Professional Documents
Culture Documents
In Gear
1967
They say London swings - it doesn't - not even the King's Road, Chelsea.
But here and there among the conformist fatcat crowds, is a lean cat or
two, looking like it might swing given some encouragement. And in
among the chain stores and supermarkets is, here and there, a shop that
may have something all its own to say, to the character, to people who
can put living before a living.
World's End means where the King's Road ends, which shows what the
King's Roaders think of themselves.
Granny Takes A Trip, the shop behind the face calls itself, and it's typical
of the non-typical. Conforming to the non-conformist image of 'the in' -
what they used to call 'way out' and before that 'with it' and before that
'groovy' and before that 'hep' and what granny herself would have called
'the very latest thing, my dear.'
Maybe the toy car's a key. Childhood innocence at war with the hard
adult world - the fun of dressing up. Hung On You meaning both we sell
clothes and we love you, which is good shop-keeping in any language.
And the lollipop says what the toy car said - it's all another tiny coloured
womb - warm and gentle, in its way, an escape from the H-bomb,
television and other horrors of the work-a-day world.
In this King's Road that London is lumbered with, stands, just, a collation
known as The Antique Supermarket and antiques can mean clothes. This
lady's time machine is headed for the flapper world of the '20s - doubtless
a trip many a time traveller
would love to take.
One way of saying no to authority is to parody it. Some of the young, with
little to say yes to, come to Soho - that pulsating heart of swinging
London where girls join clubs
to see old men strip, or is it vice versa? And, at the cutely named I Was
Lord Kitchener's Valet, buy uniforms of the past to affront the uniformity
of the present.
A street called Carnaby affects those tourists who delight in the relics of
Britain's past - Stonehenge, Brighton Pier, The House of Lords, but some
natives are still seen - albeit heavily cloaked. Much of the gear reverts
back to the kinky period in Britain's brave history and for those who still
thrill to the sight of purple lace-up boots, here are purple lace-up boots.
In Carnaby Street you can't tell the assistants from the customers.
Anybody addressed as madam would probably sue for defamation of
character. John Stephen, these are his shops, is the uncrowned king of
Carnaby Street. Many of his business rivals would dearly like to see him
crowned.
The return of the dickey. For the man who can't afford a clean shirt but
won't admit it. Pop art spats - ideal camouflage for the larger foot. A shop
called Gear and you're never too young for 'in' gear - until you're old
enough to say so, anyway.
Meanwhile, back at the ranch, countdown King's Road, the tills click
merrily on. For all the strangeness, these are clothes to be worn, to be
bought and sold. These soft, music-loud caverns of the avant garde can
be misleading, for they are the work cells of revolution.
Once upon a time, just a year or two ago, fashion originated in the haute
couture salons of Paris, then spread downwards through society in ever
cheapening copies with one predominant theme. Shops such as this
would have interpreted the mode. No more. Now, they originate and so do
a dozen others in a dozen styles owing nothing to Paris or anyone else.
So it is that the 'in scene' of London is one big fancy dress ball. Men come
as cowboys, hussars or refugees from St Petersburg 1917. It girls, oomph
girls, who's for tennis girls. Eau de lisks from the harems of bygone
Turkey mingle with kaftan slinkers from gay Arabia and boa-bedecked
hoydens from the lids of ancient chocolate boxes. A super-charade of
happy happenings - though it might be fun if some designer somewhere
thought something up entirely new.
None of this, thank heaven, adds up to swinging London but it makes a
not unpleasing splash of colour in the old city. What gear the cats are
wearing is one story, where they wear it is another. But whether here at
Tile's or here at the Bag O' Nails or at Samantha's or Georgie's or the
Saddle Room or any of the 'in' gaffs where 'they' go, just don't take any of
it too seriously or you'll miss the whole point.
<ref> {{cite web | url = http://whatgetsmehot.blogspot.com | title = What
Gets Me Hot | accessdate = 2010-06-06}}</ref>
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Samsung have announced a new phone with an odd name The phone in
question is called the Samsung Miniskirt Season 2 (or the even-less
intuitive SCH-C225, SPH-C2205, and SPH-C2255), a title that contains not
a hint of the gadget it actually refers to. Looking nothing like a mini-skirt,
the new Samsung phone is being pitched firmly at women, who
apparently like to Talk, Play, Love.
