JW Anderson: ‘We have to democratise fashion’
There is an unnerving busy-ness to Jonathan Anderson: his daily schedule planned six months in advance, the small mountain of iPhones beside his coffee and the way his conversation slips from business ethics to the history of Japanese ceramics in the same sentence. But this is how the 32-year-old fashion designer, who oversees his own label as well as the Spanish luxury brand Loewe, thrives: leaping from one idea to the next – from Paris to London to Madrid, to his country retreat near Norfolk. He spends a lot of time mid-air. You get the sense he would really, really like a cigarette.
He is at Tate Modern today, caffeinated and well-lit in this small room up near the roof. Earlier, as a Uniqlo exec presented Anderson’s first collection for the brand, the designer stood slightly hidden in a crowd, and blushed to be described as “an artist”.
Anderson, who last year put on an exhibition of fashion, art and sculpture at the Hepworth Wakefield, doesn’t even call himself a designer. What is he then? A rare pause. “What I think I ultimately do,” he says, taking a huge sip from his tiny coffee, “is curate. I’m curating people, curating campaigns, curating stores, curating collaborations. It is about taking all these components and arranging them in a way that makes sense. It’s like doing brain zen: you have to arrange objects into a certain configuration that feels… right.”
He’s as notorious for his near-obsessional collecting of art and craft as he is for the “challenging” (he called them “ugly”) gender-unspecific clothes he first showed in 2008, including the 2013 bustiers for men, worn with ruffle-topped riding boots on hairy legs. But listening to him talk, even in this PR-ed environment, even about things as mundane as sock design, it becomes clear that both are part of some larger vision, some grand project of living, created through careful juxtaposition of teapot, or sleeve, or antique nutcracker. “I do have a compulsion about owning certain things,” he says, “because I have to look at it to actually work out why, or how.”
Like what? What things?
“I’m obsessed by damask napkins at the moment from the 14th, 15th, and 16th century in Great Britain and Ireland.” His grandfather worked for a textile company in Northern Ireland that specialised in camouflage and at home his grandmother would turn the camouflage scraps into ornate bedspreads. “So I think there’s always been this obsession with fabric. There is something that is so magical about it because it lasts for ever.”
His 33-piece collection for Uniqlo is made up of cable knits and Highland tartans, with a few rugby stripes, too (a nod, perhaps, to his brother and dad, both former professional players). There are no feathers, there’s no chainmail, in fact none of the kinky details he made his name with. Instead there are clothes that will remain wearable long after the autumn ends.
“If you design something, it is the person who wears it who will make the clothing,” says Anderson, who claims to own 100 Uniqlo T-shirts. “That’s what I get from Uniqlo: when you wear their clothing, you make it.” One of the simpler pieces he’s designed for them is the white T-shirt he wears today, printed with a sketch of a man’s profile, in a jaunty hat. “It’s a drawing by Henri Gaudier-Brzeska, a French immigrant who came to Britain.” A Brexit-heavy moment of eye contact. “I remember seeing it and thinking that what was incredible was the singularity of the line, and the humour. When we started the collaboration I thought we needed something from the past to bring it to the future.” He thinks for a second. “Whether or not a customer knows it’s a 100-year-old drawing by Gaudier-Brzeska, it’s emotional, it’s personal to me. It adds a layer of mystery.”
It was his Hepworth show, he says, that changed the way he worked for ever. “It was a real discovery to look at, say, a William Turnbull [sculpture] beside some knitwear.” Both, he says, teach you about how bodies move. “And as much as it was an emotional roller-coaster doing that show, it has really helped me on everything I have done going forward.” It made him realise that, in designing clothes, whether a man’s bustier or this white T-shirt, the exercise is the same. “What we put out is an artform no matter what it is – there are fundamentals. You are changing the body, and you have a responsibility.”
Which is a fairly big idea for a £14.99 T-shirt. But, he says: “I believe luxury does not exist.” He utters these grand statements as throwaway comments. “I believe that we have a cultural responsibility in terms of our stores, in terms of how we communicate, because ultimately we’ve got to help each other to try to ‘democratise’ fashion in such a way that it can be accessible on any level.” Hence his hop from the £1,000 JW Anderson handbag to the £35 Uniqlo jumper.
