Justin Adian’s work makes you feel weird and right, like the odd comfort of a waterbed or the sweet satisfaction of a gummy worm. The architectural placement and arrangement of shapes amongst forms within his show at Skarstedt Chelsea is alluring with a certain nonchalance. His draped and stretched canvas over foam works are slicked with automotive paint and seem to glisten in the sun like a hot auto body part. The puffed geometrics sitting tight up next to each other draw from those awkward encounters, found moments in our city fabric. At one with the strict fit of what Victoria Beckham does best, the dress. A suggestive back slice, bow and zip, colorblock lip, shape shift with ease through Justin Adian’s sugary mix.
Victoria Beckham bow-back sheath dress, Miu Miu sandals, Cover Girl lipstick in Vixen Violet, Cover Girl lipstick in Red Siren
Skarstedt Chelsea, Justin Adian: Fort Worth
Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Tylor Hou
The sun shines through the multi-colored transparent walls of the Serpentine Pavilion creating vibrant cast shadows and reflected light. The structure glows like an interstellar nebula emitting a full spectrum of stardust colors. The Pavilion’s structure is based on an organically shaped steel skeleton which is bound together by fleshy swaths of colored plastic. A floaty mesh jacket sprinkled with Swarovski crystals and a printed dress cut from a piece of sky stand in harmonious mystery, elegantly effervescent creations.
A natural place for me to capture my latest intrigue, a collaboration between artist Flavie Audi and designer Alexander Lewis. Flavie’s background in architecture informs her sublime glass sculptures which appear as spatial meditations that exist as worlds unto themselves. Alexander creates an orbit around the female body with his striking sense of textiles and form. Their two worlds come together flawlessly in their creative alliance for Alexander Lewis Spring 2016 Collection. Beginning this season Alexander Lewis joins the Swarovski Collective 2016. Through the incorporation of crystals a dazzling dialogue is formed, rendering a collection the artist and designer truly initiated together.
“The starting point was blue, just shades of blue, from black to white with only blue in-between.” — Alex
“A gradient goes back to a narrative, it has past, future, present. All the work that I’ve been doing so far has this feeling of liquidity, organic, water-like.” — Flavie
As artist/designer collaborations are an increasing fascination for me, the levels of depth that can be achieved, while in London I jumped at the chance to layer on my own interpretation to Flavie and Alex’s collaboration as well as sit down to discuss the nature and genesis of their project.
“Originality occurs when you add and combine different disciplines” — Flavie
“We were always talking about light, refraction of light, reflecting light, how light moves not only through Flavie’s work but just light use in general because that is something that is very important to Flavie.” — Alex
The sense of drama that both Alex and Flavie create in their work is a result of two very different design processes, Alex begins by weaving a vivid story, Flavie is driven by form and process, allowing a more interpretive narrative to unfold. While collaborating with artists is a part of Alex’s practice, this is Flavie’s first foray into fashion and perhaps not her last by observing her enthusiasm and the organic fluid way her ideas and aesthetics translate into garments. What rose to the surface as we spoke in Flavie’s studio was a shared closeness and affinity towards materials, Alex has designed and fabricated his own textiles since his debut collection in 2013, while Flavie became infatuated with glass in the final year of her architecture studies. Also, a shared openness and an embracing of “happy accidents” and elements of chance perhaps is what makes this meeting of minds magical.
