21 posts tagged "SHOWstudio"
Nick Knight and SHOWstudio just launched a series of video interviews called “Subjective” that attempt to tell the history of contemporary fashion photography as seen through the eyes of models. His first subject: Kate Moss. Moss shares stories with Knight about her early modeling days, living off of fish and chips and Guinness, shooting with Corinne Day, and getting flack for being a heroin-cheeked waif—”I’m a fabulous scapegoat,” she says. The conversation is casual, intimate; Moss is charming and beautiful. What Knight says about her early photos remains true: “It’s a very powerful thing to have that honesty and fragility.” Head over to SHOWstudio to watch.
You may have heard of Heron Preston. If not, you’re almost definitely familiar with his work, either as a digital strategist for Nike, concocting social media tactics for the brand’s biggest innovations (“Just connecting with the youth through compelling content,” Preston told Style.com, on a call from Nike’s HQ in Portland, Oregon), or as one-fourth of the crew behind Been Trill, the paradigm-shifting streetwear brand. “We never wanted to fit in,” Preston says. “We always came in with this approach of writing new rules—rewriting the rules—which caused an uproar in the beginning, but that was exactly what we were trying to spark off. We want to make the next mass, cool brand because that’s something that’s really difficult to do.” Turns out Been Trill’s Internet-IRL aesthetic hit the mark—the brand’s hashtag-heavy wears resonate high and low, and can be found in both VFiles and PacSun.
But Preston’s ambition isn’t merely to shepherd the youth through the precarious territory of what’s cool. He’s got a bug for creating subversive designs that aren’t quite as digestible. There have been two “Bootleg” T-shirts so far—the first, a Rottweiler print tee that did little to improve on the Givenchy design beyond the interior label, handwritten in Sharpie: “GIVENCHY BY HERON PRESTON ‘BOOTLEG.’” Then came the NASCAR shirt, “Found Factory Defect”—peak logo-mania, an ode to the designs of mass consumerism that earned Preston a New York Times trend story.
His latest project, a collaboration with photographer Nick Knight’s SHOWstudio, takes him on a different tack. For his third Bootleg T-shirt, Preston looked to—wait for it—death metal. The new design combines the Russian words for “flame” and “wave” rendered in death-metal-style lettering with a 1775 painting by the English artist John Hamilton Mortimer called Death on a Pale Horse. Preston came to the design in a roundabout way, first by discovering an image with the same name by a different artist on a T-shirt for the metal band Emperor. “So I just Googled ‘death on the pale horse,’ and then that’s how I found my graphic,” he says. Fitting for someone who describes himself as “super Internet-y.”
The shirt is actually two pieces, a tee with a turtleneck layered underneath. “I was inspired by law enforcement and security agencies who all wear turtlenecks,” Preston says. “And something about the turtleneck with the logo printed on the neck reminded me of neck tattoos.” Hence the embroideries of the Russian word for “style” on the wrists and collar.
As for ditching the logo-heavy designs: “Old gets older faster is what I’m learning,” says Preston. “You’ve always got to come fresh—that’s my philosophy—come fresh, come with something new, take a risk, especially if it makes you feel uncomfortable. I think that means you’re doing the right thing.”
The Heron Preston x SHOWstudio collaboration will be available online here tomorrow, May 6.
Nearly a hundred years ago, a famous lady of London dreamt of a room of her own. But times change and dreams get bigger. “I’ve always wanted a big house,” said the Brazilian-born, London-based designer Barbara Casasola, “with a red room, a blue room…” With an invitation to present a collection at Pitti Uomo and a little sponsorship funding from the fair, suddenly, like a wish on a bottle, it was so. She divided a crumbling but impressive structure on the Via Dello Studio—just off the city’s historic center and steps from the Duomo—into an apartment the likes of which have rarely been seen outside of fever dreams. One room was all brilliant fuchsia. Another, connected to the first by a long runway, was a teal-tinted blue. And everywhere, in lieu of windows, were screens projecting a Nouvelle Vague-inspired short film Casasola created with SHOWStudio’s Marie Schuller and Jamie Bochert (below). Bochert is a muse for Casasola, and this, the designer said, gesturing around, “is her house.” The sense was very much of peeking behind the blinds, not least because Bochert spends much of the film nearly nude. (Admittedly, that’s a magnanimous and somewhat curious decision for a designer to make for a film devoted to showcasing her own collection.)