He carefully unwraps a Tate-branded chocolate on his saucer, and savours it with nostalgia. “Growing up in Ireland, I remember going to Dublin to visit a Vuitton store and I came out with a brochure. Then I went to Prada and I came out with a magazine, and I felt like I was part of the brand. All those things matter. And, of course, I can’t afford a Rembrandt, but I can still come to the Tate or Hepworth, and I can still enjoy it.”
Kim Kardashian West is no stranger to a naked shoot, having infamously 'broken the internet' with her Paper magazine cover. Now, the reality star has shared another risqué shoot, this time posing for Mert Alas and Marcus Piggott's new photography book.
Kardashian shared the below image with her 102 million Instagram followers, telling them that she was "so honoured" to be a part of the new book that is "20 years in the making".
The reality star is completely naked except for a pair of chunky, lace-up ankle boots. She has stars covering her nipples in the photo, but that's presumably only to comply with Instagram's nudity rules and therefore won't be in the print edition.
Mert and Marcus have both also shared teasers of the book, as have a number of other supermodels who appear in it, including Doutzen Kroes, Natalia Vodianova and Joan Smalls.
The book will be released tomorrow to coincide with the start of New York Fashion Week.
Fans just can’t get enough as pop is star of Dior show
For its most recent advertising campaign, Dior Homme put the male models in the background. Centre-stage was a more unlikely figure – 55-year-old Dave Gahan, frontman of Depeche Mode. Flanked by Lucas Hedges, star of Manchester by the Sea, a statement described the duo as plotting “an evolution of style that subverts the classicism of Dior Homme today”. For Saturday afternoon’s spring/summer 2018 show, Rami Malek and Christian Slater, stars of the Netflix hacker show Mr. Robot, were on hand to continue the theme. Long-term fan Karl Lagerfeld sat in the front row too.
Kris Van Assche, the artistic director of Dior Homme, is the man responsible for this subversion from the inside. This year marks his 10th year at Dior Homme – so the show was a kind of anniversary. It took place at the Grand Palais in Paris. The space familiar to the fashion crowd was transformed with a grass floor and strings of black plastic, like that found inside cassette tapes, hanging from the ceiling.
The collection was a kind of retrospective of Van Assche’s work for Dior. It focused around his signature tailoring, with sharp suiting and outerwear given a more summer-friendly twist with shorts and sleeveless jackets.
Some of the jackets were based on the Bar shape invented for women by Christian Dior in 1947. Trends were addressed too. Explicit Dior branding will be popular. Taking his cue from Maria Grazia Chiuri, who designs womenswear for Dior, T-shirts featured the logos and the Dior branded ribbons cleverly made up from the pinstripes of suits. Sportswear details were also included – the stripes on tracksuit trousers featured on tailored trousers and bomber jackets.
Gahan wasn’t there, but the influence of his era – the Eighties – was. The loose trousers had the feel of David Bowie. The music was memorable – an electronic mix of Radiohead’s Creep, R.E.M.’s Losing My Religion and Depeche Mode’s Enjoy the Silence.
Backstage was a scrum of well-wishers, with Van Assche flanked by a security detail worthy of a rock star. The designer said the collection, which was called Late Night Summer, “was very much about this feelgood moment, also with the music, when young men realise their clothes will make a difference A kind of post-innocence.”.
Dior Homme is a brand associated with music. During Hedi Slimane’s six-year reign, that meant rock’n’roll. He featured musicians including Pete Doherty and the band Cazals in his shows, and dressed the Kills and Daft Punk onstage. He has also been credited with bringing the skinny jean, a staple of the Ramones, back into fashion. Van Assche, however, has resisted the dive bars and grubby Converse of Slimane. Instead he focuses on a more angular, electronic take on music, with the Eighties a golden era.
Van Assche sees parallels between then and now. “Now everybody is talking about androgyny and genderless fashion shows, but 20, 25 years ago he was this figure when I was a kid,” he said of Boy George, also in a Dior campaign, during an interview with the Hypebeast website. Van Assche is savvy enough, however, to know that mere nostalgia, or “theatre” won’t do.
