Fun is the name of the game for MSGM designer Massimo Giorgetti. It permeates every thread of the street-influenced Milan label, extending even to its extracurricular activities. Giorgetti's second and latest collaboration with Toilet Paper — the image-driven cult magazine by (former) artist Maurizio Cattelan and photographer Pierpaolo Ferrari — is so colorful, so bright, so pop that you might think you're in a Skittles commercial. "When Maurizio and Pierpaolo work," Giorgetti told Hint, "they are like two children. They get excited, they get thrilled, and they show a lot of passion for what they’re doing."
For the new collaboration, the threesome built upon the first, rounding out those sweatshirts with beachwear and bedwear splashed with prints, prints, and more prints, reinterpreted in acid colors. "When I saw the Toilet Paper image of the rose with an eye inside" says Giorgetti, "I thought there couldn’t be anything more MSGM than that." But after playing around some more, they added still more prints to the capsule. "The picture of the apple with the picnic tablecloth is colorful and nostalgic — perfect. Then I saw prints with the wings of birds — also perfect. Everything we do is fun. It should make you smile!"
Suzy Menkes seems to have done some harm when, in her review of Maison Martin Margiela's couture show in her new position as Vogue's International Editor, she revealed by name one of the collective's designers, even including a pic she took backstage. It was painful to read for anyone with knowledge of the house's strict code of anonymity, begun at its very founding by the highly reclusive Belgian designer. Clearly dismayed, the house issued the following statement...
“In light of the recent rumors regarding individual members of our design team, we ask you to remember that the long-standing communication policy of the Maison has not changed and that MMM does not communicate on any individual member of its collective, as our work is done by a team and is credited only to this same collective. This is our official spokespeople policy, and it remains our only comment on this subject.”
The Met's Costume Institute, ushering in Halloween and perhaps nodding to the gothic drama of its own Alexander McQueen show, has announced a fall exhibition exploring mourning fashions in the century between 1815 and 1915 — an epoch associated with the Industrial Revolution, the advent of photography, and chaste Victorian standards.
“The veiled widow could elicit sympathy as well as predatory male advances," said curator Harold Koda, who's pulling primarily from the Costume Institute’s permanent collection. "As a woman of sexual experience without marital constraints, she was often imagined as a potential threat to the social order.” Most often dictated by sitting royals (i.e. Queen Victoria), mourning attire and its cultural implications will be highlighted through the progression of appropriate fabrics and the introduction of shades of gray and mauve.
Death Becomes Her is the Costume Institute’s first fall exhibition in seven years, a return to two special exhibitions a year: a major spring show and a smaller fall show. Approximately 30 ensembles, many of which are being exhibited for the first time, will reveal the impact of high-fashion standards on the sartorial dictates of bereavement rituals as they evolved over a century.
Death Becomes Her: A Century of Mourning Attire, October 21 - February 1, 2015, the Metropolitan Museum of Art’s Anna Wintour Costume Center
Elie Top, Lanvin's jewelry designer extraordinaire, has announced he's starting a line of his own. Calling it Joaillerie de Haute Fantaisie, he seems to be going a step beyond the baroque eclecticism that has brought him accolade after accolade at Lanvin, where he'll remain.
Top began his career in jewelry design in 1997, working with Loulou de la Falaise at Yves Saint Laurent and collaborating closely with Alber Elbaz, the house's creative director before Tom Ford arrived. It was Elbaz who pushed Top, an illustrator at the time, to start thinking about jewelry. When Elbaz became creative director of Lanvin, he asked Top to head up jewelry design at the maison.
"It’s easy to get caught up in the design itself and forget reality," Top once told us in an interview. "There’s a lot of economy in getting just the right line." How he'll reconcile that sense of minimalism with his gift for eccentricity will be closely watched at the Paris couture collections in January, when the line will be unveiled.
Designed by lions and tigers and bears, oh my! To help raise money to renovate a zoo in Hitachi, Japan, admirers of the animals (particularly of the sharp-toothed predator kind) have launched Zoo Jeans, using denim gnawed and mauled — aka distressed — by the zoo's residents. Jeanius! Like something out of Rei Kawakubo's wild imagination....
There's no telling what you're up to right now, Courtney, on your 50th birthday. 50th! But we're pretty sure you'll make it known soon enough. Judging from history, it's probably something highly debauched and loads of fun — the stuff of legend. Nothing but the best on this crazy milestone. Did you ever think you'd make it to half a century?