More details and pictures of the Samsung Miniskirt phone (and girls in
miniskirts, naturally) after the jump.
Given its role as a fashion phone, you’d expect the Samsung Miniskirt to
be short on features, but not a bit of it. Not only does it have all the usual
features you’d expect (2 megapixel camera, bluetooth, MP3 player), it
also comes with GPS and a rather oddly-named “Smile shot” function,
which recognizes a subject’s smile when taking pictures of them, and
uses as that as the focal point. There’s also a haptic touch-pad, just to
round off the features.
As you’ve probably guessed by now, the Samsung Miniskirt is destined for
the Korean market only, priced between 400,000 and 500,000 KRW.
[Source: Aving.net]
Contemporary Space
The photographs, slides and notebook pages in the second gallery are a
record of the images that Guy Bourdin chased throughout his life. They
offer an insight into the thousands of observations he made and his
unrelenting capacity to shape his experiences into a visual form.
Although the print qualities, camera formats and locations change over
time, the instinctive control that Bourdin exerted over his subject matter
is repeatedly played out. Together, they are like his best fashion work –
both brilliant and unsettling.
Publication
Made in Paris
Opinion of Girls
In many countries like England, Japan,
U.S.A. and even small countries like
Swaziland school girls have a tend to
wear short skirts in school uniform.
Some schools are prohibiting it and
some schools or societies do not
bother it as much depending the trend
of that very country.
According to a
survey on internet, some conclusions were as
below -
One girl says that when she was at school they had
no choice. She says that she would have loved to
have been allowed to wear trousers, or even a long
skirt, as she waited long for bus in cold weather.
But when she left school trousers were allowed for
the girls. She says rarely rolled up her skirt, but
those who did, did it for rebellion. No jewellery or
makeup was allowed so the only method of
rebellion was the roll your skirt up.
Language
Category
Depth
Hide redirects that are not wanted
• Lady Gaga
30 May 2010
Alexander Fury:
SHOWstudio.com is a fashion website, first and foremost - Lady Gaga, we have
asked you to be the ninth participant in our series of In Camera interviews
because, more than any other contemporary musician, your work feels
inextricably connected to fashion. What function does fashion serve for you? Do
you use it to underline your musical themes, or is it another outlet for a different
type of creative expression? - Asked by Alexander Fury, London.
Sunday May 30, 2010 12:03 Alexander Fury
Lady Gaga:
It's all of the above, but I think more importantly on a cultural level I think
music and fashion have always mirrored each other as part of a creative
12:03
context. They cannot be separate. I need fashion for my music, and I
need music for my fashion.
Sunday May 30, 2010 12:03 Lady Gaga
Alexander Fury:
You are such an inspiration, from what you wear to how you sing. But
where do you get your inspiration from? - Asked by Ricky White , New
York, New York. / Laura Bowery, Merseyside / Alexander Gray,
12:08
Massachusetts / Allie johnson, Columbus, GA / Lorna Leigh, Portsmouth
UK / Sunny, France / Tudor, Romania / Marie-Helene, Canada / Alana,
Sanatana-AP / Aurie Akers, Arkansas / Tondo, Slovakia, Martin
Sunday May 30, 2010 12:08 Alexander Fury
Lady Gaga:
From capital HIM. I think there are two different kinds of artists. People
who need to be plugged into a cultural movement, in music, fashion or the
latest fishing techniques. But I think for some of us - and I would perhaps
say the same about my friend Nick Knight - it's a much more innate gift. A
much more spiritual experience. We don't have to be plugged into a
12:09
particular movement to be part of it. It's transcendent, it's an inspiration
that we're born with. To be perfectly honest, right now my biggest
inspirations are my fans. I feel they subconsciously submit their freedom
and love and joy into me. It's almost like we have our own little spiritual
connection separate from anything else.
Sunday May 30, 2010 12:09 Lady Gaga
Alexander Fury:
Did Rainer Maria Rilke's theory that artists should not accept criticism help
12:10 you stay determined when you were starting out? - Asked by Meadhbh Nic
Nuadhait, Ireland.
