On this episode we speak with Astrid Wendlandt, the founder of the fashion news website Miss Tweed. This year Miss Tweed came to prominence as the first to break many fashion appointment news, and has made plenty of powerful enemies, such as Bernard Arnault, the CEO of LVMH, and Johann Rupert, the owner of Richemont.…
The work of the French-American artist Louise Bourgeois is primal. Primal attachment and primal fear, harking back to her childhood, are intertwined in the tapestry of her work, sometimes literally, inseparable and inevitable. The mother is a smothering, fearsome spider (have you ever noticed that in our stories of dread the spider is always female?), and the angry, vengeful father is constantly on the verge of committing some kind of violence. Both are often reduced to their primal functions; mother becomes a predator with breasts, father is reduced to his sexual organs. Freud would have a field day, as they say, if only Bourgeois, who throughout her life spent countless hours in therapy, would let him.
The introduction of movement into sculpture. That implausible leap from the static to the temporal. Alexander Calder, the inventor of the mobile, achieved what the great Hellenistic sculptors could only suggest in the windblown robe and fluttering wings of Nike of Samothrace. He broke the mold. Jean Paul Sartre described Calder’s mobiles as “mid-way between matter and life”. They are a composition of motions, a series of fleeting moments where balance, force and tension coexist in perfect harmony. Calder: Sculpting Time (published by Silvana Editorial, $50.00) covers MASILugano’s ambitious exhibition in 168 pages, highlighting his most prolific era, the 1930s to 1960s.
Eugene Rabkin is back with Philippe Pourhashemi to discuss the Spring / Summer 2005 women’s shows in Paris and Milan. They talked about Alessandro Michele’s debut at Valentino, the need for change at Rick Owens, their different takeaways from the Dries Van Noten without Dries debut, the stagnant and bland luxury market, why Haider Ackermann…
Gary Schneider arrived in New York City from Cape Town in 1976, landing a job doing technical work for an avant garde theater in Soho. Through his partner, he met artist photographer Peter Hujar with whom he had an immediate rapport as he was interested in photography and printing. Hujar secured Schneider a job at a printers where he began to print Hujar’s work, and in the process becoming a close friend, protége, assistant and occasional subject for Hujar’s lens. Their relationship is now commemorated in a new book Peter Hujar Behind The Camera And In The Darkroom (D.A.P. $50, out now).
On this episode we speak with the London-based fashion and interior design journalist and photographer Mark C. O’Flaherty.
So, you want to get a job in fashion? But how? Or are you curious about what goes on behind the scenes of creative director musical chairs? On this episode we speak with Alice Bouleau, Partner at Sterling International, a premier executive search agency. Alice places creative directors and high level executives all over the world…
So, you want to launch a brand? But do you know how it all actually works? For this episode we invited our old friend Joseph Keefer, who has had a long career in fashion on all fronts; retail, production, merchandising, and design, and who has launched his brand JKEEFER in 2020 in New York City. Joey…
We are back with Philippe Pourhashemi to discuss this past menswear season. We talk about the shows at Pitti Uomo, Milan, and Paris, from the strange department-store-bound debut of Marine Serre at Pitti Uomo, and an unexpectedly joyful show of Pierre-Louis Mascia, about how bad the Milan shows were this season, the gimmicks at J.W.…
Is Millionaire Speedy a luxury bag or merch? What about the Balenciaga Maxi Pack? Some people’s idea of merch is Trump’s gold high-tops. Merch as a status symbol. Merch as a subgenre. Merch as a style statement. Merch as an identity marker. Merch as something of waning cultural relevance.