The Katie Gallagher models were easy to recognize outside Milk Studios after the designer’s presentation was over, even without the distinctive garments they’d worn only minutes before. In keeping with Gallagher’s aesthetic of spindly, web-like textures and penchant for the slightly bizarre, makeup included a kind of beige, fishnet material that fitted around the models’ eyes like masks. Passersby gawked at the strange, eye-patched waifs despite their indifference to the crowds. — Text by Eugenie Dalland. Video by Elizabeth Perrin. More reflections after the jump.
Archive for the ‘VIDEO’ Category
As many designers have proven in the past, a sense of the theatrical can accomplish more than just a sighting on the stage or red carpet. Indeed, in the right circumstances it can produce garments that inspire the imagination and compel others to push their creative boundaries. One need look no further than the work and influences of Alexander McQueen, Thierry Mugler, or Elsa Schiaparelli for example.
Joining these ranks is Sally Lapointe, whose Spring 2011 collection – her first experience with runway – included a full-length black gown worn by none other than the woman who seems, daily, to redefine the very concept of theatricality: Lady Gaga. Lapointe’s Fall/Winter 2011 collection continued in the vein of the slightly futuristic, with liquid-like digital prints, metallic turquoise fabric, pointy shoulders and padded hips. One of the standout pieces was a floor-length, vermillion-red dress with pronounced leather-capped shoulders and fitted bodice.
Another noteworthy aspect of the show was its color blocking: models appeared on the runway in uniformly white ensembles, then red, blue and black, respectively. For this collection, Lapointe drew her inspiration from the photographic process, which explained the filter-like usage of color. Backstage, amid a plethora of gum-chewing models and black-clad dressers, Lapointe elaborated on her influences, and divulged her favorite color. — Text by Eugenie Dalland. Video by Elizabeth Perrin. Interview after the jump.
Siki Im drew his inspiration for F/W2011 from the somber, earth-based spirituality he found in the pottery works of Native American artist Maria Martinez. Models walked with slow deliberation along a spiral dirt track on the white floor to the beat of a group of Hopi drummers clad in hand-woven knits made in collaboration with Navajo weavers TahNibaa and Sarah Naat’aanii. Siki Im’s greatest strengths, as he has demonstrated over his past few collections, are his impeccably tailored suiting with cheeky deconstruction, unexpected asymmetric detailing and statement outerwear. He stands far apart from the ongoing questionable trend of Native American appropriation, and even resonated beyond his own heavy-handed references.
Video by Elizabeth Perrin. Text by Meg Clark
Upon first glance William Graper (see his work in our Hussle Club story), stylist extraordinaire, looks uncannily like a rockstar. With his long flaxen mane, skinny leather pants and blonde scruff you’ll swear you’re looking at a young Axl Rose clad in Rick Owens. At just 25-years of age Graper has already cut a considerable swath through the fashion industry as a stylist to be reckoned with. The Florida native’s impeccable eye and ingenious flair for layering and exquisite androgyny has landed him on the pages of Vogue Russia and W. It’s his collaborative work with Rad Hourani, however, that has proven to be some of his most inspiring work to date. Always an Oak favorite, Rad Hourani released this video following his Transclassic collection. This body of work is Hourani’s first solo exhibit, presented at Galerie Joyce Royal Paris. The unisex collection expresses individuality in a vacuum- one jacket, one color, one ambiguous gender and ten different perspectives. Shown at Men’s fashion week, Hourani used female models to illustrate the fluidity that his looks provide. To quote, “Hourani’s approach is to give a black & white look at his world, his interests and his visions of a NEW world. This world is one with no gender, no rules, no seasons, epitomizing the very modern value of freedom, passion and elegance. His matter-of-fact aesthetic suggest an interest in the methods used to render things modern for both today and tomorrow.” OAKAZINE spoke briefly with William Graper about his background as a stylist and the groundbreaking work he’s doing with Hourani to create a genderless, ruleless, seasonless world. Interview with William and Transclassic video after the jump -Kelsey Kreiling
Fashion film has changed the way that designers represent their collections. No longer relegated to simple runway shows or look books, more and more designers are working with avant-garde directors and videographers to embody the substance of their pieces as well as the spirit. Jonny Cota and Clark Jackson took on Skingraft’s Spring/Summer 2011 collection in this desert fantasy. This film works especially well as it transcends the expected moody writhing and slow motion close ups. This L.A.-based line, designed by Jonny and Chris Cota, was born as a performance-art focused brand. Though it has evolved into a much more ready-to-wear company since 2005, it’s interesting to see how they have continued to bring a sense of activity to the pieces. — Kelsey Kreilinghttp://www.vimeo.com/16095245
Australian psych-rockers Tame Impala played the Maroquinerie in Paris on November 1st. Photographer Corinne Stoll was there to capture the boys in action. More pictures after the jump.
