Veronika Kunz in a pink duvet coat from Demna Gvasalia‘s autumn-winter 2019 collection for Balenciaga is so good. I see it worn on a lazy park stroll in Paris…
Collage by Edward Kanarecki featuring Helmut Newton’s photo.
For autumn-winter 2019, Acne Studios’ designer, Jonny Johansson, considered what’s high fashion from the perspective of young people, and how it might change throughout time. “All the power dressing that I consider iconic womenswear, maybe they are attracted to it, but in a different way.” While doing the research, he also thoroughly examined Helmut Newton’s eternally chic photographs, and was amazed with the fact that those visuals are so relevant, and not getting old – even a day. All this gave birth to a collection, that’s quite different to Acne Studios we’ve seen in the last few seasons. Oversize pants were cinched at the waist and tucked into socks; coats had those refined-looking, rounded shoulders; draping, probably never seen at Acne before, looked sublime. The new season silhouette is sharp and chic, but there were also elements that felt distinct to the brand’s aesthetic: knits with raw finishings, eclectic jewellery (those XXL bracelets are gorgeous) and, other than the very seductive, Newton-ish pumps, heavy trekking boots. Worn with one of the statuesque blazers or a collared ‘office’ midi-dress, the elegant-slash-off-duty look would exactly be what Johansson worked on this time: power dressing, fitted for a contemporary woman.
Collage by Edward Kanarecki.
Carla Sozzani, former editor-in-chief of the Italian Elle and Vogue, has collected photographs for many years. Since 1990, she has also exhibited these works in her Corso Como 10 in Milan in close cooperation with numerous internationally renowned photographers – including Helmut Newton. The personal friendship between Carla and Helmut not only led to countless exhibitions, but also to the current presentation of her multifaceted photography collection at the Helmut Newton Foundation in Berlin, under the title Between Art & Fashion.
More than 220 photographs were selected from the collection (which actually comprises almost 1,000 works!). The exhibition not only presents numerous icons, it also contains plenty of rare surprises. Some of photographers are represented with only a single work, while for others there is a small group of photographs (like the mega-wall by Steven Meisel). The selection is not about completeness, but authenticity and visualization, about the quality of autonomous and representative images – in this case thematically adapted to the specific exhibition venue.
On display in June Newton’s room, on the occasion of the 95th birthday of Helmut’s wife, who worked under the name Alice Springs, are 22 previously unseen portraits – Yves, Azzedine, Karl, Vivienne are all here. But it’s also worth visiting the pernament exhibition on the ground floor, which features Helmut Newton’s office room display, posters, his wardrobe and favourite (and sexy, which isn’t shocking knowing Newton’s body of work) objects.
The exhibition is open until November 18th, 2018.
Helmut Newton Foundation / Jebenstraße 2 / Berlin
Today, looking at a Dolce & Gabbana show hurts. The brand’s recent strategy to lure rich millenials through casting Instagram stars for their runway is, politely saying, ridiculous. Also, I don’t feel like writing much about Domenico and Stefano‘s pride in dressing America’s First Lady, or the latter’s drive for dramas and beefs on social media. But, even though it’s hard to believe it in 2017, Dolce & Gabbana used to do fashion. And really good fashion. Autumn-winter 2004 season is a great example of that. Inspired with Helmut Newton’s photographs and muses, the designer’s collection was about a hedonistic, ultra-chic, dramatic, yet powerful woman. Lots of sheerness, romantic lace, sassy fur, seductive satin – that was extremely Dee-Gee at the beginning of the millennium. The models – from Stella Tennant and Mariacarla Boscono to Nadja Auermann and Karen Elson – killed the audience with their walks.