5 posts tagged "Man Ray"
Entering milliner Heather Huey’s apartment, a fourth-floor walk-up in a heavily graffitied building in Bushwick, is a surreal shock. With rustic dark wood furniture, raw brick walls, and sewing supplies strewn across the center table, her home-cum-studio resembles something from another era. The walls are covered with the designer’s architectural “cage” garments, as well as her fiancé Billy Kidd’s black-and-white photographs. And then, against the back wall, there’s the 6-foot-high cabinet filled with her hats.
Huey makes the most spectacular—often one-of-a-kind—cranial confections. So when she invited me to preview her latest outing, which debuts exclusively here, I jumped at the chance. Fall ’14, the first collection Huey has designed since last year’s Pleated Project, boasts sculptural toppers crafted from manipulated black felt, distorted rosettes, tulle veils, feathers, chiffon-coated crystals, beads, and more. The embellished lineup is a departure for Huey, who usually focuses on form rather than frills. Though, as the designer tells it, “I love looking at old movies from the ’40s and ’50s. I’m such an admirer of the elaborate headpieces you see in them, so I thought I might as well just make my own versions and get that out of my system.” After seeing the results, like a beaded headband befitting a Spanish queen or an origami-ed bow-topped number that ever-so-slightly tilts to cover the forehead, I selfishly hope she hasn’t quenched her craving for such styles. But if this first foray into decoration is, in fact, her last, at least it packs a punch.
“I had accumulated all these random trims that my sister gave me,” Huey continued of the range, which looks like it belongs in a dark, decadent fairy tale—or, as she described it, “Marie Antoinette-meets-Man Ray.” “And they inspired me to start working on something that was a bit more regal. Something that had a little bit more pomp and circumstance.” Huey carefully fastened an abstract fedora—garnished with gauzy blooms and a lone feather—to the left side of her head. “Nothing too extreme, though,” she deadpanned.
In addition to these one-off designs, Huey sells a selection of everyday(ish) toppers, including expertly shaped straw sun hats, critter-inspired fascinators sold at Kiki de Montparnasse, and rhinestone rabbit ears, which I recently purchased for my own collection. It’s Huey’s special concoctions, however, that bring her the most joy. “I was raised in Ridgewood, Queens. Everything was always very low-key,” Huey recalled, while sitting in her living room in loose khaki pants and a faded gray tee. “I love dressing up, but within five minutes of walking out the door, I feel very self-conscious. I wish I were that woman, but in reality, it’s just not me.” She rarely wears her own hats, leaving that pleasure to models, pop stars like Rihanna, and eccentrics like Michelle Harper. But in making them for others, she gets her fix.
For more information, visit heatherhuey.com.
Olivier Saillard has struck again. For Papier Glacé, the second exhibition he has curated at Paris’ newly renovated Musée Galliera, Saillard riffled through one hundred years of Condé Nast’s photography archives, pulling mainly from a handful of international Vogues (American, British, German, French, and Italian), to spin a selective history of fashion-as-dialogue. The 150-image show scans like a who’s who of 20th-century lensmen: Images by De Meyer, Horst, Clark (above, right), Schatzberg, Penn, Man Ray, Parkinson (above, left), Beaton, Blumenfeld, Lindbergh, Meisel, Turbeville (below), and Weber, among others, feature in the show. The snaps are accompanied by a dozen or so dresses and accessories, such as an evening coat by Doucet (1913), a Mondrian cocktail dress by Yves Saint Laurent (1965), and a red molded bustier on loan from Issey Miyake (1980).
“Fashion-related exhibitions so often tend to run chronologically, looking toward the past,” offered Paris Vogue editor Emmanuelle Alt, “whereas a magazine comes out every month, it’s life, and it’s constantly changing. [With this show] you see what each brings to the other.” Saillard concurred, noting that fashion magazines are akin to archeologists.
For Alt and for Paris Vogue, the eighteen months spent collaborating on Papier Glacé was far from an end in itself. Rather, it marked the beginning of a new chapter for the nearly one hundred-year-old publication, with the establishment of the Vogue Paris Fashion Fund—a new initiative that will allow the Galliera to make new acquisitions, be they photographs, garments, accessories, or beyond. Launched with a contribution of 100,000 euros, the fund will be renewed annually and receive additional backing via fundraising.
