“The public is still, indeed, a much convinced as ever that the artist creates superfluous, impractical things. It never considers that these superfluous things endure and retain their vitality for thousands of years, whereas necessary, practical things survive only briefly.”—Kasimir Malevich “Suprematism” (via amenemhat)
The Belgian Fashion Designer Is Still Doing It Her Way By BRIGID GRAUMAN
Ann Demeulemeester absorbed the Flemish work ethic at an early age. She remembers looking out at the endless fields where her father grew the chicory he then roasted and sold in neat packages in the postwar years, before coffee came back. Long hours also became the backbone of her own success as a fashion designer.
In an industry in which change is one of the few constants, Ms. Demeulemeester has maintained an unwavering vision. A petite figure straight out of a Hans Memling painting, she isn’t obsessed with trends. Twenty-seven years after launching her own business, she’s a byword for single-minded dedication, still creating looks that embrace the androgynous modernity with which she first made her name
Ms. Demeulemeester has a coterie of faithful followers who collect the shirts, jackets and trousers for which she designs most of the textiles, and the shoes shaped on her own lathes. They include close friend and muse Patti Smith.
At 16, Ms. Demeulemeester fell in love with the album cover of the American singer’s 1975 debut solo album “Horses,” featuring a black-and-white photo of Ms. Smith wearing a plain white shirt and black suspenders. Before they met, Ms. Demeulemeester sent Ms. Smith a beautifully wrapped white shirt as a gift. “It was the white shirt of my dreams,” Ms. Smith told French magazine Les Inrockuptibles in 2007. “The details were incredible, the fabric so fine, so soft.” Now, the rock star always wears Demeulemeester clothes on stage.
"The success of Brutalist architecture is, to a large extent, a product of its failures - its inability to reduce everything to simple abstract material volumes. [It is] highly dependent on a certain level and a certain kind of detail - the isolated, discrete, singular element growing out of the basic structure of the building." (78)
- Review of Edward R. Ford’s book The Architectural Detail (Princeton Architectural Press, 2011), from Critic Under the Influence: http://bit.ly/s0iWZd