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HIGHS & LOWS

Approaching the Christmas holidays, we tend to reflect on the year’s highs and lows. The most special moments for me were those related to a lecture, a talk, a show, an encounter, a lunch or a trip abroad. The emotions I felt then are responsible for a change in my vision which has pushed me into new experiences and new projects.

The lecture I gave in mid 2017 before a group of chief executives, managers at Valentino Milano headquarters, was a challenging one. The subject of “Time versus Timelessness” had haunted me for a few months as fashion consumerism changed dramatically in 2017. Designers, architects, artists or performers inspired me in my understanding of the multidisciplinary aspect of the concept of “time”. Einstein brought me to the point of challenging an audience to reflect on “Intuition versus Instinct”.

Another important passage in 2017 was my tutorship of more than sixty final year fashion design students. Their collections, based on their research, sometimes lacked a truly contemporary feel. Sleeves, falling like empty leaves from the shoulders of the models, felt like useless volumes unflattering to the human body. The fashion show, the final moment when all the efforts of teachers and students come together and a year of discussions and analysis are put into practise, was a joy for many, a disappointment for others.

Another stimulating experience of my year was having the Polimoda master students of Luxury Business in Paris for a few days. Organising visits to designer companies, meeting top HR managers or important head hunters presented a complex puzzle to arrange. But after a few days, a strong emotional bond with the group of 11 people was created; we kept in touch by Skype or by mail or over a cup of coffee or a drink later in the year.

[ MY HISTORY ]

WILLIAM KENTRIDGE


William Kentridge. Smoke, Ashes, Fable

Since his international debut at dOCUMENTA X in 1997, South African artist William Kentridge has achieved worldwide renown. Most recognized for his ten animated films titled Drawings for Projection (1989-2011), Kentridge’s astonishingly diverse corpus includes masterful drawings, prints, tapestries, sculpture, lectures, and opera productions. This major exhibition presents a unique selection of Kentridge’s work curated for Sint-Janshospitaal in Bruges—at 850 years one of Europe’s oldest surviving hospital buildings. Organized around the themes of trauma and 

[ Curating ]

PIETER POURBUS

THE GROENINGEMUSEUM BRUGES 

Pourbus’ early work was a mix of the traditional Flemish style of the early sixteenth century and Italianate influences brought north by his peers such as Frans Floris. He later he began to adapt Italian influence more and more, thus his later works can be considered early Flemish mannerism, which still contained some idioms of the traditional northern style. He never traveled to Italy and instead looked to his peers for stylistic influence. The Groeningemuseum in Bruges displays many of his works.

See Wikipedia for more on this great painter.

VISIT THE EXHIBITION TILL JANUARY 21 2018

[ Art ]

WHAT IS THE CONCEPT?

The first edition of State of Fashion opens on 1 June 2018 under the title Searching for the New Luxury, curated by José Teunissen

Searching for the New Luxury explores new definitions of luxury in response to urgent environmental and social issues: less waste and pollution, more equality, welfare and inclusiveness. It explores new (bio)technologies, digital platforms and creative processes that fundamentally rethink traditional notions of luxury and, in so doing, contribute to a sustainable future for the industry.

state of fashion 2018 | searching for the new luxury collects current groundbreaking research and initiates experimental interdisciplinary collaborations that will start in 2018 and continue thereafter. The opening week is from 1 – 10 June 2018. The search for the ‘new luxury’ starts now. Join us!

WWW.STATEOFFASHION.ORG

[ Curating ]

STATE OF FASHION – ARNHEM JUNE 2018

state of fashion 2018

State of Fashion supports and activates the worldwide search for a fairer, cleaner and more sustainable fashion industry. We hope to connect designers, companies, governments, and educational institutions in fashion and textile as well as, in particular, the audience in this common endeavour. This website will grow along with our search for the new luxury.

 

Searching for the New Luxury

Searching for the New Luxury explores new definitions of luxury in response to urgent environmental and social issues: less waste and pollution, more equality, welfare and inclusiveness. How can we all contribute?

 

Curator of state of fashion 2018 is José Teunissen

Dean of the School of Design & Technology at the London College of Fashion and a much sought-after curator, researcher and author.

[ Curating ]

HOMELESS

HOMELESS

A TEXT WRITTEN FOR VISION MAGAZINE CHINA – www.voidvision.com (under construction)

ETYMOLOGY = HOME & LESS – IN FRENCH WE SAY UN SANS-ABRI WHAT MEANS WITHOUT SHELTER.

HOME

“Home” means a solid shelter, a strong defence to the outside dangerous world, and a retreat from the hustle and bustle of the street. We are able to relax at home and find our sense of being, enjoying the so-called private life. “Privacy” means what we don’t want to expose, which includes physical part like our wrinkles and naked body as well as the psychological part like our sadness, fear, joy, solitude, companionship or intimacy. We can have a leisure time at

home, starting a refreshing conversation with our partners or friends. Besides, it is in our own house that we keep our precious

[ Curating ]

BoF Exclusive | Does Azzedine Alaïa have the antidote to a relentless fashion system?

By guest contributor July 2011 14,23

Monsieur Alaïa — fashion today, what is it like?

I can only speak for myself, but for a long time now the system of fashion has had nothing to do with our time — it doesn’t suit our time at all. The world is changing rapidly. We see the proof of change every day in the news. Young people want change in this industry, too, yet we continue, just like in the 19th century, to do défilés. There is no need – no interest, really. We could do fewer collections and obtain the same results. We don’t lose any money if we do less.

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Fashion only moves forward

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