64 posts tagged "Chloe Sevigny"
Everyone knows that if you want to up your “cool” factor, you bring in Olivier Zahm. This strategy was not lost on UNIQLO, who appointed the Purple Diary editor as visual director for its newest campaign. Lensed by art-world darling Ryan McGinley, the ads spotlight the brand’s significantly broadened silk and cashmere range (think 330 colorways and patterns for him and her), which is available from today in stores and online. Chloë Sevigny, Lily Donaldson, and McGinley himself don UNIQLO’s latest wares while posing against simple pastel backgrounds—a visual approach that Zahm felt would convey both the simplicity and sensuality of the materials. Catch the ads’ debut here, exclusively on Style.com.
By now, it’s been established that we’re in the midst of a nineties style revival (points of reference: the spring 2013 collections of Dries Van Noten, Phillip Lim, Dsquared², and House of Holland, just to name a few). But the art world is reliving the nineties, too. Earlier this month, the New Museum opened its NYC 1993: Experimental Jet Set, Trash and No Star exhibition, which, named for a Sonic Youth song, features artwork that was exhibited or produced in New York in 1993 (like Matthew Barney’s drawings, John Currin’s Girl in Bed painting, and Art Club 2000′s Conrans I print, which shows Gen Y-ers surrounded by Gap bags—below). And today, photographer Marcelo Krasilcic memorializes the full decade with his show 1990s at Colette in Paris. (It coincides with the release of his book, Marcelo Krasilcic: 1990s, which Colette will fete on March 1.)
So why all the nineties nostalgia? “I think we’ve explored the eighties already. We have these generational moments, and twenty years feels like the right time to look back,” says Jenny Moore, one of the curators of the New Museum exhibition. But aside from the twenty-year mark, there are cultural similarities between today and the grunge era, which are ripe for exploration. For instance, health care and gay rights were climbing onto the political stage in the nineties. Today, they’re front and center. “A lot of what happened then—in terms of culture, fashion, and music—is still very much a part of our cultural discourse,” says Moore. The early nineties also marked the beginning of Rudolph Giuliani’s tenure as mayor of New York City, which many believe marked the end of the dirty, dangerous, free-spirited party that was old NYC. “It was the last hurrah for New York in this gritty, anything-is-possible moment.”
Krasilcic, who came to New York from São Paulo to study photography in 1990, concurs. “It really did feel like everything was possible,” says the photographer, who at the time was working with the likes of Dazed & Confused, Purple, and Self Service. “The distinction between art and fashion photography was really blurred, and the clothes were just an accessory to the idea that we wanted to talk about.” Not surprisingly, his favorite nineties subject was indie queen Chloë Sevigny (above), whose photographs feature in his show and book. Don’t call it a comeback—Chloë is one nineties icon who never left.
The New Museum’s 1993: Experimental Jet Set, Trash and No Star runs through May 26; Marcelo Krasilcic’s exhibition will be open at Colette from today through March 20.
Spring ’13 marks a full-on nineties revival. So it’s appropriate that the new fashion-media site VFILES would choose this week to relaunch X-Girl, the indie, New York-based clothing line started by Kim Gordon (of Sonic Youth fame) and stylist Daisy von Furth in 1993. Inspired by X-Large, the L.A.-based men’s skatewear brand founded by Eli Bonerz, Adam Silverman, and the Beastie Boys’ Mike D, X-Girl offered fitted streetwear and provided a preppy, sixties-style alternative to the baggy grunge look of the decade. The duo’s first collection debuted via a guerrilla fashion show in Soho—naturally, it was broadcast by MTV’s House of Style; it was the nineties, after all—and after the designers’ pals joined in on the fun (Sofia Coppola was involved, and Chloë Sevigny was their first fit model), the line reached cult status. As von Furth explained in Paper magazine’s “An Oral History of X-Girl,” “It was all about being cool and having stuff that other people didn’t have. We had no official style background. The first thing we did was a T-shirt that said ‘X-Girl’ in Agnès B. font. We got a quick cease and desist.”
The brand was bought by a Japanese company in 1998 and hasn’t been seen stateside since. Until now, of course. The revived range—which includes X-Girl logo T-shirts, chip clips, and other kitschy swag—isn’t designed by Gordon and von Furth, but it definitely induces some much-appreciated nineties nostalgia.
X-Girl is available now exclusively on VFiles.com.