626737
nobody cares, this is a fashion board. fashy fashion or please proceed to fuck off.

>>11626737
off topic
discuss fashion or leave

>>11626743
>>inspo

Oh my god

>>11626753
>>>inspo

Are facial scars a must have for fashist fashion?

Not a nazi in any way (I'm a Christian conservative) but keep it going, this is top tier shit

>>11626757
>>>>inspo

How are jeans for a fashy look?

>>11626760

No, but they're an extra if you're a member of a fraternity that does a mensur from time to time.

>>11626764
>>>>>inspo

What is the color palette for the /fa/shy look?

>black
>olive
>burgundy
>brown
?????

>>11626792
>wine red
>gray
>navy blue

>>11626735
In both fascist and communist politics, the will is staged publicly, in the drama of the leader and the chorus. What is interesting about the relation between politics and art under National Socialism is not that art was subordinated to political needs, for this is true of dictatorships both of the right and of the left, but that politics appropriated the rhetoric of art—art in its late romantic phase. (Politics is "the highest and most comprehensive art there is," Goebbels said in 1933, "and we who shape modern German policy feel ourselves to be artists . . . the task of art and the artist [being] to form, to give shape, to remove the diseased and create freedom for the healthy.") What is interesting about art under National Socialism are those features which make it a special variant of totalitarian art. The official art of countries like the Soviet Union and China aims to expound and reinforce a utopian morality. Fascist art displays a utopian aesthetics—that of physical perfection. Painters and sculptors under the Nazis often depicted the nude, but they were forbidden to show any bodily imperfections. Their nudes look like pictures in physique magazines: pinups which are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy. Riefenstahl's promotion of the beautiful and the healthy, it must be said, is much more sophisticated than this; and never witless, as it is in other Nazi visual art. She appreciates a range of bodily types—in matters of beauty she is not racist—and in Olympia she does show some effort and strain, with its attendant imperfections, as well as stylized, seemingly effortless exertions (such as diving, in the most admired sequence of the film).

>>11626811

effay

>>11626809
In contrast to the asexual chasteness of official communist art, Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community. The erotic (that is, women) is always present as a temptation, with the most admirable response being a heroic repression of the sexual impulse. Thus Riefenstahl explains why Nuba marriages, in contrast to their splendid funerals, involve no ceremonies or feasts.
---
A Nuba man's greatest desire is not union with a woman but to be a good wrestler, thereby affirming the principle of abstemiousness. The Nuba dance ceremonies are not sensual occasions but rather "festivals of chastity"—of containment of the life force.
---
Fascist aesthetics is based on the containment of vital forces; movements are confined, held tight, held in.

>>11626217
>m-m-muh reddot /streetwear

>>11626612
>Asians better than whites in all categories
KEK

>>11626818
Nazi art is reactionary, defiantly outside the century's mainstream of achievement in the arts. But just for this reason it has been gaining a place in contemporary taste. Thorak: Atlas at Rockefeller CenterThe left-wing organizers of a current exhibition of Nazi painting and sculpture (the first since the war) in Frankfurt have found, to their dismay, the attendance excessively large and hardly as serious-minded as they had hoped. Even when flanked by didactic admonitions from Brecht and by concentration-camp photographs, what Nazi art reminds these crowds of is—other art of the 1930s, notably Art Deco.(Art Nouveau could never be a fascist style; it is, rather, the prototype of that art which fascism defines as decadent; the fascist style at its best is Art Deco, with its sharp lines and blunt massing of material, its petrified eroticism.) The same aesthetic responsible for the bronze colossi of Arno Breker—Hitler's (and, briefly, Cocteau's) favorite sculptor—and of Josef Thorak also produced the muscle-bound Atlas in front of Manhattan's Rockefeller Center and the faintly lewd monument to the fallen doughboys, of World War I in Philadelphia's Thirtieth Street railroad station.

>>11626822

East Asians are pretty brilliant in a lot of ways, white still invented everything though.

>>11626475
numale detected

did i do it at least somewhat right?

