Gareth Pugh: Dance and Design | HuffPost
Little did I know that designer Gareth Pugh's second largest passion is ballet dancer up until his college years at Central Saint Martins in London. circle and onto the stage again, bowing together with the dancers, dressed in his designs. . It is fun to do that because when two creative people meet and. I've never done costume design for dance or set design for a ballet. “Wayne told me that he's never worked with point shoes and tutus before. the likes of Anna Wintour and Lady Gaga, there is no turning back for Pugh. Dogs Meet Their Owner's Baby For The First Time And It's Absolutely Adorable. As new show of Bridget Riley's work opens in London, we catalogue the Designer Gareth Pugh was instrumental in the resurgence of For his second collection, Pugh seemed to reference Bowery once again, with genderless, Indeed, McQueen's final Autumn/Winter collection, before his death almost.
I figured that doing fashion at St Martins would give me the chance to do both, because a lot of the things I was doing in sculpture were about the body. This secured the designer the much-coveted cover of the pioneering magazine. Despite publicity and endorsement from influential people in the industry, Pugh didn't have it easy, moving into a commune in a Peckham squat back in to avoid going on the dole.
Pugh has certainly come a very long way since then. With financial backing from fellow fashion designer Rick Owens and his wife, Michelle Lamy and support from the likes of Anna Wintour and Lady Gaga, there is no turning back for Pugh. With help from Rick Owens, Pugh has managed to strike a balance between producing signature pieces and ensuring that they are the sort of clothes that will sell and can work well in a shop.
Besides business advice, the most important thing Pugh has learned from Owens is how to say no. I think he means by saying that, you need time to be able to think. Boyish, at times even sheepish, Pugh says he's a simple person. The friends who I'm around with are people who I've known for 10 years, and we've all grown up together. It's very important for me to keep them.
They're very important to me, as is my boyfriend who, whenever I'm not working, I like to spend as much possible time with. Propped up in her custom-made Christian Louboutin platforms and black-and-white armor outfit from Pugh's spring collection, she walked on set arm-in-arm with her designer friend.
All smiles as she nestled in among the balloons, she was asked for her best cover star "look. So Rick Owens and Michele Lamy here sporting a Gareth Pugh bodysuit have done the only sensible thing and escaped to Marrakesh for a little vacay. They send you, dear Hintsters, their love Before reading any further, you need to know this about Gareth Pugh: His weirdness lies in his search for the emotively powerful, stuff that projects strength.
Take, for instance, triangles. They fit so many of my references," he said backstage at his debut men's collection. The sharp-looking yet soft-to-the-touch metallic needles—like a furry Eraserhead—was a logical step from the triangular, he said, adding, "We went further than sci-fi for something deadly new that doesn't look like it came off a spaceship. There were quilted and knitted leather coats, lizard-skin coats, coats with armor-like shoulders and so on.
Pugh only deviated from black to do chrome and gunmetal, reworking leather, metal and wool to ever greater effect. Oh, and that hair wasn't gelled down—it was tar.
Pugh has gotten so good that rumors he's about to be awarded his own Parisian house are being taken seriously by those not normally victim to such things.
In less than four years he's gone from catwalk debut to showing both women's and men's Paris collections. But don't think Pugh's designs are flights of unwearable fancy either. Pugh lives the life, dressing as extremely as he creates, not just for the benefit of photographers, but also on a regular basis.
His studio and flat are in an area of London known for its crack dealers, scary boozers, stolen phone un-lockers and general air of malign intent. In short, Pugh has to be pretty fierce to dress the way he does. I mean, how many times can certain men's designers say they love Bowie without one wondering just what Ziggy Stardust should look like in ? Gareth Pugh posted by Daryoush at 8: Let's just state for the record that the fragrances smell great.
For his own take, I tracked down Seven's Joseph Quartana, who curated the designer list. Mostly he seemed relieved to have finally finished the store's first foray into the esoteric world of molecules, calling the project a "cherry-popper. The early winners are Preen and Gareth Pugh, who happened to be hosting the soiree, so I asked him what his favorite smell in the world was and if it had inspired his creation.
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His response was touchingly disarming: I asked her if she had a signature scent. Of course she does; she's forever been wearing Alexandra de Markoff perfume oil, which she mixes with Cacharel Pour Homme—you know, for that androgynous touch. Standing over nine feet tall, and with sixty white neon tubes, the tree brings together tradition and modernity in a way that "suits the mood at the moment," he says.
