I found an excellent biography on Artnet on William Klein, but for me the importance of Klein is the fact that William Klein made a stunning catalogue together with Wim Crouwel for his 1967 exhibition in the Stedelijk Museum Amsterdam. The catalogue has some very bold typography and the use of the bright yellow in contrast with the black and white photograph in the back makes it for me a classic. Here is the Artnet bio.
William Klein is an American artist known for his unconventional style of abstract photography depicting city scenes. Although similar in subject matter to other street photographers such as Diane Arbus and Saul Leiter, as well as fashion photographers Irving Penn and Richard Avedon, Klein’s images break from established modes. “I came from the outside, the rules of photography didn’t interest me. There were things you could do with a camera that you couldn’t do with any other medium—grain, contrast, blur, cock-eyed framing, eliminating or exaggerating grey tones and so on,” he reflected. “I thought it would be good to show what’s possible, to say that this is as valid of a way of using the camera as conventional approaches.” Born on April 19, 1928 in New York, NY, Klein studied painting and worked briefly as Fernand Léger’s assistant in Paris, but never received formal training in photography. His fashion work has been featured prominently in Vogue magazine, and has also been the subject of several iconic photo books, including Life is Good and Good for You In New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects and has produced many memorable documentary and feature films, such as Muhammed Ali, The Greatest (1969). Klein currently lives and works in Paris, France. His works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Art Institute of Chicago, among others.
There are more titles on or with contributions by William Klein available at www.ftn-books.com
The first time i encountered the name of Issei Miyake was when an exhibition in the Nederlands Kostuummuseum was organized by curator Ietse Mey. The pleated fabrics by Miyake impressed and on a later occasion at the Groninger Museum i became an admirer of his designs.
Miyake has not become a mainstream designer and his designs are to complex to be worn in daily life, but he is important and he developed under his own brand name “l’Eau d’Issey” a range of balms and aftershaves which have become highly successful and made him a wealthy man. One publication must be discussed in this blog, because it is one of the best fashion photo books ever and its printing is outstanding and probably the reason why this is such a beautiful book. The fashion designs “shine” and look to float on the white blank pages. The photography is by Irving Penn, who made this the ultimate Issey Miyake book. Highly recommended and available at www.ftn-books.com
This morning i learned that one of the great fashion designers died. At the time i was working at the Haags Gemeentemuseum, the curator Ietse Mey, organized an exhibition of the fashion by de Givenchy worn by Audrey Hepburn and to enhance the exhibition a film festival was organized at the Filmmuseum with fashion worn by Audrey Hepburn in the movies. At the occasion of the opening i saw both celebrities and it struck me, that even as mrs. Hepburn was already ill at that time, she looked radiant and beautiful. The show was a huge success and one of the first in a long line of fashion exhibitions which were held at the museum. The catalogue is of course completely sold out , but sometimes you will encounter a copy on the book markets. If you find one….do not hesitate to buy it, because it is rare. An edition of only 1000 copies means that it was sold out almost instantly and it was never reprinted.
Blouin has done an excellent biography on de Givenchy. Here is the text of it and if you are looking for more de Givenchy, Hepburn, LVMH /Louis Vuitton publications check www.ftn-books.com
Tributes continue to come in to Hubert de Givenchy, the French couturier whose elegance defined the 1950s and 1960s and the style of Jackie Kennedy, Audrey Hepburn and more. Givenchy died at the age of age 91 in his sleep on Saturday; his death was announced by his namesake fashion house. During his lifetime, he had received the Chevalier de la Légion d’Honneur in 1983, and a lifetime achievement award from the Council of Fashion Designers of America in 1995.
Givenchy was born in 1927 to a religious aristocratic family. He learned the couture “métier” from working for Jacques Fath, Robert Piguet, Lucien Lelong, and Elsa Schiaparelli, before founding his own namesake label. Givenchy would later establish his Parisian atelier across the street from Cristóbal Balenciaga, who was his dear friend and his longtime role model. He was also influenced by Madame Grès and Christian Dior, and inspired by artists. He notably created taffeta evening coats and robes du soir in homage to Joan Miró during the 1970s.
