Achtung-Mode—Germany’s pioneering indie fashion and culture magazine—is debuting its Bauhaus-themed tenth anniversary issue tomorrow. And to celebrate the decade milestone, founder Markus Ebner decided he wanted to offer up a little something special. “When magazines turn ten, or twenty, or whatever, there’s not that much you can do,” he told Style.com. “I mean, you can do ten covers, you can ask designers to write letters saying, ‘Dear Whoever, Happy Tenth Anniversary!’, but I wanted to do something not like that.” His answer? A capsule collection of ten special-edition items crafted—and photographed—by some of the most exciting German, Austrian, and Swiss brands and talents. For instance, there’s a luxe leather bag by Akris (snapped by Sandra Semburg), a suit by Regent that was handmade in Germany (shot by Michael Mann, below, left), a crisp white shirt by the legendary Jil Sander (lensed by Mary Scherpe, below, right), an amulet by Tomas Maier (shot by Oliver Helbig), a parka by Kostas Murkudis (captured by Jork Weismann) and some cashmere Agnona socks by honorary German, Stefano Pilati (photographed in a field by Debora Mittelstaedt). “He’s been living in Berlin for the last year and a half, and he’s such an important designer, and he’s opening a studio there and hiring people, so that’s exciting for us,” offered Ebner.
The items will be available at Andreas Murkudis’ Berlin concept store, which Ebner describes as the “Colette of Germany.” As for the editorial photographs of the anniversary merch, they’ll not only be included in the new issue, but displayed alongside their corresponding products Murkudis’ store. If you’re lusting over these creations, you’d better scoot to Berlin quickly as quantities are limited. Fittingly, only ten editions of each product were produced. Photos: Courtesy of Achtung-Mode
Since launching French label Piece d’Anarchive in 2011, sisters Deborah and Priscilla Royer have proven their knack for fusing the conceptual and the wearable. Case in point: their black, white, and navy Spring ’14 collection, which the pair presented in September during Paris fashion week. The collection was inspired by the house of conceptualist Jean-Pierre Raynaud, who, after devoting twenty-five years to building his abode, tore it down upon completion, because he thought it was too flawless.
Boasting every imaginable iteration of grids and stripes, the graphic wool, nylon, leather, mesh, and silk wares are showcased in an austere film by director Takuya Uchiyama and artistic director Tiffany Godoy. “The idea was to stage our own gang, to show the reality and attitude behind the brand,” the designers told Style.com. Indeed, the short is chock-full of attitude, thanks in part to a pouty Lily McMenamy, who stars alongside such models as Barbara Lear, Amandine Choquet, and Jimmy Q. “Everything about Lily is unusual compared to other models. She moves in a wild way. She is not afraid to do acrobatic gestures, and she stares at the camera as if she was casting a spell on it.” Watch the bewitching video’s debut here, exclusively on Style.com. —Katharine K. Zarrella
While Art Basel Miami Beach is technically an art show, it’s best known for being a place where the fashion, art, and celebrity sets collide to rage all week long. The party circuit kicked into full gear on Wednesday night with a host of soirees, including dinners hosted by Louis Vuitton and Swarovski that brought out notables such as supermodels Karolina Kurkova and Cindy Crawford. The latter chose a Roberto Cavalli body-con dress patterned with baroque swirls and a tweed print for the Vuitton fete, while Kurkova opted for a red long-sleeve David Koma Fall ’13 dress with nude mesh detailing on the neckline and sleeves at the Swarovski dinner. The following day, Louis Vuitton’s Fall campaign face, Michelle Williams, donned a full Vuitton look for the brand’s beach barbecue, layering a navy sweater over a red-and-white striped dress.
Across the pond, Kate Middleton mixed highs and lows on the red carpet, pairing a sparkling Zara necklace with a cream long-sleeve Roland Mouret gown at Thursday’s royal premiere of Mandela: Long Walk to Freedom in London. As the credits rolled, the Duchess of Cambridge joined Nelson Mandela’s daughters and the film’s cast and crew in paying tribute to the revolutionary leader, who passed as the film was being screened.
