Luxury womenswear label Peter Pilotto was the subject of the V&A’s Fashion in Motion which took place on Friday 20 November 2015. Initially founded by Austrian-Italian Peter Pilotto, Belgian-Peruvian Christopher De Vos joined the label in 2007. The duo met studying at the Royal Academy of Fine Arts in Antwerp and now base their label in London. This video takes a look behind the scenes at the catwalk event.
ヴィクトリア&アルバート博物館のイベント「Fashion in Motion」に登場したピーター ピロットのインタビューとメイキング
Northamptonshire’s shoemaking legacy has stood strong for well over a century and De Fursac’s dapper Derbys and eye-catching Oxfords will keep you in step with the times. We meet the team behind De Fursac’s first footwear collection.
Outspoken, in demand and still at the top of his game, fashion designer Karl Lagerfeld talks to Monocle’s editor in chief Tyler Brûlé about the industry, the media and why Berlin isn’t as good as it used to be.
To discover more about Monocle magazine head to www.monocle.com
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.
“The first time I got dressed elegantly was for the wedding of my parents when I was 7 years old. I was very touched by the party, the champagne, the outfits, the mood… I had been looking forward to enjoying it as well ! In love with an angel, tonight is a celebration of what we all appreciate the most in the world : free love. This feeling I do my best to feed all the time motivated me to create a collection around the theme of a wedding. More comfortable in the creation and technically, this eleventh collection is an interpretation of how I see my witnesses. I wish you all a good time.
We’re in heaven,
Directed by dixhuit, music by Gaël Rakotondrabe
Many thanks to my mother Doushka, Adrien Haddad and Thibault Dollet, Kentaro San, les ateliers, the Pigalle team, all the models and agencies, le traiteur l’Etoile du Liban, Thomas Subreville, Christophe Victoor, Marissa Seraphin my love, Lambda Takahashi and his team, Jun Nakamura and his team, Gaël Rakotondrabe and his band, all the worldwide family for the love, Freddy, Jerôme, my family from Pain O choKolat, our partner Nike, as well as RETROSUPERFUTURE and Shiseido
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。
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.
Supported by American Express
With thanks to M.A.C Cosmetics
Technology partner Samsung
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.
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
Peter Lindbergh’s tribute to the late Editor-in-Cheif of Vogue Italia, Franca Sozzani. The film came out of working on a 90-page shoot for Vogue Italia, titled ‘Walking’, that Lindbergh shot around the streets of Manhattan.
For the PRADA 2012 FW Men show, AMO designed a set inspired by palaces of power and grand interiors.
Grand Interior – Void
FW Man 2012
The audience is distributed along the perimeter of the room.
The central void is occupied by a carpet of great extension, measuring 20X35m, assembled with pieces of moquette of different pile lengths and colored in red, white and black. Eleven geometric black flower shapes inspired by modernist rug designs are equally distributed over the red surface. The border of the carpet is defined by a rigid combination of black and white geometries.
Six monumental chandeliers realized with 300 neon tubes each brighten the central scene. Together with the carpet they evoke the grandeur of a palace.
The audience sits in the dark witnessing the spectacle of the show where men walk orderly through the vast interior as if following a secret script.
The California 78 takes its name from the birth place of jogging: California, and is one of the masterpieces of the Onitsuka Tiger shoe collection. The 35th anniversary of the shoe and its impact on sport and fashion is celebrated with a limited edition crafted in its original iconic yellow and mid-blue colour way.
Director : Juriaan Booij
Client: Onitsuka Tiger
Producer: Boris Booij
Agency: Blast Radius Amsterdam
Camera: Kevin Kimman
Music: Star Athlete Music & Sound Design
Editor: Mark Whelan at The Quarry