In a new exhibition titled The Overworked Body: An Anthology of 2000s Dress, Australia-born and New York-based fashion curator Matthew Linde refuses to take received wisdom for granted. He’s very clear to explain, as we step through the two mannequin-stuffed gallery spaces in Chinatown (Ludlow 38 and Mathew Gallery) that he’s using for this sprawling look at fashion from the previous decade, that the show is not meant to be “a survey or an overview.” At least, not in the rigid sense that a historian might use those terms. Rather, he points out, “It’s an anthology, meaning a selection by choice.” The show expresses Linde’s point of view about the hidden forces bubbling beneath the sartorial surface. “This approach has really been lifted from Cecil Beaton’s 1971 exhibition at the Victoria & Albert Museum in London, titled Fashion: An Anthology,” he explains, adding that this was the “first instance in which fashionable modern dress received a museological moment … previously these exhibitions were done under the auspice of a dress historian, but how then can a dress historian approach the idea of fashionable modern dress?”

Linde remarks that his exhibition “hijacks this anthological approach, but to the point of ad nauseam … This exhibition presents a period of fashion that is overloaded and overworked.” His vision sweeps across a wide range of designers, from major figures like Helmut Lang and Walter Van Beirendonck, to obscurities like KEUPR/van BENTM and Hideki Seo. While a more pedantic exhibit might have skipped unknown figures in favor of designers whose clothes people actually wore, Linde uses small names to illustrate big ideas. “I’m bringing up unsung voices from the period to present that fashion history has always been slippery and complicated,” he says, with a mischievous smile. “So someone in 2050 doing an anthology of 2000s dress would do something wildly different to this. This is more of an attempt to unnerve or complicate this idea that fashion periods are cement.”

So what did the period add up to, exactly? “Prior to the 2000s you really had to be an insider to know what was going on in designer fashion,” Linde notes. “When digitization occurred, which people describe as the democratization of fashion, suddenly these wider markets were available. But at the same time you had the proliferation of fast fashion—Zara, TOPSHOP, H&M, Target. So suddenly things became a lot more ugly,” he adds, laughing. “There was so much trash in the 2000s.” Linde’s vision of the decade captures an itchy, imbalanced energy, sparked by disruptive forces like 9/11 and the rise of social media. He showcases designers who blowtorch sequins, turn prom dresses into necklaces, and fill transparent post-apocalyptic survival outfits with trash. They mock couture silhouettes and use religious garb as a punchline. Nothing was sacred. Or perhaps, everything was.


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The Naomissance is upon us: Naomi Campbell returns to the top of the fashion world

The Naomissance is upon us: Naomi Campbell returns to the top of the fashion world

The year 1990 was a good one for Naomi Campbell. That January opened with a spot on that supermodel cover of British Vogue, alongside Cindy, Christy and Linda. After that came the covers of French and Italian Vogue, as well as posing for Peter Lindbergh in a convertible full of dalmatians in a classic Grace Coddington shoot for American Vogue (that still turns up on moodboards to this day), walking for Gianni Versace in Milan and lip-syncing for George Michael’s Freedom ‘90 video. Not bad.

Now 2017 looks to be an equally good year for Campbell, now aged 47, a career arc that defies the norms of modelling. This is the age of the Naomissance.

Campbell’s profile in the fashion industry is higher right now than it has been since she ruled the catwalk two decades ago. As newly installed contributing editor of British Vogue, Campbell took an unmistakably powerful seat in the front row of the Burberry show at London fashion week, between editor-in-chief Edward Enninful and Kate Moss, who is also on the Vogue masthead. At Paris fashion week, Campbell was snapped emerging from lunch at the Ritz with fellow supermodel and former French first lady Carla Bruni. And on the Friday night of Milan fashion week she almost broke the internet in her metal-mesh Versace gown, as the central figure in the five-strong lineup of supermodels who joined Donatella for a catwalk tribute to her late brother.

It is quite the turnaround for brand Naomi, which not so long ago spent the best part of a decade under the shadow of four convictions for assault. Then there was the tawdry business of the blood diamonds, an unedifying tale of “dirty-looking stones” being handed over late at night, and an eventual court appearance at Charles Taylor’s war crimes trial. None of this was helped by Campbell’s tin ear for the handling of these episodes. She wore a silver Dolce & Gabbana gown for community service in New York (“what do they expect me to do – Walk in looking all drib and drab?”) and initially declined her subpoena from The Hague, declaring it a “big inconvenience”.