>>11626826
To an unsophisticated public in Germany, the appeal of Nazi art may have been that it was simple, figurative, emotional; not intellectual; a relief from the demanding complexities of modernist art. To a more sophisticated public, the appeal is partly to that avidity which is now bent on retrieving all the styles of the past, especially the most pilloried. But a revival of Nazi art, following the revivals of Art Nouveau, Pre-Raphaelite painting, and Art Deco, is most unlikely. The painting and sculpture are not just sententious; they are astonishingly meager as art. But precisely these qualities invite people to look at Nazi art with knowing and sniggering detachment, as a form of Pop Art.

Riefenstahl's work is free of the amateurism and naïveté one finds in other art produced in the Nazi era, but it still promotes many of the same values. And the same very modern sensibility can appreciate her as well. The ironies of pop sophistication make for a way of looking at Riefenstahl's work in which not only its formal beauty but its political fervor are viewed as a form of aesthetic excess. And alongside this detached appreciation of Riefenstahl is a response, whether conscious or unconscious, to the subject itself, which gives her work its power.

>>11626822

And white women are the most beautiful. (Especially Aryan)

>>11626819
>>11626822
>>11626829
>>11626830
off topic
discuss fashion or leave

is commando sweater polfagcore?

>>11626832
More slav than fashy.

creased pants and a mid rise shoe would be better.

>>11626833
Triumph of the Will and Olympia are undoubtedly superb films (they may be the two greatest documentaries ever made), but they are not really important in the history of cinema as an art form. Nobody making films today alludes to Riefenstahl, while many filmmakers (including myself) regard Dziga Vertov as an inexhaustible provocation and source of ideas about film language. Yet it is arguable that Vertov—the most important figure in documentary films—never made a film as purely effective and thrilling as Triumph of the Will or Olympia. (Of course, Vertov never had the means at his disposal that Riefenstahl bad. The Soviet government's budget for propaganda films in the 1920s and early 1930s was less than lavish.)

In dealing with propagandistic art on the left and on the right, a double standard prevails. Few people would admit that the manipulation of emotion in Vertov's later films and in Riefenstahl's provides similar kinds of exhilaration. When explaining why they are moved, most people are sentimental in the case of Vertov and dishonest in the case of Riefenstahl. Thus Vertov's work evokes a good deal of moral sympathy on the part of his cinéphile audiences all over the world; people consent to be moved. With Riefenstahl's work, the trick is to filter out the noxious political ideology of her films, leaving only their "aesthetic" merits. Praise of Vertov's films always presupposes the knowledge that he was an attractive person and an intelligent and original artist-thinker, eventually crushed by the dictatorship which he served. And most of the contemporary audience for Vertov (as for Eisenstein and Pudovkin) assumes that the film propagandists in the early years of the Soviet Union were illustrating a noble ideal, however much it was betrayed in practice. But praise of Riefenstahl has no such recourse, since nobody, not even her rehabilitators, has managed to make Riefenstahl seem even likable; and she is no thinker at all.

>>11626648
>implying being to the left at all is fashionable

this picture represents your ideal woman, as a "streetwear", high estrogen, socially crippled, anxious, shut in internet addict numale

>>11626850
More important, it is generally thought that National Socialism stands only for brutishness and terror. But this is not true. National Socialism—more broadly, fascism—also stands for an ideal or rather ideals that are persistent today under the other banners: the ideal of life as art, the cult of beauty, the fetishism of courage, the dissolution of alienation in ecstatic feelings of community; the repudiation of the intellect; the family of man (under the parenthood of leaders). These ideals are vivid and moving to many people, and it is dishonest as well as tautological to say that one is affected by Triumph of the Will and Olympia only because they were made by a filmmaker of genius. Riefenstahl's films are still effective because, among other reasons, their longings are still felt, because their content is a romantic ideal to which many continue to be attached and which is expressed in such diverse modes of cultural dissidence and propaganda for new forms of community as the youth/rock culture, primal therapy, anti-psychiatry, Third World camp-following, and belief in the occult. The exaltation of community does not preclude the search for absolute leadership; on the contrary, it may inevitably lead to it. (Not surprisingly, a fair number of the young people now prostrating themselves before gurus and submitting to the most grotesquely autocratic discipline are former anti-authoritarians and anti-elitists of the 1960s.)

