Fashion Stories 02.07.2015
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Came to Prominence in the 1980S with a Punk Aesthetic Using Everyday Objects Such As Buttons and Bottle Tops
Accessories designer and stylist JUDY BLAME came to prominence in the 1980s with a punk aesthetic using everyday objects such as buttons and bottle tops. Over the decades he has collaborated with a host of international designers, from Christopher Nemeth to Kim Jones at Louis Vuitton, as well as styling the likes of Neneh Cherry and Björk. Portrait Mark Mattock Words Andy Thomas “The one thing I didn’t want it to be was a nostalgia-fest,” industrial buildings sprouted shrubbery from the guttering and ‘To Let’ announced Judy Blame last November, speaking about signs from the walls.” his forthcoming exhibition at London’s ICA. “It’s called the London club culture responded with a display of creative ingenuity. It Institute of Contemporary Arts, and I want to do something was at Cha Cha, the club Blame co-hosted at Heaven with Michael Hardy contemporary, using all my different tools. So it’s going to and fellow punk renegade Scarlett Cannon, that his reclaimed jewellery be a bit of jewellery, a bit of customising, photos – we’re (made out of everything from driftwood to coat hangers and metal finding out a way of mixing all the things together. But it chains) really started to turn heads. will be me with a 2016 hat on, not a 1980s kind of thing.” One of those excited by the pieces he saw was the designer Antony It was in the 1980s, though, that Blame’s DIY creativity Price, who commissioned Blame for a catwalk show at Camden burst out of London’s post-punk scene. -
Mad About The
Mad Exhibition Guide About The Boy 1 Take this card – it forms the base of your guide. 2 Take a paper fastening. 3 Pick section texts as you walk around. 4 Create your own custom guide. Mad About The Boy explores fashion’s obsession with the young male, focusing on the way ideas of the teenage boy are constructed through specific collections and images. It presents the work of a variety of designers and photographers – current as well as select examples from the 1970s, 1980s and 1990s – who have shaped fashion’s ideal of the young male or for whom the boy provides a constant source of inspiration. Fashion has long been preoccupied with youth – from its preferred lithe body shape to the consistent and unwavering references to subcultures and street movements. Although the teenage years are both a time of transformation and open to reinterpretation themselves, generation by generation, year by year, fashion’s relationship with youth is cyclical and repetitive – the same tropes and signatures appear regularly: school, fandom, gangs, firsts. Established creative practitioners, reflecting on their own youth, often draw on the same ideals as new graduates for whom a youthful existence is a reality. It is these recurrent themes that are explored here. While this exhibition approaches ideals of the young male through eight distinct sections – hangouts, rebellion, gender fluidity, sexual exploration, street culture, education, revelry, and the line between boy and man – there are common threads that run through all depictions of the boy. The fluidity and possibility of the teenage years seem to unite fashion’s preoccupations, sparked, perhaps, by a strange belief in the precious genius of youth – a time of infinite opportunity and spontaneous, innate coolness, mixed with liberating naivety. -
As Seen in Blitz Datasheet
TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us As Seen in Blitz Iain R. Webb ISBN 9781851497232 Publisher ACC Art Books Binding Hardback Territory USA & Canada Size 9.06 in x 11.81 in Pages 272 Pages Illustrations 150 color, 100 b&w Price $65.00 1980s fashion and culture, as seen on the deeply influential pages of BLITZ, the pioneering '80s style magazine A wealth of stunning visuals, text and interviews from the time, plus new commentaries from over 100 key players A must-have book for anyone seriously interested in 20th-century style, especially devotees of the 1980s The Metropolitan Museum is holding the exhibition PUNK: Chaos to Couture from May 9 August 11, 2013 "BLITZ provided a beautiful flamboyance in the '80s... When you and I met up it was an eye-opening moment for me. You showed me a life that was different to how I had perceived it." Nick Knight "BLITZ completely changed the perception of beauty. There were no chocolate box girls in BLITZ, just lovely edgy young things who depicted the age and a different mood in how people viewed beauty." Carole White, co-founder of Premier Model Management "Like the lightning in its name, it struck us in 1980 and kept us spellbound the whole decade. 'Too fast to live, too young to die', that is BLITZ for me. Every month we would run to the news stand to be 'BLITZed' with irreverent, glamorous, chic and iconic images. BLITZ was Iain R. Webb's brainchild that corresponded perfectly to the era; it was one of its best expressions. -
