{"id":15492,"date":"2014-09-01T17:12:33","date_gmt":"2014-09-01T16:12:33","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=15492"},"modified":"2014-09-01T17:12:33","modified_gmt":"2014-09-01T16:12:33","slug":"come-undone-2","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=15492","title":{"rendered":"Come Undone"},"content":{"rendered":"

\"JAC_2699\"<\/a><\/p>\n

\u00a0\u201cLike life the clothes I wear tend to be a tad frayed around the edges\u2019 .\u00a0Jonathan Faiers writes about dysfunctional fashion from Tudor trend for slashed fabrics to hard times ripped denims featuring Comme des Garcons, Vivienne Westwood and Martin Margiela.\u201d<\/strong><\/p>\n

– Iain R. Webb<\/em>.<\/p>\n

Cinematic clothing gets treated very badly. Acts of slashing, ripping, slitting and tearing litter the screen with a feast of bloodied flesh glimpsed through torn fashion and wardrobes full of tattered silks and ragged tweeds. Throughout the history of film the seductive sounds of textile destruction herald acts of fury, revenge and amorous possibility, while as Roland Barthes suggested where the garment gapes, is where clothing is most erotic; the intermittence of skin flashing between two edges irresistibly seductive. The scene where Audrey Hepburn rips open the back of Cary Grant\u2019s shirt in Charade capitalises on the already powerful human desire to destroy, by offering us a better view of his lacerated back while Audrey, softly smiling, relishes in her moment of sartorial destruction. Grant\u2019s recently deconstructed shirting brings to mind an almost identical version of lacerated linen, modelled some ten years earlier by Tom Ewell in The Seven Year Itch a fantastic fashion show of his own imagining, possibly the result of his having the shirt literally torn from his back by his over amorous secretary, but as it turns out is in fact the product of careless dry cleaning.<\/p>\n

The erotic charge of the cinematic rip is matched elsewhere by its ability to express unbridled or calculated revenge. Clint Eastwood learns just how much he needs to regret spending the night with his crazed admirer in Play Misty for Me when, on returning home, he finds his entire wardrobe reduced to shreds, the result of his rejected one night stand\u2019s handiwork with scissors and knife. Doubly shocking is the revelation of Olivia de Havilland\u2019s sliced chiffon and sequins in \u2018Hush\u2026 Hush,\u00a0 Sweet Charlotte\u2019 for even though she voices our shock as she declares: \u2018My dress\u2026someone\u2019s slashed my dress!\u2019 we learn later that it is she herself who has carried out this act of fashionable mutilation in an attempt to put the blame on her poor deranged cousin Bette Davis, a case of the slasher slashed perhaps?<\/p>\n

If cinema has a tendency to emphasise the erotic and criminal aspects of torn clothing, when fashion turns to slashes and tears these \u2018faults\u2019 are often accompanied by a heightened sense of transgression, breaking sartorial rules of good grooming and perfection. The mere suggestion of damage, the simulation, in fact of imperfection is enough to make a garment such as Schiaparelli\u2019s celebrated \u2018tear\u2019 dress, from her 1938\u00a0Circus\u00a0collection, a defining moment in fashion\u2019s inexorable march towards what we might today understand as deconstruction.<\/p>\n

Salvador Dali\u2019s representation of tears defiling the otherwise perfect surface of her immaculate silk cr\u00eape gown taught the style conscious that flaws can be fabulous; her wilful incisions into the perfectly regulated world of couture resulted in shock-factor chic that retains its power today, even when concepts such as the distressed and decayed have long become essential terms in the lexicon of style. Schiaparelli was, however, only revisiting and as it turned out predicting, what can be understood as fashion\u2019s abiding infatuation with sophisticated sabotage and the wilful destruction of its orderly surfaces.<\/p>\n

Elsa\u2019s interrogation of the seamless perfection of fashion of course bore the most abundant fruit in the scissor-happy hands of the Belgian deconstructionists whose wilful exposure of the raw edges of style literally turned our conception of fashion inside out, a moment which nearly 25 years later repeatedly enchants us with the beauty of degradation, the exposed seam and frayed hem. It is worth noting that this season\u2019s looks included Hussein Chalayan paying direct homage to this fabled moment of vestimentary vandalism ending his AW 2014 collection with a series of takes on the Schiaparelli\/Dali slashing, transforming their printed tears into the real deal, his lacerated organza exposing the structural threads of fashion.<\/p>\n

For the fashion conscious man about town in the 1530s the only doublet to be seen in was a slashed one, so slashed in fact that it took precision sewing to stop it falling to pieces. Whether this trend was a fashionable indication of the wearer\u2019s familiarity with the sharp end of a rapier and his prowess as a swordsman, or whether it was an example of conspicuous consumption, advertising to all that here was someone who could afford to have his costly outfits intentionally destroyed, or perhaps simply as a way of showing off the quality of linen worn underneath, a sort of everyday striptease, it remains a craze that still divides fashion theorists and historians alike. Whatever may have been the reason for this early example of deconstructed fashion, its legacy has borne fruit in more recent fashion history, with Vivienne Westwood its most ardent admirer, think of her\u00a0Cut, Slash and Pull\u00a0collection of 1991, or any amount of stonewashed, ripped to ribbons denim covering (almost) the backs and thighs of late 20th century versions of these Renaissance fashion victims.<\/p>\n