“The narrative around my objects is the way you move around them, the way the light is moving, they vibrate, they oscillate. For some people it will remind them of a deep ocean, a primitive light, a constellation, microcells, it is up to the individual to make their own story, a dreamscape.” — Flavie
“Alex takes many chances, and almost celebrates them.” — Flavie
Alexander Lewis x Flavie Audi Spring 2016 Collection
Flavie Audi, Studio
Serpentine Pavilion 2015, selgascano
Hair & makeup by Jessica Hurley, Photographs by Takanori Okuwaki
Captured as New York Fashion Week was in full swing, myself completely taken by it, I found a cleansing moment of escapism within Carl Andre In his Time at Mnuchin Gallery. An expression of my current inner state, the ever present dualities, the excitement, I created tension between the opposition of minimal and maximal forms connected by the spirit of something evocative and free. A symbolic representation of this spirit is embodied in Jordan Askill’s new collection for Georg Jensen, the butterfly reimagined as sculptural pieces to wrap and adorn the human form. Askill revisited the seminal Danish brand’s archives and was particularly drawn to the Art Nouveau 70’s influence, representing Georg Jensen’s core history and his own fascination with elaborate natural themes, the butterfly became the essential motif of this collaboration. A lover of mixed metals, and embracing the energy of overt juxtapositions, I paired black rhodium plated sterling silver and 18 kt. yellow gold with copper and zinc floor sculptures of your dreams by Carl Andre. A theme of multiples also plays on through Donald Judd’s steel and plexiglass majestic stacks mimicked by the black satin bands in this killer creation by Josep Font of Delpozo. All leading up to the Delpozo spectacle that would follow, that glittering end to the fireworks show, bursting with heart and offbeat fantasia.
The Askill Collection, Georg Jensen
Delpozo off shoulder dress, Miu Miu sandals, Georg Jensen Askill Banglein black rhodium plated sterling silver with amethyst and blue topaz, Georg Jensen Askill Ring 18 kt. yellow gold with brilliant cut diamonds, Georg Jensen Askill earrings 18 kt. yellow gold with brilliant cut diamonds
Mnuchin Gallery, Carl Andre In his Time
Hair by Cosma De Marinis, Makeup by Jessica Sanner, Photographs by Tylor Hou
Sometimes all that might inspire has always been before you. Just an hour away from the tiny town in Southern Indiana where I was born and raised lies a mecca for modernist architecture, Columbus, Indiana. Holding six national historic landmark’s one of which I had the unique opportunity to capture. Commissioned by J. Irwin Miller in 1953 is the Eero Saarinen designed Miller House. One of the most significant midcentury modern homes in the United States, the house represents the work of three masterminds of the time, architect Eero Saarinen, Interior designer Alexander Girard and landscape architect Dan Kiley. The dazzling home, in pristine condition is owned and cared for by the Indianapolis Museum of Art. What remains are the beautiful and distinctive moments that characterize good architecture, an iconic sunken conversation pit, vantage points from within onto framed tree lined axis and wide open spaces, all that elicits that feeling of endless are your possibilities. Architecture that inspires you to do more and be more. To capture the dialogue between Saarinen’s clean distinct lines and formal shapes with Girard’s folk art whimsy I found like minded aesthetic genius in the collections of Peter Pilotto and Carven, two of my long time favorites. Discover what lies in the details and a look from the outside in to come, this house is made for lingering.
Above center: Peter Pilotto wool crepe dress, Nicholas Kirkwood for Peter Pilotto heels
Lower right: Carven top, Carven high waisted pant, Nicholas Kirkwood for Peter Pilotto boots
Lower left: Peter Pilotto lace top, Peter Pilotto color block skirt, Nicholas Kirkwood for Peter Pilotto boots
Miller House and Garden in Columbus, Indiana is owned and cared for by the Indianapolis Museum of Art
Miller House, Architecture by Eero Saarinen, Interiors by Alexander Girard
Makeup and hair by Nick Carter courtesy of Joseph’s Salon, Photographs by Kelly Elaine Smith
Created for the modern visionary woman, Faike’s new line of accessories may help you become something greater than yourself. With a fresh angle on formal functionalism Faike’s cornerstone Non-Conformist briefcase is a divine unity of symbolism, material luxury and lasting impression. A distinct counterpoint to the conveyed scatter of a multi-function carry-all, a Faike bag exudes power and specificity. The design is in the details and artful touches, classic luxe Italian black leather meets the lyrical curve of a lucite handle and a neoprene lined interior surprise. The Faike lifestyle extends into ingenious curiosities such as the leather transcendent plant and an elegant embossed/debossed leather throw pillow. Finally a line of accessories that emit the level of intrigue you possess.