On Tuesday, Keira Knightley made a return to the red carpet for London’s Serious Fun gala, stepping out in a dress we’ve seen her in several times before—including at her wedding this past spring. For this outing, she added sheer sleeves with embroidery at the wrists and neckline to make it more appropriate for the city’s chilly weather.
Here, more of this week’s red-carpet highlights. — Erinn Hermsen Photo: Dave J Hogan / Getty Images
The house of Fendi has long held close ties to the world of design. While everyone else was (and is) collaborating with artists (this year’s Art Basel brings Ryan McGinley for Calvin Klein and Visionaire for Gap, to name just a couple), Fendi was focusing on its own cross-pollination. Silvia Venturini Fendi, daughter of Anna Fendi and mother of Delfina, has been at the forefront of the house’s push toward contemporary design since founding Fendi Casa in 1997—applying the brand’s playful, irreverent aesthetic to specially commissioned projects with forward-thinking designers, including Aranda/Lasch, Beta Tank, and Toan Nguyen. This week, Fendi Casa is introducing a new capsule collection of steel- and fur-based items with famed Paris furniture designer Maria Pergay. We sat down with Venturini Fendi at the pool by The Standard Spa to discuss her work with Pergay, how Fendi Casa fits into the house’s larger vision, and why Karl Lagerfeld never—and always—shocks. — Ashley Simpson
On the fashion front, how do you and Karl Lagerfeld keep the house of Fendi’s designs fresh?
We are always the same. Karl has been working with Fendi since forever…from ’65. Me, I was born at Fendi, so we are always the same people. But we have finally set up a structure thanks to the LVMH group entering in 2000, and we went through many, many changes. And today we are ready to go like a lightning bolt to what we really want and to what Fendi really is. We have a very good energy at the moment at Fendi. We are very free in what we do—and this you can see. Our shows and our collections are concentrated on what Fendi has been doing and representing in the fashion world: quality, tradition, and heavy, heavy experimentation. We don’t take ourselves too seriously. That’s something that I think we really have in common with Maria Pergay. It’s this lightness in serious things.
Has working with Karl changed over the years?
I can say no. Every time is like the first time. You know, Karl will surprise you. He’s not predictable at all. And every time, when he arrives [in Rome from Paris], there’s the same expectation and energy. He has to say, “Oh! How did you do that? It’s what I really wanted to achieve and you made it!” Karl is one of the most intelligent people that I’ve ever met in my life. And he gets bored very easily. If he sees something that he’s already seen, he’s not attracted at all. So every time, you have to submit something new—like new techniques, new materials, and new ways of doing the same thing, like fur, for instance. Every time, we really want it to morph into something else.
Delfina has also become more and more involved.
Yes! Now she’s involved in Fendi. I’m very happy because she’s doing the fashion jewelry. I’m very proud. The story continues. Karl is very happy, and they get along very well. I like her crazy earrings with the feathers, which are in reality fox fur. So light and so beautiful. So we’ll see what she comes up with for the next show. She combines her vision with Fendi’s vision in a very balanced way.
Everyone’s been talking about those Monster bags and fur Buggie charms…
Yeah! They sold out everywhere. The Monsters, really they represent our DNA. In the sixties—[during the time of] my mother and her sisters—fur was something very, very boring, and it was a real status symbol. Men would buy it for women to show that they were rich. The bigger the coat, the bigger the wallet. Really, my mother and her sisters were fighting all that. They wanted to liberate women in the sixties. You couldn’t even drive a car with this heavy fur on, and since it was very, very precious, you had four or five linings to protect the skins. My mother and her sisters took away all of these and treated it like it was a normal fabric. They were cutting things that were so expensive, that nobody could touch. And the little Monsters are really there to say, “Yes, we do fur, but we play with it.” I like them. They make me happy.
Tell us about the collaboration with Maria Pergay. How did it evolve?