“I always look for strong contrasts because it takes things out of their too literal context,” he said.
Van Assche is a well-liked designer but has never quite created the buzz of his predecessor. Van Assche closed his own brand in 2015, suggesting he will stay with Dior for the long haul.
Slimane remains an influential figure in fashion. After his departure from Dior Homme, he produced photography of the rock scene, before becoming the creative director of Saint Laurent for four years. The rock’n’roll take continued there, with collections based on grunge, mods and rock. He left in March 2016 and, in an interview with the New York Times in January, said he would return to photography full time.
On 31 August 1876, the Manchester Guardian published a letter from ‘Miserable Woman’ about the subject of women’s rights and fashion:
Sir, – Next week the British Association meets in Glasgow and I suppose women’s rights ladies will be having a grand field day. Do you think they could possibly be persuaded to give up this “franchise,” or something of that sort they are for ever talking about, and devote their able minds to the re-modelling of female dress? Talk of slavery! when we are going about like “hobbled” donkeys because it is the fashion.
The following day, the letters column carried a reply from correspondent ‘Women’s Rights’:
A real woman’s wrong
To the Editor of the Manchester Guardian
Sir, – Your correspondent “Miserable Woman” has struck the keynote of one of our greatest grievances when she complains of the slavery women endure from the shackles of dress. I can assure her that women who ask for the franchise do so in the hope and belief that this is the readiest and only effectual way to remove all injurious restrictions under which women suffer. We deem it a much more hopeful enterprise to persuade men to give women votes in the election of members of Parliament, and thereby recognise them as human beings, with personal rights equal to their own, than before women are so recognised to induce men to acquiesce in the removal of the shackles of drapery which bind their limbs as befits beings in a condition of social and political servitude.
Your own remarks in the letter seem to imply that men would willingly help women to dress in a rational way. If such is their object they take a singularly ill-judged method of accomplishing it. When women walk out in cumbrous lengthy skirts which sweep the ground and gather a mass of mud or dirt round the unhappy wearer, they rail at women for being so weak-minded as to be slaves to custom, and fashion. If women venture to walk out in short skirts they hoot at them for being so strong-minded as to disregard custom and fashion. If men really desire to see women adopt a rational, becoming and economical style of dress, they must hold the tongue of hostile criticism while the process of evolution is going on, and they must be prepared to tolerate the appearance of few deviations from the orthodox mode.
The long-trained skirt is perfectly appropriate for a fashionable promenade and for ladies who can ride in carriage, but is inexcusably absurd for women to wear as an ordinary walking dress when pursuing avocations which require them to carry parcel.
The progress of fashion since the extinction of of the bell crinoline - itself a merciful device to relieve the burden of huge skirts with which women were formerly laden - has been the gradual evolution of the human form from the mass of folds in which it lay hidden; the successive curtailments of superfluous “breadths” and the constant pushing back the remainder, till at present the sole excrescence of drapery remains the form of the fish tail prolongation of the lower skirt which now exercises the minds of those who love convention and cleanliness. But doubtless this is destined to disappear under the same influences that have been beneficially at work hitherto, and the superfluous excrescence may be found to have vanished next season, like the tails of tadpoles in the process of development.
Burberry To Put On A Major Photographic Exhibition
Burberry has announced the location of its upcoming September show and has also revealed plans to host a 'major photographic exhibition' within the space.
Moving away from Maker's House in Soho – which they have called home for two seasons – the British brand will now be showing at Old Session's House in Clerkenwell.
The photographic exhibition, entitled 'Here We Are' has been co-curated by president and chief creative officer of Burberry, Christopher Bailey, alongside Lucy Kumara Moore and Alasdair McLellan.
It is a collection of the work of over 30 of the most celebrated social and documentary photographers of the 20th century, including Dafyyd Jones, Martin Parr, Ken Russell and McLellan, who – it was also announced today – is embarking on a new creative collaboration with the house.
'When we started thinking about curating 'Here We Are', I knew I wanted it to celebrate a certain strand of British photography that I have always loved, one which documents the many and varied tribes and clans and classes that make up this island of ours,' Bailey said on Instagram today. 'It has been an extraordinary privilege to gather together this collection of photographs, that have influenced me so much over the years. They provide a portrait of British life, in all its nuances, both exceptional and mundane, beautiful and harsh.'
