03.09.10 MADE IN SPAIN Linlee Allen reports on the Spanish contemporary art fair with a California twist
ARCO, the International Contemporary Art Fair in Madrid, celebrated its 29th installment
last month with guest of honor: the city of Los Angeles. Enter Javier Peres from Peres Projects
(whose freebie "Young Men At Play" posters by Dean Sameshima wreaked utter havoc)
and Wendy Yao (ARCO panelist and head honcho behind the infamous L.A. bookshop Ooga Booga).
Oranges anyone? Fallen Fruit, an American eco-art collective, invited viewers to sample
the goods at El Matadero, a great new exhibition space that could only be rivaled by cliche flamenco posters, the picturesque must-see coffee house La Mallorquina, or an impressive library at the ultra-cool gallery, Ivory Press.
ARCO highlights included neon works galore, as well as photographs by Rafel G. Bianchi, Alberto Garcia Alix, Jack Pierson, Wim Wenders, Martin Parr, and Miles Aldridge (his stellar homage to Kristen McMenamy was awe-inspiring to say the least). A fantastic velvet-and-bronze sculpture by Dutch artist Madeleine Berkhemer had fans chanting for less jamon and more Haribo (because there is nothing quite like a continuous sugar hit when browsing the aisles of
an art fair). Harland Miller oil paintings provoked praise, as did split-composition works by João Penalva. And who could forget the superb silhouettes and shapes on show across town at Studio Franchise courtesy of graphic design guru, Ryan McGinness?
03.07.10 THE ONSCREEN RUNWAY Pull out your Oscar ballots; it’s that time of year again
Yes, we know, Katherine Bigelow, likely the Best Director. Check.
And of course, Mo’Nique will do runways as Best Supporting Actress. Double check.
But what about predicting that often overlooked category which this year poses quite a dead heat, while serving up wall-to-wall, powerhouse talent?
That’s right it’s time to vote your Oscar prediction for Best Costume Design, or your favorite ‘Onscreen Runway’, if you want to really break it down.
Delivering fantasy and reality in the past, present and future while tacking all sorts of artistic challenges, it’s a critical element in what gives a film its visual and narrative truth.
This year’s nominees: Colleen Atwood (Nine); Catherine Leterrier (Coco Before Chanel); Janet Patterson (Bright Star); Sandy Powell (The Young Victoria); Monique Prudhomme (The Imaginarium of Dr. Parnassus). L.A. Collins
03.03.10 THE CRITIC Stephen Courter brings style and wit back to the film reviews
Stephen Courter isn’t your standard film critic, so it goes without saying that his cinematic sounding board, AnAisleSeat.com, should have a style all its own. The recently launched blog from the publicist/business partner for rising womenswear label Ohne Titel isn’t a thumbs up, thumbs down catchall of current titles but a thoughtfully selective guide to “what to see at the movies.” The result is a slew of witty, intelligent, and unpretentious write-ups (complete with fun-fact style footnotes) of indie, art house, documentary, and even the occasional big-budget blockbuster movies—whatever makes it past the author’s self-described “discriminating” taste. “The concept is film recommendations from a cinephile with a downtown perspective,” says Courter, who took inspiration for AnAisleSeat from the “bitchy New Yorker wit” of Quentin Crisp's movie reviews in the '80s-era gay-issues magazine Christopher Street. Given the growing number of fans eager to heed Courter’s advice, it’s a concept well worth reviving. Martha Glass
03.01.10 MILAN FASHION WEEK: DAY FOUR Ferragamo's '70s flashback, Cavalli's rich hippies, and Dolce & Gabbana's touching tribute
Marni’s Fall collection was characteristically bold and colorful, filled with large graphic prints (some of them paintings by Gary Hume) and a palette of dusty pink, ochre, and brick red. The Marni customer is a rather quirky, creative woman; and Consuelo Castiglione has given her structured silhouettes to play around with next season, such as sharp Bermuda shorts with dramatic peplum shapes and sculptural dresses with brocade panels. Given the brand’s heritage, there were also some standout furs, such as a red goat hair capelet and cleverly printed plush vests.
For his womenswear debut for Salvatore Ferragamo, Massimiliano Giornetti presented a ’70s-inflected collection, filled with cool, covetous pieces that still kept in line with the brand’s sense of sophistication. Giornetti has been Ferragamo’s menswear designer since 2000, and, here, he nicely translated his use of traditional patterns (chevron, check, houndstooth) and sharp tailoring into something easy and feminine. Among the standouts: a suede jumpsuit; a long, lurex shirt dress; and a leather-edged camel cape worn with leather shorts—not to mention the series of suede, strappy bags that looked familiar, but felt fresh.