Whether, Renaissance, Belgian, Schiaparelli\u2019s or Westwood\u2019s tears and holes are the perfectly fashionable expression of the desire to undermine rational order, to revel in the unexpected and the inappropriate and this political impulse gives fashion\u2019s continued affinity with the deconstructed its relevance. These ragged and ripped clothes remind us that however seamless the creation, production, marketing and consumption of fashion becomes, it always hovers on a state of collapse and disintegration, after all fashion\u2019s ever changing looks are only possible if the previous season\u2019s are destroyed.<\/p>\n

Rei Kawakubo celebrated this state of perpetual and imminent disaster with her notorious \u2018lace\u2019 sweater of 1982. Knitwear with its potential for disintegration (what is knitwear but an act of faith where a series of holes are organised by a length of yarn that is always on the brink of unravelling?) became the perfect example of Kawakubo\u2019s \u2018difficult\u2019 1980s conceptual fashion.\u00a0Instructing her knitters to loosen some of the screws on their machines so that \u2018they can\u2019t do exactly as they are supposed to\u2019 Kawakubo created random and potentially catastrophic holes in the \u2018finished\u2019 sweater, prompting her to confess \u2018I like it when something is not\u00a0perfect\u2019. That was 1982 of course, but it appears that the incomplete, the torn, the frayed, the patched is with us once again, not least from Kawakubo herself when she reprised her holey knits, albeit somewhat less dilapidated and formless, accompanied by similarly \u2018perforated\u2019 jackets for her fall 2014 menswear collection.<\/p>\n

Even that most perfectly finished of labels; Chanel (Coco\u2019s or Karl\u2019s) has long understood the beauty of the dishevelled and that an exquisitely woven tweed suit never seems more alluring than when its hems end in tatters. Not content with a stylish soup\u00e7on of fraying Mr Lagerfeld, in the guise of a modern day renaissance \u2018slasher\u2019, for his AW 2014 collection sent his models out in holey suits and matching tights and pastel dresses reduced to tattered swatches of chiffon reminding us once again that the ripped and torn remains one of fashion\u2019s greatest surprise tactics, a startling reminder of its desire to find fault with perfection.<\/p>\n

