37 posts tagged "Nick Knight"
There’s been an explosion of florals and flower prints on the runways, and you can trust that if a trend is in the offing, Nick Knight will not be far behind. Case in point: The latest exhibition at SHOWStudio’s Mayfair gallery, Florist, which opens tomorrow. The Web site-cum-gallery project is celebrating its 10th birthday this year, and Knight decided a few bouquets would be a fitting anniversary gift. “Of course there is no better birthday gift than flowers,” he told Style.com. “When you think about it, so many fashion photographers were quite taken by flowers—Irving Penn, Robert Mapplethorpe and Baron Adolph de Meyer all trained their lenses on blossoms as a bit of a hobby. I’m not going to say that it is cleansing or anything, but….”
Vivienne Westwood, Yohji Yamamoto, Lady Amanda Harlech, Guy Bourdin, and Sølve Sundsbø (whose work is pictured) are a few of the celebrants to craft a floral gift—in any shape—to contribute. (Those shapes have taken the form of photos, dresses, head pieces and one-off objets d’art.) During the week, designers like Mary Katrantzou and Stephen Jones will also create pieces live, to be broadcast in real time from the Bruton Street studios. Knight has also snared the likes of John Galliano, Gareth Pugh, Hussein Chalayan, and Kate Moss to create their own interpretation of flowers, all to come during the winter-long exhibit.
No doubt a decade in the business is a thing worth celebrating—we’ve just finished doing the same ourselves, in fact. And Knight’s highlight of the past ten years? “Definitely, the SHOWstudio’s work in fashion films, which is still rather uncharted territory,” he said. “It’s an amazing knowing that every day there is something to create, something waiting to be invented. It’s a feeling that makes me want to jump out of bed every morning.”
School’s in—with Nick Knight, Ryan McGinley, Tim Walker, and Fabien Baron, no less. Beginning in the fall of 2011, the School of Visual Arts in New York is launching a new graduate program in fashion photography, the first of its kind on the scale being proposed. SVA’s Stephen Frailey and Art + Commerce founder Jimmy Moffat (pictured, left to right) will co-chair the program, which will draw its faculty and guest lecturers directly from fashion’s most marquee mastheads. (In addition to those mentioned above, Cathy Horyn, Pascal Dangin, Emma Reeves, and Glenn O’Brien will take part.) On the eve of the program’s announcement, Style.com checked in with Frailey to discuss what’s new, what’s next, and who he’s looking for.
Let’s talk back story. Why this program, why now?
It really seems like it’s a good time for it. As an academic, as someone who is in the classroom at an undergraduate level, I think often fashion photography has been marginalized by the students. Despite the fact that it takes an enormous amount of work and is collaborative, I really feel like it’s been on the sidelines of the photographic education, especially at an advanced level. I come from the art world, and I came to fashion photography fairly late. About ten years ago, I started noticing the amazing work that was in W. I began to realize that art photography had borrowed so much from fashion without necessarily acknowledging it—an interest in narrative, in the staged and fabricated image. At any rate, I felt like it was time for fashion to be considered among the more elevated photographic pursuits in higher education at the graduate level.
What will the curriculum be?
