interview

CURATING EMOTIONS

Closed for renovations since April 2018, Antwerp’s ModeMuseum, also known as MoMu, has finally reopened its doors. Thanks to Kaat Debo, who has been the museum’s director and curator for almost two decades, MoMu has cemented the privileged relationship Antwerp has with fashion, culture, history and innovation. 

Debo isn’t your typical curator, and she loves to push the envelope with exhibitions that are often surprising, compelling and original. ‘E/MOTION. Fashion in transition’ opened this weekend and presents fashion as an illustration of our fears, longing and desires.

We sat down with Debo to discuss renovation during a pandemic, the importance of emotion in her work and how she shops designer collections as a museum curator. 

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Renovating a museum within a pandemic outbreak must have been challenging. How did you deal with this?

3 years sounds like a long time, but as the renovation itself was complex, it was in fact quite a short period for such a task. The pandemic affected everything of course, starting with the preparation of the new exhibition. Most fashion houses were focused on saving their businesses and delivering on time, so we were not a priority for them. It was very difficult to get the loans we wanted, and for the books we were working on, some photographers could not access their archives anymore due to the lockdown. The building itself was delayed due to shortage of materials, until quite recently. That was challenging.  

 

Guess calling it a ‘labor of love’ is not an exaggeration then.

At the same time, I don’t want to complain, because I know how tough it has been for other museums that were open and had to change their rules constantly, losing considerable income as well. In that sense, the timing was not bad for a renovation, it was just difficult to do it.

“I don’t think you can separate emotion from fashion.”

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Did COVID-19 influence your exhibition planning in any way?

We had started working on ‘E/MOTION. Fashion in transition’ before the pandemic started, but when it came to the direction of the exhibition itself, I really wanted something that reflected the moment we were in and the challenges designers had been facing. If you look at the past three decades, they show the growth and evolution of globalization, which affected fashion in a really strong way, so the idea was to reflect on the big transformative moments taking place over the past 30 years, from economic recession and political turmoil to global terrorism and different kinds of health crises.  

 

Emotion is an important part of what you create as a museum director and curator. How do you see its relationship to the fashion world?

I don’t think you can separate emotion from fashion. Faced with COVID-19, designers had to find new ways to communicate their storytelling digitally as opposed to physically, and that meant finding alternatives to the traditional show format. This search for new ways was very interesting for me, as well as trying to figure out what the place of real emotion would be within the industry today. We wanted physical presence in the exhibition through performance, which is new within that context. We thought it’d be wonderful to have a human presence after months spent behind computer screens.

 Some brands continued doing shows even after the pandemic started. Did that feel strange to you? Can things be exactly the same as they were before?

Well, I did find it a bit strange as well. Digital allowed many designers to be innovative and find successful ways to communicate with their audiences. This doesn’t mean that everyone was successful doing it, but the possibilities of digital are huge.

 

I’ve wanted to ask you this for a long time: how do you keep up with the changes at major fashion houses, where designers seem to come and go? Does this make your job harder as a curator? 

That is one of the biggest challenges when you collect contemporary fashion as a museum. It’s very difficult to decide in the moment whether something is relevant or has historical importance. A curator should be able to enjoy some kind of critical distance and space for reflection, but fashion doesn’t allow you to do that. You need to decide immediately what pieces to buy and don’t have the luxury of waiting for another 6 months. Most of our purchasing takes place during the show period, which is quite complicated. What we acquire as a museum should not only reflect the times we’re living in, but also present a designer’s signature, as well as express political and societal changes. It is true that creative directors come and go at a rapid pace, which means that, as a museum, we also have the responsibility to document this, even though it’s quite a recent phenomenon within the industry itself.


Kaat Debo was interviewed by Philippe Pourhashemi

www.momu.be

A BRIEF (and stylish) HISTORY OF TIME

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To understand EGONlab, the brainchild of Florentin Glemarec and Kévin Nompeix – partners in business as in life – you need just remember one image: two octogenarians standing hand in hand in front of the Palais de Tokyo one fashion week morning, creating mass hysteria among the streetstyle set. 

 A brand of our times, this Paris-based emerging label is a savvy, digital-first, waste-reduced and distinctive proposal for those who recognize themselves in these sharply tailored designs always with a twist, whether a color treatment, quilting or shape-altering slashes. 

 Like the visual artists they are, the pair use their collections to comment on the world we live in. In this third collection, they chronicle humanity’s evolution. Climate emergency, the pandemic and the friction caused by social inequity roil roam beneath these slick looks. Yet as we walk through these times of shadows and doubt, Glemarec and Nompeix offer a glimpse of what could like at the end of the tunnel.  


A significant portion of this collection was created in collaboration with Sergio Tacchini. Are collaborations a rite of passage of sorts for emerging brands? 

 These days, we believe it’s necessary for young designers to work in this way. It’s a tangible style exercise that allows an emerging brand to showcase its potential alongside an established brand. Our collaboration with Sergio Tacchini was all the more interesting that it was directly set in continuation of our main collection. To truly fuse our DNAs, we had the opportunity to work with the teams of the brand’s heyday. 