In conjunction with the exhibition, Burberry's September collection will be inspired by 'the spirit captured in British social portraiture' and will be unveiled on Saturday 16 September.
The exhibition is free for entry to the general public and opens two days after the show on Monday 18 September.
WE MAY be experiencing something of a late summer heat wave but a fabric previously described by Britain's fashion gurus as "a great palate-cleanser for autumn" is undergoing a remarkable renaissance.
On Thursday The Cords & Co - a new Stockholm-based retailer dedicated solely to premium corduroy fashions for men and women - will open a London branch in a bid to bring the functional counter-culture material to a new and fashion-aware audience.The British outlet is one of six shops it plans to open around the world dedicated to a fabric the company describes as "the desirable alternative to denim". And in embracing the material once considered the world's least sexy fabric, it joins big-hitters such as Gucci and Prada.
First spotted on the Prada catwalk in January, the durable vintage material that until recently was most closely associated with geography teachers and fashion-blind Lefties such as Labour leader Jeremy Corbyn has also been rediscovered by upmarket clothing brands such as Mulberry, Marc Jacobs and Alexa Chung.
Meanwhile Gucci has produced a £1,610 floral jacket made of the hard-wearing fabric and you can pick up a more modest bottle-green equivalent from Mango for £90. Mulberry's offering is a £450 dusty-pink skirt, Marc Jacobs has cord flares for £275 and Alexa Chung has a £325 pinafore dress in her latest collection.
"It's practical, nonintimidating and easy to wear," says insightful Selfridges buying manager Heather Gramston
It has to be said that Corbyn was not alone in embracing corduroy in the 1980s. Diana, Princess of Wales - then the world's ultimate clotheshorse - was spotted wearing a chic pair of corduroy trousers in that period and earlier still even The Beatles went through a corduroy phase.
But these were aberrations. Corduroy hasn't been in fashion outside of a charmed circle of rural landowners and the country sports brigade since the mid-19th century.
"The hunting and fishing communities have always loved our corduroy," says Malcolm Helliwell of Lancashire-based Brisbane Moss, the UK's biggest corduroy factory. "Our fabrics and styles remain the same as they have for the 100 years we've been producing it."
But in recent decades, apart from a 1970s revival, corduroy has hardly been considered the height of sophistication. Perhaps most damaging of all for a long period was its association with children thanks to the corduroy-wearing kids who starred in the The Brady Bunch, a US sitcom about a blended family of six children. But no less an authority than fashion bible Vogue recently decreed that the fabric was on-trend once again.
"The Brady Bunch lived their lives in a wholesomeness that was dotted with mustard-hued flares and burnt sienna blazers all made from corduroy," declared a recent Vogue editorial. "But corduroy is still a cool, daytime staple."
No one knows this better than the supermodel Kate Moss. Despite its uncool reputation she has been wearing the fabric doggedly for more than two decades.
It's also been a favourite of actress Jane Birkin, famous for recording the controversially sexy chart hit Je t'aime in the 1960s, who chose to slope around Paris in a white T-shirt and a pair of pale cord jeans - fine-ridged needlecord, naturally.
And that's significant. Fine cord is acceptable, the wide geography-teacher stuff less so. The width of the cord is known as the "wale" and it's measured in ridges per inch. The lower the wale number, the thicker the ridge of the wale - 4-wale is much thicker than 11-wale, for example.
But although corduroy is believed by many to be a 20th-century fashion phenomenon, corduroy existed for more than 2,000 years before it acquired its modern name.
The Oxford English Dictionary cites 1774 as the earliest use of the word corduroy but its ancestor was a cotton weave known as "fustian", which was developed in the Egyptian city of Fustat in 200BC.
Brushed fabrics remained an Egyptian speciality until the medieval period when Italian merchants introduced the fabric to western Europe.
The growth in the cotton trade between the 12th and 14th centuries saw corduroy become popular in England and France where it gained an elite reputation. Henry VIII clamoured for the warmth of fustian in the 16th century during the chilly days before central heating
Until recently it was believed that the word corduroy came from a 17th-century English derivation of the French "corde du roi" or "cloth of the king" but it is now understood that the term is a compound of the word "cord", referring to its tufted, row-by-row pattern and "duroy" which was a coarse woollen fabric made in England in the early 18th century.
