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September 25th     11:00 pm


Boutique Balenciaga, New YorkPhotographs Mark Borthwick

Balenciaga Paris by Pamela Golbin, Thames & Hudson

Boutique Balenciaga, New York
Photographs Mark Borthwick

Balenciaga Paris by Pamela Golbin, Thames & Hudson

September 25th     10:26 am

Stella Tennant for Modern Matter by Mark Borthwick

(Source: malygina)

September 25th     10:22 am


Boutique Balenciaga, New YorkPhotographs Mark Borthwick

Balenciaga Paris by Pamela Golbin, Thames & Hudson

Boutique Balenciaga, New York
Photographs Mark Borthwick

Balenciaga Paris by Pamela Golbin, Thames & Hudson

August 28th     11:52 pm


Bless
Photography Mark Borthwick
Heiss, who hails from Paris, graduated  from the University of Applied Arts in Vienna. The Berlin-based Kaag studied fashion at the University of Arts and Design in Hannover. The two met by chance when, at a design competition in Paris, they discovered that their work had been displayed next to one another’s. A friendship ensued. Then a company. Since then the products they have created under the burgeoning Bless umbrella have included “cut-and-try” recycled racoon fur wigs (designer Martin Margiela commissioned Heiss and Kaag to make a set of these for one of his own collections), packages of disposable t-shirts, boot socks, customisable footwear with New Balance or Charles Jourdan soles, material make-up (scraps of paper, leather, and fabric made applicable by a thin elastic band and sold with a suggestive how-to Polaroid), and a series of bags that, depending on which body part you choose to put through which hole, can be manipulated into a variety of useful items of clothing—pants, skirts, tops—or simply carried as, yes, bags.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Bless

Photography Mark Borthwick

Heiss, who hails from Paris, graduated  from the University of Applied Arts in Vienna. The Berlin-based Kaag studied fashion at the University of Arts and Design in Hannover. The two met by chance when, at a design competition in Paris, they discovered that their work had been displayed next to one another’s. A friendship ensued. Then a company. Since then the products they have created under the burgeoning Bless umbrella have included “cut-and-try” recycled racoon fur wigs (designer Martin Margiela commissioned Heiss and Kaag to make a set of these for one of his own collections), packages of disposable t-shirts, boot socks, customisable footwear with New Balance or Charles Jourdan soles, material make-up (scraps of paper, leather, and fabric made applicable by a thin elastic band and sold with a suggestive how-to Polaroid), and a series of bags that, depending on which body part you choose to put through which hole, can be manipulated into a variety of useful items of clothing—pants, skirts, tops—or simply carried as, yes, bags.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

August 28th     11:24 am


Bless
Photography Mark Borthwick
"Bless is a visionary substitute to make the near future worth living for. She is an outspoken female—more woman than girl. She’s not a chosen beauty, but she doesn’t go unnoticed. Without a definite age she could be between her mid-twenties and her forties. She has no nationality and thinks sport is quite nice. he’s always attracted by temptations and loves change. She lives right now and her surroundings are charged by her presence." This is how Desirée Heiss and Ines Kaag describe Bless, the label they launched together in 1995. A statement, like the product of their collaboration itself, left deliberately open to interpretation.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Bless

Photography Mark Borthwick

"Bless is a visionary substitute to make the near future worth living for. She is an outspoken female—more woman than girl. She’s not a chosen beauty, but she doesn’t go unnoticed. Without a definite age she could be between her mid-twenties and her forties. She has no nationality and thinks sport is quite nice. he’s always attracted by temptations and loves change. She lives right now and her surroundings are charged by her presence." This is how Desirée Heiss and Ines Kaag describe Bless, the label they launched together in 1995. A statement, like the product of their collaboration itself, left deliberately open to interpretation.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