>>11626869
Riefenstahl's current de-Nazification and vindication as indomitable priestess of the beautiful—as a filmmaker and, now, as a photographer—do not augur well for the keenness of current abilities to detect the fascist longings in our midst. Riefenstahl is hardly the usual sort of aesthete or anthropological romantic. The force of her work being precisely in the continuity of its political and aesthetic ideas, what is interesting is that this was once seen so much more clearly than it seems to be now, when people claim to be drawn to Riefenstahl's images for their beauty of composition. Without a historical perspective, such connoisseurship prepares the way for a curiously absentminded acceptance of propaganda for all sorts of destructive feelings—feelings whose implications people are refusing to take seriously. Somewhere, of course, everyone knows that more than beauty is at stake in art like Riefenstahl's. And so people hedge their bets—admiring this kind of art, for its undoubted beauty, and patronizing it, for its sanctimonious promotion of the beautiful. Backing up the solemn choosy formalist appreciations lies a larger reserve of appreciation, the sensibility of camp, which is unfettered by the scruples of high seriousness: and the modern sensibility relies on continuing trade-offs between the formalist approach and camp taste.

Is Dubstep /fa/shy?

https://www.youtube.com/watch?v=KnMFIeDhT5Y

>>11626872
Art which evokes the themes of fascist aesthetic is popular now, and for most people it is probably no more than a variant of camp. Fascism may be merely fashionable, and perhaps fashion with its irrepressible promiscuity of taste will save us. But the judgments of taste themselves seem less innocent. Art that seemed eminently worth defending ten years ago, as a minority or adversary taste, no longer seems defensible today, because the ethical and cultural issues it raises have become serious, even dangerous, in a way they were not then. The hard truth is that what may be acceptable in elite culture may not be acceptable in mass culture, that tastes which pose only innocuous ethical issues as the property of a minority become corrupting when they become more established. Taste is context, and the context has changed.

>>11626877
some more pictures, and then it is time to say goodbye. Let's see if this thread can endure or not.

>>11626882

>>11626875
>Is Dubstep /fa/shy?

Some of it is, definitely.

https://www.youtube.com/watch?v=Kf7COT3VU3s

>>11626887

https://www.youtube.com/watch?v=UNkNxrN43A8
https://www.youtube.com/watch?v=iISzXKEDH8o

essentially the /fa/shy is a clean, high testosterone, outgoing, strong, confident man, with a very active social life, strong convictions, and at most, 2 hours a week of internet use.

this is juxtaposed to someone "into fashion", typically an estrogen laden, invisible fedora donning, brainwashed by liberal ideals degenerate, typically addicted to digital media, porn sites like blacked.com, typically hanging out on instagram and reddi t, typically inundated with severe social anxiety and insecurity issues, and always highly critical of others to deflect their subconscious criticism of themselves. known to wear things like "slackercore" and other 90s nostalgia outfits, "streetwear", rick owens, "dad caps", have long or medium length hair, often on a "bun" or " young leo". Almost always overwhelmed with insecurity of if consumption habits (musical tastes etc) form a "fashionable" lifestyle

>>11626826
Nazi paintings are not fashion related. Discuss garments, not a history on fascist regimes film, painting, and literature. While related to aesthetic, they are objectively unrelated to fashion.

Talk about fashion or leave.

>>11626875
>Is Dubstep /fa/shy?

Source direct are /fa/shy.

https://www.youtube.com/watch?v=YRn-y3xOt1I

>>11626925
/fa/ is /aesthetic/ you mong
Fuck off back to your mum's womb and say this shit so she'll fall over and die

Compiling some things people have talked about that is useful, feel free to add or critique

colors
>black
>olive
>burgundy
>brown
>wine red
>gray
>navy
>white
>scarlet

smart, military-inspired, minimal, masculine, uniform yet subversive.

Short, well-kept hair is a must. Undercut, buzzcut, caesar, etc.
I personally think young leo is a longer style that is an exception to this rule.

/fa/shy /Nordic/ Inspo.

Fashion is fascist.

Which may explain why this is currently the best thread on the board.

>>11626932

Good summation desu.

>>11626931
I'd say that political beliefs and fucking 1939s German paintings/silent films hold as much value of discussion on a fashion board, you low intelligence pariah. Maybe you'd understand more if you weren't on the internet 19 hours a day. You should probably guzzle antifreeze, because honestly, nobody would notice or care.

>>11626934

>>11626875
>>11626889
>>11626927

I have often thought a lot of electronic artists were channeling /fa/scism.

>>11626963
>still can't understand that /fa/ isn't just fashion, it's /aesthetic/'s in music, art, design et al
If I had one wish i'd that I had unlimited wishes so I could wish for you to die once every day

>>11626963
>I'd say that political beliefs and fucking 1939s German paintings/silent films hold as much value of discussion on a fashion board,

I disagree desu, anyone who is deeply into fashion knows that you can draw inspiration from other aesthetic things.

>>11626932
I want to add some more things about etiquette, since we are discussing an aesthetic rooted in political ideology.

/fa/sh threads should NOT be for political discussion of ANY kind.
If someone enters the thread to shitpost, ignore them.
If someone engages a shitposter, tell them to discuss fashion or leave.
History and art are acceptable topics, as long as it doesn't devolve into partisan shitflinging or holocaust revisionism.

>>11626965

>>11626962

>Prussians
>In my Bavaria

GET OUT REEE

>>11626978
>too frightened and weak minded to understand that philosophy and sociopolitical views on the irrefutable superiority of the white male to all others on earth is equally important, if not vastly moreso, to aesthetics than a random book by someone who happened to live in Germany and agree with Hitler without being directly involved in the party.

Please, go to Detroit or Chicago unarmed and alone, and start shouting "nigger" at groups of negroid youths

>>11626995
Uh you what mate, i'm on your side
Re-read the little discussion i'm having with that bleb
Fun fact - I voted UKIP

>>11626973
because you're plebs who think authoritarian aesthetic = fascism.

Cold-war era electronic artists (and the contemporary artists jacking them) were inspired by Stalinism, marxist minimalism, and USSR brutalism. Literally the opposite of nazi-worship.

>>11626987

Agreed.

>>11627004
Go cry somewhere else you leftist cuck

>>11627004
>USSR brutalism.

Most Commie aesthetic is trash though, The /fa/scists worshiped beauty and form, the commies are all about relativism and ugliness.

inspo

>>11627009
Im deeply sorry I triggered you, thanks for the (you) though

What do you think about this shirt jacket? Is it too streetwear?

>>11627017
>mfw xe thinks xe can trigger me

>>11627024
>xe

>>11627027

Every member of one of these deeply German nationalist fraternities I've met so far was a babyfaced virgin

I respect holding up your traditions, but they're a mess

inspo

>>11627039
Yes, they are filled with losers nowadays. But nothing of value lost, the scars were the only thing cool about them anyway...

>>11627004
Actually, you're quite mistaken; some of the best "Cold-war era electronic artists" were directly inspired by, and riffing off of, Third Reich aesthetics and facsist/far right philosophy.

How do you feel about stuff like this? traditional pieces with interesting designs I guess.

>>11626672
I'd love to have threads like these all the time. It would be a place to call home

Is anyone here familiar with that German youth ecology movement from the early 20th century? I can't recall their name, but I've seen a few intriguing old photos of their gatherings. They had a thoroughly, thoroughly green mindset, the same as the original Nazis and the modern far right, a'la Penti Linkola, etc. Anyway, whatever they were called, fashion seemed extremely important to them also. In the photos I've seen they had a really fetching, lovable medieval aesthetic, which I guess eventually degenerated into the hippie caveman aesthetic.

>>11627073

Same desu.

>>11627073
Me too.

>>11627085
Are you talking about "Kraft durch Freude"?

One of the best inspiration threads on /fa/, good job.

>>11627013
those painting were bad though. open your eyes maybe and you can see the unintentionally fucked perspective

>>11627103
I'm not sure. They were young people who experimented with vegetarianism and free-love and Germanic patriotism. They seemed to travel or hang out in ancient, ruined castles, and idyllic nature spots. Apparently Hitler had an interest in them, at least in his youth.

I'm interested in their medievalism.

