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Rodarte are all over the place right now. They did the gorgeous costumes for Nathalie Portman in BLACK SWAN and have sparked a ballet wedding gown craze.Here is the article about their MOCA show.
LA Times by David Ng
When Jeffrey Deitch took the reins of MOCA last year, he expressed a desire to reenergize the museum's satellite space at the Pacific Design Center in West Hollywood. In June, he staged a James Franco/"General Hospital" event at the PDC, which brought out the TV cameras and quite a few Franco fans. Now, Deitch is bringing the über-cool house of Rodarte to the PDC in what is expected to be a fusion of art and fashion.
Rodarte, founded by sisters Kate and Laura Mulleavy, is a fashion line whose expressive, sometimes ethereal creations frequently find their way onto the lithe bodies of celebrities during award shows and other red-carpet events. "Rodarte: States of Matter," scheduled to run March 4 to June 5 at the PDC, will be the company's first West Coast solo exhibition.
The Museum of Contemporary Art said the exhibition will feature pieces from Rodarte's spring 2010, fall 2010 and fall 2008 runway collections, plus original ballet costumes that the Mulleavys designed for the movie "Black Swan." The museum expects the show to feature about 25 pieces, which will be installed as a series of "interrelated conceptual vignettes," both static and in motion.
Rodarte was the subject of an exhibition at the Cooper-Hewitt, National Design Museum in New York, titled "Quicktake: Rodarte" that ran in early 2010.
In an interview from her downtown L.A. office, Laura Mulleavy said that they received a call last year from Deitch, who had attended one of their shows, asking if they would be interested in doing an exhibition at MOCA. The sisters ultimately sat down with Deitch last summer just as he was assuming his new job at the museum.
Laura Mulleavy said the MOCA show will feature garments with a minimal color palette, mostly black and white. She said that whereas the Cooper-Hewitt exhibition featured a backdrop that was an extension of the clothes, the MOCA show will have a backdrop that is more interactive for the viewer and the individual garments.
Rebecca Morse, MOCA associate curator, said in an interview that the MOCA exhibition is intended to take Rodarte pieces out of the display world and to show them as art and sculptural objects, focusing on how individual creations are put together.
The MOCA exhibition is being created by French designer Alexandre de Betak, who has collaborated with many of the world's top clothing lines on his signature brand of dreamy, highly theatrical fashion shows.
BLEU DE CHANEL
WITH GASPARD ULLIEL
DIRECTED BY MARTIN SCORSESE
MUSIC: "SHE SAID YEAH" BY THE ROLLING STONES"
ALBUM "DECEMBER'S CHILDREN (AND EVERYBODY'S)"
WITH GASPARD ULLIEL
DIRECTED BY MARTIN SCORSESE
MUSIC: "SHE SAID YEAH" BY THE ROLLING STONES"
ALBUM "DECEMBER'S CHILDREN (AND EVERYBODY'S)"
Published: December 14, 2010
LIKE any Frenchman worth his fleur de sel, the new Pierre Hardy boutique immediately poses challenging questions.
Enlarge This Image
Kirsten Luce for The New York Times
Like, where is it?
Monsieur Hardy, an intriguing artist on several fronts, came to shoes after scholarly forays into fashion illustration, dance and scenography. In the store literature, he proclaims that he eschews nostalgia and history, preferring to find inspirations for his futuristic footwear through design and conceptual art.
In an architectural sense, the shop is so understated as to be virtually invisible: a wall of dark topaz glass is inset several feet from the sidewalk, with no identifying markings. This is the kind of cold, tinted slickness generally preferred by military contractors around Arlington, Va. At first glance, the shop might be the front office for an international weaponry brokerage, an illegal plastic surgery cult or perhaps an entertainment law office-slash-sex dungeon. The (presumed intentional) effect is to cause the shopper to question her own validity. Should she potentially corrupt the space inhabited by these rarefied shoes by insinuating herself into it, or should she should let all her credit cards slide from her fingers into the middle of West Fourth Street, lie down on them and succumb to a coma of existential ambivalence?
M. Hardy's aesthetics of disinvitation are reaffirmed by the fact that there does not appear to be an actual door. Getting inside requires more than galvanizing a certainty of one's metaphysical being; the determined shopper is forced to hurl her full body weight across panels of amber glass until a secret hinge eventually yields, allowing her to stumble inside, stripped of pride and balance. It is a somewhat Masonic experience; you realize that there were no witnesses to your fall from grace because everyone who works there seems to be somewhere in the back, and it's really dark in there (and therefore grace arguably never hath left you).