August 20th     10:48 am


Fall–Winter 1998–1999, Martin MargielaPresentation: Mark Borthwick and Jane HowMarch 1998, Paris
Mark Borthwick on Martin MargielaThis season’s Martin Margiela was very simple and beautiful. I have seen his work since he started in 1988, but this year was the simplest one. He continued the “flat” concept from last season, and other elements are progressing as well. If you look carefully at the small details, a lot of things are happening. Sleeves are sheared a little, or pressed plastic is folded in. I’m most interested in clothes changing, as they become older. The plastic attached to clothes is flat at the beginning, but gets cracked as you live with it, and creates uniqueness. One clothes has many lives.
I often refer to my photographs as “simple”. It means “to simplify” or “to give the viewers time to concentrate on something”. If there is a photo, most people look at the face first. Then they move their eyes to something else. But I’m interested in very small things, such as a part of someone’s body, or the seam here. So I put value to various things and make them seen by other people. Perhaps it is something that I can see but other people cannot see. In the project with Martin Margiela, in order to indicate “flat” I put clothes on chairs and objects, or placed them on a girl’s body, and took photos and filmed them. Not much hairdo or make-up on the model, no styling, and I just placed one piece of clothes on her body. You can appreciate the beauty of the clothes better in that way. The girl had clean hair, and sat up on the chair. She looked very noble and masculine. It’s because Martin Margiela’s clothes are very masculine, it is a very modern action by Margiela that he has chosen people like me or Jane How as spokespeople of his collection this time, instead of himself. Martin doesn’t want to give explanation of his own clothes. But his collections is self-explanatory of what he’s trying to do. He is going far ahead of anybody else. It is most important that he is swayed by his world, so he can concentrate on evolving it.

Paris Collection Individuals, 1998–––1999––– Nakako Hayashi, Little More

Fall–Winter 1998–1999, Martin Margiela
Presentation: Mark Borthwick and Jane How
March 1998, Paris

Mark Borthwick on Martin Margiela
This season’s Martin Margiela was very simple and beautiful. I have seen his work since he started in 1988, but this year was the simplest one. He continued the “flat” concept from last season, and other elements are progressing as well. If you look carefully at the small details, a lot of things are happening. Sleeves are sheared a little, or pressed plastic is folded in. I’m most interested in clothes changing, as they become older. The plastic attached to clothes is flat at the beginning, but gets cracked as you live with it, and creates uniqueness. One clothes has many lives.

I often refer to my photographs as “simple”. It means “to simplify” or “to give the viewers time to concentrate on something”. If there is a photo, most people look at the face first. Then they move their eyes to something else. But I’m interested in very small things, such as a part of someone’s body, or the seam here. So I put value to various things and make them seen by other people. Perhaps it is something that I can see but other people cannot see. In the project with Martin Margiela, in order to indicate “flat” I put clothes on chairs and objects, or placed them on a girl’s body, and took photos and filmed them. Not much hairdo or make-up on the model, no styling, and I just placed one piece of clothes on her body. You can appreciate the beauty of the clothes better in that way. The girl had clean hair, and sat up on the chair. She looked very noble and masculine. It’s because Martin Margiela’s clothes are very masculine, it is a very modern action by Margiela that he has chosen people like me or Jane How as spokespeople of his collection this time, instead of himself. Martin doesn’t want to give explanation of his own clothes. But his collections is self-explanatory of what he’s trying to do. He is going far ahead of anybody else. It is most important that he is swayed by his world, so he can concentrate on evolving it.

Paris Collection Individuals, 1998–––1999––– Nakako Hayashi, Little More

October 23rd     11:42 am

Hélène Filières in Purple Magazine by Mark Borthwick for Martin Margiela

Hélène Filières in Purple Magazine by Mark Borthwick for Martin Margiela

September 18th     10:11 am


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 29th     10:15 am


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 28th     10:05 am


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 27th     2:13 pm


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 27th     2:05 pm


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 27th     12:50 pm


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

August 27th     12:35 pm


Carte blanchephotography mark borthwick

Fashion Images de Mode Nº2 (1997)

Carte blanche
photography mark borthwick

Fashion Images de Mode Nº2 (1997)

May 26th     10:47 am


Deep v-neck tunic pullover, long removable cowl neck, in chalk comfort cashmereBoat neckline pullover in light grey cashmerePants with two pleats in stone comfort flannel 

Félicitasphotography mark borthwick
Portraits of women in HermèsLe Monde d’Hermès № 35, 1999 Vol. II, Fall–Winter 1999–2000

Deep v-neck tunic pullover, long removable cowl neck, in chalk comfort cashmere
Boat neckline pullover in light grey cashmere
Pants with two pleats in stone comfort flannel 

Félicitas
photography mark borthwick

Portraits of women in Hermès
Le Monde d’Hermès № 35, 1999 Vol. II, Fall–Winter 1999–2000

s.t.