Model Catherine McNeil stars in ”Magnétique”, a stunning editorial lensed by Benjamin Lennox and styled by Fashion Editor Charles Varenne for Numéro magazine,issue 155- August 2014.Hair styled by Tomi Kono and make up by Benjamin Puckey.
”There is nothing as mysterious as a fact clearly described I like to think of photographing as a two way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.”
”I have a burning desire to see what things look like photographed by me.”
The first retrospective in twenty-five years of work by Garry Winogrand (1928–1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s—this exhibition brings together more than 175 of the artist’s most iconic images, a trove of unseen prints, and even Winogrand’s famed series of photos made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. It offers a rigorous overview of Winogrand’s complete working life and reveals for the first time the full sweep of his career.
Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both the content of his photographs and his artistic style he became one of the principal voices of that eruptive decade. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some twenty thousand rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, soldiers, animals in zoos, rodeos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in postwar America—rich with new possibility and yet equally anxious, threatening to spin out of control—seemed to unfold for him in a continuous stream.
While Winogrand is widely considered one of the greatest photographers of the twentieth century, his overall body of work and influence on the field remain incompletely explored. He was enormously prolific but largely postponed the editing and printing of his work. The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books and exhibitions; he often allowed others to perform these tasks for him. Dying suddenly at the age of 56, he left behind proof sheets from his earlier years that he had marked but never printed, as well as approximately 6,600 rolls of film (some 250,000 images) that he had never seen, more than one-third of which he had never developed at all; these rolls of film were developed after his death.
(MET press release)
~June 27–September 21, 2014, Galleries 691–693 & 852~
I rarely find another writer’s view on a couture line close enough to my own digressions.Still, the one below featured at Fb group: Haute Couture Weekly, perfectly summarizes the review i would most probably struggling to finish within sharp deadlines My gratitude to the page and its collaborators appears here necessary. Btw,i’m gonna start spotting which wannabe star/singer/media person will indulge in those flawless yet daring enough, dresses.
”Glamour was the order of the (third) day of Haute Couture Week in Paris as couturier Alexandre Vauthier continued with his sexy allure, featuring short but voluminous furs, in white, black or canary yellow. These, along with beige, were the collection’s predominant colors. Sheer dresses with strategically placed cut-outs, embellished with sequins, leather and muslin, stood out on the runway.”
~(Haute Couture Weekly)~
There’s no doubt that Hussein Chalayan is a much talented designer that has often pushed the boundaries between technical and glamorous,often with stunning results.In some cases fashion design has been a vehicle for him to make ”performance-statements” that made quite an impression.
Now as to his Demi-Couture collection for Vionnet, well, nobody was expecting nothing less than rebellious glamour.The trouble here is that he delivered a collection full of re-carpet dresses,still ”red carpet smooth glamour” isn’t exactly his area of expertise9 and perhaps liking). Chalayan has been long involved into the technical part of design and fabrics plus the use of semiotic details,viewing design as nothing more than a ”statement”, a moving work of modern art .In the case of Vionnet he worked with his favorite antithesis of fluidity-volume using pleated fabrics,often attached as 3-dimensional parts of the so called ‘demi-couture’ gowns.Sounds interesting?Yes but didn’t work at all. Vionnet is a house that bears the essence of relaxed french class.In the case of it’s Fall 2014 collection,the result was nothing but french.Let along classy.And certainly not Vionnet.
I just couldn’t resist but posting a photo of Madame Vionnet and her famous ”bias” cut.More modern than ever i’d say…
”But if I have a lot of imagination, I could tell myself whatever I wanted, you know. I handle myself quite well. I’m kind of fascist with myself, you know. There’s no discussion. There is an order. You follow it.”
”I would like to be a one-man multinational fashion phenomenon”.
