THORSTEN BRINKMANN
On the heels of ICP’s Avedon Fashion 1944-2000, Dress Codes the newest exhibition, concludes their Year of Fashion that explored the flirtatious relationship between art and fashion. As both disciplines have fostered collaborations, (most memorable is Louis Vuitton’s relationship with Murakami) fashion’s influence beyond the commerce, sends powerful societal messages. That code embedded into our culture communicating body image, status, sexual orientation, gender or ethnic group defines the show’s theme. Since the Pop movement, fashion’s stature elevated not only into the artist’s thesis but in their personal style. The posted images are my favorites from the show. Thirsten Brinkmann impressively deconstructs the Renaissance with Dada bravado, using himself as the model with found objects to re-purpose them into a completely different context. Valérie Belin commentary on idolized perfection photographing her subjects void of soul and character compares them to mannequins. And Brooklyn artist Mickalene Thomas re-creates Blaxploitation scenarios and plays on the impressionist genre, styling her models in a myriad of bold pattern reminiscent of a Matisse.
As a designer, the relationship of identity and clothing has always fascinated me. Or, to study the messages that they suggest is more interesting than a passing trend, and is much more substantial, demonstrating the future of fashion.
THORSTEN BRINKMANN
THORSTEN BRINKMANN
THORSTEN BRINKMANN
Valérie Belin
Valérie Belin
mickalene thomas
mickalene thomas