The floors are black leather strips cut and arranged to resemble wood planks; the benches are black powder-coated industrial I-beams. Gray shoebox-size cubes appear to have crystallized like raw lithium formations in corners of the space. This is where constellations of M. Hardy's signature items are displayed: unisex suede desert boots ($490) and high-top sneakers with Velcro ankle straps, in kicky flavors like heathery flannel, charcoal patent leather, gold lamé ($520).
The staff, once inspired to participate, is particularly lovely and laid-back in that casually hospitable, elegant French way -- no fussiness or pretense, and a rather effortless way of dealing with customers.
At one point, I heard thumping and fluttering and looked toward the street, thinking that perhaps a rash of adolescent doves had performed a group suicide against the window. But no. An incognito Andy Samberg and a comely model-slash-actress seemed to be leaving mime handprints all over the glass, apparently having the same problem I had with the Zen koan of the doorless door. We watched in silence until they passed the initiation and lurched inside.
The gorgeous Kylie Bax is designing a cute footwear luxury line for kids called Moro Moro.
HI EVERYONE! THE HOLIDAYS ARE UPON
US..SUPPORT LOCAL HANDCRAFTED ART
SATURDAY DEC 4 12-4 PM
Tokujin Yoshioka x 132 5. ISSEY MIYAKE The first store for "132 5. ISSEY MIYAKE" designed by Tokujin Yoshioka has been launched.
"132 5. ISSEY MIYAKE" is a new label and a new evolution of "A piece of Cloth" by Issey Miyake, based on the ideas of "Regeneration and Re-creation."
"Way of selling" is the concept of this space rather than the superficial interior design.
The clothes are displayed on five transparent torsos, which are strung down from the ceiling. Customers can access freely to the computer graphic images of the complicated process on the iPad installed in the store.
The display of the process from 2D to 3D is as if it is of the Japanese Kimono store.
ALL PHOTOGRAPHS BY YOSHINAGA YASUAKI courtesy of www.tokujin.com
Hermès joins the pop-up retail arena, launching the first of two such stores today at london's rochelle school of art [1]. the pop-ups are part of its global j'aime mon carré campaign that clearly targets a younger and edgier demographic. while the first ephemeral retail venue will be open for the next four days only, a second pop-up store [2] will launch on thu - nov 25, also in the happening shoreditch area. this this one will remain open for almost a month. location [1]: arnold circus [shoreditch]. location [2]: 79-81 ledbury road [shoreditch].
Calendar
October 2010
October 30-31: MOVE!
Date: Saturday, October 30, 2010
Time: 12:00 PM to 6:00 PM
MOVE! is a two-day event merging the worlds of fashion and art through the collaboration of designers and artists, organized by V Magazine's Cecilia Dean and style journalist David Colman. There will be performances and temporary installations presented throughout the building from each of the collaborating designers and artists. Artists and designers include: Kalup Linzy and Diane Von Furstenberg; Rob Pruitt and Marc Jacobs; Terence Koh and Italo Zucchelli (Calvin Klein Collection); Tauba Auerbach and Ohne Titel; Olaf Breuning and Cynthia Rowley; Brody Condon and Rodarte; Rashaad Newsome and Alexander Wang; Dan Colen and Proenza Schouler; David Blaine and Adam Kimmel; Jonah Bokaer and Narciso Rodriguez; CHERYL and American Apparel; and Ryan McNamara and Robert Geller; and TELFAR + Lizzie Fitch, Rhett LaRue, Fatima Al Qadiri, Ryan Trecartin, and Leilah Weinraub.
MOVE! is part of MoMA PS1's Free Space initiative where artists, collectives, and nonprofit arts institutions are invited to make collaborative use of MoMA PS1's gallery space for events, rehearsals, and other live presentations.
OLAF BREUNING AND CYNTHIA ROWLEY FOR MOVE! AT MOMA PS1 from V Magazine on Vimeo.
