Exquisite Corpse II

1. John Chamberlain Hawk Flies Again, 2010
2. Tom Burr Worn Out, 2005
3. Loewe Spring/Summer 2015
4. Ellery Spring/Summer 2015

Conceptual art giving birth to cardboard fashion. Ready for take-away and self-assemblage. Throwing stuff onto mannequins, throwing fabric onto the customer who becomes the costumer. Carambolage as collage is the material fashion dreams are made of.
/HORST

Sweat And Stains, 2014

or 'Sperm, Spunk And Shit'

All clothes LAZOSCHMIDL
Belt Comme des Garçons Homme Plus

Not your average menswear-cum-couture. Debuting their first capsule collection for Spring/Summer 2015, LAZOSCHMIDL approach the post-body fetishism of contemporary art (that is: body liquids). Poop is reconfigured as screenprint artwork and piss is elevated as crystallized stain. Hand-sown, hand-painted, hand-embellished. Shop now!
/HORST

Granularity VIII

1. Dior Fall/Winter 2014
2. Raf Simons Spring/Summer 2014
3. Raf Simons Spring/Summer 2014
4. Dior Fall/Winter 2014
5. Dior Fall/Winter 2014
6. Raf Simons Spring/Summer 2014
7. Dior Fall/Winter 2014
8. Raf Simons Spring/Summer 2014

The Raf Sandior universe is a hermeneutic one. And it is about shoes. Fast paced models in pop coloured running pumps. Their stumbling stride only buffered by block striped guard rails. Style first, safety second.
/HORST

Post London IV

A 'False Encyclopaedia' double feature with Bryan Rapp, discussing:
J.W. Anderson Spring/Summer 2014

When I was a kid, I used to play a lot of sports. I tended goals in both ice hockey and football. The former required wearing a jockstrap. For a short period of time, I tried my luck in the game of handball as well (but not as a goalie, mind you). It was one of my then-best friends, with the most common Swedish surname Andersson, who brought me to my first handball practice. I remember that our coach was a pregnant woman and that our team colours were red, blue and white. I quit the team after only a couple of weeks. Handball was not my cup of tea.

/BRYAN

When -isms collide and the gender revolution neutralises itself, anti-masculinity becomes the mere image of womenswear worn by men. Or men wearing womenswear. Plus. Minus. Zero. Slowly, the J.W.A. concept becomes a papier mâché set, loosely glued together, juncture points still visible. A reflection of one's own deconstruction:
Ad novum mundum creandum, primum delendus est vetus. Scissors, pins, ready.
/HORST








1. J.W. Anderson Spring/Summer 2014
2. Jeff Koons One Ball Total Equilibrium Tank, 1985
3. Joe Lally Pop 421, 2013
4. Wayne's World Game On, 1992
5. J.W. Anderson Fall/Winter 2013
6. Maurice Scheltens Forms Of Boredom, 1999
7. Comme des Garçons Spring/Summer 2011
8. J.W. Anderson Spring/Summer 2014

All about Bryan Rapp

A Short History Of The Comic Strip In Popular Culture II

1. David Salle Spanner, 2009
2. Balenciaga Fall/Winter 2001
3. Neo Rauch Handel, 1999
4. Roy Lichtenstein Masterpiece, 1962
5. Comme des Garçons Spring/Summer 2010
6. Disney Oswald The Lucky Rabbit, 1925
7. Viktor & Rolf Fall/Winter 2008

The elliptic speech bubble. First it appears empty. A cipher (of white letters on white ground) for a post-idealistic, neo-realistic world. An empty void for empty words of empty individuals (David Salle and Neo Rauch). And, when this bubble is filled, we are confronted with words like 'I don't want the world to end.' (Comme des Garçons) or 'Look out world! I'm coming back!' (Oswald, the Lucky Rabbit) and finally 'No'/'Dream' (Viktor & Rolf). Subsequently, we are tempted to assume that - either way - speech bubbles are place holders for cries for help (and rescue). To be continued...
/HORST

Perpetuum Mobile, 2013

or 'Confessions Of A Conceptualist'

Vest Ann Demeulemeester
Tank Rick Owens
Trousers Ann Demeulemeester
Raincoat Jil Sander
Slippers Hernández-Cornet

A fur slipper is a fur slipper is a fur slipper. A post-Lang, post-Einstein perpetual motion. An exercise in discomfort while being comfortable. A scientific model based on friction that creates energy in itself.
/HORST

Post Paris XXVIII

A 'False Encyclopaedia' double feature with Alexander Fury, discussing:
Céline Fall/Winter 2013

Céline has always been about a reality of dressing. You could call it rational - like that dowdy mid-nineteenth century movement that encouraged women to cast off the shackles of their corsets and don by-and-large shapeless velvet garments that could have been sported by Mrs Arnolfini circa her Van Eyck portrait. Incidentally, she featured in the bumper inspiration book Phoebe Philo placed on every seat to unravel her latest offering. But of course, her garments were neither dowdy, nor shapeless, even when they seemed crafted from chequered laundry bags. That felt like an Arte Povera touch, a reversal of luxury - like Gabrielle Chanel lining her drab woollen coats in sable, the luxury hidden for the wearer. Likewise, those coats that looked like plastic pound-shop schmattes are probably amongst the most expensive of the entire season. And, somehow, along that route from laudromat spin-cycle to Céline catwalk, they have been magically transmogrified into the most desirable. It's a fashion miracle. Except there's nothing inexplicable about it.

/ALEX

Phoebe Philo's maximalist minimalism turns models back into mannequins. Clinging to clutches. Making sure the product is perfectly visible. The message "We are for sale!" is worn on their sleeves. Margiela's merchandise as jewellery comes to mind. The 'cheap' and mundane transformed into a luxury it-item. Infused with a 'slash' of vagina feminism. You need a bag?
/HORST








1. Céline Fall/Winter 2013
2. Hyacinthe Rigaud Louis XIV, 1701
3. Rachel Whiteread Embankment, 2005-6
4. Robert Mapplethorpe Patti Smith, 1973
5. Maison Martin Margiela Spring/Summer 2002
6. Céline Fall/Winter 1975
7. Ida Applebrook Group H #4, 1969
8. Céline Fall/Winter 2013

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