Last night saw the opening of one of the most prominent fashion photographers of the 20th Century, Lillian Bassman. 

Held at the Wapping Project Bankside, the newly opened photographic gallery, which sits adjacent to the Tate Modern played host to some of her most famous works. This exhibition celebrates the career of Bassman who is now 92 years old. A colourful character, Bassman quite literally destroyed her career in the 1970's when she became disillusioned by the costumes of the 1960's - and with that she took to destroying decades worth of negatives and placed others in a bin bag in the coal room of her Upper East Side home in New York. After a period of time in the 1990's Bassman finally relented and retrieved the works - yet she became attracted to manipulation - and with that she began using bleaching and blurring techniques to transform the images into original works of art, which can be seen at the exhibition. 

Bassman's striking black and white imagery exudes romanticism and feminity from an era that was essentially dominated by men. Using her gender to her advantage Bassman explains why her photography stood out. "It was a sexually very different thing when they worked with men. They felt a charge. They were posing for men. I caught them when they were relaxed, natural, and I spent a lot of time talking to them about their husbands, their lovers, their babies." Hailed by Vanity Fair as one of photography's "grand masters", Bassman worked predominantly for Harpers Bizaar, and shot countless add campaigns including Chanel (which can be seen at the Wapping Project), although beginning her career as a graphic designer, it was her late husband, and celebrated photographer Paul Himmel who encouraged her to follow the photographic path. Bassman still continues to work up until this very day, since discovering the joys of photoshop, she toys with images from about 11 am until dinner time. 

This exhibition comes at a stage of renewal for Bassman's career with the release of a new book celebrating her work, Lillian Bassman: Women, which was published late last year by Abrams and offers a retrospective of her photography. 

Lillian Bassman's solo exhibition will run until the 20th February, and is an absolute must see. 

For more information visit http://www.thewappingprojectbankside.com/

Edited by Shak - 22 Jan 2010 at 3:38pm

By Marco Tagliafierro

Texan-born artist Aaron Curry likes to keep his inspiration close to home - Los Angeles, the land of Hollywood. His recent solo show, “Bad Dimension”, curated by Alessandro Rabottini at the Galleria d’Arte Moderna e Contemporanea (GAMeC) in Bergamo, Italy, investigated the accumulation of images and visual information that neatly characterizes L.A.’s artistic tradition, particularly when thinking of artists such as Hawkins, Baldessari, Jackson, McCarthy and Rhodes. In their diversity, they have contributed to identifying California art as one that is emphatic and exciting.

Aaron Curry’s sculptures and collages are the result of a collision between the avant-garde and pop culture. His work maintains a continual osmosis between the warmth of natural materials and the artificial slickness of industrial colours, moving between tribal art and the world of consumption. And osmosis it is, because Curry’s art is an art of movement.

For more information on current exhibitions at the Galleria d’Arte Moderna e Contemporanea di Bergamo, visit the website.

All images: Aaron Curry - Bad Dimension, 2009
Exhibition view at GAMeC

Courtesy the artist, Michael Werner Gallery, New York and David Kordansky Gallery, Los Angeles.

Photo: Jacopo Menzani

Edited by Cat.85 - 22 Jan 2010 at 1:59pm

 

Jon Hopkins is the much celebrated composer for Wayne McGregor | Random Dance http://www.randomdance.org/ 

Wayne McGregor is featured in Glass Magazine - Issue 1 - Grace, out on the 1st February

 

How the video was made:

We approached Jon with the idea for arm-mounted cameras a few weeks before the show, and luckily he was up for it, so we broke out the power tools and set about making some mounts: After dissecting a couple of tripods and orthapaedic elbow supports, we had a solid platform for the miniature cameras.

We covered the gig with 5 cameras in total: 2 roving cameras, 1 static, and the 2 'lipstick' arm cameras that were wired into tape recorders at the back of the stage. The trickiest part was getting the cameras on and off Jon's arms whilst he continued to play as his set is more or less continuous..

The 'post production' on this video was unorthodox: All analogue and all in-camera.

We were really keen on making a gritty, abstract performance video. So we set to work with magnets, screwdrivers, VHS tapes and a host of other techniques: We made an initial edit and played this back through a £3 TV we picked up at the local market, and 'manipulating' it with a screwdriver allowed us to flutter and flicker the image on screen. We'd also bought an industrial strength magnet and used that to distort and twist the picture on itself. We made several runs through the track in this way before playing everything out to VHS (with obligatory stomping and scrunching).

