The concrete stage of a street-scape is where fashion becomes visible, meaningful, and most importantly, embodied. From the mundane surrounds of down-and-out urban areas, to the poised, style-conscious images from a street photographer, the power of the street-scape and its importance to the fashioned body is often overlooked.
In October 2012, Prada announced the winners of its Prada Journal contest, an initiative, in partnership with Italian publishers Giangiacomo Fettrinelli Editore, soliciting short stories from emerging writers for publication in a new print and online magazine ‘in keeping with the brand’s innovative spirit and constant search for new creative voices.’
The creative marriage between James Dyson and Issey Miyake Design Studio has given birth to a series of projects between the two companies which began when Fujiwara invited Dyson to work on the Issey Miyake spring/summer 2006 collection.
In 1997 choreographer Merce Cunningham invited fashion designer Rei Kawakubo to work with him on a dance piece, the result was ‘Scenario’ which premiered in October of that year at the Brooklyn Academy of Music in New York.
New Year’s eve is an engaging setting for an image; the prospect of shedding the year gone by for a one anew gives way to hedonistic celebrations that are a worthy subject for a photographer. We take a look at some images of New Year scenes that cinematically capture the spirit of the season.
Since 1967, filmmaker Frederick Wiseman has produced an enormously influential and insightful series of documentaries. Over the course of some forty films, he has taken viewers inside an insane asylum (‘Titicut Follies’), uncovered the workings of the welfare system (‘Welfare’), witnessed terminal patients on a hospital ward (‘Near Death’) and victims of spouse abuse (‘Domestic Violence’).
Few fashion archetypes measure up as having the symbolic power that the ‘business suit’ has. The suit is both a symbol of power and professionalism in corporate culture, but also of monotony and complacency, which in turn hints at the potential for human frailty.
In November this year Louis Vuitton raised an epic suitcase-shaped pavilion in Moscow’s Red Square to celebrate and promote the history of the brand. The project was ambitious, but ultimately controversial and arguably an unsuccessful one since after just ten days the brand was ordered to dismantle the structure by local officials due to its size and positioning in the square.
The high heel race is a curious phenomenon that has emerged in the last ten years as a popular fund-raising activity. The events require competitors, women (and sometimes men as well), to strap themselves into a pair of stilettos for a 100m sprint across a finish line.
The street photographer, as opposed to a studio image-maker, engages with a working process that observes and captures events and arrangements of people, engaging with elements out of their sphere of control. New York-based photographer Joel Meyerowitz describes the actions of street photography as outward looking and observant, ‘as if we were fishermen in the stream of Fifth Avenue’, in contrast to the studio image, for which the photographer directs their energy inward, and it is therefore an introspective practice.
The word ‘glamour’ at its origins, is derived from the English word ‘grammar’. The Scottish adapted the term to ‘gram(m)arye’ around 1720 from the its English/Greek (letter of the alphabet) origins and took it to mean ‘magic, or beauty and charm’. A meaning that has developed considerably to become something with a strong affiliation with fashion and leisure in image culture.
Founded in 1929 by radiologist Alfred Jordan, along with a collection of eugenicists, the Men’s Dress Reform Group was formed with the intention of furthering the human race through men’s dress and correcting its various physical and social constraints by addressing the health concerns of highly tailored and un-washable men’s dress of the time, as well as outlining aesthetic reform, that attempted to further the beauty of men.