We would like to present to you Undercover’s Spring/Summer 2020 Men’s Paris collection.
We would like to present to you TAKAHIROMIYASHITA The Soloist’s Spring/Summer 2020 Men’s Paris collection.
Perhaps it is a sign of the times that it has taken an artist to tell the fashion world that ideas – as opposed to product – in fashion, particularly in menswear, still matter.
How I missed the existence of RAYGUN magazine during my formative years is beyond me. The California-based music and style periodical was launched in 1992, the same year I immigrated to the United States and began immersing myself in American pop culture. It covered every great rock act under the sun – from Iggy Pop to Sonic Youth, from Morrissey to Marilyn Manson, from R.E.M. to Nine Inch Nails, and so on.
Looking at the new compendium tome from Rizzoli, RAYGUN: The Bible of Music and Style, put together by Marvin Scott Jarret, the magazine’s founder, fills me both with hope and dread for the state of the print magazine industry. Because RAYGUN was as forward-thinking in its visual representation as it was in its content. No magazine I can think of took the adage “the medium is the message” as seriously as RAYGUN did. Its innovative treatment of fonts, graphics, page layout, format is truly peerless. None of this can be replicated on the Internet.
Y’s by Yohji Yamamoto will present 2 runway shows, for the first time in 5 years, in Tokyo on Saturday, May 25th.
It’s no secret that the current niche fragrance market is in great shape.
If you are a regular reader of this publication, the name Alexandre Plokhov is probably not unfamiliar to you. His original label, Cloak, run with the partner Robert Geller, made waves in New York fifteen years ago, leading to an appointment as the head of design for menswear at Versace. Plokhov has subsequently returned to New York, launching an eponymous label on his own. Like a cat with nine lives, Plokhov has been quietly back on the menswear scene, with a new project, Nomenklatura. Below is the lookbook for the brand’s second release.
For the followers of art and design May in New York is a busy month. There are art fairs, design fairs, the Met fashion exhibit, and a myriad of events. Before long, the entire thing starts resembling your social media feeds – colorful, bubbly, but ultimately quite tiring and unfulfilling. You long for a quiet corner of the world where your brain can get back into a contemplative mood. The new exhibit of Deborah Turbeville’s photography at Deborah Bell’s gallery on the Upper East Side is just the ticket. It is an intimate show of intimate photography in an intimate setting. By god, it is restful!
The new exhibit by the Costume Institute at the Metropolitan Museum of Art, Camp: Notes on Fashion, is fraught on many levels, starting with a paradoxical nature of its theme. On the surface (no pun intended) Camp is not hard to spot because it’s so image-oriented. In reality the playfulness and irony inherent to Camp makes it elusive and intuitive. Like any sensibility or a matter of taste, Camp requires from its audience organic growth and (self)education. You can’t really stuff all of these things into a museum exhibit that is aimed at the general public – and the job of the Met is to cater to the general public. It’s especially hard to do because Camp is a fairly niche sensibility – there is something subcultural and underground in it. Camp takes pleasure in being stuck into people’s faces without them getting it. Really, it’s kind of the point.
During this past fashion show season one of the most talked about collections was the runway debut of Bottega Veneta under its new creative director, Daniel Lee.