18 posts tagged "Cathy Horyn"
Never mind their guest lists of the avant-garde’s great, good, and badly behaved, Charles and Marie-Laure de Noailles’ villa on a hill above the town of Hyères in the South of France must have seemed to the locals like a bemusing glimpse of the future when it was built in the mid-1920′s. Its blocky modernism is still incredibly striking in the pink-shaded and shuttered context of a typical Riviera town, and you couldn’t wish for a better setting if you were an arts festival looking to stage a competition that celebrates creativity untrammeled by the forces of Mammon. Which, for the fashion end of the festival, translates into exhibitions of work by recent graduates from around Europe, for whom Hyères offers one final attempt to Truly Express Themselves. It might be their one last grasp at the high-concept ring before they’re subjected to the external disciplines of internships, studio assistant positions, and judgmental barb-tongues telling them to get real.
Except the judges at Hyères this year weren’t like that at all. The composition of the jury embraced a universe of sensibilities, from the rigorous thought processes of chair Raf Simons and editrix Jo-Ann Furniss, through the not-much-older-than-the-finalists Christopher Kane, Lazaro Hernandez, and Jack McCollough, to the well-seasoned industry perspectives of Carla Sozzani, Floriane de Saint-Pierre, Cathy Horyn, and Michel Gaubert, with my rosé connoisseurship bringing up the rear. Juries are a challenging proposition. In both numbers and gender equity, we were nowhere near 12 angry men, but the differences of opinion—and the passion with which they were aired—were a surprise, especially given that there was genuine agreement on one thing: This was not a bumper fashion year in Hyères. In the spirit of the place, it was bemusing, and even blocky hyères and thyères. But bumper? No.
The jury saw the finalists’ clothes three ways: as a presentation, on the catwalk, and in a showroom. It was fascinating how our appreciation of the designers ebbed and flowed according to the mode in which we were encountering them. Here, the fabrics ruled, there, the showmanship. The eventual winner was Lea Peckre from France. Her collection, Cemeteries Are Fields of Flowers (above), was polished in its execution, intriguing in its fabrication. I’m a sucker for wood sequins—and she also used GodSpeed You! Black Emperor as her show music, which can’t hurt. The attention to structure and the concierge color palette of Peckre’s clothes also had hints of Jean Paul Gaultier, with whom she interned. That too can’t hurt.
The jury’s honorable mention—and the competition’s most polarizing designer—was Emilie Meldem from Switzerland. Some members of the jury were utterly seduced by her directness, her drollness, and what she referred to as “the minimal eccentricity” of the Swiss aesthetic. What I loved most were the showpieces woven from twigs. (“Half my village helped on the dress,” she said with what might have been a chuckle, but could have been a choke.) Each stick was, according to Meldem, treated like a piece of jewelry. The result was so pagan, so ritualistic, that I felt like I was looking at The Wicker Man à la mode. Which can’t be bad.
One final note: Hyères is open to independent applicants from all over the world, which seems to be a well-kept secret. It doesn’t matter where you live, where you received your fashion education. So one word of advice to fashion students everywhere: Apply! Hyères at this time of year? A small patch of heaven.
The International Fashion and Photography Festival that takes place every year in Hyères (sorry, couldn’t resist) in the South of France has an impressive pedigree, a point rammed home by the rapid-fire video appetizer for the 26th edition, which runs April 29 till May 2. (You can watch it, in its slightly hysterical glory, below.) The ten fashion finalists (from France, Germany, Holland, Belgium, and Switzerland) will be judged by a jury headed up by Raf Simons, who also has an exhibition running in the Photography Festival. He’ll have to ride herd on jurors Lazaro Hernandez and Jack McCollough, Christopher Kane, Carla Sozzani, Cathy Horyn, Michel Gaubert, and me, though our verdict will undoubtedly be rendered unanimous under the ameliorating influence of Provence’s finest rosés. And there can be few more appropriate locations in which to judge a new wave of design talent than the Villa Noailles, one of the French Riviera’s great if-walls-could-talk houses. In its pre-war heyday, it played host to Picasso, Dalí, Cocteau, and a whole host of avant-gardists. With Raf, rosé, and Michel Gaubert’s iPod, we should be able to raise a few ghosts.
The Office actress and writer Mindy Kaling is one of our favorite writers—and Twitterers. The fashion-world tweets she cooked up for Harper’s Bazaar are fictional, the mag cautions—but we’re willing to believe there’s a grain of truth buried in there somewhere. If not truth, at least wisdom. To wit: “At Betsey Johnson, in a tutu and fauxhawk. Have decided Helena Bonham Carter should play Betsey in The Betsey Johnson Story. #NYFW 4 hours ago.” Why didn’t we think of that? [Bazaar]
Cathy Horyn takes to the Times to discuss Mugler and the cult of Nicola Formichetti—and comes out with a fairly spirited defense of the collaboration. It’s worth a read this afternoon. [NYT]
Models—they grow up so fast! Just a minute ago, it feels like, Karlie Kloss was a 16-year-old newbie. She’s still all of about 18 years old, but she’s looking rather adult posing in the buff with pal Jourdan Dunn for i-D‘s Exhibitionist Issue. [Fashionologie]
And speaking of top models, they (and the rest of the rich and famous) have got a powerful new ally in British businessman and magnate Sir David Tang. He’s created a new Web site, ICorrect that allows high-profile members to publicly refute anything written about them (or purportedly written by them) in the press. Kate Moss paid the thousand-pound fee to clarify that she has no Twitter account, despite many claiming to be her; and Naomi Campbell wants you to know that she is not glad that Russia won the right to host the 2018 World Cup over England. (For what it’s worth: “”I have never ever expressed any opinion either way about whether FIFA made the right choice for where the 2018 World Cup should be held—I wouldn’t do that, not least because I don’t know enough about the technicalities or process.”) [Vogue U.K.]
