• CALENDAR
    • Add Your Event
  • architecture
    • art & literature
    • awards
    • buildings
    • sustainable
    • prefabricated
    • public space
    • residences
    • urban planning
  • design
    • art & literature
    • awards
    • collectables
    • concept
    • fashion
    • sustainable
    • home
    • lifestyle
    • safety & special needs
    • transportation
    • workplace
  • editor’s pick
    • featured
    • gift ideas.
    • interviews
    • opinion
  • events
    • auctions
    • competitions
    • conference & Exhibitions
    • fairs
  • news
    • latest news
    • elsewhere
    • lifestyle
    • people
    • producer
    • retailer
DesignApplauseDesignApplauseyour daily design dose
  • CALENDAR
    • Add Your Event
  • architecture
    • art & literature
    • awards
    • buildings
    • sustainable
    • prefabricated
    • public space
    • residences
    • urban planning
  • design
    • art & literature
    • awards
    • collectables
    • concept
    • fashion
    • sustainable
    • home
    • lifestyle
    • safety & special needs
    • transportation
    • workplace
  • editor’s pick
    • featured
    • gift ideas.
    • interviews
    • opinion
  • events
    • auctions
    • competitions
    • conference & Exhibitions
    • fairs
  • news
    • latest news
    • elsewhere
    • lifestyle
    • people
    • producer
    • retailer

karl lagerfield

Home Tag karl lagerfield
visionary barrier-breaking chicago designer virgil abloh dies at age 41.

visionary barrier-breaking chicago designer virgil abloh dies at age 41.

Nov 29, 2021

above> mca chicago’s virgil abloh 2019 retrospective “figures of speech”

social media best informs us of visibility and reach and virgil abloh‘s passing gave us a pretty clear picture of who he touched. he reached dizzying levels of cultural success in a dizzying short timespan. with engineering and architectural degrees, within a decade he created two fashion brands, pyrex vision and off-white, whose market was youth, hip-hop, “the street”, and grew to interning at luxury fashion pillars fendi to becoming the artistic director of louis vuitton.

in july 2021, lvmh, vuitton’s parent company, announced its acquisition of the off-white trademark in a landmark deal that gave abloh an unprecedented new role working across lvmh’s vast portfolio. though he started creating fashion he also dabbled with graphics with jay-z and kanye west and products via ikea, nike, mercedes-benz, and rimowa. but without question his biggest statement was the runway.

he also liked “words”, “isms”, a lot of quotation marks. he liked the word “readymade,” a term coined in 1915 by marcel duchamp, the french-american artist best known for taking found objects (most famously, a standard-issue urinal) and re-contextualizing them as art, which abloh interprets as a way to birth new ideas with recognizable parts.

his approach juxtaposes hip-hop and the omnesiac culture of the internet, where the past is impossible to forget; always just a few clicks away and open to constant referencing. “it’s called hip-hop, it’s called sampling. you take a record and you make this new format of music from these adjacencies,” he explains. “we don’t exist devoid of the artists and thinkers that came before us: mies van der rohe, rem koolhaas, kanye west, pharell, caravaggio. they give us soil,” he continues. “it’s dangerous when you start naming yourself as the oracle.”

this approach is illustrated by what he calls the “3 percent approach,” the notion that you only need to edit something three percent to make it seem at once familiar and completely new, a winning proposition for abloh. “you notice a lot in my work the referencing or taking a thought and adding a component,” he explains. “duchamp is my favorite. duchamp is my lawyer.”

he is described as a visionary, trailblazer, cross-generationist, rule breaker, and genre-bender. he gets compared to karl lagerfield.

abloh was often quoted saying that everything that he did was for the “17-year-old version of myself.” “i would sort of agree i’m not a designer; that term seems like it’s for traditionalists,” he says. “tbd the new title.”

on tuesday, 30 november 2021, he was expected to present a louis vuitton runway show in miami ahead of art basel to mark the opening of a dedicated men’s store. vuitton will present the show in his honor.

above> photography by delfino sisto

above/below> 2019 mca chicago – “figures of speech” offers an unprecedented survey of abloh’s creative work over nearly two decades and pulls back the curtain on his process. in the exhibition, prototypes are presented alongside finished artworks, product designs, and fashion to reveal his myriad inspirations – from centuries-old painting to commonplace signage at construction sites. running throughout the exhibition is an emphasis on dialogue, which abloh creates through his inventive use of language and quotation marks, turning the objects he designs and the people who wear his clothing into “figures of speech.” editor’s note: the takeaway from this installation – this guy is indeed special.

[ mca figures of speech ]

/////

above/below> louis vuitton chicago flagship showroom during george floyd 2020 summer protests // million dollar glasses

above/below> 2021 mercedes-benz project gelandewagen unveiled – artistic, track-spec g-wagen with full race car cabin. the project that bears the name ‘geländewagen’ was supported by gorden wagener, the brand’s design director, in which despite being a conceptual creation that simulates a racing version, all the details of the suv were carefully thought out. abloh, in a statement to mercedes-benz, sees his contribution as a sculpture that meets the profile and habits of those who consume the brand and that is ready to hit the art market.

above> 2018 / off – white little black dress

above> 2018 / abloh’s first louis vuitton mens’s spring-summer 2019 collection

above> his final louis vuitton collection // editor’s video note: hip-hop befits vuitton indeed

oma at the met. manus x machina: fashion in an age of technology.

oma at the met. manus x machina: fashion in an age of technology.

