5 posts tagged "Carhartt"
In an age when so many brand collaborations are cooked up in marketing laboratories, few pairings are as organic as A.P.C. x Carhartt. A.P.C. creative director Jean Touitou and Carhartt’s Arnaud Faeh (who heads up the brand’s edgier, somewhat pricier sibling, Work in Progress) came up with it themselves, launching their first menswear capsule for Fall ’10. The unlikely marriage of heritage workwear and Parisian wit was a quietly cool hit.
Now the duo is back with their fourth and final collection. As Faeh tells it, “Nothing is worse than ‘expected’ things.” Fans will be glad to know that there’s nothing hackneyed about the collaboration’s swan song—just plenty of corduroy, denim, and cotton in a series of easy styles. Pieces range from flannel shirts to boxer briefs to classic workmen’s jackets.
Destined to be one of the line’s more coveted items, the If Six Was Nine watch (after the Jimi Hendrix song of the same name) reverses numbers so that, indeed, six is nine, five is seven, etc. On the back you’ll find a blueprint of Touitou’s boat, where he and Faeh often brainstormed—in fact, it’s a recurring design element in the collection. “[It's a] symbol of some really dope times with Jean,” Faeh said. Touitou explains the mind-bending $150 timepiece with his trademark irreverence: “I am tired of social markers, such as expensive watches. And life is absurd—unless some god is involved—so a watch could be absurd, too.”
Native Parisians have had their hands (and streets) full this week during the Paris collections, when a tide of editors, stylists, celebrities, and assorted hangers-on flooded into town for the shows. The season wraps up today, and when the pros head home, the Parisians will have a reward to look forward to: the epic, 15th anniversary Carnaval that Colette is setting up in the Tuileries, the first branded, public event ever held in the gardens. Barring a private party on Saturday night, the full slate of booths, games, and activities is open to one and all. The participants include:
—A.P.C., which will shoot you into its new ad campaign
—Maison Michel, which is bringing a photo booth, and hats to wear into it
—Olympia Le-Tan, who will take your temperature with her pharmacy-kit purses
—Nike, which is setting up a basketball court for three-on-three games
— Carhartt, which is organizing a rifle-shooting stand
— A Bathing Ape, which is creating a kiddie pool
— Ladurée, which is cooking up a custom candy-floss-flavored macaron for the occasion
— Darcel (above), the dour blog icon (and Style.com/Print contributor), who is creating custom merchandise for the occasion, and more.
To get the full details, visit Colettecarnaval.com.
Last night, the chainsaws were going full-throttle at Barneys New York’s midtown window display studio. The six artists who make up Paintallica—roughly an art-world supergroup, comprising six more or less core members and a variety of guest stars, who join forces every so often to install themselves in a space and not leave until a piece is completed—were hacking away at giant tree trunks, which are to end up, eventually, in Barneys’ 60th Street windows. The artists and the retailer invited Style.com in for a peek behind the scenes.
The occasion for the displays: the debut of Adam Kimmel’s collaborative collection with workwear wonks at Carhartt. The collection will share one window with the Paintallica creation and one with a piece being installed by California artist George Herms. Both Dan Attoe (above), the de facto spokesperson for Paintallica, and Herms are Kimmel stalwarts. Last season, Kimmel collaborated with Attoe on a Pacific Northwest-inspired collection, as well as a film to screen alongside it. And Herms (below is one of the grizzled, grand old men of American art who modeled the collection Kimmel showed at Pitti Uomo in 2008, and later appeared in his lookbook.
“He was working a few years ago on a line based on the Beat generation. Tony Shafrazi said, you know, Adam, one of these guys is still wandering around the hills of California, so he sent him out to Dennis Hopper and Dennis sent him to me,” Herms explained. For his window, he is creating saturated collages, culled from magazine images, over which he’s laying melted metal sculptures he calls “barbecued moon rocks” (below). At a party tonight for finishing touches before the windows go up on Thursday, Herms will be barbecuing smaller versions made from DVDs over hot plates.
Paintallica’s, too, was in the early stages of completion at the beginning of a long night. “It’s a lot of improvisation,” Attoe admitted. “It’ll come together as we’re working on it.” The department store display is a new medium for the artist, as it is for Herms. “This is our first store window,” said the outdoorsmanly Attoe, who befriended Kimmel over chopper-riding, four-wheeling, and shooting. “I don’t know if it’ll be a recurring thing for us—I kinda doubt it.”
Among the 1,000-plus exhibitors at the 79th edition of Pitti, which opened in Florence on Tuesday, were Adam Kimmel and Aitor Throup, two longtime Style.com favorites, both launching new collaborations with iconic heritage brands and both coming up trumps by creating gotta-have-it hybrids between past and future that will make next fall a better place to be.
Kimmel worked with Carhartt. (A first look from that collection is above.) In his case, that was a whole lotta history. The family-owned company has been dressing America’s working stiffs since 1889, which is the kind of durable blue-collar kudos that has ensured Carhartt’s coolness with skaters and snowboarders. In other words, Kimmel’s heroes when he was a kid. He himself got his first piece of Carhartt outerwear—synthetic duck, quilt lining, corduroy collar (they still make it)—when he was 10. His own take on the brand is, in fact, less a collaboration than a 29-piece Kimmel collection manufactured by Carhartt, so he is able, as he says, “to offer a product at an incredible price point” to an audience that may have craved his Italy-produced signature line without having the readies to buy it. That said, the Kimmel-Carhartt connection is umbilical. The designer has always been acutely sensitive to function in his clothes, and his silhouette has always been forgiving—he used to call it “an American cut,” as opposed to Euro skinny-minnie. Still, he’s trimmed some of the Carhartt bulk. The stiffness is gone, too. In fact, to wear these clothes is to love them. A worker’s jacket in an almost luminous indigo moleskin was softer than velvet. A substantial parka/jean jacket hybrid (2-in-1 pieces are a Kimmel signature) was much lighter on the body than on the hanger. Such user-friendliness will win hearts, minds, and dollars when Kimmel/Carhartt shows up at Barneys later in the year. (Barneys’ Jay Bell brokered the relationship, so the store has an exclusive.)
Barneys is also where you’ll find Aitor Throup’s latest collaboration with sportswear giant Umbro (above). Last year, he remodeled the English football team’s uniform for its ill-fated World Cup appearance in South Africa. Now, he’s revisiting ten iconic pieces from Umbro’s archives (for example, the jacket worn by manager Alf Ramsay in 1966, the year England won the Cup). Throup is obsessive in his research. There’s at least two years’ worth in this new venture (it’s actually called Archive Research Project), and there aren’t many designers who could match Throup’s understanding of the way an athlete’s body moves in clothing. He refers to it as “data informing design,” which, techspeak aside, produces garments that follow and flatter the human form as elegantly and effectively as the finest bespoke tailoring. Throup is quick to point out that when Umbro launched in 1924, footballers’ uniforms were tailor-made. In restoring the essence of that tradition, he’s guaranteeing that sportswear will never be the same.
The market’s first fashion victim has been revealed. The Danish company behind Camilla Stærk announced today that it will “cease all activities concerning the brand,” which is about as unequivocal as you can get.