You take master photographer Glen Luchford, a 70s film set, throw in a bunch of aliens, robots, schlock film effects, and some fabulous Italian high fashion – and what do you have? Gucci’s F/W campaign. Creative director Alessandro Michele continues his nostalgic take on the seasoned Italian brand’s jet set past, this time by digging into all your favorite (or dreaded) sci-fi references of the 1970s. Who knew that an insect-looking monster could sell ready-to-wear? In the land of Gucci, everything is possible, it seems – check for yourself right here.
What would mean for a fashion magazine to be queer and realized entirely by POC (People of Color)? What may seem like a rudimentary question remains in fact an urgent one in the field of fashion publishing. POCs have long fought a battle of representation in the shiny spreads of mainstream fashion magazines, but diversity is often championed as a superficial trope in fashion photography without wrestling with the deeper structural issues in the fashion industry relating to access and tokenism. How can publishing accommodate the diverse experience of being a person of color in today’s militant world? New York-based magazine MAROON WORLD have been devoted to exploring the many assumptions and issues within this vast theme since their launch in 2016. Combining art, culture, and genre-expanding photography, the team behind the magazine draw attention to the struggles and celebrations that unify people of color across ethnic and social origin. The second issue, which launched last week in New York with music by Joey Labeija, and GHE20G0TH1K founder Venus X, sets out to capture love in all its complexity; “what it means to us, how we see it play out behind closed doors, the various faces that love parades as, and the opportunities that exist in our communities to give and receive love – to others and to ourselves – at all levels,” as founders Travis Gumbs & Cynthia Cervantes explain. “While working on the second issue we both suffered great losses, each of us losing a grandparent within just a few months of each other. The rituals of death pushed us to reconsider how we were experiencing love through the lens of loss. As our grief intersected with our work, we came to believe that strength and resilience are at the true heart of giving and receiving love.”
Fall is here, and with that comes not only great fashion but even greater art: it’s the official opening of the art calendar year, with museums and galleries alike opening their most anticipated shows of the year. Starting off in the Big Apple, and arguably, the center of the international art world, is MoMA’s new fashion exhibition, the first of its kind at the museum in 70 years! Items picks up where the last exhibition left off, examining 111 archetypes of contemporary dress culture, investigating how they’ve been employed by haute couture and mass fashion alike. Meet classics such as Levis 501s and the little black dress (reinvented repeatedly, from Chanel to Rick Owens via Mugler), as well as ubiquitous objects like the fanny-pack and flip flops, and get to know emerging garments like the controversial Burkini. An immense amount of historical research has gone into the exhibition, which fascinates, educates, and entertains as it unveils the complex role fashion has in our everyday lives. Let’s just hope that it won’t be another 70 years before MoMA’s next fashion exhibition.
From collection to cast, music to location…
Here are the 10 best of Paris Fashion Week SS18
With the mission to give credit where credit’s due, fashion’s very own vigilante, the anonymous someone behind the account @dietprada, continues to unceremoniously reveal copycats in the industry – this season with even sharper claws. With an active community of 28k followers and some of the best hashtags the Internet has ever seen, (#justchangeitalittle, #pushthesleevesupabit #gotthosemargieladiscoballsleevestoo), this account has become one of the most important voices in fashion. By placing one current runway look next to a suspiciously similar predecessor, they highlight the fact that copying both other designers and artist is not at all unusual. Quite the opposite: ripping off is common procedure for renowned fashion houses and newbies alike.
September 29th at 9.30 am
(And) as we look at jewelry design, one of the last perceived gendered bastions in the creative industry, there are two German women turning the thought of jewelry fitting to the body into an idea of jewelry fitting on the body – on any body, using the shapes and movements, skin and muscles as canvas to create a fine and very sensual decor to be worn and explored with an open mindset. Räthel & Wolf, with its designers Sari and Ricarda, are deconstructing a rather conservative approach towards jewelry and how it’s supposed to be embellishing the body, collaborating with artists from various disciplines and confronting their audience by making them rethink structure and beauty, while adding context and craftsmanship as their main characteristics. Their collection, which launched recently at London Fashion Week, proposes a fresh attempt towards jewelry design, making you rethink the ordinary and expand your curiosity. The rather young brand employs a playful and very open minded palette of influences that lifts them far beyond “just jewelry”. It is alluring and intelligent, putting the individual perception of beauty and sensuality in focus. As minimalistic and simple the pieces seem, their application and meaning are ranging spectacularly versatile.
Few designers in the Nordic region can claim a longevity as that of Charlotte Eskildsen, founder and creative director of Designers Remix. What started as an impromptu recycled design scheme within the fashion behemoth IC Companys quickly grew into a full-fleshed RTW brand, characterized by Eskildsen’s joy of making and an insistent focus on pulled-back, simple elegance. 15 years and several diffusion lines later, Designers Remix is sold in over 40 countries, and continues to lead the way as one of the Nordic region’s biggest success stories within contemporary fashion. To mark the anniversary (which coincides with our own), we sat down with Eskildsen to discuss the ins and out of fashion business, the importance of independence, and a vision for the future.
We know, we know! It’s been a summer of unashamed self-celebration: our child has become a moody, plump teenage girl, and we felt urged to make a party of it with long-time friends, family, and other collaborators. The latest issue of DANSK tracks 15 years of fashion through many of our peers – photographers, designers, magazine editors – who similarly emerged after the turn of the millennium. It also featured 45 of the most iconic pieces of fashion photography from our vast archive of material, tracing the sexy, the dangerous, and the avant-garde aesthetic DANSK has championed and spearheaded for a decade and a half. But we didn’t just keep this to the pages of a printed magazine – rather, we took to the streets, staging a magnificent exhibition of the photos in a central Copenhagen square to full display to our magical home town. Finally, a grand gala was thrown in collaboration with Pilgrim, Audi, Spies, Ecco og Boozt.com – who helped us invite our very best friends to the breath-taking halls of Ny Carlsberg Glyptoteket for an evening of speeches, food, fun, and games. Naturally, it was an emotional evening, with so much support continuing to go towards the DANSK project from our community, also moving forward. It only confirmed the importance of independent fashion publishing today, particularly in the Nordic region. At DANSK, we’re proud to show that where there’s a will, there’s a way, and to continue to deliver stellar fashion photography and journalism in the years to come. But for now, have a look at some of what went down during the DANSK Gala.