To launch the new Pre-Fall 2018 line, Helmut Lang has gone to Instagram to unveil its 90’s aesthetic dating show campaign. New Editor-in-residence Alix Browne and Langs digital editor Ava Nirui have called on 12 single models living in New York to create a dating profile with details about themselves and what they are looking for in a relationship, whilst having there profile pictures of them wearing Helmut Lang. Each models profile has a caption urging people to email email@example.com if they would like to connect with them – with applicants actually being put in touch with the models if a suitable match is found. The images are rendered in a hazy, 90’s VHS quality and the models have been styled by Anna Santangelo. “I’ve always been super obsessed with the unique verbiage that goes with personal ads.” Ava Nirui told Vogue, “I recently had a realization that I’m constantly matchmaking friends and thought it would be fun to invite these friends (and friends of friends) to be a part of the Helmut Lang community, while potentially helping them find love in their lives.” The campaign gives many nods to early 90’s Helmut Lang, from its original on-line legacy to its successful print campaigns. Langs new Editor-inresidence Alix Browne took over in January and is the founding editor of V Magazine and former features editor of W Magazine.
Helmut Lang instagram campaign
Following his appointment at the luxury British fashion house, the anticipation for Riccardo Tisci’s debut collection for Burberry has been one of excitement to say the least. So with him already working on his debut collection, Tisci has released a teaser of things to come on his instagram account from the pre collection called ‘B Classic’. The collection is a celebration of Burberry through a carefully selected edit of the iconic pieces synonymous with the brand: the trench coat, the quilted jacket the poncho and the kilt. Of the collection Tisci said “I wanted to celebrate the beauty, heritage and legacy that I discovered when I first arrived at Burberry. ‘B Classic’ is an edit that I’ve curated to honour the icons of the House – pieces like the trench coat, the quilted jacket, the car coat, the kilt – which sits at the heart of the SS19 pre collection designed by the fantastic Burberry design team.” Tisci took over from Christopher Bailey in March of this year with one standout line from Burberry’s announcement notes that Tisci’s “skill in blending streetwear with high fashion is highly relevant to today’s luxury, Riccardo’s creative vision will reinforce the ambitions we have for Burberry and position the brand firmly in luxury”. Riccardo Tisci will reveal his full collection for the brand in September 2018.
See Riccardo’s teaser on his Instagram account Here
The only private residence commissioned to be made by the late Architect Zaha Hadid has finally been completed. The home, dubbed ‘The Capital Hill residence’, was commissioned by the Russian businessman Vladislav Doronin and has been built on a remote plot of land in the Barvikha forest just outside Moscow. The house’s defining feature is a master suite set atop a slender concrete stalk that raises it high above the tree canopy. Set 22 metres above the ground, this element of the design offers Doronin complete seclusion. According to a new video on the project, the design all started with a sketch on a napkin, as Doronin explained to Hadid; “I want to wake up in the morning and I want to just see blue sky. I don’t want to see any neighbours and I want to feel free.” According to Dezeen, “The lowest level contains leisure facilities, while a lounge, living room and kitchen are set alongside entertaining spaces and a swimming pool on the ground floor. The entrance, guest and children’s bedrooms, and a library are set across the first floor.”
Cult label Supreme has teamed up with iconic photographer Nan Goldin on a new collection for the brand. The cult streetwear brand, which has collaborated with Damien Hirst and David Lynch, is now working with the artist who chronicled 1980s New York, with her work exploring LGBT bodies, the HIV crisis and the opioid crisis. “I did this for the kids,” she said. “I’m looking forward to seeing teenagers skating on my images and wearing them. To my mind, people have become so conservative, especially the millennials – its like the 1960s never happened – so I like the idea of them being exposed to my real world.” The collection includes images from Goldin’s 1986 The Balled of Sexual Dependency and will be used on new T-shirts, hoodies and skateboards. “Nan Goldin’s work is real and raw – in the time, places and subject matter she shot,” says Supreme. “It comes from an era where the subjects she documented were taboo by society’s standards. To do this project with Nan Goldin is to celebrate the diversity her work represents and expose young people to it.”
