60 posts tagged "Gareth Pugh"
Since it launched in 2009, Made fashion week has increasingly been one of the highlights of the New York fashion week calendar. Its founders (pictured), Jenné Lombardo, Mazdack Rassi, and Keith Baptista, have continued to bring a slew of fresh talents (as well as more seasoned vets) into the fold, and this season is no different. They’ve just released their Spring 2015 lineup to Style.com, and they have 10 new additions—including Zana Bayne, Koonhor, Chris Gelinas’ CG, and Maison Kitsuné—to the Made programming this season.
“What really excites us is newness and visually stimulating shows or presentations,” Lombardo told Style.com. “With names like Zana Bayne, we’ve really enjoyed watching her trajectory—we’ve been fans from the sidelines. With others, like Maison Kitsuné, we have been friends with them for a long time and we’re just excited to have them joining us,” she said. They will be showing alongside returning labels like Public School, Tim Coppens, Jeremy Scott, and Sophie Theallet.
Here’s the full list of shows and dates, below:
Thursday, September 4
Lexus Design Disrupted: Gareth Pugh
Friday, September 5
Cushnie et Ochs
Saturday, September 6
Sunday, September 7
Devon Halfnight Leflufy
Monday, September 8
Olivier Saillard: “Models Never Talk”
Tuesday, September 9
Wednesday, September 10
Maria ke Fisherman
London-based designer Gareth Pugh, who has shown his collections in Paris for the last six years, is heading to NYFW. The Central Saint Martins alum will, on September 4, hold an off-schedule spectacular, which he has described as an “immersive live performance.” While another show is honestly the last thing we need on the New York fashion week calendar, this one sounds like it could be something special. Or at least, that’s what Pugh is shooting for. “There’s a point at which old archetypes need to change,” Pugh told The New York Times‘ Vanessa Friedman. “I know this is a business and we need to sell clothes, but it is also about image and inspiration, and sometimes a live show can miss the mark a bit. The lights go up, the model walks out, and you lose control of it. It’s really important to not only communicate ‘This is a nice dress’ or ‘This is a cool trouser,’ but to sell the dream.”
Indeed, it will be nice to kick off NYFW with something other than the standard stomp, turn, repeat (even if it might be a little hard to see the actual clothes—but isn’t that what re-see appointments are for?). And if Pugh looking at spaces like Manhattan’s PS 57 and hoping to work with Royal Ballet choreographer Wayne McGregor’s dance troupe, Random Dance, is any indication, this will be a far cry from the same old, same old.
Pugh added that the late Central Saint Martins course director Louise Wilson “used to talk about the importance of how clothes are presented, and how that had been lost and everyone just did the same thing. This is a chance to change that.” It’s never easy to lure the flock away from the same safe thing, especially when you consider how expensive and time-consuming organizing a truly impactful fashion week presentation can be.
But here’s hoping that Pugh succeeds in a) producing a stellar show, and b) leading at least a few designers off the typical runway.
“I own everything, baby!” sang the oft foul-mouthed stripper-turned-rapper Brooke Candy before wrapping up a phone interview last week. She wasn’t referencing any kind of newfound wealth—after signing with RCA Records in February, the formerly homeless L.A.-based artist is just finding her footing in the pop music biz. Rather, her proclamation was a line from her new song and music video, “Opulence,” which dropped at a Diesel-sponsored party in New York last night.
The flick is lensed by Steven Klein and styled by Nicola Formichetti, who, after discovering Candy online in Grimes’ “Genesis” video, has taken the starlet under his wing. In October, he cast her as the face of his Diesel accessories campaign and flew her to Tokyo, where, flanked by gyrating exotic dancers, she performed at a bondage-themed sex party to fete the collection. “I wasn’t really looking for anybody. I wanted to just focus on Diesel,” admitted Formichetti, Diesel’s artistic director and former stylist to Lady Gaga. “But when I saw her, I couldn’t resist.”
Before teaming with Formichetti, Candy, 25, already had a sufficiently severe look, one that involved braids down to her calves, velvet bikinis, platform sneakers, and more bare skin than Miley—a deliberate and independent choice, according to Candy, that she believes expresses feminist power. “I have an agenda, and I’m not selling anything,” she said of her penchant for nudity and raunchy dance moves, adding that not all pop stars fall into the same category. “I don’t want to say any names, but there’s a difference between being knowledgeable about what you’re doing, and doing it because someone is behind you, telling you to do it. You don’t have to be the most genius fucking person in the world to tell when a woman taking her clothes off is authentic, and when it’s sad.”
“I see her as a blank canvas, and I just want to elevate her,” said Formichetti. “I love who she is. She’s very involved, and I don’t want her to suddenly become a new person.” Indeed, Candy has maintained her raw, sometimes shocking appearance. But these days, the braids have been traded for finger waves, the teeny bikinis for custom Olima Atelier bustiers.
