21 posts tagged "Ann Demeulemeester"
According to a handwritten letter circulated via e-mail this morning, Ann Demeulemeester is leaving her namesake label. “A new time is coming both for my personal life and the brand ‘Ann Demeulemeester,’” she wrote. “I feel it’s time to separate our paths.” Demeulemeester’s poetic, ethereal aesthetic made her a favorite of fashion iconoclasts, perhaps most famously her friend Patti Smith. The letter did not specify whether a new creative director would be named or whether the existing team would take the collection forward, but it announced that the men’s and women’s collections for Fall ’14 would be presented together at a show on February 27, 2014.
The menswear schedule is heating up, ladies and gents! (Well, mainly gents.) Today, WWD reported that Haider Ackermann, who quite successfully tried his hand at menswear back in 2010 (left), when he showed a collection at Pitti W (it was picked up by Barneys), is joining the Paris men’s schedule. For his second foray into menswear, which will debut on June 26, Ackermann will be presenting what he’s dubbed a “men’s wardrobe.” The menswear reveal comes on the heels of last week’s announcement that Belgian entrepreneur Anne Capelle had split the Haider Ackermann and Ann Demeulemeester labels, both of which had been linked under the same parent company. She told WWD that Ackermann’s label, which he launched in 2001, had “fully matured over the years, becoming a fully stable and independent business on its own.” Indeed, Ackermann has the potential to be an exciting addition to the men’s market. And we bet that a few of his female devotees (ahem, Tilda Swinton) will be fans of the boys’ clothes, too.
Opposites, insanity, clarity, abstraction, and minimalism all rolled into one—such was the concept behind photographer Erik Madigan Heck‘s electrifying images of Mary Katrantzou’s Spring ’13 collection. Heck, who has shot editorials and photographs for everyone from W magazine and Vanity Fair to Haider Ackermann and Ann Demeulemeester, has worked with Katrantzou on unexpected visuals since 2010. “I contacted her originally after she won the Swiss Textile Award. I was enamored with her creativity and use of color, and I thought we could collaborate in an interesting and innovative way,” Heck told Style.com. Intended as an artistic project rather than a campaign, the photos are an eye-catching (and, dare we say, refreshing) approach to showcasing Katrantzou’s clean Spring silhouettes and currency-inspired prints.
As creative director of her family’s business, Selfridges’ Alannah Weston has turned the massive department store on London’s Oxford Street into her private fiefdom of fun with a series of large-scale events that have brought together artists, filmmakers, musicians, and designers in the name of underscoring the store’s retail vision. Wednesday night saw one of the smartest, artiest events yet, to mark the opening of the Women’s Designer Galleries. Curator Emma Reeves commissioned a set of short films to interpret seven of the collections carried in the new space. The single criterion? A strong female character at the heart of each film. For Ann Demeulemeester, for instance, Michael Pitt filmed his fiancée, Jamie Bochert, as a wraithlike figure moving through the desert (top), like a contemporary version of Isabelle Eberhardt, the 19th-century French traveler who inspired the designer’s collection. For Comme des Garçons, Katerina Jebb filmed concert pianist Madeleine Malraux, the widow of cultural nabob André Malraux, still playing at the age of 90.
Ruth Hogben made a typically brilliant piece of film for Gareth Pugh (above), a hectic slice of Cabaret-style decadence. She also created a sepulchral German-expressionist short for Rick Owens: harsh angles, shadowy reveals, eldritch textures, and an opera soundtrack. Her grasp of atmospheric moviemaking is so acute it came as a surprise to hear Hogben admit that all she wants to do is take still pictures. I swear everybody’s going to be reading real books again in a few years.
Speaking of atmosphere, set designer Simon Costin has made Mars out of molehills, and here he turned the derelict Selfridges’ hotel into an outlying branch of the Overlook, with curtained-off spaces intended to obliquely echo the building’s former use. There were “rooms” with oversize sofas, long dining tables, cracked vanity tables, and huge beds, with the movies projected on the ceiling above them. That was how we got to see an edit of the film Christopher Doyle had made, but not used, as the backdrop for Dries Van Noten’s show for Fall 2005. (Technical issues pulled it at the last minute.) Doyle was the man whose camerawork made In the Mood for Love into the swoonsville date movie of the millennium. A perfect match for Dries’s own romantic leanings. It was kinda nice watching it lying down, too.
Funny, only one of the films—the McQueen one—really featured recognizable clothes. The others were all projections, figurative and literal, like Delfine Balfort’s erotic equine dance for A.F. Vandevorst. You can see them all on Selfridges’ Web site, but you’ve got till March 26 to experience them in person. More fun that way.