It’s a one-year program; the classes will occur in the evening and on Saturday. There will be two classes that will last the full year, 30 weeks. One will be a critique class, [whichS will have a rotating faculty; it’ll be collaboratively team-taught by Jimmy Moffat, Dennis Freedman [formerly of W], and Andrew Richardson. Then we’ll have a class called the Symposium class, taught by Emma Reeves [of V]. It’ll be an opportunity for everyone to gather together and to go to whatever is happening in New York at the time, whether it will be a guest lecture by Karl Lagerfeld or an exhibition at the Metropolitan Museum or at galleries. Carol Squiers, who is a curator at the ICP, will be teaching a class on the history of fashion. I’ve been asked to have that class, by the way, streamed onto the SHOWstudio Web site. There’ll be a digital photography class for fashion photographers, which will be taught by Pascal Dangin [of Box Studios, and one of the most influential retouchers in fashion]. Not only will it be about technique, but also about some of the ethical issues of retouching, and the way that it creates a kind of utopian figure. And video, which is a very important part of the future of fashion photography. Continue Reading “SVA Launches A Master’s Program In Fashion Photography” »
Here’s the latest dispatch from the annals of instant gratification. Gareth Pugh’s Spring ’11 collection hits the runway (well, the video runway, as it turns out) in Paris today—and the first pieces hit stores tonight. One store, that is: Nick Knight’s SHOWstudio.com shop, where, following the presentation, a chiffon scarf in one of Pugh’s signature geometric prints goes on sale for £220. Only 100 are available, so it’s first click, first serve. The shop-the-runway trend is ramping up lately, and the charge is being led, no great surprise, by younger designers. “Gareth is in the vanguard of designers who grew up using the Internet and understanding its importance and power,” Knight says. “He therefore naturally sees it as a means to launch his collection to a massive worldwide audience in a way that represents the complete artistic expression of his work.” If you want to get in on that expression, here’s where to go.
There seemed to be a palpable sense of confusion and then relief among editors who walked into Louise Goldin’s presentation at London’s St. Martins Lane Hotel to find just four sparse racks of clothes. Is that it? went the collective thought. On each hung the same six or seven pieces of minimal, body-con knitwear with sheer stripes—a long dress, a top pieced with jacquard, a T-shirt, a mini skirt, a maxi—in four different colors: red, camel, white and black.
Turns out this was just the first part of a two pronged attack. Goldin herself was making the rounds, a glass of champagne in hand. “I think its really important to say that I wanted to work on my business this season,” she explained. “This knitwear needs an incredible, incredible amount of manufacturing support, and there was no point in me dashing out shows that can’t be produced.”
Instead, Goldin is showing the collection a few weeks after Paris fashion week wraps up in an interactive film, naturally with SHOWStudio’s Nick Knight. For two days, the pair—along with a hair and makeup team—will have a supermodel in a studio and get about 80 different people who sign up to direct her movements and a few other variable elements. And all of it is done by Skype. “People can be involved in the process of a show,” said Goldin. “It’s inclusive—not just like, ‘Oh you can’t come to my show.’”
But as Goldin explained, the film has the potential to be more than simply a neat alternative to the classic runway format. She and Knight are exploring the idea of incorporating e-commerce where you can click on a film still and buy you’re seeing. But Goldin stressed that it’s still a work in progress. “I’m talking to my factory about it, to say, ‘What if we get 20,000 orders? Will you be able to make them?’” she said.
Hopefully Goldin’s new role as knitwear designer at the house of Versace will help to expedite her production. In the meantime, give her credit for thinking outside of the established system about how best to showcase herself and her work—a move that might just lead to those 20,000 orders in the end.
“Dolls are everywhere in fashion. Even Galliano closed one of his shows with a three-foot doll of himself taking a bow in his place. How cool is that?” So says Nick Knight at last night’s private view of In Wolves’ Clothing: Re-Imagining the Doll at SHOWstudio’s Mayfair gallery and shop. “There is something fascinating, even slightly melancholy about dolls that has captivated the fashion world for ages—I think it comes from wanting to play dress up, but also from something deeper, like a pining away for our lost childhood.”
But betcha as a kid you never had any dolls like this. Knight’s selections are more likely to leave small children screaming in fear than cuddling up. Case in point, Nancy Fout’s disturbing canvases of vintage puppets crammed together, or Marina Bychkova’s dolls, faces straight out of Japanese anime, with huge, sorrowful eyes (left). Elaborately costumed and tattooed, they struck a gothic chord that, according to Knight, “takes art to a different level of emotion altogether.” Small surprise, then, that one of Bychkova’s dolls, Buela, graced the cover of the August issue of LOVE—wearing Louis Vuitton, no less.
Peter Jensen and Viktor & Rolf rounded out the offerings, with elaborately costumed dolls—couture, you might say, since they’re all custom pieces. They’re accordingly expensive, but Knight is in no rush to sell. “Everything that we have in the shop is something that I absolutely love,” he mused. “If they don’t sell right away, that’s all right. Means I can just look at them longer.”