>>11626858
> high estrogen

do you even know what estrogen is nigga

>>11627126

still betr than the blue one tho desu

>>11627146
the two paintings have nothing to do with each-other, why would you compare? you must be the kind of guy that comments under music videos you dont like

>>11627093
>>11627101
trying to whip up a copypasta for a /fa/sh general right now

>>11627085
>>11627130
sounds effay as fuk

>>11627154

>>11627130
Well "Turnvater" Jahn started a gymnast movement in the 19th century. People started to excercise their bodies and sport clubs popped up all over the country. Nationalism was also a bit part of their ideology.

What about shoes?

>>11627109
this

>>11627217

>>11627085
Lebensreform?

II

SS Regalia by Jack PiaSecond Exhibit. Here is a book to be purchased at airport magazine stands and in "adult" bookstores, a relatively cheap paperback, not an expensive coffee-table item appealing to art lovers and the bien-pensant like The Last of the Nuba. Yet both books share a certain community of moral origin, a root preoccupation: the same preoccupation at different stages of evolution-the ideas that animate The Last of the Nuba being less out of the moral closet than the cruder, more efficient idea that lies behind SS Regalia. Though SS Regalia is a respectable British-made compilation (with a three-page historical preface and notes in the back), one knows that its appeal is not scholarly but sexual. The cover already makes that clear. Across the large black swastika of an SS armband is a diagonal yellow stripe which reads "Over 100 Brilliant Four-Color Photographs Only $2.95," exactly as a sticker with the price on it used to be affixed—part tease, part deference to censorship—on the cover of pornographic magazines, over the model's genitalia.

>>11627281

>>11627281
There is a general fantasy about uniforms. They suggest community, order, identity (through ranks, badges, medals, things which declare who the wearer is and what he has done: his worth is recognized), competence, legitimate authority, the legitimate exercise of violence. But uniforms are not the same thing as photographs of uniforms—which are erotic materials and photographs of SS uniforms are the units of a particularly powerful and widespread sexual fantasy. Why the SS? Because the SS was the ideal incarnation of fascism's overt assertion of the righteousness of violence, the right to have total power over others and to treat them as absolutely inferior. It was in the SS that this assertion seemed most complete, because they acted it out in a singularly brutal and efficient manner; and because they dramatized it by linking themselves to certain aesthetic standards. The SS was designed as an elite military community that would be not only supremely violent but also supremely beautiful. (One is not likely to come across a book called "SA Regalia." The SA, whom the SS replaced, were not known for being any less brutal than their successors, but they have gone down in history as beefy, squat, beerhall types; mere brownshirts.)

>>11627085
Wandervogel?

>>11627289
SS uniforms were stylish, well-cut, with a touch (but not too much) of eccentricity. Compare the rather boring and not very well cut American army uniform: jacket, shirt, tie, pants, socks, and lace-up shoes—essentially civilian clothes no matter how bedecked with medals and badges. SS uniforms were tight, heavy, stiff and included gloves to confine the hands and boots that made legs and feet feel heavy, encased, obliging their wearer to stand up straight. As the back cover of SS Regalia explains:
---

"The uniform was black, a colour which had important overtones in Germany. On that, the SS wore a vast variety of decorations, symbols, badges to distinguish rank, from the collar runes to the death's-head. The appearance was both dramatic and menacing."
---

Olive Blazer
Black turtleneck
Slim black creased pants
Pic related boots

Good basic /fa/shy outfit?

>>11626735
You advertised it as "pol's guide to fa", not as "fascist aesthetics thread", so people telling you to keep "/pol/" anything in its containment board is perfectly valid

>>11627295
The cover's almost wistful come-on does not quite prepare one for the banality of most of the photographs. Along with those celebrated black uniforms, SS troopers were issued almost American-army-looking khaki uniforms and camouflage ponchos and jackets. And besides the photographs of uniforms, there are pages of collar patches, cuff bands, chevrons, belt buckles, commemorative badges, regimental standards, trumpet banners, field caps, service medals, shoulder flashes, permits, passes-few of which bear either the notorious runes or the death's-head; all meticulously identified by rank, unit, and year and season of issue. Precisely the innocuousness of practically all of the photographs testifies to the power of the image: one is handling the breviary of a sexual fantasy. For fantasy to have depth, it must have detail. What, for example, was the color of the travel permit an SS sergeant would have needed to get from Trier to Lübeck in the spring of 1944? One needs all the documentary evidence.

