At the Sacai show Saturday I was thinking whether a designer who sticks to a formula will sooner or later tire her audience out.
Once again the fashion horde descended on Paris, the city of great beauty and inconvenience, to see what the best of menswear designers would offer.
As a reader of this magazine you may not be familiar with Pitti Uomo, the largest menswear trade show in the world that takes place in Florence twice a year, right before the Milan fashion week.
In 1978 in London the young musician by the name Daniel Miller recorded two songs, “T.V.O.D.” and “Warm Leatherette” under the moniker The Normal.
Reflection (Self-portrait), 1985. Oil on canvas, 55.9 x 55.3 cm. Private collection, on loan to the Irish Museum of Modern Art Self-portrait, c. 1956. Oil on canvas, 61 x 61 cm. Private collection Lucian Freud is undoubtedly one of great artists of the 20th Century. He was a master of portraiture, and along with the…
The acclaimed Japanese photographer Hiroshi Sugimoto begins his introduction to his new book by recounting his experience of 9/11
If you wanted to visit Paris before mid-January this year, you’ll find no better reason than the new Francis Bacon exhibit at the Centre Georges Pompidou.
It is my humble opinion, that as far as the brand-building exercise goes, the skincare brand Aesop should be in every marketing textbook, though marketing is the last thing Aesop stands for.
The trio of Saturday shows from the Comme des Garcons universe made me breathe a sigh of relief for the fact that there are no Japanese luxury fashion conglomerates who have to answer to their shareholders first and to fashion second (or say fifth).
Paris, France – “Dries, now there is a real designer,” sighed my AirBnB landlord, after expressing his frustration about working for a major, and majorly uninspiring Parisian house. Indeed, he is and he proved it yet again with another sublime show. Each seat had a red rose on it with handwritten “DVN” X some other initials, which I only understood were that of Christian Lacroix, the legendary Parisian designer whose label has been defunct for some time and whom Van Noten brought on to collaborate for this collection. This was a “collab” in the Van Noten vein – a sign of mutual respect that did not stink of a money grab like many collaborations do. It was soulful, not cynical. And the clothes were sublime, with faint military influences on some pieces and with couture-like shapes on others that had Lacroix’s signature on them. Of course there were explosion of flowers, color, and couture-like embroidery. When Dries Van Noten brought Lacroix for the final bow it was a fashion moment fo sure. This was a longing for an idealized past of the kind I can get behind – bringing out people to refresh our collective fashion amnesia. Which made me think that we are not exactly forgetful – we do remember the greats… when we are reminded of their existence.