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September 2 2014

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11 posts tagged "Punk: Chaos to Couture"

Paint It Punk

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Known for her candy-hued 1960s aesthetic, Lisa Perry is not a “punk” chick. So the theme of next week’s Met Ball—Punk: Chaos to Couture—posed a bit of a problem. “My first reaction was, ‘Oh no, what am I possibly going to do for punk? It’s so not my thing. I am so not a spikes girl,’” Perry told Style.com. The answer, she explained, revealed itself during a serendipitous trip to Brooklyn. “I was driving along, and I saw some graffiti, and I thought, I’m going to spray-paint a dress!” The lightbulb moment not only inspired the creation of her daughter’s Met frock (Perry herself opted for a black column gown with leather accents) but also a five-piece capsule collection (below) and window installation that will arrive at her Madison Avenue boutique on May 6.

“Graffiti ties back to my love of art,” said Perry, whose past collections have nodded to Warhol, Lichtenstein, and Jeff Koons. “It just connects everything.” Perry invited Style.com to witness the birth of her pop-meets-punk experiment. On the roof of her Sutton Place apartment, the designer was armed with a drop cloth and no fewer than two dozen cans of spray paint. She stepped gamely out of her Manolo pumps and, with a real DIY spirit, got to work. The resulting party frock is a brightly colored tribute to street art, with a few rebellious, albeit playful, undertones.

Perry also served up some veteran’s advice to first-time Met Ball attendees. “The frightening part is getting through the red carpet! Once you get to the top, it’s the most incredible spectacle. You don’t know where to look first. It’s just a magical, magical event.”

Lisa Perry is located at 988 Madison Avenue, New York, NY 10075; (212) 431-7467.

Miguel Adrover Sounds Off

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“It was important for me to really open up,” said conceptual fashion designer Miguel Adrover at yesterday’s screening of Call It a Balance in the Unbalance—a documentary about the uncompromising talent’s meteoric rise and fall. The film—which made its U.S. premiere at the Pratt Institute last night—follows the career of the Majorcan-born talent, highlighting his now-legendary Lower East Side debut in 1999 and the conception of the many memorable pieces that followed (his infamous Burberry trench-turned-dress, a town coat hand-stitched from materials drawn from Quentin Crisp’s discarded mattress, and a pair of drooped trousers made from Adrover’s grandfather’s wardrobe all make cameos). “When you see a documentary of Marc Jacobs or Valentino [you never see them] wash their clothes,” Adrover told Style.com. “You saw my house. You saw my mom, my dad, my bathroom…you saw me pulling the clothes out of the washing machine,” he added.

The film details Adrover’s post-9/11 commercial descent and subsequent return to Majorca, and the designer’s friends and supporters, like Suzy Menkes and stylist Eric Daman, spoke candidly in on-screen interviews about his uncensored vision. Not surprisingly, so did Adrover. “I don’t give a shit about [money]; I don’t believe in Chanel; I don’t believe in Karl Lagerfeld; I don’t believe in Yves Saint Laurent; but I do believe you can change society,” he professed during a Q&A.

The screening comes on the heels of Adrover’s departure from organic German label Hessnatur after eight years as its creative director. What’s next for the outspoken rebel? “I have three shows already prepared,” said Adrover, whose designs will be featured in the Met’s upcoming Punk: Chaos to Couture exhibition. “Anytime. You give me the money, I will make it happen. I don’t need a big stadium or a lot of lighting or things. I can do it right here.”

Photo: Courtesy of the Pratt Institute

Altuzarra Covers The New Yorker

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Well, the Spring '13 Gianvito Rossi for Altuzarra gladiator sandal does, anyway—in the form of one of the mag’s cheeky cartoons, no less. This week marks The New Yorker‘s style issue, and needless to say, Mr. Altuzarra was pretty tickled when he got his copy. “It was a huge surprise,” the designer told Style.com. “I had no idea it was happening. I actually thought it was a joke, like a fake cover, but when I realized it was real, obviously I felt honored. It’s the coolest thing.” Penned by Ana Juan, the caricature shows Altuzarra’s shoe against the New York skyline, to scale with the city’s skyscrapers (that is to say, megasized). ” I thought it was interesting because the shoe does have a monolithic quality,” offered Altuzarra, who joked that the pressure’s on to create an equally cover-worthy kick for his upcoming Resort collection.

It must be noted that Altuzarra’s shoe is in pretty good company—inside the style issue, you’ll find an in-depth interview with Met curator Andrew Bolton, who gives a behind-the-scenes look at the forthcoming Punk: Chaos to Couture exhibition; a story about an emerging (and pretty die-hard) punk community in Burma; and a piece about legendary New York tailor, Dapper Dan—hip-hop’s official haberdasher. The articles (and the cartoon) are all available to subscribers at www.newyorker.com.

Versace Nails It

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Versace’s Fall 2013 collection walked down the Milan runway just hours ago. The looks—some of which were in plaid or PVC—definitely had hints of the punk sensibility that’s been gaining steam this season. But what really jumped out at us was Ms. Versace’s use of metal nails in a few of her sexed-up wares. One purple dress, in particular (above, left), recalled that famed Versace safety-pin gown that Liz Hurley wore in 1994 (above, right). (Side note: Hurley’s gown will appear in the Met’s upcoming Punk: Chaos to Couture exhibition.) We’re also reminded of Christopher Kane’s ultra-feminine Spring ’13 collection, which was literally held together with plastic nuts and bolts. So, we have to ask: Could Kane’s Spring fastenings have ignited a sartorial hardware movement? Or perhaps more pressing: Is Donatella doing for the nail what Gianni did for the safety pin? We may need to wait until the end of fashion month (and until the Fall ’13 collections start popping up on the red carpet) to find out.

Photos: Versace Fall 2013—Filippo Fior/InDigital/ GoRunway; Elizabeth Hurley—Richard Young / Rex USA

Anarchy In the Met

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“Fashion has lost its edge,” said curator Andrew Bolton at a preview of the Met’s upcoming 2013 Punk: Chaos to Couture exhibition yesterday morning. The statement was in response to a query about why the Met chose to explore the rebellious seventies subculture at this particular time. “Punks were so brave and noble. I just think fashion needs an injection of that at the moment,” the curator told Style.com.

If the garments that joined Bolton on the podium during his introduction to the exhibition (looks from McQueen, Chanel, and Rodarte among them) were any indication, punk has been fighting its way into fashion for quite some time—since Zandra Rhodes’s slash- and safety-pin-infused 1977 “Conceptual Chic” collection, to be exact. The new show, explained Bolton, is a prequel to the Met’s 2006 Anglomania and will examine punk as an aesthetic, rather than an attitude. “Punk smashed every convention,” he said. “It prized originality, authenticity, and individualism.” While counterintuitive, these qualities, he said, put punk on the same, or at least a very similar, plane as couture. Continue Reading “Anarchy In the Met” »