 

L'Appel, New Order, The Myth of Renewal: your names sound like slogans or artistic manifestos. What is EgonLab?

 EGONlab is above all else an emerging brand that draws its inspiration of societal culture and all forms of revolution that impact our society. We therefore think that it’s indispensable for the new generation of designers to question themselves and position themselves in the face of the modern world’s urgent questions — cultural, societal or ecological. 

 In the digital era, we have the will to enlarge the spectrum of our collections by offering a universe that blends fashion, motion design/3D and music to amplify our message. The video for ‘The Myth of Renewal’ has been created in collaboration with the artists of the EGONlabFamily: Kisol (motion designer), Michelle Coppola (motion designer), FX093 (soundtrack) and Blue BK (soundtrack). Built like a three-part fable, it acts as a temporal marker sketching out the past, the present and the future.  

 We don’t have the pretentiousness of positioning ourselves as an artistic movement or as opinion leaders but we want to be actors of this collective awakening we have been seeing in the world these days.   

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We are above all a brand that does not judge, we dress all cultures, all colors, all genders and without ever misrepresenting the identity of the wearer.

EGONLab.

 You swing between toile de Jouy and razor-sharp tailoring, studded leather and quilted jackets. Is it a reflection of our era of zapping or a call to be free to be yourself? 

 We have an iconoclastic spirit. Taking up codes and traditional craftsmanship, transcribing them into modern silhouettes is the foundation of our work. Each EGONlab collection must be visually unique. It’s a genuine creative challenge, which we love. Nonetheless, we have created over our three seasons a recognizable silhouette with a pronounced shoulder and fitted cuts. 

 But you’ve underscored an important concept of our work: the freedom to be. We are above all a brand that does not judge, we dress all cultures, all colors, all genders and without ever misrepresenting the identity of the wearer. This ideology also informs the design of our collection. We give our customers the possibility to appropriate all our looks, thanks to elements like removable chest plates, deconstructed tank tops...

 

What is the myth of renewal that inspired the fall? 

 For this collection, we were inspired by Koyaanisqatsi, Godfrey Reggio’s 1982 prophetic and contemplative documentary. The film plays with time and space, multiplying angles of vision and of reading, leaving interpretation open to the viewer, like an artistic meta language. Apologia to some, pamphlet to others, it questions our relationship to the world. Versatile, without a subtitle, free of judgment, it’s also the spirit of this genderless collection. “No matter who we are, we can wear what we want,” that’s the message our brand upholds. 

 The video itself is a representation of the myth of renewal, which we imagined, echoing many sociocultural references. We imagined, shot and edited this video in collaboration with visual artist KISOL and Michelle Coppola. We invite Behind the Blinds readers to check the behind-the-scenes videos on our official Youtube channel. 

 The myth of RENEWAL : On Earth, while the darkness ruled the world, a pandemic decimated the human race. At the same time, in the multiverse, the birth of a group of new thinkers took place.  

 A group which bears no prejudice and no judgment, but instead boundless freedom.  

 One day, they decided in perfect harmony and democracy to renounce all their privileges and descended on to Earth to heal Mother Nature, to spread love and kindness, to have acceptance for all and to build a new society where everybody treats each other the same.  

 This utopia became reality and a magnificent miracle occurred and the light came to give back everything that the darkness stole.

This is the moment when they understood that the biggest enemy of the human race was the human race itself.


Interview by Lily Templeton

EGONlab

#IBLAMEJORDAN

Eyes as mesmerizingly green as the sunlight glinting off the waters of Australian’s East Coach beaches, where he's from. In the space of a few years, Jordan Barrett has become a household name in the fashion industry. He became the face for the perfume 1; one of his first ever campaigns was for Tom Ford; and he has designed his own eyewear line in collaboration with Chrome Hearts. Jordan has contributed to defining what a male supermodel is today. 
 But behind his other worldly good looks, a scouting story that’s the stuff legends are made of (aged 14, in a convenience store), and that meteoric rise, the 23-year old, now signed to Kate Moss Agency & CAA, is exploring the facets of his creative identity. Will it be photography, film or something else entirely? Who knows, but Barrett is giving himself the space to grow, on his own schedule.
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 People have stuck labels on you like "Baby Kate". So how do you define yourself here and now? 

 That came from Edward Enninful, I think, the very first time I went to meet him at his office, just after arriving in New York – I was 17. We also shared the same agent that I had just met then, Jen Ramey. And she also started pointing out similarities. Our lust for life, the same broken finger. Both blonde and always laughing. I don’t know, it’s the weird little things that kept clicking like never wanting things to end. 

 Coming from a small town in Australia and starting to work in New York as a model at 17 opened my mind. I got to see what’s going on in the industry with a 360 degrees perspective. We were with the stylist, the photographer, the makeup artist, the lighting tech… At the end of the day, all those collaborations had an effect on me. 

 Provided that you’re paying attention, what you are exposed to – or what you pick out of it – shapes who you are.  What I want to do next is what I’m currently doing now.

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 Tell us something about yourself that isn't on your resume.

 I would love to tell you a story from the time I spent in Tokyo. That’s worth writing about. But I don’t want it ending up on another outlet, taken out of context and some stupid “journalist” writing about it, so you can ask me yourself after this. 