I’ve always been fascinated by strong women with strong points of view, and I think that she really is, in a way, a Fendi woman—because she reminds me of the women of my family. In the fifties, when she started her production, she turned steel into something more sensual and feminine. And so, one day when I was at Art Basel, they told me that she was there with her gallery, so I went downstairs to meet her, and I said I was one of her admirers, and one day, maybe she would be open to doing something. And she said, “Yes, yes, yes!” But the first thing that she said was, “You know, I don’t know anything about fashion.” After a few months, we started working on one piece. One piece became several pieces. Four. Maria is the first designer that we are going to produce.
Fendi’s been having this conversation with design for many years, while other people have been focusing more on art.
We really thought from the very beginning that there is a common relationship, and we are closer to design than to art, because design and fashion share the fact that you have to have an aesthetic vision and a creative vision, but also, you have to make something technical and functional. That makes life more challenging sometimes. There is a lot of research that goes into these projects, and all the background work is so interesting. At least to me, this is the best part. Photos: Courtesy of Fendi
Last night, in Tommy Hilfiger’s sprawling Fifth Avenue flagship, the brand and GQ invited guests to the second annual Men of New York bash. Four men were recognized for their contributions to the city this year: actor Josh Charles, New York Giants wide receiver Victor Cruz, television host Carson Daly, and chef and restaurateur John DeLucie. Naturally, each gent was outfitted head to toe in Tommy Hilfiger.
“Tommy is somebody who, when I first moved to New York, was very supportive of me at MTV,” Daly said of his Total Request Live days. “I only had cargo shorts from California—I was a radio deejay—and he gave me my first suit, and it was really special.”
While the Misshapes deejayed from the mezzanine, guests hobnobbed and, more important, shopped, with proceeds of their sales going to the Fresh Air Fund, an organization that enables inner-city children to enjoy free outdoor camping holidays. Unfortunately, Hilfiger himself was stuck in Miami due to a travel snafu, but his CEO of North America, Gary Sheinbaum, shed light on the evening’s honorees. “These are all-American guys who are very successful in what they do, and they’re all highly respected in their fields—it was natural for us.”
“It’s humbling for me just to be a part of [something with] these well-distinguished men, and to continue to represent New York City in a positive way,” offered Cruz. Charles, too, expressed his admiration for his fellow men of New York—and one in particular. “I’m a big fan of Victor’s…I got a little shy when I met him!” He, like the other honorees, has had a unique love affair with New York. “Anytime I travel, I always feel good when I come home because New York has everything.”
DeLucie, who has opened up a number of restaurants over the past twenty-two years, including The Lion and The Wavery Inn, summed up his city’s draw nicely. “There’s something about New York, where you get this crush of people that’s maddening, invigorating, and thrilling all at the same time.” — Elizabeth L. PengPhoto: Paul Porter/BFAnyc.com
Last night in London, Marc Jacobs and his pal and collaborator, the legendary, leather-clad interior architect Peter Marino (you know, the Mohawked character who’s designed stores for everyone from Chanel to Louis Vuitton), sat down for a candid discussion at the Tate Modern. Topics ranged from Marino’s latest art acquisition (a Christopher Wool, whose retrospective is currently on view at the Guggenheim) to Jacobs’ final Louis Vuitton set (“I didn’t know what to do, so we did it all in black,” he said). Jacobs somewhat surprisingly revealed that even superstar designers get scared—especially when it comes to taking their companies public, as he is in the process of doing. “[It's] a healthy fear,” he offered. “I don’t know where it’s all going to go. I learned a lot from working for Vuitton.” And how does Jacobs feel about his successor at the storied French house? “He is a brilliant designer, and he’ll do something completely different. I’ve always admired Nicolas [Ghesquière]. I’m curious to see what he’ll do. We have such different aesthetics. Things need to change. I’m really glad someone I respect and admire and think is a really great talent is there.” Photo: Getty Images
If you live below Fourteenth Street, you’re going to be seeing a lot of Kenza Fourati tomorrow. The Tunisian model is the star of cult downtown basics label BLK DNM’s latest “Wild” campaign. Lensed by the brand’s founder and creative director, Johan Lindeberg, the images have become BLK DNM’s signature, though slightly unorthodox, mode of advertising. Lindeberg takes raw snaps of models like Gisele, Caroline de Maigret, and Karen Elson in BLK DNM’s second-skin jeans and leather jackets, turns them into posters, and plasters them across downtown Manhattan. It’s a bit of a guerrilla approach, if you will.