Sunday May 30, 2010 12:10 Alexander Fury
Lady Gaga:
Yes. I love Rilke, it's no secret that I live my life in almost utter
submission to him. I think it's important to be objective about your own
work, and it's important what I've learned from Warhol to use the people
12:10 around you to feed your creativity. If you have an incessant need for
validation from an outside place, that's when criticism can be detrimental
and even life-changing. You don't want the world to dictate your work, you
want to be a funnel. In short, I don't give a fuck what anyone thinks.
Sunday May 30, 2010 12:10 Lady Gaga
Alexander Fury:
Do you find it difficult to deal with negative criticism in the media? - Asked
12:11
by Heather Hunter, Virginia, United States / Jessica Hebert, Lafayette, LA
Sunday May 30, 2010 12:11 Alexander Fury
Lady Gaga:
No. It can always be personal, because my work is personal. But you have
to believe in yourself and what you're doing, and almost refuse criticism
12:11
and negativity. It's like the wrong organ was given to you in an operation.
You've got to reject it.
Sunday May 30, 2010 12:11 Lady Gaga
Alexander Fury:
Your little monsters know that when you began your career in New York
City, the music you were making and playing was sonically very different
12:13 from the music you make now. What was the shift for you? Why did you
decide to start making dance music? - Asked by Perez Hilton, Los Angeles,
California.
Sunday May 30, 2010 12:13 Alexander Fury
Lady Gaga:
I started out when I was very young, playing classical music when I was
four. When I turned eleven that's when I started to write pop music, and I
wrote jazz, and I got into ragtime. Then I got into sort of folky jam music,
Bob Dylan, and then I got into Queen and Bowie. And then disco. It was
my intellectual evolution, and my love of music started to change and
form. When I was living downtown alone I was able to look into myself
12:13
and ask myself if I must create music. And I must! And if I must, why? I
resigned myself to make the kind of music I wanted to listen to, what I
thought was great - what I thought would be groundbreaking where I was
living. Indie music was the norm in New York, and pop music was seen to
be corporate. And in true Gaga fashion, I decided to make pop music in a
town where there was none.
Sunday May 30, 2010 12:13 Lady Gaga
Alexander Fury:
Your fans do so much for you, from rallying together to vote you to the
top of the charts to holding mass requesting sessions on radio stations.
12:15
Why do you think so many little monsters care and support you the way
that they do? — Asked by Farrah Marie, Santa Barbara, California.
Sunday May 30, 2010 12:15 Alexander Fury
Lady Gaga:
I don't know. I feel so blessed, it's so unexplainable the love that I feel for
my fans and how they treat me. The videos, the notes, the artworks - the
other day I spent hours reading through all this and raving about how
12:15
talented and lovely my fans are. Love is a symbiotic thing, especially when
it's real. Perhaps it's just very real - I put love into my fans, and they give
love to me, and we continue to give love back and forth forever.
Sunday May 30, 2010 12:15 Lady Gaga
Alexander Fury:
Traditionally pop stars engage in one-way communication with their fans,
but your relationship with your "little monsters" is more like a digital
12:18
conversation: is this a conscious or instinctual gesture? — Asked by
Vikram Alexei Kansara, New York.
Sunday May 30, 2010 12:18 Alexander Fury
Lady Gaga:
Instinctual. I am the way I want to be with my fans. We have a very
special and honest relationship. It's almost comical to talk about. Just the
other day, I revealed to my fans that my grandpa was sick, and the next
day I went to say hello to my fans on Twitter and saw there were all of
12:19
these lovely messages from them. That has nothing to do with my music
or my clothes, that's just pure friendship. My new album that I'm creating,
that is finished pretty much, was written with this new instinctual energy.
My fans protect me, it's now my destiny to protect them.
Sunday May 30, 2010 12:19 Lady Gaga
Alexander Fury:
If you were able to travel through time where would you go – backwards
12:22 or forwards and why?
- Asked by John Galliano, Paris.
Sunday May 30, 2010 12:22 Alexander Fury
Lady Gaga:
My first instinct is to say to go to the past, because I would love to
experience and see all that has influenced and shaped my vocabulary.
However, I will decline the past, I would say if I had to choose I would go
to the future. The reason is quite selfish: because Alexander McQueen
12:22
used to say, you must never look back, you must always be going
forwards. I would go to the future - selfishly - to feed my work and make
me a better artist, to crate more forward-thinking, innovative, magical and
poetic work, like he did.
