58 posts tagged "Gareth Pugh"
It would seem that Barbie and co. can’t get enough of the London fashion scene. After receiving a rainbow dye job from East London salon Bleach, as well as a graffitied makeover from Louise Gray, last year, and sending Ken to get some new Gareth Pugh threads in 2009, Barbie has tapped Roksanda Ilincic and Nick Knight’s Showstudio to design her new virtual Dreamhouse. Considering Ilincic, who created a frock for Barbie four years ago in honor of her fiftieth anniversary (left), has a background in architecture, we assume she’s more than qualified for the job. Introduced in 1962, Barbie’s Dreamhouses have, of course, traditionally had a Malibu twist, but the new mini-mansion—set to be revealed later this summer—will pull inspiration from London’s gritty streets. Expect a harder, more subversive edge than the previous plastic abodes, but, knowing Ilincic, no less pink.
Perhaps all those vampire films and zombie shows (The Walking Dead, anyone?) are finally taking their sartorial toll, because things are getting downright ghoulish on the Fall ’13 runways. It all started in London when Giles Deacon sent out models with white hair and morbid makeup in his Pre-Raphaelite gowns. Kristen McMenamy (above, center), who bookended the show in fluid black and white frocks, was particularly spectral as she glided down the catwalk, and Deacon’s location—the seventeenth-century Stationers’ Hall, which is just down the road from Saint Paul’s Cathedral—seemed ripe for haunting.
Set in a nineteenth-century hôtel particulier, Damir Doma’s Fall show (above, left) also had an underworld air. The models who donned his minimal black, gray and moss looks had powdered faces and eerie gold-shadowed eyes. Not surprisingly, however, the most macabre of them all was Gareth Pugh (above, right). The designer presented his architectural, largely black and white collection in Paris’ nineteenth-century Hôtel Salomon de Rothschild last night. (For an extra-creepy kick, he boarded up the windows to make the grand space look like some kind of decadent haunted house.) Pugh’s models, who had deathly pale faces and blackened eyes, roamed the runway with a disheveled unease. Was it spooky? Definitely. But the undead never looked so good.
Next February, ARRRGH! Monstres de Mode, an exhibition presented by Greek collective Atopos CVC that highlights designers who distort and mask the human form with their fantastically frightening, sometimes grotesque garments, will land in Paris. Having debuted in Athens last year, the Vassilis Zidianakis-curated show is an extension of the book, Not a Toy, Fashioning Radical Characters, and highlights such shocking shape-shifters as Alexander McQueen, Gareth Pugh, Maison Martin Margiela, Charlie Le Mindu, and Walter van Beirendonck, as well as lesser-known young talents like Alex Mattsson and Leutton Postle. Emerging British menswear designer, Craig Green—who’s set to show his second collection in London next month with the MAN initiative—was tapped to create the identity of the exhibition. Green brought Atopos’ definition of monsters—described as “everything strange”—to life with four green and yellow figures that vaguely recall Pac-Man. “I wanted to make something that resembled a lo-fi graphic,” explained Green. The designer, who’s begun to make a name for himself with his art-meets-fashion concoctions, crafted his curious critters from wooden frames and stretched canvas. “They’re meant to be a family,” says Green. “So they fit together like male and female forms; they’re couples in love,” he explains.
Twenty-six-year-old Green, a Central Saint Martins graduate, has pieces from his 2012 M.A. collection, as well as a sculptural garment from his upcoming Fall 2013 collection, in the show. “I feel very fortunate to be featured alongside these mega designers, as well as small ones that I greatly respect.”
ARRRGH! Monstres de Monde opens on February 13 at La Gaîté Lyrique, located at 3bis, Rue Papin in Paris’ 3rd arrondissement.
This week, Marina Larroudé rounded up some of the best coats and boots of the season. But as last week’s snowstorm reminded us, sometimes you need more than just outerwear. Update your cold-weather accessories with fur-trimmed scarves, gloves, and earmuffs from Miu Miu, Rachel Zoe, A.P.C., and more. With these—and the temperatures they’re forecasting—this may be a season to reverse Coco Chanel’s famous dictum: Before leaving the house, put one more on.
1. Miu Miu scarf, $1,050, available at www.mytheresa.com
2. Rachel Zoe gloves, $250, available at www.bloomingdales.com
3. Karl Donoghue earmuffs, $150, available at www.netaporter.com
4. Gareth Pugh clutch, $907, available at www.farfetch.com
5. A.P.C. boots, $575, available at www.ssense.com
To view more looks, click here.
It’s been nearly two decades since the fashion world has caught a glimpse of Claude Montana. But the reclusive designer showed up and lingered last night at Didier Ludot’s cocktail party in the Palais Royal, where the vintage guru is now displaying his private stash of Montana pieces. The idea to showcase Montana came naturally, Ludot noted. “He lives in the neighborhood so I see him every day, and it occurred to me that it would be an interesting switch from what I usually show—the Dior, Balenciaga, and Schiaparelli.” Montana’s recasting of sporty pieces in hyper-luxury materials was revolutionary at the time, he added, recalling a purple mink tracksuit from one show. Among Ludot’s treasures: a one-off absinthe and mustard-colored mink coat Montana designed for his late wife Wallis, a be-gloved and be-feathered black bodysuit, and a short, Lesage-embroidered couture dress from his controversial stint at Lanvin in the early nineties, a piece that Ludot scored only last Friday.
Montana, who recently published a retrospective of his career, recalled the agony of designing that couture dress: “The studio director didn’t understand what I wanted, so there was lots of back and forth,” he said. “There are so many memories in these windows, it’s touching.” Ludot concluded, “I think of Montana’s place in fashion as a bit like what Hervé Van der Straeten is to design now—extremely refined but also modern.” As to potential Montana heirs among fashion’s current crop, Ludot said, “I’m keeping an eye on Alexandre Vauthier and Maxime Simoens because they have the sensibility and they can do couture. And I saw something by Gareth Pugh the other day and I thought, ‘That could have been Montana.’ “