“She’s queen of the freaks!” laughed Formichetti, when asked about the video wardrobe, which includes upwards of twenty-five ensembles, among them a Gareth Pugh trenchcoat, bespoke Alexis Bittar jeweled masks, and leather Diesel duds covered in plastic gems that the stylist found in Chinatown.
The “freak” element, as well as the overall concept of the film—which traces Candy’s evolution from a skinhead exacting revenge on a man who’s just robbed her, to a glammed-out queen of the night who becomes a gluttonous, glitter-covered monster—both stem from Candy’s primary inspiration, Paris Is Burning, the cult documentary about gay voguers in the 1980s. “That movie changed my perspective on everything,” raved Candy. “And I really related to this one moment when they’re describing opulence. Basically, the idea is that you show off so much confidence and poise that you create the impression that you’re the wealthiest, most intelligent, powerful person on the planet, and you own everything. And when those people were performing at the balls in their costumes, they were safe,” said the singer, noting that she feels most at home in underground gay clubs. In fact, the video’s theme was conceived with Formichetti at a drag bar in Tokyo, and was shot in a Bushwick warehouse filled with Candy’s friends, namely a transgender woman, a gaggle of drag queens, and her loyal posse of gay men. “We’re all freaks and outcasts, and this was meant to empower them.”
Though she asserts she “can’t predict the future,” Candy doesn’t foresee herself turning into the materialistic creature depicted in the video—mainly, she says, because she hasn’t forgotten where she came from. “I literally lived on the street and was wearing outfits made of paper because that’s all I could afford,” said Candy. (Side note: She actually grew up in the L.A. suburbs but fell on hard times after her mother and father—the CEO of Hustler Casinos—didn’t quite understand her artistic pursuits.) With that in mind, she and Formichetti aimed to champion other outré up-and-coming talents, like Nasir Mazhar, Charlie Le Mindu, and Natasha Morgan, by incorporating their designs in the film.
Even so, Candy has undergone quite the transformation—aesthetic and otherwise—since she set out to become a star. Best known for songs like “I Wanna Fuck Right Now,” the artist has toned down her lyrics in “Opulence,” the first single she’s released under RCA. “I worked with Sia and she felt the vibration I was putting out, but she said to me, ‘You have two paths you can follow. You can keep doing what you’re doing, or you can tone it down and go that much further.’ I don’t really let anything cloud my head, but I thought, If that’s going to help me speak to a broader audience, that’s fine. I’ll just ramp up my imagery.” And ramp it up she did—in one scene, Candy rolls around on the screen covered in blood, touching herself, while wearing lingerie, three crowns, and a fur coat gifted to her by Formichetti.
So did she sell out? “No. The lyrics were my decision. It’s a smarter way to go. And it’s just a different vehicle.” It’s a vehicle that Formichetti supports. “I like that I can sing along with it now,” he said. “And we need more freaky people in the mainstream.” No doubt, Candy is pushing her way into pop culture—she has another Diesel campaign in the works, and she’ll be starting a small tour this May. Naturally, Formichetti will be making the costumes. But is pop culture ready for Candy? “I think so,” said Formichetti. “I hope so. She’s in between edgy and crazy and pop, and that is where the magic happens.”
Instagram Fears the Nipple: An Exclusive Interview with Anja Rubik About Getting Kicked Off the Social Platform, and Celebrating the Naked Body-------
Instagram doesn’t just fear the nipple—it’s terrified of it. This morning, Anja Rubik’s erotic magazine, 25, was kicked off the social media platform without warning. Why, you ask? 25 had posted an image or two that included partial female nudity. (One of said images may or may not have been a screen shot of yesterday’s Style.com homepage, which featured Rubik in Anthony Vaccarello’s transparent Fall ’14 finale look.) And that, apparently, was just not acceptable. “I think this whole thing is ridiculous,” Rubik told us by phone from Paris fashion week. “It’s like saying to the world that a woman’s body is offensive. You can’t show a nipple behind a sheer shirt?”
Yesterday, Style.com reported on Fall ’14′s nipple trend (which continued at Gareth Pugh). And while the judges are still out on whether this catwalk craze is a vehicle for female empowerment or objectification, we agree with Rubik that social media shouldn’t censor pictures that celebrate the body. “Like all forms of social media, Instagram is a form of a self-expression,” said Style.com social media editor Rachel Walgrove. “The digitally-driven have grown to accept it as an art form and prefer that companies not stifle their messages with their terms or censorship.”
What’s more is that there’s so much clothed vulgarity allowed on Instagram. Miley Cyrus can post a close-up of her derriere in a pair of white panties printed with a wagging tongue that reads “Bangers,” but Rubik can’t share a runway snap of her barely visible breasts? Pish posh. Here, in an exclusive interview, Rubik talks to Style.com about getting kicked off (and immediately relaunching on) Instagram, the dangers of censorship, and why there is no need to fear the nipple.
