The Maison Martin Margiela Reference Guide. Believe it or not we have reached our 2. Third Looks. A heartfelt thank you goes out to everyone who has contributed, supported or simply enjoyed this blog since it’s humble beginnings over a year ago. I couldn’t think of a better way to commemorate this milestone than presenting this comprehensive Maison Martin Margiela Reference Guide. Please enjoy this hefty reference guide on all things Maison Martin Margiela. The Maison Martin Margiela Reference Guide. Information about Martin Margiela, and Maison Martin Margiela, is everywhere, but a proper reference does not exist. With respect to Martin Margiela’s clear wishes to remain anonymous, and his continued silence after his retirement, I have omitted most personal information about him. This is a long read meant as a reference, not an article. If you are coming in totally blind, feel free to read the following short articles to get oriented: Background – A summary from a Margiela expert. Background – Vogue UK, a brief timeline. Culture/Marketing – Cult of Invisibility Part 1 and Part 2. Click through the jump for the Reference Guide. Table of Contents. Current Status. Owner: Only the Brave (Holding company of Renzo Rosso, Diesel)Designer, Ready to Wear: MMM Design Team. Designer. Couture/“Artisanal”: Matthieu Blazy. Namesake: Retired, 2. Official Sites. Timeline. Photo Credit: Moss Online. Attends and graduates from Royal Academy of Fine Arts Antwerp. Graduation date disputed. Serves as Design Assistant for Jean Paul Gaultier (Book)1. Establishes Maison Martin Margiela with Belgian retailer Jenny Meirens under Neuf SAS (similar to an American LLC) and shows SS 1. Paris. At this time it is only womenswear. Line 1 established. Martin Margiela awarded the first ever ANDAM Award. McIntyre, S. (2009). Under the Radar: The Sexual Exploitation of Young Men - Western Canadian Edition. PDF Download. PDF Download. Includes the 37 male studied above.Replica line officially made a part of Line 1; is included in Line 1. Eventually becomes a part of Lines 4 and 1. Charity AIDS t- shirt introduced for FW 1. Still in production. Ed. the post originally stated 2. We regret the error]1. May: The current label, with numbers 0- 2. Previously, only a plain white, unmarked label was used. Oct: Line 6 – women’s diffusion line. Martin Margiela serves as Artistic Director of Hermes women’s collections. Appointed in Apr. FW 1. 99. 8. 2. 19. Mar: Line 2. 2 – a collection of shoes for women. Oct: Line 1. 0 – the men’s equivalent of Line 1, introduced for SS 1. Oct: Line 1. 3 – objects and publications. Apr: Line 1. 5 – collaboration line with mail order company 3 Suisses, short lived. Jul: MMM/Neuf SAS sells its majority stake to Only the Brave, an Italian holding company owned by Diesel founder/President Renzo Rosso. Oct: Line 4 – a wardrobe for women, introduced for SS 2. Jun: Line 6, women’s diffusion, rebranded to mm. Jul: Line 1. 4 – a wardrobe for men, introduced for SS 2. Jan: Line 1. 1 – a collection of accessories for women and men. Cody Choi, visual artist and cultural theorist was born in Seoul in 1961. He attended Korea University Sociology major, Korea and Art Center College of Design. Yossi Milo Gallery is a photography gallery in Chelsea, located at 245 Tenth Avenue, New York, NY. Details. English version (PDF) Die Galerie Hans Mayer freut sich, ihre zweite Einzelausstellung mit neuen Arbeiten des südafrikanisch Künstlers ZANDER BLOM (*1982. My final blog post of 2017 is about two of my favorite subjects – grandchildren and sewing! If you’ve been following my blog for a while, you know that I enjoy. BibMe Free Bibliography & Citation Maker - MLA, APA, Chicago, Harvard. Jan: Line 2. 2 – a collection of shoes for women and men officially introduced for FW 2. Previously, small selections of footwear were released with Lines 1 and 1. Jan: MMM becomes a Correspondent Member of the Chambre Syndicale de la Haute Couture. May: MMM presents its Haute Couture show during SS 2. Artisanal” Line 0 pieces. Oct: Line 8 – eyewear collection. Anniversary celebrations for MMM take place. Sartorial Collection, a capsule collection in Line 1. FW 2. 00. 8/9. 2. Mar: Line 1 separated from “Défilé (runway)” and given separate tags. Jul: Line 1. 2 – a collection of fine jewelry. Oct 3: Renzo Rosso states that Martin Margiela “has not been there for a long time.”2. Dec 9: MMM officially confirms that Martin Margiela left MMM and the current design team would take over artistic direction rather than hiring a new head designer. Jan: Line 3 – fragrances, with unisex Fragrance “Untitled”. Oct: E- Boutique Launches. Jun 1. 2: H& M x MMM confirmed. Nov 1. 9: H& M x MMM launches*Unless otherwise noted, all information was obtained from the official Margiela timeline and glossary available on the official Maison Martin Margiela Facebook and the 2. Anniversary Monograph. Lines. Photo Credit: MMM Official Facebook. Artisanal” collection for women & men [Est 1. Its concept was- and still is- to reconstruct new garments by using other garments or accessories, used or new… It [is] all about giving a new life to old and abandoned pieces, so they could be worn again in a different way.”1 “Artisanal” pieces exemplify the MMM legacy of deconstruction, referencing fashion history, and the documenting the passage of time. Garments are given an “explanation card” which lists Collection, Reference (with ref. Description, Colours, Number Created (amount), Sizes, and Hours Spent Over Its Realisation. Men’s “Artisanal” items are marked with the 0 and 1. After MMM became a Correspondent Member of the Chambre Syndicale de la Haute Couture in Jan 2. MMM showed its first haute couture collection in May 2. Exhibitions — Starkwhite. July 2. 