Juergen Teller

Juergen Teller at Grisebach

| Design & Culture by Ed

If you read my journal or follow my Instagram for a while, then you’ve surely noticed my obsession with Juergen Teller and his work. So when I discovered that his two exhibtions open at Grisebach (one of the oldest auction houses in town), I marked 12th of September right away in my calendar as a mandatory trip to Berlin. And… my dream came true. He was there with his partner, Dovile Drizyte, they both signed books and talked with guests. I even took a photo with him – just couldn’t resist that opportunity (sorry not sorry)! He was happy I came especially from Poland to attend the opening… Ok, back to the exhibitions. Grisebach presents precisely two exhibitions with the photographer: “If You Pay Attention” and “Araki Teller, Leben und Tod”. “If You Pay Attention” was completed in collaboration with Drizyte, and features a series of photographs that were taken at the end of 2019 to the beginning of 2020, on an adventurous, heavenly, yet life-threatening journey through Iran. Drizyte, Teller’s partner, wore a chador during a part of their trip and consequently discovered a new identity whilst following this dress code. Teller recalled how: “I didn’t just want to take tourist pictures, I wanted to put something of myself or us into the pictures of Iran, but I didn’t know what or how in the beginning. At the same time, I haven’t yet quite found a way of photographing Dovile, my girlfriend. Sometimes it is difficult with people who are very close to you. It took me years to photograph my Mother.” Next door, at Villa Grisebach, Teller presented his new book, “Araki Teller, Leben und Tod” which was made in collaboration with the Japanese photographer, Nobuyoshi Araki. “Leben und Tod” is the culmination of their joint exhibition at artspace AM, Tokyo held at the end of 2019 and is published by Steidl. This deeply personal project centres on Teller’s “Leben und Tod” (Life and Death) series, in which he reflects upon the death of his uncle and stepfather Artur. Teller juxtaposes photographs of his mother and their hometown in Bubenreuth, Bavaria with images from his journey in Bhutan with Dovile that epitomize life and fertility. Inspired by this series, Araki asked to photograph Teller’s “childhood memory objects”, items that carry special emotional significance to both him and his parents. Teller eagerly collected these personal treasures, gathering toys, a porcelain figurine, and bridges created in the family’s string instruments’ bridge-making workshop. Araki’s resulting images are haunting, yet playful, creating a spellbinding tale once paired with Teller’s original story. Here’s a mix of my favourite works, juxtaposed with Grisebach’s beautiful space.

The exhibitions are on until the 7th of November! More information is available right here.

Photos by Edward Kanarecki.

The 2010s: Phoebe Philo’s Céline.

| Design & Culture by Ed

Believe it or not – I can’t! – but we’re heading towards a new millenium. So, how do you choose the most important collections, designers and labels of the decade? The ones that made an actual impact in the 2010s? Well, it’s not an easy task. It all began in September 2009 with New York’s spring-summer 2010 shows and ended when the autumn-winter 2019 haute couture shows wrapped in Paris. Few thousands of shows, by the way. There will be 19 posts (that’s really the only possible minimum!) reminding about the best – and if not the best, then strongly influencing – moments in fashion.

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Phoebe Philo‘s Céline.

This one is no surprise to anyone who reads my journal for a longer while. Phoebe Philo’s contribution to 2010s fashion – through the medium of Céline – is exceptionally significant. Phoebe’s fashion wasn’t minimalist as many tend to sum up. It was eclectic. Intelligent. Feminist. Feminine. Intimate. Lasting. Beautiful. From all the photoshop-free Juergen Teller ad campaigns (feauturing Phoebe’s favourite women like Daria Werbowy and Joan Didion) and store interiors (they felt like home!) to the music playing during the fashion shows (Cymande’s “Dove“, Soul II Soul’s “Back To Life“, Method Man and Mary J. Blige’s “I’ll Be There For You / You’r All I Need to Get By”…) and the shockingly rare on-line shop absence for an established label like this, Philo’s Céline was the ultimate favourite of many people (including me) for different reasons. While Phoebe is still off the fashion horizon, just look at all the brands that turn to her collections for inspiration (or actually try to copy her…). Yes, yes, we’ve got Daniel Lee’s Bottega Veneta, Mary-Kate and Ashley Olsen’s The Row, Christophe Lemaire and Sarah Linh Tran’s Lemaire. But I really, really, really hope that 2020 will see Phoebe Philo’s comeback. Dreams come true!

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Collages by Edward Kanarecki. Photos by Juergen Teller and Tyrone Lebon.

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Grunge is Back. Marc Jacobs Resort 2019

| Design & Culture by Ed

When Marc Jacobs presented his now iconic collection for Perry Ellis in 1993, he was rather close to being burned at the stake. Unapologetically grunge-isnpired, the collection went down with the leading critics and editors, except for Grace Goddington, who styled that equally (at the time) risky editorial for Vogue, visibly very obsessed with Jacobs’ bold move. Perry Ellis fired the designer right away, and became what it is today – a boring, apparel-focused brand for men. Quite unsurprisingly, the ‘true’ grunge world hated Jacobs for doing this collection, too, with Courtney Love and Curt Kobain reportedly burning the pile of clothing Marc designed with them in mind. But that’s history.

We’re in 2018, and Courtney Love’s daughter – Frances Bean Cobain – is one of the faces of Marc Jacobs, the brand. Even more ironic is the fact that Coco Gordon Moore, the daughter of Kim Gordon (aka grunge godmother) wears Jacobs’ newest collection called, wait for it: Redux Grunge. For resort 2019, the designer brings back 26 looks he designed for the controversial Grunge collection, now with his tag on them. The looks, shot by Juergen Teller (who used to be Marc’s long-time collaborator for years until 2014 – now might be back doing the ad campaigns!), are a testament to the brazenness and timelessness of the designer’s vision. They are as relevant today as they were revolutionary (or even infamous) 25 years ago. Well, that’s true – if not Jacobs, grunge would die with its subculture and never arrive to the mainstream. Crotchet cardigans, a midriff cutout knit dress as seen first on Kristen McMenamy (now on her daughter, Lily McMenamy), rainbow striped beanies, Dr. Martens boots, a cropped blazer baby Kate Moss would wear down the runway, chokers… well, it’s all pretty much identical. I can’t say it looks fresh – it isn’t the collection’s intention in the first place. But somehow, I like it, I like that free-spirited feeling being revived right now, at this moment. Still, it’s such a stark contrast to Jacobs’ saccharine and dramatic spring-summer 2019 collection… that you might really have problems with realising that one person can both do both, rough and sweet.

Collage by Edward Kanarecki, feauturing different visuals by Juergen Teller.