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Erwin Wurm - One Minute Sculptures (1997)

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absalon

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Rasmus Ohlson

http://rasmusohlson.com

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http://www.touristmagazine.co.uk/daily/068-documentation-of-mouth-and-foot-by-tamara-suskic/

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http://www.touristmagazine.co.uk/daily/070-where-narrative-stops-opening-exhibition-at-wilkinson-gallery-london-documented-by-riyo-nemeth/

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Rick Owens S/S 03 “Suckerball"

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the backs

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cassi for russh

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Audrey Marnay, "The Downtown Scene" for Vogue US, photographed by Steven Meisel

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Marina Abramovic & Ulay, Light / Dark (1977). 

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This tension between restriction and desire is also evident in the work of Helmut Lang who proposes a different relation between image and setting. Hailing from Vienna, home of the waltz and sugar-coated romanticism Lang creates clothes in contradiction to this aesthetic. His pared, spartan designs possess the utilitarian qualities of street clothes but couched in luxurious, tactile materials, which feminise and soften them. His clothes designs are very much in keeping with the writings of Adolf Loos, the Viennese architect who began the modernist assault on ornamentation. Loos believed the ideal condition of clothing for modern man was as an unreadable surface, a mask of concealment rather than character that would offset a cultivated interior. Helmut Lang’s collaboration with American artist Jenny Holzer for the 1996 Venice Biennale took the form of a projected slogan that read I SMELL YOU ON MY CLOTHES implying that interior desires rest on the surface, as if worn on the body. The webpage for Lang’s perfume range scrolls down similarly distinctive phrases: I WALK IN — I SEE YOU — I WATCH YOU — I SCAN YOU — I WAIT FOR YOU — I TEASE YOU — I BREATHE YOU — I SMELL YOU ON MY SKIN. Not only does it attempt to describe the indescribable, it performs the experience of wearing it.

Alistair O’Neill, Imagining Fashion: Helmut Lang & Maison Martin Margiela  (via vroomheid)

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Kim Anno

Together 1, 2009

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Ann-Sofie Back autumn / winter 2003

"What interests me with fashion are the social and cultural aspects. I draw inspiration from that, how we disguise, confuse and lie with our clothes. The way we dress to aspire to status, class or originality e.g. I attempt to find something that bears relevance to my own life, that encompass my reality. I want the wearer to get attached within the bounds of familiarity and reality rather than fantasy."

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IRWIN Live, 1996, installation view at CCA, Ujazdowsky Castle, Warsawa.

IRWIN Live consists of paintings from the “Was ist Kunst” series installed on the ceiling with the Irwin members suspended below them so as to appear standing as spectators in front of their paintings. After the opening the “live” members are replaced with replicas, wich remain in the gallery for the duration of the exhibition.

(Photograph by Mariusz Michalski)

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Maison Martin Margiela fall 2001

“Les Rues de Londres”

Swedish photographer Anders Edström’s way of shooting a picture seems styleless, when, infact, it’s his sensibility, his sensitivity to people, and a natural instinct toward understatement. He lets pictures develop, then he shoots. The subjects aren’t sensational, but often they are unusual and more often they are quietly beautiful. In a fashion shoot, the people are those he finds interesting to photograph (not necessarily models) and the places are those he wants to go to. The pictures aren’t anti-fashion, nor are the models and the places. In other words, sophistication and perfection aren’t what matters. He lets models be who they are and looks for those who can be themselves in front of a camera. The pictures were shot on Bohus Malmö island—one of hundreds of islands off the coast of Sweden—where Swedes spend their holidays, including these girls, who answered an ad Anders and stylist Annsofie Back had put up in a local supermarket. 

Purple Fashion Fall/Winter 2001 by Anders Edström