Sunday May 30, 2010 12:22 Lady Gaga
Alexander Fury:
Your looks are so extreme. Is this a reaction to something? Are you
12:24 questioning or altering the status quo of women's style? - Asked by Mario
Testino, London.
Sunday May 30, 2010 12:24 Alexander Fury
Lady Gaga:
Yes. Yes I am. I am a feminist. I reject wholeheartedly the way we are
taught to perceive women. The beauty of women, how a woman should
act or behave. Women are strong and fragile. Women are beautiful and
ugly. We are soft spoken and loud, all at once. There is something mind-
controlling about the way we're taught to view women. My work, both
12:25 visually and musically, is a rejection of all those things. And most
importantly a quest. It's exciting because all avant-garde clothing and
music and lyrics that at one time were considered shocking or
unacceptable are now trendy. Perhaps we can make women's rights
trendy. Strength, feminism, security, the wisdom of the woman. Let's
make that trendy.
Sunday May 30, 2010 12:25 Lady Gaga
Alexander Fury:
What is the process by which you and stylist Nicola Formichetti put
12:26
together an outfit? - Asked by Jordan, Louisiana.
Sunday May 30, 2010 12:26 Alexander Fury
Lady Gaga:
Nicola!! It's really easy. He's one of my best friends, and Nicola knows
exactly who I am as a musician, an artist and a girl. And the whole Haus
12:26 of Gaga works together - Matthew has been creating clothes for me for
years We have a cigarette and whiskey and look through racks of clothing
and then go. It's organic, there's no pretense or preconception.
Sunday May 30, 2010 12:26 Lady Gaga
Alexander Fury:
What are your favourite and least favourite outfits we created together? -
12:30
Asked by Nicola Formichetti, London.
Sunday May 30, 2010 12:30 Alexander Fury
Lady Gaga:
My favourite? That's quite a difficult question! One of my favourites was
12:30
the red McQueen lace archive dress, and the tall red crown for the MTV
Video Music Awards. My favourite that we made was the performance
outfit that bled on its own - it was such a strong statement about clothing
being alive, it lives and breathes. That was incredible. The least
favourite... I don't have one! You're amazing Nicola, you always nail it. No
regrets. We've done so much together, it's difficult to say my favourite
and least favourite. It's like saying I don't like my arm!
Sunday May 30, 2010 12:30 Lady Gaga
Alexander Fury:
Can you describe your style in one word? - Asked by Paulette Wilson,
12:31
Baltimore, Maryland.
Sunday May 30, 2010 12:31 Alexander Fury
Lady Gaga:
12:31 Free.
Alexander Fury:
12:34 What do you like about wearing a hat? - Asked by Philip Treacy, London.
Lady Gaga:
12:40 Born This Way.
Alexander Fury:
12:51 Who creates limits? - Asked by Marina Abramovic, New York.
Alexander Fury:
13:00 What did you wear to your prom? - Asked by Surabhi, India.
Lady Gaga:
13:25 Yes. And the Devil.
Lady Gaga:
13:37
No. That's too general. And every vagina feels different.
Sunday May 30, 2010 13:37 Lady Gaga
Alexander Fury:
What's the nerdiest thing you've ever done?
13:38
- Asked by Spencer, Nampa.
Sunday May 30, 2010 13:38 Alexander Fury
Lady Gaga:
I am very nerdy every day. I don't know if I can even find a way to
separate one out. Right now the Haus of Gaga and I are in the middle of
13:38
trying to extract the effect the smell of blood have on people. We really
want to know.
Sunday May 30, 2010 13:38 Lady Gaga
Alexander Fury:
If you decided to have children what would you call them?
13:39 - Asked by Kate Moss, London / Marécaux Céline, Belgium / Madison
Logan, Beaufort, South Carolina / Liam R. Findlay, Weymouth, England
Sunday May 30, 2010 13:39 Alexander Fury
Lady Gaga:
I like Annabelle, I like Lennon, for a girl, I also like Joey, after my father.
13:39
And Joanne. And Sophia, after Sophia Loren
Sunday May 30, 2010 13:39 Lady Gaga
Alexander Fury:
Who is the most interesting person you have ever met?
13:42
- Asked by Aline Macedo, Brazil.