The newest installment, which was shot last week during a trip to Rio de Janeiro, has a particularly powerful message. Fourati is highly active in the political and social revolution in her native Tunisia, and Lindeberg wanted her strength to come through in the snaps. “The scenery was beautiful, but the shoot was dangerous, because Kenza was standing on a ledge. But she didn’t care,” Lindeberg told Style.com. “She just raised her fist to the sky spontaneously. I could feel that her energy was real—that she felt the same feeling that she does on the streets of Tunis, protesting, shouting, ‘Dégagé, let go!” to the former government. The pure energy is the strength of the picture.” Catch the campaign’s debut here, exclusively on Style.com. —Katharine K. ZarrellaPhoto: Johan Lindeberg
Change is a comin’ for Fall ’14. Today IMG announced its plans to revamp the frenetic circus that is New York fashion week via redesigned Lincoln Center venues with smaller audience capacities and bigger backstage spaces. The hope? That the update will reduce the presence of crowds, celebrity stalkers, miscellaneous non-fashion-related showgoers, aspiring street-style stars hoping to get papped, and general riffraff that often turns the delight that is NYFW into a bit of a hassle (to put it lightly) for buyers, journalists, stylists, and other industry professionals. Yesterday The Wall Street Journal reported that it’s going to be decidedly harder to get tickets this season. An IMG representative told the paper that media guests will be cut by 20 percent in an effort to focus on attendees who are “of value to the designer.” (Oscar de la Renta deserves a shout-out here—the designer lead the way by significantly reducing the number of guests at his Spring ’14 outing.) Less “valuable” fashion fans will be able to watch shows online, as IMG plans to live-stream as many runways as possible.
Also part of the revamp is the Hudson Hub—a space geared toward emerging designers. In comparison to the bigger Lincoln Center venues, which will cost about $45,000 a pop, the Hub will be priced at $15,000 per show. That’s a $3K price decrease from The Box, Mercedes-Benz Fashion Week’s previous new-talent-focused venue, for which the fee was $18,000. The price dip is hardly competition for Made at Milk Studios, where the show space for lucky rising stars is free, but we guess it’s a start. — Katharine K. ZarrellaPhoto: BFAnyc.com
If Paris has an answer to Williamsburg, it would be the area around the Rue Lucien Sampaix in the 10th arrondissement. The neighborhood’s epicenter is the Tuck Shop, the retro-chic vegetarian eatery and gourmet coffee bar opened last year by a trio of hip Australian girls: Anna Rice, Stella Rice, and Rain Laurent. Last night they added “art gallery” to their roster as they feted an impromptu first show by a fellow Aussie, Leo Greenfield, who’s been hanging around Paris since fashion week and working on what he calls “observational illustration.”
“I’m interested in the language of drawing. I look at [my work] as social portraits combined with journalism,” the artist said, surveying walls lined with breezy drawings of Haider Ackermann, Diane Pernet, and Alber Elbaz. Greenfield sketched these from memory after Olivier Saillard and Tilda Swinton’s recent Eternity Dress performance. Pretty good access for someone who showed up in Paris cold a couple of years back and just happened to benefit from the kindness of strangers, like Damir Doma and Joel Arthur Rosenthal.
