Cathy Horyn

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Cathy Horyn. By Ezra Petronio. Self Service. S/S 08.

excerpted quotes:

"It's a story about Rei Kawakubo, and I'm trying to write about why she's still relevant today, whether she is still influential or not. She's been very influential in the past, but it;s extremely hard for people to be influential in fashion now. Times change, people move on and try different things, but she's still - obviously important, and relevant, but what makes her influential? Why do we go to her shows? I'm asking that question." (Cathy Horyn)

"I worry about that all the time. Sometimes it completely bores me. But I love thinking about a collection in intellectual, or emotional or artistic terms when the designer has made that extra effort." (Cathy Horyn)

"It's unfair. Life is unfair, and it will be difficult for Hussein Chalayan, because he is extremely talented and he is driven as an artist. He is also at that place where some of the new stuff that he does for the second line is so good, but I don't think he really wants to believe that it's as good as it is. He wants to go with the technological-progressive pursuit, which is great too! But you may have to decide to fish or cut bait, as we say in America. Or look at Raf Simons. I mean, there's a guy who went for a long time with very little attention. He didn't seek the attention, but he also really didn't get the attention, bot in a big sense". (Cathy Horyn)

"Yes, and it was such a small world that he was talking to, and he created a very small business from that. But when he went to Jil Sander and the majority of the women's editors are now seeing him for the very first time. The reason I brought him up in the context of Hussein is that he's probably, for a variety of reasons, in abetter position to influence what's going on now, and to have stuff seen by people, than Hussein is. And it;s not to say anything against Hussein, because I think that the guy is brilliant. But its partly what the times allow, and it's partly what the values are. The values are so different today. We're in a celebrity moment." (Cathy Horyn)

Hussein Chalayan S/S 2007. 

Raf Simons S/S 2006. 

Terry Richardson / Tom Ford - Part 2

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Tom Ford For Men.  

Werk-Schau

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Werk-Shau. Vogue Germany. May 08. 

Infantile Capitalism

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Infantile Captalism. The Economist. April 19-25, 2008. 

excerpted text:

"At the centre of Takashi Murakami's new exhibition is a shop. Even Andy Warhol never went that far

"Among the many rooms that make up this grand retrospective of the work of Takashi Murakami, Japan's best-known contemporary artist, one is especially provocative. It is not the gallery with the wide-eyed cartoon-like figures in bizarrely erotic poses. Nor is it the atrium, with its towering sculpture of a colourfully grotesque, pointy-headed alien, surrounded by adorable marshmallow-like sentries. The biggest buzz is about the space right in the centre of the Brooklyn Museum's 18,500 square-foot (1,700 square-metre) show: a fully operational Louis Vuitton shop, where visitors can buy their very own luxury handbag covered in Mr Murakami's playful designs for upwards of $650." 

"This approach to art is particularly Japanese, argues Mr Murakami. Discriminating between fine art and popular merchandise, or individual genius and learned craft, is a Western preoccupation. Trained in traditional Japanese art, Mr Murakami coined the term 'Superflat' for his theory about the similarities between the formal, decorative flatness of Japanese painting and the shallow, glossed fantasies of popular Japanese cartoons. It also recognises the lack of distinction between high and low in Japanese art. To others his art is known as the school of 'infantile capitalism'."

"Having it both ways is typical of Mr Murakami, who has managed to create an intellectual framework that lets him do and sell whatever he wants. Perhaps the best thing you can say about it is that his unbridled embrace of commercialism seems more honest than cynical."

Stranger than Fiction

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Stranger Than Fiction. By Glenn O'Brien. Acne Paper#6. Summer 2008. 

excerpted images:

Robert Mapplethorpe. Lisa Lyon, 1982. 

Inez van Lamsweerde and Vinoodh Matadin.2006. 

Peter Beard, 1965. 

Horst P. Horst, 1939. 

Inez van Lamsweerde and Vinoodh Matadin, 2001. 

Guy Bourdin, 1979. 

Marc Jacobs / Juergen Teller - Part 6

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Daisy by Marc Jacobs. 

Solve Sundbo / Elements and Gravity

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Elements and Gravity. Photographed by Solve Sundsbo. Man About Town. S/S 2008. 

Terry Richardson / Tom Ford

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Tom Ford Eyewear. S/S 2008. 

Neville Wakefield

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Neville Wakefield. By Derek Blasberg. 10. Spring 2008. 

"My real interest lies in moving art across boarders. Anything that deals with that I'll do" (Neville Wakefield)

"Right now, the world is becoming so affluent. So the good part is that it's easier to get things made; the bad part is that a lot of shit gets made, too. But that's okay - I choose not to pay attention to the shit." (Neville Wakefield)

The Innocence Project

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The Innocence Project. Horacio Silva. The New York Times Style Magazine. Spring 2008. 

"Burden, who died in 1914, also appears to be the prints-wearing naïf du jour as designers collectively embrace a back-to-nature innocence worthy of Rousseau. On the ethereal spring runways, especially at the influential, Art Nouveau-themed Prada show, it was hard to see the forest for the nymphs. Many of the season’s delicate key looks — from the exuberant blooms at Dries Van Noten to the Liberty prints at Junya Watanabe to the gossamer-fine fabrics at Roberto Cavalli that revealed everything and nothing — owe a debt to Burden’s blushing but knowing milk-skinned sisterhood." (Horacio Silva) 

"There is a romantic freshness and candor in the air, a more naïve seduction. It’s about being provocative precisely in what you’re not showing but what you’re implying." (Roberto Cavalli)

Juergen Teller / Marc Jacobs - Part 5

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Marc Jacobs S/S 2008.

Mr. Tobias Meyer

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Mr. Tobias Meyer. Fantastic Man. By Joan Buck. S/S 2008. 

excerpted text and quotes: 

"I think when I started to work with contemporary art, it was something of a small community of people who didn't really want to belong to the mainstream. And they also considered themselves avant-garde. And something happened around 199, 2000, where the avant-garde actually didn't really buy contemporary art, but the bourgeoisie started to buy it. So for the first time since the 1860's, the contemporary artists did not enrage the bourgeoisie, but actually started to make things for them to buy." (Tobias Meyer)

"They were the ones who made the right decisions and got a financial degree instead of an art history degree. And they said. 'Okay, this is what's going on in the world, this is where the economy is going, so I'm going to hold on to something and that something will become very valuable.' They did it with their companies, and they're doing it with art." (Tobias Meyer)

" New buyer, new market, new money, new smart man, new fearlessness...Let's just presume from a new economy. It's a whole new world." (Tobias Meyer)

Prada / James Jean

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Prada S/S 2008. Doingbird #13. 

Prada / James Jean - Part 6

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Prada S/S 2008. 

Hedi Slimane

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Hedi Slimane. Doingbird #13.