Olivier Theyskens and Theory: Q & A for New York Times
By ERIC WILSON
After introducing his first capsule collection for Theory in September, the designer Olivier Theyskens broadened his relationship with the contemporary sportswear powerhouse this week by signing on as its artistic director. In his new role, Mr. Theyskens, formerly the designer of the luxury labels Rochas and Nina Ricci, will oversee the design of men's, women's and accessories collections that now have sales of more than $500 million annually. (Istvan Francer, who was the design director of the women's Theory collection, is expected to move to another role within Theory's parent company, Fast Retailing.)
The clothes, under the label Theyskens' Theory, reflect Mr. Theyskens's signature drainpipe style, but also look like Theory's urban wardrobe.
While there has been much speculation about Mr. Theyskens's future since his departure from Nina Ricci, few would have guessed that he would end up in a full-time job at Theory. But in a Q&A on Wednesday, Andrew Rosen, the co-chief executive officer of the label, and Mr. Theyskens said the designer's collaboration turned out to be a natural fit.
What was the reasoning behind expanding Olivier's role here?
Mr. Rosen: When we started, we thought there was a lot of potential to grow and develop our relationship, but Olivier didn't know anything about me or the company, and I didn't know anything about him or the way he works. It worked out really well, so we decided Olivier should handle all of the creative direction of Theory. I think Olivier has a perspective with his experience to do so much more for our company. The world evolves, and fashion evolves, and I think it's important for our company to evolve.
Mr. Theyskens: Of course, I found it to be a great experience. The way the clothes are done here is the way I consider clothes have got to be done -- in the proper way. Also, above all, there is a very positive spirit that exists in this company. This first experience of making Theyskens' Theory [the capsule collection] was very interesting because it was making a whole new product using the energy that was already in place. Basically, everybody got involved, adding to their usual work. The experience was really striking.
Mr. Rosen: We sort of do things the old-fashioned way in that we have a big technical studio here with all the pattern-making, all the sample-making, all the fittings. Everything is done in our studio over on 13th Street.
Mr. Theyskens: I've been used to working that way. People were asking me all the time, was it hard to adapt? But after two or three weeks, I realized I was working the same way. You have an overview of the whole process, and you are in constant contact with all of the people in production.
How large is your design studio?
Mr. Rosen: There are probably 100 people there working on the whole technical aspect of the product. When Olivier started in June, the collection was done in two and a half months.
What was the retail reaction?
Mr. Rosen: It ended up in around 225 stores around the world. The support from the retail community was amazing. I think a lot of what Olivier is doing here is breaking new ground in the contemporary marketplace with the mixing of Olivier's European and high-design background in a more democratic process.
Who is the contemporary customer now?
Mr. Rosen: To me, the contemporary marketplace serves designer customers and aspirational customers at the same time. It is clothes for their everyday life. They are not occasion-oriented or so precious as designer clothes. What has happened is that the contemporary market keeps stepping up its game when you look at the number of new players and the creativity. Looking back to the 1980s, at Donna Karan, first with Anne Klein II, then with DKNY -- at the time that was the contemporary marketplace. Over the years, a lot of those lines have grown old with their customers and moved on into bridge. My philosophy is that a company should never grow old with the customer. It should stay in the same playing field, but it's very hard without change to keep the company evolving forward.
Olivier, did you ever see yourself as a designer of everyday clothes?
Mr. Theyskens: I see everything becoming so global. When I started working on this collection, I thought about what kind of clothes I would like to have in my wardrobe if I were a cool girl. In Theyskens' Theory, there is a large possibility for bringing ideas and new designs, and probably it is more like a laboratory. But in the main Theory collection you are working more on what people wear every day. It is an amazing opportunity to think about everyday life. It is not something expected from an edgy designer, but to me it is interesting.
Has moving to New York changed your outlook as a designer?
By ERIC WILSONAfter introducing his first capsule collection for Theory in September, the designer Olivier Theyskens broadened his relationship with the contemporary sportswear powerhouse this week by signing on as its artistic director. In his new role, Mr. Theyskens, formerly the designer of the luxury labels Rochas and Nina Ricci, will oversee the design of men's, women's and accessories collections that now have sales of more than $500 million annually. (Istvan Francer, who was the design director of the women's Theory collection, is expected to move to another role within Theory's parent company, Fast Retailing.)
The clothes, under the label Theyskens' Theory, reflect Mr. Theyskens's signature drainpipe style, but also look like Theory's urban wardrobe.