Asked what impressed him the most about the Spring shows, Greenfield replied, “Comme des Garçons for its graphic impact. And at Haider Ackermann I saw colors I had never seen before, and it was all so fast I couldn’t draw it!” In any case, all indications point to Greenfield closing in on his dream life as an artist in residence: He has just wrapped a weeklong stint in Martin Grant’s atelier. “It was amazing,” the artist said. “He’s all about minimalism without losing luxury.” — Tina Isaac GoizéIllustrations: Leo Greenfield
LVMH’s acquisition of Loro Piana—the Italian house known for its super-luxe cashmere and wool wares—earned its final approvals today. And to seal the deal, LVMH appointed Antoine Arnault (son of LVMH CEO Bernard Arnault) as the brand’s chairman, reports WWD. This is just one example of the Arnault children’s increasing responsibility in their father’s company: Antoine is also the CEO of menswear house Berluti, and his sister, Delphine, stepped into the role of executive vice president of Louis Vuitton this summer. Delphine also helped spearhead LVMH’s new young designer prize, which, announced last month, will award the winning talent with 300,000 euros. Photo: Getty Images
Italian entrepreneur Lapo Elkann is a fixture on best-dressed lists and an avid collector of contemporary art, so it only makes sense that the jet-setting Fiat heir, and cofounder of eyewear and lifestyle brand Italia Independent, would be making the rounds (along with, seemingly, everyone who’s anyone) during Art Basel Miami Beach this week. Tonight, Elkann and his crew will host the opening of MAPS: Wall to Wall in the Wynwood District, where he will debut a new capsule collection of Italia Independent alongside photographer Kristian Schmidt’s exhibition, Whale Shark Series (think: underwater snapshots of models swimming with the mammoth fish).
The corresponding limited-edition shades feature both camouflage frames and mirrored camouflage lenses (only visible from the outside). Elkann is a longtime fan of the military-inspired pattern. “I have already used it on many of my bespoke cars and bikes—specifically, a Ferrari 458, a Chrysler Jeep, a Fiat 500, and a Vespa,” he told Style.com. “I’m proud to say I have always used camo in areas where no one has before, and Italia Independent is the first to integrate camo into the lenses.”
Italia Independent’s Full Camouflage Capsule Collection (from $237) will be available in January at www.italiaindependent.com. —Brittany AdamsPhoto: Courtesy Photo
With the holidays in full swing, we’re in a festive spirit here at Style.com. And when it comes to party looks, we’re feeling for fringe—the stuff was all over the Spring ’14 runways. Imagine twirling on the dance floor in the white leather jacket from Altuzarra, or shimmying about in Emilio Pucci’s glam poncho. Decorative tassels added an artisanal touch at Dries Van Noten, Marc Jacobs, and Alexander Wang, while dense, carpetlike shag turned up at Proenza Schouler and 3.1 Phillip Lim. If a full-on fringy outfit is too much for you, get the look with a bohemian handbag similar to the ones we spotted at Céline, Valentino, and Gucci.
Ralph Lauren won’t be the only one outfitting America’s athletes for the 2014 Winter Olympics in Sochi. Burton, too, has created some duds for the competitors—specifically, the snowboarding team. The kit’s oatmeal wool beanies, camel long johns, and eggshell yellow gloves don’t exactly scream patriotism. However, with their weathered stars and stripes motifs, the patchwork cream, blue, gingham, and plaid hooded parkas scream vintage Americana. Go forth and shred it in style, Team U.S.A. Photo: Courtesy of Burton
Rules were meant to be broken. At least they were last night at Liv Tyler and her grandmother Dorothea Johnson’s holiday fete at Stella McCartney’s New York flagship, where they celebrated their new book on manners. “This blasts through any etiquette whatsoever!” exclaimed Tyler, pointing to her own late arrival and last-minute primping as the ultimate party “don’t.” However, handling life’s hiccups with grace is one tip offered in Modern Manners: Tools to Take You to the Top, which Johnson, etiquette expert extraordinaire, aptly called “a pick up and put down book.”
Holiday revelers including Alexandra Richards, Craig McDean, and Charlotte Ronson turned out to toast the tome. Noticeably absent was McCartney herself. (She’s in London gearing up for her annual Christmas lighting this evening.) But given the designer’s “impeccable manners,” attested Tyler, and the pair’s long-standing friendship, the choice in venue was not a surprising one.
