c o t o n b l a n c

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)
ANDAM: La Mode Contemporaine, STEIDLtext florence müller photography ola bergengren styling mattias karlsson

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)

ANDAM: La Mode Contemporaine, STEIDL
text florence müller photography ola bergengren styling mattias karlsson


Lida in Jeremy Scott, Stripphotography jerome esch styling elle hagen hair taco stuiver

Fashion Images de Mode Nº3 (1998)

Lida in Jeremy Scott, Strip
photography jerome esch styling elle hagen hair taco stuiver

Fashion Images de Mode Nº3 (1998)


Red with Gemma Clarke, Vogue Parisphotography marcus mam stylist jeremy scott hair clovis make-up dalila

Fashion Images de Mode Nº4 (1999)

Red with Gemma Clarke, Vogue Paris
photography marcus mam stylist jeremy scott hair clovis make-up dalila

Fashion Images de Mode Nº4 (1999)


Gisele wears black shoulder-padded swimming costume by Jeremy Scott.
Lick the Battery, The Facephotography sean ellis styling catherine aymé hairstylist neil moodie

Fashion Images de Mode Nº5 (2000)

Gisele wears black shoulder-padded swimming costume by Jeremy Scott.

Lick the Battery, The Face
photography sean ellis styling catherine aymé hairstylist neil moodie

Fashion Images de Mode Nº5 (2000)


Jeremy Scott featuring Devon Aokiphotography marcus mam make-up marmotte 
2000 (minus 3)Curator and Fashion Director Terry Jones Production Design Dante Ferretti

Fashion/Cinema, Biennale di Firenze (1998)

Jeremy Scott featuring Devon Aoki
photography marcus mam make-up marmotte 

2000 (minus 3)
Curator and Fashion Director Terry Jones Production Design Dante Ferretti

Fashion/Cinema, Biennale di Firenze (1998)

Anna Paquin (2003)photography anette aurell styling masha orlov
Dazed & Confused: Making It Up As We Go Along

Anna Paquin (2003)
photography anette aurell styling masha orlov

Dazed & Confused: Making It Up As We Go Along

jeremy scott & björk at ferragamo’s cinderella ballseptember 1998
postcards from the edge of the catwalkphotography iain r webb

jeremy scott & björk at ferragamo’s cinderella ball
september 1998

postcards from the edge of the catwalk
photography iain r webb

devon aokispring–summer 2001, jeremy scott

devon aoki
spring–summer 2001, jeremy scott

spring–summer 1999, jeremy scott

note: featuring the soleless tie-up heels as worn by faye wong in 1998

soleless lace-up heels, spring–summer 1999, jeremy scott
as worn by faye wong (1998)the ensemble is topped off with a leather cobweb knit/tank by raf simons and skirt/pants by jurgi persoons.
via wongfei

soleless lace-up heels, spring–summer 1999, jeremy scott

as worn by faye wong (1998)
the ensemble is topped off with a leather cobweb knit/tank by raf simons and skirt/pants by jurgi persoons.

via wongfei

the year 1997 as according to 6+ antwerp fashion

rooster-claw heels, jeremy scottshoes: a lexicon of style

rooster-claw heels, jeremy scott
shoes: a lexicon of style

POSTED: 2 years ago NOTES: 39 TAGS: #jeremy scott
black tulle “jumpsuit” decorated with glued-on black tubes, butterfly sleeves, bloomer legs.
jeremy scott (2000)andam lauréat

black tulle “jumpsuit” decorated with glued-on black tubes, butterfly sleeves, bloomer legs.

jeremy scott (2000)
andam lauréat

POSTED: 2 years ago NOTES: 25 TAGS: #jeremy scott