20 posts tagged "Dsquared2"
Dsquared²‘s Dean and Dan Caten have taken a cinematic approach to showcasing their collections of late (who could forget last season, when the pair dressed up in drag for their Spring ’13 film?). In order to tell the story behind their Pre-Fall ’13 range, the brothers have expanded upon their Resort video, in which Cara Delevingne—dressed in the house’s glam-gone-grunge wares—screams into a gritty pay phone. Lensed by Senio Zapruder, the new short (above) stars Jasmine Tookes, who prank calls Delevingne while wearing Dsquared²’s decadent vintage Hollywood looks. “[Resort and Pre-Fall] are two very different types of collections—Jasmine is all thirties, and Cara is nineties sexy—but it was an interesting way to connect them,” offered Dan, noting that previous Dsquared² girls, including Lindsey Wixson and Jessica Stam, make cameos as x-ed-out images in Jasmine’s diary.
“We have fun and we don’t take ourselves too seriously; that’s what makes our job interesting,” said Dan when asked about he and Dean’s penchant for dramatics—apparent not only in their videos but also on the runway (Spring ’14 menswear, anyone?). “Sometimes we get bitched out about it, but if we had to be serious and political, and think too much, we would get bored. So whatever; we’re not boring like that yet, and when I am, I will probably stop doing what I do,” he added.
The designers feel it’s important to work with young talent on their creative projects—director Zapruder is a student, and Stefano Riva, who wrote the music for the short, is only 17. “Young people have a lot of fresh ideas and energy. And they know stuff! I’m almost 50, I don’t go out as much as I should, and kids keep you attached to the world,” said Dan.
The brand’s next project will be a film for its new underwear line. “It’s going to be super, super hot,” said Dan. “Like hard-core hot. And we just did a baby collection…. I’m sure we could do a couple things for that royal baby.”
Beyoncé—superstar, tastemaker, Givenchy flame wearer—kicks off the U.S. leg of her Mrs. Carter Show World Tour in L.A. tonight. She already debuted a wealth of flashy wares in Europe, like custom costumes by The Blonds, David Koma, Dsquared², and Emilio Pucci. But, for her Stateside performances, Mrs. Carter is adding a few sartorial surprises. And she tapped emerging Israeli designer Alon Livné to make them.
The pair ignited their creative relationship back in February after Beyoncé’s stylists, Ty Hunter and Raquel Smith, attended the 27-year-old’s debut New York Fashion Week presentation. Smith reported back to Bey, who quickly fell in love with with one of Livné’s metal-embellished Pre-Fall gowns, and requested customized versions—in red—for her and her backup dancers to wear on the tour.
Based in Tel Aviv, where he owns two stores, Livné returned to New York earlier this month to show his Resort ’14 collection to retailers. And not long after his arrival, he got a call. “They asked me if I could do something special,” Livné told Style.com—the “they” being Beyoncé’s stylists, and her mother, Tina. “I said yes, of course.” There was one problem, though: he had nowhere to work. But when you’re designing for pop culture’s reigning queen, nothing is impossible. Beyoncé’s camp set him up in an office with an industrial sewing machine, and he got to it. “I think the fact that they were willing to help me make these dresses, and to give me a studio, was so amazing,” offered Livné. “I mean, it’s Beyoncé. She can go anywhere from Chanel to Givenchy and pick whatever she likes, and she helped me.”
The fruit of his labor is a scarlet corset sprinkled with SWAROVSKI ELEMENTS crystals, the sketch of which debuts exclusively above. The look will serve as Ms. Knowles’ show opener this evening. Livné also made the star a printed gown with metal details, and a bevy of costumes for her backup dancers.
Not surprisingly, the Beyoncé connection has done wonders for Livné’s budding career. “Obviously, in Israel, it was huge, huge, huge amazing news,” he said. “Everyone was talking about the Israeli designer that dressed Beyoncé, the biggest star in the world.” But it’s helped him in New York, too—which is key, since he’s packing up his atelier and moving to Chelsea this summer. The designer, who interned at Alexander McQueen and worked with Roberto Cavalli before launching his dark, dramatic signature line nearly four years ago, just got picked up by Neiman Marcus and Saks Fifth Avenue. He’ll also put on a runway show at Lincoln Center this September. “I want to live my dream and work on the biggest stage that I can,” he said before catching his plane back to Tel Aviv on Thursday night. “So coming to New York is a dream come true.”
For their latest campaign video, Dsquared² went “Behind the Mirror”—in full drag, as the nineties-supermodel doppelgangers they used to dress up as for a night on the town. Turns out Dean and Dan Caten made fairly convincing women, with the help of beauty pros like Charlotte Tilbury and Oribe, and costumes from their own nineties-inspired Spring ’13 collection. First, we brought you “Behind the Mirror”; now we’re going behind “Behind the Mirror,” with Dean and Dan’s mini-doc on the process of making the video. Two and a half hours in makeup, custom wigs, elastic bands to pull their faces smooth: It’s not for the faint of heart. But the brothers have never been that. As they say in the video, “If you are not convinced yourself, you’ll never convince anyone else.” However much makeup you may have on.
There’s been lots of talk about the controversial practice of “peacocking” this season. But as we look back at four weeks of Fall ’13 shows with weary eyes, a few designers (and street-style stars) remind us that the f in fashion stands for fun. And perhaps embracing that with a little panache isn’t such a bad thing—particularly when it comes to novelty accessories. Take Dior, for instance: This season, Raf Simons brought a dash of wit to his slick collection by embossing boxy handbags with Warholian sketches of pointy single-soled shoes, thereby fusing two of our favorite things into one. (His raised-eyebrow sunglasses also deserve an honorable mention.) At Fendi, Karl Lagerfeld garnished his handbags with furry multicolored dice (one of which reminds us a little bit of an Angry Bird), and over at Chanel, he sent out models with mini-globe handbags and cobalt, powder-pink, mint-green, or red fur Anna Wintour bobs that looked like they were plucked from an anime cartoon. Speaking of fur, we can’t forget the giant skunk-striped mittens that turned up at Altuzarra or, for that matter, the arctic-appropriate full-length black gloves at Alexander Wang.
We also saw loads of cheeky headgear (Yazbukey‘s Plexiglas heart-and-arrow hat, Piers Atkinson‘s devil-horn cap, Meadham Kirchhoff‘s unicorns-in-love crown), jewelry (Henry Holland‘s crystal martini earrings, Lanvin‘s wildly appropriate “Help” pendants and wasp brooches, Louise Gray‘s eggbeater earrings), and miscellanea (Dsquared²‘s Sunset Boulevard-worthy extra long crystal-encrusted cigarette holders). But the sartorial satire wasn’t just on the runway. Outside the shows, Tommy Ton captured everything from skeleton gloves to Vika Gazinskaya’s scarf, which is made out of what appears to be a stuffed-animal iteration of a lemur. Sure, many of the shows were dark and somber, with their punk themes and muted palettes. But that just made the odd touch of zany all the more welcome.
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.