Eugene Rabkin is the founder of
stylezeitgeist.com. He has contributed articles on fashion and culture to The Business of Fashion, Vogue Russia, Buro247, the Haaretz Daily Newspaper, and other publications. He has taught critical writing and fashion writing courses at Parsons the New School for Design.
If you happen to be in New York this spring, Enrico Castellani’s new exhibit, Interior Space, at the uptown gallery Dominique Levy is worth a visit. It’s the first solo exhibition of the revered Italian artist in the gallery, and it spans Castellani’s oeuvre from the 60s to the near present. Castellani was part of the Zero movement, which is now having a resurgence of interest with museum and gallery exhibits around the world, and he, along with his acquaintance Lucio Fontana, is one of the best known Italian figures of the mid-20th Century avant-garde.
Boris Bidjan Saberi, whose meticulously and complexly constructed menswear graces the racks of carefully picked boutiques around the world, has quietly opened his own boutique in Barcelona, his adapted hometown, some time ago. It is nestled in the industrial district of Poblenou, Barcelona’s once run-down textile industry hub that is now enjoying a renaissance and that still has large industrial spaces suited to Saberi’s vision. It is his only boutique besides his New York City outpost.
Buying and selling designer clothing by collectors and fashion enthusiasts on the Internet is a longstanding practice. Fashion forums like Supefuture, Styleforum, and StyleZeitgeist, where these enthusiasts tend to congregate are invaluable assets for hunting down that long-coveted piece, called “the holy grail” in the forum parlance. The forums, however, are, first and foremost, places…
Underneath the pressing debate in the publishing industry that’s threatened by e-readers and Amazon, there lies one basic question – what does a book make? Especially, a book of literature? Is a text simply a text? Does the physical book matter? Ask any old bibliophile, and their lament will extend way back to the rise of the cheap trade paperback that replaced the beautiful folios of yore in most home libraries. To them the physicality of the book extends the respect due to the text.
This past Paris fashion week the young label Vetements headed by Demna Gvasalia was the talk of the town, and their instantly recognizable logoed raincoats and sweatshirts were seemingly everywhere. They were mostly worn by the young, self-conscious, well-informed fashion insiders and were instant fodder for the street-style photographers, who themselves tend to be young, self-conscious, and well-informed.
So, I finally went to the Paris women’s fashion week (and liked it). I arrived fashionably late and missed a few shows that I would have loved to see, but I got to see a bunch. Everyone warned me that the women’s fashion week is more hectic than the men’s, but I did not find it so. If anything, it seemed more relaxed because spread over a longer period of time.
A little over two years ago Ann Demeulemeester announced her retirement from her signature label. After the initial shock subsided, the question of succession inevitably came up. That’s when Sebastian Meunier, a Parisian designer who has had a long tenure at Margiela before joining Ann Demeulemeester, stepped out of the shadows. Meunier spent two years at the label before Demeulemeester’s departure and has worked closely with her. But the big question remained; how could anyone fill the shoes of a designer whose style was so clear and who was so inextricably linked to her label? In other words, could there be Ann Demeulemeester without Ann Demeulemeester?
Trauma – it is rarely possible to describe an artist’s oeuvre in one word, but in the case of the Belgian artist Berlinde De Bruyckere, it fits neatly and without reducing or trivializing her art.
It’s no longer news that Instagram has become fashion’s most embraced Internet tool. It has created a myriad of self-made, self-promoting starlets, turbo-boosted the rise of street style photography, and has fashion executives biting their elbows trying to come up with ways to market and sell products on the app. But, perhaps most importantly, it has influenced fashion design itself.
Last month I got a chance to visit the studio of Geoffrey B. Small, the American-born designer who has been working in Cavarzere, in the Veneto region of Italy. Veneto is the heart of the Italian fashion industry with a storied tradition of clothes making. It used to be that you could not throw a stone without hitting a fabric manufacturer or a shirt-making factory. Globalization has killed all that by outsourcing much of the work to other countries in Europe and Asia.
