31 posts tagged "Diesel"
If you didn’t catch her flipping her pink cornrows in Grimes’ Genesis music video, perhaps you’ve heard her single, I Wanna Fuck Right Now, or seen her posing in gilded chains and breast-baring tees. Move over, Miley—rapper Brooke Candy is the latest controversial femme to hit the music scene, and Diesel’s artistic director and resident rebel, Nicola Formichetti, has tapped her to star in the brand’s sexed-up Spring ’14 accessories campaign. “As a rapper, performer, muse, and stripper, Brooke Candy is an artist who has unique access to every social level,” said Formichetti. “She traverses class systems and defies racial and sexual stereotypes.”
Candy, who features alongside brooding beauty Tessa Kuragi in the Inez & Vinoodh-lensed images, strikes a racy pose while clutching Diesel’s studded black leather tote. Meanwhile, Kuragi arches against a stripper pole, showing off a pair of leather booties and a harness-embellished bag.
“Sexiness is one of Diesel’s most iconic attributes,” said Formichetti of Spring’s severe, heady look. “There’s something industrial about Diesel that is also very erotic, so it makes sense to push eroticism aggressively. It’s leather, so it’s tactile, sensual, and strong. It’s physical and also an attitude.”
The range’s wares (which will hit stores in November) were inspired in part by Shibari—a form a Japanese rope bondage. With that in mind, it’s only sensible that Diesel would plan an all out bash (complete with a performance by Candy) in Formichetti’s native Tokyo to celebrate the launch. Check back next week for a rundown of Friday’s party. In the meantime, take a peek at the new accessories ads, which make their debut exclusively above.
Andreas Melbostad, designer of the late, lamented Phi, joined Diesel in 2012 as the creative director of its designer collection, Diesel Black Gold. After a few successful seasons, it was announced recently that he’ll take control of DBG’s menswear, too, and his first collection will have a big platform: the 85th edition of Pitti Uomo in Florence this January. “I will enforce the core codes of the collection with my own sensibility and hand,” Melbostad said in a statement.
The impressive second-quarter results posted recently by the Yoox Group, Italy’s e-commerce giant, was further proof that the future of high fashion lies online. But can CEO Federico Marchetti (left) work the same magic with fine art? It has been on his mind since he launched Yoox fourteen years ago. “I’ve always had the notion of the one-stop shop, with a mixture of modern and vintage, clothes and furniture,” he says. “The art component is the one that closes the circle.”
Marchetti tested the waters last October with Damien Hirst, Grayson Perry, and the first-ever edition by Italy’s top Pop artist Francesco Vezzoli. “He did it to help earthquake relief in Emilia-Romagna, where I’m from,” explains Marchetti. “We did an edition of 399 priced at 399 euros, dollars, or pounds.” Yoox is now providing corporate sponsorship for Vezzoli’s Trinity, a series of three exhibitions in three cities, the first in Rome now until November 24, the second opening at New York’s MoMA PS1 in the fall, and the third at the Museum of Contemporary Art in L.A. in early winter.
But any multimillion-dollar business can cough up sponsorship dollars. It was Padiglione Crepaccio (below), the much humbler Yoox initiative during the opening days of the Venice Biennale, which cast a more interesting light on Marchetti’s intentions in the art world. Curator Caroline Corbetta assembled work by ten Venetian artists under 30—the sort of creative types who are usually overlooked when the Biennale’s grand caravan rolls into town every two years—and exhibited the result in the house where three of them live. (A very nice piece of old Venice it was, too, calculated to make starving artists everywhere else in the world utterly puce with envy.) The twist was that the exhibition preview was online. “Like Saatchi, but in reverse,” says Marchetti. “Everyone else got to see it online before the art-world elite got there.” Which didn’t stop heavy hitters like Vezzoli, Diesel’s Renzo Rosso, and cherished art-world provocateur Maurizio Cattelan (a patron saint to young Italian artists) from showing up in person at the opening.
With his Acne jeans and his Lobb shoes, Marchetti is almost correct when he describes himself as the Yoox customer. And he was setting a good example by shopping for art at Padiglione Crepaccio. (In keeping with the initiative, it was only possible to buy the pieces on the iPads provided, even if you were standing right in front of the art and the artist). Right now, Marchetti is picturing art on Yoox as “something like a TV talent show, 99 percent talent, 1 percent the special X factor.” But going forward, he imagines people picking up “a pair of jeans and a painting” when they visit the site. “It’s part of the plan to make yoox.com a playful lifestyle,” he adds. “But playful in a serious way. It’s not the Amazon approach. We’re serious about collaboration.” Serious enough, in fact, to partner with the legendary photo agency Magnum—its first venture into e-commerce—and Hirst’s publishing company, Other Criteria.
But when Marchetti insists, “Surprise is the beauty of Yoox,” I flip back to the young artists in Venice, in particular a painter called Thomas Braida. With talent like his in the equation, people are going to be picking up way more than one painting with their pair of jeans.