>>11627303
If the message of fascism has been neutralized by an aesthetic view of life, its trappings have been sexualized. This eroticization of fascism can be remarked in such enthralling and devout manifestations as Mishima's Confessions of a Mask and Sun and Steel, and in films like Kenneth Anger's Scorpio Rising and far less interestingly, in Visconti's The Damned and Cavani's The Night Porter.

guys i know its more /mu/ related, but dreampop will go with fashy aesthetic imo

>>11627329
The solemn eroticizing of fascism must be distinguished from a sophisticated playing with cultural horror, where there is an element of the put-on. The poster Robert Morris made for his recent show at the Castelli Gallery is a photograph of the artist, naked to the waist, wearing dark glasses, what appears to be a Nazi helmet, and a spiked steel collar, attached to which is a stout chain which he holds in his manacled, uplifted hands. Morris is said to have considered this to be the only image that still has any power to shock: a singular virtue to those who take for granted that art is a sequence of ever-fresh gestures of provocation. But the point of the poster is its own negation. Shocking people in the context also means inuring them, as Nazi material enters the vast repertory of popular iconography usable for the ironic commentaries of Pop Art. Still, Nazism fascinates in a way other iconography staked out by the pop sensibility (from Mao Tse-tung to Marilyn Monroe) does not. No doubt, some part of the general rise of interest in fascism can be set down as a product of curiosity. For those born after the early 1940s, bludgeoned by a lifetime's palaver, pro and con, about communism, it is fascism—the great conversation piece of their parents' generation—which represents the exotic, the unknown. Then there is a general fascination among the young with horror, with the irrational. Courses dealing with the history of fascism are, along with those on the occult (including vampirism), among the best attended these days on college campuses. And beyond this the definitely sexual lure of fascism, which SS Regalia testifies to with unabashed plainness, seems impervious to deflation by irony or over-familiarity.

Offizier Ronald Schwansohn

Pile of knoch fits from milspo

>>11626290
Damn this looks really good, is Dior the new Hugo?

idk if this is /fa/shy but I like the colors

more knoch

The goat nazi fits

Can leather jackets be a part of the /fa/sh aesthetic?

>>11627344
In pornographic literature, films, and gadgetry throughout the world, especially in the United States, England, France, Japan, Scandinavia, Holland, and Germany, the SS has become a referent of sexual adventurism. Much of the imagery of far-out sex has been placed under the sign of Nazism. Boots, leather, chains, Iron Crosses on gleaming torsos, swastikas, along with meat hooks and heavy motorcycles, have become the secret and most lucrative paraphernalia of eroticism. In the sex shops, the baths, the leather bars, the brothels, people are dragging out their gear. But why? Why has Nazi Germany, which was a sexually repressive society, become erotic? How could a regime which persecuted homosexuals become a gay turn-on?

A clue lies in the predilections of the fascist leaders themselves for sexual metaphors. Like Nietzsche and Wagner, Hitler regarded leadership as sexual mastery of the "feminine" masses, as rape. (The expression of the crowds in Triumph of the Will is one of ecstasy; the leader makes the crowd come.) Left-wing movements have tended to be unisex, and asexual in their imagery. Right-wing movements, however puritanical and repressive the realities they usher in, have an erotic surface. Certainly Nazism is "sexier" than communism (which is not to the Nazis' credit, but rather shows something of the nature and limits of the sexual imagination).

>>11627378
Of course, most people who are turned on by SS uniforms are not signifying approval of what the Nazis did, if indeed they have more than the sketchiest idea of what that might be. Nevertheless, there are powerful and growing currents of sexual feeling, those that generally go by the name of sadomasochism, which make playing at Nazism seem erotic. These sadomasochistic fantasies and practices are to be found among heterosexuals as well as homosexuals, although it is among male homosexuals that the eroticizing of Nazism is most visible. S-m, not swinging, is the big sexual secret of the last few years.

