THE STARTING POINT OF THE WOMAN SS14 COLLECTION IS THE CLOSING OUTFIT OF THE MENSWEAR ONE PRESENTED TWO
MONTHS AGO. THE CONTINUATION OF THE 90’S L.A. INFLUENCED THEME, POINTS OUT THE UNITY OF SEXES IN THE
CONTEMPORARY SPORTSWEAR, FOR THE DESIGNER. SUPER MODERN DREAMER THAT RUNS AWAY FROM THE TRICK OF THE
CHIC TO EMBRACE A MORE COMFORTABLE, INTELLECTUAL WAY OF BEING. NOT TOO SERIOUS. ABSOLUTELY SELF
CONFIDENT IN WHAT SHE IS: AN AMAZING, UNIQUE PIECE OF AN ASTONISHING UNIVERSE. THIS CONTEMPORARY WOMEN IS
SEEN BY THE DESIGNER, AS A VERY EDGY AND STRONG CREATURE.
SHE WEARS AMAZING
AIRBRUSHED, AS GENTLE
IN THE FABRIC AS
STRONG IN THE PRINTS.
PALE FIGURES COMES
OUT FROM THE DARK.
…SEE YOU ON A DARK NIGHT/SEE YOU ON A DARK NIGHT/SEE YOU ON A DARK NIGHT/SEE
YOU ON A DARK NIGHT/…”. SKELETONS IN THE MOOD OF SCHIAPARELLI. BUBBLES PRINT TO SOFTEN THE LIGHT, CANDLES
AND BIZANTIUM REPLICA DAMASKS. THE SHAPES ARE FLUID, TO LET THE WOMAN FIT HER REALITY AS THE DAY CHANGES, AS
THE TIME CHANGES, AS THE LIFE CHANGES. THE BLACK IS BLACK. THE COLOURS ARE FOR STRONG IDENTITIES. SHAMELESS
BUTTERFLIES RUNNING THROUGH THE CITIES.
WEB, EMBROIDERIES AND SEE-THROUGH FABRICS TO PLAY THE RICH/PUNK
SOUL THAT IS THE REAL ACTING OF HER FLESH. WITH THE CLASSIC SHAPES OF FRENTZOS MIXED UP WITH SOME NEW ITEMS
THAT ARE READY TO BECOME REAL MUST HAVE FOR EVERY WOMEN. MAXI SHIRT SEEN AS DRESSES, OVER BROCADE
SKIRTS THAT COVER THE KNEES, OVER TULLE LEGGINS IN TULLE POIS FABRIC: A PERFECT EQUILIBRIUM BETWEEN ROMANTIC
AND GOTHIC. “WE KNEW THE GIRLS WERE REALLY WOMEN IN DISGUISE, THAT THEY UNDERSTOOD LOVE, AND EVEN DEATH,
AND THAT OUR JOB WAS MERELY TO CREATE THE NOISE THAT SEEMED TO FASCINATE THEM. …”.
«To look at the moon it is necessary to gaze beyond the pointing finger». It’s quite unfortunate yet inevitable that in the (fashion) world some are still staring at the finger instead of going deeper with their soul (whether they had one) to enjoy the whole brightness the satellite could give.
And, as timely as the moon, a new (in a manner of speaking) fashion cycle has begun. Again. The SS14 worldwide circus still lets journalists, experts and style gurus (not to mention parvenu bloggers) rush in their obvious argumentations. A few of them try to pull away a more philosophical idea behind garments (thankful to the crumbs of clues press offices release with wisdom), but her majesty the queen tiredness reigns supreme. Only boring people got bored, but it’s truly hard to find a reason for excitement in today’s fashion galore.
A few years ago Stefano Gabbana said «we do not make clothes, we do make fashion». Which might sound fantastic if we were in wonderland, but here on earth fashion has 100% to do with clothes, simply because it has to do with market. And ‘according to many specialists’ market has no room (at least no longer) for just ideas, you have to sell. From this perspective even sparkling gashes into the system must be seen as an accurate marketing plan, just because failures have no second chance now. And it’s pretty funny to read about trends and vogues as if they are a pure fantasy-birth of genius designers («SS has never been this floral!» someone columned down; or «XXI century Grunge is a real breakthrough in fashion»).
