Anja Aronowsky Cronberg

What Does An Artist Wear?

What Does An Artist Wear?

A Conversation with Cheryl Donegan

‘As a young teenager I was already making all these garments, clothes for a much more glamorous life than the one I had. I remember my sister being really freaked out and telling our mother, “You must stop her, she looks like a fool. I’m not going to school with her.” I’d made myself this version of a Yves Saint Laurent gypsy costume with a big flowing skirt and a peasant blouse. I really must have looked like a freak. But both my mom and my grandmother kept encouraging me. My mom had this famous saying – “Let’s go shopping for ideas!” It was basically window shopping.’

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You Just Want To Call The Person ‘Sir’

You Just Want To Call The Person ‘Sir’

A conversation with the family behind Manny Gammage’s Texas Hatters Inc.

A conversation with the family behind Manny Gammage’s Texas Hatters Inc.

‘I’ve seen wills being written up about hats. Once I saved a family from not talking to each other, because two grandsons were fighting and both thought they had right to the hat. They didn’t want the money or the land, because the hat was a status symbol of an elder. They asked me to make another one just like it. I made an exact copy, but then they got shuffled and I couldn’t tell which one was real. They both came and both offered money to me to let them know what the real hat was, but I honestly couldn’t tell them. They both have his hat over the mantelpiece.’

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Does Your Jacket Have Three Armholes?

Does Your Jacket Have Three Armholes?

A Conversation With Virgil Abloh, Creative Director and Founder of Off-White

A Conversation with Virgil Abloh

‘I did a fashion show recently called “Nothing New.” It was based on criticism I got from another designer. So I took that statement and tried to unravel it and make it into a question. Does fashion have to be new? What is new anyway? Does fashion have to be new to be valid and relevant and important? People often lob ‘it’s been done before’ as a critique but without asking themselves those questions. “Newness” has become the barometer by which we judge things in fashion. “New” is a farce to me. It’s a critique intended to keep people like me out.’

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Branding Authenticity

Branding Authenticity

A Conversation with Miuccia Prada, Head Designer of Prada and Founder of Miu Miu

A Conversation with Miuccia Prada

‘Censorship is huge now. Basically you can’t say anything interesting on the record. I did an interview with a very important journalist some time ago, but then I told him to cancel eighty percent of what I’d said. I know that makes me the censor but I don’t want to ruin my life over an interview. I have responsibilities. It’s hard because whatever I do, someone ends up being upset. A company our size has to think about everything. I made the choice not to be niche, only for the sophisticated few, so I have to accept the limitations of that choice.’

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Monoprix at 40 Rue de Sèvres

Monoprix at 40 Rue de Sèvres

A Conversation with Demna Gvasalia, Creative Director of Balenciaga and Founder of Vetements

A Conversation with Demna Gvasalia

‘I like playing roles; it makes me feel safe. Authenticity for me perhaps means something different than for most people. I don’t have one interpretation of authenticity when it comes to style; I like moving between them. When I wear a sweatshirt with “Monoprix” on it, what am I signalling? Am I saying it’s cool to work at a supermarket or am I making people ask themselves why I’m wearing a Monoprix logo, when I could be wearing one from Balenciaga? Well, you tell me. Obviously everybody knows that I don’t work at Monoprix, well everyone who knows me does anyway. If a stranger sees me in the street wearing my Monoprix jumper, they might think I really do work there and I quite like that.’

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Will I Get A Ticket?

Will I Get A Ticket?

A Conversation About Life After Vogue With Lucinda Chambers

A Conversation with Lucinda Chambers

‘You’re not allowed to fail in fashion – especially in this age of social media, when everything is about leading a successful, amazing life. Nobody today is allowed to fail, instead the prospect causes anxiety and terror. But why can’t we celebrate failure? After all, it helps us grow and develop. I’m not ashamed.’

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A Conversation With Kenneth Goldsmith

A Conversation With Kenneth Goldsmith

Poets hate the fact that I have a persona because poets aren’t supposed to have one. You’re supposed to be yourself, authentic, natural in T-shirts and jeans. To me it’s all show business. My whole poetic oeuvre is made up of falseness, inauthenticity, appropriation and plagiarism, so if I was trying to pass that off as an authentic persona, it would be contradictory. So I’m playing my role as a poet as much as they are playing theirs. My role is ‘inauthenticity’ and theirs is ‘authenticity.’ It’s all a construction.

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The Colour of Oil and Money

The Colour of Oil and Money

A Conversation With Manuel Cuevas Sr, Designer of Western Wear

I’ve dressed kings, queens, beggars, prostitutes, lawyers, bankers. I dressed Gram Parsons, Dolly Parton, John Wayne, Sylvester Stallone, The Rolling Stones, The Jackson Five and all four Hank Williams. I made Elvis’ gold lamé suit, and people say that I put Johnny Cash in black, but I’ve never in my life felt the need to be important or rich. I hate money, because of what it does to people. When Barbara Walters asked Johnny Cash about the black suits I made him he said, ‘I wore black before, but nobody put me in a better black than Manuel.’

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What’s wrong with the fashion industry?

What’s wrong with the fashion industry?

‘We’ve had few failures that can compare to John Galliano’s recent one. I guess the best way to describe it is as a private failure committed in public. People hypothesised that LVMH weren’t sorry to get rid of him. His business had been stagnant for a while and at least from an editorial point of view he had peaked a long time ago. And now he has taken on another very visible job at Margiela, and he’s back on the stage. He failed, but he’s managed to come back.’

Nicole Phelps in part three of a narrative interview conducted by Anja Aronowsky Cronberg for Vestoj ‘On Failure.’

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‘The Revolution Will Be Branded Vetements’

‘The Revolution Will Be Branded Vetements’

Examining the reporting of the Vetements Phenomenon

The story is an old and familiar one: young, upstart outsiders take on a sedate and conventional system and turn it on its head in the name of authenticity, edginess and cool. Popular culture thrives on this narrative, and in the fashion industry this storyline is a well-worn one. ‘Real’ fashion is thrust, from the street, upon the unsuspecting bourgeoisie, and the bourgeoisie go potty for it.

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