Faike is Real
Above left: Sarah Dornner x Faike softcore scrunchie, Sally LaPointe sheer top, Fleur Du Mal leather triangle bra
Above right: Tatiana Kronberg x Faike non-conformist briefcase, Faike softcore scrunchie, Sally LaPointe sheer top, Fleur Du Mal leather triangle bra, Fausto Puglisi leather skirt
Lower right: Denise Kupferschimidt x Faike transcendent plant
Lower left: Faike editor tote, Zana Bayne peplum bustier, Sally LaPointe skirt
Hair by Cosma De Marinis, Photographs by Tylor Hou
Once again Tara Donovan has alchemized the familiar into the strange, this time in the awe inducing setting of the Parrish Art Museum. The new works on view were created for the museum’s ongoing Platform program, an initiative that prompts artists to create work in response to the context resulting in an ongoing reimagining of the museum’s architecture and landscape. Donovan invites you to detach from your integral former brush with the Slinky and be carried away to its shiny new future as free standing sculpture, wall relief and monoprint. Emitting a similar fresh relevance is the luxe athleticism of Paco Rabanne’s new chainmail slip dress perfectly edged with a a glossy white stripe. Shine on and sacrifice your ear to Ambush Design’s statement jewelry mash-up of surrealist future tribalism. After all an experimental summer glimmers with growth.
Paco Rabanne chainmail slip dress, Ambush Design multi orbit earrings, Fendi metallic sandals
Parrish Art Museum, Platform: Tara Donovan
Makeup by Samantha Jozic, Photographs by Vicente Muñoz
Infused with a sense of poetry and symbolism, the Parrish Art Museum is an inexhaustible subject for me. Elegant in its simplicity, a golden field surrounds a barn-like structure constructed from a limited palatte of concrete, wood, metal and glass. Drifting through the site in Water Mill, the link between the natural organic world and humanity is heightened and felt. Drawing upon these sensibilities, paralleling the Arte Povera school of thought as well as Andrew Wyeth’s style of Magic Realism a series of portraits were born in collaboration with Lucas Lefler and Richie Talboy. After the divine gift of experiencing Jannis Kounellis’s re-creation of Untitled (12 Horses) at Gavin Brown earlier this summer a pure and honest place, creation or encounter could not mean more to me. To lie transfixed in the field in Protagonist is an embodiment of this and perhaps my own elemental spirit.
Above center: Protagonist open-back dress, Manolo Blahnik heels
Lower right: Protagonist textured wool flare skirt, Protagonist crew neck shirt, Protagonist suede opera glove
Lower left: Protagonist open-back dress
Parrish Art Museum, Herzog & de Meuron
Art Direction by Lucas Lefler, Photographs By Richie Talboy, Makeup by Dana Bosco
Under the tonal shifts of the coastal sky and amongst a meadow of native grasses one can imagine entering New York’s East End of Long Island for peace and contemplation. Honoring and illuminating art and place, handsomely stretching along The Montauk Highway in Water Mill is a space that holds particular meaning to me, the Parrish Art Museum. I feel that it is no accident that I spent a summer in 2012 living in Water Mill across the street from the museum while it was under construction watching as the undecorated shed came to form. Honest architecture that is spawn from the natural beauty of its context was my ominous reminder to return to self. The idea is straightforward, to play off of what is ever shifting around you while stripping down and stepping into your own truth in pursuance of originality. A series of three very different posts, each representative of the dualities that exist and the ironies at play. In collaboration with two people whom I admire and whose creations I find exciting in their subtleties, with art direction by Lucas Lefler and photographs by Richie Talboy, I’ll start with a splash in the middle, with Roy Lichtenstein’s Tokyo Brushstroke I & II. Sweeping skywards and standing as a symbol of something it isn’t Lichtenstein’s primary colors and Ben-Day dots boldly mark the entry curiously drawing you in. An essential pairing with Versace, the OG creator of the fashion alphabet, and always one to celebrate heroic individualism, J.W. Anderson. At some points dramatic, my desire to achieve compositional unity ensues.
