Releasing their first collection just this March, Vincent & Vincent is a new leather outerwear company hailing from Australia. They know what the classic cuts are and, to their credit, they don’t try fucking around with them too much. The rider’s jacket and bomber are my personal favorites (especially since they look like less intense version of the Julius and Rick Owens jackets that I love). They’re only available to purchase in Australia right now, but one of the Vincent’s have let it slip that they’ll be available to view and purchase here at some point in the near future.
Two People Inside of a Place Where Many People Meet
They avoided looking at each other the entire time. They sat a few inches further apart than they normally did. They exchanged a series of swallowed coughs and twitching lips. They prayed patiently, expectantly into the ear of a deaf god for some words of wisdom from his mute lips before the sight of his blind eyes.
Rick doesn’t do publicity. But he sure as hell does interviews and photoshoots. It’s not that Rick is shameless – it’s more that in the aesthetic microcosm of Rick Owens, there’s no room for shame. You are a man, you wear what a man wants to wear, and you come across as a man; even if that means draping a wool/silk cape around your head and baring your naked torso to the wind. Really need to pick up the new Arena Homme +.
“American fashion right now is struggling. I think I understand what [Obama and her advisers] are doing, but I don’t think that is the right message at this particular point….I don’t object to the fact that Mrs. Obama is wearing J. Crew to whatever because the diversity of America is what makes this country great. But there are a lot of great designers out there. I think it’s wrong to go in one direction only.”—Oscar de la Renta, whining about Michelle Obama’s decision to be a fierce-ass bitch who does what she wants and wears what she wants
Even at the age of 91, Kazuo Ohno was constantly trying to redefine what was possible within the realm of dance. I’m no expert on dance by any measure, but it’s hard to watch Ohno without being impressed by the level of physical commitment he gave his performances. In the final movement, having been showered by a rain of flowers and gifts, Ohno ebulliently offers himself up to his craft honestly and without pretension. I don’t know what to call Butoh; it’s constantly shifting between the worlds of play, dream, sex, grief, soft, and violent. The tension between not knowing what’s going on and not caring to know makes Ohno’s work all the more fascinating.
I had known about Koi Suwannagate’s work for a while, but had never had a chance to really investigate. But after her Spring 2009 collection arrived at August, I had to take another look. Suwannagate’s always been known for the delicacy in her work, but when you really deconstruct it, the pieces really make you consider what it really means to design with a feminine sensibility in the modern fashion market.
The neckpiece in the first shot is absolutely stunning in person. A combination of lace, crystal, silver chain, and wonderfully hand-stitched detailing, I’ve honestly just stared, my jaw agape, inside Louisa’s shop. That single piece really tells you everything you need to know about Suwannagate’s approach towards dressing a woman. Being girly and whimsical doesn’t exclude the possibility of addressing, in an intellectual way, what it means to be a modern woman. The flower and butterfly motif that runs throughout the collection seem like trite metaphors for spring, but the visual impact of these patterns and textures removes them from the realm of the literal into the world of the visceral.
From the multi-colored threading on some of her pieces, which capture a riotous burst of spring pastels in a single coherent garment, to the wonderfully uncomplicated asymmetry to some of her blouses and flower ruffles, this collection is about spring, but no in the same generic terms into which the industry has settled. What’s really new here is that nothing’s new; it’s just a shifting of the lens, a defamiliarizing approach to those visual tropes that we’ve long taken for granted.