The collection Casasola showed in her new digs was technically her first Pre-Fall, but she disliked the idea of a whole collection dedicated to commercializing her runway looks. Instead, she conceived of it as a capsule collection of, as she called it, menswear for women. It was a striking change, given that she’s known primarily for dresses. But for a first attempt—especially one boldly undertaken at a menswear fair—it was a strong showing. She custom-developed fabrics, including wools, wool-silks, and cady, to create monochrome suits with boxy jackets and deep-pleated palazzo pants, structured enough to retain the strict lines she prefers but pliant enough to swing like skirts when her models strode the catwalk from the pink room to the blue. Each was worn against bare skin, which lent an androgynous sex appeal not usually associated with tailoring. There were a few dresses and looser interpretations of her men’s-for-women’s theme—like jumpsuits whose backs had cutouts resembling lapels—but Casasola herself was in a suit of her own design (the prototype, she admitted), which suggested where her own sympathies lie, at least at the moment.
Womenswear designers at Pitti Uomo can sometimes seem adrift in the unfamiliar crowd of men’s buyers and editors, but Casasola is no stranger to Florence. Before launching her label, she worked here for Roberto Cavalli, and she produces her own collection here. “I invited the whole office,” she said with a smile. “All my seamstresses are here, and my patternmakers.” So the presentation was full of friends. She’d bargained for a house and wound up with a home.
“I don’t like practical jewelry,” said Bali-born, Antwerp-based Heaven Tanudiredja. “I don’t like jewelry that’s normal or classic, either,” he continued. That would explain the designer’s hyper-sculptural necklaces, cuffs, and harnesses, which, as we’re sure you’ve now gathered, are none of the above. Having launched his range in 2007 while working with Dries Van Noten (he also did a stint at John Galliano’s Dior after graduating from the Royal Academy in Antwerp), Tanudiredja sees jewelry as a form of armor. “And I think it’s a way of telling a story—you have to discover all the details to understand it,” he offered.
Last season, his story began in a particularly unexpected place. The Fall 2013 collection was inspired by mental illness—specifically, autism. After diving into research, Tanudiredja felt that those who suffer from such disorders are seemingly trapped in a mental cage. “But if you stay inside your head,” he said, “there can be a beautiful chaos. I tried to put that beautiful [aspect] into the collection.” The result was weighty brass, gold, and vintage crystal wares covered with tiny, empty chairs, metallic wheels (representative of the constantly spinning psychological gears), and small hands that can’t quite touch. “It’s intense,” said the 30-year-old designer. No kidding. Continue Reading “A Little Bit of Heaven” »
It would seem that Barbie and co. can’t get enough of the London fashion scene. After receiving a rainbow dye job from East London salon Bleach, as well as a graffitied makeover from Louise Gray, last year, and sending Ken to get some new Gareth Pugh threads in 2009, Barbie has tapped Roksanda Ilincic and Nick Knight’s Showstudio to design her new virtual Dreamhouse. Considering Ilincic, who created a frock for Barbie four years ago in honor of her fiftieth anniversary (left), has a background in architecture, we assume she’s more than qualified for the job. Introduced in 1962, Barbie’s Dreamhouses have, of course, traditionally had a Malibu twist, but the new mini-mansion—set to be revealed later this summer—will pull inspiration from London’s gritty streets. Expect a harder, more subversive edge than the previous plastic abodes, but, knowing Ilincic, no less pink.