2 posts tagged "COS"
If you’re looking to add something basic to your wardrobe—a T-shirt, say, or a new pair of jeans, perhaps a light sweater for spring—chances are the Gap isn’t at the top of your list of places to look. Though it still generates billions in sales, the retailer has, over the last twenty-five years, slowly been slipping out of consumer America’s consciousness.
Bloomberg Businessweek profiles Gap’s new creative director, Rebekka Bay, in its latest issue, and while it seems the COS creator is a smart choice for reviving the brand, it isn’t clear what exactly the Gap should be. The headline “Can Rebekka Bay Fix the Gap?” makes it seem like bringing the brand back to its exuberant nineties glory is the answer. But if Bay’s task is to “Make Gap Gap again,” there better be a whole lot of people out there who want the Gap to be the Gap again, an as-yet-unproven proposition. That or this normcore thing better take off.
Bay talks about the strength of the American uniform—comfortable, functional, timeless clothes, like jeans and T-shirts—and her rules for creating a collection: “You need a very strong foundation,” she says. “You have boundaries, and you can only—and I’m kind of rigid about this—you can only work within them. First, you design the most iconic piece. Then you can maybe create a seasonal version of that. If anyone is going to go beyond that, I have to agree to it.”
What Gap does having working in its favor is scale—almost 1,700 stores in nearly fifty countries and sales of more than $6 billion, according to Businessweek. Unfortunately, for now anyway, savvy shoppers will be more excited to see a new COS store opening than a new collection landing at the Gap. Let’s see if Bay can change that.
Why is London cooler than usual? Because it’s Frieze-ing. But, given that Germans seemed to be the dominant nationality on the opening day of the Frieze Art Fair, it made sense that it was Claudia Schiffer’s open-to-buy budget that was giving gallerists chills. Plus, she was appropriately emblematic of the fashion/art nexus that gives Frieze its special flavor. Case in point: The first person I saw as I sailed through security was Raf Simons; the last, as I headed for the exit five hours later, was Hussein Chalayan. And the day began with a press brunch given by COS, Europe’s favorite “masstige” chain, followed by a curators’ tour of Frame, the new art wing of Frieze, which COS is supporting.
Each invitation to the brunch was accompanied by a hand-penned missal from artists Michael Crowe and Lenka Clayton as part of a project called Mysterious Letters, through which they intend to communicate with every single person in the world. (Just two kids with a dream!) Still, the optimistic monumentalism of their scheme felt typical of Frieze 2010, especially after the flatness of last year’s fair. There was lots and lots of really big stuff, taking a cue from the scale of Frieze itself, with more than 170 of the world’s best galleries on display. Sadie Coles was showing a 13-foot-high fireplace cast in bronze by the Swiss artist Ugo Rondinone; Emmanuel Perrotin had Xavier Veilhan’s high-octane futurist-style sculpture of a carriage drawn by four horses. It was almost life-size. And purple, to make it even more inescapable. (That’s it, pictured above, at a previous installation in Versailles.)
If 2009 featured a strong handicraft subtext, 2010 resurrected that old standby, photo-based work. Chalayan’s favorite was Marlo Pascual on Casey Kaplan’s stand. The Tennessee native’s dramatically repurposed images also captured the imagination of Francesca Amfitheatrof and Carlo Brandelli—and enough museums and collectors that Pascual was a first-day sellout. That’s the kind of new-name success story that offers an uplifting alternative to all the grandstanding that takes place at the blue-chip booths. Not to say that that isn’t enthralling, too. In fact, I’ve got to get me back there tomorrow for some more.