By then, the cloth had become a popular hard-wearing choice for workwear and military uniforms, while white fustian was often used for ladies' dresses. In the late 18th century, corduroy was being manufactured in Manchester as factory wear for townspeople in industrial areas and in parts of Europe corduroy is still known as "Manchester".
Now in a remarkable renaissance "poor man's velvet" is discovering a brand new audience and there is not a bellbottom in sight
In celebration of the National Gallery of Victoria’s The House of Dior: Seventy Years years of Haute Couture exhibition, Sofitel Melbourne on Collins has announced the launch of four couture cocktails set to coincide with the opening of the showcase.
Inspired directly by the French fashion house, the ‘Code of Conduct’ cocktails will be made available from Thursday September 1 – which just so happens to line up with Vogue American Express Fashion’s Night Out, taking place across the CBD – to Saturday November 4.
Curated by mixologist Marc Dasan, the first cocktail was inspired by the original Miss Dior perfume and combines Remy Martin VSOP, Tanqueray gin and earl grey syrup with a hint of Pernod and grapefruit bitters, served in a glass perfume bottle. The second cocktail references Dior’s love of 18th century French history with its incorporation of Kettle One vodka, Crème de Cassis, Crème de Mure with lime juice, white chocolate and Persian saffron fairy floss.
“The deep red colouring with gold accents resembles the opulence of the 18th century, whilst the fairy floss pays homage to Marie Antoinette’s most famous hairstyle – the pouf,” explains Dasan.
Playing on the fashion house’s iconic silhouettes, the third cocktail will consist of spiced rum, Pedro Ximenez and Mozart Dark which will be garnished with fresh fig and served in a structured martini glass. Finally, the fourth cocktail incorporates elements of the flower – a symbol which inspired the structure of Dior’s garments – with its use of Grey Goose Le Citron, Lillet Blanc, Crème de Violette and rosewater-infused ice spheres and frozen pink roses.
Also as part of the exhibition, as NGV’s official accommodation partner Sofitel will be offering two tickets to the exhibition, overnight accommodation and breakfast for two at No.35 Restaurant via it’s ‘So Cultural’ package.
Plymouth's very own fashion week will take place in the city next month.
The event will be held at various venues across the city from September 9 to 17, kicking off with a glamorous launch night which includes a mini catwalk show, canapes and champagne.
In addition to seeing models parade this year's new Autumn and winter collections from top high street retailers, designed outlets and local fashion houses, the shows will also offer stylist advice, hair and beauty demos.
Meanwhile, students from Plymouth College of art will also be getting on the catwalk to showcase collections of their latest work.
The aim of the week - organised jointly by the Plymouth City Centre Company and the event’s main sponsor Drake Circus - is to highlight the city’s growing reputation as a brilliant shopping venue, as well as a great holiday destination.
It will end with a weekend of catwalk shows in the Drake Circus Shopping Centre, which last year attracted a staggering 25,000 people and saw 45,000 people taking to social media to tweet about the event.
Other attractions include special fashion brunches in local cafes, bars and restaurants, colourful and eye-catching student window displays and a fashion photography exhibition – Fashion in Focus - at venues around the city.
There will also be Beauty Spots dotted around the city centre offering mini makeovers and free pampering sessions for the weary shopper.
What’s hot and what’s not in fashion this week
Isaac Newton We’re sure he would be thrilled to know he’d helped inspire Lucky Blue Smith and Stormi Bree’s baby name. Fingers crossed Gravity doesn’t have too bad a time at school.
Adidas Adilette velvet pool sliders The aesthetic mid-point between Liberace and Mark Zuckerberg. Not to be worn near water, obviously.
Shell necklaces See the Prada AW17 catwalk, as well as your wardrobe during that trip to the French seaside, aged 17, for details. This is souvenir chic at its beachy best.
Flight Of The Navigator The 1986 film has a liquid-looking metallic spaceshipremarkably like the one in the new Gucci ad. Time for a rewatch.
