Double Feature V

A 'False Encyclopaedia' double feature with Iris & Daniel, discussing:
Sacai Spring/Summer 2015

Military fatigues infected by flower power, or the other way around. Before, they got married. Soldier and bride. Then they clashed. War and resistance. Then they dismantled. Grunge. Now they’re melted together, on the same body.

Everything was not really a skirt, or a shirt, or a dress, or a jacket. Lace annoying the shoulders and hems of an army jacket. Cargo pockets interrupting flounce. Plisé exploding from underneath aprons. Flat olive drab fronts ballooned in the back like a skydiving motorcyclist. We want to pick this apart and wear it with jeans. Maybe bell bottoms. Not nostalgically though, this collection wouldn’t let you be anywhere but now.

For some reason, those clothes reminded me of Rosemarie Trockel. Maybe just for the sound of the name. But also because of the sensuality for materials, her ceremaic and textile works. And then there was also some Kafka maybe. Because of the fur. Maybe.

1. Sacai Spring/Summer 2015
2. Flower Power, 1967
3. Parachuting Dog, WWII
4. Miu Miu Spring/Summer 2003
5. Nobuyoshi Araki Erotos, 1993
6. Prada Fall/Winter 2007
7. Rosemarie Trockel A Cosmos, 2013
8. Sacai Spring/Summer 2015


Double Feature IV

A 'False Encyclopaedia' double feature with Matthew Attard Navarro, discussing:
Dior Spring/Summer 2015

Dior - Madame/Mrs/Ms. Dior all in one. No better time to be in Paris and this season really proves this. The LVMH family finally realised that the buyers of tomorrow must be wowed over today - and this Dior collection is exactly that, a pleasing collection for the previous generation of Dior owners, and a search for the new. After this season closes there'll be no surprises as to why Tait won that designer award. Is it all a bit too much?

What starts as blank minimalism with space age references, twists and turns via the baroque (Marie Antoinette robes) towards Tirolean folklore (floral embroidery) and handicraft tradition (knitted heels with woven-in contrast threads). A post-Disney, postmodernist fairytale.

1. Dior Spring/Summer 2015
2. Giovanni Michelotti Matra Laser, 1971
3. Clement Chabernaud Jil Sander Spring/Summer 2007
4. Unknown
5. Jeff Koons Bound Of Flowers, 1991
6. Sigourney Weaver Alien, 1979
7. Fantaghirò Still, 1991-1996
8. Dior Spring/Summer 2015


Double Feature III

A 'False Encyclopaedia' double feature with James Dobson, discussing:
Comme des Garçons Spring/Summer 2015

I'm going to be honest, I couldn't help but feel ever so slightly ripped-off at Rei's latest outing... there's a little part of me that cringes when I see constructions like this on the catwalk as I can instantly imagine it flashing on peoples TV screens during the late night news, in that little 'light relief segment' at the end as an illustration of how 'wacky' fashion is, and Brian and Shirley sitting at home dunking their chocolate wheatens into their milky tea having a little chuckle and saying something like "You'd look good in that Shirley". 

For a label that is capable of moving people to tears, this collection, dare I say it, felt a little predictable. Sure, red, the most provacative of colours (yawn), the colour of harlots, cardinals and baboon's arses has a lot of power but after a few seasons of these hefty assemblages staggering down the catwalk wouldn't the next unexpected step be something positively wearable? 
Wouldn't that be more provocative?

All I thought was organs, organs, organs. Sarah Lucas, Louise Bourgeois, Hannah Wilke. So, feminism is in fashion. But then, the clothes were anti-fem. Why doesn't Rei just throw pillows on women?

1. Comme des Garçons Spring/Summer 2015
2. Comme des Garçons Fall/Winter 2014
3. Comme des Garçons Spring/Summer 2014
4. Cardinals Vatican City, 2013
5. Hannah Wilke Untitled, 1980
6. Louise Bourgeois Cell XIV, 2000
7. Sarah Lucas Nice Tits, 2011
8. Comme des Garçons Spring/Summer 2015


Double Feature II

A 'False Encyclopaedia' double feature with John-Michael O'Sullivan, discussing:
Céline Spring/Summer 2015

As Denise Richards would say, 'It's Complicated".

There were lots of things about Céline's show today that were complicated - far more, at first sight, than there were simple ones. For every slim, knitted dress that unravelled into swaying sheaves of fringe, there was a tunic where the same fringing got tangled with oversized embellished cut-outs. Contrast-stitched trenchcoats were reined in with string-like belts and clogged with flaps, and vibrant printed dresses collapsed into cascades of ruffles and shards of crochet. Even the CMK-designed set (because, to be honest, I'm just in it for the architecture) felt like a Louise Bourgeois spider had been trapped, fossilised and gloss-dipped, marooned in a muddle of differently-coloured seats.

Compared to Phoebe Philo's first runway show for Céline, there are startling similarities, and equally startling divergences. It's not that Céline shouldn't have become complicated. And it's not that Phoebe Philo hasn't already successfully shaped her trajectory to challenge and subvert our expectations of the idea of minimalism. It's just that - when an aesthetic is as starkly formal as hers - it takes little to turn an idea about multiplicity and confrontation into something that just feels overwrought.

Phoebe Philo's Céline always feels a bit like an Alex Katz painting. Lived in and worn by a (red wine) glass and concrete house woman. And also a bit like an heroine from a dysfunctional Woody Allen triangle. And when she puts on that cage vest, Warhol snaps his picture.

1. Céline Spring/Summer 2015
2. Céline Spring/Summer 2010
3. Céline Spring/Summer 2010
4. Céline Spring/Summer 2010
5. Alex Katz The Grey Ribbon, 1990
6. Woody Allen Hannah And Her Sisters, 1986
7. OMA Maison à Bordeaux, 2002
8. Céline Spring/Summer 2015


Double Feature

A 'False Encyclopaedia' double feature with Ana Hernández Cornet, discussing:
Vetements Spring/Summer 2015

An off-key play with school of Margiela proportions that feels innocent and pristine, yet awkwardly sexy. A lurking feeling of something violent about to happen. Yet a warm and fuzzy feeling, like being naked under a pink fur coat.

Conservatism and boredom, broken with elements of 'off'. As if Martin Margiela was still 'alive' or as if his twin brother built a parallel world. The team at Maison Martin Margiela does a great job to maintain and continue the legacy of its founder. Vetements, the anonymous collective formed around a former Margiela protégé, re-builts this legacy. Something is happening.

1. Vetements Spring/Summer 2015
2. Unknown (Maison Martin Margiela scarification)
3. Jamie Hawkesworth South Shields, 2012
4. Luke Gilford Maison Martin Margiela, 2011
5. Yrjö Edelmann Untitled, 1985
6. Thomas Ruff Portraits, 1984-1985
7. William Selden Masters Of Invention (Dazed & Confused), 2011
8. Vetements Spring/Summer 2015