For Resort 2018, Dior’s artistic director Maria Grazia Chiuri went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier. “For me, I found it close to L.A.,” she said of Monsieur Dior’s designs. “You think L.A. and you think Hollywood, Oscars, the red carpet, but honestly I feel people love this place because you feel in contact with the natural elements.” The collection was presented May 11th in the Upper Las Virgenes Canyon Open Space Preserve in Calabasas California.
Chiuri reproduced the Lascaux sketches as a silk and raffia jacquard used on New Look skirts and ponchos, as a print on a softer cotton shirtwaist dress, and as fur intarsias. She conjured more than just spirit animals. Chief among her other interests this season were a Georgia O’Keeffe exhibition she saw at the Brooklyn Museum and a collaboration with Vicki Noble, the creator of the Motherpeace feminist tarot deck.
From her start at Dior, Chiuri has linked magic with femininity and feminism. Here, she went direct to the source, printing T-shirts with Noble’s tarot illustrations or painting them on the back of leather Perfectos. That human touch is the charm of Chiuri’s Dior. And, of course, Monsieur Dior was a lover of the tarot. As for O’Keeffe, milliner Stephen Jones’s parson’s hats were dead ringers for the topper the artist wore, and a double-face cashmere coat in black with white arabesques evoked her famous ram’s head paintings. Coats in the waisted, midi-length silhouette so associated with O’Keeffe were among the show’s subtlest and chicest pieces. Bead-embroidered easy denim looks numbered among the other highlights, along with several embellished ethereal prairie dresses.
With the color and pattern and the spectacular sunset, the show had a beautiful backdrop that only mother nature could deliver. In an interview, Chiuri stressed the importance of forward momentum and lightness: “If you feel too much of the history, you get stuck in a box.”
Images & Info Getty & Vogue
“Going grey never looked so glamorous,” read the invitation to Linda Fargo’s Grey Gardens–themed birthday party held March 31st in New York City. Inspired by the Maysles brothers’ 1975 cult classic documentary, Hayward House was transformed into the Beales’ dilapidated East Hamptons compound. Cohosted by Marin Hopper and John Goldstone, the occasion called for decadent attire that followed suit. “In the spirit of Edie Beale, this is all DIY,” Fargo said of fashioning a black turtleneck into a turban and a mink fur coat around her waist like a ball skirt. “I think that’s what everyone remembers about Little Edie—how she took her old finery and recycled it. And brooches with everything.” Fargo made the look her own with custom mink earrings: “These are Ranjana Khan, and speaking of, here are Ranjana and Naeem Khan now,” she said just as the designer husband and wife walked through the door.
Upon arrival, a pair of drag performers masquerading as Big Edie and Little Edie greeted guests. Little Edie took turns reading horoscopes, while Big Edie pointed out table assignments that had been given such names as Mother Darling and Cat Land. Past the replica of Big Edie’s rickety twin bed (where several lifelike kittens and cats slept, naturally) waiters carried trays of sesame tuna tartare lined with East Hampton Star newspapers that read “The Mistresses of Grey Gardens Evade Eviction—Again!” among other sensational headlines of the era. Bartenders disguised as gas station attendants poured cocktails: The Grey Garden was served with edible flowers and The Little Edie came complete with miniature American flags for stirrers. Meanwhile, guests admired the impressive department of memorabilia on display, sourced from Eclectic/Encore Properties (Fargo’s favorite). The walls themselves were covered in framed black-and-white movie stills superimposed with Fargo’s face in place of Little Edie’s.
“I’ve always been a practical joker and I love to get a rise out of people,” Fargo admitted. “People tell me, ‘Oh, you always look so elegant,’ but I’m also very tongue in cheek.” A sense of humor would no doubt prove essential once it was time for dinner to be served in the adjacent room. There, among mismatched china and vintage flatware, Putnam & Putnam created centerpieces made of dead arrangements that were withered beyond recognition. In fact, Fargo requested that the florist save all of their day-old stems for two weeks’ time in order to bring the Grey Gardens unkempt landscape to life.
“The theme let me tap into my history as a display artist,” Fargo said, who, during her 11-year tenure as the senior vice president of Bergdorf Goodman, has seen her fair share of store and window displays. The occasion also seemed to showcase her theatrical side. Once the Côtes de Provence, or Brad Pitt and Angelina Jolie’s personal brand of rosé, was flowing, a ring of the doorbell brought out a line of “delivery guys” armed with A&P brown paper grocery bags. “I’ll pay you next week,” joked Fargo, apparently in character as Little Edie.
Opening April 21st 2017 at the Saint Louis Art Museum The Hats of Stephen Jones will present a selection of eight hats designed by contemporary British master milliner Stephen Jones. Interspersed throughout the Museum’s collection, the installation will reveal a novel approach to connecting art and contemporary fashion.
