Summer Readings: Fashion Practice et al.

Cover of Fashion Practice, Volume 1, Issue 1

A sister publication to Fashion Theory was recently launched by Berg Publishers. Titled Fashion Practice, it focuses on the interaction between theory and practice alongside practice-based research and is mainly concerned with contemporary design. Among its recurrent areas of interest are the interaction of fashion and technology, as well as sustainable fashion, as it is geared to be of interest to practicing designers alongside academics. The journal is edited by Sandy Black of the London College of Fashion, and Marilyn DeLong of the College of Design at the University of Minnesota, and it is published biannually. (Disclosure: I recently contributed to the journal.)

Also of interest is the proliferation of academic blogs devoted to fashion and based in the USA---a relatively new phenomenon. Among the ones that I have recently discovered is the historically driven Thread for Thought, as well as the more contemporary-minded Threadbared and Worn Through.

Francesca

Lowbrow Reader Variety Hour at Housing Works Bookstore Cafe

Illustration for Gilbert Rogin's Lowbrow Reader story by Doreen Kirchner

Fashion Projects contributor Jay Ruttenberg is organizing a launch event for the new issue of the Lowbrow Reader, his Manhattan-based comedy journal. The Lowbrow Reader is a small, lushly illustrated comedy magazine edited by Jay Ruttenberg. Its new issue, #7, includes work by Shelley Berman (Curb Your Enthusiasm), David Berman (Silver Jews; no relation) and Sam Henderson (Magic Whistle). Much of the issue is devoted to the novelist Gilbert Rogin, including an assessment of his work by Jay Jennings and the first piece of fiction by Rogin to be published since 1980. It is available online, and in smart stores everywhere.

The event will take place at the Housing Works Bookstore (126 Crosby Street in Soho) on Wednesday July 22nd from 7 to 9 and promises to be an exciting and diverse night. The show will feature short acoustic performances from three great musical acts: The Fiery Furnaces, Peter Stampfel and the Ether Frolic Mob, and Larkin Grimm. There will also be an incredibly funny comedian, John Mulaney, and a reading by Gilbert Rogin, a retired New Yorker writer whose work appears in the new Lowbrow Reader. There is a cover charge of $10 to $5 on a sliding scale, and all of the money raised will go to Housing Works—one of our favourite charities that did pioneering work on AIDS.

For more information on the bands and the event please visit the Housing Works event site.

Update! Below are some photos from the event:

The Fiery Furnace playing at Housing Works as part of the Lowbrow Reader Variety Show. Photo by Jesse Chan-Norris

Larkin Grimm playing at the Lowbrow Reader Variety Hour. Photo by Jesse Chan-Norris

Peter Stampfel and Ether Frolic Mob at Housing Works. Photo by Jesse Chan-Norris

Author Gilbert Rogin reading at Housing Works. Photo by Jesse Chan-Norris

Mono Kultur on Dries Van Noten

Mono Kultur no. 20. Cover Image by Kai von Rabenau.

I recently found an interesting and imaginative publication while visiting the X Initiative "No Soul for Sale: A Festival of Independents", that took place at what used to be Chelsea's Dia Art Foundation. Appropriately titled Mono Kultur, it consists of a single interview with an art or design practioner. The publication is based in Berlin and its most recent issue features a long and engaging interview with the Belgian designer Dries Van Noten accompanied by images of his work by Kai von Rabenau. Past issues have featured interviews with Miranda July, David LaChapelle, Maurizio Cattelan, Massimilano Gioni and a number of others.

Francesca

Weird Beauty: Fashion Photography Now

Tim Walker, "Magic World," Vogue Italia, January 2008.

The International Center of Photography just opened four exhibitions to inaugurate their “2009 Year of Fashion,” including the contemporary Weird Beauty: Fashion Photography Now. Surveying recent fashion photography, the show includes magazine spreads alongside actual photographic prints. As noted by New York Times art critic Roberta Smith in her review of the show, the majority of the magazines featured are either European or Japanese, with the lone American titles, W magazine and the New York Times. Smith’s candid admittance that she was unfamiliar with most of these foreign publications was striking: Considering the importance of some of the titles in fashion circles (i.e. Vogue Italia and Purple), it goes to show the strict divide between fashion and art in the States. Perhaps the fashion exhibitions at the IPC will contribute to narrowing this divide.

Weird Beauty’s inclusion of the actual magazine spreads makes for an interesting contextualization of the photographs and gives its due to stylists and make-up artists, yet one would have hoped for more of the actual prints to be included. After all, an avid reader of fashion magazines would have seen a good number of these photographs on the printed page, and the museum could provide a different perspective on the work through blown-up prints. In fact, the photographs whose prints were included alongside the spreads stole the show. Particularly interesting were works which originally had been published in Vogue Italia. A black and white photograph by Tim Walker looks diaphanous, as it explores the transparency of fabrics like organza and tulle. It also points to the notion of prostethically altered bodies via a round egg-shaped ruffle “dress” worn by one of the models and a fork-like device (reminiscent of a prosthesis) that partially holds up the other model in the frame.

Deborah Turbeville, "Charlotte Gainsbourg" Vogue Italia

Other photographs that stand out are a portrayal of Charlotte Gainsbourg by Deborah Turbeville—an established photographer with an enviably long career—also in Vogue Italia. The shot is reminiscent of a turn-of-the-century Chaplinesque heroine. Also of notice are Surrealist-inspired photographs by Sara Van Der Beek for W Magazine, as well as the lighly disturbing photograph by Richard Burbridge, a close-up on an eye doused in candy pink liquid, and aptly titled Pink Eye.

Richard Burbridge, Pink Eye, 2008.

Francesca Granata

Lynn Yaeger

Lynn Yaeger at Ann Klein show, 2007. Photo from Coutorture.

It is sad to report on the dwindling rank of fashion journalists. Now that Lynn Yaeger is no longer at the Village Voice, one is hard-pressed to think of anybody who could fill her eccentric shoes. Reminiscent of Anna Piaggi—the veteran Vogue Italia reporter—Yaeger pioneered an unmistakable look, which Harold Koda and Andrew Bolton of the Costume Institute recently described as "Porcelain-Doll-via-the-Weimar-Republic,” and which made her a staple of downtown New York.

Her irreverent and unique style reflects her equally irreverent and original fashion reporting, which eschews the usual devotion to all things luxury and celebrates the original and affordable—particularly in her now-defunct column “Elements of Style.” What is most refreshing about her style, as well as her writings, is that she is never shy in exposing the aspirational and unattainable nature of much fashion and fashion reporting, which she counters with an ironic and subversive take on luxury goods and status dressing.

Hopefully, an exhibition of her unmistakable style and take on fashion will soon be organized alongside the lines of the Anna Piaggi exhibition, Fashion-ology, curated by Judith Clark at the Victoria and Albert in 2006.

For Harold Koda and Andrew Bolton on Yaeger's style, see T Moment's blog.

Francesca