His first collection was presented in February 1952; it featured modern separates, providing more affordable and versatile options than the haute couture looks that were standard in the French fashion world in the middle of the 20th century. Nonetheless, Givenchy also made opulent and heavily embellished garments (with pearls, feathers, and ribbons), impeccable cocktail ensembles, and elegant accessories, notably sumptuous hats. He was known for dressing a wealthy, stylish clientele: Jacqueline Kennedy was a longtime client, as was Grace Kelly and the Duchess of Windsor.
The darling of the Givenchy fashion narrative, however, was Audrey Hepburn. They met when a mutual friend told the designer that Miss Hepburn was keen to be introduced, and Givenchy assumed the lady in question was Katherine Hepburn. Their friendship blossomed despite the misunderstanding, and Givenchy ended up making costumes for Audrey Hepburn’s then-upcoming film, ”Sabrina” (1954)—as well as “Funny Face” (1957), “Breakfast at Tiffany’s” (1961), “Charade” (1963), and “How To Steal a Million” (1966). While Givenchy and Hepburn created many iconic sartorial moments on film, perhaps none rivaled the glamorous wardrobe of Holly Golightly, the onscreen heroine of “Breakfast at Tiffany’s,” who walked down Fifth Avenue wearing dark sunglasses, pearls, evening gloves, and a black Givenchy column dress. (In 2006, the dress was sold at a charity auction at Christie’s in London for six figures).
Givenchy was also associated with various successful perfumes: from the fruity and feminine L’Interdit (created in 1957 for Hepburn) to the heavily floral Amariage (created in 1991).
Givenchy sold his fashion house to the LVMH Group in 1988 and retired after his collection in July 1995. John Galliano succeeded him; less than two years later, he in turn was succeeded by Alexander McQueen, then Julien Macdonald. Riccardo Tisci held the reigns from 2005 until 2017, much to the original designer’s displeasure. Currently, Clare Waight Keller is the label’s Artistic Director.
In March 2016, the fashion house created an archival department to conserve and promote all garments and accessories dating from the original designer’s tenure, from 1952 to 1995. Just last year, the Museum of Lace and Fashion in Calais in northern France celebrated Givenchy’s work and presented 80 beautiful looks and accessories that spanned his career.
This blog is how i experience books and art and what i read about them and this is certainly an article i want to share with you. The guardian did an excellent article on Basquiat and his Fahion style/ A style which looks random , but was a well thought out way of dressing… Hooray for the Guardian. Here is the article and do not forget that www.ftn-books.com has some nice titles on Jean-Michel Basquiat.
There’s an image of Jean-Michel Basquiat on the cover of the New York Times magazine from 1985. The photo is by Lizzie Himmel; the headline New Art, New Money. The artist, wearing a dark Giorgio Armani suit, white shirt and tie, leans back in a chair, one bare foot on the floor, the other up on a chair. The combination of the suit and the bare feet is typical of the way Basquiat defined his own image; always with an unconventional bent.
I’ve obsessed over his style when standing in front of Hollywood Africans, a 1983 work from a series where the images relate to stereotypes of African Americans in the entertainment business. It is a banger of a painting and will form part of Basquiat: Boom for Real, a retrospective opening at the Barbican in London this month.
I have a longstanding interest in the way artists dress, from Picasso to Hockney, Georgia O’Keeffe to Robert Rauschenberg, and I think their wardrobes exert as powerful an influence on mainstream fashion as those of any rock or Hollywood stars. These artists carved out instantly recognisable uniforms: clothes that symbolise the same singular point of view as their greatest works, usually with the sense of complete ease that is the holy grail of true style.
Basquiat’s wardrobe was distinctive, whether he was in mismatched blazer and trousers with striped shirt and clashing tie, or patterned shirt with a leather jacket pushed off his shoulders. He was perhaps most recognisable in his paint-splattered Armani suits. “I loved the fact that he chose to wear Armani. And loved even more that he painted in my suits,” Giorgio Armani says. “I design clothes to be worn, for people to live in, and he certainly did!”