01. 6Starkwhite is pleased to present Material Candour, a group show by Gavin Hipkins (NZ), Richard Maloy (NZ) and Daniel von Sturmer (AUS). The three installations in the exhibition foreground process as a core component of the works, not just the work behind the works. The measure of these pieces is a function of the handwork they occasion as well as what they call forth. Drawing on the experimental approaches of the 1. Gavin Hipkins arranges polystyrene balls and rings on light- sensitive paper and then exposes then to light to make his photograms. The subject matter is typically banal and pointedly inconsequential, but repeated, massed and marshaled, the cumulative effect is monumental signposting his interest in failed utopias. Curator Robert Leonard says: “Hipkins’ retro- modernist arrangements hark back to a time when photography’s new ways of seeing were optimistically linked to a new view of the modern world aligned with both progressive social programmes (Rodchenko and Moholy- Nagy) and fascist ones (Riefenstahl).“ In Material Candour Hipkins presents The Port (2. Another 3. 2- part work from this series, The Coil (1. Emanations: The Art of the Cameraless. Photograph at the Govett- Brewster Art Gallery. From a distance Richard Maloy’s Yellow Structure appears to be a solid, monumental form – a rock- like sculpture that is formal and minimal in nature. It draws viewers in, where on closer inspection it reveals its humble, degradable construction of common industrial materials – cardboard, tape and paint. The hand of the artist is apparent in the wonky construction, DIY taping and slapdash paint job. All visible structural components are wrapped in cardboard and painted so the entire piece, even the posts and struts, appear to be hand- made of light- weight cardboard – a monumental mass with no apparent signs of support, that could collapse or fall apart. Yellow Structure (variation) is an upside down version of Maloy’s sculpture presented in the Encounters section of Art Basel Hong Kong in March this year, which was curated by Alexie Glass- Kantor. Rather than presenting a finished work at the launch of Material Candour, Maloy will continue to develop his sculpture throughout the duration of the exhibition. The artist wishes to acknowledge the generous support of the Asia New Zealand Foundation and Creative New Zealand, delivered through the Asia/New Zealand Co- commissioning Fund, with the presentation of Yellow Structure at Art Basel Hong Kong and Starkwhite. Daniel von Sturmer’s video small world (chalk drawing) begins with a black screen. A moment later a hand appears at the bottom of the screen holding a piece of chalk, which traces a not- quite- perfect circle on the rotating black ground. The hand pulls away and the circle continues to rotate, then the hand reappears holding an eraser and the line soon disappears leaving a black screen, ending as it began. As Tara Mc. Dowell observes: “von Sturmer’s videos connect to a longstanding tradition of drawing as studio practice, though here that very practice becomes the work, carefully composed and executed.” The exhibition also includes small world (landscape painting) where multiple lines of white paint drip down from an unseen source, slowly coating the surface. Eventually the white paints covers its allotted area so completely “that it cedes its own materiality, so palpable as wet paint, in pure image,” says Mc. Dowell. “It is testament to von Sturmer’s intuitive and deft touch with his medium that he makes us feel the materiality of the thing depicted, as if we could reach out and touch it even though we know it is an illusion.” Daniel von Sturmer is represented by Anna Schwartz Gallery, Melbourne and we are grateful for their support for this exhibition. Artist Bios. Gavin Hipkins is an Auckland- based artist who works with photography and moving image. He has been described as a ‘tourist of photography’ reflecting a strategic treatment of eclectic styles and diverse photographic techniques. Over the last two decades his practice has engaged postcolonial, architectural, and commodity discourses via a range of analogue and digital technologies, photo- installations, and artist videos. In 2. 01. 0 he started making fragmented narrative films that frequently call on nineteenth- century references, and adapts these writings to contemporary settings. His projects engage film as a cinematic art that blurs definable genres between drama, documentary, film essay, and experimental narrative structures. Hipkins represented New Zealand at the 1. Sydney Biennale, and the 2. Sao Paulo Biennale. Residencies include the inaugural residency for New Zealand artists at Artspace Sydney (1. International Studio and Curatorial Program in New York (2. Mc. Cahon Residency Auckland (2. He has exhibited widely including: International Film Festival Rotterdam, The Netherlands (2. The Jewish Museum, New York, USA (2. Museum of Arts and Design (MAD), New York, USA (2.
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