Sunday May 30, 2010 13:42 Alexander Fury
Lady Gaga:
Probably my grandmothers. I suppose you don't really meet your
grandmothers, but both my grandmothers are so strong, have been
through so much, they are the strongest and most irreplaceable women.
13:42
And so deeply loved by their husbands as well. And my mother as well. So
I would say the trinity of women in my life. My grandmother Angelina, my
grandmother Veronica and my mother Cynthia.
Sunday May 30, 2010 13:42 Lady Gaga
Alexander Fury:
Did you miss having a 'Lady Gaga' in the 90s, while you were a teenager,
13:45 to be a fan of and to identify with?
- Asked by Raíssa Venticinque, California.
Sunday May 30, 2010 13:45 Alexander Fury
Lady Gaga:
No. I suppose I didn't know what a 'Lady Gaga' was. I always knew it was
my destiny to be an entertainer, but I was ready to be the new thing. I
admired the women I grew up watching, the pop stars - Britney, Christina,
13:45 Madonna, Blondie and Patti Smith, and Linda Perry and 4 Non Blondes. I
could go on and on. When I was around 13 I started to listen to older
music, like Zepplin, Queen, Pink Floyd. I was much more obsessed with
male rock stars - Bowie in particular.
Sunday May 30, 2010 13:45 Lady Gaga
Alexander Fury:
At the Met, Oprah Winfrey called you some kind of spiritual and cultural
leader. How do you feel about that, and what do you do to "uphold" that,
13:49
as in, do you think of yourself as a role model to younger people and kids?
- Asked by Stephen Gan, New York.
Sunday May 30, 2010 13:49 Alexander Fury
Lady Gaga:
Yes I do. I appreciate so much that Oprah said that, Oprah is so
wonderful, and such an inspiration as well. Things change - I didn't have
that much perception of how people viewed me until a point, but then
things change. In my next album, I'm much more self-aware of my
spiritual and leadership qualities, in the way that any artist is a leader. I
13:49
don't think that sex and drugs and talking about things openly are wrong
or bad, but I think the most terrible thing you can do is be prejudiced. In
my career I am most emphatically against prejudice. I guess I would say
that it how I lead my fans through my music in that way. I am okay with
that responsibility.
Sunday May 30, 2010 13:49 Lady Gaga
Alexander Fury:
What's one thing even your best friends don't know about you, until now?
13:51
- Asked by Javier Peres, Los Angeles, California.
Sunday May 30, 2010 13:51 Alexander Fury
Lady Gaga:
Probably how much I really miss you, and - I hope you know this - that I
13:51 would not be where I am today without all of my most wonderful and
closest friends.
Sunday May 30, 2010 13:51 Lady Gaga
Alexander Fury:
What is your attitude towards collaboration with peers in the pop music
13:53 scene? Is it an idea which scares, excites, or even interests you?
- Asked by Graham Conway, Toronto.
Sunday May 30, 2010 13:53 Alexander Fury
Lady Gaga:
At this moment, I don't want to do any collaborations, especially
contemporary ones. I want to stand on my own two feet. This new album
is my chance to create what in 20 years will be seen as my iconic moment
13:54 - that's what you should always aim for. Today, collaborations are about
appealing to a wider market and gaining radio plays and album sales,
above artistic integrity. I collaborated with Beyoncé because I love her.
She is my favourite contemporary pop musician.
Sunday May 30, 2010 13:54 Lady Gaga
Alexander Fury:
2pac vs Biggie?
13:54
- Asked by Joe '3H' Weinberger, Los Angeles, California.
Sunday May 30, 2010 13:54 Alexander Fury
Lady Gaga:
13:54 Can I choose both?
Lady Gaga:
13:55 How are you? I rarely get asked that!
Lady Gaga:
13:57 I sleep in all my glamorous glory!
• Video
• Text
• Credits
White 'Box' pochette lined in nappa leather, £290, by Maison Martin Margiela Ligne 11 at Maison
Martin Margiela +4420 7629 2682
by Alex Fury
This is a supreme example of designer double-speak - a box as bag, packaging with which to
package your own belongings. In essence, they're selling you an empty box, and the wink-wink
nudge-nudge irony implicit in that will hopefully be understood by Margiela's astute, intellectual
clientele. The humour under Margiela's work - both the man himself, and the team that has
proceeded him - is often lost in the intellectual cant thrown around the house. There is certainly a
wicked sense of humour in this bag.
