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A short history of luxury designer retrospectives – of Armani, YSL, Alexander McQueen, et al – and their more experimental counterparts illuminates 20th-century ideas of nation-building and fashion’s many possible futures.
Is it possible to have style undressed? And what do we lack if we lack clothes? In her July column, Joanna Walsh ponders the hard work of taking (almost) everything off.
We feel either too big or too small for our clothes. In her June column, Joanna Walsh considers the monstrous feminine, oversize fashion, and the hard work required to make us “fit.”
“Fashion is the future, clothes are what we already wear.” In her May column, Joanna Walsh ponders how fast fashion’s accelerationism plays with seasons, desire, and the virtual, projecting us into an elsewhere we’ll never venture into.
What is style? It’s not fashion, or clothing; it’s only ever personal, but never entirely personal. In the first installment of Spike’s NEW COLUMN, Joanna Walsh ponders why we yearn for ten-piece wardrobe plans or call for Derrida to get style.
What’s hot for 2022? Clinical – institutional, terminal, quasi-medical – horniness. Libido with surgical precision. Latex, gore-tex, aphrodesiacs and anesthetics. Cara Schacter reports from the runways of Eckhaus Latta and beyond.
Fashion has built a trap for itself. The most contemporary medium may still pride itself on being ahead of the curve, but it has fallen prey to a totalised corporate capitalist realism that is closing the door on a new generation. Where will it go with its need to rebel and experiment?
Fashion has built a trap for itself. The most contemporary medium may still pride itself on being ahead of the curve, but it has fallen prey to a totalised corporate capitalist realism that is closing the door on a new generation. Where will it go with its need to rebel and experiment? By Jeppe Ugelvig
Director Hedi Slimane’s new Celine Art Project enlists contemporary artists to design work for stores around the world. Charles Teyssou discusses Slimane’s artistic imaginary through Americana cultural landscapes, and poses ten questions to two of Slimane’s collaborators, David Kramer and Shawn Kuruneru.
How to dress the devil? If there’s one thing we can learn from the canon of villainy it would be that evil rarely requires a stylist. The arts are populated with villains – on both sides of the screen, page, canvas – who know how to work far more dashing cuts than their heroic counterparts. By Ella Plevin
As products and media started to blur into each other, in the wake of a cultural repositioning of the image through social media streams, fashion led the way in turning content into a new art form. By Thom Bettridge
The origins of the fashion industry’s most provocative and innovative strategies had a forerunner in BLESS, the enigmatic fashion studio founded between Paris and Berlin in the late 1990s. By David Lieske
The contemporary has ousted the timeless in art today. Fashion, by contrast, has always operated in a different, tighter bond with the timely, anticipating the next season, channeling the zeitgeist.
An interview with Margaret Burton, an ex-artist who found her way into the fringes of fashion to criticise the industry from within. By Ché Zara Blomfield
A shirt, a T-shirt, a dress: clothing is inescapably concrete. But several recent collections have introduced new strategies of dematerialization into the world of fashion undoing the separation of image and object. Michele D’Aurizio explains.