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How To Kill It In Korean Fashion With A Budget Of Just $100

How To Kill It In Korean Fashion With A Budget Of Just $100

You can usually separate scams from actual online stores by looking for two things: 1. good modeling pictures and 2. lots of good customer reviews. My personal favorite website is YesStyle. They have a plethora of awesome clothing and makeup brands. Keep in mind, though: these websites typically sell from multiple companies, so some brands may be higher quality than others. This can make the difference between an outfit you want to wear every day and a bunch of fabric that’s a sorry excuse for a garment.

Think of it like a mall: if you don’t like one store in a mall, then you shop at a different store. It’s no different online. Decide what brands might work for you by, again, looking at pictures and reviews. The brands I usually buy from are Dabuwawa (which has some very high-class fashion with unusual but gorgeous styles) and Chuu (which caters to the cute, pop style clothes that a lot of teens and young adults wear).

When you’re online shopping, don’t waste your time filling your shopping cart with things that look pretty but can be bought in your own country. Odds are, you might be able to find a better deal in an American shopping mall — and you can try it on. So what outfits should you buy?

Korean outfits tend to be shorter and smaller than American clothes, so unless you’re petite, try to avoid dresses and clothing items that really depend on length. Of course, this can be circumvented if you carefully read the measuring description, customer reviews, and are on a budget that allows you to discard outfits that don’t work.

Korean blouses and shirts are good buying choices because 1. they’re not expensive 2. they usually fit 3. you can pair them with clothes you already have. You can also really emphasize the Korean in your fashion look by wearing them with some delicate heels or knee high boots.

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Antonio Lopez: the fashion illustrator who revolutionised the industry

Antonio Lopez: the fashion illustrator who revolutionised the industry

There can’t be many fashion illustrators who can count Jessica Lange, Grace Jones and Karl Lagerfeld as their BFFs, and Jerry Hall as their one-time bae. But Antonio Lopez was special – as the new film, Antonio Lopez 1970: Sex, Fashion and Disco testifies.

An illustrator who started out in the mid-60s (when he dropped out of college to work for Women’s Wear Daily), the Puerto Rican-born artist bucked the trend for photography as the dominant medium in fashion media. This was through sheer talent. In his work for the New York Times, Vogue and Harper’s Bazaar, the whooshes of his lines, movement of his drawings and the confident, sexy poses of the models he depicted gave illustration a reboot. It went from an old-fashioned curiosity to a Technicolor world that everyone wanted to occupy, populated by a glamorous cast of “Antonio girls”. Speaking in the film, the former editor of French Vogue Joan Juliet Buck says the illustrator convinced her the “ideal life is lived through a line drawing”.

Lopez lived his life at breakneck speed, putting glamour, decadence, creativity and fun at the heart of everything. Days started and ended late, often at whatever dancing spot played the best disco music at the time. This is all detailed in Sex, Fashion and Disco, with talking heads ranging from Lange and Buck to the much-loved street style photographer Bill Cunningham, a lifelong friend of Lopez, who died shortly after the production of the film ended. The director, James Crump, says that the story of Lopez feels particularly relevant in 2017: “It felt like the right time to do a film, with the political climate as it is at the moment. The fashion world is embracing inclusivity and diversity, and Antonio and Juan [Ramos, Lopez’s longtime collaborator] were advocating that as early as the mid-60s.”

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That blue represents millions of dollars and countless

That blue represents millions of dollars and countless jobs and it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing the sweater that was selected for you by the people in this room from a pile of stuff,” sneers fictional Vogue editor Miranda Priestly in the Devil Wears Pradawhen her personal assistant Andy Sachs sniggers at her choosing between two near-identical blue belts.

It’s this idea that the fashion industry is engrained in our daily lives, whether or not we actively engage with it, which is being explored in a new exhibition at New York’s Museum of Modern Art (MoMA).

‘Items: Is Fashion Modern?’ explores 111 items, from jeans to the leather jacket and the suit, that have had an impact on the world in the 20th and 21st centuries across the world.

To find out more, we spoke to senior MoMA curator Paola Antonelli, about how her team decided which items to include, and why fashion is inescapable.

The main criteria were influence and good design. We selected garments and accessories that had a strong impact on the world in the past hundred years, and that also are remarkable from a design viewpoint. The idea of ‘world’ also demands definition, however. We decided to recognise our centre of gravity, New York City, and expand from it to contemplate the rest of the planet.

The exhibition suggests that our clothing is an important reflection of society. What is your response to people who believe that fashion is vacuous and pointless?

Our clothes are the interface between our soul and the world. They can function as filters, armors, amplifiers, and more. Through fashion, we can communicate many different states of mind, from allegiance to indifference, insecurity, availability, open-mindedness. From these lists of attributes and nouns, we can extrapolate how crucial fashion is our lives. Considering it vacuous means not understanding that in this day and age, even more than in the past, communicating has become the centre of our existence.

