29 posts tagged "Jack McCollough"
For its Fall campaign, Proenza Schouler called up one of its favorites from the ranks. “We wanted to focus this season’s campaign on the Proenza Schouler girl,” Jack McCollough and Lazaro Hernandez said. “It was more about an attitude than anything else.” Few girls bring the PS attitude better than Canada-to-Bushwick transplant Meghan Collison, who’s been a mainstay of the duo’s runway shows. (She closed Fall’s.) Alasdair McLellan shot the new images, styled by Proenza Schouler runway stylist Marie Chaix. They’ll appear in select Fall fashion issues, including Love‘s (out now), and debut this week on ProenzaSchouler.com.
Spotted: The Louis Vuitton X Kusama Collection On The Dance Floor, And More Of The Day’s Top Stories
See spots—and see spots move—courtesy of lensman-of-the-moment Angelo Pennetta, who teamed up with Love‘s Katie Grand for a video take on the new Louis Vuitton x Yayoi Kusama collection. (Also included: turbans. It’s a thing!) [Love]
On Friday (the 13th—spooky!), Proenza Schouler is set to open its first bricks-and-mortar store. Make that concrete. The David Adjaye-designed, two-level space includes what co-designer Lazaro Hernandez calls “a room made out of sidewalk,” and exposed beams, pipes, and concrete are used throughout. “We wanted it to be the antithesis of a high-gloss Madison Avenue store,” Jack McCollough says. [WWD]
Today on The Coveteur: Entering the closet (the fully digitized closet) of an old friend—one who’s saving herself for Luke Perry. [The Coveteur]
The Rolling Stones gather no moss—a couple gray hairs, maybe. Fifty years ago today in London, the Stones played their first gig, and a half-century later, they’re still (in slightly altered form) at it. And between Vuitton campaigns (Keith Richards) and L’Wren Scott shows (Mick), they’ve even got plans to record new material in London this year. [Rolling Stone]
Never mind their guest lists of the avant-garde’s great, good, and badly behaved, Charles and Marie-Laure de Noailles’ villa on a hill above the town of Hyères in the South of France must have seemed to the locals like a bemusing glimpse of the future when it was built in the mid-1920′s. Its blocky modernism is still incredibly striking in the pink-shaded and shuttered context of a typical Riviera town, and you couldn’t wish for a better setting if you were an arts festival looking to stage a competition that celebrates creativity untrammeled by the forces of Mammon. Which, for the fashion end of the festival, translates into exhibitions of work by recent graduates from around Europe, for whom Hyères offers one final attempt to Truly Express Themselves. It might be their one last grasp at the high-concept ring before they’re subjected to the external disciplines of internships, studio assistant positions, and judgmental barb-tongues telling them to get real.
Except the judges at Hyères this year weren’t like that at all. The composition of the jury embraced a universe of sensibilities, from the rigorous thought processes of chair Raf Simons and editrix Jo-Ann Furniss, through the not-much-older-than-the-finalists Christopher Kane, Lazaro Hernandez, and Jack McCollough, to the well-seasoned industry perspectives of Carla Sozzani, Floriane de Saint-Pierre, Cathy Horyn, and Michel Gaubert, with my rosé connoisseurship bringing up the rear. Juries are a challenging proposition. In both numbers and gender equity, we were nowhere near 12 angry men, but the differences of opinion—and the passion with which they were aired—were a surprise, especially given that there was genuine agreement on one thing: This was not a bumper fashion year in Hyères. In the spirit of the place, it was bemusing, and even blocky hyères and thyères. But bumper? No.
The jury saw the finalists’ clothes three ways: as a presentation, on the catwalk, and in a showroom. It was fascinating how our appreciation of the designers ebbed and flowed according to the mode in which we were encountering them. Here, the fabrics ruled, there, the showmanship. The eventual winner was Lea Peckre from France. Her collection, Cemeteries Are Fields of Flowers (above), was polished in its execution, intriguing in its fabrication. I’m a sucker for wood sequins—and she also used GodSpeed You! Black Emperor as her show music, which can’t hurt. The attention to structure and the concierge color palette of Peckre’s clothes also had hints of Jean Paul Gaultier, with whom she interned. That too can’t hurt.
The jury’s honorable mention—and the competition’s most polarizing designer—was Emilie Meldem from Switzerland. Some members of the jury were utterly seduced by her directness, her drollness, and what she referred to as “the minimal eccentricity” of the Swiss aesthetic. What I loved most were the showpieces woven from twigs. (“Half my village helped on the dress,” she said with what might have been a chuckle, but could have been a choke.) Each stick was, according to Meldem, treated like a piece of jewelry. The result was so pagan, so ritualistic, that I felt like I was looking at The Wicker Man à la mode. Which can’t be bad.
One final note: Hyères is open to independent applicants from all over the world, which seems to be a well-kept secret. It doesn’t matter where you live, where you received your fashion education. So one word of advice to fashion students everywhere: Apply! Hyères at this time of year? A small patch of heaven.
The International Fashion and Photography Festival that takes place every year in Hyères (sorry, couldn’t resist) in the South of France has an impressive pedigree, a point rammed home by the rapid-fire video appetizer for the 26th edition, which runs April 29 till May 2. (You can watch it, in its slightly hysterical glory, below.) The ten fashion finalists (from France, Germany, Holland, Belgium, and Switzerland) will be judged by a jury headed up by Raf Simons, who also has an exhibition running in the Photography Festival. He’ll have to ride herd on jurors Lazaro Hernandez and Jack McCollough, Christopher Kane, Carla Sozzani, Cathy Horyn, Michel Gaubert, and me, though our verdict will undoubtedly be rendered unanimous under the ameliorating influence of Provence’s finest rosés. And there can be few more appropriate locations in which to judge a new wave of design talent than the Villa Noailles, one of the French Riviera’s great if-walls-could-talk houses. In its pre-war heyday, it played host to Picasso, Dalí, Cocteau, and a whole host of avant-gardists. With Raf, rosé, and Michel Gaubert’s iPod, we should be able to raise a few ghosts.
Since its introduction back in 2008, Proenza Schouler’s new-classic PS1 bag has come in about as many colors and fabrications as you can imagine. One notable one was missing, though: patent. That all changes later this month, when Jack McCollough and Lazaro Hernandez release a black patent version in three sizes (a pochette, a medium, and a large), exclusively on www.proenzaschouler.com. Using a new system Proenza Schouler developed, layers of transparent lacquer are “painted” on the skin, rather than the traditional method of layering plastic on top of the surface of the leather. The result is softer, more subtle, and more liquid-looking than the competition. To get a sense of it, you need to see it in action—which is why, very soon, we’ll be debuting a short film the duo has commissioned starring a model, a custom patent-leather version of a Fall ’10 look, and the new patent bags. Stay tuned.