In many ways, this bricolage approach to clothing is akin to the way he created his art. “His work was a mysterious combination of elements – text and colour, historical reference, abstraction and figurative techniques,” Armani says. “In his life, he also mashed up creative activities – he was a graffiti artist, a musician, an actor, a maker of great artworks. This eclecticism made him a mysterious and unconventional man. That mix made him stand out.”
“He was an incredibly stylish artist,” says Barbican curator Eleanor Nairne. “He was very playful about the performative aspects of identity.” He was also aware of the “renewed fixation on celebrity” that coincided with the art boom of the 80s, particularly in New York. He famously appeared in Blondie’s Rapture video, dated Madonna and befriended Andy Warhol.
Cathleen McGuigan, who wrote that 1985 New York Times feature, recounts Basquiat at the hip Manhattan hangout Mr Chow’s, drinking kir royal and chatting to Keith Haring while Warhol dined with Nick Rhodes of Duran Duran nearby. “He attracted the attention of Warhol and Bowie, so was endorsed by those who had already achieved that rare style-icon status,” Armani says. “And he had a very unique look – he had hair as distinctive as Warhol’s and wore suits in a way as stylish and relaxed as Bowie.”
Basquiat went on to model in a 1987 Comme des Garçons show wearing a pale blue suit, black buckle sandals, white shirt and white bow tie. Robert Johnston, style director at British GQ, describes Basquiat’s style as “a work of art in itself” and adds: “While meaning no disrespect to his talent, it is hard to imagine he would have taken New York so much by storm if he’d looked more like Francis Bacon.”
Basquiat’s influence on menswear is still felt today. While other icons have referenced his style – Kanye West sported a T-shirt bearing his portrait, Frank Ocean namechecked him in lyrics by Jay-Z, who dressed as him for a Halloween party – there is a more direct effect on fashion. There have been collaborations, via his estate, with the likes of Reebok and Supreme. There’s a photo of Basquiat wearing an Adidas T-shirt with a pinstripe suit which is a template for how the younger generation approach the idea of tailoring. At the S/S 18 shows in Milan, wonky ties with suiting at Marni made me jot down “Basquiat” in my notebook. And with the Barbican show his influence will spread. “The way Basquiat mixed classic tailoring with a downtown nonchalance fits the mood in menswear,” says Jason Hughes, fashion editor of Wallpaper*. “A refined suit worn with an unironed shirt, skewwhiff tie and beaten-up sneakers. The fact that he painted in those suits feels slightly anarchic and nonconformist. I want to wear a suit like that.”
This article appears in the autumn/winter 2017 edition of The Fashion, the Guardian and the Observer’s biannual fashion supplement
For Nicolas Ghesquiere first Fall 2014 womenswear collection, Louis Vuitton invited German photographer Juergen Teller for a distinctive interpretation of the collection.
Photographed from the House’s Parisian headquarters, with intimate views of the Seine and Eiffel tower, twelve models grace the Fall 2014 women’s collection in edgy attitude.
In this selection, glorious smooth, full-grain leather is contrasted with hybrid materials. Bold, bright colours are juxtaposed with muted halftones. Hand-crafted artisanal techniques are updated with high-tech twist. It was my luck to find a , in pristini/ still sealed condition special edition of this important Louis Vuitton Publication. I did not want to open it, because a collector should want it in this condition, but found some excellent photo’s by Teller on Google to support the quality of this special LOUIS VUITTON edition and perhaps this is the present you are looking for for Christmas.
In the time the PC. Hooftstraat in Amsterdam was not a fashion street, but an ordinary city street with a butcher, a grocery, baker, vegetables shop and even a garage. In those days there were some galleries who held residence in the P.C. Hooftstraat,. Among them there was gallery IKON, which presented religious icons and yes, i was the shopkeeper …it was one of my first jobs in the art world. At one day Carel Willink passed by , returned and entered the gallery. Hat, walking stick, bow tie . He really looked like a bohemian. Now almost 35 years later i still remember the person, but as an artist i lost interest. His technique is phenomenal, but in the last years of his life he only took consignments and made portraits for famous dutch people. One exception… . The (nude) portrait he made of his wife Sylvia is exceptionally beautiful.
