7 posts tagged "Rem Koolhaas"
Prada’s Spring collections exist, which is reason enough—when you’re Prada, at least—to commission Rem Koolhaas’ AMO to make this video, Prada Real Fantasies. (Video Fashion Week envy, perhaps?) I may be especially susceptible to its charms, as I’ve been having a real fantasy about those jogging pants. The beginning gives me shades of the Mad Men title sequence, but that part may be just me.
North Carolina, home of the wonk-approved Cone Denim Mills, is one of America’s centers of jean-making. It is also home and namesake to Raleigh Denim, the young denim brand that has, since 2009, been quietly making some very, very good jeans using that hometown fabric. Barneys picked up Raleigh back in ’09, at which point the business went from hobby to career. (Previously, Raleigh’s husband-and-wife founders Victor and Sarah Lytvinenko had been making jeans for friends; he’d previously been a soccer player in a professional European league, she a willing travel-along.)
As the business grew, the Lytvinenkos opened a small shop, the Curatory, in the front of their Raleigh, N.C., workspace, where a window to the back offered shoppers a clear view of the full works. It was there that an emissary from OMA, Rem Koolhaas’ design firm, which has created stores for Prada and Viktor & Rolf, discovered the couple, and a partnership was born. Raleigh’s new, New York store, which opens officially tonight, was designed by OMA’s New York director, Shohei Shigematsu. Where the Raleigh home store is woodsy, New York is airy. “North Carolina is where we are looking back,” Victor explained at a preview yesterday. “New York is where we are looking forward.”
The store takes its inspiration from the warren-style rooms of a traditional Southern home, one leading into another. That structure is realized in the shoebox-size space by a giant metal grating system—Lytvinenko calls it an “armature”—that can be adapted by adding anything from a thousand or so paper airplanes (currently alit on the grates), blocks of wood, denim, or just about anything else. “We wanted something that can move as quickly as the season or the collection,” Lytvinenko said.
Raleigh Denim is now open at 211 Elizabeth St., NYC, raleighdenim.com.
Francesca Eastwood, daughter of actor Clint Eastwood, is the latest celebrity to find herself in the center of a Twitter and Facebook media storm. On the latest episode of the family’s new reality show Mrs. Eastwood & Company, the 18-year-old and her artist boyfriend set fire to a $100,000 crocodile Hermès Birkin bag before taking a chainsaw to it, all in the name of art. [Telegraph]
Kanye West showed his short film Cruel Summer in Cannes last week, but it’s not the film that has people talking, it’s the over-the-top pyramid where he showed it. The structure, which featured a panoramic backdrop of Cannes, was built by Rem Koolhaas’s architecture firm OMA, to seat 200. Word on the street is that the film and the pyramid will be making their way around the world. [Styleite]
Richard Nicoll’s bridal collection for Topshop makes its debut today. Of his first official foray into bridal, the designer says the seven-piece capsule collection of short and full-length dresses is “a modern affordable alternative to meringue culture.” [Vogue U.K.]
Say hello to Burberry’s new campaign couple, actress Gabriella Wilde and musician Roo Panes. The duo shows off the label’s latest offerings in the cinematic, London-themed shoot, photographed by Mario Testino at the Royal Naval College. [Telegraph]
And you thought her men’s show in Milan was a spectacle. On Tuesday in Paris, Miuccia Prada will celebrate her label’s new Rue du Faubourg Saint-Honoré boutique—not with a traditional store opening party, but with an ephemeral museum at the city’s historic Palais d’Iena (home of her Miu Miu runway shows) that has been conceived of and constructed by her frequent collaborators: the artist Francesco Vezzoli and AMO by Rem Koolhaas. Vezzoli, among other things, is famous for a faux Caligula trailer; a premiere of a play that never ran starring Cate Blanchett and Natalie Portman; and a performance art piece at L.A.’s MOCA that united Lady Gaga with the Bolshoi Ballet. Style.com sat down with him to discuss his latest “overambitious happening.”
How did the idea for an ephemeral museum come about?
Mrs. Prada and I have already worked together. For many years, we looked for a new project, but not to do another exhibition, not to do anything predictable. We’ve often discussed how these huge companies have big budgets for parties. And we brought up the idea of baroque parties. In the sixteenth century, great architects would produce these feasts. Mrs. Prada liked the idea. It’s taking the funding that normally would be used for something frivolous [a store opening party] to produce an artwork. An artwork involving different brains, and involving them in a big, risky, and funny game.
What will this game, as you call it, look like?
We will upholster the whole grand room with neon lights like a big cage. There will be a nightclub with a dance floor. And I produced all these sculptures which are sort of a fake pseudo parody of a retrospective. And we are transforming the Palais d’Iena’s mini parliament just for the night into a movie theater, where we put my favorite movies. So, it’s like a big fantasy. Both to Mrs. Prada and I, it seemed like a good place to make our dreams meet.
Why the Palais d’Iena?
It’s an incredible building, the size of the New York Public Library. On top of that, it’s a pillar of modernism. Auguste Perret did it between ’36 and ’46 and it was supposed to be a museum, but it never really became a museum. Today, it’s the Conseil Economique, Social, et Environmental. So, there’s this idea that we are squatting not only on the history of architecture but squatting on politics as well. We are occupying it for 24 hours. We are political Cinderellas. The beauty of the project, the true Prada nature of the project, is that Mrs. Prada is putting into a clash two aesthetics that are very different—mine, which is perceived as more melodramatic and camp, and Studio Rem Koolhaas’, which is perceived as dry or sophisticated.
And you’re tearing it down the next day?
It’s a 24-hour experience. You can call it a climax or an anti-climax depending on your perspective. It starts with a dinner hosted by Mrs. Prada, with only the people close to her. And then there’s a much bigger party, and then it’s going be open all night, hopefully for mischievous and vicious and dangerous events. Then there’s going be a pseudo press conference, and then an opening to the public until exactly 24 hours after the first person stepped into the room for dinner.
How do you see it, as a climax or an anticlimax?
For the celebrity seekers, it’s an anticlimax because the dinner comes first. Me, I’m way more interested and worried about the general public’s reaction. I’m worried that nobody will show up, or that they all show up and they hate it, or they feel it’s vilifying a monument. This is the risk that we’re taking. It’s not an institutional critique, I don’t have that pretension. But it’s certainly a way to discuss the role of institutions today. For me and you, a museum is a museum, but for a president of a bank, a museum is a venue on his list. It’s like, “Oh, where do we do the Christmas party? Do we do it at such-and-such museum, or do we do it at Cipriani 42nd Street?” Museums have become hubs for different types of social gatherings. Here, we are doing the opposite; here we are taking a place used by politicians and turning it into a Cinderella of a museum for 24 hours. And after that, all this extravagant setup will disappear. Continue Reading “A Cinderella Of A Museum: Francesco Vezzoli On His New Project With Miuccia Prada” »
Beginning on Sunday, Hermès’ state-of-the-art transportable screening room, H BOX, touches down at the Orange County Museum of Art as part of the spring exhibition Moving Image: Scan to Screen, Pixel to Projection. With Chanel’s Zaha Hadid-designed Mobile Art Pod indefinitely grounded and Prada’s Rem Koolhaas-created Transformer still undergoing construction in Seoul, where it will remain, Didier Fiuza Faustino’s H BOX is your only chance to experience the gallery-as-art-phenomenon on American soil. As for the work inside of it, H BOX artistic director Benjamin Weil has selected videos by ten international artists, Matthew Buckingham and Cliff Evans included. First unveiled in Paris in 2007, the collapsible H BOX traveled through Europe and Japan before landing in California. It will make its home in the OC through September 6.