- Danielle Wightman-Stone |
The Museum of Lace and Style in Calais, France is following up on the success of its exhibitions dedicated to Hubert de Givenchy, Cristóbal Balenciaga, Anne Valérie Hash and Iris van Herpen with an exhibition offering unique insight into contemporary uses of lace woven on Leavers looms by fashion designers.
Entitled ‘Haute Dentelle’, which translates to Designer Lace, will run from June 8, 2018 to January 6, 2019, and will focus on the dialogue between lace houses and fashion houses, revealing the creative partnerships as well as the versatility of lace woven on a mechanical lace machine.
Curated by Sylvie Marot, the exhibition will feature more than 60 lace designs from the latest haute couture and designer prêt-à-porter shows, from thirteen fashion houses: Alberta Ferretti, Balenciaga, Chanel, Dior, Jean Paul Gaultier, Iris van Herpen, Louis Vuitton, Maison Margiela, Schiaparelli, Valentino, Viktor and Rolf, Yiqing Yin, and Zuhair Murad.
The exhibition will highlight the importance of lace in fashion design, as well as the best of hand techniques vs the best of machine techniques, and how lace being synonymous with being delicate and fragile is an illusion and that the woven texture is unravelable.
The 2017 exhibition at the Museum of Lace and Style was a retrospective on Hubert de Givenchy, curated by the 90-year-old fashion designer, featuring looks worn by the likes of Audrey Hepburn, former First Lady Jackie Kennedy and the Duchess of Windsor, Wallis Simpson. The Hubert de Givenchy exhibition runs until December 31.
‘Haute Dentelle’ opens on June 8, 2018.
Image: courtesy of The Museum of Lace and Style
- Danielle Wightman-Stone |
London’s Design Museum has confirmed that it will showcase an Azzedine Alaïa exhibition next year, which has been co-curated by the late designer himself.
Set to open in May 2018, ‘Azzedine Alaïa: The Couturier’, will showcase more than 60 of Alaïa’s couture pieces from the past thirty-five years, which have been personally selected by the late designer alongside guest curator, Mark Wilson, who is the chief curator of the Groninger Museum in the Netherlands.
The museum notes that Alaïa planned the exhibition to explore "his passion and energy for fashion as he himself intended it to be seen,” and will celebrate his mastery of cut, fit, and tailoring, as well as a look at how the designer meticulously cut all of his own patterns.
“Azzedine Alaïa, a notorious perfectionist, would work on a single outfit for many years if necessary before releasing it to the public,” explains the museum in a press statement. “His body of work will remain a statement for exacting craftsmanship. He employed traditional techniques whilst embracing the latest technological advancements to further develop clothes that had never been made before.”
Azzedine Alaïa career to be celebrated by London’s Design Museum
The exhibition will run for five months until October 7, and will be integrated with specially commissioned architectural elements by leading artists and designers who the couturier entertained a long-term creative dialogue with, including Ronan and Erwan Bouroullec, Konstantin Grcic, Marc Newson, Kris Ruhs, and Tatiana Trouvé.
Azzedine Alaïa died on November 18 and earlier this month was celebrated as one of the most respected and unique couturiers in the industry with a special tribute led by model Naomi Campbell at The Style Awards 2017.
‘Azzedine Alaïa: The Couturier’ will run from May 10 - October 7, 2018.
Images: courtesy of Peter Lindbergh
- Danielle Wightman-Stone |
The Style Museum Bath is to celebrate fashion worn by successive generations of women in the Royal Family in a new exhibition, ‘Royal Women’ in 2018.
The family tree exhibition will include clothing worn by Queen Alexandra, Queen Mary, Queen Elizabeth The Queen Mother, and Princess Margaret, featuring items of dress from the Style Museum collection, as well as a major loan from the Royal Collection, lent by Her Majesty The Queen.
Open from February 3, 2018, to April 28, 2019, the exhibition will examine their sartorial lives, looking at each woman’s unique style, the role they played within the monarchy and how that was reflected in their choice of dress.
Highlights include the wedding dress of Alexandra, Princess of Wales, a dress and cape made by Hartnell worn by Queen Mary to the wedding of Princess Elizabeth and Lieutenant Philip Mountbatten, and a grey silk satin ball gown worn by Queen Elizabeth The Queen Mother.