The emoji with a line for a mouth Acne has dedicated a whole collection to this guy. Find it on sweatshirts, shorts and polo shirts – and, of course, on your keyboard.
Slicked-back ponytails Instead, go with hair wisps, face-framing bits of hair. Flattering, fun, the styling tic at Zara for AW17, and on Alexa, too.
Sans serif We have reached the peak, appaz. Outdoor Voices, Airbnb and Missguided, you’ve been warned.
Mid-blue On both Hadid sisters, at Ikea, fast-tracking its way to being as ubiquitous as millennial pink.
Plandid Term coined by Man Repeller to describe the Instagram trend for planned candid selfies – as in, posed pictures of you taken by someone else. Genius word, depressing thing.
Pineapples The overplayed symbol of summer. We’re over it. Move on to the Matisse-approved Monstera deliciosa, or the cheese plant to you and me.
Since you’re here …
Roman jewellery brand Bulgari will be unveiling their latest collection at their second SerpentiForm exhibition this week in Singapore. The event will be held from August 19 to October 15 in the city’s Art Science Museum – the iconic lotus-inspired building that has been known to showcase works by Salvador Dali and Andy Warhol – and will welcome special guests like Alicia Vikander. Bulgari are taking their iconic serpent motif to the next level and with the theme of rebirth and transformation, are set to show how the snake itself has inspired the work of artists, designers and photographers alike. Overseen by Bulgari brand and heritage curator Lucia Boscaini, the exhibition will welcome antiquities dating back to 4th century BC, contemporary artworks including Niki de Saint Phalle’s Pouf serpent jaune, archival pieces such as the Serpenti bracelet-watch in gold with rubies and diamonds from 1954, vintage dresses and theatre and movie costumes. In response to the success of the first SerpentiForm exhibition in Rome last year, the Singapore edition will be followed by another in Tokyo from November 25 to December 25. [Vogue inbox]
Coming in hot off the hype surrounding her first Met Gala appearanceand US Vogue #CelineTakesCouture series, Celine Dion has unveiled the first line of bags from her 50 piece collection exclusive to Nordstrom. There are nine products ranging from totes and cross-body bags to clutches and backpacks available in a range of colourways including grey, black, burgundy and blue with prices starting from just AUD$104.98. Very Dion, each item is named after a musical reference and a number of the pieces feature golden honeycomb hardware accents. The 49-year-old Canadian superstar – who just wrapped her 12th concert tour – announced The Celine Dion Collection back in February and is set to release a series of small accessories and luggage in the near future. [The Cut]
Calvin Klein is set to release its latest collection and for the first time, it will be made exclusively available to Australians. Previously known as Calvin Klein collection, Calvin Klein 205W39NYC is a luxury ready-to-wear line designed by chief creative officer Raf Simons and works to reinterpret the brand’s heritage style. While Calvin Klein 205W39NYC is available to purchase in-boutique and online, the fall collection will be offered exclusively at Parlour X. [Vogue inbox]
Sarah Jessica Parker has opened her second stand-alone shoe storeinside the Bellagio Hotel in Las Vegas, following the first opening in Washington DC and explained to Fashionista that through her partnership with global hospitality company MGM, “it's given us an opportunity that as a new business we would not have had for many, many years.” With the Las Vegas opening having broken records, Parker feels that MGM made the right choice for her brand. "When they came to us and suggested having this door here [at the Bellagio] and had such enormous confidence and belief [in it], it's hard to say no to that… I think when people come to a hotel and a property this size and have sort of decided in their heads where their dollars are going to go and what their budget is... it's a clear victory for retail.” Having helped customers with sizes on the big day, the actress and business woman added that, “for me to be a part of my business, I have to be there.” [Fashionista]
Nike has unveiled its latest collaboration, releasing a capsule collection of Nike Cortez fronted by Olympic gymnast Gabby Douglas with Los Angles based brand A.L.C. The brand – who has featured the original sneaker in its past six seasons of lookbooks – has reinterpreted the style, adding suede for a high fashion twist. The sneaker will be available exclusively through Nordstrom x Nike and Nordstrom the Grove from August 25, followed closely by Net-a-Porter, Nike, Nike SNKRS app, and alcltd.com from August 28 in black, terracotta and cream colourways with the brand’s mottos of “Love More”, “Do It, Own It” and “Think How You Can” printed inside. [Business Of Fashion]
Kanye West surprised fans over the weekend when he dropped an unannounced collection on his official site, Yeezy Supply. The release features both men and women’s apparel – with everything from sports bras and T-shirts to caps, tracksuits and socks – in colours such as “hospital blue”, “mist”, “grace” and what has already proven to be a crowd favourite, “frozen yellow”. Most notably, it was the Yeezy Wave Runner 700 that had people talking, the new and already sold out style takes a sharp left from previous slim silhouettes and retails at USD$300.
