“With contributions by Paola Antonelli, Pier Vittorio Aureli, Andrea Branzi, Carlo Caldini, Alison J. Clarke, Experimental Jetset, Verina Gfader, Martino Gamper, Joseph Grima, Alessandro Mendini, Antonio Negri, Paola Nicolin, Michelangelo Pistoletto, Catharine Rossi, Vera Sacchetti, Libby Sellers, Studio Formafantasma, and Ettore Vitale
EP is the first critically underpinned series of publications that fluidly move between art, design, and architecture. The series creates a discursive platform between popular magazines (“single play”) and academic journals (“long play”) by introducing the notion of the “extended play” into publishing: with thematically edited pocket books as median.
The first volume is devoted to the activities of the Italian avant-garde between 1968 and 1976. While emphasizing the multiple correspondences between collectives and groups like Arte Povera, Archizoom, Superstudio, and figures such as Ettore Sottsass and Alessandro Mendini, The Italian Avant-Garde, 1968–1976 also highlights previously overlooked spaces, works, and performances generated by Zoo, Gruppo 9999, and Cavart. Newly commissioned interviews and essays by historians and curators shed light on the era, while contemporary practitioners discuss its complex legacy.”‘
“In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing—the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design.
Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture’s relationship with the psychosexual economy of fashion much more ambiguous than the architects’ endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface…”
The book is published by MIT Press.
Last week, the San Fransisco-based design-engaged podcast 99 percent Invisible released their new series focusing on clothings. Titled Article of Interest, the new program reexamines garment design and its socio-cultural ramification. Revealing unknown stories and anecdotal facts in the history of fashion, Trufelman, the design journalist and writer, reconstructs shockingly unexpected connection between what we wear and how the society functions. Who would know about the advent of punch card and child labor in clothing industry are actually related before listening to their first episode Kid’s Clothes.?
Venessa Wong, Buzzfeed’s reporter, re-examines the myth of the “recyclable” plastic bottle and asks, specifically, what clothing industry can do to address and hopefully to solve the environmental issue of sustainability in the mist of global consumerism today.
Check out her report here.
Press & Fold is an emerging fashion magazine that delivers “notes on making and doing fashion” from Netherland. It released its debut issue titled “The Street” in February 2018.
Co-founded by the Dutch fashion designer slash researcher Hanka van der Voet, “the bi-annual publication provides a platform for critical fashion practitioners who do not obey the rules the fashion system is currently dictating.” As it claims on its website, the Rotterdam-based editorial practice celebrates singular fashion discourse that operates beyond the notion of “fashion as commodity”.
Check out it out!
This Sunday, our Journal is dedicated to a movie released last year by the Dutch filmmaker and fashion researcher Menna Laura Meijer.
We Margiela (2017) is a documentary that “tells the untold stories of the enigmatic and singular fashion house of Maison Martin Margiela”. Produced by the Dutch documentary company Mint Film Office, the movie reveals rare footage of the obscure early years of the studio, including an interview with the co-founder Jenny Meirens. As the less-known history of the legendary label unfold, We Margiela explores the notions of creativity, authorship and financial success in fashion industry today.
(View of a massive rift in the Antarctic Peninsula’s Larsen C ice shelf. 2016. Image courtesy NASA/John Sonntag)
Paola Antonelli, senior curator of the Department of Architecture and Design at MoMA, is interviewed by Nikolaus Hirsch, as a warm-up discussion about her upcoming curatorial project, titled Broken Nature: Design Takes on Human Survival. The exhibition is expected to open on March, 2019 in Milan.
Ambitious and grandeur the topic may seems, Hirsch kicks off the conversation with a purposefully naive question, “What is design?” Coped in a manner of deliberate nuance, Antonelli sees design as a discipline profoundly enmeshed with many others—such as architecture, engineering, science and society at large…
You can check out their conversation here.