Bevel, a Manhattan based jewelry company, recently released their newest line entitled “Ball Game”. Based on the Mayan mythology of a hero’s quest, the line tells the story of two brothers seeking to rid the world of Xibalbian death gods. The pieces themselves are stark and abrasive, beautiful and complex. Designer Jonathan Goldstein has a keen understanding of each piece as important element in the story he tells. Each piece is available in three distinct forms: “Modern, Classic, and Sacrificed. Modern is mirror finished and smooth with an architectural futuristic appeal. Classic is modeled after the textures of weathered, aged, Mayan temples. Sacrificed is dark, and distressed with a highly textured, blackened surface.”
-Kelsey Kreiling with images by Kat + Duck . Film by Char Alfonzo
See more images of Bevel’s A/W 2011 “Ball Game” and film after the jump
The tiny hallway of Pendu Gallery can hardly contain Nick Zedd. Not just in a physical way either — even though his paintings and drawings fill every bare scrap of wall space and his films loop on an old TV screen elevated inches away from the ceiling. Nick Zedd is bursting out in myriad metaphorical directions as well. It becomes evident very quickly that these walls tell only a fraction of the whole, filthy truth. Zedd rose to underground infamy three decades ago when he fathered the Cinema of Transgression, and made a veritable career of displaying, mocking and hacking-up boundaries of taste. The exhibition at Pendu features sensations and sights such as: the buxom bodies and heavily done-up faces of no wave legends Lydia Lunch and Tessa Hughes Freeland; unframed They Eat Scum and Geek Maggot Bingo posters; Tom Thumb being swallowed into a giant vagina; the scratchy feel of super-8 film; and pen and ink covers of the Bulletin bound together with three-hole punches. Here is the work of a true original — one who helped to revolutionize the very term “underground.”
This show is an overall statement on the far-reaching power of Zedd’s subversive career. Not only did he empower a group of otherwise unknown filmmakers to create work in which everything was permitted and no part of the human psyche ignored, but he introduced the mainstream to the delicacies and power of the word “transgression.” Perhaps now, in this climate of fear, depression and want, we need Nick Zedd’s violent eroticism and black humor more than ever. Works will remain on view at Pendu Gallery until November 26, 2010. Clip from Zedd’s “Thrust in Me” after the jump. — Colleen Barry
Stephen and Timothy Quay are American directors best known for their dark, surreal stop-motion animation. Sans dialogue, they create haunting, nightmarish atmospheres. After the jump is their latest short for Comme des Garçons’ perfume “Wonderwood”. — Proud Amatayakul
PUGH AND HOGBEN CURATE AN AMAZING FASHION FILM TO PUSH THE DIALOGUE OF THE GARETH PUGH S/S 2011 COLLECTION…. VISUALLY AWAKENING, AND INSPIRATIONAL AS PER USUAL…. THIS FOOTAGE IS THE INHERENT CONVERSATION BETWEEN ARCHITECTURE, MOVEMENT AND THE CULTURE OF THE PUGH BRAND. AMAZING!