On the last day of my US-trip I had a little spare time, and decided to have a stroll through the trend-district Bushwick. I was wearing a falling-apart straw-hat. Also known as circular saw.
The pictures of me and my new Bushwick buddies were taken by Mr. Michael Moser. A photographer who lives in New York, and who’s international break-through, we are very sure, is soon to come.
This way, to see the first series, which we produced together in New York.
Who, like us, still has troubles managing the t-brake while inline-skating, even after years of practicing, can finally breath out: RICK OWENS has attached a massive brake-block to the current shows, which he designed for ADIDAS as for his fall/winter collection 2014.
We think that that is just fair and imagine through that, that Rick is not the most accomplished blader himself.
We are with you, Rick! Full solidarity with the brake-block-brakes! One with the underdogs!
P.S.: The shoes can be ordered for unattainable 790,- US Dollar, here.
In his latest campaign, he concentrates on the ‘model-of-the-moment’ Edie Campbell, or on her family.
In the video and on the pictures of the campaign, you can see Campbells mother, father, sister, brother and a wild bunch of cousins. Our favourite: her brother Arthus, who’s mullet is longer than Toni Garrn’s legs.
The family-history is showing a reference to the ‘mother / daughter / logo’ by Lanvin. In the campaign-video, which is three minutes long, one can see the family-members playing soccer, hugging each other or just babble along. And, not to forget, the horse of Edie Campbell. Like in all Lanvin videos, also the chubby Elbaz has his scene.
The campaign was shot – as one realises quickly because of the set – by the visionary Tim Walker. Guy Stephens was responsible for the video.
For the so-called “Impossible Project”, our favourite man behind the camera and in-front of the pissoir (look at his Instagram-account for more clarity), he recently followed us to London with a Polaroid-camera and took many pictures, which we are happy to release here.
What you see is: Dandy-Dave, Dandy-Jakob, Dandy-A$AP Rocky, the rapper Skepta, strippers, muscle-boys, asses and a little bit of fashion. Still it was fashion week, there in London, a few weeks ago. Enjoy!
Cathy Horyn is a very well known but bland fashion journalist with a huge network. She writes for the New York Times, arguably the most important daily newspaper written in Latin characters. During Berlin Fashion Week every designer would surely sell their mom and more just to have Horyn watch their show. Hedi Slimane on the other hand wouldn’t do jack shit.
Yves Saint Laurent Designer didn’t even invite Horyn to his show, a terrible offense in our industry.
Horyn obviously wasn’t amused and directly contacted Slimane’s Boss, PPR-President Francois-Henri Pinault. However, he also couldn’t really do anything, or just didn’t want to. So Horyn went ahead and just wrote the entire story down, spicing it up with a review of the show after having looked through all the photos. And this story, she just published on the New York Times Blog.
Please find below a couple of the best passages to gain some unique insight into the mutual dependency of designers and journalists.
“There was also a smattering of star photographers, editors and models, like Kate Moss. But many front-row editors, to their disgruntlement, were given second- and third-row seats, and some, including an editor from Le Monde, had to stand. While a lot of journalists don’t really care where they sit, the lack of professional courtesy smacked of ignorance or arrogance.
I was not invited. Despite positive reviews of his early YSL and Dior collections, as well as a profile, Mr. Slimane objected bitterly to a review I wrote in 2004 — not about him but Raf Simons. Essentially I wrote that without Mr. Simons’s template of slim tailoring and street casting, there would not have been a Hedi Slimane — just as there would never have been a Raf Simons without Helmut Lang. Fashion develops a bit like a genetic line.
Anyway, Mr. Slimane insisted that he was the first to show the skinny suit. It was a silly debate. Who cares?”
At the end Horyn then adds the brutal criticism clearly insinuating that Slimane has been more concerned with blach and white photography than fashion.
“Considering that Mr. Slimane was an avatar of youthful style, I expected more from this debut. I had the impression from the clothes of someone disconnected from fashion of the past several years.”
This is how entertaining the fashion industry can be. More please!