In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke
In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.
A short history of luxury designer retrospectives – of Armani, YSL, Alexander McQueen, et al – and their more experimental counterparts illuminates 20th-century ideas of nation-building and fashion’s many possible futures.
The cultish bravura of New York’s most in-crowd shit-poster led to predictions of an in-cinema shooting at the premiere. But reflecting a scene back at itself is not an insight into our incoherent condition – it’s a hype tactic.
Özgür Kar, Death with clarinet, 2021, 4K video with sound, 75" Samsung TV, custom flightcase, media player, speaker, 15 min, looped; open: 122 x 176 x 125 cm; closed: 122 x 176 x 38 cm. Courtesy: the artist and Emalin, London. Photo: Stephen James
“Fashion is the future, clothes are what we already wear.” In her May column, Joanna Walsh ponders how fast fashion’s accelerationism plays with seasons, desire, and the virtual, projecting us into an elsewhere we’ll never venture into.
What is style? It’s not fashion, or clothing; it’s only ever personal, but never entirely personal. In the first installment of Spike’s NEW COLUMN, Joanna Walsh ponders why we yearn for ten-piece wardrobe plans or call for Derrida to get style.
All images: Jo Broughton, “Empty Porn Sets,” 1995–2007, C-type prints mounted on aluminum and set in sub box frames, 20.5 x 25.5 cm. All images courtesy: the artist and Michael Mckenzie at Hammer Lab, London