5 posts tagged "Hugo"
“What is so amazing is that we are doing some incredibly quirky work that really is off the radar, yet Hugo Boss managed to find us,” said Pussykrew’s Andrzej Wojtas, one of the twenty “creatives” chosen by the German fashion brand to exhibit their art in Red Never Follows, a new show at London’s Saatchi Gallery. Devised to celebrate the twentieth anniversary of the company’s younger label, Hugo, the exhibition fittingly features twenty installations by twenty different artists in an effort to champion creativity, technology, and individuality.
Indeed, the works on view are unique, and even innovative. Cornered, for instance, depicts a man diving headfirst into a wall. Emerging Colourspace is a gravity-defying auto rover similar to a modern-day Etch A Sketch that scribbles red ink. And Cerebral Hut, is a kinetic domelike sculpture that moves based on thoughts (well, brain frequencies, if you want to get specific) captured and transmitted by a headset.
To further the birthday festivities, Hugo has launched a capsule collection of twenty pieces, including a strong red blazer, a monochrome silk shirt, and a very cool set of headphones. Not that anyone was really thinking about clothes (or headphones, for that matter) last night. As Pussykrew’s video installation mesmerized the crowd, Wojtas offered, “What was great about working with Boss was that they gave us total freedom to explore our ideas. Throughout the whole process, we felt their respect.”
Red Never Follows is open to the public from today to September 1, 2013, at The Saatchi Gallery on King’s Road in London.
Back in December, The Artist‘s costume designer Mark Bridges told Style.com, “When we wrapped, we had no idea how things would turn out. We thought, it could be the greatest thing since sliced cheese, or it could go direct to video.” As it turns out, Bridges and the cast of the silent film had created an Oscar winner. Last night, the film topped the winner’s list, along with Hugo, both films picking up five gold statuettes. Bridges took home one of them, beating out the likes of W.E.‘s Arianne Phillips for the gold. Catch our full interview with Bridges here. Also, you can catch a few of Bridges’ Artist costumes on display at the L.A. FIDM Museum through April 28 as part of the annual Motion Picture Costume exhibit highlighting costumes from this year’s Oscar films.
At Berlin’s Fall ’12 fashion week, just wrapped in the German capital, the city’s status as a European art hub was front and center. It was no accident that the largest hometown brand, HUGO, chose the Old Masters’ Museum as the venue to host its star-studded runway show and party, inspired by “surreal nostalgia” and “theater,” and incorporating recent runway trends like Art Deco graphicism and bodycon cuts inspired by athletic wear. And heat was generated by the young design talents who the city has been incubating. On the less-established front, a handful of Berlin’s “ones to watch” ripened this season with strong shows demonstrating the maturity of their concepts and skills. The best collections embodied the gritty “considered chaos” aesthetic which artists Jonathan Messe, Zhivago Duncan (Michael Milchasky’s collaborator this season) and Kirstine Roepstorff have made into Berlin’s signature creative style.
Along with the sleek sexuality of artists’ favorite DSTM (Don’t Shoot the Messengers), Juliaandben are Berlin’s best bridge between fashion and art. Designer Ben Klunker owned a gallery before he decided to devote himself completely to his collaboration with Julia Heuse. Their tie-dyed pieces used the old bathtub-dyeing technique favored by hippies and adolescents to create a fresh form of city-chic: leggings and dresses that look grungy but are gracefully cut. You could see them slinking off the presentation stage into Berlin’s studios, cafés, openings, and gritty after-opening bars.
Equally expressive of Berlin’s art scene is Vladimir Karaleev’s polished collection of black and Yves Klein-blue draped dresses and coats, in layers of worsted wool, mohair, silk and cotton. The Bulgarian-born Berliner debuted in 2007 when his show culminated in a gown made of twenty interlocking T-shirt fabrics hand-stitched, braided and tied together. Since then, his hand-sewn, abstractly attached and intentionally ragged clothes have inspired appreciation for his aesthetic but not sufficient confidence in their craftsmanship. This time, his collection gracefully balanced reassuring core construction with de-constructed details, in which elegant subtle black leather, artfully interwoven blue mohair and yellows, oranges and tans highlighted well-assembled stitching.
There’s something to be said for the home-field advantage. When Hugo Boss-—based in Germany—elected to show its Hugo collection at Berlin fashion week, they went for broke, inviting 1,000 guests (including Hilary Swank, Eric Bana, and Ryan Kwanten) for a fashion show, dinner, and party at the Museum Island in the city’s center. Designer Eyan Allen looked back to the future for Spring. He called the collection Poetic Tailoring, but he seemed more to be channeling Star Trek with the sharp, clean lines, and stark palette of starship silver, glacial blue, white, and flame red. Silver lamé leggings and flowing dresses over second-skin white trousers gave a hint of the sixties.
Afterward, the catwalkers of today had no trouble imagining themselves in the goods. Georgia May Jagger, wearing a dress and lipstick in the same arresting red shown on the catwalk, cooed with Leah Woods over a sharp pantsuit worn by Jourdan Dunn. They both congratulated Allen on his bracing palette, too. A different opinion came from a model old enough to remember the sixties the first time around: Veruschka. “I love that Hugo’s clothes are wearable,” she said. “But I would rather wear the menswear, especially the apronlike coverall jackets, because I can’t see many men wearing them and someone should. I especially love how Hugo reduces it to one strong color, whether ice, silver or red. But really, I mostly wear what I bought 30 years ago. When something is strong, it stays worth keeping.” Or, you might say, reinterpreting.