There are also a number of Christian Dior dresses as worn by Princess Margaret including a ‘Rose Pompon’ strapless cream silk chiffon day dress worn to Royal Ascot and a strapless black lace evening dress worn to a performance of Guys and Dolls at the London Coliseum in 1953.
Elly Summers, the exhibition curator, said: “The Style Museum is one of the world’s great museum collections of historical fashionable dress and we are immensely fortunate that amongst its treasures it includes dress belonging to members of the Royal Family; we are equally fortunate in the loan of key pieces from the Royal Collection.”
Images: courtesy of Style Museum Bath
- Danielle Wightman-Stone |
The Style Museum Bath has named an ensemble from Dior’s spring/summer 2017 collection, showing the white ‘We Should All Be Feminists’ printed T-shirt as its Dress of the Year 2017.
The annual Dress of the Year is always selected by someone within the fashion industry and this year the Dior T-shirt seen worn with a black wool jacket and black tulle skirt with black knitted underwear, was selected by Sarah Bailey of Red Magazine.
When explaining why she opted for the Dior T-shirt, Bailey, Hearst Lifestyle group’s editorial director, said: “When I was asked to make the selection for the museum, I was not only recognising the beauty and relevance of Maria Grazia Chiuri’s collection. When I looked at 2017 through the prism of history, society and politics, the Washington Women’s March of January 21, 2017 was front and centre in my mind. An empowering slogan T-shirt and a sharp jacket – of course!
“Whether protesting against the misogyny of Trump or speaking out about the predatory practises of Hollywood casting couch in the unfolding Weinstein scandal, 2017 was a year when women felt the necessity and obligation to stand up and be counted. Maria Grazia Chiuri’s collection distilled the moment – both right for its time and a statement that helps us define the time. A new look indeed. We should all be feminists.”
Commenting on the honour, Maria Grazia Chiuri, creative director at Dior, added: “I am very honoured that you [Sarah Bailey] chose my Dior look for the Style Museum. My first collection is a synthesis of what Dior once was and what it is today. It’s a starting point: to communicate with today’s woman and to imagine the woman of tomorrow. I wanted to send a message to young women who consider Dior a symbol of femininity: this is their Dior, created with them, their energy and their desire to conquer the world, in mind.”
“I think a T-shirt, because it is so basic, is the easiest way to display your ideas. The slogan ‘We Should All Be Feminists’ takes over this blank space and plays with the political value of appearances. I’m glad that so many women saw my T-shirt as a way to claim their own position, their own role in society, to make their voice heard through this item of clothing. It’s quite an awakening also for fashion, and for what you can do with fashion. For me, the white T-shirt was a simple, direct and immediate means to say something loud and clear.”
Dior ‘We Should All Be Feminists’ T-shirt selected as Dress of the Year
Bailey, added: “I was very inspired by the appointment of Maria Grazia Chiuri at Christian Dior. She is the first female Creative Director in the history of the house and I admired the vigour with which she immediately started challenging the conversation around women, creativity and the gendering of genius.
“When I saw her first collection come down the runway it was – again – utterly uncompromising in its message. I loved the resolute strength of the models in their logo T-shirts emblazoned with Chimamanda Ngozi Adichie’s call to arms ‘We Should All Be Feminists’. All this and a beautiful interpretation of the Dior Bar jacket, a garment designed to take the modern woman of purpose anywhere.”
The Dress of the Year Collection at the Style Museum began in 1963, when the museum was founded as the Museum of Costume. Since then, a leading commentator and expert on fashion has been invited each year to select an ensemble, or ensembles, from those shown by the world’s designers during international fashion weeks.
The Dress of the Year 2017 will be on display at the Style Museum Bath until January 1, 2019. It will be the 100th object in the Museum’s A History of Style in 100 Objects exhibition.
Images: courtesy of Style Museum Bath
- Vivian Hendriksz |
London - Italian fashion label Diesel latest campaign, ‘Go With The Flaw’ was awarded the Grand Prix in Film Craft at Eurobest on Thursday.
Recognising the best of Europe’s creative outputs, the award was given to Diesel campaign, which takes inspiration from everyday reality in which conformity chases perfection. The campaign is said to embody creativity which can inspire real behavioral change in society.
As a brand, Diesel does not strive for perfection, because it ‘is boring.’ “Perfection is uninspiring. Perfection will suck us into an ordinary life and keep us from shining,” said the label in a film manifesto created with François Rousselet and Publicis Italy. The award is seen as an acknowledgment in recognition of Italian creativity in Europe.
