Dear Filep and iDEALS, You are Here concept store and Glamcult Studio collaborated to select promising young fashion designers who are integrating new technologies and visions into their designs. The exhibition shows various innovations; from 3D printing to laser cutting, moulding techniques.
Modebelofte offers a platform to a new generation of designers during Dutch Design Week.
With this platform Modebelofte aims to inspire audience of consumers and companies with their visions of tomorrow’s fashion. Modebelofte 2013 is titled ‘Future Fashions’, referencing the futuristic nature of the selected work which examines the use and aesthetics of new technologies and hyper crafts.
Participating designers: Ana Rajcevic, Laerke Hooge Andersen, Duran Lantink, Jef Montes, Pauline van Dongen, Sadie Williams, Silvia Romanelli, Volker Koch, Xiao Li, Dewi Bekker, Jantine van Peski, Minju Kim, Winde Rienstra, Rianne Suk, Miriam de Waard, Anne Vaandrager, Yoram Tomasowa, Cat Potter, Mi-Ah Rödiger, Jenny Postle, Jaimee McKenna, Alfhild Sarah Külper, David Laport, Raffaela Graspointner, Nadine Goepfert, Liselore Frowijn, Wim Bruynooghe and Stéphanie Baechler.
you've read – somewhere, sometime - about that 'emotional shock' fashion people
(Irène Silvagni or Carla Sozzani, just to mention a few) felt, back in 1981.
I think I
actually felt the same, on Friday October 11th, at the opening of '80s 90s
Facing Beauties'. I’m talking
about the exhibition set in Rimini, Italy; 5 rooms of Italian prêt-à-porter and
Japanese radical fashion, from the 80’s and 90’s.
welcomed with a S/S 1995 green polyester Issey Miyake, the same polyester the
Japanese embraced 'when Paris Couture was embalmed in a cocoon of silk' (Suzy
Menkes quote), inspiring!
mention the soft shape of the Futon Coat (F/W 1995-96) or the plissé touch of
the Zig Zag gown (F/W 1994-95), both in room n° 1; where Miyake’s experiments
with pleating are confronted with Armani’s deconstructed jacket.
after was quite surprising: a catwalk covered with spoiled and ripped shirts
and uniforms and gowns; those which were criticised first in the 80’s by
international press (do you remember so called ‘Fashion’s Pearl Harbour’ and
its bag-lady?) and then loved, with all their heart, by fashion ‘black crows’.
up, you could see Dolce&Gabbana mermaid gowns, elegant Prada and Valentino
silk cocktail dresses and wonderful Fendi evening’s ones, all hanging on the
walls, ready for you to get changed in, at any moment for a party or a ball.
room I fell in love with was the third one: a black wall with black art pieces
of Comme des Garçons and Yohji Yamamoto, versus a coloured one, with three
‘paintings’ created by Moschino, Missoni, Genny, Byblos, Ferrè and Krizia; the
absence of Japanese non-colour versus the exuberance of Italian prints and
I then felt
attracted to another smaller room, no wonder; because as soon as I got close I
could see medusas, gold, bright
flowers and provocative models posing naked. And then the explosion! A Versace
explosion! A homage to Gianni Versace and his great work.
n° 5, the last one, everything was clear and bright. A divine contamination
between fantastic occidental creatures and arcane oriental tales; west meets
east with the eclectic works of the Italian designer who changed the course of
fashion history: Romeo Gigli. 8 outfits made of dreamy amusement and cultivated
quotations, where craftsmanship and genius are enclosed in one-off pieces.
probably dying to know where all these archive treasures came from. It’s a
magical, timeless luxury haven; one of the best kept fashion secret until now:
for the first time, the Archivio di Ricerca Mazzini
(www.archividiricercamazzini.it) opened up, allowing you to look and discover
the precious uniqueness it has to offer.
Luca Casarotto Romer
80S 90S Facing Beauties [Rimini, Museo della Città – Ala Nuova]
Dear Filep and iDEALS,
on Saturday, October 19th , at the stunning location of "Salone Degli Affreschi" of Bari University, exclusively opened its doors to an exhibition featuring pieces from the archives of Madame Mimma Ninni.
The exhibition, in collaboration with Balenciaga, featured iconical and "Edition" pieces from the 1950's to now, including looks that Mimma Ninni has collected during this twenty-five years and has kept as archive such as Nicolas Ghesquière, Alaïa, Christopher Kane or Comme des Garçon, Thomas Wilde among to name a few.
Celebrating the 25th aniversary of the historic italian boutique, that took its name from the owner herself, Mimma Ninni, opened its doors back in 1988 with the Mila Schon flagship store.
A real pioneer of fashion retail, she was the first to sell Comme Des Garçons in Italy. Special thanx to Federica Riso.
Pictures by Stefano Coletti
«To look at the moon it is necessary to gaze beyond the pointing finger». It’s quite unfortunate yet inevitable that in the (fashion) world some are still staring at the finger instead of going deeper with their soul (whether they had one) to enjoy the whole brightness the satellite could give.
