One of my favourite stylists and image makers, Kanako B. Koga, now has a Tumblr!
She describes his designs as “extremely elegant and refined and mixed with very bizarre things, like a mille-feuille, with so many levels, and little by little they come out, without order.” via WSJ
Publicist Michèle Montagne on Haider Ackermann
Yohji Yamamoto Eau de Toilette, 500ml
Here is the complete list from the ANDAM book. If you have any special requests, let me know. I’ll gladly scan and re-type the text for your viewing pleasure.
- 31 FEVRIER
- MAHMOUD AKRAM
- ADELINE ANDRE
- SHINICHIRO ARAKAWA
- ISABELLE BALLU
- VIVIANE CAZENEUVE
- JEAN COLONNA
- DOUBLE A
- JEROME DREYFUSS
- UDO ELDING
- ELSA ESTURGIE
- OLIVIER GUILLEMIN
- ERIK HALLEY
- PASCAL HUMBERT
- CYD JOUNY
- MARC LE BIHAN
- CHRISTOPHE LEMAIRE
- SANDRINE LEONARD
- VERONIQUE LEROY
- JOSE LEVY
- MARIOT CHANET
- MARTIN MARGIELA
- BENOIT MELEARD
- RODOLPHE MENUDIER
- FREDERIC MOLENAC
- DOROTHEE PERRET
- JEAN-FRANCOIS PINTO
- DARJA RICHTER
- GILLES ROSIER
- CARRIE ROSSMAN
- FRED SATHAL
- JEREMY SCOTT
- SAMI TILLOUCHE
- JEAN TOUITOU
- HERVE VAN DER STRAETEN
- PATRICK VAN OMMESLAEGHE
- VIKTOR & ROLF
- XULY BET
- GASPARD YURKIEVICH
The ones in bold have already been featured and linked.
An extraordinary personality, Jeremy Scott loves to bask in the heat of the spotlight and make use of his own public image. This native of Kansas City, Missouri, displays an unfaltering determination in the development of his fashion designs. After earning a diploma from the highly demanding Pratt Institute in Brooklyn, the fruit of four years of training in tailoring and pattern-making, he set forth to conquer Paris, a dream he had harboured since the age of fourteen.
Working on his own with the resources at hand, he organised his first fashion show, presented in October 1996 and featured ready-to-wear-couture cut from hospital sheets and crepe bandages. His second collection, “Body Modification”, in March 1997, flew in the face of prevailing trends with ultra-short body-hugging dresses in polyresin. With Scott, the origin of the materials is of no consequence as long as the design and the avant-garde approach shine through: scraps of black leather and garbage bags bedecked with silver zippers set a trashy-chic tone. Following along the same lines, his subsequent collections are all based around a single colour, making them easy to identify for a public that is eager to love or despise them. There is no middle ground with Jeremy Scott and his designs that combine the garish elegance of the nineteen-eighties’ total look with a taste for the unfinished and deconstructionism. His black collection was chosen for a “20/20 Vision Exhibition” in a Paris boutique in September 1997, as seen through the eyes of some twenty talented photographers including Mark Borthwick, Marcus Mam and Ali Madhavi.
In October 1997, the “Rich White Women” collection, devoted to white, took off from the encounter between ready-to-wear and couture, or “avant-garde luxury”. There followed the collection “Contrepied”, all in gold and winner of an ANDAM award, and the candy pink collection with its futuristic debutante gowns pierced with paper-punch holes. Scott’s is a truly spectacular style that pays homage to the unabashed elegance that is possible in the world of luxury and couture.
Black tulle jumpsuit decorated with glued-on black tubes, butterfly sleeves, bloomer legs.
Jeremy Scott (1998)
The creations of this Berlin-born designer fulfil a seemingly paradoxical dual function, providing psychological protection while spotlighting the individual. Without compromising modesty, they reveal the beauty of the body and lend confidence to a straightforward, nearly aggressive femininity. Darja Richter accomplishes these twin objectives both in the shapes of her dresses, with their daring cut-outs, and in her unusual, non-mass-produced materials, whose development is the impetus behind her collections. In her “Skingames” collection of 1996, the flesh-coloured skin of her dress, which seems to substitute for that of the body, is made up of subtle blends of solid or impalpable textures. The effect would place it in the lace family, but the “see-through” spaces are formed by stretching and tearing of matted raised fabrics caught in a net of fine gauze and tulle. An ANDAM fellowship granted in 1997 enabled her to pursue her textile research, resulting in the creation of a layering of lace, tulle, and wool for her collection “A Midsummer Night’s Chain Thing”. With this ethereal, gossamer webbing held together by the addition of wool, Richter dresses the body and lays it bare at the same time. A fine mesh of metal chains span the eye-catching décolleté necklines.
