Fashion is, by necessity, an obsession for Fausto Puglisi, who designs his own label. Here he waxes lyrical about the wonder of Italian craftsmanship – something he sees as intrinsically connected to Italian society. But it is all underpinned by the opening statement: “To be proud to be Italian means to go out and discover new things”. An attitude that took Puglisi to Berlin’s S&M scene and then back to Tuscany’s leatherworkers.
イタリアのファッションシーンをテーマにしたV&Aのドキュメンタリーシリーズ。ファウスト・パグリッシのインタビューやアトリエの風景、コレクションなどが収録されている。
Since they commenced their creative directorship of Valentino in 2008, Maria Grazia Chiuri and Pierpaolo Piccioli have made a point of opening the exclusive and enigmatic world of couture to a new audience. From conducting atelier visits to clarifying the importance of the relationship between an idea and its making, the duo explain how and why they are presenting a less well-known side to “Made in Italy”.
イタリアのファッションシーンをテーマにしたV&Aのドキュメンタリーシリーズ、ヴァレンチノ編。クリエイティブ・ディレクターのインタビューやアトリエの風景など。
Shoe designer, Christian Louboutin, sketches another signature red-soled creation while discussing his early inspiration – the show girls of the Folies Bergères – and a love/hate relationship with his designs. www.vam.ac.uk/shoes
シューズデザイナー クリスチャン・ルブタンのインタビューとアトリエの様子。
To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A’s Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney.
Transcript:
Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did.
Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc’s position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time.
Marc Ascoli: That’s true.
PS: Nick introduced me into the system, that bit came next … you do that bit … Nick, just finish that bit.
NK: So I’ll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models – not the mainstream models … all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I’ll art direct them, but who can create the – who can do the graphic design?
PS: Who said that? You said that?
NK: Marc said that. So I said well, there’s somebody who I’ve worked with over the past couple of years on and off, and I introduced Marc to Peter.
PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues.
NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time – I was interested in the world of people like Lee Barry, Taboo, Michael Clark – very extreme. You’re talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn’t really quite got to London. It wasn’t really part of the fashion vernacular, it wasn’t what was going on, it wasn’t part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin … It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn’t about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting.
Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we’ve talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document.
NK: I have to stop you there, Magda. There’s a big difference between a look book …
MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function …
PS: No joy – do you remember any joy?
MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way … or it operates in a commercial way.
PS: I mean it’s a work, a collective work of it’s own … this is a new way, not really done before. They were innovations in themselves.
NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to se
1980年代にヨウジヤマモトのビジュアルアイデンティティをつくりだした3人のコラボレーター – マーク・アスコリ、ニック・ナイト、ピーター・サヴィルの鼎談
What is the behavior taken by girls who visited birthday parties with old friends and her new boyfriend? A short film that explores the world of Gucci.
旧友とその新しいボーイフレンドとの誕生パーティーを訪れた女の子たちがとった行動とは。ミラノのファッションフィルムフェスティバルとヴォーグの依頼により、グッチの世界観を映像化した作品。
Making videos of CHANEL’s 2017-18 Autumn/Winter Haute Couture Collection.
シャネルによる2017-18年秋冬オートクチュールコレクションのメイキング動画。
Making of CHANEL’s Spring-Summer 2017 Haute Couture collection.
シャネルの2017年春夏オートクチュールコレクションのメイキング。
he story of Seattle-based Ebbets Field Flannels. Told by owner Jerry Cohen.
………………………………………………………………………………………………………………………………………………………………….
Director / Producer : Andy Mininger
DP : Tadd Sackville-West
Edit : Tristan Seniuk
Composition : Ryan Rumery
Color : Joel Voelker
昔ながらの製法でスポーツウェアを作るブランドEBBETS FIELD FLANNELSのファクトリーの様子と、オーナーでデザイナーのジェリー・コーエンのインタビュー。
Fashion is, by necessity, an obsession for Fausto Puglisi, who designs his own label. Here he waxes lyrical about the wonder of Italian craftsmanship – something he sees as intrinsically connected to Italian society. But it is all underpinned by the opening statement: “To be proud to be Italian means to go out and discover new things”. An attitude that took Puglisi to Berlin’s S&M scene and then back to Tuscany’s leatherworkers.
イタリアのファッションシーンをテーマにしたV&Aのドキュメンタリーシリーズ。ファウスト・パグリッシのインタビューやアトリエの風景、コレクションなどが収録されている。
A campaign film of Louis Vuitton’s Spring/Summer 2017 produced by Bruce Weber.
ブルース・ウェーバーが制作したルイ・ヴィトンの2017年春夏のキャンペーンフィルム。
A promotion film of Adidas Originals with remix of masterpiece “My Way”.
