Robert Fairer— The Spring/Summer 2004 Deliverance show was, for me and for many others, a uniquely memorable Alexander McQueen accomplishment. It expressed breathtaking contradictions: a combination of the classic and the modern; a coexistence of Lee’s singular, visionary genius with the organizing structure of a well-known Hollywood movie. It was dazzling; it invented a
Follow @yaleARTbooks Fashion is a world with its own language, rules, and aesthetic. It is a world at once self-consciously divorced from the everyday—a place where beauty, artistry and fancy flourish, assiduously protected against the stultifying demands of practicality or pedantic taste—and whose survival yet still depends on translating itself
“Schiaparelli and Prada: Impossible Conversations,” which opens today, May 10, at The Metropolitan Museum of Art, has been long awaited by those eager to see firsthand the ties that bind these two women from very different generations. Elsa Schiaparelli came to fame in Paris amidst the Surrealist milieu of the
Coco Chanel may not have invented elegance, or taste, or fashion, but the iconic designer was an absolute embodiment of these ideas. From department stores to sunglasses, billboard advertisements to suits to alluring, evocative fragrances, we are offered frequent, dazzling reminders of the timeless aesthetic vision of Chanel. Jérôme Gautier,