World is no more what we used to wish it would have been, and keeping dreaming of it can be romantic and relieving in a way, but what we need now is to accept things are changed even for unchanging old institutions, and trying to force them as they were in new paths is a mere waste of time. In the case of fashion market, it is perfectly split in two: luxury branch (high quality products at very high prices) and basic branch (very low quality products at average/low prices). What stands in between is a mix of the worst aspects of the two (very low quality products at high prices, the quintessential antieconomic strategy), leading then to an unsuccessful ending. But most of all it can’t be the future. The future must find a new way, and first of all we must build a new grammar with new words. But remember, words are not the truth, «truth can be likened to the bright moon in the sky. Words, in this case, can be likened to a finger.
The finger can point to the moon’s location. However, the finger is not the moon». We must rethink technology and use it, not used by. Re-educate to a slower (even slightly) life and not listen to the-faster-you-go-the-faster-I-get voices, which seem more and more distant, leaving us always unsatisfied. We are perfectly aware that it takes ages to make a revolution, but the best way to reach out for the target is start seeking it.
Text by Marino Bombini. Any opinions expressed in this report are solely those of the author.
this connection she worked on this project I have the pleasure to share with you today, titled Kun Engle har Vinger (Only
Angels have Wings), for the gorgeous singer Mette Lindberg from The
Asteroids Galaxy Tour.
1998, Rouen, Charles Fréger takes photographic portraits of sailors from
a French naval vessel. Thus, sailors were to be this emerging
photographer's first subject. Over the following fifteen years, this
military influence would reveal itself as a leitmotif, regularly
featuring within the artist's Ïuvre: from Finnish sailors
(Merisotakoulu) to the workers and sailors of the Cherbourg arsenal,
through Legionnaires, and right up to a tour of Europe and its
republican guards which he united within the corpus Empire. In Outremer,
Charles Freger continues his exploration of the military, now focusing
upon enlisted members of the French Navy.
Légion étrangère, Djibouti, 2011, Charles Fréger
This time the Legionnaires are photographed upon the volcanic lands of
Djibouti and are joined by naval officers from Toulon and Noumea. The
glare of the sand, the smell of the spray from the harbour, the
scorching heat of the desert: beyond these uniforms, is the concept of
displacement, of these men and their mindset, and finally the exoticism
that the artist wishes to portray. He thus confirms the elaboration of
his artistic process which was so evident in his previous major project:
Wilder Mann. Herein, Charles Freger surpasses decisively the strict
framework of the uniform, which has increasingly asserted itself within
his practice as a starting point, a canvas upon which the artist
embellishes his own imagery.
Porte-avion Charles de Gaulle, 2012, Charles Fréger
Clothing is a second skin, "skin" because the individual makes it their
own, "second" because it clothes another self. Clothing thus becomes a
projection of self into a historical, geographical, or cultural
elsewhere. The artist has therefore projected himself within this
elsewhere, creating his own uniforms (for a republican guard in his
project Empire, and even for a character for Chinese theatre, created
for a project which took place at the Beijing theatre). Outremer follows
in the wake produced by Wilder Mann, as the artist leads his desire
beyond the clothes and the community for which it is emblematic, in
order to develop it within the sphere of the image and to embrace it
entirely. Model, uniform, but also environment, colour, space, are
harnessed and orchestrated until they encounter a mental image and give
form to the mind's vision. The project started in Toulon, that southern
extremity which points towards a fantasised elsewhere, before heading on
towards the object of desire, Africa, then Oceania, making a stop, like
a counterpoint to these vast horizons, in the closed and incandescent
interiors of the aircraft carrier Charles de Gaulle.
Charles Fréger, Marin avec collier de fleurs de tiaré, Toulon, mars 2013
Through this project, the artist addresses the concept of exoticism, in
the largest sense of the term, interpreted as alterity, or Diversity. It
was Victor Segalen, a naval doctor posted to French Polynesia, writer,
and ethnologist, who at the beginning of the twentieth century cast
aside all of the clichŽs from this notion, in order to redefine
exoticism as the evaluation of the distance between the self and
Diversity. Exoticism is not therefore a search for assimilation, but a
delectation of difference which is a source of sustenance for desire. It
is not by chance that the navy comes and goes as one of the artist's
subjects: between these sailors and their Elsewhere, is the sea, a deep
blue colour; the same waters amongst which this photographer navigates,
pursuing his own white whale with a tenacious desire.
Marine Nationale, Nouvelle Calédonie, 2012, Charles Fréger
Charles Fréger entitled his project Outremer, in a single word, which in
French refers to the colour navy blue; an adjective which, in order to
describe a quality of depth, reflects "beyond the seas", and within this
space Tahitian mermaids dance, like in the artist's video installation,
answering the call of the portraits shown within the exhibition.
text by Raphaëlle Stopin
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