Photos: Diesel FW17 campaign
- Vivian Hendriksz |
London - United Colors of Benetton has never been shy about integrating political and social issues in its advertising campaigns. While some fashion brands chose not to mix politics and fashion, the Italian fashion brand has carved out a name for itself thanks to its racy and provocative campaigns, which openly tackle subjects such as racism, sexism, poverty, and environmentalism. Now the iconic photographer behind some of United Colors of Benetton most iconic campaigns, Oliviero Toscani, has returned to the brand for its latest campaign.
The new Benetton campaign shot by Toscani renews a recurrent theme - integration - one which the brand stand firmly behind. The campaign depicts a racially diverse Italian classroom of twenty-eight children from thirteen different nationalities from four continents, smiling and learning together. In one photograph, ten children, from countries such as the Philippines, Italy, and Senegal, all gathered around their teacher who is reading to them and smiling because ‘they have a future.’
United Colors of Benetton unveils new campaign shot by Oliviero Toscani focusing on integration
“Integration is a major issue in our world today,” says Toscani. “The future will hang on how, and to what extent, we use our intelligence to integrate with others and to overcome fear.” In the current divided socio-political climate, the Italian fashion brand aims to start a discussion surrounding integration and diversity in society. The new campaign launch, which starts with the release of two images on December 1, marks the start of a much larger project on the subject of integration. Toscani is set to work on the project at Fabrica, Benetton Group’s communication research centre.
The current social and political issues within society are part of the reason Toscani decided to join forces with Benetton once more, after nearly two decades. “It’s the reason I’m back here,” said Toscani in an interview with BoF. “More than ever, there are problems in the world and this is what interests me. I think it’s now time for brands to get smarter. I don’t think they should go to agencies, because they won’t produce anything new. They should be free from market research, think about modern society and do something that hasn’t be done.”
The new campaign launch comes as Luciano Benetton , one of the founders of the fashion brand, announced his return to the company to help turn the company around. The first stages of Benetton’s revival are linked to the campaign. Toscani will also be involved with reimagining the overall image of the United Colors of Benetton brand, starting with a product campaign set to launch in February 2018. “We will make this picture to make a statement and then the next step is to [improve] the product, the shops and the lighting in the shops to bring back the magic of Benetton," added Toscani.
"It’s not a luxurious brand, but it embraces everybody.”
Photos: Courtesy of United Colors of Benetton
- Vivian Hendriksz |
London - The Asos Foundation, the charity run by online retail giant, has reached the 1 million pound donation mark with its support of The Prince's Trust.
The Foundation, funded by Asos and supported by its employees and customers, has been working together with The Prince's Trust for seven years. During that period it has aided hundreds of young people in developing key skills in Science, Technology, Engineering, and Mathematics through dedicated education and experiential initiative and helped 25 people gain full-time employment with Asos.
"I am incredibly proud of what has been has achieved by The Asos Foundation over the past seven years," said Louise McCabe, Director of Corporate Responsibility at Asos during a celebratory event, which coincided with #GivingTuesday. "Together with our colleagues at The Prince’s Trust, we have helped young people overcome barriers to enable them to fulfill their dreams and potential."
As part of this initiative, The Asos Foundation produced a suite of Get Into programmes, which provided insights into the company's retail, technology and Customer Care departments in London, Birmingham, Watford and Barnsley. In addition, the Foundation has also provided over 200 development grants for educational courses and equipment, inspired thousands of young people to get into coding and app development through its video content and contributed to the funding of a new online learning section on the Prince’s Trust website.
"We are extremely grateful to the Asos Foundation for its generosity and the hundreds of ASOS employees who have selflessly given their time to make a positive difference to so many people’s lives," added David Ivell, The Prince’s Trust CIO. Founded in 2010, The Asos Foundation offers infrastructure, training and support to enable disadvantaged, young adults reach their potential.
Photo: Courtesy of Asos
- Vivian Hendriksz |
London - Calvin Klein has entered into a new partnership with The Andy Warhol Foundation for the Visual Arts, which gives the American fashion brand unprecedented access to the late artist’s life work - much of which remains unpublished. The partnership comes after Calvin Klein’s Chief Creative Officer Raf Simons expressed his interest in Andy Warhol’s work after using his photographs as a source of inspiration for his second collection for the brand.