Moreover, the fashion industry is one of the most important players in the global markets, fundamental in any consideration about sustainability, labour practices, human rights, and more.

Not acknowledging the importance of fashion is almost delusional.

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In fashion news today: Net-A-Porter to launch new jewellery brand; Levi’s releases custom trucker jackets

In fashion news today: Net-A-Porter to launch new jewellery brand; Levi’s releases custom trucker jackets

Net-A-Porter will be launching a new jewellery label to its site, adding luxury watchmaker Chopard to its rotation from 11 October. The fashion website will stock 43 pieces from the Happy Hearts collection, following the success with other jewellery and watch brands including the likes of Cartier, Tiffany & Co and Piaget. This will also serve as Chopard’s first debut to any online luxury retailer. [Vogue inbox]

Australian beauty brand Aesop has launched its third fragrance, titled Hwyl Eau de Parfum. Formulated in partnership with French perfume designer Barnabé Fillion, the third fragrance has smoky notes with a rich aroma of wood, moss and spices. Hwyl is a Welsh word that translates to the stirring of emotions, and Fillion told Vogue the fragrance is “green and lush” with a “sensual, earthy smell,” adding: “The Aesop link is the quality of the botanicals. That’s what is Aesop.” Hwyl Eau de Parfum, $130 for 50ml is available at Aesop boutiques as well as their online store. Today marks the 50th anniversary of denim brand, Levi’s Trucker Jacket. To celebrate, the brand will be hosting a party and offering customised jackets to influential Levi’s fans, including Vogue’s fashion director Christine Centenera. The Trucker Jacket is known as an iconic collectors piece, having been worn by the likes of Elvis and Kendall Jenner.

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Haute ticket: everything you need to know about Adelaide Fashion Festival

Haute ticket: everything you need to know about Adelaide Fashion Festival

Adelaide brand Paolo Sebastian’s coveted couture line is known for its intricate beading, exquisite embroidery and global following. It’s also one of the most sought-after tickets at the Adelaide Fashion Festival (AFF), the style spectacle held each October.

Now in its tenth edition, and presented by Mercedes-Benz Adelaide, AFF is an exuberant celebration of style, design, food and wine spanning 5 days, 10 runways, and more than 20 events. The best bit? The fashion-loving public is welcome! Imagine yourself perched front-row, a flute of Wicks Estate sparkling in hand, admiring the latest offerings from local, national and international designers. It’s the ultimate new-season preview.

In a fashion first, this year’s AFF sees the debut of Vogue Festival, a two-day fete in Rundle Mall and Rundle Street presented by Vogue Australia. Adelaide’s premier retail precinct will be buzzing with runway shows, spring showcases, chances to customise their fashion, special giveaways and fun in-store activities. It’s a leisurely day of retail therapy taken to the next level in signature Vogue style.

Lighting up the 2017 AFF runway will be local stars Tiff Manuell, Acler, Australian Fashion Labels (home of Finders, C/MEO Collective and Keepsake The Label), plus iconic couture house Paolo Sebastian. Designer and founder Paul Vasileff will also be honoured with a 10-year retrospective exhibition, Paolo Sebastian: X, at the Art Gallery of South Australia, from October through December.

Front row of the runway not the right fit for you? There’s a wide range of style-focussed activities happening in and around the city, including a trend-forecaster masterclass with industry legend David Shah (founder of Pantone), a Q&A lunch with Vogue Australia editor-in-chief Edwina McCann at the stylish Sean’s Kitchen, or an al fresco feast with fashion installations at King William Road. In the city’s idyllic surrounds, visit Anlaby Station to explore the archives of the International Woolmark Prize, or venture to Seppeltsfield Winery for a rural runway show and abundant Barossan feast.

Jennifer Hawkins will appear on the Myer catwalk for the retailer’s new season collections – a FREE show – while David Jones has enlisted super-stylist Nicole Bonython-Hines to curate its spring-summer offerings. There are more complimentary events too including the TAFE SA runway highlighting the next generation of design talent, as well as a marketplace devoted to indie brands with a sustainable and ethical outlook.

Showcasing Adelaide as a creative and culinary hub, major runway shows also feature the AFF Private Balcony where groups can enjoy local wines from Wicks Estate and Hugh Hamilton Wines and artisan treats from Woodside Cheese Wrights. Before or after the show, the CBD brims with vibrant dining and drinking options, including award-winning restaurants Africola and Restaurant Orana. Or take an easy 30-minute drive for an afternoon of rest, inspiration and indulgence in the Adelaide Hills, McLaren Vale or the Barossa.

Better nab some beauty sleep – a five-day fashion blitz awaits you.

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