HALOGENIC
0729866:

Jil Sander s/s 1998 campaign photographed by Thomas Krappitz
vroomheid:

Walter van Beirendonck autumn / winter 2000-01
shoulderblades:

grey tie-sleeve jacket, ann-sofie back autumn/winter 2003-04
sample: 100 fashion desigers - 010 curators
labsinthe:

"Couture Report" photographed by Steven Klein for Vogue Italia 1999
labsinthe:

"Clonage" Elsa Benitez photographed by Ruven Afanador for Vogue Paris 1998/1999
endthymes:

pipilotti rist, i’m not the girl who misses much (1986); video still
2:44 AM

Give It To Me by Timbaland
11:51 PM

Suicide Dream 3 (Orchestral Version) by How To Dress Well
ratherfuck:

Elina Löwensohn
11:41 PM
saindoux:

um
yes
cotonblanc:


Phantasmic DialogueHaving once reversed the spectacle, McQueen effected a further reversal by turning the audience into voyeurs when the show started. The lighting went down on the audience and came on inside the box, which proved to be made of reflective surveillance glass, mirrored inside as well as out. This time the models inside the box could not see the audience but they could clearly see their own reflections. Thus the audience could watch the models watching themselves. For ten minutes the models preened, strutted and admired their own reflections, staging a solitary performance before the mirror that in real life would only occur in the privacy of the bedroom, but with the additional frisson that their simulation of solitary pleasure was performed, like a sex show, to an audience of fashion voyeurs concealed behind a one-way mirror.
Alexander McQueen, Voss, Spring–Summer 2001. Photograph Chris Moore, courtesy Alexander McQueen

Fashion at the Edge: Spectacle, Modernity and Deathliness by Caroline Evans, Yale University Press
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