Love and Loss Presseunterlage Engl
LENTOS Kunstmuseum Linz Information Sheet LOVE & LOSS Fashion and Mortality 13 March to 7 June 2015 -Nummer 0002852 DVR LENTOS Kunstmuseum Linz, A-4021 Linz, Ernst-Koref-Promenade 1 Tel: +43 (0)732.7070-3600 Fax: +43 (0)732.7070-3604 www.lentos.at Content Exhibition Facts ……………………………………………………………………………… 3 Exhibition Texts / Artits ...………………………………………………………………...….. 4 Exhibition Booklet Texts …………………………………………………………….…….... 5 Press Images ………………………………………………………………………….…....... 18 Seite 2 Exhibition Facts Exhibition Title LOVE & LOSS. Fashion and Mortality Exhibition Period 13 March to 7 June 2015 Opening Thursday, 12 March 2015, 7 pm Press Conference Thursday, 12 March 2015, 11 am Exhibition Venue LENTOS Kunstmuseum Linz, exhibition hall, first floor Curator Ursula Guttmann Exhibits About 160 works of art, under it High and Street Fashion, photographs, videos, sculptures, paintings, graphic works and installations by 52 artists and artist groups Catalogue The exhibition is accompanied by the publication LOVE & LOSS . Edited in Verlag für moderne Kunst. With texts by Ursula Guttmann, Thomas Macho, Stella Rollig and Barbara Vinken as well as two interviews with Cooper & Gorfer and between Nick Knight/SHOWstudio and Kristen McMenamy. 160 pages, price: € 22 Saaltexte A free exhibition booklet with information on the exhibits is available in German and English language. Supported by Contact Ernst-Koref-Promenade 1, 4020 Linz, Tel. +43(0)732/7070-3600; [email protected], www.lentos.at Opening Hours Tue–Sun 10am to 6pm, Thur 10am to 9pm, Mon closed Admission € 8, concessions € 6,50 Press Contact Nina Kirsch, Tel. +43(0)732/7070-3603, [email protected] Available at the Press Conference: Bernhard Baier, Deputy Mayor and Head of Municipal Department of Culture Stella Rollig, Director LENTOS Kunstmuseum Linz Ursula Guttmann, Curator Several artists are present. -
Large Print Guide
Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir. -
Fashion Photography
Fashion photography The Begining 1800 The precursors of fashion photography go back to the eighteenth century, when images of fashionable clothes were printed in magazines and often hand-colored. Paris was at that time a center for the production of such magazines, many of which were imported into England. This picture shows a typical example of such an image. The technique of photography was developed in the 1830s, but it wasn't until much later that the métier of fashion photography came into existence. The earliest popular photographic technique, the daguerreotype, could not be used for mass printing. A later technique enabled the production of the "Carte de Visite" which were made for individuals and which also depicted famous theatre and music hall personalities of the age. It wasn't until advances in halftone printing techniques that fashion photographs came to be featured in magazines. This happened in about the first decade of the 20th century. First Fashion Photographer, Baron Adolphe de Meyer 1910 The first fashion photographer was probably Baron Adolphe de Meyer who was hired by Conde Nast in 1913 to take experimental pictures for Vogue. His main characteristic was a wonderful use of backlighting and the soft-focus lens. Early fashion pictures were essentially society photographs of aristocrats, actresses and society models wearing their own clothes. The overall key of this photograph is a light grey, the only dark areas being around the sitter's face, arms and lap Edward Jean Steichen 1911 With Alfred Stieglitz, Edward Jean Steichen founded the Photo-Secession Galleries in New York. -
Christopher Nemeth the House of Beauty and Culture
CULTURE Christopher Nemeth The House of Beauty and Culture. John Moore. Buffalo. Post Sacks. Japan. Deconstruction. Recycling Words Andy Thomas Photographs Mattias Pettersson Christopher Nemeth was a true hugely infl uential. Mixing the DIY Suzanne Bartsch and Martin Margiela English original whose work resonates innovation of punk with classic English scouring the store for inspiration. as loudly today as in the mid-1980s, tailoring, Nemeth created a body of In June 1986, Nemeth met his when his deconstructive aesthetic fi rst work that was both raw and beautiful. future wife Keiko at a John Galliano made waves. Talking to i-D magazine It was through the House of Beauty show and later that year moved to in 2009, a year before his passing, he and Culture that Nemeth built his Tokyo, where they set up their fi rst explained the roots of his craft. “I had reputation for pioneering design and shop, Sector. With the help of Keiko, this pair of trousers that I’d picked up craftsmanship. Set up by cult shoe Nemeth continued to develop his craft, in a jumble sale, which I really liked designer John Moore in an old building creating a huge archive of designs and the shape of, but after wearing them off Kingsland Road in east London, the a cult following across Japan. His vision endlessly they had completely worn out. store was home to a collective of like- continues to be realised today thanks to So I took them to bits, laid them fl at, minded free thinkers. The collaborative the tireless work of Keiko, and a Tokyo and made my own new version of them. -