On hand were delightful butternut squash bites and vodka rosemary cocktails, served by waiters in reindeer antlers and flashing Santa pins. Singing a range of holiday classics, an a cappella group later serenaded Tyler with “I Only Have Eyes for You,” only to have the McCartney-clad star join in.
Hoping to sample some cotton candy from the “Dos and Don’ts” sweets table at the back of the store was Hanneli Mustaparta. “I can’t reach; my skirt’s too short!” she exclaimed while leaning over some “Don’t raise your voice” cookies. While keeping her thigh-grazing frock modestly at bay, the rule breaker eventually managed to pluck some cotton candy from the jar.
Modern Manners: Tools to Take You to the Top is published by Random House and available at select bookstores as well as at Stella McCartney’s Greene Street store. — Sophia GonzalezPhoto: BFAnyc.com
Time‘s annual Best- and Worst-Dressed Lists came out today. Not surprisingly, Jennifer Lawrence nabbed the top spot in the best-dressed category for her Dior Oscar gown (yes, yes, the one she fell in). Also not surprising was the worst-dressed starlet of the year, Miley Cyrus, who earned the dishonor for her nude underwear and giant finger VMA ensemble—or lack thereof. However it’s not all bad news for Hannah Montana. Cyrus also ended up in the No. 6 spot on the best list, thanks to a decidedly less revealing backless Marc Jacobs gown. Check out Time‘s full rundown here. Photo: Lester Cohen / WireImage
Tucked in The Avant/Garde Diaries Project Space in Soho is Le Cabinet de Curiosités of Thomas Erber—a compilation of limited-edition goods curated by Mr. Erber, a journalist and consultant. Le Cabinet de Curiosités (or CDC) is an annual collaborative affair whereby Erber brings together approximately fifty independent artists, brands, and designers, and gives them carte blanche to create (and, of course, sell) items that are alluring and exclusive.
New York is his fourth installment (Colette in Paris, Browns in London, and Andreas Murkudis in Berlin were CDC’s previous venues), with Bangkok as its next. And last night’s launch was hosted by one of the CDC’s very first permanent guests, Parisian label Maison Kitsuné, who produced a special black flight jacket with shearling. “It’s a very American style that’s perfect for New York,” Maison Kitsuné creative director and co-founder Masaya Kuroki (co-founder Gildas Loaëc was also in attendance), who’s been friends with Erber for fifteen years, said of the topper. “Thomas has style, and he’s sharp,” added Kuroki. “He has his modern eye but still appreciates all the old traditional things, which is so Maison Kitsuné.”
The designer’s sentiments were echoed by second-time participant, House of Waris founder Waris Ahluwalia: “Mr. Erber is great. He really pulls it all together,” Ahluwalia said. “It’s nice to be in the company with other artists, and CDC is always a great show of mixed media, of everything from jewelry to caviar.”
Notable items on offer include a French caviar-leather rolling case by Want Les Essentiels de la Vie, a rare copper-encased Marquis de Montesquiou Armagnac, twelve unique Vulcain timepieces, and a Moulinette x Højmark bicycle with graphic details etched into its steel frame.
“I have seen many young entrepreneurs and brand founders who put a lot of heart and soul into their [products], and on the opposite, I have seen many artists who are dealing with their own career as entrepreneurs,” Erber said. “My role is to define the limit between both and to curate them with authentic enthusiasm and sincerity.”
Le Cabinet de Curiosités of Thomas Erber is open through December 23 at 372 Broome Street, in New York. —Elizabeth L. PengPhoto: Courtesy Photo
“When you choose your lingerie, you think about somebody who is going to look at it…” purrs model Malgosia Bela in La Perla’s latest drop, a short backstage video, debuting here, which accompanies the underwear label’s Spring ’14 campaign. “Or take it off, actually, if the evening goes well.”