The global partnership, which will remain effective through to 2020, sees Calvin Klein supporting the foundation’s endowment financially from which it distributes grants for contemporary visual art in exchange for access to Warhol’s work. The partnership includes licensing projects across numerous Calvin Klein lines, as well as future initiatives within the Calvin Klein brand portfolio. “I am proud that through this licensing agreement with The Andy Warhol Foundation for the Visual Arts, Calvin Klein will be continuing its longstanding commitment to the celebration of American artists and their prolific work,” said Steve Shiffman, Chief Executive Officer, Calvin Klein, Inc. “I look forward to the global rollout of this partnership across multiple levels of the Calvin Klein consumer experience.”
Raf Simons’ Spring/Summer 2018 Calvin Klein 205W39NYC runway show was the first iteration of the partnership, as the collection incorporates a selection of Warhol’s artworks. The late artist’s connection to fashion dated back to his first years working as an artist, when his shoe picture drew interest to Vogue and Harper’s Bazaar. Warhol’s links to the industry became stronger in the 1970s when he befriended a number of fashion designers in New York, including Calvin Klein himself. 30 years after the passing of Warhol, Simons aims to renew this relationship between Calvin Klein and Warhol through this new partnership.
“I’ve come to realize that Warhol’s genius goes much deeper than cheerful Campbell’s Soup paintings,” said Raf Simons, Chief Creative Officer. “He captured all sides of the American experience, including sometimes its darker sides. Warhol’s art tells more truths about this country than you can find almost anywhere else.” In the past, The Andy Warhol Foundation for the Visual Arts Inc. has partnered with other fashion houses such as Dior and Comme des Garçons, but this marks its largest partnership to date.
Photo: courtesy of Calvin Klein
- AFP |
Meghan Markle says acting will take a back seat when she marries Prince Harry, following the example of screen icon Grace Kelly who abandoned Hollywood to marry into royalty. The 36-year-old has starred in legal drama "Suits" since 2011, but is likely to shed many outside interests as she joins the British royal family following the couple's engagement announcement, according to observers.
Markle confirmed in an interview with the BBC she would be giving up acting and would focus much of her attention on the causes that are important to her. "I don't see it as giving anything up. I see it as a change. It's a new chapter," she said. Markle and Harry, 33, will wed in spring next year, 62 years after silver screen icon Kelly abandoned her glittering career to marry Monaco's Prince Rainier III.
Hollywood branding expert Jeetendr Sehdev pointed out however that Markle is not in the same league as the Oscar-winning star of 1950s Hitchcock thrillers "Dial M for Murder," "Rear Window" and "To Catch a Thief." "Americans who have heard of Meghan will remember her as a working TV actor rather than an celebrity or a Hollywood star," Sehdev, bestselling author of "The Kim Kardashian Principle," told AFP.
He added that Britain's first mixed-race royal could nevertheless inspire the British TV industry to create more leading roles for actors of color. "Meghan Markle is the face of the modern princess and there's no reason why she shouldn't keep working in TV after her marriage. The palace will likely have a say in any of her future career choices and roles."
Reform too far?
But royal writer Catriona Harve-Jenner said in a commentary for British lifestyle magazine Cosmopolitan that Markle had made the right decision in shedding her acting ambitions.
"Being a senior member of the royal family is a full-time job, and it requires those who do it to patron charities, represent the UK on an international scale and generally maintain the traditions of the royal family," said Harve-Jenner.
"How would she balance all that with a full-time acting role on 'Suits?'" Markle will be the first American welcomed into the royals since Wallis Simpson -- famously also a divorcee -- but will probably not, in fact, be a princess. What is far more likely, say experts, is that the couple become a duke and duchess, like William and Kate.
As well as starring as paralegal Rachel Zane on "Suits," Markle is an entrepreneur, activist, blogger and fashion designer and would probably be expected to drop many of those pursuits too, to focus on royal activities. The actress appears to already be winding down her workload, having shut down her lifestyle website, "The Tig," in recent months.
Sarika Bose, a lecturer in Victorian literature at the University of British Columbia and a royal expert, said times had changed since Kelly was forced to choose between career and family life. But she added that having a working actress in the fold may yet be a modernizing reform too far for the British throne, which dates back to the merger of England and Scotland in the early 18th century.
"Although British society and the monarchy have changed greatly over the last few decades, there are still possible assumptions people might impose on Ms Markle which are conflated with her acting roles, her life as a celebrity and her public role as a member of the royal family," she told AFP. Bose said she expected Markle to follow other members of the family in pursuing charitable activities.