Dr. Jonathan Faiers is Reader in Fashion Theory at Winchester School of Art. His most recent book\u00a0Dressing Dangerously: Dysfunctional Fashion in Film\u00a0is published by Yale University Press and he is the editor of the forthcoming journal\u00a0Luxury: History, Culture, Consumption<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u201cLike life the clothes I wear tend to be a tad frayed around the edges\u2019 .\u00a0Jonathan Faiers writes about dysfunctional…<\/p>\n","protected":false},"author":1,"featured_media":15483,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[5],"tags":[3639,1604,31,1574,6453,6451,6452],"features_issues":[],"featured_themes":[],"ppma_author":[16671],"class_list":["post-15492","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fashion","tag-cent-magazine","tag-cinema","tag-fashion-2","tag-film","tag-iain-r-webb","tag-past-issues","tag-patchwork-issue"],"yoast_head":"\nCome Undone | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Come Undone | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"\u00a0\u201cLike life the clothes I wear tend to be a tad frayed around the edges\u2019 .\u00a0Jonathan Faiers writes about dysfunctional...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/staging.centmagazine.co.uk\/?p=15492\" \/>\n<meta property=\"og:site_name\" content=\"Cent Magazine\" \/>\n<meta property=\"article:published_time\" content=\"2014-09-01T16:12:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1061\" \/>\n\t<meta property=\"og:image:height\" content=\"605\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Jo Phillips\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jo Phillips\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492\"},\"author\":{\"name\":\"Jo Phillips\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/person\\\/9b56d16b50b53f84b367add207eeec08\"},\"headline\":\"Come Undone\",\"datePublished\":\"2014-09-01T16:12:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492\"},\"wordCount\":1258,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/staging.centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2014\\\/09\\\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1\",\"keywords\":[\"Cent Magazine\",\"cinema\",\"fashion\",\"film\",\"iain r webb\",\"past issues\",\"patchwork issue\"],\"articleSection\":[\"Fashion\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492\",\"url\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492\",\"name\":\"Come Undone | Cent Magazine\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/staging.centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2014\\\/09\\\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1\",\"datePublished\":\"2014-09-01T16:12:33+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#primaryimage\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/staging.centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2014\\\/09\\\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/staging.centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2014\\\/09\\\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1\",\"width\":1061,\"height\":605},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=15492#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Come Undone\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#website\",\"url\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/\",\"name\":\"Cent Magazine\",\"description\":\"Be Inspired, Get Involved\",\"publisher\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#organization\",\"name\":\"Cent Magazine\",\"url\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2020\\\/02\\\/logo_cent-01.jpg?fit=501%2C503&ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/centmagazine.co.uk\\\/wp-content\\\/uploads\\\/2020\\\/02\\\/logo_cent-01.jpg?fit=501%2C503&ssl=1\",\"width\":501,\"height\":503,\"caption\":\"Cent Magazine\"},\"image\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/person\\\/9b56d16b50b53f84b367add207eeec08\",\"name\":\"Jo Phillips\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g61b8a432fec4616e37b325b299cffaad\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g\",\"caption\":\"Jo Phillips\"},\"sameAs\":[\"https:\\\/\\\/www.centmagazine.co.uk\"],\"url\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?author=1\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Come Undone | Cent Magazine","robots":{"index":"noindex","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"og_locale":"en_GB","og_type":"article","og_title":"Come Undone | Cent Magazine","og_description":"\u00a0\u201cLike life the clothes I wear tend to be a tad frayed around the edges\u2019 .\u00a0Jonathan Faiers writes about dysfunctional...","og_url":"https:\/\/staging.centmagazine.co.uk\/?p=15492","og_site_name":"Cent Magazine","article_published_time":"2014-09-01T16:12:33+00:00","og_image":[{"width":1061,"height":605,"url":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","type":"image\/png"}],"author":"Jo Phillips","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Jo Phillips","Estimated reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#article","isPartOf":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492"},"author":{"name":"Jo Phillips","@id":"https:\/\/staging.centmagazine.co.uk\/#\/schema\/person\/9b56d16b50b53f84b367add207eeec08"},"headline":"Come Undone","datePublished":"2014-09-01T16:12:33+00:00","mainEntityOfPage":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492"},"wordCount":1258,"commentCount":0,"publisher":{"@id":"https:\/\/staging.centmagazine.co.uk\/#organization"},"image":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","keywords":["Cent Magazine","cinema","fashion","film","iain r webb","past issues","patchwork issue"],"articleSection":["Fashion"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/staging.centmagazine.co.uk\/?p=15492#respond"]}]},{"@type":"WebPage","@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492","url":"https:\/\/staging.centmagazine.co.uk\/?p=15492","name":"Come Undone | Cent Magazine","isPartOf":{"@id":"https:\/\/staging.centmagazine.co.uk\/#website"},"primaryImageOfPage":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#primaryimage"},"image":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","datePublished":"2014-09-01T16:12:33+00:00","breadcrumb":{"@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/staging.centmagazine.co.uk\/?p=15492"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#primaryimage","url":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","contentUrl":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","width":1061,"height":605},{"@type":"BreadcrumbList","@id":"https:\/\/staging.centmagazine.co.uk\/?p=15492#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/staging.centmagazine.co.uk\/"},{"@type":"ListItem","position":2,"name":"Come Undone"}]},{"@type":"WebSite","@id":"https:\/\/staging.centmagazine.co.uk\/#website","url":"https:\/\/staging.centmagazine.co.uk\/","name":"Cent Magazine","description":"Be Inspired, Get Involved","publisher":{"@id":"https:\/\/staging.centmagazine.co.uk\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/staging.centmagazine.co.uk\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/staging.centmagazine.co.uk\/#organization","name":"Cent Magazine","url":"https:\/\/staging.centmagazine.co.uk\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/staging.centmagazine.co.uk\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/02\/logo_cent-01.jpg?fit=501%2C503&ssl=1","contentUrl":"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/02\/logo_cent-01.jpg?fit=501%2C503&ssl=1","width":501,"height":503,"caption":"Cent Magazine"},"image":{"@id":"https:\/\/staging.centmagazine.co.uk\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/staging.centmagazine.co.uk\/#\/schema\/person\/9b56d16b50b53f84b367add207eeec08","name":"Jo Phillips","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g61b8a432fec4616e37b325b299cffaad","url":"https:\/\/secure.gravatar.com\/avatar\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g","caption":"Jo Phillips"},"sameAs":["https:\/\/www.centmagazine.co.uk"],"url":"https:\/\/staging.centmagazine.co.uk\/?author=1"}]}},"jetpack_sharing_enabled":true,"authors":[{"term_id":16671,"user_id":1,"is_guest":0,"slug":"cmag","display_name":"Jo Phillips","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/1d6c7fd0ccf52c0e184d542356f4fb5282577ca25e9de20408aba5c67afca4eb?s=96&d=mm&r=g","author_category":"","first_name":"Jo","last_name":"Phillips","user_url":"https:\/\/www.centmagazine.co.uk","job_title":"","description":""}],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2014\/09\/Screen-Shot-2014-09-01-at-16.35.23.png?fit=1061%2C605&ssl=1","_links":{"self":[{"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/15492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15492"}],"version-history":[{"count":6,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/15492\/revisions"}],"predecessor-version":[{"id":15504,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/15492\/revisions\/15504"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=\/wp\/v2\/media\/15483"}],"wp:attachment":[{"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15492"},{"taxonomy":"features_issues","embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ffeatures_issues&post=15492"},{"taxonomy":"featured_themes","embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ffeatured_themes&post=15492"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/staging.centmagazine.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fppma_author&post=15492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}