Bela, Cara Delevingne, and Liu Wen star in La Perla’s newest promo to showcase “multiple styles of femininity” via their notably different personalities. Bela, the veteran, Delevingne, the wild child, and Wen, the willowy middle-grounder. Lensed by Mert Alas and Marcus Piggott (with art direction by Fabien Baron and styling by Ludivine Poiblanc), the ads and the video convey a new rawness for La Perla, yet they’re entirely relatable. Bela’s above-mentioned sound bite notwithstanding, each model can be seen taking a selfie or two in the clip. And despite the vid’s grayscale eroticism and somewhat ominous electro soundtrack, Delevingne’s sound-off captures the campaign’s overarching ethos: “Don’t worry, be happy, basically.” —Nick Remsen
Italo Zucchelli, the creative director of Calvin Klein Collection’s menswear, was unexpectedly enthusiastic about a subject in fashion—at least in men’s fashion—that most prefer to ignore: pre-collections. “It’s kind of new for men,” Zucchelli said. Not long ago, the situation was much the same for womenswear: Pre-collections were commercial lines, meant to bolster store buys (in practice, they often make up to 70 percent, or more, of many retailers’ annual purchases) and distill the themes of the mainline “editorial” collections presented on the runway into more wearable, salable form. But anyone reading Style.com over the past few years has seen pre-collections boom, often into runway shows of their own. (See our complete coverage if you disbelieve.)
ould the same happen for menswear? Zucchelli, for one, makes such a thing seem possible. (His sales, he reports, are split fifty-fifty between pre-collections and Spring and Fall collections.) “The pre-collections became bigger and bigger,” he said. “Now I’m injecting fashion.” The Pre-Fall 2014 collection, debuting here, makes the point. The airy palette of the Spring ’14 collection, inspired in part by the work of James Turrell, turned darker, but blue remained dominant. Makes sense: Navy is a color no man is afraid to buy. But Zucchelli made good on his promise of more fashion in this traditionally sales-friendly offering. A bonded flannel car coat, easy and approachable, was spliced together with a panel of contrast fabric. “Techy” was Zucchelli’s word for it. That future-leaning, technological bent, which has characterized many of his collections for the label, was evident throughout: In the moire jacquard motif on suits and jackets, the slash details worked into the seams of tailored garments, and, most of all, the printed graphic sweatshirts and tees that the designer said were already attracting significant sales attention. They featured blue-tinted aerial illustrations of one of the world’s techiest cities: Tokyo.
An army of mannequins clad in vibrant plaids, masks, and cowboy hats. A cherry-red assemblage fashioned from a Coca-Cola cart. A photograph of a giant ear. These are just a few of the works one encounters while touring German artist Isa Genzken’s new show at the Museum of Modern Art.
The exhibition marks Genzken’s first retrospective stateside, presented with support from Céline. (Creative director Phoebe Philo is a huge Genzken fan, and flew to New York to toast the opening with a party.) “It’s past time,” says MoMA curator Laura Hoptman. “It’s a goldmine of innovative work by a strong woman artist that had never been seen in the United States. It was kind of a curator’s dream.” Indeed, visitors unfamiliar with Genzken who, now 65, has been producing art for the past forty years, are given much to explore, from the artist’s minimal wooden Ellipsoids to her unsettling found-object sculptures to her imposing comments on metropolitan architecture.
“Genzken has a broad brush. She’s moved from one language to another with alacrity,” says Hoptman. “There’s a seamlessness to how she looks at how we live every day—the junk we see on Canal Street, the construction sites, the cool clothes, the beat of techno music—that’s embedded in this very lofty ideal of what culture is. For me, that is the future of contemporary culture—it’s high, low, and everything in between. She’s very much a banner woman for that.”
Isa Genzken: Retrospective runs through March 10 at the Museum of Modern Art, moma.org . —Katharine K. ZarrellaPhoto: Jonathan Muzikar
There’s another rapper falling into fashion’s favor. Today, WWD reports, Alexander Wang has teamed up with Dr. Dre to turn out a pair of limited-edition black and gold Beats by Dr. Dre headphones. It’s been a rap-filled year for fashion, what with Kanye West’s A.P.C. collab, A$AP Rocky’s cameo on the Hood by Air runway, and Jay Z’s Picasso Baby shoot, but for Wang, it would seem, it’s all about the D.R.E. Photo: via WWD