And as with every ethnicity, East Asian beauty standards are also diverse. US-Korean model Dae Na says: "When I first started there was a handful of Asian models but now you see multiples. Exponentially, it just kind of grew as the industry geared more towards Asian buyers or [the] Asian market". With a large population of high-net-worth individuals in Asia, brands want to make models like Dae the face of their campaigns, to create a adidas sale connection with consumers.
And the conventional notion of the Mediterranean "tall, dark and handsome" type is still in demand, despite growing diversity. The phrase came to use in Europe in the early 1900s, and then was commonly used in Hollywood during the 1920s to describe Italian star Rudolph Valentino. It has remained a frequently used idiom, although the exact meaning and inference adidas continental of "tall, dark and handsome" is now more closely scrutinised and debated. Anthropologist Shafee Hassan tells BBC Culture: "Mediterranean men have a huge advantage in having dark eyebrows and dark facial hair. You can grow a full beard& dark hair is associated with virility". Beautiful by these standards is Italian actor Michele Morrone. From Puglia, Southern Italy, he was working until last year as a gardener in Rome and auditioning for acting roles. His life changed overnight when he was cast as the lead in Netflix film 365 Days, which became one of the most-watched films on the platform of 2020. He plays the smouldering Mafia boss Massimo, a figure of fantasy for his many fans.
Parties are often ripe territory for adidas cloudfoam failure. Amid the dancing and the talking and the new encounters, there can lie within you a great, dark pool of apprehension about all the possible ways in which the evening could go wrong. You could arrive at an incorrect time and not know what to say or where to place yourself. You could drink too much. You could say too little. Perhaps you are the kind of person who falls silent and retreats inwards at such events, watching everyone else laugh and glide around with an ease you desperately envy. You may realise at some point, or try not to realise, that you are at the bottom of the social pecking order, your presence yielding more pity than pleasure. You might even have made everything worse by turning up wearing the wrong kind of dress, all hope for a night of fairytale glamour dashed the minute you entered the room and noted the dissonance between your outfit and everyone else's.
Much of the pain and deflation detailed here by Woolf lies in the gulf between the private pleasure of a garment and its public reception. How many of us have looked at ourselves in the mirror at home and felt delighted by a new outfit, only to have that joy punctured when we realise we are underdressed, overdressed, or somehow out of step with everyone else at an event? The feelings that result from these apparent 'fashion disasters' are awful and intimate: at once speaking to some of the deepest fears we hold about ourselves, and a symptom of the changing messages around adidas running shoes what (and who) is considered fashionable and beautiful.
A very particular fashion humiliation is experienced by the unnamed protagonist of Daphne du Maurier's Rebecca (1938) when she hosts her first costume ball at Manderley: the imposing country home she has become the timid mistress of after marrying Max de Winter. Every room retains traces of her husband's dead first wife Rebecca, the wardrobes still full of her stylish clothes. This new wife is even tricked into copying one of Rebecca's outfits, encouraged by conniving housekeeper Mrs Danvers into using a portrait of one of her husband's relatives as outfit inspiration for the ball.