Christian Louboutin’s “Fetish Ballerine” pump. The shoe is on display at the “Shoe Obsession” exhibit at The Museum at the Fashion Institute of Technology Museum in New York. The exhibition, showing off 153 specimens
Vivienne Westwood visited New York. She met Keith Haring. His art looked like magic signs and hieroglyphs. Therefore – collection ‘Witches’. Hip hop, styling of garments stop-frame look, white trainers customized with three tongues, pointed Chico Marx hats.
Metropilos M / nr 1 2012/ An Interview with Seth Siegelaub
Seth Siegelaub is known for his revolutionary attitude in showing and promoting Conceptual Art in the sixties and seventies. His gallery, Seth Siegelaub Contemporary Art, which he opened after having worked at Sculpture Center in NY (‘yes, the same institution with the same name today, but then a far more conservative “garden sculpture” set-up’), was only operational from 1964 to 1966. After closing the gallery, (‘it was a boring experience, but probably necessary for my growing up’) he worked as an independent curator – or whatever it was called back then – organizing shows, projects and working closely with artists such as Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner. For some time now, he has been living in Amsterdam. There, he heads up the Stichting Egress Foundation, in which his passions for contemporary art, textile and critical theory converge.
Coptic tunic (detail) Egypt, ca. 6th century, wool and linen, CSROT Historic Textile Collection at the Stichting Egress Foundation, Amsterdam
Raven Row Gallery, The Stuff That Matters. Textiles collected by Seth Siegelaub for the CSROT
The first exhibition of the collection of historic textiles assembled by Seth Siegelaub over the past thirty years for the Center for Social Research on Old Textiles (CSROT). The exhibition will feature over 200 items from a collection currently comprising around 650. It will include woven and printed textiles, embroideries and costume, ranging from fifth-century Coptic to Pre-Columbian Peruvian textiles, late medieval Asian and Islamic textiles, and Renaissance to eighteenth-century European silks and velvets. Barkcloth (tapa) and headdresses from the Pacific region (especially Papua New Guinea) and Africa will also be on display.
McQueen always started every collection with an idea or a concept for the runway presentation before the fashions. After the concept, he would have this elaborate sort of storyboard with these various references from art, from film, from music—his influences from everywhere. There’s a famous story about how he was watching Friends one day, and Joey was wearing a green sweater, and Joey’s green sweater inspired an aspect of his collection. So he was such a sponge that inspiration came from everywhere. The actual creative process in terms of the clothes themselves were often designed directly on the mannequin during a fitting. So fittings, for McQueen, were incredibly important. McQueen saw life cinematically, and I think that that approach to life was something that you see very clearly on the runway. So his interest in extreme weather conditions was part of that sort of dramatic view of life. And I think that one of the reasons why he loved nature so much was because it was so unpredictable. They were spontaneous; it was something that one can never control, and I think that was always something he liked to show in his collections.