91 posts tagged "Raf Simons"
The London e-commerce and by-appointment boutique LN-CC is moving quickly from an insider’s secret—it’s name-checked as a favorite by the likes of J.W. Anderson, who included it on a list of his London must-visits in Issue 02 of Style.com/Print, and Phillip Lim—to a retail leader. So perhaps it was only a matter of time before the shop tried out a campaign. The five-part series they’ve created for Spring has launched quietly over the past few weeks on LN-CC.com, but the impact, according to brand director Dan Mitchell, has been immediate. “I’m actually very surprised,” he admitted to Style.com. “The response has been fantastic.” The men’s and women’s shots, styled by creative director John Skelton and shot by the in-house LN-CC team, were lensed not in London but worldwide. The store’s reach may be growing, but it remains an inside player in some respects. Fashion obsessives will recognize one of the men’s models from the first campaign as Robbie Snelders, Raf Simons’ muse and righthand man. A follow-up for Fall is soon to be in the works.
Minimalism is in the air. Despite Raf Simons’ protestations that he isn’t only a minimalist, the word has hung over his collections and informed the discussion about his taking over at Dior. Meanwhile, one of fashion’s most famous minimalists, Jil Sander, is headed back to the house she founded (and Simons vacated). Minimal chic has ruled the runway these past few seasons, even if Fall brought with it a hint of the baroque. And at the Museum of Modern Art last night, minimal came back in a big way: Minimal pioneers Kraftwerk returned to the stage for the first of an eight-night retrospective. Each night is loosely devoted to a performance and on-screen “3-D visualization” of one of the band’s studio albums, ranging from Autobahn (1974) last night through Tour de France (2003).
Simons, for what it’s worth, is an outspoken Kraftwerk fan who’s created men’s shows inspired by the seminal electronic group. So is Klaus Biesenbach, MoMA’s chief curator-at-large, who dreamed up the retrospective of sound and image for a lucky few. The museum’s Marron Atrium, where the shows are held, has a capacity of only 450 people.
Last night brought together such strange bedfellows as Kim Cattrall and Terence Koh, who danced to a smattering of Kraftwerk’s most influential hits. Opting for a white plastic jumpsuit made by designer Mary Ping, Koh looked the most prepared in the room for any potential effects of “Radioactivity,” which displayed as 3-D text from the stage’s screen while the band played the title song of their 1975 album, which made for the darkest, most political moment of the evening.
Politics aside, for those lucky enough to have tickets to tonight’s, or any of the remaining, performances, prepare to be wowed. The current members of Kraftwerk are in full form, and are as sonically and visually intriguing as ever. And for those still reeling in lament over MoMA’s faulty, non-Ticketmaster-like approach to ticket sales for an event as monumental as eight back-to-back Kraftwerk shows, all hope is not yet lost. As part of the complete Kraftwerk-Retrospective 1 2 3 4 5 6 7 8, a presentation of Kraftwerk’s historical audio and visual material will be on view in the Performance Dome of MoMA’s sibling museum, PS1, from today until May 14, which is sure to be almost as maximal as having seen the band live.
On Monday, the fashion world got the answer it had been waiting for—the long-vacant spot at Dior had been filled by Raf Simons. Since then, the question has been surrounding Simons’ strength as a minimalist and how that would fit in at a couture house like Dior. “I don’t think it’s wrong to call me a minimalist. It’s wrong to call me a minimalist only,” the designer tells WWD.
Though he wouldn’t reveal any details about what he has in mind for the future of Dior, he said he’s always been attracted to the midcentury period (Dior’s heyday), which included the “then-radical full-skirted New Look that Dior pioneered.” He also mentioned his admiration for the house’s founder and spoke to a mutual “penchant for plant life and the outdoors.”
“When I’m married to a house, I will fully embrace its original intention, its original heritage and meaning,” says the designer. “I’m interested in creativity, the evolution of creativity and the relationship between creativity and the times we live in.” Simons arrives in Paris today to begin work on his first Dior Couture collection, debuting in July. Until then, we wait.
According to the New York Times, the long-vacant (well, semi-vacant) head job at Dior has been filled: by former Jil Sander creative director Raf Simons. (“Semi-vacant” because since the departure of John Galliano last March, Dior’s collections have been designed by his longtime studio head, Bill Gaytten, who also designs Galliano’s namesake collection; Gaytten’s future at Dior is not known.) Simons had been mentioned many times over the past months as a leading candidate for the job, but until recently was ensconced at Jil Sander. His dramatic departure from the house, announced three days before his triumphant final collection, may have paved the way to the new role. “The first time I heard about the Dior position,” Simons told the Times‘ Cathy Horyn, “I thought, ‘This feels right.’ ” Many will no doubt agree—including, perhaps, Galliano himself. According to Horyn’s sources, the former Dior designer expressed admiration for Simons’ Fall ’12 Jil Sander show.