Tuesday, February 21, 2012

Peter Saville on Avant Garde

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Monday, February 20, 2012

NY/LDN Fashion Week: The year that Blows







In one of the poorest Fashion Week's in history the shows so far have shown v.little promise (*except Levi's of course - outside of the high f realm so no need to mention really, but we're talking specifically womenswear fashion). London: Horrible. St Martins: Worst Year Ever. Acne managed to officially fall off - that took longer than most. Anyways, on to a brand I've never liked, but the only decent show so far: Proenza Schouler. Yes. Really. Even though it looks like old Balenciaga - just oversized.

Wednesday, February 15, 2012

McQueen S/S





A 16mm film by the acclaimed artist Catherine Sullivan, Kristin McMenamy stalks the darkly delicate world of the Alexander McQueen spring/summer collection – Sarah Burton’s third and most celebrated yet. Hooray. I interned with Sarah when I was 20 at McQueen and she is one of the nicest people in the industry - she so deserves all of her success.
The spring/summer 2012 issue of AnOther Magazine presents an exclusive Alexander McQueen special, with stills from Sullivan's film accompanying an intimate conversation between Burton and AnOther's fashion director Susannah Frankel.
Here we preview the article with an extract from their conversation:
“Yes, I feel 2011 has been great,” Burton says. “It’s been a very emotional time and it’s great to still be here, to still be successful.”
“The winter show was quite hard,” she says, “This one is about extreme femininity. It’s a celebration of women really, of extreme embellishment and how a woman’s clothes may almost become her. I wanted to focus on all the techniques, the embroideries, the pleating, the finish, in a slightly fetishistic way. She’s not a woman for a man. She’s definitely a woman for a woman. Some of the looks were masked, you couldn’t quite see her. That was very Lee in a way. He took away the personalities of the models themselves and created an army of McQueen women. In this case, though, the fabrics were lighter. The masks were made out of lace and their fragility enhanced any beauty, I think.
“Each piece was really special,” she continues. “When you look at the clothes close up, you’re not quite sure what you’re seeing. This fabric here (she points to a metallic organza skirt) was pleated, woven, destroyed and then pleated again. We had to pleat this one (she points to a second) five different ways to make it right. This is all hand-bulleted and then put on a base. This funny little orange one, with all the ruffles, was cut on a circle. The McQueen woman doesn’t want to feel casual. It’s not that kind of world. When you put on the clothes, they make you stand differently, feel differently. It was about how to do that but make it feel light. I’ve always been part of Lee’s romantic side, that’s what I love. Although there are elements of this collection that are quite dark, even sinister, there’s always a romance to it, a delicacy. Empowerment and protection: working here, you always have to bring it back to Alexander."

Thursday, February 2, 2012

Product Fitness 80: Naoto Fukasawa, Sam Hecht and Constantin Grcic


PRODUCT FITNESS 80
With Naoto Fukasawa, Sam Hecht and Constantin Grcic
moderated by Tyler Brûlé
Design Museum, LondonThursday 8 March, 7.30pm
Beginning with a presentation from Japanese industrial designer Naoto Fukasawa, this discussion with three of the world’s most respected designers, will examine the relationship between craftsmanship, quality and efficiency of materials and energy.
The talk accompanies the display at the Design Museum Product fitness 80 presented by Muji, that asks what would happen if we used 20% less materials and energy to make everyday products.