Draußen im Dunkeln. Weitermachen Nach der Mode. MAK Frankfurt.
In this modabot-feature I’m reflecting on a realtively new, high-profile career in fashion: curators. Not only do they work in galleries, bringing theory, space and fabric together – they also work digitally, giving the museum a new, cool reputation. Who started it? Diana Vreeland of course! Read more here.
Burberry Post-Chav-Image-Campaign
This is a translation of a post that was published here in May 2012
For a brand, especially in the luxury sector, it is of highest importance to keep control over who identifies with it and why. Luxury brands, in order to justify their margin and their status, have to keep their supply artificially low and their perceived customer richer, more beautiful and more fashionable than average. Sometimes, however, brands are kidnapped by the wrong kind of customer and lose control over their image. Looking at the cases of Burberry or Stone Island, there are ways to manage the crisis. Weiterlesen
Dieser Artikel erschien ursprünglich am 27. 08. 2012 bei globe-m
Die Grenzen zwischen Kunst und Mode in Frage zu stellen, und über Unterschiede und Gemeinsamkeiten beider zu reflektieren, ist Ziel der Ausstellung „Reflecting Fashion“ im Wiener mumok (Museum moderener Kunst Stiftung Ludwig Wien).
Künstler und Designer von Weltrang sind in den Hallen des mumok versammelt. Das Gebäude aus Basaltlava und Gusseisen erinnert architektonisch ein wenig an ein antiquiertes Bügeleisen ‑ der Bezug zur Mode ist also gegeben. Weiterlesen
The development of the fashion show, with in-house models posing for customers as early as 1850, until today’s catwalk craze is a long and meaningful story. I have picked out some quotes from Caroline Evans‘ article The Enchanted Spectacle, and I’ll try to sum it up for you guys.
The fashion show has played a key role in the development of the modern fashion industry. From approximately 1900, fashion shows began to be staged in couture houses and department stores and as charity fund-raising events in Britain, France and the USA. As „the theatricalisation [sic] of fashion marketing“ par excellence (Kaplan and Stowell 1994: 117) the fashion show also has a relationship to art, theater and film; to consumerism; and to the commodification and eroticization of the female form in mass culture; in short, to the wider formations of gender, image, desire and commerce in the twentieth century. Weiterlesen
Gestern Abend, in einem Anfall von Nostalgie, sah ich mir zusammen mit einer Freundin ein Paar Folgen „Sex and the City“ an. Zweite Staffel. Und da war es: Das Spaghetti-Top. Natürlich, an Carrie sah es fabulous aus. Jede hatte damals eines. Doch nun sieht man es gar nicht mehr. Und ich kam nicht umhin, mich zu fragen: Was ist mit den Spaghetti-Trägern passiert? Weiterlesen
Barbara Russ 