Margiela shies away from obvious branding in any of its products, choosing instead to affix a blank
white label with four visible stitches to its garments. Here that label is affixed to the white leather
interior of the box, and the Margiela name is printed in relief on the exterior - it is branded, but it is
white on white branding. That is important, because box as bag also links in with the idea of
fetishisation of a designer name, and a designer name alone. Margiela's engagement with the concept
of overt branding has always been difficult. The removal of the name from their label signifies the
house's reluctance to pander to the idea of a designer and a designer as status symbol - Margiela is
always spoken of as a 'house' rather than as an individual designer, and in the same vein, although
Martin Margiela no longer heads the label bearing his name, the team there are insistent that that
bears no relation to the clothes now produced. This box is a comment on the contemporary
desirability of a designer name alone - it doesn't matter what the name is affixed to. On ebay.com
you can buy designer carrier-bags and designer clothes-hangers: they are being traded as
commodities. In a sense, this is an exaggeration of that, pushing it to an illogical extreme. Margiela
has reinvented its own external branding as a distinct item of luxury.
Despite intellectual pretensions, at its essence fashion is all about surface. This box-as-bag takes the
external, and literally removes the contents. It's packaging with no product: the packaging itself
becomes the product. It's a supreme example of superficiality - but that was the intellectual intention
in creating it.
• Video
• Text
• Credits
White 'Box' pochette lined in nappa leather, £290, by Maison Martin Margiela Ligne 11 at Maison
Martin Margiela +4420 7629 2682
•
•
• Necklace
Yves Saint Laurent
A/W 10 > Yves Saint Laurent > Necklace
• Video
• Text
• Credits
Gold chain necklace with 70's pendant, £1,010, by Yves Saint Laurent Rive Gauche at Yves Saint
Laurent +4420 7493 1800.
• Video
• Text
• Credits
Gold chain necklace with 70's pendant, £1,010, by Yves Saint Laurent Rive Gauche at Yves Saint
Laurent +4420 7493 1800.
by Alex Fury
In its simplicity, purity and sheer heft, there is a resemblance to a nun’s rosary worn at neck or waist.
The rosary is a symbol of devotion in the Catholic faith - in this context, perhaps this necklace
symbolises a similarly religious devotion to Yves Saint Laurent. Of all labels in the world, YSL is
the one name that warrants it - and indeed has often received it. It's notable that Pilati took these
silhouetted forms from the 1970s, a period rightly acknowledged as Saint Laurent's heyday. The
trademark looks of the era - the Safari suit, flared trouser for women and platform shoes to name but
a handful of those most often revived - were pioneered by Saint Laurent. Indeed, the nineteen
seventies were a time where every woman rich or poor seemed to be attired in a look that could be
traced directly or otherwise back to Yves' febrile imagination.
It must be stated that Stefano Pilati refuted any religious influence behind this show, but there is an
distinct subtext to women chastely attired in form-concealing black-and-white, glinting symbol at
neck, occasionally accessorised with a hat resembling a wimple. Perhaps this was the influence of the
cult of Yves Saint Laurent past, a past Stefano Pilati is acutely aware of - not that he has any real
choice in the matter. By affixing totems of YSL’s history of style so visibly to a collection composed
of his modern reinterpretations of the master's signature looks, he was arguably reconciling past with
present, creating a fusion for the future.
• Necklace
Mary Katrantzou
• Shoes
Loewe
•
•
• Shoes, Socks
Prada
• Video
• Text
• Credits
• odel: Emily Trimble at Storm Models
Blue knitted socks with brown woven knitted detail, £85, and turquoise court shoes with white trim
and metal detail, £520, both by Prada at Prada +4420 7647 5000
by Alex Fury
But if we take the fifties cartoon theme of Prada's collection as our basis, it's an easy jump to see
Prada's cable-knit as a postmodern take on the sexy seamed stocking, twisting that erogenous line to
the the front and rendering it inch-thick. This fits with the collection's pop art play on proportion -
Prada inflated breasts with ruffles and blew up lingerie ribbon bows in patent leather, and these
stocking seams are recreated as into a braided wool trim that could be read at twenty paces,
exaggerated like a cartoon character.