And, as timely as the moon, a new (in a manner of speaking) fashion cycle has begun. Again. The SS14 worldwide circus still lets journalists, experts and style gurus (not to mention parvenu bloggers) rush in their obvious argumentations. A few of them try to pull away a more philosophical idea behind garments (thankful to the crumbs of clues press offices release with wisdom), but her majesty the queen tiredness reigns supreme. Only boring people got bored, but it’s truly hard to find a reason for excitement in today’s fashion galore.
A few years ago Stefano Gabbana said «we do not make clothes, we do make fashion». Which might sound fantastic if we were in wonderland, but here on earth fashion has 100% to do with clothes, simply because it has to do with market. And ‘according to many specialists’ market has no room (at least no longer) for just ideas, you have to sell. From this perspective even sparkling gashes into the system must be seen as an accurate marketing plan, just because failures have no second chance now. And it’s pretty funny to read about trends and vogues as if they are a pure fantasy-birth of genius designers («SS has never been this floral!» someone columned down; or «XXI century Grunge is a real breakthrough in fashion»).
World is no more what we used to wish it would have been, and keeping dreaming of it can be romantic and relieving in a way, but what we need now is to accept things are changed even for unchanging old institutions, and trying to force them as they were in new paths is a mere waste of time. In the case of fashion market, it is perfectly split in two: luxury branch (high quality products at very high prices) and basic branch (very low quality products at average/low prices). What stands in between is a mix of the worst aspects of the two (very low quality products at high prices, the quintessential antieconomic strategy), leading then to an unsuccessful ending. But most of all it can’t be the future. The future must find a new way, and first of all we must build a new grammar with new words. But remember, words are not the truth, «truth can be likened to the bright moon in the sky. Words, in this case, can be likened to a finger.
The finger can point to the moon’s location. However, the finger is not the moon». We must rethink technology and use it, not used by. Re-educate to a slower (even slightly) life and not listen to the-faster-you-go-the-faster-I-get voices, which seem more and more distant, leaving us always unsatisfied. We are perfectly aware that it takes ages to make a revolution, but the best way to reach out for the target is start seeking it.
Text by Marino Bombini. Any opinions expressed in this report are solely those of the author.
Dear Filep and iDEALS, a few weeks ago I visited MoBA 13, the world's only fashion Biennale in Arnhem (The Netherlands).
A truly spectacular happening, the home for various exhibition, events, and many many designers and artists.
The main exhibition included works by A.F Vandevorst, Manish Arora, Walter van Beirendonck, Damir Doma, Jean Paul Gaultier, John Galliano for Christian Dior Couture, Craig Green, Iris van Herpen, Pam Hogg, Bas Kosters, Maison Martin Margiela, Issey Miyake, Moschino, Rick Owens, Prada, Gareth Pugh, Kosuke Tsumara, Undercover, Viktor & Rolf, Vivienne Westwood and Yohji Yamamoto as well as talent from around the world including Akira, Susanne Bisovsky, Barbara I Gongini, Renáta Gyöngyösi, Juun J, Deniz Kaprol, Katarzyna Konieczka, Asher Levine, Peter Movrin, Tex Saverio, Little Shilpa, Yiqing Yin, Tata Christiane, Jef Montes, Femke Agema, Saba Tark, Ana Rajcevic, Manon Kundig, Robert Wun and many more.
Here is an impression of the main exhibition 'Fetishism in Fashion'.
Dear Filep and iDEALS, at SALON, by tradition, you can discover beautiful works and installations throughout a variety of locations in the whole of Amsterdam.
For it's 14th edition the
focus was on lace.
This time, SALON/ investigated lace as a bridge between design and society, reliving its history and addressing its contemporary values.
The craftsmanship and cultural heritage of lace forms the central interest within the exhibition.
Here are some of my impressions from SALON Kant. My photos feature different locations:
Museum het Grachtenhuis, Ons' Lieve Heer op Solder, Museum Willet-Holthuysen and De Oude Kerk Amsterdam.
Participants: Edwin Oudshoorn, Predrag Pajdic, Koen Hauser, Marcel Wanters, Elsien Gringhuis and Alki van der Kruijs, Jef Montes, Gerrit Rietveld Academy, Design Academy Eindhoven, Danny Cremers, Robin Kolleman, Alet Pilon, Miss Blackbirdy, Tamar Frank, Soepboer and Stooker, Desiree Hammen and many more.
Combinations, dimensional variations, textural explorations and componential silhouettes, shaped the backdrop of this SS14 MAN collection by BARBARA I GONGINI. Asymmetry, multi layering and long silhouettes are juxtaposed opposite sleeker fluid basics, allowing for individual wardrobe decisions. Each look can be deconstructed, or layers can be added on, as garment components seamlessly complementing each other. An array of fitted coats, shorts, lush leggings, elongated shirts and constructed oversized vests, are transitioned into full silhouettes, by the introduction of directional accessories.