>>11627384
Between sadomasochism and fascism there is a natural link. "Fascism is theater," as Genet said.[5] As is sadomasochistic sexuality: to be involved in sadomasochism is to take part in a sexual theater, a staging of sexuality. Regulars of sadomasochistic sex are expert costumers and choreographers as well as performers, in a drama that is all the more exciting because it is forbidden to ordinary people. Sadomasochism is to sex what war is to civil life: the magnificent experience. (Riefenstahl put it: "What is purely realistic, slice of life, what is average, quotidian, doesn't interest me." As the social contract seems tame in comparison with war, so fucking and sucking come to seem merely nice, and therefore unexciting. The end to which all sexual experience tends, as Bataille insisted in a lifetime of writing, is defilement, blasphemy. To be "nice," as to be civilized, means being alienated from this savage experience—which is entirely staged.

>>11627357
>>11627367
Let's not kid ourselves here - he's a nu-male weakling that slurps the semen off of the ground in a darkroom at Berghain.

>>11627394
maybe true but it's a different source of milspo than old nazi photos. So far the only things really being posted are nazi photos and that one Dior line. If you have anything you want to post, definitely do.

>>11627389
Sadomasochism, of course, does not just mean people hurting their sexual partners, which has always occurred—and generally means men beating up women. The perennial drunken Russian peasant thrashing his wife is just doing something he feels like doing (because he is unhappy, oppressed, stupefied; and because women are handy victims). But the perennial Englishman in a brothel being whipped is re-creating an experience. He is paying a whore to act out a piece of theater with him, to reenact or reevoke the past—experiences of his schooldays or nursery which now hold for him a huge reserve of sexual energy. Today it may be the Nazi past that people invoke, in the theatricalization of sexuality, because it is those images (rather than memories) from which they hope a reserve of sexual energy can be tapped. What the French call "the English vice" could, however, be said to be something of an artful affirmation of individuality; the playlet referred, after all, to the subject's own case history. The fad for Nazi regalia indicates something quite different: a response to an oppressive freedom of choice in sex (and in other matters), to an unbearable degree of individuality; the rehearsal of enslavement rather than its reenactment.

>>11627417
The rituals of domination and enslavement being more and more practiced, the art that is more and more devoted to rendering their themes, are perhaps only a logical extension of an affluent society's tendency to turn every part of people's lives into a taste, a choice; to invite them to regard their very lives as a (life) style. In all societies up to now, sex has mostly been an activity (something to do, without thinking about it). But once sex becomes a taste, it is perhaps already on its way to becoming a self-conscious form of theater, which is what sadomasochism is about: a form of gratification that is both violent and indirect, very mental.

>>11626473
At least post something related to actual fashion

>>11627432
Sadomasochism has always been the furthest reach of the sexual experience: when sex becomes most purely sexual, that is, severed from personhood, from relationships, from love. It should not be surprising that it has become attached to Nazi symbolism in recent years. Never before was the relation of masters and slaves so consciously aestheticized. Sade had to make up his theater of punishment and delight from scratch, improvising the decor and costumes and blasphemous rites. Now there is a master scenario available to everyone. The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death.

(1974)

>>11626210
self identifying with /pol/ outside of /pol/ is the most autistic thing you can do on 4chan.

This thread doesn't have enough ethnic diversity. Don't worry, i'll help you out

>>11627470
there are asians in >>11627389

>>11627436

>>11627474
not enough

>>11627378

>>11627289

>>11627470
>>11627482
>>11627486
>>11627488
>>11627494
>being this mad

>muh feels
>muh identity

fuck off

the nazis were evil genicidal maniacs

>>11627344

>>11627496
mad? what gave you an indication of me being mad?

>

>>11627005
I just know how much you guys hate to even look at ethnics.

>2011+5
>being classcucked

I must say a lot of the shit ITT isn't really what I imagined /pol/-/fa/ would look like. You are essentially just putting a nazi-ish hint to established /fa/ memes like being twink skinny, overly slim clothing and meme haircuts (HY).

/polfa/ should be conservative aimed with well built bodies. I guess like workwear from the early 2010's but perhaps with less emphasis on earthy tones. Basically, just looking like a normie but with an edge.

>>11626850

>why are you a fascist?
>b-because t-the nazis had cool uniforms

>>11627535
well, the undercut is the hitler youth haircut, and it will stay that when the current fad is long forgotten.

as for the clothes, they are all tailored pieces, neatly pressed, well cut and slim fitting, much like uniforms. the colour schemes, the high collars worn all buttoned up, the belted look (taken from the army belt on which to hang flasks and pistols) on coats, suits and blazers, all elements that are stylish and fa/shy.

the look deviates from the preppy RINO look, the neo nazi skinhead, and the ultranationalist football hooligan styles.