"Well before meeting Prince Harry, Markle already demonstrated a serious interest and commitment to social justice initiatives, as a World Vision Global Ambassador and an advocate for political participation and leadership for women through the United Nations," she said.
- Weixin Zha |
The German fashion designer Jil Sander is hosting her first solo exhibition at the Museum Applied Art in Frankfurt. Yankeemagazines spoke with director and curator Matthias Wagner K. about working with the designer to create the exhibition and how her clothing does not fit today's fashion industry, which makes it ground-breaking.
Could you tell us why you curated the exhibition at this moment in time?
"Oh you see, I would have curated her work even earlier. I’ve been director of this museum for five years now. She has been at the top of my list from the start. But it took time to get in touch with her, though I don’t understand why there hasn’t been an exhibition dedicated to the work of Jil Sander yet. I think of her as one of the most important fashion designers of her generation."
There have been many famous male designers in the history of fashion, but few women. Coco Chanel is regarded as one of the most significant, as she freed women from the corset. How do you see the relevance of Jil Sander in this context?
"When it comes to Coco Chanel, I would say that her design is quite classic after all, whereas Jil Sander has always been modern and designed for the modern woman. She wanted to provide protection with her clothes -- especially in working life. There are only few great female fashion designers. I would include Kawabuko with Comme des Garcons and Barbara I Gongini from Faroe Islands, who has her label in Copenhagen. After that the air becomes quite thin."
What was especially important for you in this exhibition?
“It was important to me that it doesn’t become a retrospective in the sense of a chronology, that the timelessness of her work becomes fully evident by looking at her work from today’s perspective, that something completely new is created from what she provided from her archive. That’s why the name of the exhibition is ‘Present’.”
Why is it so important that Jil Sander leaves out decor on her clothing?
“I think because it rather distorts the natural person, the individual. It very rapidly creates a masquerade. Gender doesn’t play a big role for her, on the contrary, she totally opposes entrenched gender roles. In doing so, she gave women something like an armour to persist on an equal footing with a male counterpart in the working world.”
The issue of gender remains highly relevant nowadays, although the simplicity for which Jil Sander is known for has an even wider impact, right?
“Even though the appearance is so puristic, there is still great opulence to be found with her that shows in the cuts and the excellent material. It’s never fast fashion, it’s always high quality and produced with many different manufacturers. She travelled the whole world to find respective materials, she developed many new things with her resourceful talent. I’m wearing a Jil Sander suit from the end of the 90s myself. It still fits perfectly, it kept its shape and that has something to do with longevity, something that essentially doesn’t fit today’s fashion industry anymore. Or actually breaks ground.”
And therefore ‘Present’?
"And yes, therefore also ‘Present’."
What was so special about working together with her?
“There is threshold when it comes to working, with 95 percent you’re quite far, but the last five percent, that gets to the heart of something, not-stopping-at-all before everything is in place. And this doesn’t only concern the single piece of clothing. In such an exhibition, it’s about the architecture, the text, the lighting. Basically, all that makes up an oeuvre. She always managed that everyone would put in the same effort. She didn’t have time for anything else in one and a half years. And an aesthetic work came to life by her presence in the present”
How did you convince Jil Sander to cooperate with the Museum Applied Art in Frankfurt? She has also been asked by others before.
"There have been many offers, from the Victoria and Albert Museum and also from Hamburg. I think our concept which is always topical in the context of contemporary questions supported our case. The other reason is that the architecture of Richard Meier really matches Jil Sander well in its modernity.”
Which kind of exhibitions about fashion are you planning for the future?
“We’re working with the museums of fine art in San Francisco on a very, very big exhibition about Islamic fashion. We’re preparing one exhibition about Norway, which will be the guest of honour of the Frankfurt book fair in 2019 and which is also an exciting country when it comes to fashion. We have big plans and fashion will always be part of it. I am also preparing an exhibition about Barbara I Gongini for 2020. The books of ideas are filled.” Yankeemagazines visited the Jil Sander exhibition and in image and sounds.
Foto 1: Matthias Wagner K is standing in his suit by Jil Sander in his Frankfurt office/Yankeemagazines
Foto 2: Jil Sander Flagship Store London, 2002 © Paul Warchol
Foto 3: Jil Sander Exhibition/ Yankeemagazines