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
More about Alexander Fury
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