Hyères 2012 STYLISTES
Hyères 2012 STYLISTES 10 designers 10 photographers + Yohji Yamamoto Inez van Lamsweerde & Vinoodh Matadin Jason Evans Matthew Cunnington & John Sanderson Anouk Kruithof Ina Jang villa Noailles Communauté d’agglomération Toulon Provence Méditerranée Lynsey Peisinger & The Stimuleye HYÈRES Chronique curiosité 2012 Fabrics Interseason 27th International Festival of Fashion La Maison Rondini and Photography Festival April 27th - 30th 2012 Exhibitions until May 26th Léa Peckre Céline Méteil www.villanoailles-hyeres.com/hyeres2012 villa Noailles Communauté d’agglomération Toulon Provence Méditerranée HYÈRES 2012 27th International Festival of Fashion and Photography Festival April 27th - 30th 2012 Exhibitions until May 26th FASHION SHOWS EXHIBITIONS CONFERENCES Yohji Yamamoto Inez van Lamsweerde & Vinoodh Matadin Jason Evans Matthew Cunnington & John Sanderson Anouk Kruithof Ina Jang Lynsey Peisinger & The Stimuleye Chronique curiosité Fabrics Interseason La Maison Rondini Léa Peckre Céline Méteil FESTIVAL INFORMATIONS T +33 (0)4 98 08 01 98 [email protected] PRESS CONTACTS 2e BUREAU - T + 33 (0)1 42 33 93 18 Sylvie Grumbach: [email protected] Photography - Martial Hobeniche: [email protected] Fashion - Bruno Michel: [email protected] PRESS VILLA NOAILLES Philippe Boulet [email protected] INTERNATIONAL TEXTILE AND FASHION CONFERENCES Registration - T +33 (0)1 42 66 64 44 [email protected] Press - Jimmy Pihet: T +33 (0)1 42 66 64 44 [email protected] www.villanoailles-hyeres.com/hyeres2012 HighRes. press pictures are available for download.(password on request from the press office) please mention the relited credits for any publications PUBLIC PARTNERS PRIVATE PARTNERS with the support of Medias partners The Woolmark symbol is a registered trade mark of The Woolmark Company. -
Fashion Brands : Branding Style from Armani to Zara / Mark Tungate
FASHION BRANDS Also available from Kogan Page by the same author Media Monoliths How great media brands thrive and survive “The most insightful and comprehensive analysis of MTV’s international business published so far.” Bill Roedy, President, MTV International Networks “Essential reading for anyone interested in how the most powerful media brands exert their influence.” Bill Muirhead, founding partner, M&C Saatchi In an increasingly cluttered media landscape, an elite group of brands stands out: newspapers, magazines and broadcasters with longevity, power, and instant brand recognition. Over decades – and often centuries – they have consolidated their positions against fierce competition, the rise and fall of the global economy and the emergence of the internet. How have they succeeded? What marketing strategies have enabled them to thrive and survive in such a spectacular fashion? Can they maintain their seemingly impregnable status in the new century? In Media Monoliths, Mark Tungate takes us behind the scenes to reveal what it takes to be a great media brand. For the first time, we are given a rare insight into this fascinating world, and its key movers and shakers. Media Monoliths will appeal to anybody interested in successful brands, how they are marketed and the people behind them. For all those studying or working in the media, it should be compulsory reading. ISBN 0 7494 4108 9 l published 2004 hardback l 272 pages + 16 page colour plate section Available now from all good bookshops. For further information, or to order online, visit Kogan Page on the web at www.kogan-page.co.uk FASHION BRANDS Branding Style from Armani to Zara Mark Tungate London and Sterling,VA Publisher’s note Every possible effort has been made to ensure that the information contained in this book is accurate at the time of going to press, and the publishers and authors cannot accept responsibility for any errors or omissions, however caused. -
BFC Annual Report 2015-2016