Above left: J.W. Anderson lurex dress, J.W. Anderson belt, J.W. Anderson boots
Above right: Versace turtleneck sweater, Versace flare pants, Versace suede sandals
Lower center: J.W. Anderson patent leather top, J.W. Anderson napa leather skirt, J.W. Anderson corduroy leggings, J.W. Anderson boots
Parrish Art Museum, Roy Lichtenstein, Tokyo Brushstroke I & II
Art Direction by Lucas Lefler, Photographs By Richie Talboy, Makeup by Dana Bosco
Minimal and arresting, Liz Deschenes advances photography’s material and experiential potential throughout her work. Here in the sun soaked space at MASS MoCA she has created five self reflexive sculptures that produce an almost mind altering state. In a world where art is more often than not viewed through a camera lens, Deschenes’s work draws viewers into the present moment as the panels become the lens in which we observe ourselves in space while alluding to a future where existence is embedded in image. In a constant state of flux digital pigment prints on acrylic shift from cornflower to celestial blues and purples, forever coming back to the history of image production. Positioning myself in this meditative space I reflect back the ethereal layering of texture and color in my storm blue semi-sheer Gucci blouse under a mod grape Giulietta dress finished with martian pompom Miu Miu mules. A transportive environment to lose and find myself in.
Gucci silk blouse, Giulietta grape tunic, Miu Miu pompom mules, Larkspur & Hawk topaz earrings, Larkspur & Hawk amethyst ring
MASS MoCA, Liz Deschenes: Gallery 4.1.1
Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Jason Gringler
Color, pattern and texture combine for my sublime collaboration with Barneys as they document a day in my process of creation. Given a playground of Missoni pieces to express my visual vocabulary, new compositions come into maximal form. The journey, never linear, is part of the multisensory experience, one in which I feed from. Art and fashion for me are a fix, each realm in origin are personal and unique. Maintaining an air of mystery in his technique, the pairings begin to interweave at John Miserendino’s exhibition of dye injected marble slabs at Louis B. James. An aesthetic dream, the color is suspended from within creating an inherently alien field of gradations. Miserendino’s rhythmic placement of the panels and book matched diptychs dance well with Missoni’s slices and cascading lines. Left wanting to play more, the narration skips uptown for Haegue Yang’s environmental installation at Storylines: Contemporary Art at the Guggenheim. Throwing on a lavishly patterned Missoni mini dress I am immersed in Yang’s, Series of Vulnerable Arrangements — Voice and Wind. Here, complex formations of Venetian blinds form moire patterns while industrial fans and wind machines swirl on intermittently as scent emitters spray Ocean Mist into my hair. As the signature Missoni waves fold into the layers of colored lines these elements are suggestive of the new meaning that can be held in what is known. Just a taste, an eye into the way stepping outside myself and dissociating from my original context has become my way into expression and more is revealed on Barneys The Window.
Barneys The Window: Take a trip to the Guggenheim with Pari Ehsan
Above left: John Miserendino, untitled (here but hanny), 2015 x Missoni Mare Zigzag Knit Caftan, Miansai screw cuff bracelet
Above right: Haegue Yang, Series of Vulnerable Arrangements — Voice and Wind, 2009 x Missoni Mare Zigzag Knit Cover-Up Dress
Lower right: John Miserendino, untitled (mattias and junga), 2015 x Missoni Mare Zigzag Knit Cover-Up Dress
Lower left: John Miserendino, untitled (here but hanny), 2015 x Missoni Mare Zigzag Knit Caftan
Louis B. James, John Miserendino, your pores smaller
Storylines: Contemporary Art at the Guggenheim, Haegue Yang, Series of Vulnerable Arrangements — Voice and Wind
Hair by Cosma De Marinis, Makeup by Samantha Dametta, Styling by Jasmine Snow, Photographs by Jason Gringler