School’s in—with Nick Knight, Ryan McGinley, Tim Walker, and Fabien Baron, no less. Beginning in the fall of 2011, the School of Visual Arts in New York is launching a new graduate program in fashion photography, the first of its kind on the scale being proposed. SVA’s Stephen Frailey and Art + Commerce founder Jimmy Moffat (pictured, left to right) will co-chair the program, which will draw its faculty and guest lecturers directly from fashion’s most marquee mastheads. (In addition to those mentioned above, Cathy Horyn, Pascal Dangin, Emma Reeves, and Glenn O’Brien will take part.) On the eve of the program’s announcement, Style.com checked in with Frailey to discuss what’s new, what’s next, and who he’s looking for.
Let’s talk back story. Why this program, why now?
It really seems like it’s a good time for it. As an academic, as someone who is in the classroom at an undergraduate level, I think often fashion photography has been marginalized by the students. Despite the fact that it takes an enormous amount of work and is collaborative, I really feel like it’s been on the sidelines of the photographic education, especially at an advanced level. I come from the art world, and I came to fashion photography fairly late. About ten years ago, I started noticing the amazing work that was in W. I began to realize that art photography had borrowed so much from fashion without necessarily acknowledging it—an interest in narrative, in the staged and fabricated image. At any rate, I felt like it was time for fashion to be considered among the more elevated photographic pursuits in higher education at the graduate level.
What will the curriculum be?
It’s a one-year program; the classes will occur in the evening and on Saturday. There will be two classes that will last the full year, 30 weeks. One will be a critique class, [whichS will have a rotating faculty; it’ll be collaboratively team-taught by Jimmy Moffat, Dennis Freedman [formerly of W], and Andrew Richardson. Then we’ll have a class called the Symposium class, taught by Emma Reeves [of V]. It’ll be an opportunity for everyone to gather together and to go to whatever is happening in New York at the time, whether it will be a guest lecture by Karl Lagerfeld or an exhibition at the Metropolitan Museum or at galleries. Carol Squiers, who is a curator at the ICP, will be teaching a class on the history of fashion. I’ve been asked to have that class, by the way, streamed onto the SHOWstudio Web site. There’ll be a digital photography class for fashion photographers, which will be taught by Pascal Dangin [of Box Studios, and one of the most influential retouchers in fashion]. Not only will it be about technique, but also about some of the ethical issues of retouching, and the way that it creates a kind of utopian figure. And video, which is a very important part of the future of fashion photography. Continue Reading “SVA Launches A Master’s Program In Fashion Photography” »
Sad to say, the long weekend’s over and most of us are back at our desks. But one creature who never rested was Lady Gaga, who kept the home fires burning with a holiday-weekend dose of her usual inspired looniness. Gaga sat for a live interview with Nick Knight’s SHOWStudio on Sunday night and for two hours, fielded questions from a few fans—fans like Daphne Guinness, Cathy Horyn, Gareth Pugh, John Galliano, Jefferson Hack, and Quentin Tarantino. The full two-hour interview is now available on SHOWStudio.com, but in case your boss is watching over your shoulder (hi, boss!), we’ve reprinted a few of our favorites below.
Cathy Horyn: I’m wondering to what extent your style has been influenced by Isabella Blow and Daphne Guinness? I detect not merely more high fashion in your look, but more English flamboyance.
Lady Gaga: Isabella and Daphne are two genius human beings. Women, icons, but so much more than that. They are for me a way to look into myself and examine their lives and who they are in an effort to understand myself better. Isabella is an enormous inspiration and so is Daphne, and I cherish their lives. I cherish them both, as if we were cut from the same cloth.
John Galliano: If you were able to travel through time where would you go: backwards or forwards, and why?
Lady Gaga: My first instinct is to say to go to the past, because I would love to experience and see all that has influenced and shaped my vocabulary. However, I will decline the past, I would say if I had to choose I would go to the future. The reason is quite selfish: because McQueen used to say, you must never look back, you must always be going forwards. I would go to the future—selfishly—to feed my work and make me a better artist, to create more forward-thinking, innovative, magical and poetic work, like he did.
Nicola Formichetti [Vogue Hommes Japan fashion director, Dazed & Confused creative director, and Lady Gaga’s stylist]: What are your favorite and least favorite outfits we created together?
Lady Gaga: My favorite? That’s quite a difficult question! One of my favorites was the red McQueen lace archive dress, and the tall red crown for the Video Music Awards. My favorite that we made was the performance outfit that bled on its own—it was such a strong statement about clothing being alive, it lives and breathes. That was incredible. The least favorite… I don’t have one! You’re amazing, Nicola, you always nail it. No regrets. We’ve done so much together, it’s difficult to say my favorite and least favorite. It’s like saying I don’t like my arm! Continue Reading “Get Back To Work With A Few (Hundred) Crazy Gaga-isms” »