名曲「My Way」のリミックスをBGMにしたアディダス オリジナルスのプロモーションフィルム。
A promotion video of Macchiato, apparel and footwear collection by Footpatrol and Diadora with respect for Italian cafe culture.
FootpatrolとDiadoraによるアパレルとフットウェアのコレクション「マキアート」のプロモーション動画。イタリアのカフェ文化へのリスペクトを映像化している。
Promotion film by Bruce Weber for Spring 2016 season of New York.
ブルース・ウェーバーが制作したバーニーズ・ニューヨークの2016年春のプロモーションフィルム。
Video of Victor & Rolf’s 2017-18 Autumn/Winter Haute Couture Collection.
ヴィクター&ロルフの2017-18年秋冬オートクチュールコレクションの動画。
A runway video of the 2017-18 Autumn / Winter Haute Couture collection by Maison Margiela.
メゾン マルジェラによる2017-18年秋冬オートクチュールコレクションのランウェイ動画。
A video of runway of COMME DES GARÇONS HOMMEPLUS’ 2018 Spring/Summer collection.
コム・デ・ギャルソン オムプリュスによる2018年春夏コレクションのランウェイ動画。
Runway of Undercover’s Fall Winter 2017/2018 collection by Jun Takahashi.
アンダーカバーの2017-18年秋冬コレクションのランウェイ。
A video introducing the handicraft that French embroidery workshop “Atelier Lesage” offers to Balenciaga.
フランスの刺繍工房「アトリエ・ルサージュ」がバレンシアガに提供する手仕事を紹介する動画。
Things are looking sharp on the fashion scene in Hungary’s capital, with a new collection of boutiques, budding young designers and ground-breaking brands.
To discover more about Monocle magazine head to www.monocle.com
ブダペストのファッションシーンをMonocleがレポート。注目のブティック、若手デザイナーなど。
Fashion is, by necessity, an obsession for Fausto Puglisi, who designs his own label. Here he waxes lyrical about the wonder of Italian craftsmanship – something he sees as intrinsically connected to Italian society. But it is all underpinned by the opening statement: “To be proud to be Italian means to go out and discover new things”. An attitude that took Puglisi to Berlin’s S&M scene and then back to Tuscany’s leatherworkers.
イタリアのファッションシーンをテーマにしたV&Aのドキュメンタリーシリーズ。ファウスト・パグリッシのインタビューやアトリエの風景、コレクションなどが収録されている。
Since they commenced their creative directorship of Valentino in 2008, Maria Grazia Chiuri and Pierpaolo Piccioli have made a point of opening the exclusive and enigmatic world of couture to a new audience. From conducting atelier visits to clarifying the importance of the relationship between an idea and its making, the duo explain how and why they are presenting a less well-known side to “Made in Italy”.
イタリアのファッションシーンをテーマにしたV&Aのドキュメンタリーシリーズ、ヴァレンチノ編。クリエイティブ・ディレクターのインタビューやアトリエの風景など。
Go behind the scenes as we prepare for the opening of the Alexander McQueen: Savage Beauty exhibition
Alexander McQueen: Savage Beauty
In partnership with Swarovski
14 March – 2 August 2015
Alexander McQueen was one of the most innovative designers of his generation and celebrated for his extraordinary creative talent. This spectacular exhibition is the only major retrospective of McQueen’s work to be presented in Europe and showcases the best of his creative output of womenswear from his 1992 Central Saint Martin’s postgraduate collection to his A/W 2010 collection which was unfinished at the time of his death.
vam.ac.uk/savagebeauty
Supported by American Express
With thanks to M.A.C Cosmetics
Technology partner Samsung
2015年にロンドンのヴィクトリア&アルバート博物館で行われたアレキサンダー・マックイーンの回顧展「Savage Beauty」の制作プロセスを紹介する短い動画。
An inside view of the Alexander McQueen: Savage Beauty exhibition including interviews with Claire Wilcox, Katy England and Sean Leane.
Alexander McQueen: Savage Beauty
In partnership with Swarovski
14 March – 2 August 2015
Alexander McQueen was one of the most innovative designers of his generation and celebrated for his extraordinary creative talent. This spectacular exhibition is the only major retrospective of McQueen’s work to be presented in Europe and showcases the best of his creative output of womenswear from his 1992 Central Saint Martin’s postgraduate collection to his A/W 2010 collection which was unfinished at the time of his death.
vam.ac.uk/savagebeauty
Supported by American Express
With thanks to M.A.C Cosmetics
Technology partner Samsung
ヴィクトリア&アルバート博物館で行われたアレキサンダー・マックイーン展「Savage Beauty」の制作プロセスと、携わった人々のインタビュー。