AnOther Magazine: How would you connect Fashion to Elegance?
Do they have to connect? I think elegance can intersect with fashion, but it is not necessary. Chanel said that “elegance is refusal”, and that is certainly a section of fashion. Your Célines, your Narciso Rodriguez. The stripped back stuff. But equally, you could not connect elegance with the ugliness and the vulgarity that is an essential and fascinating part of the fashion conversation. The fun stuff. Fun isn’t elegant. Elegance has a connection to a specific area of fashion, which is in fact quite limited; it is neither good nor bad. It is just there.
Fashion is a language: sometimes, it says too much. It’s frequently like being in a crowd and hearing too many people talking at once. Sometimes, I think that high fashion is a dialect, but clothing, overall, is the language. I think of it in the same way as, when you were at the court of Versailles, words were pronounced in a certain way, only perceived by the other courtiers. High fashion speaks with its own dialect, which is very difficult for people outside of it to understand.
In May of this year J W Anderson put out a call for emerging new photography talent to enter a competition to shoot the brands Spring 19 campaign. Being a part of the NewGen talent given a leg up in London fashion week in 2011, Anderson must of felt it was time to give something back to the next generation of talent coming up through the ranks. The J W Anderson ‘Your Picture / Our Future’ search eventually yielded the talents of photographers Julie Greve from the UK, Yelena Beletskaya from Russia and Simons Finnerty from the U.S.
The three photographers were commissioned to shoot the campaign which has just been released and asked to stay true to their individual aesthetic in order to reinvent the brands image. “This campaign is all about a ‘creative refreshing’,” explained Creative Director Jonathan Anderson in a press release. “We chose to work with three young, talented photographers, all of whom have their own untainted, creative visions. Fundamentally, they were able to grasp the unfiltered essence of the JW Anderson brand.”
Each photographer was given a selection of ready-to-wear garments and accessories from the brands Autumn collection and were asked to add their unique, distinctive style to the images. The photographers worked closely along side stylist for the brand Benjamin Bruno as well as Anderson himself. “It’s been kind of amazing. We had nearly 2,000 entries from all across the world: Japan, China, Argentina, Russia, Canada, the USA, everywhere” said Anderson. The final images are strikingly individual, but remain thoroughly in line with “the unfiltered essence of the JW Anderson brand”.
“Coinciding with the house’s first Artisanal Men’s show, Maison Margiela launches a new first of a kind fashion podcast series: “The Memory of … With John Galliano.”
“The podcast tells a story usually only heard by select fashion insiders. It takes you on a journey to Creative Director Galliano’s Paris atelier where he personally reveals the thinking behind his first Artisanal Men’s Show. He speaks to new definitions of masculinity and femininity, his introduction of bias cut to menswear and the sensuality it brings to a tailored suit and the current regeneration of menswear with new top designers at luxury houses.” Link Below
Just 48 hours after Creative Director Tomas Maier announced he was stepping down after 17 years at the helm of Bottega Veneta, the company has announced British designer Daniel Lee is set to take over on July 1st. Although relatively unknown outside of the fashion industry, 32 yr old Lee, a graduate of Central Saint Martins, has so far worked along side some of the most outstanding current brands today. After putting in stints at Maison Margiela, Balenciaga & Donna Karen, the designer most recently was Director of Ready-to-Wear at Céline were he began in 2012.
Following Phoebe Philo’s departure late last year, and the appointment of Hedi Slimane, who is tearing the house apart to continue in his inimitable style, Lee would have been out of a job. Meanwhile Kerring, the luxury conglomerate that owns Bottega Veneta, have been appointing some shrewd Creative Directors within its houses in recent years, most notably Alessandro Michele at Gucci & Demna Gvasalia at Balenciaga. And after quite public fraught tension with Hedi at Saint Laurent, employing Lee from Céline will go some way to keeping the minimalist understated style of Céline alive once Hedi turns the brand on its head, and bring some fresh vitality to Bottega Veneta in the same way both Michele & Gvasalia have to their houses. “Daniel Lee has a deep understanding of the house’s current challenges both in terms of creation and development.” said Claus Dietrich Lahrs, CEO of Bottega Veneta. “He will bring to Bottega Veneta a new and distinctive creative language that will continue building the house’s success based on the ambitious foundations already developed over recent years.”
Former Creative Director Tomas Maier has laid the foundations for the house in the past 17 years but recent years have seen a steady decline in profits. Maier was known for his strict detailing and rejected out-and-out branding for a more subtle approach.
“I’m both honored and excited to continue the legacy that has been created at Bottega Veneta over the last five decades,” said Lee. “Maintaining the ingrained codes of the House, craftsmanship, quality and sophistication, I look forward to evolving what has gone before, while contributing a new perspective and modernity.” Daniel will start at Bottega Veneta in July with his first collection in September.
As the first night of Pitti Uomo got under way, Gucci revealed three new hall spaces in its Gucci Garden space in Florence, two of which pay tribute to singer Bjork. Creative director Alessandro Michele collaborated with Bjork last year when he designed unique pieces for the musicians music video ‘The Gate’. The outfits and masks from the video will be on show as well as the special custom gown, which took approximately 555 hours to create and a further 320 hours for the intricate embroidery work. The moulded masks, designed by James Merry, another organza dress and the Gucci shoes will also be on show, alongside various books and artefacts on the singer and her home country of Iceland.
The third room will be occupied by 23 year old British artist Isabella Cotier, who has collaborated on a Gucci Garden exclusive of T shirts, Hoodies, Sweatpants and Totes, all emblazoned with Cotier’s colourful illustrations depicting eccentric Florentine characters in prominent places around the city. The collaboration with Cotier follows the collection of clothing, porcelain mugs and candle holders the brand developed with Jayde Fish.
Gucci Garden, Piazza della Signoria, 10, 50122 Firenze, Florence.
At the forefront of London street culture & at the zeitgeist of the British working class, Samual Ross’s A-Cold-Wall* put on his most accomplished show to date on Sunday in East London’s Old Truman Brewery, his first after previous seasons of showing at the BFC space. The viewers, on entering the space, were each given a vacuum pack of safety goggles, ear plugs and a ventilation mask. The show began with a group of models wearing full clay covered grey garments and their faces painted grey slowly moving in unison throughout the space, the group appearing throughout the show to guard the clothing models with metal rods. The show was named ‘Human. Form. Structure.’ with the three concepts examined throughout the show. The clothes ranged from structured jackets to cargo shorts, bright yellow, oxblood and grey in colour with flashes of colourful metallic details in crimson. The trousers loose fitting with padding above the knee. The show ended with the grey group of models breaking down a structured wall that had been brought onto the runway, followed by a lonely figure in red paint pushing the structure away.
In attendance was Ross’s old mentor Virgil Abloh, with whom he had worked as an intern, then moved on to be his right hand assistant and consultant. On working with Abloh, Ross recently told Vogue UK “It’s funny because I can look at it from a few angles — as someone who has been a part of his journey, someone who looks at him as a mentor, someone and who is a person of colour in this industry,” he says. “He articulates the information of our time and he has worked incredibly hard consistently for over a decade, and most of that was behind-the-scenes, without public acknowledgement.” This has given Ross the insight and ability to ensure the designer does not become isolated form the consumer, a drive in many current successful streetwear labels.
A-Cold-Wall* refers to the idea of feeling a cold surface as a common social denominator — an Edwardian marble colonnade and council estate scaffolding evoking the same sensation for two different social groups. “It’s really about presenting conceptual ideas at a digestible level,” he says, referencing the bright synthetics of construction sites and council estates, as well as contemporary working class subcultures.