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July 7th     10:39 am


Lida for Visionaire 25 (1998)Photography Inez van Lamsweerde and Vinoodh Matadin Hair Eugene Souleiman Make-up Lisa Butler Styling Nancy Rohde

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Lida for Visionaire 25 (1998)
Photography Inez van Lamsweerde and Vinoodh Matadin Hair Eugene Souleiman Make-up Lisa Butler Styling Nancy Rohde

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

July 4th     10:12 am

Othilia Simon for Hermès Fall 2014 Ad Campaign

Othilia Simon for Hermès Fall 2014 Ad Campaign

July 3rd     10:40 am

Freja Beha Erichsen together with a 1972 Maserati Boomerang by Juergen Teller for Series 1, Louis Vuitton Fall 2014

July 1st     12:22 pm

Phoebe Philo of Céline by Andrea Spotorno for Time 100

Phoebe Philo of Céline by Andrea Spotorno for Time 100

June 27th     11:26 am


Collection 02 (1994)Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Collection 02 (1994)
Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

June 26th     11:23 pm


Collection 02 (1994)Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Collection 02 (1994)
Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

June 26th     10:36 am


Collection 02 (1994)Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Collection 02 (1994)
Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

June 25th     11:03 am

L’Apparence du vide, Viktor & Rolf (October 1995)

L’Apparence du vide, Viktor & Rolf (October 1995)

June 25th     10:44 am


Collection 05 (1995)L’Apparence du videPhotography Viktor & Rolf Hair & Make-up Taco StuiverInstallation View Patricia Dorfmann Gallery Paris

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Collection 05 (1995)
L’Apparence du vide
Photography Viktor & Rolf Hair & Make-up Taco Stuiver
Installation View Patricia Dorfmann Gallery Paris

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

June 25th     10:42 am


Collection 05 (1995)L’Apparence du videPhotography Viktor & Rolf Hair & Make-up Taco StuiverInstallation View Patricia Dorfmann Gallery Paris

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

Collection 05 (1995)
L’Apparence du vide
Photography Viktor & Rolf Hair & Make-up Taco Stuiver
Installation View Patricia Dorfmann Gallery Paris

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

June 25th     10:37 am

Collection 02 (1994)
Photography Wendelien Daan Concept Viktor & Rolf

Viktor and Rolf: 1993 1994 1995 1996 1997 1998 1999 by Artimo

(Source: cotonblanc)

June 25th     10:26 am


Viktor & Rolf: Le Parfum, 1996
It’s all about evoking that fashion dream, which they do partly out of a sense of nostalgia. The fashion world, with its big god-like couturiers who managed to dictate fashion for the entire globe, no longer exists, and that makes them sad. It also has to do in part with expressing their displeasure at the fashion world: why is it that a designer can only exist if he puts out his own perfume? This was why in 1994 the fledgling designers came up with their own fake perfume. But perhaps the most vital element in their flirting with the fashion dream is that they are revealing the borders of fashion system. Why does a show have to take place on a catwalk? Why can’t a musical serve as a platform for a show? Or why can’t there be dancing, as there was in the Flower show?
Knocking woman off her pedestal, José Teunissen

The Ideal Woman, published by SUN Publishers Amsterdam in cooperation with the ArtEZ Modelectoraat and kaAp, General Studies department, ArtEZ Institute of the Arts

Viktor & Rolf: Le Parfum, 1996

It’s all about evoking that fashion dream, which they do partly out of a sense of nostalgia. The fashion world, with its big god-like couturiers who managed to dictate fashion for the entire globe, no longer exists, and that makes them sad. It also has to do in part with expressing their displeasure at the fashion world: why is it that a designer can only exist if he puts out his own perfume? This was why in 1994 the fledgling designers came up with their own fake perfume. But perhaps the most vital element in their flirting with the fashion dream is that they are revealing the borders of fashion system. Why does a show have to take place on a catwalk? Why can’t a musical serve as a platform for a show? Or why can’t there be dancing, as there was in the Flower show?

Knocking woman off her pedestal, José Teunissen

The Ideal Woman, published by SUN Publishers Amsterdam in cooperation with the ArtEZ Modelectoraat and kaAp, General Studies department, ArtEZ Institute of the Arts

June 23rd     12:22 am

which proxy do you use, i’ve forgotten mine tbh

www.fromjapan.co.jp and don’t you just love/loathe the fair bidding system? extra 5 minutes whenever you’re no longer the highest bidder! 

June 20th     10:02 am


Junya Watanabe, Spring–Summer 2000
Putting design on the pedestalJunya Watanabe, protégé of Kawakubo, who presented his first collection in Paris in the early nineties, feels the same way: ‘I worked 365 days a year designing all kinds of commercial collections for Comme des Garçons. Sometimes, while I am working I stumble on a technical problem. That challenges me to make the next collection. I don’t trouble myself with female images.’ For him, too, the model is no more than a living mannequin. The design, the abstract idea, is what dominates, for which the woman is simply a signboard.
Knocking woman off her pedestal, José Teunissen

The Ideal Woman, published by SUN Publishers Amsterdam in cooperation with the ArtEZ Modelectoraat and kaAp, General Studies department, ArtEZ Institute of the Arts

Junya Watanabe, Spring–Summer 2000

Putting design on the pedestal
Junya Watanabe, protégé of Kawakubo, who presented his first collection in Paris in the early nineties, feels the same way: ‘I worked 365 days a year designing all kinds of commercial collections for Comme des Garçons. Sometimes, while I am working I stumble on a technical problem. That challenges me to make the next collection. I don’t trouble myself with female images.’ For him, too, the model is no more than a living mannequin. The design, the abstract idea, is what dominates, for which the woman is simply a signboard.

Knocking woman off her pedestal, José Teunissen

The Ideal Woman, published by SUN Publishers Amsterdam in cooperation with the ArtEZ Modelectoraat and kaAp, General Studies department, ArtEZ Institute of the Arts

June 19th     11:54 am

Kinship Journeys, Fall–Winter 2003–2004, Hussein Chalayan

s.t.