1 2 BRITISH FASHION COUNCIL 2015 – 16 ANNUAL REVIEW CONTENTS 5 6 CHAIRMAN’S LETTER 83 BUSINESS 12 About the British Fashion Council 86 Business Development & Support 15 Our Vision 87 Talent Support Pathway 17 Mission Statement 88 NEWGEN sponsored by TOPSHOP & NEWGEN MEN sponsored by TOPMAN 19 Our Values 90 BFC Fashion Trust 20 Governance — Funding 92 BFC/GQ Designer Menswear Fund — Executive Board supported by Vertu — Patrons 94 BFC/Vogue Designer Fashion Fund 22 Advisory Board 96 Initiatives 24 Business & Cultural Ambassadors — Rock Vault — Press Committee — BFC Fashion Film sponsored by River Island — Ambassadors — Headonism — Fashion Business Network 28 Events & Announcements — Designer Fact File — Insight 31 PILLARS — Funding Talent — Fashion Arts Foundation 32 Five Pillars — Charity Trustees 36 Pillar Presidents 99 INVESTMENT 39 REPUTATION 102 Fashion Forum 42 London Fashion Week 54 London Fashion Weekend 105 EDUCATION 58 London Collections Men 109 The BFC Education Foundation — Scholarships and Apprenticeships 68 British Fashion Awards 110 Scholarship Winners 70 Positive Fashion 113 The Colleges Council 73 Diversity 114 Annual Programme 74 The BFC represents UK fashion — Graduate Preview Day 77 INNOVATION & DIGITAL 116 Competitions 6 Dame Natalie Massenet CHAIRMAN’S Chairman LETTER This year is the start of an era of change, which makes our industry incredibly exciting for businesses that are brave enough to act and respond by disrupting the norm. There is a great deal to be said for having a fashion system where all businesses unite for times of showing and selling, but who they are showing to has grown through not limiting social and digital reach, requiring new thinking to move forward. -
Judy Blame: Never Again 29 June – 4 September 2016 Lower Gallery
ICA Press release: 31 May 2016 Judy Blame: Never Again 29 June – 4 September 2016 Lower Gallery Adam, i-D magazine, photo: William Baker, 2010 The Institute of Contemporary Arts (ICA), London, is pleased to present the first major solo exhibition by accessories designer, art director and fashion stylist Judy Blame. Safety pins, buttons, badges, pearls, bottle tops, cutlery, plastic bags, toy soldiers and keys form an inventory of objects that Blame has innovatively adapted to create his trademark jewellery and other accessories. In the early 1980’s Blame’s non-conformist attitude and a desire to distinguish himself within the London club scene motivated him to produce jewellery. His modest resources shaped his DIY approach and led him to incorporate found objects as a foundation for making his adornments; early creations questioned established material hierarchies and were testimony to the harsh realities of industrial and economic decline. It was during this period that he encountered a range of creative individuals including Derek Jarman, Anthony Price, John Maybury and Leigh Bowery who championed his inventive approach to making fashion accessories. In 1985 Blame helped John Moore set up The House of Beauty and Culture in Dalston, London, a craft collective of like-minded artists including Fiona Skinner, Dave Baby, Fiona Bowen, John Flett, Peter Foster, Mark Lebon, Alan Macdonald & Fritz Solomon (Fric & Frack), Richard Torry and Christopher Nemeth. This collective experience proved to be the first of many important collaborations as a consultant with various designers including John Galliano, Rifat Ozbek, Rei Kawakubo at Comme des Garçons, Gareth Pugh, Marc Jacobs and Kim Jones at Louis Vuitton. -
Title Between Edge and Elite: Niche Fashion Magazines, Producers And
Title Between edge and elite: niche fashion magazines, producers and readers Type Thesis URL http://ualresearchonline.arts.ac.uk/6510/ Date 2009 Citation Lynge-Jorlén, Ane (2009) Between edge and elite: niche fashion magazines, producers and readers. PhD thesis, University of the Arts London. Creators Lynge-Jorlén, Ane Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Between Edge and Elite: Niche Fashion Magazines, Producers and Readers Ane Lynge-jorlen London College of Fashion University of the Arts London September 2009 This thesis submitted for the degree of PhD ABSTRACT Between Edge and Elite: Niche Fashion Magazines, Producers and Readers This thesis examines contemporary niche fashion magazines and uses as a case study an ethnographic investigation of a niche fashion magazine and its producers and readers. Fashion magazines are instrumental not only in helping readers make sense of, understand and consume fashion; they are themselves fashionable media that set trends in how fashion is mediated. Niche fashion magazines are a sub genre of fashion magazines that is produced and consumed by cultural intermediaries. They are part of a complex cultural circuit which involves their marketing, production, circulation, textual representations and readers' consumption. Within this circuit values, meanings, codes, notions and practices of fashion are exchanged, and these are the focus of this thesis. This thesis examines the niche fashion magazine genre, addressing its hybridised quality of art, popular culture, high fashion, elite and edge.