Vogue US has given us a 360-degree tour of Kendall Jenner’s wardrobe as part of a new virtual reality video series called Supermodel Closets.
In the video, Jenner shows off her startlingly large collection of thigh-high boots (picking out a Vetements pair as a personal favourite), her favourite vintage Hermes bag and her Versace from the 2016 Met Gala.
In the video, Jenner also admits she once tried to steal a pair of Marc Jacobs denim jeans from a Vogue photo shoot. “I was obsessed with the star on the butt and I shot in them … for a Vogue story actually. I did a Vogue denim story and I wore these and I was obsessed with them and I tried to steal them from set. But now that I am remembering clearly I’m not going to get in trouble because I didn’t get away with it. Then I got them sent to me because they heard I try to steal them.”
Jenner also showed off the one dress she says is going to be “part of her closet for the rest of my life.” The dress in question? Her Paris Hilton-inspired 21st birthday dress. Jenner also explained how the whole thing came about. “I found a reference photo online of someone and at the time I didn’t know who because their head was cut off. So I sent it to my stylist and had it made,” she says.
“I ended up going to my 21st birthday, Paris Hilton was there, and she goes, “Oh my god I wore this dress on my 21st birthday.” And I showed her my reference photo and she told me that that was actually her.”
“How the world works is pretty amazing and I love it,” the model adds.
Watch the whole thing below.
It used to be that if you liked the music, you got the T-shirt. Now, the band T-shirt is a fashion trend all on its own – whether you like what it stands for or not
Atour around the high street this summer would uncover a few standout trends. Pretty off-the-shoulder tops. Basket bags. Bleached denim. Even some pool-ready inflatables. And at stores including Topshop, H&M, Primark and Forever 21, T-shirts for bands including AC/DC, Metallica, the Rolling Stones and Bon Jovi. The kind of purchase once seen on merchandise stalls at gigs and market stalls in Camden Lock has gone mass.
What does it mean when something so aligned with an alternative point of view – one that prioritises your love of your favourite band as primary statement to the world – is co-opted by fashion? This year the humble band T-shirt has become something of a battleground between generations, where ideas of authenticity, image and symbolism are at loggerheads. This was writ large earlier this month when Kendall and Kylie Jenner released a series of T-shirts on their Kendall + Kylie website. On the front were designs that resembled T-shirts for Tupac Shakur, Biggie Smalls and Ozzy Osbourne, with selfies of the sisters superimposed on top. Voletta Wallace, Biggie’s mother, was quick to denounce it on Instagram, posting an image of the T-shirt with a cross through it.
The T-shirts have since been withdrawn, with the Jenners posting identical messages of apology on each of their Twitter accounts. But they have arguably caught the flak of a change that has been happening for a while – the band T-shirt moving from merch stall to fashion item. Nicolas Ghesquière started it off in 2012, when he produced a T-shirt for Balenciaga using red font similar to that of Iron Maiden’s logo. Band shirts – or at least logos that have the look of a band shirt – were then a key part of the first Vetements collections, with T-shirts and hoodies in the spring/summer 2016 collection straight off a heavy-metal merch stall. Worn by Kanye West, Rihanna and Kylie Jenner, the look changed from fans at a gig to superstars with serious social media followings.
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From staple T-shirts to the laid-back workwear we just can’t get enough of, and everything in between, Bassike is one of those quintessentially Australian brands that just works.
And with the launch of their denim range two years ago, that signature off-duty style got a facelift, ensuring there wasn’t an occasion unmarked that Bassike couldn’t be the brand of choice — from Fridays at the office to a weekend brunch.
