This past January during the men’s fashion week in Paris I, as is my habit, visited the showroom of forme d’expression. The label, which recently celebrated its tenth year anniversary, is designed by Koeun Park, who quietly works in Perugia, Italy on her men’s and women’s collections.
Everyone who goes through his formative years in a certain decade considers it the golden age. Obviously, the 90s were the best decade ever.
But let’s go beyond facetiousness. In terms of cultural production it is obvious that every decade has the good and the bad. What is more interesting is how much of the good and how much of the bad the zeitgeist of every decade produces, and what gets to hit the mainstream. Why 90s matter is that it was the decade when culture, and fashion as part of culture, took the last stand before succumbing to pure, unapologetic commerce.
New York – From the numerous editorial reports underscoring the end of the fashion season in Paris one of the leitmotifs was the lack of originality on designers’ part.
Paris is usually the cherry on the cake in terms of creativity, a critic’s reward for having to sit through the commercial blandness of New York’s shows, the campy antics of London’s, and the vulgar luxury of Milan’s. Not this time, at least according to Angelo Flaccavento and Robin Givhan, two of the most powerful fashion commentators.
These days when fashion increasingly seems to be on one continuous treadmill, it is becoming increasingly difficult to slow things down, to approach craftsmanship with care that a well-made product demands.
On a recent journey towards the historic ateliers of The Last Conspiracy, a Denmark-based footwear company, tucked away on a hillside just outside Porto, the second largest city in Portugal, I got a glimpse into how things can still be made the traditional way. The story of Roald Nore, a creative nomad and the brand’s founder, begins with his desire to make something genuine and lasting.
As the singer P.J. Harvey prepares to record her new album, we decided to publish this slightly abridged version of the article about Harvey’s last album, Let England Shake, and about her friendship with Ann Demeulemeester and Patrick Robyn.