The new exhibition at Musée d’Art Moderne is focusing on one of the most important movements in photography the last 20 years: The Düsseldorf school. Maybe most recognized for the teacher couple Berndt and Hilla Becher, who set out to document industrial architechture all around the world for decades (and have a rough 20000 of these documents in the archive), this couple also found the time to tutor some of the photographic superstars that arose in the end of the 80’s and still have a great part in today’s art photography; Thomas Ruff, Candida Höfer, Thomas Struth and Andreas Gursky, and more. Rather than staging the photograph, the essence in deadpan photography lies in the selection and the somewhat neutral way of presenting a motive, more leaning towards an intellectual analysis than an emotional one. The new exhibition in Paris is open until the beginning of January and covers a whole range of work related to the Düsseldorf school, wether influenced or actually taught at the Kunstakademie itself. It is simply a must-see.
Fashion ! Art ! Activism ! Last night, new kid on the block Maroussia Rebecq aka Andrea Crews had all those in the know at her wild show, an Off to the official calendar. This inspired girl went to art school, not St Martin’s, and is combining a feminist, experimental, and socially aware approach to producing her fashion-art hybrids. The show mixed brand new designs with pieces reworked from recycled clothes. Socially conscious, Crews works with disadvantaged communities – the embroideries on her current range of sweatshirts for example were done by women in the favelas in Rio. She’s already collaborated with Nike and Lacoste, and Sara, buyer from Colette and early supporter of Crews’ wild universe, was in the front row last night. Watch this space… www.andreacrews.com
‘Abstract !’ exclaimed my neighbour as the show wrapped up. Yeah! Willhelm’s was the only show I’ve seen this season where none of the looks were variations on each other. There was barely any continuity in fabrics, colors or style. Each silhouette was a totally new universe. While a live band pumped out primal beats, the only apparent theme to the show - apart from the facepaint - was a borrowing from diverse non-western cultures : Pacific island motifs, American Indian style embroideries, Japanese kimono influences… The number of ideas parading down the catwalk was extraordinary, and exciting. It’s clear why Björk chose Willhelm as stylist for her last world tour.
Under a bank of fans Branquinho sent out a runway version of ‘Thelma & Louise’. It was all about wind-in-the-hair freedom, including the rare sight of a pair of jeans on the runway ; the models also wore sporty black aviator glasses. The collection came in a desert palette of sky blue, grey, khaki, black, and pale blue Vichy cotton, but the queen of the monochrome also explored prints, with a range of simple silk shift dresses decorated with distant landscapes : views of the sea, a mountain lake, a sunset and the desert. The emblematic piece was an oversized, short-sleeved jacket pulled in at the waist with a thin leather belt. Half way through fashion week, it’s also safe to say that long hair and longer legs will be a major trend for next summer.
TRIBAL CHIC!
Studded. Belted.
Colour gradations. Sheer.
Short pleated day.
Skins: python, galuchat, suede and leather.
45 looks.
So went the intro contained in the chic, black dossier left on everyone’s seat (along with a glam make-up kit). And just like it said on the tin, John Galliano’s latest adventure definitely had a whiff of the savanna about it, with African-inspired hairpieces and a first swathe of robes in a palette straight from a safari. The 45 glamourous looks, practically all in silk, then segued into a rainbow of delicious, acid tones : chartreuse, raspberry, pink, smoke, celadon… The first half of the show presented mini-dresses, and the second, Oscar-worthy flowing robes. A pumping soundtrack of a song by Martin Solveig ‘Everybody’ set everyone’s toes tapping.
The Berlin-Paris art/fashion collective presented their 36th collection : Bless N° 36 Nothingneath in rather chaotic circumstances, which meant a long wait for much of the crowd. But the fashionistas were calmed with pretzels and beer. The twenty or so looks, worn by non-professional models – typically friends and family of Bless – crowded into a tight stairwell, providing a kind of tableau vivant we climbed slowly past. As usual Bless’s new collection is a comfortable, casual, generally unisex range. The mainly cotton pieces are loose and draped, in pale greys and blues, with flashes of red and orange. Bless’s accessories are always great and their new metal-fringed sunglasses concept is quite something! Scarves and veils and bearded models at times gave a Muslim vibe to the whole shebang.
The Piper champagne cocktail at the entrance to the cavernous car park where the show took place was a cheery introduction to a fresh and feminine show. Summer 09 for husband-and-wife team, An Vandevorst and Filip Arickx, had lingerie out and proud: long-haired waifs with smudged red lips teamed lace details, bustiers, corsets, suspenders and garter belts with the label’s signature white shirts and other tailored elements (suit jackets, trench coats). The premodimantly black-and-white collection, in cottons and silk, was lifted with flashes of orange, green, mushroom and a few multi-colored prints, and accessorised with some funky, clunky shell necklaces.
Hedi Slimane’s replacement at Dior Homme, the talented young Belgian Kris Van Assche, presented his fifth womens range on Day One of Paris Fashion Week on Saturday. To the sounds of Guns & Roses ballad “Don’t Cry”, the models strutted the catwalk covered with fake tattoos. Maintaining the rocker vibe, the slouchy collection Sang Bleu was predominately in black and dark blue – lifted by some flesh tones – and it played with effects of shine and transparency. Hedging his bets, Van Assche presented skirts that were either micro-minis, or sweeping the floor, and as usual, he borrowed elements from classic menswear: tuxedo and mens suit bits, waistcoats, the pinstripe… Fashionistas are keenly watching Van Assche, but the sense is that he still hasn’t quite reached his potential.
July 15, 2008–Eli Paperboy Reed, the sensational 24-year old Soul Man from Boston the whole internet is buzzing about, made his first appearance in Paris last night at La Maroquinerie. Reed was pushing his fabulous new record Roll With You. Just as on the record, last night his perfectly pickled soul vocals moved effortlessly between slow Sam Cooke-d croons and sharp James Brownesey yelps, giving him the unchallenged title of best new indie artist of the retro soul genre (but hey, he could simply take Best New Indie Artist, period). He belted out songs that made the more casual soul fan blink, “Is this a Sam, uh, Cooke cover? Was that Wilson P-Pickett?” Alas, no, he treated the audience to few covers, but the fact that the Amy Winehouse-led soul revival even wonders about it suggests the Paperboy is the Shit. This ain’t no Blues Brothers cover band. And this ain’t another Vanilla Ice. And the live performance is as lively as it should be: a demi-Black Baptist Sunday sermon. No minstrelsy. Just true love. This guy has been studying the soul tradition for years, singing along, letting the spirits stake out a claim in his head and heart. He promised to be back soon. Keep your ears glued to those CBs, truckers… –Jay Harsin In Paris last night, keepin-it-real-low-quality cell phone version: Fancy pants higher tech version from Houston:
