E.P.Cutler

oystermag: Hanne Gaby Wears Romance Was Born, Ellery & Dion...

Wed, 15 May 2013 22:41:30 -0400

oystermag:

Hanne Gaby Wears Romance Was Born, Ellery & Dion Lee in JASU’s Latest Lookbook

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Wed, 15 May 2013 22:39:38 -0400

romanticnaturalism: Daria Strokous and Diana Moldovan...

Wed, 15 May 2013 22:39:21 -0400

romanticnaturalism:

Daria Strokous and Diana Moldovan photographed by Inez & Vinoodh for Dior “Secret Garden 2 - Versailles”

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Wed, 15 May 2013 22:38:42 -0400

girlsandguns: old/new work on The Ardorous

Wed, 15 May 2013 22:38:14 -0400

girlsandguns:

old/new work on The Ardorous

koreanmodel: Park Jihye at Chanel Resort 2014,...

Wed, 15 May 2013 22:37:37 -0400

koreanmodel:

Park Jihye at Chanel Resort 2014, Singapore.

iloverunways: Allure May 2013 Title : Naked Lunch...

Wed, 15 May 2013 22:35:48 -0400

iloverunways:

Allure May 2013
Title : Naked Lunch
Photography : Patrick Demarchelier

classicmodels: Sara Steiner Dons Elegant Gems for The Sunday...

Wed, 15 May 2013 22:34:13 -0400

classicmodels:

Sara Steiner Dons Elegant Gems for The Sunday Times Style by Arved Colvin-Smith

stormtrooperfashion: Karlie Kloss by Sean & Seng...

Wed, 15 May 2013 22:29:12 -0400

stormtrooperfashion:

Karlie Kloss by Sean & Seng for 032c #24, Summer 2013

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Wed, 15 May 2013 22:27:49 -0400

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Wed, 15 May 2013 22:26:02 -0400

deathofastylist: Nadine Goepfert

Wed, 15 May 2013 22:25:33 -0400

deathofastylist:

Nadine Goepfert

lamusenoire: Today’s Muse: The Lovely Lisa Butler

Wed, 15 May 2013 22:24:15 -0400

lamusenoire:

Today’s Muse: The Lovely Lisa Butler

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Wed, 15 May 2013 22:23:26 -0400

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Wed, 15 May 2013 22:23:15 -0400

deusch: GUINEVERE VAN SEENUS: Top left: Photographed by Mario...

Wed, 15 May 2013 22:20:16 -0400

deusch:

GUINEVERE VAN SEENUS:

Top left: Photographed by Mario Sorrenti for W, January 1996
Top right: Photographed by Michael Thompson for W, January 2000
Bottom left: Photographed by Daniel Jackson for Acne Paper, Winter 2008
Bottom right: Photographed by Javier Vallhonrat for Flair, circa 2006

Guinevere’s beauty will never go out of fashion. She can look like she belongs in a Victorian painting. She can be sexy; a vixen and if looks could kill, her stare would certainly be deadly. I also love the fact that she is still working, even in her late 30s, and doesn’t have the typical model frame anymore, but still lands numerous campaigns, editorials and still does many nude shoots. It shows how timeless her beauty really is and she is definitely my favourite model. I’m proud to say I own the 10 magazine 10th anniversary issue dedicated to her, and she is even more beautiful in real life print. She has strong views and is a really intelligent, strong woman. She never models fur, proving Tyra’s clan of haters wrong when they say that “you will not work as a model if you complain or refuse to do something.”

thedoppelganger: Magazine: Nylon August 2000Photographer:...

Wed, 15 May 2013 22:19:18 -0400

thedoppelganger:

Magazine: Nylon August 2000
Photographer: Robert Nettarp
Model: Eva Herzigova

modelta: Vogue Brasil: April 2013Karina Gubanova by Leonardo...

Wed, 15 May 2013 22:18:33 -0400

modelta:

Vogue Brasil: April 2013
Karina Gubanova by Leonardo Corredor

organization: An Exhibition Triptych: Yohji Yamamoto, 2006Dream...

Tue, 14 May 2013 21:02:42 -0400

organization:

An Exhibition Triptych: Yohji Yamamoto, 2006

Dream Shop
MoMU- Fashion Museum Province of Antwerp
Photograph by Ronald Stoops
Antwerp, Belgium 2006

Halfway the exhibition Dream Shop a number of clothing racks illustrate six important and recurring themes in Yohji Yamamoto’s work. People are invited to try on a selection of outfits, with the help of the shop assistants.

THEME 1: BLACK
‘Noir ombre finale et silhouette de tout’
Black has several meanings for Yohji.
Black is the colour of shadows
Black is his widowed mother’s colour.
Black is the colour of Bunraku theatre
(in Bunraku puppets are manipulated by men dressed in black).
Black is the mixture of all colours.
Black is the colour he has chosen to express himself.
All the clothes in this series are black but made out of different fabrics and cut in different shapes.

THEME 2: BLACK VERSUS RED l AIR
This series of black dresses is highlighted by the use of vivid red.
Red has often been used in his collections as a ‘lipstick trace’, as a pure light in the middle of the darkness. Any colour used in Yohji’s work has to be as strong as black, otherwise there is no point.
The dresses in this series are from various collections.
They demonstrate how Yohji cuts the clothes to be never too close to the body so that each woman, whether big or small, will wear them differently. The air between the body and the clothes will make them move beautifully.

THEME 3: UNIFORMS
Clothes inspired by uniforms
Uniforms have always been a great source of inspiration for Yohji and he has often worked on that theme whether referring to school, army or even ecclesiastic uniforms.
One of the reason’s behind Yohji’s fascination with uniforms is the fact that they are clothes with a function, conceived in that way and made to last for a long time.
They even become a part of the wearer’s identity.
They can be as armour, a protection against unwelcome eyes

THEME 4: UNFINISHED
Muslin collection Spring-Summer 2000
This collection was based upon the idea of showing the process of making clothes,’ the happiest moment’ for Yohji.
Sometimes he finds the final muslin more beautiful than the finished clothes because then the emotions are very perceptible.
All garments are made in off white or black fabric showing the construction stitches.
This collection was very much inspired by Charles James’s muslin creations he saw during a trip to New York.
Muslin is the coarse cotton that designers use to create the first shape of the garment. Everything is still possible at this moment.

THEME 5: UNBALANCED I ASYMMETRICAL
This theme perfectly expresses the sense of unbalance and asymmetry, also very important to Yohji’s work.
He hates perfection because it is the imperfection — the mistakes made by human hands — that creates the beauty of things.
This theme is clearly illustrated by the fact that each single piece is different on both sides: different size of sleeve, different wrap on the shoulder, long side versus a shorter one etc.

THEME 06: OVERSIZED
‘Oversized’ collection Spring-Summer 2001
The ideal garment for Yamamoto has no size. He doesn’t like the idea of a perfect fit on the body. Clothes should be different on each person: sometimes too small, often large enough to let the air flow between the body and the garment leaving the imagination free to guess the shape of the body inside. This is what is most charming and sexy according to Yohji.
He has been making this type of clothes since the very beginning and he still loves making them.

organization: Dream Shop with neon-lit fitting room, MoMU-...

Tue, 14 May 2013 21:01:13 -0400

organization:

Dream Shop with neon-lit fitting room, MoMU- Fashion Museum Province of Antwerp
Photograph by Ronald Stoops
Antwerp, Belgium 2006

“This something is an even greater transgression of museum principles than the light, because the public is given the opportunity to touch around twenty silhouettes displayed on racks. This contravenes the ultimate taboo of conservation, which states that an object that has crossed the threshold of a museum may be looked at but never touched. In the subconscious, this adds yet further to the value of the object under consideration and perfects its “sacred” status, its character as a work of art. The opportunity given here to come closer to the “work” overturns its sacred quality and returns the object to its true status: that of an item of clothing, a normal, everyday object.

With this taboo lifted, a third level of transgression is attained when the visitor is offered the opportunity of trying the clothes on. Cubicles are included in the staging for this purpose, a first for any fashion exhibition in more ways than one! Because as well as relieving the clothes of their sacred status, the invitation to experiment with the clothes by trying them on, seeing the effect they have, and actually being in the creations of Yohji Yamamoto rather than just seeing them, also has the effect of bringing the human body into the exhibition.

The absence of the body is the main difficulty in exhibiting garments, as to do so is to display objects that were designed to be worn, and the wearer, who confers on them their final form and substance, as well as validating their purpose, is always absent. This experiment does not of course pretend to put forward a definitive truth, nor to be a development towards potential new museum practices, but it nonetheless has the merit of endeavor. It is an attempt to push back the inherent limits of the exhibition, by involving in it the element without which its subject would not exist, but which a whole range of imperatives usually keep at a distance.

If Yohji Yamamoto’s “magic” and talent are to have been able, throughout his career, to create things that did not previously exist by overstepping boundaries and flouting rules, the merit of his Dream Shop is that by its novelty and by overturning certain conventions, it has given birth to a type of exhibition that did not previously exist and perhaps will not exist again.”
- Frédéric Bonnet, An Exhibition Triptych: Yohji Yamamoto, 2006