Installed in galleries ranging from Impressionism to 19th-century decorative arts to African art, Jones’s hats are displayed in dialogue with select works in the collection to create provocative conversations across time. The fascinating range of hats includes designs made from a wide variety of materials, such as plumes, artificial flowers, and silks. The installation also complements the main exhibition Degas, Impressionism and the Paris Millinery Trade.
Sunday, April 23rd at 2 pm in Farrell Auditorium, Jones will discuss the inspiration for his own work and its connections to the history of hats and art. $25 ($20 Members) Register Here Advanced tickets recommended
The hats of contemporary milliner Stephen Jones have been worn by some of the world’s biggest stars and fashion icons. Jones will discuss the inspiration for his own work and its connections to the history of hats and art.
A conversation with milliner Jennifer Ouellette will follow.
Overflow seating for live telecast in the Education Center $5 General/Free for Members (ticket required). Priority ticketing for Members begins April 4. General ticketing begins April 6.
Recent collaborations include Thom Browne SS17:
The nine Adidas by Stella McCartney lookbooks on Vogue Runway all feature models in motion; some of them are dancing, some are practicing yoga, and others are jumping through the air. These are clothes you’re going to sweat in, after all, so it wouldn’t make sense to show them on a model standing still. Last November, Adidas and McCartney took their longtime collaboration a step further with an immersive experience in a massive Los Angeles show space, where models ran on treadmills, cycled, swam in a small pool, and even tried a drumming-inspired workout. “I wanted to show the clothes working,” McCartney explained at the time.
Born in Tokyo in 1983, the Japanese artist Aki Inomata studied at MFA Inter Media Art, Tokyo University of Art. Her artistic project explore different concepts : adaptation, change, protection and architecture; all of them are inspired by natural resources.
She is fascinated by the capacity of animals to use the environment to produce wonderful creations in order to protect themselves. The “Girls Girls Girls” project was a long process as it is based on the interaction between living things – female bagworms- and pieces of cloth. Aki Inomata cut in little pieces a series of women’s clothes, she gave them to the female bagworms and let them built with that fabrics their protective case.
As Aki Inomata explains “Male bagworms leave their protective cases when they become adults, and become moths. However female bagworms remain in their protective cases for their whole lives and wait for the male bagworms. This reminded me of my own experience of being approached by hundreds of men, whilst the few men that I was interested in often didn’t even glance at me.Though the gender issue is meant to have changed in our generation, why is it that women still make much more effort than men concerning their appearances, and always wait for the men to approach them? I spent two years raising the bagworms and making this piece.
I made it to be premiered in an exhibit at a department store, which sells lots of women’s fashion goods, as a kind of commentary on clothes and women’s fashion.”
This piece tells us a lot about the relation between human and nature and explores the connections between biology, human technic and craft.
photos (c) AKI INOMATA
Using editorial images from other photographers as well as his own, Pablo Thecuadro puts images together by hand with a cutter.
In a statement about his work, Thecuadro says: “The collages I make express the duality in the human being, who we want to be versus who we really are and what part of us we show to others. ‘Collage Art’ is a never ending process, you can put as many images you want together over and over again.”
“The collages I make express the duality in the human being, who we want to be versus who we really are and what part of us we show to others.”
The new Netflix series The Get Down is a mythic retelling of the origins of hip-hop, folded into the stories of young Bronx natives Zeke, Shaolin, Marcus, Boo-Boo, and Ra-Ra in 1977. The series revolves around the influence of the legendary artist Grandmaster Flash, who served as a consultant on the series, but if Flash’s contributions to the art form move the story of the show forward, The Get Down’s style is all thanks to its executive producer and ringleader Baz Luhrmann.
As with any Luhrmann project, the visual style of The Get Down is of utmost importance to making the story become the kind of spectacular fantasy he prefers. Once his longtime costume designer Catherine Martin stepped into the role of executive producer, Luhrmann turned to Jeriana San Juan to fill this crucial role in the show’s development.
San Juan has worked as a buyer and costume designer for series like The Americans and Sex and Drugs and Rock ‘n Roll, and she designed many of the costumes for the The Get Down herself. Her work is one of the most distinct elements of the show’s appeal, with much of its eclecticism coming from her picks of items like Bruce Lee belt buckles, fur-lined vests, and tube socks. She called in to MTV to talk about short shorts, polyester, and working with both Grandmaster Flash and the grandmaster of flash, Baz Luhrmann.
MTV News: Was there anything you tried to do to differentiate the young characters in the show from the adult world around them?
Jeriana San Juan: In many ways, it separated itself on its own because what youth culture was wearing at that time was so specific. It really was a t-shirt and jeans and sneakers kind of look. The thing that presented a challenge originally was really finding the specific identity of each of the characters and figuring out how they were really going to look different from one another. I really wanted to create an iconography behind each of the characters, so that when you saw Boo-Boo as opposed to Ra-Ra, you really saw their look as distinct from one another.
How did collaborating with younger actors influence the characters’ looks?
