arrow-left-black arrow-right-black arrow-white-down arrow-white-up dd-logo-header-large-white dd-logo-header de en fi-x matrix-arrow-left matrix-arrow-right matrix-icon search-icon share-facebook share-google_plusone_share share-pinterest_share share-twitter social-icon-facebook social-icon-instagram social-icon-twitter

Bitch Fight: CATHY HORYN (New York Times) vs. HEDI SLIMANE (Saint Laurent Paris)


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.

The new 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!


Von: Jakob




London’s Grime Revival

A few hours before the Brit Awards 2015, according to the legend, SKEPTA received a call by Kanye West.

YEEZUS asked the hottest UK Grime artist to collect his crowd, to be on stage with him during his song ‘All Day’ at the Brits. The underground-movement Grime reached mainstream.

Grime arose in the early years of 2000 in London, from UK garage, dancehall, hip hop and drum and bass. Grime means that MC’s are raggedly rapping, rapid-fire mode to 135 – 140 BPM sounds.

What is happening in London at the moment – music and fashion-wise – is a Grime revival. SKEPTA, who already in the beginning significantly influenced Grime with his ‘Boy Better Know’ crew, went from underground-hero to pop icon. The East London phenomena Grime is becoming a global export-good.

Fashion has always had an important role in Grime. In Garage, which is the origin of Grime, people always wore show-off labels as Moschino, Versace or Iceberg. Expensive brands, which East London kids couldn’t afford. Therefore they weren’t allowed to access clubs.

They wore the uniform of the street: caps, sweat-suits and sneakers and started their own movement – away from the Garage clubs – at Grime raves, which kept being stopped by the police.

‘The man’ of the revival – Skepta – has produced the soundtrack from the SS 2015 collection by NASIR MAZHAR. At the Nasir Mazhar after party, SKEPTA rocked the audience with his ‘Boy Better Know’ crew.

Music and fashion-wise, Skepta is role model for an entire generation. His look is exemplary for the second wave of Grime. He is wearing NIKE hoodies of the combat-line, New Era Lake Elsinore 59FIFTY Fitted cap (“That’s not me”), NIKE dealer-bags, Slazenger sweater, Helly Hansen jacket and NIKE Air Max 95.

One can study the look of Skepta and his gang by watching the video to ‘Shutdown’. SKEPTA himself is wearing COTTWEILER from head to toe in the music video. Besides there are items by Stone Island, Supreme, Adidas and again and again: NIKE, the probably most important brand of the Grime revival.

There are many overlaps with the internet phenomena Health Goth, where it is also mainly about black performance wear, but GRIME is more gangsta, less sporty, plus it is a movement, where the background plays an important role, also fashion-wise.

Von: Julian



Zac Posen is the new Patron for the P&C ‘Designer for Tomorrow’ Awards

After Marc Jacobs, Stella McCartney and Tommy Hilfiger, the US-designer Zac Posen is going to be the new patron for the Peek & Cloppenburg “Designer for Tomorrow” awards.

Posen explained that his goal is to actively support the fashion offspring and to pass on his experience and perspectives.

Together with the jury, the New York based fashion designer will pick the top 5 of all the applicants and will announce the ‘Designer for Tomorrow 2015′ on the 9th of july during the Berlin fashion week.

Maybe Posen will succeed in what his famous predecessors failed: to announce a serious ‘Designer for Tomorrow’. Until now, no DfT-winner was able to establish him or herself as an independent designer in the fashion industry.

At the so-called “Hall of Fame”, on the website of the ‘Designer for Tomorrow’, one can look at the winners of the awards, which are happening since 2009. Sam Frenzel, for example, who won in 2009, is now the creative director at the glove manufacturer Roeckl. He is one of the DfT winners, which have had a career after their glorious victory.

Other ‘Designer for Tomorrow’ are sitting behind the sewing machines at Marc Cain or – similarly tragic – have disappeared into the nowheres-land of the industry. The schedule of the last Berlin fashion week only had the name of the largely unknown Iona Ciolacu on it, who won the DfT award in 2013 (and: the sponsored last years winner).

The comprehensible and legit goal of the award by Peek & Cloppenburg for young designers are the public relations for themselves. It would be good for the DfT award, also Peek & Cloppenburg, if one of the DfT-winners would actually ‘make it’.

Why is that?! Because of the selection of designers? The time period and the amount of the funding? Peek & Cloppenburg is supporting the DfT-winner for a year. Too short?

Maybe the P&C team should get consulting by the British colleagues at TOPMAN. TOPMANs young talent-support program MAN is succeeding and beards one hyped designer after the other: J.W. Anderson, Craig Green, Bobby Abley etc.

TOPMAN supports their designers for three seasons. Success on the long run – for the young designers, but also for the supporters themselves – is approached, whereas the shortly lasting PR-coup through a well-known patron is in the foreground at P&C.

But when the patron is becoming less and less spectacular and the success of the supported designers stays inexistent, the concept is doomed to fail. It is time, to rethink.

Photo: Michael Beauplet

Von: Julian






New York Fashion Week: Hood by Air AW 2015

HOOD BY AIR presented their new collection ‘Daddy’ in a cellar-like setting at the Wall Street, the centrum of finance.

The mastermind behind HBA, Shayne Oliver, showed classics from the world of fashion, like button-down shirts, sweaters and polo t-shirts in the typical unisex Hood by Air Silhouette. Therefore it came to an hybrid between polo shirt and dress. Or camel coat and tank top.

The models wore locks in-front of their mouths and tights over their heads, like burglars. The soundtrack of the show, total freedom, was ended drastically, followed by jazz, underlined with the statement of the Empire:

“I wanna show you a faggot really can run this company”.

It becomes obvious how appreciated HBA is also in the art-world, when looking at the guests who attended the show, for example Klaus Biesenbach and Grace Coddington.

It seems that HBA, even after the diss by their once supporter A$AP ROCKY, is still very hip.




Throwback! New York City! Dandy Jakob amp and round about 4kg fake meat at a Buddhist reataurant somewhere in Chinatown!