6 posts tagged "Inez & Vinoodh"
Visionaire’s latest book, Issue 63: FOREVER, comes out on May 11. And this year, the project has been underwritten by G-Shock—the watchmaker known for its durable timepieces. What’s the tie-in, you might ask? Visionaire’s avant-garde edition is rendered entirely in metal, and features images by artists and fashion designers that have been either hammered or laser-etched into 9 x 12 inch plates. Thus, both the timepieces and the tome are, in essence, everlasting.
“The word indestructible is the catalyst—if G-Shock does the indestructible watch, we want to do the indestructible publication. It was a nice, tight concept,” said Cecilia Dean, Visionaire’s cofounder and editor in chief. G-Shock, who’s celebrating its thirtieth anniversary and a recent store opening in Soho, liked the pitch and came on board to sponsor the inevitably “expensive” production
The idea for an all-metal issue was spawned during Dean’s time spent with Givenchy’s Riccardo Tisci, while working on Visionaire’s Issue 60: RELIGION. “In religious iconography, there’s all this incredible metalwork, the metal on the altars, gold painting—it’s just so beautiful and rich,” said Dean, adding, “I have to say, it’s so funny, everything goes back to Riccardo—a big inspiration was also the Jay-Z and Kanye West album cover he designed,” referring to 2011′s Watch the Throne.
FOREVER features everyone from a nymph-like Kate Moss, shot by Mario Testino, to a Karl Lagerfeld-lensed in-the-buff Baptiste Giabiconi, to a suggestive Lady Gaga snapped by Inez & Vinoodh, to Linda Evangelista ringed in light by Maurizio Cattelan and Pierpaolo Ferrari. “It’s Linda as a saint, basically,” said Dean.
To commemorate the coupling, G-Shock will open a mini-retrospective of Visionaire’s past (above) in its downtown outpost tomorrow. The exhibition runs through the end of May.
You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.
Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.
How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.
Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »
Reasserting her place as queen of all things pop culture, Beyoncé, it was revealed today, is the face of H&M’s summer collection. Shot by Inez & Vinoodh, the ads depict Ms. Knowles looking appropriately glam while lounging atop a fold-out chair on the beach. The campaign also features a commercial directed by Jonas Åkerlund, which is set to the star’s new song, “Standing on the Sun.” H&M’s spring wares (and Bey’s new tune) will be available in early May.
Rose petals were strewn across the runway at Peter Copping’s flirty Spring ’13 Nina Ricci show. So it makes sense that the designer would incorporate the romantic flower into his Spring film. Created by an all-star cast (shot by Inez & Vinoodh, styled by Alex White, and starring Arizona Muse), the moody short features Muse running through a flurry of falling petals, toward a giant metal fan. “The petals obviously create an extremely feminine mood, but the fact that we see them disintegrate, and also the mechanics of the wind machine, gives the film an added dimension,” Copping told Style.com. He added that working with Inez & Vinoodh was “inspiring. I love the way they offset the Ricci femininity,” he said. Take an exclusive look at Nina Ricci’s new film, which debuts exclusively on Style.com, above.
Fred Perry’s white polo shirt became an instant classic following its 1952 Wimbledon debut. (In fact, despite the success of his namesake clothing line, the late Perry would probably prefer to be remembered for his many tennis titles—in 1997, he was named one of the ten greatest players of all time.) This year, the U.K.-based label, which built a strong following among those in the underground punk scene, is celebrating its sixtieth anniversary. And to commemorate the milestone, they’re launching a collaborative project and exhibition at London’s Dover Street Market on January 26. For the occasion, Fred Perry brought in a sixty-strong assortment of personalities—including designers (Raf Simons, Peter Jensen, Sister by Sibling, and Christopher Raeburn, among others), artists (Inez and Vinoodh, Terry Hall), musicians (Blur frontman Damon Albarn, Anton Wirjono), athletes (cyclist Sir Bradley Wiggins), publications (i-D magazine), retailers (Colette), and other inspiring creatives—to personalize reproductions of Perry’s original ’52 shirt (see the full shirt gallery here). The results are just as unique and diverse as the pool of participants, and will be on display at Dover Street for three weeks, before traveling to Beijing and Ginza, China, next month. The shirts will eventually be auctioned, and all proceeds will go to the Amy Winehouse Foundation, which benefits struggling young people.
The team at New York-based advertising agency Mother got their hands messy while reinterpreting the classic polo. Keeping the brand’s tennis heritage in mind, Mother staffers Christian Cervantes and Christopher Rogers brushed off their rackets and launched sixty tennis balls, dripping with Technicolor paint, at the shirt. Mother shared a behind-the-scenes video of the process with Style.com, which debuts below.
For more information on the Fred Perry 60th Anniversary project, visit.