Turner prize winning artist Anthea Hamilton has transformed Tate Britain with her latest instillation which, as well as 7,00 white floor tiles, includes seven costumes designed in collaboration with Loewe by Creative Director Jonathan Anderson. The show, called The Squash, is the latest annual Tate Britain Commission which asks contemporary British artists to create new work in response to the building’s grand space. Anthea Hamilton has transformed the heart of Tate Britain into an elaborate stage in which she has placed a solo performer in a squash-like costume at the heart of the Duveen. Every day for six months, a performer will select a costume from a rack of seven created by Loewe and explore the space. Each element of this bold and immersive installation is partially informed by Hamilton’s interest in found photographs, where the original source has been lost, but here, Hamilton re-purposes them, inviting the performer to explore their own interpretation of the image. Performers select their costume of choice, depending on the image and their chosen interpretation. Gallery director Alex Farquharson said: “Anthea Hamilton has made a unique contribution to British and international art with her visually playful works that both provoke and delight. This compelling commission demonstrates her ability to seamlessly weave together captivating images and narratives, creating rich new environments in which to encounter works of art.”
Anthea Hamilton – The Squash 22nd March – 7th October Millbank London SW1P 4RG
Fashion Image Maker Nick Knight Discusses the future of the fashion image, including discussions on the end of the catwalk show and the death of the printed fashion magazine as well as touching on the subject of sexual predators within the industry and the sexualisation of the fashion image. The discussion took place with Imran Amed, founder of Business of Fashion.
I have always been a big fan of Nick Knight. I have followed his work since coming across his images in the early 90’s, working with publications such as The Face, I-D and Arena. I was an early adopter of ShowStudio, which I followed almost from day one when it was just, what we would see now, a blog in 2000. In this discussion with Imran Amed, founder of Business of Fashion, Nick talks about the sweeping changes taking place within the fashion industry and particularly with how we view collections and the death of the fashion show & fashion magazines.
There is a lot in this podcast that I disagree with what Nick is saying. He questions whether the best way to show collections is through fashion film and not the catwalk or the fashion press. I agree fashion film can certainly add a dimension to a collection but I do believe that the designer feels the need to get across more than the structure of the clothing when putting forward a collection. That the image plays an integral part to putting forward an ethos of what the designer feels that season and how that can be portrayed to the audience.
Nick believes there is a resistance to change within the industry, brought about due to turmoil within the world, whether that be the Brexit vote or Trump being elected. But for me fashion has always been an outsider, and has always been at the forefront of expressing its anger at how the world can be. The fashion industry is not resisting change because it refuses to acknowledge fashion film is the only way it should be showing its collections. Yes, the way the world can now view collections has changed, especially though live streams and social media, but the narrative still remains the same – The designer has a story to tell that surrounds his collection, fashion film will only tell a part of that story. Editorial pieces, photography and catwalk shows will help tell the rest.
Nick also talks of the death of magazines. How he has spoken to editors at top fashion magazines who all believe the format is dead. Magazine sales have been dropping, and yet more and more very good titles are appearing on our magazine shelves. The mainstream fashion press may well be dying but there is a beautiful resurgence in publications producing fantastic photography and thoroughly thought out editorial pieces. A few of these publications even started as internet sites and moved into publication, BOF being a fine example. Nick mentions how magazines are not particularly nice objects, and asked why you would want to carry one around.
Another striking thing was the notion that in the 60’s & 70’s a photographer would be given 2 weeks by a magazine to produce 10 shots for an editorial piece, they would have the freedom to be more articulate in the images they chose to shoot, and now a photographer would only get 2-3 days and therefor not be able to produce something with as much merit. This really bothered me coming from somebody like Nick Knight, a photographer who in his early days produced some fantastic images for magazines that had no budgets, this didn’t, and doesn’t, stop people from being as creative as they could be. Also getting a shoot together in the 1960’s would have been so much harder than doing it today without emails, phones etc. The logistics are far easier now.
Although it may not appear to be the case, but I am still a huge fan of Nick knight and he is certainly somebody who is really pushing things forward in the industry and always has been, but something about this discussion bothered me a little – I think it was just the dismissive way he discusses print and the catwalk without really thinking about the bigger picture of what a designer wishes to come across each season.