August 28 2014

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3 posts tagged "Max Kibardin"

Max Kibardin Goes Full Speed


Fresh off his early 2012 stateside debut, Milan-based designer Max Kibardin is lending a little flair to his vertiginous soles. Together with Chicks on Speed for their second collaboration to date, the designer has created a limited-edition platform evening sandal that will be a part of In Synthesis, an exhibition opening today in Australia aiming to empower female artist collectives and communities, in which Chicks on Speed is participating. “They’re musicians, they’re artists, they’re designers, they’re modern with a special point of view and they have a special aesthetic as women,” Kibardin told of his partners on the project. “This is the shoe they’ll use for different exhibitions and performances. It was a way to embrace their artistic needs and about creating something unique for them.”

And while the shoe is rendered in one of Kibardin’s signature open-toe shapes, the customized print was born out of a chance bar encounter in Tokyo. Chicks on Speed’s Alex Murray-Leslie met local Tokyo artist Ossan, and soon Ossan had created an animated interpretation of Murray-Leslie’s new song “Clonomatic,” due out on their new album in 2013. That animation is why Kibardin continues to pursue intriguing collaborations. “It’s always interesting to see my brand from a new view—this kind of collaboration allows me to see my brand differently.” That, and it satisfies a creative outlet beyond sales. “Sometimes you want to do something just for fun, something independent from the commercial part of the business. You want to create something just for the sake of being creative.”

Photo: Courtesy of Max Kibardin / Chicks On Speed

Inside The Delphinarium And Max Kibardin’s White Boxes


Far from the madding crowd at the Fortezza da Basso, Pitti Uomo’s ground zero, two accessories designers used the occasion of the fair to show their wares: one old, one new.

Delfina Delettrez created the Delphinarium, a retrospective featuring work from five of her previous collections, installed in a gallery space in the Piazza Carlo Goldoni. The menswear fair was an unlikely choice. “I hate men’s jewelry,” she confessed. “I can see a pair of cuff links, maximum.” She herself had once made a pair, but had decorated them with highlights from the female anatomy. “There is always woman in whatever I do, even in the man’s jewelry,” she said. Why show at a gathering of uomini, then? “Maybe the fact that I really like the idea of injecting such a feminine thing in a masculine context.”

In one room, pieces from her Love Is in the Hair collection revolved on the ornate wigs on which she originally showed them. The Rolling Stone collection was presented on the moving metal contraption that inspired them, too. (“It was the first collection where the setting made the collection alive,” Delettrez said. “I wanted to make jewels that could dance with the machine, in a way.”) A front room contained more recent work, from her Metalphysic collection, as well as never-before-seen pieces, including a ring that formed a woman’s face with moving pearl eyebrows and ruby lips (pictured, left). A new piece was commissioned especially for the exhibition as well: a gorgeous hand-painted cuff in the shape of a tortoise shell, one of the many animal-themed pieces in the show. A vitrine of frog jewelry also contained live, hopping frogs; one of bee-covered pieces was filled with live bees. (One escaped, and buzzed around the hall.)
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Pitti Uomo, Day 3: Mick, Keef…Umit?


The Pitti foundation, which supports and promotes new fashion talent, waved its wand over two names this season: shoe designer Max Kibardin (his cowhide clogs were an indelible image) and Umit Benan, who produced his first-ever live show for his Fall men’s collection, called Retired Rockers. It was basically a tableau vivant: Around a dinner table sat a group of seasoned older guys with a couple of young ‘uns and some beautiful women (also, of course, substantially younger) thrown into the mix, and around them sat the audience, looking on uncertainly as the diners made merry. The music was Dire Straits but the vibe was Stones all the way—a kind of worn-out glamour, eccentric elegance, comfort, the degree of connoisseurship that appreciates Nice Things, but, mostly, clothes for men who feel they don’t have to prove anything anymore. “The dressing gown at the end of the driveway,” as Benan put it, obligingly offering some full-length wrap coats in plaid cashmere. But the designer is also a master of no-slouch tailoring, and there was plenty of that, too. As for the appeal of these grizzled old survivors? “There’s experience in older faces,” Benan said before the show. “A young guy’s just a kid for me.” That’s him on the right, above, not much more than a kid himself.

Photo: Courtesy of Umit Benan