Before a crowd that included Courtney Love and Lindsay Lohan, Roberto Cavalli sent out a lineup of rich gypsy looks: coats and jackets cut from upholstery-like fabrics, slouchy velvet and metallic trousers, fur-tipped scarves wrapped around, and leopard-print bags slung across the body. While there were a lot of beautiful pieces, it was a busy collection—heavily textured and layered high. But, then, such overt decadence has become Cavalli’s way.
Tradition and craftsmanship were at the heart of Dolce & Gabbana’s Fall show, which began with a video of the designers at work in their atelier, and closed with an army of models, dressed in black jackets and little else, marching out to the Moulin Rouge soundtrack. In between, the two brought out all of Dolce & Gabbana’s hallmarks: black lace, Sicilian florals, corsetry tailoring, and, of course, lots of leopard. Polka-dots, rich velvets, and gold coin embellishment were pleasing additions to the repertoire. The closing video of the seamstresses, who had achieved their vision, was a touching tribute, and it left few dry eyes in the audience.
Along with the help of Christopher Kane, Donatella Versace has successfully revived the Versus brand. Their second season of ready-to-wear was a young, fun, sexy romp through the Versace archive (think Gianni-era bondage straps), updated with pleated leather minis, cool little motorcycle jackets, and fantastic velvet shoes.
03.01.10 V64 PREVIEW: DARIA BY MARIO TESTINO It's all about extravagant film and fashion icon María Félix
In the next issue, Mario Testino presents an ode to the over-the-top personal style of Mexican film star María Félix—she of the wide-brimmed hats and golf ball–sized diamonds. Supermodel Daria Werbowy assumes of the role of the smoldering fashion icon in a 10-page story styled by Sarajane Hoare.
02.28.10 MILAN FASHION WEEK: DAY THREE In the mix at Bottega, coat parade at Max Mara, culture clash at Etro, and '70s louche at Gucci and Pucci
There was a lot going on at Bottega Veneta’s Fall collection; and in the end, something for everyone: cool leather looks, shaggy shearling coats, colorful silk taffeta cocktail dresses, and a series of mannish pantsuits for evening that—paired with side-swept hair and kohl-rimmed eyes—seemed inspired by Betty Catroux. Of course, there were also plenty of accessories, among them oversized bags slung across the body, sculptural wedges, and suede over-the-knee boots.
Greatcoats, cadet coats, embroidered velvet coats, shearling coats with sailor collars, ’70s-style coats in corduroy, bathrobe coats belted tight—coats, as always, were the focus at Max Mara, and this season, an austere military theme ran throughout. The addition of slinky gold lamé eveningwear lent a wartime elegance that hinted of Mata Hari.
Asia was the starting point for an elegantly opulent Fall collection for Etro. The label’s customary multi-ethnic layered looks were kept nicely in-check by the addition of mannish tailoring. Cheongsam blouses were worn under suit jackets, silk pajamas pants were paired with shearling, and leopard sarouel pants were complimented by a mohair olive knit and camel hair jacket, slung over one shoulder. The evening looks—of which there were many—were equally successful. Particularly noteworthy was a teal silk dress with an Asian print running down one arm like a tattoo.
This season, Giorgio Armani explored more youthful silhouettes, such as light, swingy skirts and shorts, worn with strong square-shouldered jackets. He also played with texture in the form of pom-pom furs, velvet fringe, and heavily embroidered cocktail dresses. Outerwear, such as a red cocoon coat, provided a more relaxed counterpoint to his customary sharp tailoring.
At Gucci, Frida Giannini delivered good, clean sportswear with a healthy dose of ’70s sex appeal. Narrow low-slung trousers, paired with silk button-downs, and a series of great-looking suede, leather, and fur coats recalled Gucci looks from the mid-’90s, as did the silk jersey gowns with cut-outs and metal detailing, and the monochromatic palette. But there were also plenty of sleekly modern pieces that were purely Giannini, such as a black wool dress with leather sleeves and a slash above the breast and a finale of finely-wrought ostrich and lace evening looks.
Milan is having a decidedly ’70s moment right now, and nowhere was that more evident than at Pucci, where Peter Dundas sent out a bohemian luxe lineup of printed maxi-skirts, high-waisted flares, fox gilets, and oversized shoulder bags, strewn with swingy tassels. Of course there were also plenty of short, sequined, barely-there mini dresses, which have by now become a Dundas specialty.
