Tag Archives: Dorothée Perret


“When I sat in Manny’s lecture hall [in the fall/winter quarter of 1988], I had no inkling of what a curator even did…
“And my current understanding of its operations, demanding a constant oscillation between the big picture and the details—the big picture being the institution of the museum and its central role in the creation of value, the formation of canons, and the presentation of private artistic acts for public experience; the details involving the development of intimacies with both objects and their makers, the why and how of choosing specific objects, the why and how of installing them, and what each act of adjacency in an installation might connote—was still a decade away.” — Helen Molesworth*
This weekend, ONE DAY AT A TIME—MANNY FARBER AND TERMITE ART curator Helen Molesworth reads her titular catalogue essay in the exhibition’s gallery. Centered on Farber, the essay moves through the elusive definitions of termite art, still life, and the everyday.


Sunday, January 13, at 3 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.


See “Under the Volcano: Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016): 29–37.

*Helen Molesworth, “One Day at a Time,” in One Day at a Time: Manny Farber and Termite Art (Los Angeles: Museum of Contemporary Art/Munich: DelMonico Books-Prestel, 2018


Dover Street Market Los Angeles is open for business.

“It’s really sad and somewhat annoying to read that the future of retail is online. Don’t get me wrong, our e-shops are doing incredibly well and are becoming a very important part of the business. But, ultimately, we’d like them to stay as a kind of service for people who are not near a Dover Street Market, or who need a reorder.

DSM is a family, and a family that doesn’t meet and touch and talk and exchange is not a family that can grow and evolve in a healthy way.” — Adrian Joffe, Comme des Garçons CEO*


Dover Street Market, 606–608 Imperial Street, downtown Los Angeles.

*“Independent Lines: Adrian Joffe in conversation with Dorothée Perret,” PARIS LA 16 (2018), 20–24.

All images courtesy Dover Street Market.


The Anni Albers exhibition at the Tate Modern opening this week—the first comprehensive show devoted to her textile work in the United Kingdom—is complemented by ANNI ALBERS—CONNECTIONS: PRINTS, 1963–1984 at the Alan Cristea Gallery.


Through November 10.

Alan Cristea Gallery, 43 Pall Mall, London.


October 10 through January 27.

Tate Modern, Bankside, London.


Thursday, October 11, at 6:30 pm.

Starr Cinema, Tate Modern, Bankside, London.


See Helen Molesworth, Leap Before You Look: Black Mountain College, 1933–1957 (New Haven, CT.: Yale University Press/Boston: ICA, 2015); and “Under the Volcano—Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016), 29–37.

From top:

Anni Albers Card Weaving at Black Mountain College. Image credit: State Archives of North Carolina.

Anni Albers, Second Movement III, 1978.

Anni Albers, Study for Unexecuted Wallhanging, 1926. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers, Ancient Writing, 1936. Smithsonian. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers.



To attend a Comme des Garçons presentation is always something quite unique during the busy week of collections. After all, REI KAWAKUBO is herself a one-of-a-kind designer who always deploys interesting thoughts through clothing.

Today she took her audience to the Palais des Etudes of the Ecole des Beaux-Arts in Paris. Since space is an extremely important element in KAWAKUBO’s work, within this classical architecture she built her own—a small, open-air box in gray plywood—to quietly lay down a spring 2019 collection that reflects mostly on the passage of time.

Her first model—an aging pregnant woman with a prominent prosthesis belly—sets the tone right away. This collection is about lineage in its most formal way.

All the models have gray hair, and their bodies are deformed by a variety of experimental implants. The silhouette is black, but vibrates with touches of grays and whites. This monolithic feeling of color is animated by the diversity of shapes—asymmetric, tied, oversized—and materials: jacquard, feather, pearl-drop.

The rhythm is slow, and heaviness is felt in the air. A few models even carry heavy chains as accessories around their body, which create odd sounds over the music—a range of American standards. Finally, continuance in time and abstraction in history are both concepts that surface in the mind through the passage of the models.

Hybrid Renaissance could be the title of this well-done and maybe most personal collection of Comme des Garçons, and with it, REI KAWAKUBO continues to affirm her unique position in and meaningful engagement with the history of fashion.

Images © 2018 Commes des Garçons.


It’s almost midnight in Paris. HEDI SLIMANE for Celine lights the place with a spring 2019  collection greeted by two drums from the Republican Guard. But this solemn introduction felt more like a counter-artifact to better unveil a spirit of true adolescent adulthood.

This inaugural collection coming out of a giant music box in mirror, on an original sound piece by La Femme, was certainly the most awaited of the week by professionals and fans alike. And SLIMANE—evenly, steadily—did not upset the rule, and offered to Celine its first letters of nobility in couture.

His strength is like that of any master, a capacity to wind up and unfold time at once. His classy wardrobe travels with alluring beauty from the sixties era of swinging London to the disco couture of the eighties. Nothing felt old in this collection—everything is up-to-date. These are the common themes SLIMANE has always cherished, and stated in the early 2000s when he created his famous androgynous silhouette, also known to be extremely skinny.

Men and women here today were equally celebrated in an ode to gender fluidity.

SLIMANE is a true showman who knows how to design clothes in the best classical and formal way, and last night he once again confirmed to the world of fashion his immeasurable talent.

All images © 2018 Hedi Slimane for Celine.