Yesterday Cher announced over the course of several tweets that Bob Mackie, longtime collaborator and the man behind her infamous 1986 Oscars getup, would not be bringing his brand of bling to her upcoming (and perhaps truly final) tour.
“Nobody wanted to design this last tour more than I did! I am sick about it. My professional and business commitments were just too great,” Mackie said in a statement, adding that, “After all these years of collaborating, it is like turning down your own little sister, and how many guys have a little sister like Cher?”
British designer Hugh Durrant, who created the costumes for Cher’s misleadingly named 2002 Farewell Tour, will be designing in Mackie’s stead. While this news both stuns and saddens, as the Goddess of Pop assured via Twitter, “WE WILL PERSEVERE.” Steady on.
Turnover at the New York Times fashion desk continues. This time it’s Bruce Pask, men’s fashion director at T: The New York Times Style Magazine, leaving for a gig at Bergdorf Goodman as men’s fashion director.
The news, originally reported today by WWD, isn’t exactly an industry shocker, since Pask has been styling menswear at Bergdorf’s for years, but it is a notable editorial-to-retail crossover—one we’ve seen men’s editors make before. The move brings to mind Bloomingdale’s men’s fashion director Josh Peskowitz, who got his start in editorial with stints at Cargo, Men.style.com, and Esquire.
As media continues to evolve with more shoppable content and attempts at e-commerce, and retail develops its editorial chops to create content of its own, it seems this is a career trajectory we’ll be seeing more of in the future.
In the meantime, let us know when you start taking bets on who will fill Pask’s chair at T.
Prada Marfa‘s somewhat infamous reputation remains firmly intact. The faux boutique, which last fall faced a legal foe in the form of the Texas Department of Transportation, was defaced on Sunday morning by a vandal calling himself TOMS Marfa. The building’s facade was stickered with the socially conscious espadrille titan’s logo, and spray-painted in TOMS’ signature powder blue hue. Seemingly worded for maximum provocation, a manifesto left on-site offered up the following: “TOMS Marfa will bring greater inspiration to consumer Americans to give all they have to developing nations that suffer disease, starvation, and corruption. So long as you buy TOMS shoes, and endorse Jesus Christ as your savior, welcoming the ‘white’ him into your heart. So help you God, otherwise you’re damned to hell.” Guerrilla philanthropy, performance art, or fanatical vandalism? Only time will tell.
Following the departure of Cathy Horyn and Suzy Menkes, Vanessa Friedman, formerly the fashion editor of London’s Financial Times, is joining the New York Times as fashion director and chief fashion critic. She will begin at her new post next month.
Speculation among editors at last month’s shows was that Friedman had been lobbying hard for the Times position, and some even felt that it was no accident that her Moschino takedown in the FT had a certain Horyn-like vigor. Friedman has served as the FT‘s fashion editor since 2002. Prior to her role there, she was a regular contributor to such publications as The New Yorker and Vogue, and was the founding fashion and features director for InStyle UK. No doubt, she’ll make a strong addition to the evolving NY Times fashion team.
It’s been over ten years since Irene Albright first opened the doors to the Albright Fashion Library—the more than 15,000-dress-, 7,000 shoe-strong collection of contemporary couture, ready-to-wear, and accessories now housed in a massive 7,000-square-foot loft at 62 Cooper Square. “Irene was working with KCD and saw that people were running around chasing clothes, and she just decided to start buying [important pieces],” recalled the Library’s creative director, Patricia Black. “Eventually, people would come to her saying, ‘Oh, do you still have that sweater? Can I borrow it?’”
Today, after a decade functioning as a sort of dream closet for fashion insiders, the Library is feting its history, as well as the incredible individuals who have pulled from its continually evolving archive, with Albright Goes to School, an exhibition in partnership with the Fashion Institute of Technology and MAC Cosmetics that opens this evening at the Museum at FIT.
“I wanted to celebrate Irene, the Library, the stylists—the people who were working on the inside—the shakers and tastemakers,” said Black. “Without them, we wouldn’t have what we have in terms of this colossal space just packed from floor to ceiling with clothes.”
The show—a first look debuts here—features individual looks that ten stylists (June Ambrose, Paul Cavaco, Catherine George, Tom Broecker, Freddie Leiba, Lori Goldstein, Kathryn Neale, Mary Alice Stephenson, Kate Young, and Patti Wilson) created using iconic wares from the Library. A Tom Ford goat hair jacket layers over a Comme des Garçons tank in Goldstien’s look; Balmain is mixed with Givenchy and the artist’s own choker and face mask in Leiba’s; and Patti Wilson utilizes a Lanvin body harness to sex up an otherwise high glamour Yves Saint Laurent and J.W. Anderson combo.
There’s a rich history to the institution, and Black, Museum at FIT director and chief curator Valerie Steele, and set designer Stefan Beckman were tasked with expressing that through a tight narrative. “There are some incredible stylists who pulled these outfits, but they each have their own different story,” related Beckman, who described the installation as a “gritty fire escape urban idea.”
Steele added that the Museum’s interest in the exhibition stemmed, in part, from a desire to champion stylists. “People tend to think, Oh, designers make fashion. So it was important to be able to bring in stylists and show that they also have a really important role in putting looks together.”
The ten ensembles will be on display through March 31. The show marks the beginning of a greater collaboration between FIT and the Albright Fashion Library. “Irene is such an eclectic collector of everything from fashion to art to houses to people. So who knows what she’s going to start collecting next and where we’re going to take that,” suggested Black. “[But] I’m excited about the beginnings of seeing how we get to work and inspire the new generation of kids who dream of becoming the next designer, visual director, creative director, fashion editor, stylist, or costume designer. I’m hoping that we can lend a little bit of light to them in this moment.”