This blogaround brought to you by Shaxco, publishers of the upcoming Deeky's Guide to Smart Investing.
Recommended Reading:
Shani: Ask a Woman Who Knows [TW for gender essentialism]
scatx: Rape in the Peace Corps [TW for sexual violence]
Fannie: The Ignorance of Non-Feminists, Part Whatever
Renee: Toy Story 3: Lessons in Race and Gender
Dori: Thousands of Cuts [TW for discussion of circumcision]
Andy: Peruvian Catholic Bishop Uses Gay Slur; Apologizes 'For Everyone Who Felt Offended' [TW for homophobia; Christian supremacy]
Living ~400lbs: Microagressions
Leave your links in comments...
Kamis, 27 Januari 2011
The Final Push
>> I know I know... I shouldn't be repeat posting especially on an exhibition that has been open for a good few months and the probability is that those with a will to see it will have already done so. Still, I think every excellent exhibition deserves a final push and 'Future Beauty: 30 Years of Japanese Fashion' at the Barbican which is ending on the 6th February definitely necessitates another reminder shoved in your face.
To be fair my last mention of the exhibition was tacked onto an overview of a book that I had picked up at the exhibition store so it doesn't quite count. I was lucky enough to go back a second time with the kind permission from the Barbican to snap away so here I am back with an image flood to a) visually remind people as to why this exhibition is a must-see and b) to be a sort of poor man's substitutefor those that aren't able to visit the exhibition.
We may have come to take for granted the presence of Rei Kawakubo's empire and designers such as Yohji Yamamoto and Issey Miyake who are so entrenched into the Paris Fashion Week as well as in our minds as stalwart designers (which is probably why Yamamoto's near-bankrupcy came as such a shock...). It's easy to forget, and especially if you didn't live through it the first time round, the impact that their first shows in Paris had on fashion and big a game-changer their clothes really were. In a way, the exhibition seems to summarise that initial impact and gives us the chance to relive it again, which is a fortunate thing indeed considering I wasn't even born at the time of Kawakubo and Yamamoto's debut.
I'm dividing it up by designer but the exhibition begins with overarching themes seen in the work of the core Japanese designers that begins with Rei Kawakubo for Comme des Garcons's early work such as this gathered linen dress from S/S 84 that showcases the way that she initially played with silhouette and the contrast between light and dark, that contrasted with her later work.
In particular I loved how the combination of Naoya Hatakeyama's photography of these Comme des Garcons' pieces laid flat along with the pieces themselves to show the contrast between Kawakubo's intuition for simultaneous simplicity and complexity.
By laying these foundations, Kawakubo can then allow herself to explore unexpected tangents such as this S/S 97 collection ridden with gingham and distorted body shapes...
Issey Miyake's famed fabric experimentations are well-documented in the exhibition tracking everything from the development of Pleats Please...
... to the now defunct A-POC, a way of presenting fully finished garments without any seams that are woven flat on computer-controlled looms.
The real treat of the exhibition was the ability to see pieces from collections that aren't up on Style.com and are hard to even get decent images of unless you go visit fashion school libraries... expemplified by this soft accordian pleat-filled A/W 00-1 collection by Junya Watanabe...
There were also unexpected pieces that showed up such as this sky blue kimono by Yohji Yamamoto from his S/S 95 collection - it was intended to be worn in a non-traditional way as an open robe which appeals to my own way with warping kimono-wearing.
From his A/W 97-98 collection though you have a more romantic and perhaps my favourite aspect of Yamamoto's work exemplified by this black and grey wool herringbone jacket and skirt...
... as well as this S/S 98 twisted gown that is indicative of the way he tried to extract an essence all those old photographs that he loved looking at, as seen in Wim Wenders' documentary about Yamamoto.
Seeing Tao Kurihara's early work was a real treat, particularly the S/S 97 paper-filled collection... if I was diligent enough, I would have sat there with reams of paper trying to figure out how to fold it into something that even remotely resembled this skirt...
I'm quite chuffed that I still have wear the knitted shorts that I bought at the Dover Street Market sample sale, from Tao's first collection and it's with this in mind that I'm going to attempt to own the rest of it, some way, some how...
I suppose the visual piece de resistance of the exhibition has to be this four walled display of Undercover's A/W 00-01 collection, again another collection which is a bitch to find pictures of online. The plethora of ideas as well that seem to have filtered down from this collection into other more recent collections of other designers seem to be endless...
