Fashion is often shunned by the thinking types. It is considered frivolous, shallow, and materialistic. And so much of it is. But there is something in the word “materialistic” that is not all bad. At its root is something grounded, tangible, graspable. There is something to be said for ownership. In its truest, considered form there is something like strength of conviction in ownership, a passion of sorts, and a deep sense of appreciation. Collecting is the most passionate form of ownership, a pursuit that is not all that shallow if carefully examined. Ownership and collecting are loaded with history and experience, with memory of things past, with respect to those who have created what you own. There is no shame in ownership of garments, and there is no shame in relating to material things, be they clothes or otherwise. In our rental culture, from streaming services to Rent the Runway to constant reselling, the pride of ownership and a sense of care that true ownership implies is diminishing in favor of display. Everything is transient, exacerbated by social media, especially Instagram.
When Supreme started making clothes in 1994, its ethos was crystal clear. It was a downtown skate brand for downtown skaters.
Last week the Business of Fashion published my Op-Ed lamenting the exodus of creative labels like Thom Browne and Proenza Schouler, who decided to move their shows from New York to Paris.
Like most brands, Visvim, the cult Japanese label created and designed by Hiroki Nakamura, has its Parisian showroom in the Marais.
Interviewing the founder of a grooming brand, now that’s something I would have never thought I would do.
This time I chose to review showrooms in a separate article for several reasons. While looking at shows can provide one with an overarching view of a designer’s aesthetic statement, the final test sometimes comes at the showroom.
Our take on the Paris Men’s fashion week, with reviews of shows by Haider Ackermann, Rick Owens, Ann Demeulemeester, Boris Bidjan Saberi, Comme des Garcons, Yohji Yamamoto, Dries Van Noten, Sacai, Lanvin, and Thom Browne.
As Volga Volga prepares to show its collection for the first time at Pitti Uomo in Florence, we talk in depth with the Tokyo-based, Russian born designer who has spent years working with Yohji Yamamoto and has collaborated with Comme des Garcons.
In art, the tension between artistic expression and commercial work is nothing new. Every artist dreams of being unfettered by commercial constraints; some good ones get to pour their creativity into commercial work; for the lucky few it can even pave a path to art (James Rosenquist is one famous example). The Japanese cnematographer Kensaku Kakimoto has found commercial success early on in his career. At only 34, he has already created a slew of videos for some of the biggest Japanese and international brands like Toyota and Coca-Cola. He has also produced three feature films in Japan.
If there was one leitmotif in the work of the Japanese photographer Masahisa Fukase, it’s solitude, or more precisely, loneliness.