While there has been much speculation about Mr. Theyskens's future since his departure from Nina Ricci, few would have guessed that he would end up in a full-time job at Theory. But in a Q&A on Wednesday, Andrew Rosen, the co-chief executive officer of the label, and Mr. Theyskens said the designer's collaboration turned out to be a natural fit.
What was the reasoning behind expanding Olivier's role here?
Mr. Rosen: When we started, we thought there was a lot of potential to grow and develop our relationship, but Olivier didn't know anything about me or the company, and I didn't know anything about him or the way he works. It worked out really well, so we decided Olivier should handle all of the creative direction of Theory. I think Olivier has a perspective with his experience to do so much more for our company. The world evolves, and fashion evolves, and I think it's important for our company to evolve.
Mr. Theyskens: Of course, I found it to be a great experience. The way the clothes are done here is the way I consider clothes have got to be done -- in the proper way. Also, above all, there is a very positive spirit that exists in this company. This first experience of making Theyskens' Theory [the capsule collection] was very interesting because it was making a whole new product using the energy that was already in place. Basically, everybody got involved, adding to their usual work. The experience was really striking.
Mr. Rosen: We sort of do things the old-fashioned way in that we have a big technical studio here with all the pattern-making, all the sample-making, all the fittings. Everything is done in our studio over on 13th Street.
Mr. Theyskens: I've been used to working that way. People were asking me all the time, was it hard to adapt? But after two or three weeks, I realized I was working the same way. You have an overview of the whole process, and you are in constant contact with all of the people in production.
How large is your design studio?
Mr. Rosen: There are probably 100 people there working on the whole technical aspect of the product. When Olivier started in June, the collection was done in two and a half months.
What was the retail reaction?
Mr. Rosen: It ended up in around 225 stores around the world. The support from the retail community was amazing. I think a lot of what Olivier is doing here is breaking new ground in the contemporary marketplace with the mixing of Olivier's European and high-design background in a more democratic process.
Who is the contemporary customer now?
Mr. Rosen: To me, the contemporary marketplace serves designer customers and aspirational customers at the same time. It is clothes for their everyday life. They are not occasion-oriented or so precious as designer clothes. What has happened is that the contemporary market keeps stepping up its game when you look at the number of new players and the creativity. Looking back to the 1980s, at Donna Karan, first with Anne Klein II, then with DKNY -- at the time that was the contemporary marketplace. Over the years, a lot of those lines have grown old with their customers and moved on into bridge. My philosophy is that a company should never grow old with the customer. It should stay in the same playing field, but it's very hard without change to keep the company evolving forward.
Olivier, did you ever see yourself as a designer of everyday clothes?
Mr. Theyskens: I see everything becoming so global. When I started working on this collection, I thought about what kind of clothes I would like to have in my wardrobe if I were a cool girl. In Theyskens' Theory, there is a large possibility for bringing ideas and new designs, and probably it is more like a laboratory. But in the main Theory collection you are working more on what people wear every day. It is an amazing opportunity to think about everyday life. It is not something expected from an edgy designer, but to me it is interesting.
Has moving to New York changed your outlook as a designer?
Written by Jori Finkel for the Los Angeles Times.
It was not your usual scene from "Keeping Up With the Kardashians." In a crimson gown by Georges Hobeika, Kim Kardashian was touring the new Renzo Piano-designed Resnick Pavilion at the Los Angeles County Museum of Art. After posing on the red carpet, she tweeted, "I'm at the most magnificent masquerade ball at the LACMA Museum!" to some 5 million followers.
Welcome to gala season in the art world, the time when L.A.'s leading museums roll out red carpets and stage black-tie parties to raise money -- and their public profiles. Last month LACMA grossed nearly $5 million with an event that drew Kardashian, Tom Hanks, Rita Wilson, Teri Hatcher and Christina Aguilera, who also performed. This month the Hammer Museum raised $1.3 million with a festive dinner (minus the red carpet) co-chaired by Will Ferrell, where Jane Fonda introduced honoree Alice Waters. And the Museum of Contemporary Art takes the stage Nov. 13, with artist Doug Aitken choreographing the activities and actresses Chloë Sevigny and Sandra Oh expected to attend.
For years, museum leaders here would commiserate with one another, if not publicly, about the lack of philanthropy coming from Hollywood. The industry has its share of contemporary art collectors, and filmmakers are visual artists in their own right, the thinking goes, so why aren't they supporting the visual arts in their own backyard?
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