Alexander Cavaluzzo is a Hyperallergic summer intern. He just graduated from FIT and will be attending NYU this fall. His interests focus on the intersection of fashion, art and pop culture.
It’s inevitable not to compare the new show at the Metropolitan Museum’s Costume Institute to last year’s blockbuster, Alexander McQueen: Savage Beauty, however unfair that might be. But it doesn’t matter, because Schiaparelli and Prada: Impossible Conversations, a pairing of two disparate designers that gives far too much precedence to the latter, falls flat, regardless of what preceded it.
The slogan “Silence=Death” remains one of the most recognizable images from the art produced during the AIDS crisis in America. Created by the activist art collective Gran Fury, it complemented a movement of creativity that held social change as its core. Now, over 30 years since the term “AIDS” was first recognized, the collective’s retrospective Gran Fury: Read My Lips at NYU captivates this tumultuous time in American history and shows us that, perhaps, we haven’t progressed much.
January usually sees the dismantling of lavish holiday windows on Fifth Avenue, a dissipation of arresting tableaux that engaged pedestrians. But the eminent Paris department store Le Printemps refused to wait until next year to showcase another extravagant display, hosting fashion icon’s Daphne Guinness’s second foray into performance art housed in their windows.
“Artists do not necessarily have the solutions, but they ask the great questions” says Andreas Stadler, director of the Austrian Cultural Forum in regards to their new convention-questioning show It’s the Political Economy, Stupid, a devastatingly harsh look at our political realities in the times of this financial crisis.
Painting, sculpture and drawing have dominated the means of artistic expression since the dawn of time. Of course now everything in between has been used as a medium, but since the big three have remained a staple, it’s been incredible to see a recent resurgence of using fashion objects as the raw materials for art.
Based upon sketches drawn round the time he worked on “The Last Supper” (15th C.), an Italian fashion house is introducing a new bag designed by the original Renaissance man himself.
The internet was atwitter this past month when reports broke of protests at Dolce & Gabbana’s Hong Kong flagship over alleged discrimination.
Rome wasn’t built in a day and it’s taking even longer to restore. Marred by age, pollution and a poorly placed subway line, the Roman Colosseum’s restoration was supposed to be funded by Diego Della Valle, the president and chief executive of the Italian shoe firm Tod’s, but legal troubles and protests may force the shoe designer to rescind his €25 million offer.
I find it exciting when fine art fuses with fashion, and Louis Vuitton’s recently announced collaboration with Yayoi Kusama may produce some spectacularly spotted goods. Interestingly, this pairing coincided with former LV collaborator Takashi Murakami’s newly unveiled installation at Qatar Museums Authority, which witnessed a departure from the Japanese artist’s signature Superflat subject matter.
Can a person own a color? Yves Klein may say yes, but Yves Saint Laurent begs to differ.
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