Alexander McQueen at the V&A: Part II
We would like to present to you Part II of our coverage of Alexander McQueen: Savage Beauty exhibit at the Victoria & Albert Museum in London.
We would like to present to you Part II of our coverage of Alexander McQueen: Savage Beauty exhibit at the Victoria & Albert Museum in London.
We would like to present to you an in-depth review of the Alexander McQueen: Savage Beauty exhibit at the Victoria & Albert Museum in London. Tomorrow, we will publish a comprehensive photo essay of the exhibit shot for StyleZeitgeist magazine.
One day, back in the 80s, the German filmmaker Wim Wenders saw pictures of the Brazilian-born photographer Sebastiao Salgado at a gallery in Los Angeles. He was so impressed that he bought two prints on the spot. Since, Salgado has quickly become his favorite photographer. Wenders continued to follow his work, and one day, being who he is, Wenders decided to simply knock on Salgado’s door.
Everyone who goes through his formative years in a certain decade considers it the golden age. Obviously, the 90s were the best decade ever.
But let’s go beyond facetiousness. In terms of cultural production it is obvious that every decade has the good and the bad. What is more interesting is how much of the good and how much of the bad the zeitgeist of every decade produces, and what gets to hit the mainstream. Why 90s matter is that it was the decade when culture, and fashion as part of culture, took the last stand before succumbing to pure, unapologetic commerce.
Two weeks ago I got to see the Dries Van Noten: Inspirations exhibit at MoMu, Antwerp’s fashion museum. As the title suggests, the exhibit provides a glimpse into Van Noten’s world, and the influences that feed the wellspring of his creativity.
I have already seen the initial version of the exhibit at the Musee des Arts Decoratifs in Paris. It was received with typical fanfare that the fashion press is all too ready to dispense. But while I liked it overall, I was so exhausted by the two floors of continuous explosion of color and ornament that I was happy to get some fresh Parisian air when I finally got out.
Dear readers – this Saturday we would be happy to see you at the Yang Li & Genesis P-Orridge event, presented by Atelier New York
This Sunday a new exhibit devoted to the work of the Icelandic singer Bjork will open at the Museum of Modern Art in New York. Since Bjork’s first solo album Debut (1993) she has occupied that portion of cultural space that is hard to define except as an oxymoron – pop avant-garde.
The exhibit comes on the heels of the one devoted to another pop avant-gardist, David Bowie. This crowd-pleaser was first shown at the V&A museum in London, went on to Chicago, and opened in Paris this Tuesday.
In the 1990s, Alexander McQueen formed a close relationship with the photographer Ann Ray (Anne Deniau), allowing her to photograph his studio and shows forming what he called, ‘my life in pictures’. Thirteen of these pictures will be on display at V&A in preparation for the upcoming exhibit Alexander McQueen: Savage Beauty.
The work of Francesca Woodman, the prodigious photographer who took her life in 1981 by jumping out of a window, is now on display at the Marian Goodman gallery in New York.
Interest in Woodman’s work has resurged after the 2011-2012 exhibits at the Guggenheim Museum in New York and the San Francisco Museum of Modern Art, with several books being published in their wake.
Before Deepti Barth, the former right hand in the design studio of Carol Christian Poell, departed to make her own line, she did an art project called Transgression, which can now be viewed at L’Eclaireur in Paris.
In November 2012 Barth flew to Cyprus with a small batch of clothes by Poell. The capital of Cyprus, Nicosia, has been partitioned between the Greek and the Turkish Cypriots after the Turks invaded the country in 1974. It remains the only city in Europe separated by an iron curtain, a subject all too familiar to Barth, who is German and now based in Berlin.