Fashion rules have decreed that Saint Laurent's codes — its sacred DNA — must always be honored and acknowledged. This burden must surely make Slimane chafe. Respecting a house’s history is one thing, being lassoed to its past, another. So it’s no surprise that from the moment of his arrival three seasons ago, he's challenged those constraints. But this time, the pushing, reinterpreting, and reinventing went especially badly. This time, the collection was a sucker punch to sophistication; a jab at the very meaning of luxury, a humorless impersonation of cool. And worst of all, it was ugly.
Tonight, she continued on that course—bringing in a group of mural
artists to decorate the venue—while, at the same time, making a feminist
statement that, in the light of the contemporary denigration of the
very notion, came across as radical. "I want to inspire women to
struggle," she said, after a show that will be hard to beat as the
season's high point.
Images from those murals were picked up for use on the clothes and accessories.
The artists were: El Mac from the United States, Mesa from Spain, Gabriel Spencer from Canada, Stinkfish from Colombia, Jeanne Detallante from France (resides in the U.S.), and Pierre Mornet from France.
“I’m fixated with the idea of women of strength,” Prada said after the
show. “There is a necessity to be strong, visible, fighters, and this is
an encouragement to be out there and to do something.
absurd, against the rules; it’s a happy collection,” she continued. “You
need to be fighting. It’s about a debate about women; it’s a political
discourse: ‘I’m allowed to do whatever I want to do with clothes.’ If
they see you, they listen.”
“I saw them as strong, visible fighters. We need to be fighters in
general. There is this debate about women again, and I want to interpret
it. My instrument is fashion. I use my instrument to be bold. I had
this idea that if you wear clothes so exaggerated and out there, people
will look, and then they will listen.” She chuckled. “It’s a sort of
trick.” Then she added, “I want to be nasty.”
say about it is up to you, but bear in mind Mrs Prada said she was
inspired by “the political wall art from Mexican muralists such as Diego
“My first reaction to [Pinault] was no,” he told Mark Holgate in a story out in this month’s Vogue. “I told him that I was so preoccupied with what I am doing with my own brand in New York, and I’ll be the most hated man in fashion!”
Still not convinced, Wang then consulted a psychic, who apparently told him it was his destiny. He also went the practical route, making a pros and cons list:
“I felt that fear was driving my decision-making,” he said. “So I wrote down a list of pros and cons and asked myself, ‘What am I afraid of? The perception of failure? The perception of what people might think?’ I knew that what I wanted completely outweighed all of that.”
If Nascimento remains confident in his craft these days, he has good reason to be: His approach is technologically progressive, and his pieces simultaneously experimental and reliably wearable; many people still don’t believe it’s actually knitwear. “If you look at my collections, a lot of it is cut-and-sew, and I need a ton of fabric. I treat it like wovens in a way,” the London College of Fashion grad says of his super-fine gauge, proprietary knits. Along with accents of different materials—see Fall’s tactile, textured chenille (pictured)—“I think that is what makes me. It’s where I am now, which is ‘Wow, is this knit? It doesn’t look knit.’”
I was in a blackout ... I've since discovered that one is a blackout
drinker, what happens is that it can release paranoia of such a stage
that it can trigger frustrations from childhood. And due to that, it can
trigger a self-defense mechanism. Now, having had quite a tough time in
school, and being subjected, persecuted, bullied, called all sorts of
names, as children do, and living a lie, really, because I was gay but I
couldn't admit that at home, honestly I couldn't escape.
around the time of that event, I was heavily researching for my John
Galliano menswear collection, which was inspired by the life of Rudolph
Nureyev, who was an anti-Semite. When I research, I really go into it.
Where does she live? Does she read by candlelight or gaslight, the color
of her hair dye, the scent on her breath — is it gin? — the powder of
her makeup; it helps me to create. It helps me to create a character...
I'm living it, I'm breathing it. I'm not making excuses at all, but this
is the work I've done since that event, to try and find out what
The film [Call It a Balance in the Unbalance—a documentary about the uncompromising talent’s meteoric rise and fall] details Adrover’s post-9/11 commercial descent and subsequent
return to Majorca, and the designer’s friends and supporters, like Suzy
Menkes and stylist Eric Daman, spoke candidly in on-screen interviews
about his uncensored vision. Not surprisingly, so did Adrover. “I don’t
give a shit about [money]; I don’t believe in Chanel; I don’t believe in
Karl Lagerfeld; I don’t believe in Yves Saint Laurent; but I do believe
you can change society,” he professed during a Q&A.
screening comes on the heels of Adrover’s departure from organic German
label Hessnatur after eight years as its creative director. What’s next
for the outspoken rebel? “I have three shows already prepared,” said
Adrover, whose designs will be featured in the Met’s upcoming Punk:
Chaos to Couture exhibition. “Anytime. You give me the money, I will
make it happen. I don’t need a big stadium or a lot of lighting or
things. I can do it right here.”
Q. “Punk: Chaos to Couture” is the subject of the next Costume
Institute exhibition. What do you think of punk as a subject for a major
A. I’ll tell you the truth, not that it is
a very good idea to tell the truth about things, but I was very cross
with the Metropolitan Museum for not taking my retrospective. [An
exhibition about Ms. Westwood was at the Victoria and Albert Museum in
London in 2004.] I think it’s ridiculous. I’m also rather bored with
American journalists. Every time punk comes up, they think of me as a
kind of trophy. ‘Oh, we know Vivienne, she’s great.’ And then you hear
nothing from them in between. You know, America is an isolated
territory, with all those editors who think they are so powerful.
Mostly, I think they are rubbish. And I don’t like fashion magazines
either. Someone asked me the other day, if I really was a world
controller, what is the first thing I would do. I would stop
Q.Can fashion still provoke?
not. There’s such a communication of stylists. They weren’t very
important once. The general public didn’t even know about them. They
were paid very badly and worked for two weeks getting a shoot together
and got a quarter of what the hair person got. Fashion has become so
whatever. I don’t think there are any stones left to unturn.
He can be seen below, at the 1:52 minute mark. Disconnect is described as: A drama centered on a group of people searching for human connections in today's wired world In which Jacobs plays a Harvey, the sleazy surrogate parent of the sex-cam models, luring them off the street with the promise of shelter and income. The films opens in theaters April 12th.