This effectively gave us a new set of footage to make a tailored, grunged-up edit of the original piece.

 

Director/Editor/Post Production: Bison
Producer: James Bretton
Production Company: Blinkink
Additional Camera: Chris Nunn

Edited by Monkey - 21 Jan 2010 at 10:30am

Awards season always brings designers fighting for the limelight on the red carpet, all wanting the same thing - to have that memorable dress that remains imprinted in our minds eye forever. Much like the simple black Elie Saab gown donned by Angelina Jolie at the 2009 Oscars, or the canary Vera Wang number Michelle Williams arrived in back in 2006 to name a mere two examples of stunning fashion moments. This years 67th Annual Golden Globes had a distinct theme for the best dressed amongst the film industries finest. Airy-fairy nude and natural were the shades of choice. Emily Blunt, Nicole Kidman, Jennifer Morisson, Drew Barrymore, Christina Aguilera and Kate Hudson all followed suit, whereas Jennifer Aniston, Julia Roberts, Sophia Loren and Penelope Cruz opted for simple black. Cruz's fishtail Armani Prive dress certainly made a delightful addition to the red carpet memory banks, despite the much needed accessory of a golfing umbrella. And the clutch that reigned supreme - Roger Vivier of course! 

Amongst the award winners were Meryl Streep, Mo'Nique, Sandra Bullock, Kevin Bacon, Drew Barrymore, Chloe Sevigny and  James Cameron, 

Nicole Kidman wears Nina Ricci

Emily Blunt wears Dolce & Gabbana

Drew Barrymore wears Atelier Versace

Penelope Cruz wears Armani Prive

All images from www.style.com

Edited by Shak - 20 Jan 2010 at 8:06pm

Giorgio Armani - 

Giorgio Armani hosts a collection fit for the thinking man – the poet meets street style was the mood seen at today’s show. Bespectacled gentleman rocked the Milan runway with a slight edge in their stride. Mixing berets with luxurious velvet coats and loose trousers, a certain hardness was gained by structured leather jackets, yet retracted at times with baggy sweatpants tucked into military style boots. A muted pallet of grey, black, white, and tan brought sensibility, whilst shawl collars and sports coats gave a stereotypical arty-boy feel to the look, dog-tooth, pinstripes and herring bone prints mixed up with the occasional waistcoat and more structured trousers offered a more traditional slant on the look.  

Dsquared² -

Over at Dsquared² things took a more sinister turn when an armada of blood-splattered models strode out in a look that can only be described as an amalgamation of sportswear, gothic, rock, come Edward Scissorhands after attending a hockey game. Large shoulders, teamed with leather trousers, chains dripping in crucifix's, distressed denims, and large skull motif tops appeared with studded belts and lots of neckwear in the form or ties, bow-ties and scarf’s; the defining characteristics that brought them all together, apart from the distinct impact of Twilight and True Blood on the design duo – details, leather, denim in a simple pallet of black, white, and blue.

Z Zegna -

Those of you intending to take heed of Z Zegna’s look for Autumn/Winter 2010 will certainly be warm and cosy. Layered textures of leather, sheepskin and wool on coats gave luxurious depth to overcoats, whilst skinny fitted trousers teamed with roll-necks and smart wool coats gave a great look for fashion forward city slickers. Mahogany leather coats injected a sense of warmth and traditionalism, yet the choice of fabrics on such imposing garments makes this collection interesting…in a sensible way.

All images from www.style.com

 

Edited by Shak - 19 Jan 2010 at 10:10pm

Etro;

With shades of Tim Burton's "Charlie and the Chocolate Factory", Etro's latest offering injected a little magic into Milan's menswear sea of monochrome. A palette of violet, midnight blue, tweed and turquoise dresses today's urban dandy; a man who likes beautiful clothing and isn't afraid of the odd bit of bling.
 

Spats, silk lapels, brogues and trilbies - the detailing was key in the execution of this collection, which saw a nod to Hedi Slimane with the immaculate cut of the slim fitting pieces. Wide pinstripes and deep v-necklines worked well with the rich jewelled fabrics used: mustard and bottle green velvet stood out amongst the neutral tones, as did the addition of a pair of violet suede brogues.