It is easy to understand why Darja Richter has often been chosen to do actresses’ wardrobes. After working with Koji Tatsuno on the costume designs for Peter Greenaway’s film “The Pillow Book”, she created the dresses worn by Marie Laforêt and Julie Delpy and Enki Bilal’s “Tykho Moon” and the costumes for “Gierig” by the young German director Oskar Roehler.
As a high priestess of sensual fashion, Richter approaches her work as a theoretical reflection on the symbolism inherent in the garment. After early studies in psychology and philosophy, she graduated from the Berlin School of the Fine Arts with a thesis on the language of clothing in the nineteen-eighties. In 1992, this “designer-expressionist” received a grant from the German University Exchange Office to undertake artistic and theoretical work on the theme of voyeurism. This financial aid enabled her to move to Paris, where she began working as a stylist for Martine Sitbon. In 1996, the German Ministry of the Economy subsidised her first fashion show in Paris, entitled “Invasion of the Weenie Hunters”.
Long dress with train made of hand-made black wool and tulle, neckline held by fine metal chains.
Darja Richter (1997)
ataleofafewcities replied to your photo: Nicknamed the “Peter Pan of fashion”, the “bad boy…
OK. So where is he now?
Making a whole lot of very fussy looking bags and accessories. http://jerome-dreyfuss.com/
notacomplexperson said: And banging Isabel Marant.
That explains why the bags and accessories look like that now.
In spite of his Belgian origins and his taste for Flemish painting, Patrick van Ommeslaeghe has little in common with the famous movement founded at the Antwerp Royal Academy of Art, nor with a culture of quotation. He did indeed study there, but only after forging a personal approach which makes him an outsider of the Flemish School.
His first two collections featured women with an enigmatic charm, in long flowing clothes that unfettered the body by amplifying its movements. The “drape” effects are not in the least nostalgic, with silhouettes dynamised by an audacious palette of forthright colours. Nothing disturbs the harmony of the garment and the accessories, which form a unified whole. From footwear to headgear, everything is made of the same fabric. It is van Ommeslaeghe’s way of reviving a vision of elegance which had been lost in the flashbulb glare of runway fashion. His first show for winter 1999, “Diginity”, presented at the Xippas gallery, made no attempt to whip up excitement with facile effects. Taking inspiration from the Flemish primitives, he sought to bring back the concepts of spirituality, warmth and respect in a world too often fascinated with violence and vulgarity. The winter 2000–2001 collection focuses on black, with designs that wind and wrap freely around the body. Against a background of black and white film images of the New York that Andy Warhol loved so well, the standout of the show was a dress draped with an American flag in uniformly dark leather.
For this former medical student, fashion is like a chemistry experiment. Astute mixes of colours, materials and volumes come alive on bodies in movement. Patrick van Ommeslaeghe’s career has been every bit as diversified as his eclectic early training. He worked for Josephus Thimister at Balenciaga and as an assistant to Jean Paul Gaultier before embarking on a fruitful collaboration with Adeline André. In 1999, an ANDAM fellowship enabled him to present his second fashion show at the Pompidou Centre in Paris.
Voluminous long dress to be gathered at the waist, twisting the skirt in a spiral.
Patrick van Ommeslaeghe (1999)
Nicknamed the “Peter Pan of fashion”, the “bad boy of couture” and the “angel with promise”, Jérôme Dreyfuss made a dazzling debut in the world of fashion. In 1997, before he had even presented his first fashion show, he had already been singled out for praise in the press. In a milieu where nothing is done half-way or dispassionately, the appearance at a Parisian party of Isabella Blow, high priestess of the avant-garde, wearing a dress made exclusively of layers of Scotch tape created a sensation that reverberated all the way to the Sunday Times and Vanity Fair, thus launching the career of the unknown young designer.
In March of the following year, the virtually self-taught Dreyfuss presented his first collection in a joint show with Gaspard Yurkievich. His designs, which he calls “couture-to-wear”, work with daring juxtapositions of opposites in an unrestrained style that fearlessly mixes all genres. Very Victorian collars adorn see-through blouses worn with cow-skin ”little urban savage” skirts. Sedate square-tailored suits appear alongside sensual sheath dresses. The attention to detail in the accessories and decoration makes certain creations stand out, like the bleached-out denim dresses, the feathered head-dresses and breastplate necklaces, or the safety pin dresses.
After studying briefly at Esmod and working as an intern for John Galliano, Jérôme Dreyfuss discovered his calling. As as assistant at Givenchy, he become a design consultant for the Elite Model Look international models’ competition and created a line of bags and shoes for the well-known agency. In October 1997, with the backing of an Indian financier, he founded his own company. In 1998, he received an ANDAM fellowship which enabled him to create his second collection.
Short evening dress in embroidered mesh with bare back and choker collar.
Jérôme Dreyfuss (1998)
Tell me it is worthwhile that I am typing all that text for the ANDAM posts.
