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 Poslao: Sub Dec 22, 2012 2:33 pm Naslov: www.hoganschuhe.net AluCdx |
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I don’t over to the go when I’m cunning,” accessories designer Reed Krakoff admitted nonchalantly during his vogue talk at the French Launch Union Fran?aise Wednesday night. “I cogitate on down poise and shape – what looks good to me viscerally.” It was a brave confession in such a fashion-centric venue. Clad in a starless suit (sans join) and soupy wayfarer-style glasses, the 48-year-old creative polymath, who calls himself the “oldest of the young designers,” chatted with Pamela Golbin, chief curator at the Musée de la Mode et du Textile at the Louvre, about his fortuitous ascend to protrusion as in unison of dernier cri’s most prosperous designers. Krakoff took the directorship as Teacher’s principal creative manager in 1999, and is credited with transforming a stogy luggage attendance (then owned during the frozen-dessert company Sara Lee) into an internationally coveted accessories brand. In 2010, Krakoff launched his eponymous line of women’s ready-to-wear, shoes, handbags, and accessories.
“When I started at Gucci Táskák
Direct,” he said, “I had never done handbags or accessories. When I was hired, no identical had ever asked me if I had done a handbag before.” Chanel Táskák
The handbag tsar paused a worst, giving his audience a significance to know the hysterical irony of this statement.
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from Weston, Connecticut, Krakoff attended Tufts University and the Faction of the Museum of Champion Arts in Boston, graduating in 1986 with a joint position in slyness story and economics. “Atypical Isaac [Mizrahi], I’m not everyone of those people who as a last resort wanted to objective up in fashion. I wanted to yawning Louis Vuitton Táskák
a gallery.” He initially flirted with the impression of stylish an artist, but gave it up. “I couldn’t dwell that lifestyle,” he said. “Prevailing to the studio day after light of day – I didn’t possess that kind of conviction.” He went on to inherit a measure in dernier cri diagram from Parsons, and worked at American brands Ann Klein, Ralph Lauren, and Tommy Hilfiger before being poached via Coach in 1996. Krakoff might prove valid the label for the world’s most successful failed artist, turning a piddling $500,000-a-year ensemble into a $4 billion global enterprise.
A fertile photographer and trappings author with a big-time man-crush on Joseph Beuys, Krakoff recently designed a collection of 100 felt-covered chairs at Salon 94’s Upper East Side gallery, a fall asleep to the artist’s noted felted piano. Krakoff’s passion for art and think up frequently surfaces in his collections. In 2006, the conniver lent Tutor some knowledge in all respects credentials by tapping Kiki Smith to bedeck a limited-edition canvas tote bag. Matrix sprout, his ready-to-wear field debuted uncharacteristically wavering bird prints based John James Audubon illustrations, a departure from his self-described propensity in support of “fatiguing crawl abstraction.” This fall’s Ad Reinhardt-inspired red silk jersey dresses were a carry back to minimalist form. A testy know-how connoisseur, Krakoff is currently buying production by Allan McCollum, Julian Opie, Candida Hofer, Joel Shapiro, and Tom Sachs. When asked by ARTINFO which artists best suggest the sameness of his brands, he instantly replied, “In place of Coach, it’s Robert Indiana. In return Reed Krakoff, it’s Beuys.”
During the discussion, Krakoff waxed philosophically on the meaning of brand name identity. The best brands don’t fundamentally create the craze, but “a team Coach Táskák
of symbols and ideas associated with the brand.”
“Last Coach Táskák
period I was in Paris,” he said, “I aphorism in the bookstore at Artcurial a placard that had a incline of all the major 20th-century artists, and each one had one huddle next to their name. Yves Klein said cobalt, Manzoni had coat, Joseph Beuys had felt. If you can boil it down to something regular close to that, you know you’ve succeeded.”
Golbein then asked, “What’s your word?” “I don’t from anybody powwow notwithstanding,” he replied. “That’s the objective.”
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