After the Prada menswear show in January - which was shown in the same space and with the same
backdrop of an postmodern imaginary city as the womenswear collection these socks and shoes are
taken from - many commented on the seventies feel to the clothing offered. Although this collection
looked back further, mainly to the 1950s and the influential silhouette of Christian Dior's New Look,
the double-face cashmere suiting, sludgy colour palette and especially accessories had a touch of that
seventies feel. What many commentators missed in the menswear show was that Miuccia Prada was
referencing her own body of work. This was the 1970s via the 1990s, a revival revived. The shoes
here could be from Prada's 'Geek Chic' 1996 collection, in trademark Prada 'off-colours' of mustard,
turquoise and mauve melange knit.
As with those mid-nineties collections, these shoes and socks are an obscure object of desire. They
are a reflection of the power of the Prada name to render something desirable - in the same way that
Miuccia Prada can slice a handbag from cheap transparent plastic, leave the edges of a gazar jacket
raw and unraveling, or embellish a cashmere coat with strips of photographic film like postmodern
pailettes. Prada's power is in questioning the true value of luxury and subjugating it to her aesthetic
whim. You pay for Prada - not for name or even for the garment, but for her faultless judgement of
contemporary taste.
• Socks
• Video
• Text
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Pink jewelled socks with red and brown tassels by Vivienne Westwood MAN, to order at Vivienne
Westwood +4420 7439 1109
A/W 10 > Vivienne Westwood > Socks
• Video
• Text
• Credits
Pink jewelled socks with red and brown tassels by Vivienne Westwood MAN, to order at Vivienne
Westwood +4420 7439 1109
by Alex Fury
Born into the village of Glossop in the rural Pennines, since her childhood Vivienne Westwood has
been an adept craft knitter. She often hand-knitted her early samples herself, even extending this
practise of perfectionism and handicraft into her mid-nineties shows. These socks reflect that
complex technical knowledge, adorned with entirely knitted tassels and three-dimensional flower
nosegays, while the sequins and beads which embellish them are not only sewn on, but also knitted
into the fabric of the socks themselves.
The embroidery and colour that embellishes these socks is emblematic of the decoration Westwood
has brought to her male's wardrobe. But it is also indicative of the fact that Westwood, while pushing
the boundaries of elaboration in men's dress, has never lost a her sense of the masculine. These socks
are based on kilt-hose, vernacular Scottish attire traditionally worn with the kilt - and each detail on
them is taken from that distinctly masculine tradition. This is appropriate, as Westwood has long
been obsessed with the dress of the British Isles, naming not only a collection, but an entire line of
clothes 'Anglomania', a direct reference to the eighteenth-century French obsession with English
dress. The kilt has featured season in and season out in all Westwood's menswear collections since
the first shown on the Milan catwalk for S/S 1996.
Vivienne Westwood's menswear has always been an acquired taste - these socks are certainly no
exception. The reason they are interesting is that they manage to pull off the tricky fashion task of
being outrageously flamboyant while remaining virile and manly. Vivienne Westwood is a
heterosexual female designer in an industry dominated by the homosexual male, and her work with
her husband Andreas Kronthaler demonstrates a delicate view of masculinity, although extrovert,
that never falls into camp excess or pantomime - a balance very few designers can achieve.
During the summer of 2009, SHOWstudio.com invited viewers worldwide to collaborate with
Nick Knight, Alexander McQueen and PUMA in a unique competition designed to push the
boundaries of filmmaking and fashion imagery creation to the very limit.
Our Raw Power competition offered young filmmakers, artists and directors the chance to
create a video short by splicing their own unique film material with footage captured during
Nick Knight's 'Crane Vs. Tiger' shoot for the Alexander McQueen PUMA S/S 2010 campaign.
Sean Capone, the winning filmmaker chosen by Nick Knight and Alexander McQueen,
received the unique commission to direct the Alexander McQueen PUMA Spring/Summer
2010 art movie, showcased on SHOWstudio.com and visible in key fashion department
stores and boutiques worldwide.
View Sean Capone's winning Raw Power entry Tigersprung
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www.showstudio.com/blog
The finale of the finished pieces has arrived! Over four consecutive days, we’ve witnessed
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Things are progressing at a fast pace here and now the majority of pieces are ready to be
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explains that, much like with wood, when you wet leather, the softer parts of the... [more]
Comment | Permalink | View this project >
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