Instagram is obviously fearing the nipple, and they canceled your magazine’s account today because of it. How did you find out?
Well, [my colleague] who runs 25 magazine’s account called me and told me that it was down. We didn’t even get a warning. We know Instagram’s restrictions, and we’ve been very careful. So we started to think, What image could have triggered this? And actually, we think it was a screen shot of the Style.com homepage, where I’m wearing Anthony Vaccarello.
Stop. Are you serious?
Yes! And we loved [the image] because underneath, you guys wrote, “Don’t Fear the Nipple,” which is our slogan that originally came from an interview I did with Style.com, and it became our thing, and we did T-shirts around it. It’s all about empowering women and being comfortable with your body and your sexuality. Anyway, I guess that image triggered a lot of reports, which is why the account was closed.
Have you posted any other images that people might report?
Well, there was also an image I posted from French Vogue of a naked girl standing backward. You couldn’t see anything, but they took that down. And actually, this is the second time I’ve been thrown off Instagram. The first time was because a photographer friend of mine sent me a print with a beautiful note on it, and I posted a picture of it to say thank you, and they kicked me off for that without warning. It’s quite frustrating, especially because, when you look through Instagram, there are so many crude, vulgar images, which are apparently fine. But when you post a beautiful body of a naked woman, which is the most natural thing that can exist, then we have a problem. What’s the worst thing that will happen? Even if it’s children flipping through, why should they be offended by a breast? Especially if it’s photographed or shown in a very natural way that’s not vulgar.
It’s not like you’re posting porn.
No! Not at all!
So Instagram allows crass, clothed images but censors photographs that celebrate a woman’s nude body. What kind of message do you think that’s sending to the public?
I think it’s very strange. It makes us think that we should have some kind of complex about our bodies. It sends the message that our bodies are unnatural and not beautiful, and I think women need to fight this. Talking about sex and the naked body has become such a taboo, and that’s when people start having problems—when they can’t be open about it. We need to be proud of our bodies. We create all these really fake ideals of beauty nowadays with images of women that are physically altered, and women are trying to attain these insane, unrealistic ideals. But we show a natural woman naked and that’s an issue? I don’t understand it.
Do you hope that 25 can help make issues and discussions surrounding sex and the naked body less of a taboo?
Yes. I hope that is something that we’re doing through the magazine. We shoot all different women for 25—models and real women. Women shouldn’t feel like they need to hide their bodies. If you look at the sixties or the seventies, women were free and comfortable in their bodies. All this censorship can start to make women feel uncomfortable, and that’s a very big problem
Do you think that this fear of the female body is inherently American, or is it an international sentiment?
I feel that we see it much more in the States. In general, people in America tend to be a little bit more prude than in Europe. But I think it’s spreading, unfortunately. Europe is becoming more and more prude. And it’s ridiculous because when you turn on the TV—a reality show—you’re faced with so many vulgar images. That’s what should be censored and not allowed, in my opinion.
I see that 25 has relaunched with another Instagram account. Will you continue to try and push the envelope with the images you post?
We will. And if they kick us off, we’ll open another account. We’re here at fashion week [in Paris] and it’s an important event for fashion and women. So we thought we should open a new account to keep our readers updated going forward. But after fashion week, we’re going to have to decide how we approach this issue. I’m considering opening a private account so only our users can see the photos. Maybe that will solve the problem. I don’t know.
More generally, we have seen a lot of bare breasts on the runway for Fall ’14. Do you think this is a positive thing? And would you walk around in the Anthony Vaccarello finale look that you wore down the runway?
Yes! Of course. In the right place, why not? I would feel comfortable. I mean, I wouldn’t wear it on the street, but this whole nipple thing is insane. Didn’t people want Anne Hathaway to apologize because you could see the outline of her nipples in her Oscars dress? That’s crazy. That’s like apologizing for having a leg. Honestly. She wasn’t even showing the nipple! It was just peeking through the dress. Obviously there’s a nipple in there! Why do we care? That’s really awkward! We should be apologizing to her. There was nothing vulgar about that dress.
You said that you wouldn’t go braless in a completely sheer top when just walking down the street. Why not?
I think because the world, unfortunately, is not quite prepared for that. In Europe, I’d probably do it—in Italy or the south of France. But in other places, I think it would cause too much trouble.
Is there anything you’d like to say to Instagram or to members of the general public who fear the nipple?
They should wake up. We’re going backward—way backward. Instead of celebrating our bodies and moving forward and exploring our sensuality, we’re blocking all these things and making them shameful. And to the people who don’t like these images and report them on Instagram, just don’t follow us. It’s very simple. I don’t understand why they’re following us in the first place if they find our images so offensive. I’m not putting a gun to their heads.