>>11626375
How many chinagirls did they fuck? Must have been bizarre amounts.

>>11627531
I can tell you're black because you think the evil whiteys are obsessed with you guys but it's the other way around: you are obsessed with white people - I don't care about blacks at all.

>>11627564
quality post m80 adding to the pasta I'm creating.

>>11627553
>why are you a leftist?
>b-because I enjoy getting my head cut off by some guy who's still living in 600 AD

>>11627593
http://www.vice.com/read/fashions-forgotten-fascists

>>11627593
http://www.popmatters.com/review/fashion-under-fascism/

>>11626832
You look like a thug.
I'd defos cross to the other side of the road if I saw you approaching.
I'd probably call the fuzz on you too T.B.H.

>>11627587
Obsessed with white people? I find it particular that you claim your origin from /pol/, an established shitposting board for unpopular political opinions to be spread and celebrated. /pol/'s blatant racism is shown with the constant info-graphics being posted 24/7.


The anonymous internet is the only place to post these views because, anonymous posting is the only thing able to sustain such ludicrious positions.

>>11627587
>I don't care about blacks at all.
Well-off people don't have a reason to care for people whom you don't actually interact with. So you might see a news story of a black person or for any ethnicity for that matter, but your response is detatched if anything. Mainly because you're too rich to give a shit about anything not in your small influence circle-jerk of other rich roodypoo white guys.


Glad i could help hasten the image limit.

>>11627644
discuss fashion or leave

>>11627669
I'm good. /pol/ shit posts every single other board on 4chan. I'm just returning the favor.

>REEEEEEEEEEEEEEE
>SHILL
>TRUMP GOAT
>KEK IS SUPREME


I also am doing this out of pure hatred for isolated communities of aristocracy.
>non culturally-enriched, rich elitist 'western' white cookie cutter fashion

So if i find your thread again, i'll be spamming it. Take /pol/, to /pol/ and discuss it there. In all facets.

>>11627684
But we aren't saying any of those things. We are trying to discuss a specific, fashion-related subject. You are actually the one whose behavior is ridiculous and out of line, but I would never expect a leftist to be self-aware, so I am not surprised.

>>11627698
Who said i'm a fucking leftist? You imbecile.

NAZI PUNKS FUCK OFF

>>11627703
Whatever you believe in, discuss fashion or leave.

>>11627698
Elitist fashion is not real fashion. What this thread is composed of, is elitist fashion. It's kind of what facism implies of it's ruling class.

>>11627712
Let the 16 year old mong spout his bullshit, we hit the image limit so the thread is over anyway

>>11627719
Should I start a new one?

>>11627714
so you are implying that anything above h&m, zara and gap tier is not 'real fashion'?

fashion as seen in editorials, on runways, and in advertisments always presents an ideal to aspire to. it is elitist because try as you might, you will likely never look like model nor be able to make the lifestyle suggested by the pictures are reality in your life.

propaganda rules /fa/.

>>11627729
Idk. I ran out of pictures.

>>11627531
Not bad.

>>11627739
I'll start one tonight if someone hasn't already. I made a copypasta out of some of the posts here if anyone would like it for new threads

>>11627737
having nicely cut fabrics is not what im talking about. That, having form fitting clothing, is what entry-level fashion is. Your high class nazi core is what is not fashion. It's like goth-punk. A uniform to conform into a single identity. Which is fucking lame.

>>11626210
fuck off lol this is the cringiest shit I've seen in a long time

>>11626214
If you wear this in the streets all my friends and I would laugh at you and point and embarrass you publicly

>>11627775
Thanks anon! Excited to see this become a thing.

>>11627512
>1443926427401
the assault on data in one pic

>>11626858
what the fuc is this

>>11627433
It is related, she displays the Volkisch female look. Haircut clothes etc

>>11627023
maharishi is pretty fashy imo

>Dior

holy shit
anyone ever copped one of their linen (button-up) shirts?

This thread.

>autism-cosplaycore
>spergwave

>>11627057
this is my fav nazi photo