San Juan: I think the greatest thing was actually working with Grandmaster Flash and Kurtis Blow, since they were able to say exactly what was cool during that time. We were doing the archeology of what was the most expensive sneaker and what was the most affordable that most of the kids were wearing to really find exactly the landscape of fashion at the time. Our show’s kids weren’t alive in 1977! So it was actually more of a process of collaborating with the OG originals, getting all that information and then translating it to this young group of actors who really had no social context for what was happening at the time period and what their character would be wearing. So once I had helped identify and created the look and identity of each character, it really was a close process with the actors to adjust to the difference in how things fit back then and how things looked back then. They very quickly grew into the look of the characters, and they helped embody the characters.
Putting shorts on Ra-Ra for example, because of his long legs — that look is his signature and it’s iconic to the late 1970s. He’s wearing jean shorts, tube socks, sneakers. And I looked at him and just thought, This is going to look so sensational on you, because it almost made him look like a cartoon character, it helped exaggerate his body and it helped create a more mythological character. Skylan, at first he kind of went, “Oh my god! I’ve never seen my legs so much wearing shorts!” And then only a week later he was going, “I love these shorts, I wanna buy them, I wanna wear them!” Boo-Boo, played by TJ, I put a bucket cap on him with a short-sleeved striped shirt and some plaid pants in his preliminary fitting, and then his eyes adjusted and he saw in the look what was so cool about it. And I said to him, “You’re gonna wear this bucket cap, and you’re gonna be one of the first people in 1977 who starts wearing this kind of look.” And of course, very quickly, this becomes a signature thing to wear Kangol bucket caps with a track suit. It becomes what we think of as a classic hip-hop style. So all of those elements start to be introduced on each of the characters, whether it’s the tube socks, the bucket cap, the leather jacket that Shaolin wears, and all of those elements start to gain momentum and you start to see them as early-’80s style and old-school hip-hop style. All those elements get introduced separately and then start to get styled together.
What was your approach to stylizing the larger-than-life mythology in the show’s design?
San Juan: It was part of my original conversations with Baz Luhrmann and Catherine Martin that we would try to create an icon in each of the characters and try to push the look of the show to really exaggerate it, but also to remain authentic in contributing to all of the things that were happening in fashion at the time. In order to create that mythology, it really was a process of stepping into the child’s eyes in a lot of ways. I had a conversation with Baz where I had described to him that when we look back at our memories, we sort of amplify things — like colors, you remember brighter than what they were. You remember bell bottoms as being bigger than what they were. So it was about seeing it through the kids’ eyes and portraying that style as a slightly heightened version of what the reality was, and I think that helps to give it a newness and a crispness. It gives it a vibrancy that modern audiences would identify with.
What was Luhrmann and Martin’s involvement like with the costumes?
San Juan: Originally I got involved with the project by way of Kerry Orent, who is one of the executive producers of the show. I was doing another series called Sex and Drugs and Rock ’n Roll with Kerry and he had mentioned that he met with Baz and he was discussing producing this project with Baz for Netflix. I was skeptical, I never thought I would have the opportunity to work with him because I knew that traditionally Catherine Martin was always his production designer and costume designer. So I had a meeting with Catherine and discussed exactly how it would work and exactly in what capacity I would work, and she explained to me that she was stepping into an executive producer position on this project and would be working alongside Baz to produce the show and I would be the costume designer of the series. She explained how we would all collaborate on the first episode together and then I would take the reins and design the rest of the series. And we moved past that plan very quickly, once I understood the realm of what I would be doing, and we just got to talking about Baz’s general creative approach. I got on Facetime with Baz — his assistant was holding up my cell phone and Baz was directing from the other side. And we talked about how everything that you see within the frame is part of the visual canvas, it’s part of the canvas that we see. He explained to me how important composing all of that was for him. It’s not only where that person was in the shot but what clothes were they wearing and what color were those clothes in front of the color of the background, down to what were the colors in the makeup and the hair and how important all of that was to compose together.
To me, it’s how I’ve always approached design for film and television and for stage, so in a lot of ways it was like meeting a creative partner that spoke the same language. We were very much in tune with one another in how we saw the art of costume design. So it was really exciting to me and it sort of went from being a possibility to then me actually being selected to design the project, and I basically passed out because I was so excited. It was an amazing opportunity and not a task that I took very lightly. Baz’s projects are so visually spectacular, and I wanted to honor that and I wanted to honor the time period and telling this story, because it’s really one of the first times this story has been told on this platform. So it’s just so exciting to be a part of this on many different levels.
How coordinated was everything on this show between the different design teams?
San Juan: We were all very much able to collaborate with one another in the early phases of the process, which is something that Baz does very, very well. He brought together all the creatives from the show and the actors from the show and we were all really able to workshop the characters together. By sitting around in a room and discussing the character of Zeke with Justice Smith, we were able to define the kind of books he would be reading, the kind of famous figures he would be looking to as role models and inspirations, and from that stemmed what kind of books were going to be next to his bed, and what his color palette would be that he would be attracted to. Being able to work together as a group on that process really helped to find the characters, to find all the nuances that create a special touch onscreen.