The Metropolitan Museum of Art’s newly renovated, soon to be re-opened Costume Institute is being renamed the Anna Wintour Costume Center. Begging the question: is this acknowledging the VOGUE editor’s raising of $125 million for the organization or an attempt to better market the institute?
An icon of design, each Hermès scarf is often heavily imbued with narrative and allusions. “The Hermès scarf is a coveted, much-collected symbol of success that defines the Paris-based luxury company. But it has no single designer. Rather, the scarves are designed by a far-flung array of freelance artists. Hermès scarf designers can be found in places from Poland to Japan, not to mention the U.S. post-office sorting room in Waco, Texas. Kermit Oliver, a longtime postal employee, has designed more than a dozen Hermès scarves.” Rest of article here.
"In 1978, Miuccia Prada designed a black nylon rucksack for her family’s company that would later take the world by storm. With her husband, Patrizio Bertelli, she transformed the company from being a much-admired, eccentric retailer of luxury goods into a contemporary design powerhouse with sales of over $5 billion. The famous Prada brand, which includes women’s wear and men’s wear, is much copied — ‘The job is to do something interesting with ideas,’ Miuccia states, ‘and if it is copied I couldn’t care less.’” Article linked here.
At just 21-years-old, designer, model and entrepreneur Judson Harmon confidently stands with two feet firmly planted within the ever-evolving fashion industry. After opening ØDD—a boutique and styling house in NYC’s Lower East Side neighborhood—in October 2012, Harmon continued to impress this past February during New York Fashion Week with the dramatic debut of ØDD’s namesake collection, which included FW13 womens and FW13 mens capsule collections. Brimming with conceptually-driven designs for “men, women and the inbetween,” the ØDD storefront stands to introduce Harmon’s own designs alongside a slew of avant-garde labels and arts-inspired jewelry designers both known and new. Interview here.
This year, for its production of “The Marriage of Figaro,” the L.A. Phil sourced talents from across the pond, tapping Azzedine Alaïa for costumes and Pritzker Prize-winning architect Jean Nouvel for the set.
If you’ve ever wanted to see how to own an interview, read the interview linked from Vivienne Westwood’s portrait.
In the 1937 Springfield Union-News, Dr. Seuss’ sister Marnie noted of her brother, “Ted has another peculiar hobby—that of collecting hats of every description. Why, he must have several hundred and he is using them as the foundation of his next book. I have seen him put on an impromptu show for guests, using the hats as costumes. He has kept a whole party in stitches just by making up a play with kitchen knives and spoons for the actors.” To mark the 75th anniversary of his book, The 500 Hats of Batholomew Cubbins, the New York Public Library is exhibiting some of Dr. Seuss’s hats. Slideshow linked above.
In the decades before the Roaring Twenties, nice girls didn’t wear makeup. But that changed when flappers began applying cosmetics that were meant to be noticed, a reaction to the subdued and feminine pre-war Victorian attitudes and styles typified by the classic Gibson girl.
Before the 1920s, makeup was a real pain to put on. It’s no wonder women kept it to a minimum. The tubes, brushes and compacts we take for granted today hadn’t yet been invented. Innovations in cosmetics in the ’20s made it much easier for women to experiment with new looks. And with the increasing popularity of movies, women could mimic the stars—like Joan Crawford, Mae Murray and Clara Bow, an American actress who epitomized the flapper’s spitfire attitude and heavily made-up appearance. Fun Smithsonian article linked from Miss Crawford above.
Barney’s new collaboration with Disney yielded this short—blending classic Disney characters, fashion luminaries and designs by Balmain, Ghesquiere and Proenza Schouler.
In the age of instant uploads and where who is in the front row is more important to media than what’s actually on the runway, one writer asks are there too many runway shows? Article linked above.
Designers Jack McCollough and Lazaro Hernandez’s label Proenza Schouler comes into its own as the fashion house weathers the startup years, corporate changeovers and business expansion under the watchful eye of some seasoned allies. Great article linked above.
Finally sat down to watch Bill Cunningham: New York. Which was wonderful and sad all at the same time. Roger Ebert’s review sums it up perfectly, “It doesn’t matter if you care nothing at all about clothing, fashion or photography. You might still enjoy ‘Bill Cunningham New York,’ because here is a good and joyous man who leads a life that is perfect for him, and how many people do we meet like that?”
“There is no time for cut-and-dried monotony. There is time for work. And time for love. That leaves no other time.” The Smithsonian curates their 10 favorite Coco Chanel-isms in time for the legendary designer’s 129th birthday.
The surprisingly stylish Knight’s Armor Hoodie will keep you warm and help you slay some dragons. More pictures linked above.