Floating/Nothingness

1. Yrjö Edelmann Fundamental Aspects Of Floating Parcel, 2006
2. Yrjö Edelmann Flashlighted Floated Parcel In Stormy Ocean And Sky, 2007
3. Ed Ruscha Blue Bowling Ball, 1972
4. Ed Ruscha Black And Pink Ball, 1972

Yrjö and Ed. Packages and bowling. Photo-realism and photo-realism. Of things that do not exist. Wafting in the surrealist space of fiction projected onto realist landscapes. It is the summary of the world we live in.
/HORST

The Camp Of Plagiarism II

Alex Katz Round Hill, 1977
Steven Meisel An Interpretation, 1997

It is not a secret. For the Spring/Summer 2015 campaign, the newly redefined Loewe brand (directed by J.W. Anderson) is appropriating the work of Steven Meisel, who himself is appropriating a painting by Alex Katz. The truth is never/always sad.
/HORST

See also Nudist Camp

Fashion Charts VIII

1. J.W. Anderson Spring/Summer 2015

2. Christopher Shannon Spring/Summer 2015

3. Topman Design Spring/Summer 2015

Longing for retro stripes. The ones we wore twenty years ago and were happy to get rid of when we moved away from home. Thrown over like a blanket from grandmother (Jonathan), sporty as in Sporty Spice (Christopher) and stripper-stripy as in 1970s porn (Gordon). Another top three.
/HORST

Image credits Vogue

Chain Reaction

fig a. Wang bases his collection on the Raf Sander 'Tomb Raider' silhouette of panty shorts and rubber boots. He then cross-references the Raf Dior slash fabric technique, almost creating the exact clone in black and hot pink.

fig b. Raf Sandior openly declared his admiration for Helmut Lang and Martin Margiela, yet his designs are built on the tradition of Ghesquière for Balenciaga. Pictured above is the dramaturgical step-up. From sci-fi glasses and stiff sleeveless coats (2007) to vulgar florals and rubber (2011) to stained-glass prints (2012).

fig c. In contrast, Nicolas Ghesquière does not even reference himself. He explores a 1970s feminist architecture for Louis Vuitton without being architectural. His reference is based on culture not fellow creators. And since our future will most likely look like the past, retro-collars and tinted sunglasses are the valid signifiers of our times. Francisco Costa's collection for Calvin Klein evokes a parallel mood that arose from genuine exploration instead of wretched duplication. Applause, please.

1. Alexander Wang for Balenciaga Pre Spring/Summer 2015 & Raf Simons for Jil Sander Fall/Winter 2010
2. Alexander Wang for Balenciaga Pre Spring/Summer 2015 & Nicolas Ghesquière for Balenciaga Spring/Summer 2013
3. Alexander Wang for Balenciaga Pre Spring/Summer 2015
4. Raf Simons for Christian Dior Spring/Summer 2013
5. Nicolas Ghesquière for Balenciaga Spring/Summer 2007
6. Nicolas Ghesquière for Balenciaga Fall/Winter 2011
7. Nicolas Ghesquière for Balenciaga Spring/Summer 2012
8. Raf Simons for Christian Dior Pre Spring/Summer 2015
9. Nicolas Ghesquière for Louis Vuitton Pre Spring/Summer 2015
10. Francisco Costa for Calvin Klein Pre Spring/Summer 2015

The world is Ouroboros and the future is returning. Wang turns to Simons turns to Ghesquière. As usual, the sequel is entertaining and perfectly fulfills all expectations. Yet, the satisfaction comes too early and disappears too soon. A plot summary:

Alexander Wang for Balenciaga = Raf Simons for Jil Sander & Christian Dior (trying)
Raf Simons for Christian Dior = Nicolas Ghesquiere for Balenciaga (borrowing)
Nicolas Ghesquière for Louis Vuitton = Nicolas Ghesquière for Louis Vuitton (being)

Their new heroine seeks to look strong and sexy. Phrases that please everyone. Blockbuster couture. But no one is handing out popcorn.
/HORST

Image credits Vogue, Catwalking

Wishful Thinking #4

Salvador Dalí Space Venus, 1977-1984

Long time desired, never acquired. It won't even be possible, ever. What would a contemporary equivalent be? A Sarah Lucas doll ('Nud') or distorted body with gun ('AKA Peace')? Or just some John McCracken sculpural nothingness ('Nine Planks IV')?
/HORST

The Moan Game

1. Wendelien Daan Dark Lights, Shine Loud, 2013
2. Flint-Fuyt The Belgian Beat, 2013
3. Collier Schorr Fantastic Man 2013

Walter van Beirendonck Fall/Winter 2013. A study in male glamour composed of lurex suits, python platforms and spandex turtlenecks. One of the strongest editorial collections that only rarely made it into stores. Why?
/HORST

Body Con

1. Allen Jones Cut-a-Way, 1976
2. Allen Jones IV, 1976
3. Allen Jones III, 1976

The scanning eye of Allen Jones. On women. On buyable love. On pop art. A study in high-heels and latex gloves. Revealing each layer of visual attraction and sensual exploration.
/HORST

Poster Beuys

1. Joseph Beuys Multiples, 1972
2. Joseph Beuys Joseph Beuys, 1980

Joseph, the poster boy. The man who made hat, fur coat and utility vest a fashion trademark; registered R. When Andy gets jealous and bottles as artworks make for a cover girl, one could rejoin 'fat fame'.
/HORST

A Short History Of The Apron In Popular Culture II

1. Cindy Sherman Untitled Film Still #3, 1977
2. Birgit Jürgenssen Hausfrauen-Küchenschürze, 1975
3. Hussein Chalayan Spring/Summer 1999
4. Mario Testino The Butcher, The Face 1997

Women as domestic robots, androids, warriors. Desexualized objects, tools to maintain a tidy household, a clean surrounding. Yet, the apron is worn as outer shell on undergarments - indicating a naughty and cruel side...
... to be continued?
/HORST

"Prada Banality", Post-Painterly Art III

or 'Fashion For Intellectuals' (FFI)



1. Sascha Braunig Nets, 2012
2. Prada Fall/Winter 2013

Her fashion was not 'mainstream' nor 'everyday'. It was the dishevelled proposal for a genius. The kind of artist who does not have to search for ideas, tactics or strategies. Miuccia Prada is talking to the ones who do what they have to do. Those with a different vision. A different sight. Another world view.
/HORST

Silicon Dioxyd

1. Gerhard Richter 8 Panels, 2012
2. Roy Lichtenstein Mirrors (Studies), 1970
3. Roy Lichtenstein Mirror (6 Panels), 1970
4. Robert Rauschenberg Gull (Jammer), 1976
5. Robert Rauschenberg Reef (Jammer), 1976

From mirror panels to mirror studies to mirrored sheets. Five works that destroyed contemporary art practice. Like the splintered fragment of glass stuck in the bleeding thumb of today's pseduo-artist and his 'fast food installation' corpus.
/HORST