68 posts tagged "Colette"
Considering the winner receives a cool 250,000 euros and a two-season mentorship from Italian fashion tycoon Renzo Rosso, the ANDAM Fashion Award is one of the most coveted in the biz. And today, the group announced the seven finalists being considered for the 2013 prize. This year, AMI designer Alexandre Mattiussi, the ever-quirky Olympia Le-Tan (left), Yang Li, Pedro Lourenço, Maison Rabih Kayrouz, Masha Ma, and conceptual couturier Iris van Herpen will be competing for the honor. The winner, whose spoils will also include his or her Spring ’14 collection being sold in Canadian department store Hudson’s Bay Company, 10,000 euros worth of Swarovski Crystals to use on his or her Spring ’14 collection, and support from Fashion GPS over the next two years, will be chosen by a panel of industry insiders—including Colette’s Sarah Andelman, Humberto Leon, Paris Vogue‘s Emmanuelle Alt, and Style.com‘s executive editor Nicole Phelps—in Paris on July 4. Previous winners include Anthony Vaccarello, Giles Deacon, Richard Nicoll, and Gareth Pugh.
Marie Marot has a way with words. And for Fall 2013, the Paris-based designer translated her literary passions into smart, simple leather clutches and knit hats—all of which are embellished with copper plates engraved with some of her favorite mots. But there’s a twist: Marot breaks up each of her eight featured terms into shorter ones, giving them a double meaning. “It all started with my love for words in English and French. You can play with everyday words if you open your eyes and ears, and a single word can suddenly open vast avenues for reasoning or reverie,” says Marot. Her initial inspiration for her range, which she calls Chapter 1, was “Poe[try].” “I never forget this small verb inside.” “Ameri[can],” “[Pain]ter,” “Al[one],” and, our personal favorite, “Psy[chic]” are just a few examples of Marot’s clever Fall vocabulary. As for her decision to debut with only beanies and clutches, she explains, “This is what I wear every day. They’re my essentials.”
Chapter 1 of Marie Marot’s accessories range will be available this June at Colette, Coïncidence, and at her forthcoming e-shop on mariemarot.com
“It’s always fun to work with friends,” said Illesteva’s Daniel Silberman and Jus Ske. The CFDA-nominated designers’ affinity for creative camaraderie has led them to team up with magazine maven, purveyor of cool, and new mother Dasha Zhukova for a second round of collaborative, limited-edition sunglasses. “I’ve been a fan of what Jus Ske and Daniel are doing with Illesteva for a long time now,” said the Garage editor. “To be able to creatively collaborate with them on a project has been an amazing experience.” Priced at $300, the acetate shades—handcrafted en France—come in baby pink or sky blue and are available now at The Webster, Colette, and on Illesteva’s Web site.
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.