Another painter of daily life in the Netherlands, but only known in the Netherlands , is Kees Maks. The same as Mondrian, Sluijter and Gestel, he tavelled to Paris in his younger years before the first World War. There he entered the Salon the Automne and became a member, where he met Kees van Dongen ( see blog yesterday) and became influenced by this painter. Maks was fully recognized as an important painter when his painting Nightcafe was purchased by the Musee de Luxembourg in 1927.
Contemporaries often placed Maks’s modernity in his figures, who were clothed and coiffed according to the latest fashion and demonstrated the latest dances, such as the FURLANA. Maks himself chose the clothing for his models, undoubtedly assisted by his wife who worked at Hirsch and later became and independent fashion designer.
As DE TELEGRAAF put itin in 1920….MAKS proved himself a painter who dares to go into raptures over the fashion of time. But despite all this qualities Maks in only known in the Netherlands and is rarely encountered in collections outside our borders.
Is she an art photographer, fashion photographer or staged photographer? I really do not know, but between these 3 there is not much difference in the works of Inez van Lamsweerde. Fashion or personal art photography blend perfectly. You can see many of her latest examples on her site https://www.inezandvinoodh.com/news/saint-laurent-fw-2017/ On this site her project together wth her “partner in crime” Vinood Mathadin are depicted. Here is one example from the series of photos they made for Yves Saint Laurent.
Arguably she is one of the best fashion photographers in the world , but for me personally she is the best. Just because of the arty way she depicts her models and still shows the best qualities of the Fashion they wear. For more titles on van Lamsweerde, please visit www.ftn-books.com
We joined our friends David and Monica this weekend in Paris. Planning this to meet each other half way planet earth took some organization, but it was worth it, because the exhibition of the Sergueï Chtchoukine collection is probably a once in a lifetime opportunity to see all these marvelous paintings in one place. Later i will blog on the exhibition itself, but for now i will focus on the building in which it is presented…the Fondation Louis Vuitton. Starting as a company making high quality bags, travel trunks and accessories out of prepared canvas and leather, the company later became one of the leading companies in the fashion world. Nowadays they are part of the LVMH group. A large holding specializing in luxury goods and one of the wealthiest companies in the world….and that shows, because in the Bois de Boulogne they build a museum which can not be compared with anything i have seen except the other Gehry designed buildings. Guggenheim Bilbao, Vitra in Weil Am Rhein and the Disney Concert Hall in LA), but this one is special….. First of all the layers / shells are all executed in white instead of the aluminium ones in Bilbao and L.A.). constructed and attached to each other with wooden supporting beams and because of the outer layer material, it was possible for Daniel Buren to convert these shells into one of his most complex, impressive and colorful In Situ works ever.
When you walk towards the entrance you get a glimpse of the pattern as it is executed, but when you leave the museum at the other side and walk into the garden, …..get some distance…..there it is …. you see a beautiful building totally covered by a great work of art. I do not know how long the Buren will be visible on the building but as long it is there, try to see it because it is well worth to see this one “live”. Compare it with the Christo In Situ works. Whenever you have seen one there is no photograph which can be compared with seeing the project with your own eyes. The scale in which it is executed makes these works special and so is this Daniel Buren….and Yes the Fondation Louis Vuitton is not the only one who combined these artist together, because books on Vuitton, Gehry and Buren can all be found at www.ftn-books.com
An unlikely combination, but…. they have something in common. Recently a new cotton bag with a special design by Sol LeWitt was published by the same publishers as the one who published the Cotton bags with the Chanel exhibition some 2 years ago. Same size and same quality and both cotton bags are available at www.ftn-books.com
I know for certain there are bag collectors and these original museum cotton bags are produced in such small numbers that they are highly collectable and only available for a very short time. So be quick in this first week of January and purchase the bag(s) for your collection.