Gareth Pugh’s choreographed tornado, British folklore and his multiscale performance in New York.

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Just days after the interior choreographed tornado in a multiscale performance that requested the audience’s participation to purely experience the essence of it,he opens up in a interview for nymag. The Cut,featured below:

What did you think of the presentation?
I watched it from the wings and it went up well. I’ve always wanted to do something on this scale that felt quite immersive. When Lexus asked me to be part of their event, it was kind of a no-brainer. We had to cancel my show in Paris, which I guess is quite a big deal. But to be able to now do something like this is dream come true.

Lexus told me that you did this in two months.
The collection obviously was in my head, and we were working on it a lot before. But then when this came up, it basically just freed [me] — to do a collection that goes down a runway is very different than doing a collection that works on film. It enabled us to do a lot more interesting things than we would have normally been able to do. 

You’ve done video presentations before. How is this one special?
We’ve never mixed — we’ve never had more than one video and we have three. We’ve never mixed live performance. It’s all based on British folklore. The first installation is very ordered and structured, like a strong circle. All of characters that inhabit are characters from [fables and legends]. It’s very much about the seasons, paganism, and referencing gods of the harvest and gods of the sea. So you’ve got that, and then it moves on to this chaotic elemental, visceral thing.

Tell me about the tornado.
It’s an idea of building something up and tearing it down again, which then leads to the end thing. She’s down on the ground like a maple with all these fabric strips, which then raise up and form this image like a phoenix. It’s birth, renewal, death, and rebirth. When something ends, something new begins. It’s kind of, for me, an optimistic message. And then at 10:30, we run the whole thing again. It instills the idea of something cyclical — like fashion, I guess. It’s what creative people do. They do something, they move on. You grow from it. It’s an evolution.

In past interviews, you mentioned that this was among your more expensive shows.
We would have never been able to do this on our own. Lexus has been great. They’ve kind of just given me free rein to do whatever. 

Did you choreograph the show as well?
Wayne McGregor came over. We shot everything in New York in the middle of August for the films. He came over to direct the models and dancers that we had onscreen. And then he came over again with his dance troupe.

Can you tell me about the second act more? I’ve seen those tornadoes at science museums.
There’s a guy Daniel Wurtzel, who’s an artist who creates all these amazing installations with air. I’ve always wanted to work with him. I discovered his work about four years ago. He’s always been in my bookmarks bar on my computer. Luckily, he lives in Brooklyn. I got asked to do this project, and I was like, “We have to work with guy.” He creates this magical thing that appears from nowhere and then disappears.

(courtesy of ‘The Cut’ )

“Homage to Elsa” by Christian Lacroix-A Magnificent Fashion Prologue!

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It is as we had foreseen.The artist and contemporary designer  Christian Lacroix created a much awaited capsule collection of  18 pieces challenging the memory of Elsa Schiaparelli .With those being presented at le salon of Les Arts Décoratifs in Paris displayed in a form of a carousel-like installation .Lacroix created several small apparel miracles having had understood the Schiaparelli spirit to the bone yet leaving his creative imagination lead him to pieces equally colorful,well designed and provocative,just as hers.The collection is initially not for sale but rather work as a magnificent fashion prologue to  the reopening of the House of Schiaparelli,with an artistic director included,of course.Has anyone thought of Lacroix for the place?

”That mixture of eccentricity and neat makes her work timeless.Very relevant for today and tomorrow.”

~Lacroix on Schiaparelli’s work.~

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Chloé celebrates 60th Anniversary with Stunning Window Display at Barneys,New York!

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For the celebration of its 60th anniversary,the House of Chloé employed hairstylist and visual artist Bob Recine to create a series of innovative window displays for Barneys New York. And as expected,even though the fashion house’s clothes are stunning indeed in their own right, the actual highlight of the magical window displays is the hair. In one window, brass, woodwind, and string instruments shoot out from the mannequin’s neck.In another,equally impressive, yards of fabric is braided and suspended to the ceiling,creating a fashion installation worth viewing!

Recine himself noted:“We translated hair into something that has nothing to do with hair.It’s always my starting and inspiration point to create something explosive and interesting, and something for people to stop and stare and look at.”

Well,at this point,you certainly reached your aims creating a stunning series of window dislays paying tribute to Chloe.And we’d love to see more from you,Mr Recine,if possible..

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Lanvin ”Hall of Mirrors” Paris Windows decoration- quel magnificence!

Mirror,mirror on the wall

Who is the fairest of them all?You.

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Monsieur Alber Elbaz never disappoints us,this time creating for Lanvin’s Parisian windows, a fashion installation based on the idea of distorted reflections vanity and beauty.With pieces that showcase the House’s Winter 2012,he still manages to indulge us with another memorable experience that goes beyond fashion as retail.Btw,did you know that Lanvin is the oldest fashion House?Just mentioning.

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At the same time,and in tune with the Cinderella tale,Lanvin Fall/Winter 2012 campaign celebrates Individuals with individuality.

A.F. Vandevorst installation for Arnhem Mode Biennale 2011 by Lenn Cox & Jp Scheen

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…a girl sleeping in a hospital bed in her a.f. vandevorst dress. but here, the girl as well as the mattress and pillow are made out of candle wax.
once lit, what starts as a perfect image will slowly melt and perish during the biennale….

Nakako Hayashi on the Individuals collection, 1999, Little More described the artists vision as such:
Upon entering the room, we found models lying on beds. Dresses and skirt were arranged from pillowcases; diagonally distorted draperies formed shirts, and pleated fabric was sewn into skirts. We took photos fanatically. We could have a close look at the clothes and see all the details. The girls on the beds had no make-up, and they did not seem to care about the wrinkles in their dresses or their dishevelled hair. Eventually, they started to rise one by one, and the show had begun. A very unique stage effect that capsized conventional shows, where you have to line up in a long queue and wait a long time for the opening and you don’t even get to see the whole model’s figure.”

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CREDITS:
Production: Lenn Cox + Jp Scheen
Taxidermist: Richard Philips ( http://www.rpcast.nl/ )

also..

 

Comme des Garçons “White Drama” fashion installation.

Its true that the fashion world is sufficiently familiar with fashion related installation- projects,with late Mc Queen and Hussein Chalayan being two of the pioneers.Yet this time,Rei Kawakubo has chosen to create an installation out of the whole Comme de Garcons S/S 2012 collection,exhibiting the garments as an installation project, in the same style as the runway presentation( in giant clear plastic bubbles),at the Galliera Museum, in Paris.The idea is interesting indeed, and the garments excellent,as always,yet the whole exhibition does leave the sense that the overall concept isn’t clear apart from the chromatic relevance and the sense of transcendence(birth,baptism,veil for marriage etc). Perhaps I’ve expected more from a brand that is not afraid to experiment in close relation with performance arts. Nevertheless,the exhibition definitely is a must for any devoted fashionista.Still,we need more drama…