77 posts tagged "Mary Katrantzou"
Giambattista Valli, Dries Van Noten, Haider Ackermann, Ann Demeulemeester—those are just a few of the heavy hitters photographer Erik Madigan Heck has worked with over the past few years. It’s no wonder those big names are knocking at his door. Just take a look at the images from his hyper-colored Surreal Planes series with Mary Katrantzou (Janice Alida is wearing a Fall 2011 runway look). The anthology and corresponding exhibition feature his work from the past eight months (including images from his Artist as Muse series for A Magazine, where he is a regular contributor). Style.com spoke with Heck about art, fashion, and playing hooky during NYFW.
What do you find interesting about fashion as a photography subject?
That it is malleable; it can become anything, or be a catalyst to do anything else with it.
Tell me a little bit about your working methods. How, for example, did you achieve the high-pigmented color look in those portraits you did for Mary Katrantzou?
My working methods are pretty simple; I like to have a small closed set, one assistant, natural light, and an outside or small studio space. On Mary Katrantzou, that’s a secret, but it’s not how you would think.
What kind of camera do you use?
I use an old Canon EOS 630 film camera.
Tell me a little bit more about the exhibition/book itself. What’s your favorite image in the series?
The book took two months of hard work in terms of designing and laying out, and then obviously shooting all the work this year was intense, but the book just happened naturally. It felt like the right moment. My favorite works are probably the A Return to Giverny series—I want to live in those photographs. Continue Reading “What The Heck” »
Scarf prints, bondage straps, studded leathers—fashion is having a vintage Versace moment. That fact hasn’t been lost on Donatella Versace herself: She brought the house down last month with a menswear show that paid homage to the motifs that her late brother Gianni made famous in the eighties and early nineties. Back then, glamazon supermodels—Gianni’s designs helped make Linda, Christy, Naomi, and Cindy household names—and celeb friends alike endorsed Versace’s singular brand of fearless sexuality. (Case in point: the infamous Elizabeth Hurley safety pin dress.)
These days, Lady Gaga is flying the Versace flag. In early June, the superstar told a reporter, “I’m wearing only Versace for, like, the next two months,” and Donatella opened up the house’s archives for her to oblige. Nor is La Gaga the only one feeling the maximalist urge. On recent runways like Givenchy’s and Mary Katrantzou’s as well as Versace’s own, bolder was better. And this November, the high street gets in on the action, too, with the launch of a Versace for H&M collection, which will reportedly reinterpret the house’s greatest hits.
CLICK FOR OUR SLIDESHOW, and let us know what you think about the vintage Versace comeback.
This month, London’s Central Saint Martins school—one of the globe’s best fashion training grounds—leaves its long-held Charing Cross Road building (pictured) and moves to a new complex on Kings Cross. Style.com reporter Katharine Zarrella spoke with some of the school’s most distinguished alumni about their memories of the Soho space, running throughout the week. Today, Mary Katrantzou shares her story.
Mary Katrantzou: BA Textile Design and MA Fashion, Print Pathway, 2008
“Charing Cross Road is a special building that has such a strong presence because of all the great people that have walked its rooms. It’s not glamorous, but then, why should it be? It has history and character and also the most inspirational mentors you can ever find. I found a great mentor in Louise Wilson and also my print tutor, Fleet Bigwood. I remember the area behind the library where we used to smoke and talk about fashion. You felt special being in a building that has such history and was host to the education of alumni that you aspired to be like. My most embarrassing memory was Louise Wilson commenting in front of the entire MA on me being absent one day. I must have taken the day off to recoup after talking Sarah Mower to death on her preview visit! I also used to wear a monochrome black uniform. At that time it was accessorized with a belt. Louise banned it, so the belt was dropped.”
Pictured left: A look from Katrantzou’s Central Saint Martins graduate collection.
News that Mary Katrantzou’s work can now be seen at London’s Institute of Contemporary Arts shouldn’t surprise those familiar with her designs, which often seem to skirt the world of fine art as much as fashion. (“We did have some clients that bought scarves from the Spring ’11 collection to frame and hang on their walls,” she confided.) But there are no framed scarves in the ICA’s new Pablo Bronstein exhibition of drawings, architectural moldings, and performance, Sketches for Regency Living. The Argentine-born, London-based artist worked with Katrantzou on a series of costumes for the dancers that perform two choreographed pieces in the museum. The two were introduced by curator Matt Williams, who suggested that they meet since, Katrantzou explained, “from a creative point of view, we share a passion for architectural lines and a love of classicism.” (Her breakthrough collection, for Spring ’11, used digital prints of lavish home interiors.)
“I wasn’t familiar with her work previously, but as soon I walked into her studio, I knew that she would be perfect to collaborate with,” Bronstein said. “There are such diversities of sources, so many references in her work that I knew that there would be enough common ground for us to work together. We talked about Regency fashion, a sense of decadence for the evening dress, a sense of vulnerability and delicacy and wistfulness.”
The result is two costumes, inspired by Bronstein’s Horological Promenade and Drapes in the William Kent Style, for the morning and afternoon dance performances. For the former, the designer created a peplum-accented jacket and pants in a gold clock print; for the latter, a fluid, draped gown with a print that suggests, Katrantzou says, “a sense of voyeurism through the window that frames the dancer’s torso.”
“To be honest, I wasn’t sure that it was going to work until we did the final dress rehearsal because of the technical difficulty of the dancers’ movements and the fact that the costumes are very complicated,” Bronstein admitted. “[But] once the technical issues were sorted out, the results were amazing.” As for Mary, she’s on to new challenges—like the Spring ’12 collection, for one. “I cannot yet reveal too much,” she told Style.com, “other than it will be colorful and there will be prints, that’s for sure.”
Pablo Bronstein: Sketches for Regency Living runs through September 25 at the Institute of Contemporary Arts in London, www.ica.org.uk.
Balenciaga lately got a museum exhibition in San Francisco, but the late Spanish couturier is about to have a home to call his own—and in his hometown, no less. Queen Sofia of Spain inaugurated the Balenciaga Institute in his native Getaria, which showcases 90 of his designs; it opens to the public on Friday. [Racked]
Natalia Vodianova is spreading the love. This year, the model, who hosts a yearly charity Love Ball for the Naked Heart Foundation, has asked 40 of her designer friends to create dresses for auction at Christie’s. [Modelinia]
Everything’s coming up Koma. London designer David Koma is one of the several designers who, it was announced last night, will be supported by London’s NEWGEN sponsorship for the upcoming season. He shares the distinction with fellow young talents Holly Fulton, Mary Katrantzou, Louise Gray, and Michael Van Der Ham. [Vogue U.K.]
Karl Lagerfeld has yet to make his first venture in comic books, but in the meantime, he’s adding crystal to the list of his innumerable side projects. The designer has teamed up with Orrefors to create a line of crystal stemware and vases, launching this fall. What better glass for your custom Karl-designed can of Diet Coke? [WWD]