Six Scents The New Museum has it going on. Hot on the heels of their Elizabeth Peyton opening reception, where Marc Jacobs couldn't keep his hands off new squeeze Lorenzo Martone and who can blame him? We know you pored over our latest Beauty Dutybut just in case, Six Scents is the perfume collaboration between the scent masters at Symrise and six designers chosen by Seven New York.
Polaroids by Bella Howard The haute-restaurateurs are set to open their latest gallery-like eatery, Flashlocated within GSK Contemporary, a large-scale, cutting-edge exhibition at the Royal Academy of Arts in the heart of London. Open for only 80 days beginning November 1, Flash is described, rather cryptically, as a room-within-a-room. Meaning—unlike the flashy decor of The Reindeer, with its forty snow-covered fir trees—the interior design will consist of crates used to ship works of art.
On display will be specially commissioned pieces by artists Alexis Teplin and Simon Popper, a coat of armor by Gareth Pugh, a Swarovski chandelier by Giles Deacon and porcelain dishes made in collaboration between artist Will Broome and Wedgwood. This season, they've either come into balance or the very idea has become the trend. Probably the most rigorous of examples, Gareth Pugh's debut Paris show at Palais de Tokyo set the tone.
After nine seasons in London, Pugh's move to Paris is the result of winning the prestigious and highly lucrative Andam award. From the glossy black and white fold-up poster invite to the Dan Flavin-like vertical lighting rods, we were prepared for extremes in black and white. And we got it. Bodies were completely covered in the two colors, from the top of the neck down to the two-toned booted wedges. Extreme Elizabethan ruffled collars were paired with skirt hems with the same scroll-like effect.
Arms and legs were perfectly articulated and sculpted, while micro dresses were covered in patent-leather scales to futuristic-reptilian effect. Or like costumes for some sci-fi samurai movie; in fact Pugh's designs having already found their way into the Superheroes show at the Met. For me, the highlights were an amazing series of dresses with perfectly enhanced fish-scale protrusions down the sides of the silhouette.
Light relief came in a few softer renditions in black and white chiffon and silk, both in hooded robe-like coats and collapsing curtain-ruffle dresses. The show played out like a chess set, except in this case the queens, pawns, knights, castles and even the board were all fused together.
Instead he dedicated his show to Pierre Cardin. Pieters traded Pugh's white lights for a black-out, which made navigating our way to our seats pretty treacherous if you didn't have one of those key-ring lights that a Japanese buyer had on hand. A very sporadic spotlight did more to obscure than enhance the impeccable tailoring and construction of these doll-sized clothes worn by doll-size girls. Pieters showed both black and white micro-mini suits of short skirts and short-sleeved square-shouldered, cropped jackets—mostly in patent raffia—complete with sleeveless turtlenecks.
Other silhouettes in black and white silk taffeta may have been more of a nod to the old master, but their lightness proved that they were in the hands of a young pro.
Our favorite suite was a little black raffia one worn by my friend Nathalie Joos, the show's casting director, who greeted us at the gate, although she could've easily joined her own line-up.
She later joined me for the Nina Ricci show, where the paparazzi and bloggerazzi were already well-entrenched. And living up to Hard and Shiny, the name of his company with Michele Lamy, Pugh sent out an all black-and-white blend black in back, white in front of space-age and Victoriana—think Star Wars storm troopers with ruffs—worn with stockings resembling those Lagerfeld used in his Chanel collection for fall. What the year-old presented in the Palais de Tokyo on Saturday was surely Pugh's most commercial and classic collection to date.
He even used chiffon, in what one could interpret as an homage to the grandeur of the world capital of fashion. The runway itself was staged in the lucent second story of the Palais de Tokyo, lit up by a cloudless day shining through ceiling windows and the vertical lights that Pugh used as his only decorative element.
The soundtrack was an electro version of 's Goodbye Horses—suitably minimal and aggressive. Lamy's squeeze, Rick Owens, was in attendance, as well as Purple's Olivier Zahm, who cheerfully videotaped the show on his mobile phone. Text by Johannes Thumfart, photos by Rachel de Joode These were just some of the boozy shenanigans that happened after Cassette Playa 's show in Florence for Pitti Uomo Every subculture since—Teds, Mods—has forged itself from the meld of a unifying philosophy and a fabricated identity.