When asked for his wish list, Saillard offered names ranging from Margiela to Corinne Day, Comme des Garçons, Junya Watanabe, Iris van Herpen, and Jurgen Teller. “I am always interested in auteurs. To look at our archives, you’d think that everyone has always worn Balenciaga,” he quipped. “I plan to shop myopically: Sometimes the exceptional can be found in an ‘ordinary’ shirt.”
It’s a fair bet that spending the Galliera’s first windfall won’t be too difficult for Saillard, but new acquisitions will be kept under wraps until July 9, the night of the first Vogue Paris Fashion Fund gala event, during haute couture.
Opening with the click, click, click of a Bentley’s blinking hazard lights, Bibhu Mohapatra’s latest short film is simultaneously luxurious and broodily tense. Debuting exclusively here, the short stars Canadian model Dani Seitz as she wanders—decked in the designer’s Fall ’13 furs and chiffons—around the Hudson River Valley’s Plumb-Bronson House, which once served as a correctional facility for wayward women.
“The place has such a long history. There’s no telling how many individual stories must have passed through those fields, those walls,” Mohapatra told Style.com. “Ella Fitzgerald reportedly spent time there. It stirred me.”
In the clip, Mohapatra also pays homage to the artist Man Ray, who, incidentally, inspired the “darkness” and “moodiness” on the designer’s Fall catwalk. “The spiritual element of the grounds gave way to incorporating Man Ray’s techniques, such as with his photograms and solarizing methods.”
The flick marks just one highlight of Mohapatra’s banner 2013, as his four-year-old label continues to grow. So far, he’s sourced new funding, inked an exclusive deal with China’s biggest luxury retailer, Lane Crawford, and hired a company president. Mohapatra also gave us a sneak peek at Spring ’14, which takes aesthetic cues from former New York City Ballet soloist Wendy Whelan, artist Olafur Eliasson, and a certain ominous flower barred from use in Hindu religious practices. “There’s always a little bit of a twisted darkness,” Mohapatra said, smiling.
Farida Khelfa, the newly installed ambassador at the house of Schiaparelli, held 58 appointments at the company’s freshly renovated Place Vendôme atelier yesterday. There’s no new designer at the brand that Schiap built—Diego Della Valle of Tod’s is reportedly taking meetings with candidates and an announcement is expected to be made in September—but there’s plenty of curiosity around the label’s rebirth. “All the great couturiers know about Schiap,” Khelfa said. “Jean Paul Gaultier, Karl Lagerfeld, Azzedine Alaïa, they’ve all come to see the place.”
In fact, Alaïa was still lounging in the atelier’s white salon (pictured) when this reporter arrived, sharing a story about a letter given to him by one of Schiap’s former lovers. Alaïa, who was friends with Schiaparelli, was supposed to deliver it to her, but he never did out of shyness and fear. Asked if he still has the letter, nearly 40 years after her death, he nodded yes. It would make a smart addition to the refurbished space, which already includes Giacometti pieces found in the Schiaparelli archives, eyeglasses by Man Ray, and a Dalí sculpture, as well as furniture designed by Vincent Darré.
Come the Couture shows next January, the brand will show its first new collection here. For now, though, the hunt is still on for a designer. “Schiaparelli was not about good taste, she was about having an opinion,” Khelfa said. “It doesn’t have to be jolie, it has be strong. It has to be forte.”
With Impossible Conversations, the Schiaparelli/Prada Costume Institute exhibit fast approaching, perhaps it’s no surprise that surrealism has again found its way into fashion’s collective (un)conscious. Elsa Schiaparelli famously collaborated with the likes of Salvador Dalí, and Miuccia Prada has done more for the cause of surreal style than anyone since. And there were more than a few designs on the Fall runways that echoed the theme.
At Lanvin, Alber Elbaz and Elie Top nodded at artists like Man Ray and Joan Miró with playful costume jewelry such as crystal eye brooches and a chain belt with plastic lips. Diane von Furstenberg referenced the movement, too, with interlocking hands on a body-hugging dress. Some designs, like Mary Katrantzou‘s digitally printed labyrinth gown, made the surreal wearable, and some, like Stephen Jones’ spiny headpieces for Giles (left), seemed destined to stay on the runway—or perhaps, one day, the museum gallery.
CLICK FOR A SLIDESHOW, and let us know if you’ll be keeping it surreal this season.