”Tweed me up!”-The Chanel Fall 2014 Couture Collection:
Julien Fournié’s Paris Fall 2014 is a collection that has many obvious references to art-specifically David Lynch’s cinematic language and modern painting. From the purist aesthetics of ”Lady Blue Shanghai ” to the surrealism of the ”Lost Highway”, the colors and the textures are to remind that ”something unexpected” might as well happen-at anytime.
The color palette ranged between colors such as magenta, blue and yellow,a series of colors, indeed, most appropriate for a Fall 2014 collection (and perhaps derived by German artist Neue Sachlichkeit?) The designer avoided the ”gothic” label by next presenting a series of impressive pieces in vibrant colors such as magenta,bright pink and neon yellow.And guess what,the outfits where by no means garish.This was a collection of a designer that has a clear, solid aesthetic vision, therefore stretches good tailoring and styling to the boundaries,in order to achieve his desired result.Goth influences,sparkles,embroidery and lace where only the means,to a collection that looked ”effortless” but hey,it takes an awful lot of talent and effort to appear as such!
“What is the most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.”
~Susan Sontag~(and a quoted inspiration of the current Mabille couture show)
I used to be a fan of Mabille’s work but i must admit this Fall 2014 Couture collection baffles me.Maybe perhaps because it became obvious that the ”masculine-feminine” interaction appeared at times as a manner of mis-matched items and at some, few i’m afraid,an interesting combination of bold references to menswear upon ultra feminine gowns. The idea is as old as the world itself yet its becoming modern by a similarly ”modern” approach.
Now,for the House’s Fall 2014 couture collection Alexis Mabille enthusiastically embraced all the above,still, transforming a vague idea to a solid couture collection that would actually both impress and sell,is another issue.Thus the huge differences between outfit to outfit,some looked great,some looked more..costumey than haute couture. Ok,we had belted silhouettes,tuxedo-like necklines and some white stuff-dantelle gowns. Btw,was i the only one to think that the fabrics at certain points, looked..ahem cheap?
The question that rises here is: ”Is it me getting all that uber-inspired(!) outfits wrong or there is seriously some creative inefficiency that Mr Simons and his media peers fail to admit”? Honestly now,not even the (interesting indeed) concept of female silhouette changing over the decades and the influence one decade brought to the next could save this show. Well,had it been a Galliano project we would be most probably see stars out of happiness.But Raf Simons isn’t a couturier, no matter how hard he tries to prove the very opposite.According to ”Style.com” he stated that he found himself thinking about Christian Dior’s fascination with the Belle Époque style thus asking himself, “If I had been [working] at that time, what would be my interest, conceptually or technically or architecturally? What would I be excited about?“
The question here though is what would the couture lovers of today be excited about? He presented an inspiring,cheap looking series of outfits that bore no Dior essence,not even the credit of a good pret-a-porter line.I consider this collection an insult to the House’s legacy and to good taste in general.Its not personal Mr Simons,its just business.
Giambattista Valli is a Couture House with a certain,serious indeed,history.It,almost each time,presents much interesting,classic pieces such as cocktail dress,floral embellishments,always with a touch of ”good-old-times” elegance.
The Fall 2014 Couture collection included all the above, in a fresh,modern version along with the designer’s skillful use of bias draping on dresses, really full skirts and layers of tulle a la ”New Look” with the upper wear being a more… relaxed piece.Indeed, the ”sleepwear as elegant outer wear” trend was more than present, with traditional pajama details combined with silk pieces as tops to fully volumed skirts.
Still,what Giambattista Valli knows how to do like no other is the embellished,floral,bias cut cocktail dresses-no wonder they first captured the eye of potential celebrity customers.The focus here is in draped evening dresses worked to the very last detail plus embellished tea-length numbers.Using a subtle palette of basics as well as accessories with clear reference to the 50s (headscarves and black-lensed sunglasses)-all the above presented Valli’s concept of the modern, ideal woman:fearless,classy,elegant with a twist.And its exactly this twist that made Giambattista Valli FALL 2014 COUTURE a success!