Now, ahead of their spring denim collection release, we spoke with co-founders and creative directors, Deborah Sams and Mary Lou Ryan about all things denim, creating a product in Japan, and how to style your favourite pair of jeans.
“The spring denim line is a play on traditional vintage denim, with custom washes across our classic cuts as well as our signature low-slung jean for men and women. There is a big focus on sustainable production with the use of eco-bleach washes, which lightens the indigo without the inclusion of harsh toxins, saving the fabrication and is less damaging to the environment,” the pair say, reiterating their ongoing support for ensuring their products are sustainable.
From the collection, Sams and Ryan name the classic crop as a must-have, a lightened indigo wash — the first time the designers have introduced a heavier weight stretch fabric into their realm.
And, as has been the case with every Bassike denim launch, Southern Japan has been the location of the production for each and every piece, ensuring the handcrafted quality of the denim goes on without fault, employing denim artisans to undertake the task.
“Japan bridges the divide between minimalism and complexity which aligns with our approach not only to our denim collection, but the Bassike brand as a whole,” they say, going on to reveal how the country has defined two key styles from the collection.
“This influence can be seen in our deconstructed gussets detail skirt. Our denim branding also incorporates a white leather patch made with the same leather used to make baseballs – a highly regarded sport in Japan.”
Of course, despite jeans being a staple in every wardrobe, Sams and Ryan aren’t shy about why we all need a great quality pair.
“A great pair of jeans is a cornerstone of your wardrobe. Bassike denim is well-tailored and crafted using Japanese denim that ages really well. [It is] is also suited to the conscious consumer… We are very passionate about supporting small, family run operations,” they say.
And for styling? Breaking rules is all part of the fun.
“Pairing denim with understated jersey or oversized shirting is how we wear denim. We are also both firm believers in double denim when it’s done well.”
At only 36 years of age, American fashion designer Zac Posen has a long history in the fashion industry and is getting ready to give us a peak into the life he leads via an upcoming documentary, House of Z. His resume is one to envy, and at just 16 years of age, Posen attended Parson’s School of Design and only two years after the launch of his first collection, was awarded The Perry Ellis Award for Womenswear by the CFDA. With investors like Sean Combs and customers including Naomi Campbell and Kate Winslet, it’s no wonder the film has caught so much traction. However, the documentary makes an effort to note struggles undertaken by Posen, with particular attention paid to the falling ranks of his label not so many years ago. House of Z will air on September 6, exclusively at US Vogue's website.[Vogue US]
Morgan Pilcher, the Australian-born, Sydney-raised fashion all-rounder and current fashion editor of Porter magazine, has been enlisted by industry-leading luxury fashion retailer, Net-a-Porter to style their autumn/winter '17 campaign. The campaign draws on dark florals and colour confidence in suiting, disco and off-duty styles in order to provide customers with this season’s key trends. [Vogue inbox]
In other news today, campaign images for Gucci’s first women's fragrance under the creative direction of Alessandro Michele have surfaced. The Gucci Bloom images star its three faces – Dakota Johnson, Petra Collins and Hari Nef – dressed to the nines in floral numbers, all of whom were in attendance at the fragrance’s private launch party, held in May at MoMA PS1. The campaign was photographed by Glen Luchford in New York City, and according to a statement, was inspired by "urbanity and how scent can be a way to travel somewhere that does not exist, that is purely imagined. It's a surreal idea of wearing a garden."
There’s nothing easier to throw on for summer days than a classic white T-shirt. Though there seems to be a different white tee for every person and situation (seriously, there are a lot), there's one group of people out there who really only want one thing in their white shirts: opacity. When I’m shopping these days, it feels like many retailers only offer semi-sheer options that double as beach cover-ups, in blissful disregard for the fact that some of us are looking for something a little more substantial. Call me conservative, but I’ve never been truly comfortable with showing off my lingerie in public, or rocking diaphanous tees that reveal more than they conceal.
In pursuit of stylish, full-coverage white tees that I (and you!) can embrace this season, I spent hours at the mall trying on T-shirts and rejecting any of the too-transparent fabrics. Click through to see the styles that made the cut.