latent shape

garments and documents, unearthed for your convenience.

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Hello Friends. Please follow me on twitch if you please. I am trying to make it big. Miss you all! https://www.twitch.tv/lily_dot_com

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Carpe Diem

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Issey Miyake advertisement, Vogue Magazine, March 1991

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Maison Martin Margiela A/W 1993

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Maison Martin Margiela A/W 1993

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Maison Martin Margiela A/W 1992

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Maison Martin Margiela S/S 1993

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Maison Martin Margiela S/S 1993

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Maison Martin Margiela A/W 1992

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Maison Martin Margiela S/S 1992

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Maison Martin Margiela S/S 1992

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Interview with Maurizio Altieri

Q. what is the reason you are attracted to leather as material and are exploring its possibilities ?

A. of all the materials, leather feels the most natural and real.

Q. "all by hand with the spirit"

how can the carpe diem spirit be expressed by words ?

A. 1+1=3 ( it's our company name as well )

Q. you started your career as a designer without any fashion school training and the experience in working at tannery or as an assistant to a designer. what was the route through which you came to obtain creative methods ?

A. nothing in particular. after repeated trial and error.

Q. how many artisans and staff members are currently working in your atelier ?

A. four artisans and about twenty staff

Q. now you have the other label, lmaltieri as a non-leather clothing line.

would you care about what is happening with the milan shows etc ?

A. I don't care.

Q. could you tell us about the importance of material in your creation ?

A. the material choice is a critical point in the entire creation.

Q. do you feel that your nationality or hometown can affect your work and style ?

A. I don't particularly, since I dislike the categorization by nationality, ethnicity, etc.

Q. are there any movies, music, art, literature that greatly interested or influenced you ?

A. there are various things, but I don't want to tell.

Q. of the events and movements in the twentieth century fashion, what are the most impressive to you ?

and do you think any world-shaking great movements are possible in the twenty-first century too ?

A. nothing in particular, but I think the new movements that move the times forward will happen.

Q. in the development of fashion that historically has been centering round europe, how do you think in the future african and asian countries can participate ?

A. they have intriguing materials etc. so they may participate in it with the materials. 

posted on tfs forum by Runner, 2010

[humalien]

You mentioned in the past that the straps featured on a lot of helmut lang garments aren't bondage inspired, you also mentioned that in an interview with Helmut Lang a reporter actually asked him about bondage inspiration and he laughed, do you have a source on this? I find it hard to dismiss the bondage inspiration theory as a lot of his shows feature a lot of fetish and sexual references. sorry for the bad grammar

Thanks for this question. I had to look for quite a while to find an example – there is more than one – because the CFA site is now defunct (?) and I no longer own any magazines.

But here’s one (again, of many) in the Spring 2001 issue of V Magazine. Speaking are Helmut and Melanie Ward.

MW We did certain seams to accentuate different parts of a woman’s body. It was good fun to make a Helmut Lang bra.

HL But then afterward people said it was bondage, and I was like bondage?

MW It was all animal bones and skeletons. [The bondage comment] was quite a surprise for us.

The joke here has always been that you’re talking about a tradition (bondage, that is) with such a discrete and well-established visual language – and it’s one that has very little, if anything at all, to do with what Helmut was showing in 2001, or 2003, or whenever else. You cannot bully something like this into having any kind of relationship with “bondage” because what it does have a relationship to is already so abundantly clear (here, here, here.)

I think Panos Yiapanis’ involvement is mostly to blame for this situation, and also for the insidious and persistent idea that there was some kind of “inspiration” being traded between Raf Simons and Helmut Lang. Which, of course, there absolutely was not. If Helmut Lang had a relationship with any other house(s) in the early 2000s, it would’ve been Ruffo Research, A.F. Vandevorst, and Carol Christian Poell (in particular, since Poell seems to have worked for Lang at some point.)  And those were all houses participating in this thrust in the early 2000′s to make orthopedics, medical garments, and, like, convalescence in general very sexy. (Remember this …)

Anyway, isn’t idea of something being “inspired by …” the most contemptibly weak and insecure position for any critic, or consumer, or designer or artist to ever hold?(!) Wouldn’t you prefer to consume something that doesn’t feel like it needs to construct a veil of plausible deniability between its author and your engagement?(!)

As for the sex story, Helmut’s work had more to do with sex than any contemporary I could think of. Unclear on why that cannot be true for you without involving bondage, unless you can only get aroused thinking about the number of zeroes you can append to the price of your eBay listing by including that word.

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with regards to this week’s “bondage inspired” re-edition...

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Maison Martin Margiela S/S 1990 painted tabi boots at the FIT Museum

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rick owens for revillon f/w 2004 in the wednesday, december 29, 2004 issue of wwd

[cccandrei]

F/W08 STAG

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Maison Martin Margiela Autumn / Winter 1992-93 

Presentation:

March 1992

Held in the sales department of the Salvation Army. The invited public sits on the furniture amid racks of used clothing. Each model has her hair colored red, thick black eyelashes, and wears a shoelace as a choker. Dressed in black, they are led by a brass band through the crowd. They wear black leather boots with wooden platform soles. 

Collection:

Everything is either black or in dark tones. T-shirts are fitted, skirts are flared, made from panty-hose and worn over creased knitwear. 1970′s leather overcoats are reversed and worn as tunics or long dresses with a high neckline, they are crossed over at the back. Transparent plastic protective covers for clothing are moulded to shape on a Tailor’s Dummy with “Scotch tape” and worn as dresses. There is also a “priest” soutane worn as an overcoat as well as oversized washed crepe and satin dresses worn over thick sweaters.