The Culture Ltd. is the new underground clothing label designed by Misaki Van Kampen.
Nine years ago the now-defunct website Mekas posted a fascinating interview with the brilliant Japanese fashion critic Takeji Hirakawa, in which he held forth on the state of fashion, Japanese youth culture, Undercover, Number (N)ine, and Comme des Garcons, among other topics.
Tomorrow, the Belgian designer Olivier Theyskens will sign copies of his new book, “She Walks In Beauty,” at the Rizzoli store in New York City.
Graduates of the prestigious Antwerp Academy fashion program, the Capara sisters have worked with Dries Van Noten, Martin Margiela, and Raf Simons, before launching their eponymous line out of Antwerp.
Ali ‘Dubfire’ Shirazinia proudly wears the battle wounds of public self-realization not often found in the “everyone’s a techno DJ and producer” scene of today.
Thamanyah, the fashion label designed by Ahmed Abdelrahman, has been on my radar for quite a long time. There is uniqueness in Abdelrahman’s approach to taking the traditional Middle Eastern dress, making it modern, and mixing it with Western sartorial codes. In his hands a white kandora turns black and gets paired with a fine wool bomber jacket. Not only such a combination results in a new menswear silhouette, but also both the Middle Eastern and the Western staples acquire a new meaning. It is no wonder then that Thamanyah has acquired a cult following in both worlds.
Capturing the nineties moment as a young, skinny, intimidatingly cool, raw, isolated, and underground night rider, Robbie Snelders was in the right place at the right time. Some 20 years ago his life took a dramatic turn and landed him in the then-emerging menswear brand, Raf Simons. He represented then, and still does now, the essence of that era and everything that the brand stood for in its early days. Fashion being the mirror of the zeitgeist and of tendencies within society, Snelders’ style became a trademark for youth culture around the world.
I first met the singer Chelsea Wolfe at an understatedly swank, dimly lit bar in downtown Los Angeles a year ago. The place looked newly minted and was completely empty. Over drinks and small bites Wolfe and her collaborator Ben Chisholm, talked about their work and life in the desert (they recently moved outside of LA). Wolfe’s forth studio album, “Pain Is Beauty,” came out the year before. It was well received by critics and has found her a new audience. Unrelenting, Wolfe was already working on a new album, “Abyss.”
Several days after his Spring/Summer 2016 men’s show Haider Ackermann was in his showroom, which was buzzing with buyers. Ackermann came down from the top floor of the building where he was already shooting the looks for his e-commerce platform, to be launched soon.
I meet Veronique Branquinho on the 21st floor of a high rise in Chelsea where she’s showing her pre-Spring 2016 collection. She’s in a corner suite with floor-to-ceiling windows that glance out over the Hudson, where industrial barges and cruise ships coarse by in clouds of spray and vapor. The evening is pearly grey and the room feels weightless, suspended up here in a box of steel and glass. Weightless, too, is the effect of the collection: dresses, all white and long, draped on a sparse cluster of forms with a lone live model at their center. Her dress is black with leather straps and falls to the floor. I think of Greek columns and their counterpart in ancient draperies, where the cloth is suspended simply from the shoulders and takes shape only with the moving body.