May 2, 2016

on view through 14 august 2016.

fashion lures architecture and design to the metropolitan museum of art’s costume institute spring 2016 exhibition, manus x machina: fashion in an age of technology. the exhibition explores how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. manus x machina features over 170 garments, diverse in their designers, techniques and details.

the credits
manus x machina is organized by andrew bolton, curator in charge of the metropolitan museum of art’s costume institute. shohei shigematsu, director of oma new york, led the design of the exhibition in collaboration with the design department (amo) of oma new york.

the architecture
from the architect> the exhibition is presented in the robert lehman wing, a double-height, octagonal addition on the museum’s central axis constructed in 1975. in order to preserve access to the permanent galleries, the exhibition space is located in the lehman wing’s central atrium and corridors. the space posed a number of unique environmental challenges for the costume institute’s show: excessive daylighting unconducive to textile exhibition, split levels, a corridor condition lacking dedicated display walls and an eclectic material palette.

a white, translucent volume was inserted into the existing brick and stone corridors of the lehman wing, softening its hard geometries. echoing the sectional relationship of a central clerestory and perimeter naves, the resulting ghost cathedral resonates with the classical language of the adjacent medieval art gallery. a raised platform built across the double height atrium provides continuous circulation and a 2,300 square foot central gallery– an unprecedented intervention in the lehman wing. upon arrival, this domed clerestory orients visitor’s with a 2014 chanel wedding dress by karl lagerfeld that embodies the exhibition’s theme. details of the 20-foot train’s baroque pattern are projected on the dome’s black out scrim, recalling the sistine chapel. four chapel-style pochés provide an area to focus on case studies.

mxm16-oma1

exhibition designer shohei shigematsu commented, “the diverse range of garments required a neutral, integrated environment to focus on the pairings of manual and mechanical processes. an armature of scaffolding wrapped with a translucent fabric introduces a unique temporality within a historic institution.”

as a high-performance theatrical scrim, the perforated membrane material of the ghost cathedral offers the tensile flexibility required for the dome geometries as well as varying degrees of transparency. when lit from the front, the scrim appears opaque enough to function as a projection backdrop for garment details. lit from behind, the scrim appears transparent, exposing a sense of the lehman wing’s existing material palette and language. the unexpected spatial depth of the scrim allows for visual connections to the wedding dress from all quadrants of the lehman wing, while also revealing silhouettes of the temporary scaffolding framework housed within. in the lower level, scrim enfilades provide a permeable divider for each technique. as an integrated system for lighting, signage and projection, the scrim seamlessly serves multiple curation needs that would otherwise rely on overpowering media screens.

Gallery Image
Gallery Image
Gallery Image
Gallery Image
Gallery Image
Gallery Image
Gallery Image
Gallery Image
photography courtesy of oma

technical information
manus x machina: fashion in an age of technology
location: new york city usa
year: 2016
status: completed (commissioned 2015 / completion may 2016)
program: 18,300 sf exhibition
scrim surface area: 23,000 sf
architect: oma
lead architect: shohei shigematsu / oma nyc
team: scott abrahams, wesley ho, nicholas solakian, sergio zapata, daniel rauchwerger, lawrence siu, darby foreman, matthew haseltine, christine noblejas
engineering: arup
lighting: dot dash
media: 3 legged dog
membrane: newmat
scaffolding: ubs
masonry: cw keller
photography: albert večerka

the fashion
andrew bolton’s brilliant new exhibition at the metropolitan museum of art’s costume institute – the costume institute began as the museum of costume art in 1937, merged with the met in 1946, and reopened its space as the anna wintour costume centre in may 2014 – explores the relationship between the handmade and the mechanized in fashion. bolton’s vision pays homage to craftsmanship, innovation and the role designers play in the creative process.

the show’s galleries are divided into tenets of design outlined in diderot’s 1751 encyclopedia: embroidery, featherwork, artificial flowers, lacework, leatherwork, pleating, tailoring, and dressmaking. another interesting counterpoint emerges: haute couture versus prêt-à-porter.

alber elbaz succinctly explained why “manus x machina” is so important at a lecture prior to the opening: “it was almost an exhibition that was done for designers and with designers’ work. it was about workmanship, about know-how, about time, and the one thing that impressed me the most was that it was almost silent. . . . please go and see it.”

this is an exhibition for true fashion lovers.

 

[Best_Wordpress_Gallery id=”10″ gal_title=”manus x machina 2016″]


First paris design week 2011. 15 september.

Sep 15, 2011

“bistro electric hand mixer”

The new BODUM European flagship store presenting the brand’s latest inventions. A unique “BODUM Lab” on the first floor allowing the whole E-BODUM range to be tested, available in 6 colors! | 38, avenue de l’Opéra, 75002

“boxy”

MY DESIGN offers an explosion of color by Johanna Grawunder at Glas Italia, radical black and white by MDF, tellurian portraits by the artist Gérard Le Cloarec and the photographer Vic with his locked hearts | 75, quai de la Gare, 75013


COLETTE presents the following collections: Orrefors and Karl Lagerfield, Mon DuPont by Karl Lagerfield, Puiforcat knives by Pierre Gagnaire and Planète Bleue speakers by Elipson | 213, rue Saint-Honoré, 75001
Since 1964, HABITAT has transformed the equipping of living areas, combining inspiration and creation of beautiful interiors | 30, boulevard des Capucines

date: 12 – 18 september [ first paris design week 2011 ]

Contact Us

We're currently offline. Send us an email and we'll get back to you, asap.

Send Message
DesignApplause

your daily design dose

Follow Us


about us
contact/help
privacy policy

ADVERTISEMENT

LATEST NEWS

  • lissoni new york introduces lissoni architecture.
  • ford switches gears re most dramatic auto business model switch in your lifetime.
  • expo chicago 2023 discovers artists that embrace architecture and design.
  • a man for all reasons brit architect/designer david chipperfield wins 2023 pritzker architecture prize.
  • the beginning is the most important part of the work. hello 2023.

All content ©2007 > 2022 DesignApplause