Double Feature

A 'False Encyclopaedia' double feature with Ana Hernández Cornet, discussing:
Vetements Spring/Summer 2015

An off-key play with school of Margiela proportions that feels innocent and pristine, yet awkwardly sexy. A lurking feeling of something violent about to happen. Yet a warm and fuzzy feeling, like being naked under a pink fur coat.

/ANA

Conservatism and boredom, broken with elements of 'off'. As if Martin Margiela was still 'alive' or as if his twin brother built a parallel world. The team at Maison Martin Margiela does a great job to maintain and continue the legacy of its founder. Vetements, the anonymous collective formed around a former Margiela protégé, re-builts this legacy. Something is happening.
/HORST





1. Vetements Spring/Summer 2015
2. Unknown (Maison Martin Margiela scarification)
3. Jamie Hawkesworth South Shields, 2012
4. Luke Gilford Maison Martin Margiela, 2011
5. Yrjö Edelmann Untitled, 1985
6. Thomas Ruff Portraits, 1984-1985
7. William Selden Masters Of Invention (Dazed & Confused), 2011
8. Vetements Spring/Summer 2015

Walking Duvets III

1. Walter van Beirendonck Fall/Winter 1999
2. Bill Cunningham New York Times, March 2000
3. Maison Martin Margiela Fall/Winter 1999

Change of seasons, change of wardrobe. Interior as exterior. The coat made of down comforters with inset sleeves to define the coat’s shape. Accompanied by multiple covers in wool, plastic or flower-printed vintage sheets.
/HORST

Codes Of Decoration

1. Lara Jensen for Inbar Spector Fall/Winter 2012
2. Oscar De La Renta Fall/Winter 2012
3. Jil Sander Spring/Summer 2009
4. Ben Toms The Divine Invasion, Dazed & Confused June 2012

Moths, crystal and pearls. When decoration does not just decorate but cover everything. In various degrees, the codes are challenged, the purpose of jewellery hyperbolized. More is more.
/HORST

Beauty, Recycled

1. Comme des Garçons Fall/Winter 2000
2. Daniel Jackson A Scanner Darkly, Dazed & Confused 2012
3. Junya Watanabe Fall/Winter 2009

The displaced lip as mentioned in a previous chapter is further continued with the flattened face. Reducing the physiognomy to strong black lines and holohedral white surfaces. Make-up as Japanese xylography.
/HORST