Although, judging from your restraint at Coachella, where a cigarette seemed to be the extent of your self-indulgence (and, surely it was a smokeless e-cigarette), maybe you're a changed woman. A new you! Come to think of it, you did seem fairly put-together at Life Ball last month. And there was your perfectly decent appearance at Nirvana's induction into the Rock and Roll Hall of Fame, where you were all but maternal with Lorde. Plus, you hugged Dave Grohl onstage! And who could forget your earnest attempt to spot the missing Malaysian plane?
So maybe we have it all wrong. Maybe, just maybe, the proverbial battle of good versus evil that has always raged in your head and weighed on your conscience, has finally been won. We'll side with your daughter, Frances Bean, whose sweet tweet today pretty much says it all. Whatever the case, happy 50th!
Few designers have blurred the lines between fashion and art as seamlessly as Comme des Garçons' Rei Kawakubo. So it's hardly a surprise that the designer's retail wonderland Dover Street Market — which has outposts in London, Tokyo, and New York — is as filled with artistic inspiration as it is covetable clothing.
This summer, the New York shop has two exhibitions that highlight DSM's holistic approach to style with a bit of merchandising magic. On the megastore's first floor, architects Astrid Klein and Mark Dytham have created a homage to Stool 60 by Finnish furniture brand Artek. To celebrate the 80th anniversary of this icon of modern design, Klein and Dytham have reimagined the stackable stool in a variety of sizes with stretched-out legs in grassy shades of green, forming a miniature indoor jungle. Two versions of the stool's original size — medium green and yellow — are available at DSM for $390 each.
"The stool looks great in any color and manages to rise above any graphic design applied to the seat or legs. It simply takes anything that is thrown at it," the designers told Hint about Stool 60's enduring appeal. "It's also amazing that the stool was shipped flat-packed from day one and really shows how advanced [architect] Alvar Aalto and Artek were in their thinking, predating by 50 years that other Nordic country that flat-packs its entire furniture collection!"
Upstairs, meanwhile, British artist and set designer Gary Card has an even more colorful contribution to the store this season. In the shop's emerging designer showroom on the fourth floor, Card has installed forty of the his Talking Heads to show off sunglasses from the likes of Mykita and Cutler & Gross. Made for masking tape and covered in splashes of neon paint, these madcap clowns paradoxically provide the perfect canvas for showing off the store's chic sunnies.
Few designers are as acoustically inclined as Hedi Slimane. Since taking over chez Saint Laurent, the designer has firmly focused on elevating elements rock and punk, turning out collections full of combat boots, studs, motorcycle jackets, and other rockstar staples.
In keeping with the aesthetic, Slimane has turned to musicians as his muses, in part through the Saint Laurent Music Project, which has brought legends like Marianne Faithfull, Chuck Berry, BB King, Courtney Love, and Marilyn Manson into the label's clothing and campaigns. Now the designer is training his lens on a future icon: the lion-maned rocker James Edward Bagshaw of the British band Temples. Shot by Slimane on location in music capital of Austin, Texas, the images will be featured prominently in the artist's upcoming photo book, Sonic (Xavier Barral, September 2014).
The Music Project, in which musicians are free to style themselves from current and permanent pieces from the collection, extends beyond fashion photography; musicians have also been invited to create signature soundtracks for the label's runway presentations. And while the designer has ruffled feathers for straying from brand DNA before, the move is rather in keeping with YSL history. Saint Laurent himself, after all, was the designer who dressed Mick and Bianca Jagger for one of the most iconic intersections of rock and fashion in history: the couple's 1971 wedding.
If Tumblr and Pinterest are any indication, Andy Warhol's Superstars, the eclectic group of stylish eccentrics championed by the artist, are just as influential as they were in their 1960s heyday. Along with socialites and muses like Baby Jane Holzer and Edie Sedgwick, many of them artists in their own right, the motley crew included Ultra Violet, who, earlier this week, went to the great Silver Factory in the sky.
Born Isabelle Collin Dufresne in France in 1935, Ultra Violet met Warhol in 1963 through her lover and collaborator Salvador Dalí. He immediately offered her a role in one of his films and the lilac-loving artist, actress, and author was transformed into Ultra Violet, the superstar with purple hair, makeup, and clothing. Throughout her career she appeared in 17 films (not including documentaries), among them Midnight Cowboy, where she and other Factory denizens recreated a party of Warholian proportions.
In her 1988 memoir, Famous for 15 Minutes: My Years With Andy Warhol, Dufresne spoke out against the excess of the scene that made her famous. But she remained a prolific artist until her last days. This spring, New York's Dillon Gallery recreated the artist's Chelsea studio on the occasion of the 50th anniversary of the Factory, featuring her photographs and sculptural works. It closed three weeks before her death.