Gucci

Strong accessories were the order of the day at Gucci, where crocodile skin weekend bags shared runway space with a leopard print briefcase that would liven up the dreariest of commutes. Capable holdalls in variations of the iconic Gucci striped motif showcased what Gucci does so well.

Bold knits with tribal patterns featured throughout the pieces, dressing down a slick collection. Velvet and silk featured again, and once again jeweled colours took a precedent with midnight blue and violet coming through as key tones.

The Gucci simple blazer was reworked, from a structured tan leather version, through to the bronze velvet which worked so well to tie the collection together.

Pringle of Scotland:

Clare Waight Keller gave Pringle's classic Scottish image a futuristic shake up with today's collection. Heavily textured knits sat easily next to uberslick wool tailoring. Structured snoods and cable knit detailing gave a nod to Pringle's knitwear roots, but the brand has definitely diversified, showing a collection which was measured and sophisticated, toeing the line perfectly between immaculately polished, and effortlessly casual. Charcoal, navy, gunmetal, beige and dove grey featured heavily, the palette being the running thread in the various aspects of the collection.

But Pringle has not turned its back on its roots: A military inspired duffle coat featured towards the end of the show, as did a kilt reworked in two ways. And Pringle wouldn't be Pringle without the fleeting appearance of the classic Argyle pullover...

All images from Style.com

All words by Sophie Berry

Edited by Mini Bear - 19 Jan 2010 at 12:04am

The juxtaposition of directional youth, and timeless class was the rigid thread running through Prada's latest offering. Always looking ahead, the collection gave classic pieces a fresh feel, combining classic tailoring with modern patterns. The pink, grey and white camouflage print was a strong look, graphic enough to be slick, yet with a nod to the younger demographic. Moleskin peacoats with knitted collars were layered over crisp shirts in baby blue and sugar pink. Topped off with cropped pullovers in jewel shades and fine knit, Prada have again delivered a sharp and wearable collection suitable for even the most understated male shopper.







Neil Barrett used his collection to showcase the fusion of fabrics he uses to bring to life simple menswear staples. His use of leather and wool gives even the simplest silhouette a rugged look, with many of his strong outerwear pieces being paired with battered black leather boots. A palette of black, charcoal, gunmetal and dove grey works with the utilitarian feel of the collection which is softened slightly by a playful use of appliqued circles.





John Varvatos showed the world the meaning of the word 'Layering' in his menswear show today. Cord with jersey, and tweed with leather, the collection was awash with skinny ties, and sweeping scarves with a few pairs of fingerless gloves thrown in for good measure. With the collection taking on a slightly gothic theme, a monochrome palette was kept warm with the use of tweed suiting and some metallic touches. Hooded outerwear kept the tailoring from looking too preppy, diffusing the 'rockstar' aesthetic, and softening the collection into something young, edgy and fashion forward.




All images from Style.com

All words Sophie Berry

Edited by Mini Bear - 18 Jan 2010 at 9:44pm

Chanel are replacing their original line of Rouge Hydrabase lipsticks with Rouge Coco, a collection modelled on an original 1952 design, with each colour named after significant events in Coco Chanel's life, such as Camelia (a deep rose), Mademoiselle (a soft pink) and Paris (a bright red.) Chanel was said to be fascinated by lipstick, and incorporated a special pocket into the design of her iconic quilted handbag for the first one her fashion house created. Model and chanteuse Vanessa Paradis is fronting the collection which hits the shops in March.

Edited by Viola Levy - 18 Jan 2010 at 4:12pm

For this, the 20^th anniversary of their menswear collection, Domenico Dolce and Stefano Gabbana did what they do best – classic silhouettes, sleek tailoring, and the odd bit of flesh on show. Traditional ‘manly’ pieces - the tuxedo suit, wifebeater vests and, ahem, long johns - were given modern updates using untraditional fabrics like velvet and corduroy.

 

The staple trench coat was a standard feature on the Burberry catwalk, but outerwear as a whole was the focus for Christopher Bailey. Army green officer’s coats with oversized pockets and epaulettes, fur lined flight jackets and waxy gabardines illustrated the meticulous tailoring we have come to rely on from this most British of labels.

 

With models walking out with snowboards under their arms and goggles on their heads, it wasn’t hard to see the sportswear influence at Armani. The all-white looks, flashes of neon and graphic paneled tops, however, gave the collection a futuristic spin. 

All images from here.