Context is everything. In the spirit of artistic relativism, Taschen is reprinting Pages from the Glossies, a book of Helmut Newton photos as they initially appeared in magazines, from Vogue and Elle to Queen and Stern, between 1956 and 1998. Which is to say, these images — many of which have acquired iconic status — remain true to their source, retaining all the accoutrements of their original glory: headlines, text, captions, and so on.
In tandem, the Helmut Newton Foundation in Berlin will present blowups from the softcover book beginning December 4, 2015, showcasing more than 230 magazine pages.
No one creates high-tech, bio-diverse demi-couture like Iris Van Herpen, who'll be the toast of Atlanta next month when the High Museum of Art becomes the first U.S. museum to dedicate a major exhibit to the Dutch designer.
The exhibit will feature 45 looks, including the Van Herpen's trademark 3D-printing, computer modeling, engraving, and rapid prototyping.
November 7, 2015 - May 15, 2016, High Museum of Art, 1280 Peachtree Street, Atlanta
It's hard to believe that Undercover is 25 years old, probably because the Japanese label only decamped for Paris from Tokyo in 2003. But now designer Jun Takahashi has returned home with a retrospective at the Tokyo Opera City Art Gallery. The exhibit — aptly titled Labyrinth of Undercover, hinting at the complexity of the multi-faceted label — showcases roughly 100 of Takahashi's more provocative pieces, along with runway videos, paintings, and his peculiar and rather nightmarish 'Grace' dolls.
Labyrinth of Undercover, October 10 - December 23, 2015, Tokyo Opera City Art Gallery, Shinjuku-ku, Tokyo Nishi 3-20-2, Japan
A new fashion exhibit in Stockholm attempts utopia by examining notions of solidarity, memory, gender identity, technology, and sustainability — and by looking at a coterie of contemporary visionaries. The Liljevalchs Konsthall has assembled roughly 200 unconventional pieces from the likes of Alexander McQueen, Rick Owens, Viktor & Rolf, Hussein Chalayan, Walter van Beirendonck, Comme des Garçons, Dries Van Noten, Maison Martin Margiela, Prada, and Raf Simons for Dior.
Further, in the Memory Room, a small group of fashion-world luminaries has been asked to exhibit a garment that tells a personal story. Participants include Hamish Bowles (Vogue), Roy Andersson (director, Twiggy, Lykke Li, and Christian Lacroix. Swedish designers, too, were commissioned to create unique items, including Ann-Sofie Back, Bea Szenfeld, and CMMN SWDN.
Utopian Bodies: Fashion Looks Forward, Sep 15, 2015 - Feb 7, 2016, Liljevalchs Konsthall, Djurgårdsvägen 60, Stockholm, Sweden
Is there a designer who doesn't take photos on the side? How better to reinforce a label's image? That's the thinking behind Russian designer Gosha Rubchinskiy's new book, Youth Hotel ($45), published by Dover Street Market's IDEA imprint. That IDEA is in the business of fast-publishing — as in only a few days — is very much in keeping with the transient, move-by-night nature of Rubchinskiy's own youth in Russia.
Of all the parodists poking fun at fashion today, few are as wickedly spot-on as Kalen Hollomon. Long a fave of ours, the New York artist's eye for the taboo and his lo-fi cut-and-paste technique subvert the intended message of fashion campaigns and mashes them with images of ordinary life to provocative effect.
Hollomon currently has an exhibit of his work at Colette in Paris, a series of original handmade collages on luxury pieces as well as seven new photographs taken around New York, turned into ad images and slapped with a fashion logo.
Kalen Hollomon, September 28 - October 24, Colette, Paris
Given fashion exhibitions' new limelight, a most intriguing Karl Lagerfeld exhibition at the Bundeskunsthalle museum in Bonn, Germany, has been drawing visitors far and wide. But as the couturier's aversion to retrospectives is well-known, how would co-curators Rein Wolfs (also the museum's director) and Amanda Harlech (also Lagerfeld's right-hand at Chanel) tackle an exceptional 61-year career? Wolfs told Hint that they "excluded a retrospective character of the exhibition right from the beginning and wanted to show his exceptional quality of profiling different labels [often] at the same time."
The audience is first greeted by a recreated Lagerfeld office, with sleek chairs and a table laden with books ranging from Doris Lessing to Beau Brummel to Man Ray, as well as glue, pencils, and stationery. On the floor are bags from one of his favorite Parisian bookstores, Galignani, next to crumpled balls of paper. The set reflects his aerobic, magpie creative mind, and also his appetite for paper, the sub-theme of the show. "It's about Karl's vision, which he draws," said Amanda Harlech in German Vogue, "then this creation comes to life, before becoming a photograph, which is another piece of paper."
From the late 1950s until his death in 1987, Andy Warhol toted a Polaroid camera with him wherever he went. He was thus able to capture the barrage of famous faces — including his own — and fleeting moments that swirled around him with every step. Not even his private time was off-limits.
A new book, Instant Andy (Taschen), features hundreds of the instant snaps he took — many of them unseen — decades before Instagram. In conjunction with the book's release, Christie's will hold an auction of the artist's polaroids from September 17-29.
"His MO was to attack through beauty," writes Steven Klein, himself a provocateur, in his foreword to Gloss (Rizzoli), the new and first monograph on Chris von Wangenheim. The German-born, New York-based 70s photographer, before his own violent death in a car crash at the age of 39, was the third in a triumvirate — along with Helmut Newton and Guy Bourdin — associated with dark, dangerous, disturbing depictions of glamour. "It is a fascinating and daunting notion, one that I apply to my own work."
Exhaustively researched by Roger and Mauricio Padilha — also authors of Rizzoli's Antonio Lopez and Stephen Sprouse titles — the book contains over 200 of these provocative, graphic images and fashion campaigns (Dior, Valentino, Calvin Klein) that von Wangenheim somehow managed to convince supes (Gia Carangi, Christie Brinkley, Lisa Taylor) to model in and glossies (Vogue, Harper's Bazaar, Esquire, Interview) to run. His powers of persuasion, likely bolstered by his friendship with the unassailable Anna Piaggi, enabled his brand of savage chic to reach and shock the masses, challenging outmoded taste levels all around the world, which was precisely his point.