Less conceptual than experimental in appearance, the Bless approach seeks to define a new type of object which cannot be pigeonholed in the traditional categories of apparel, accessory or furniture. The objects born of the “cooperation” between Desiree Heiss and Ines Kaag could best be described as mobile-immobile hybrids. There is a strong temptation to preserve them as inviolable “collector’s items”. The content and container form a unified whole, accompanied by a postcard bearing tongue-in-cheek exhortations: “Goes with all styles! Cut it and try it!”, “Corrupts all styles! Relax!”, etc.
Once out of its cocoon, the object reveals its functional side and its positive effect on the body in relation to the environment. The stretch fabric “Suntops”, one of the earliest Bless creations dating from the summer of 1995, roll around the chest like a bandage. Cut from old fur coats, the wigs are pulled on like stocking caps (only to be pulled off and thrown at Martin Margiela’s winter 1997 fashion show). The “Prêt-à-maquiller” packaging (featured in Kostas Murkudis’ show for summer 1998) is based on a principle of makeup which is easy to apply and remove, consisting of pieces of fabrics held onto the skin by invisible elastic bands. The product “Bless 01” resembles spats to be worn over any shoes as “Boot Socks”. The “Customizable Footwear” shoe kits of Concept N°6 are designed to be cut from a piece of fabric and fastened onto any sole. Series N°7 ”Living Room Conquerors” is in fact clothing for furniture: outfits for chairs, door covers which also serve as hanging wardrobes, table service-tablecloths, etc.
Bless makes items of every description (T-shirts, bags, “turn signal” bracelets) which are sold selectively in limited series in selected stores (Colette in Paris, Brown’s focus in London, Horn in New York, Beams in Tokyo, etc). These creations by two former design and art students have remained at the fringes of the fashion mainstream. Rejecting the principle of the semi-annual collection, Heiss and Kaag launch four objects per year, with something new appearing each quarter. Exploring the frontiers where art, fashion and design meet, their products are both fun and functional. The objects by Bless have earned their place in contemporary art museums like Paris’ Palais de Tokyo as well as in the trendy spots of the day. They have been widely discussed in the avant-garde press while remaining outside the fashion world.
Ensemble with a “BLESS” motif: blue sweatshirt with black cotton overlay in a “B” pattern, jeans slashed to spell “LESS”.
This duo, along with their fellow designer Alexander van Slobbe, contributed to the discovery of the Dutch school of fashion. Still unknown in the early nineties, the rich creativity of the Dutch scene was introduced in Paris through the group fashion show of Le Cri Néerlandais.
In 1993, the artistic collaboration of Viktor and Rolf won the Festival International de Mode à Hyères competition with an impressive and original collection. Silhouettes conceived to be viewed in profile cast disturbing shadows with heads emerging from high collars that end in gigantic rippled points. The following year, an ANDAM fellowship enabled them to further advance their research.
As students at the Arnhem Art Institute, Viktor Horsting and Rolf Snoeren were already working in the direction that they continue to pursue today: experimenting with new structures for garments that reinvent movement and the figure. Their designs are veritable sculptures in fabric, playing on complex volumes, distorted proportions and the reconstruction of new junctures to amplify the individual as icon. However, this impression blurs amid the rich materials, mixing immaculate white with gold brocade, and the ironic connotations of certain oversized accessories. Sombre and festive, leaden and light-hearted, Viktor and Rolf’s fashion oscillates between Shakespearean tragedy and a three-ring circus.
At the cutting edge between art and fashion, the two partners organise numerous exhibits and happenings, such as L’Hiver de l’Amour at the Museum of Modern Art of the City of Paris, or the mini-fashion show of mannequin-dolls at the Torch gallery in Amsterdam. In 1996, a poster proclaiming “Viktor and Rolf on Strike” replaced the collection, and a virtual perfume in dummy flacons was launched as a parody of Chanel N°5. In fact, the “fragrance” portended a change of direction i the development of the label: in 1998 they shifted their focus to haute couture. A collection shown at the Galléria Museum, off the official haute couture calendar, established them once and for all as members of the small circle of truly creative avant-garde designers. The winter 1999–2000 collection finally won them recognition in the international press. Under the gilded chandeliers of the Hotel Bristol, the two designers dressed, “live and direct”, a model with seven superimposed dresses. This real-life Russian doll, who started the show in a simple sackcloth dress, was gradually enveloped in layer after layer of shimmering embroidered silk. The performance ended with the addition of a burlap cloak, eclipsing the splendours of the creations beneath. After this offbeat homage to the calendar of the Paris Chambre Syndicale de la Haute Couture in July 1999. Their latest collection, for winter 2000–2001, is a ready-to-wear manifestation of their research in haute couture.
Evening ensemble in black wool, swallowtail coat and white pant-skirt with cascade of ruffles on one leg, pumps
Viktor & Rolf (1994)
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