In the section devoted to a new generation of designers, I was most taken by Akira Naka's gradiated wool cable knit jacket but it seems Naka hasn't designed a more recent collection than this A/W 09 one...
In addition, the printed matter of the core designers showcased in the exhibition as well as video footage of shows and documentary form an integral part of Future Beauty which for a brand like Comme des Garcons also demonstrates how much of a universe it has become today, beyond the clothes they show.
Defiant Florals
>> If flowers could speak, some of the ones from the past, current and forthcoming seasons' collections are saying "I don't want to be described as ditzy. I'm not going to cower into a mass of pattern and print where you can't tell one flower from the other. My petals will be defianty bold and my colours are anything but wishy washy so much so that my exact species can be identified without having to resort to calling us a generic 'floral' pattern. If I along with other flowers repeat myself then so be it because that way you'll have more of a chance of remembering the exacting pattern that almost certainly evokes William Morris. Even if I along with my peers, collectively resemble wallpaper, we're not the sort to grace wallflowers that blend into the background."
These bold blooms are growing and intertwining with help of Balenciaga Pre-Fall 2011-12, Stella McCartney Resort 2011 (a lot of it now on MyTheresa), my Manoush coat and Crockett & Jones slippers, the new selection of Liberty fabrics, Undercover's A/W 00-01 pieces at the Barbican and of course William Morris' Thames-inspired prints.
Blackout Delays Givenchy Show By Over an Hour
A power failure in Bercy–the site of Givenchy‘s show venue–delayed the start of their men’s show by over an hour, according to numerous tweets from GQ, Cathy Horyn, WWD and Style.com. According to Cathy Horyn’s twitter, the show has finally started–PHEW–after an hour and a half delay. But here are some of our favorite tweets from the Givenchy blackout of 2011:
I think GQ wins.
Follow Fashionista on Twitter or become a fan on Facebook.
Prada’s SS11 Campaign Video Will Brighten Your Day
As if I couldn’t be more enthralled by Miuccia Prada’s stripes and monkeys, a video campaign was released yesterday that I’ve watched more times than I’m proud to share.
Models Tati Cotliar, Kinga Razjak, Arizona Muse, Mariacarla Boscono and Zuzanna Bijoch show off their best dance moves to Ratatat’s Mirando off their 2008 album LP3. Tati’s moves may be the best, but Mariacarla’s are the most intense… If only I had a stockpile of Prada to dance in.
Follow Fashionista on Twitter or become a fan on Facebook.
Exclusive Preview: Miu Miu’s New Film “The Powder Room,” Directed By Zoe Cassavetes
We love Miu Miu. And we love Zoe Cassavetes. So this brief–but enticing–preview of the director’s short film for the brand easily stole our hearts. “The Powder Room” is the first film in a series called Women’s Tales, in which notable female filmmakers with unique points of view explore the female love affair with Miu Miu.
Cassavetes filmed at London’s Claridges hotel (swoon) and the models–Caroline de Maigret, Line Gost and Sophie Vlaming–are wearing Miu Miu Spring 2011 (double swoon).
The film will premiere in its entirety on MiuMiu.com imminently.
Follow Fashionista on Twitter or become a fan on Facebook.
Star Man
Giorgio Armani’s Couture show last night was the first-ever fashion outing for both Jodie Foster and Olivia Wilde. When it was over, Jodie turned to Olivia and said, 'What do we do now?' Easy. Join Mr. A., their host for the evening, at Mathis for an intimate dinner. The rest of the front row showed up, too: Pedro Almodóvar, Graeme Black, Poppy Delevingne with boyfriend James Cook, and Sophia Loren. Her date was her son Edoardo Ponti. Foster cut out early to work on her lines for God of Carnage, the film she's making in Paris at the moment with Roman Polanski (and there are a lot of lines, as anyone who saw the stage show will recall), but Wilde was happy to sit and chat about her flood tide of new projects. When your current and future co-stars include Daniel Craig, Hugh Jackman, Ryan Reynolds, Eric Bana, Charlie Hunnam, Chris Pine, and Justin Timberlake (even if she is playing JT's mother), who wouldn't want to sit and gloat…just a little?
The Etam show at the Grand Palais, meanwhile, attracted its own fair share of celebrities, including a few—like Beth Ditto, Boy George, and Janelle Monáe—who themselves took to the stage.
—Tim Blanks
Langganan:
Postingan (Atom)