Category Archives: FASHION

PARIS LA 16 — THE FASHION AND WRITING ISSUE — OUT NOW

The new print issue of PARIS LA—a tenth-anniversary special devoted to fashion and writing—is now available.

PARIS LA 16 includes interviews with Hilton Als, Chris KrausInes Kaag and Desiree Heiss of BlessTisa BryantFlorence MüllerMalik Gaines, Q.M. ZhangCommes des Garçons’ Adrian Joffe, Anelise Chen, and Bice Curiger and Jacqueline Burckhardt of Parkett.

Massimiliano Mocchia di Coggiola contributed an essay with artwork on dandyism, Ramon Hungerbühler and Fabian Marti talk about skate brands, there are pieces on Setsuko Klossowska de Rola, and Pierre Davis and No Sesso, Anne Dressen has written about contemporary jewelry…

… and portfolios and portraits by Cédric Rivrain, Cassi Namoda, David Benjamin Sherry, Wyatt KahnTobias Madison, Item IdemJean-François Lepage, Todd ColeMarie Angeletti, Will Benedict, and Katerina Jebb—who created the Michèle Lamy cover and a poster of Marisa Berenson—grace the issue.

Also: a reprint of Iris Marion Young’s landmark essay “Women Recovering Our Clothes.”

 

PARIS LA 16, published by DoPe Press.

Above: Inside covers, production PDF.

Below: Front and back covers, production PDF.

ANTONIO LOPEZ

“Antonio didn’t record—he rendered.” — Joan Juliet Buck

ANTONIO LOPEZ 1970—SEX, FASHION & DISCO—an exquisite time capsule directed by James Crump—takes viewers back to the would-be golden age of the early 1970s for an exploration into the lives of artist Antonio Lopez (1943-1987) and his personal and creative partner Juan Ramos (1942-1995) as they navigated the art and fashion worlds of Manhattan and Paris.

With the flashy exuberance that characterized Antonio’s life as well as his drawings, the documentary features extensive on-screen interviews with Antonio discoveries Pat Cleveland, Donna Jordan, Jane Forth, Patti D’Arbanville, Jessica Lange, and Corey Tippin.

Editors Grace CoddingtonJoan Juliet Buck, and Bob Colacello explain Antonio’s various entanglements within the distinct yet overlapping Yves Saint Laurent and Karl Lagerfeld “families,” and the late photographer and Lopez-Ramos confidante Bill Cunningham walks away with the film, giving the last word on Lagerfeld’s final betrayal and Oscar de la Renta’s heroism.*

ANTONIO LOPEZ 1970—SEX, FASHION & DISCO

Through Thursday, October 4.

Laemmle Royal, 11523 Santa Monica Boulevard, West Los Angeles.

 

Through Thursday, September 27.

Laemmle Playhouse, 673 East Colorado Boulevard, Pasadena.

 

Post-screening Q & A with director James Crump, Corey Tippin and artist and Lopez estate-director Paul Caranicas

Friday, September 21, at 7:30 pm.

Laemmle Royal

theantoniolopezbook.com

bookdepository.com/Antonio-Lopez-Instamatics

* See Alicia Drake, The Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris for an in-depth look at the Antonio LopezJuan RamosKarl Lagerfeld saga.

From top:

Antonio Lopez in Paris, 1970. Photograph by Bill Cunningham.

Corey Tippin, Donna Jordan, Jane Forth, and Jay Johnson in Paris, 1971.

Lopez in the Jardin du Luxembourg, 1971. Photograph by Juan Ramos.

Cunningham and Lopez. Photograph by Ramos.

Jessica Lange. Photographs by Lopez.

Lopez, Tippin, and Jordan.

Image credits: The Estate of Antonio Lopez and Juan Ramos, and Film Movement.

NEWTON IN NEW YORK

HELMUT NEWTON—PRIVATE PROPERTY—the inaugural gallery exhibition at the newly opened 10 Corso Como New York—comprises forty-five original prints from 1972 to 1983 that Newton himself selected as a series, and that he considered the most emblematic of his work at the time.

 

HELMUT NEWTON—PRIVATE PROPERTY

Through November 4.

10 Corso Como, 1 Fulton Street, New York City.

Helmut Newton, Elsa Peretti, New York, 1975. Image credit: Helmut Newton Foundation.

SUSANNE BARTSCH ON TOP

“Bartsch picked up where Warhol left off.” — RuPaul

History is made at night. In her capacity as party-throwing club-kid den mother and AIDS fundraiser par excellence, Susanne Bartsch provided a sanctuary of free expression for those pushed to society’s margins while engaging in what Ingrid Sischy called “the most serious political action of our time.”

Sischy was referring to the 1989 Love Ball at Roseland, a Design Industry Foundation for AIDS event that brought Harlem’s vogue balls to midtown Manhattan, introduced Madonna to the uptown cultural practice, and raised $400,000 to help fight the disease that was decimating Bartsch’s circle.

Prior to hosting events in clubs all over town, Bartsch was the proprietor of the eponymous SoHo boutique that was the first in town to import the clothes of Vivienne Westwood and John Galliano. As one of the most imaginative exemplars of sartorial self-adornment of the last half-century, Bartsch was honored with a 2015 Fashion Institute of Technology exhibition Fashion Underground—The World of Susanne Bartsch.

The riveting documentary SUSANNE BARTSCH—ON TOP (directed by Anthony Caronna and Alexander Smith) brings this only-in-New York story to the screen with new interviews, extensive documentary footage, and home movies of Bartsch’s family life at the Chelsea Hotel.

Bartsch—whose personal aesthetic and Swiss accent recall a Dada/Weimar-era ballet mécanique—was the leader of a very fast pack, and this cinematic tribute is a moving critique of gender norms and an inspiration for boundary-breakers everywhere.

 

SUSANNE BARTSCH—ON TOP

Through September 13.

Monica Film Center, 1332 2nd Street, Santa Monica.

VOD release on September 11.

See: New York is Burning

and: Fashion Underground—The World of Susanne Bartsch

Top: Susanne Bartsch (right) and RuPaul at the opening of Fashion Underground—The World of Susanne Bartsch.

Above: Bartsch and her husband, fitness entrepreneur David Barton.

Below: Bartsch applying an eyepiece. Image credit: The Orchard.

BILL CUNNINGHAM

“The only way to last is to never let anyone really know you, for society is only friendly to new faces, out of fear that you’re better than they…

“One of the snags of high fashion is that it attracts the most ambitious social climbers: show-offs, snobs, bigots, and egoists. These women consider themselves as “social”—I think of them as miles of phony society fringe. They are the snake pit of the high-fashion business.

“By contrast, the [American] customers who gave me the most pleasure were the out-of-towners, especially the westerners. These women have no ax to grind and indulge in fashion purely for personal expression and the joy it brings their families.” — Bill Cunningham

 

Bill Cunningham, Fashion Climbing: A Memoir with Photographs

Preface by Hilton Als (New York: Penguin Press, 2018).

 

THE TIMES OF BILL CUNNINGHAM

Thursday, October 11, at 6 pm.

Alice Tully Hall, 1941 Broadway (at 65th Street), New York City.

Sunday, October 14, at 2:45 pm.

Walter Reade Theater, 165 West 65th Street, New York City.

New York Film Festival 2018

 

CELEBRATING BILL CUNNINGHAM

Through September 9.

New York Historical Society, 170 Central Park West (at 77th Street), New York City.

Bill Cunningham in Central Park in 1967.