 Otherwise, I don’t know… I’ve never once paid for a subway ride. I kinda adore the thrill of getting caught. I have to find ways to amuse myself in this tedious world. 

 

Why are you attracted to the icons of the Nineties? 

 Because of their effortless style. This was a time before stylists contrived the way celebrities looked, and where they expressed themselves through their personal aesthetics.

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 Speaking of now, what's behind the @sedated.ltd Instagram account you launched?

 It started as a way of separating my personal account into an account of things that interested me, featuring work of some my favourite artists, filmmakers, photographers, musicians and moments in time. And it just kept going. It’s something I really enjoy working on and it's sweet, because a lot of the people featured on there are engaging with the page. I have so many plans for Sedated and a few really interesting people Im excited to start collaborating with. 

 Right now, I want to get ‘Sedated.ltd Radio’ live because I think music is something we all need in the times we are all in now. There is so much out there and I want to try and curate what I want and I like. And also come together with others to collaborate on playlists etc. & share it with you all on these platforms. 

 I’ve just gotten off FaceTime with @42n0ah. This guy is a wizard. We are about to release a little feature through @sedated.ltd in the next couple of days for everyone to play with.

 There’s hardware and merchandise. I’ve got a few things I can’t wait to drop.

So keep please checking it out. It’s all coming. I would love to hear what you guys want from Sedated.

 

Name an artist that changed your vision of the world.

 It’s impossible for me to name everyone. 

Mario Sorrenti has inspired me for as long as I can remember. I would obsess over his images. I really want him to make films. Also Lou Reed – watch his interview with a bunch of obnoxious Australian journalists from 1974, it’s on Sedated. I really appreciate Collier Schorr’s work, I got the opportunity to work with her early on & she did a book with me over the space of a year or two. Peter Beard is everything to me. 

Currently I’m really into Gaspar Noé, everything. His storylines can be so dark and disturbing but visually beautiful. 

 

What’s the best lesson you’ve learned in the industry?

 That it’s about more than just your looks, it’s about personality. You have to convey that because ultimately that’s something no one else can sell.

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Your style in three key words:

 I can’t define it in three words because I know my likes and dislikes instantly and those change a lot. 

 Right now, I’m in a place that’s a jungle down to the ocean. I’m wearing nothing most of the time, especially on my feet. I hate wearing shoes. And that is how I feel most comfortable. 

 That being said, I'll wear anything stylist George Cortina ever puts me in or that I take from his closet uptown. I like being put head to toe into an outfit on set, it makes for a great image.

 Lazy days, you may or may not have noticed, I live in a Rick Owens blue knit and the comfiest pants I can find.  

Forget dream dinner parties... who is on your dream confinement crew?

 Mick Jagger, Bianca Jagger AND Jerry Hall, because I love to stir the pot. Add Andy Warhol, Peter Beard, Iman, David Bowie, Keith Richards… It’s starting to sound like one fantastic orgy, isn’t it? Oh and Grace Jones… 90’s Patti Smith, River Phoenix, Kate, Heath Ledger. Ohhhh, and Courtney Love, Kurt [Cobain], Iggy Pop, Penelope Cruz...

 

If you were going off to a desert island, what would you bring? 

 A bottle of rum, my best friends, the Criterion Collection [of important classic and contemporary cinema], some ciggies, and a camera so we can capture what would essentially be “Lord of the Flies” transpire. 

 

What is the first thing you do in the morning?

 Contemplate my existence. Shake around in bed. Practise breathing exercises. I find it really helps with my anxiety. 

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What can't you live without? 

 My dignity, although I’ve clearly been managing to do well without it so far.


Discover the full story in our Issue 8 Self SS20

Jordan Barrett is captured in Los Angeles by Alex La Cruz

& styled by Simon Robins

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Grooming by Fitch Lunar

Under the blade of BESSNYC4

Celebrated NY artist Doug Abraham is well known for his pop-inflicted reworking of global clichés. His recent collaboration with Marc Jacobs demonstrates his dark and edgy take on images rejuvenating collaboration with fashion. He digs deep into sex and violence, when Art meets Fashion.

For Behind The Blinds, he tells us how and why. 

 

Is sexy a particular kind of disgust?

It can be. A compassionate disgust.

How hard do you believe art and crime are related?

They're both defined by the institution. 

Is fashion spreading beauty?

Ok, sure.

Could fashion images do without sexual stimulation?

Or with more... all images could do with more of everything... more more more.

 There is a criminal feel to your images, do you consider yourself more like a criminal or a thief?

Both. 

Do you find stuffed animals beautifuly awkward or just plain ugly?

I like cute things.

 Are your images licking life or death?

One needs the other to be appreciated. 

Are all fashion shoots about sexual penetration?

Unfortunately no.

What scissors do you use, or are they all digital? 

All images are made and sourced digitally. 

If I was fortunate enough to touch a piece of paper I would draw on it before I cut it.

Would you rather work in fashion or for Apple?

I service all clients with equal enthusiasm.

When you cut, do you feel the image bleeding?

I'm a digital artist so I feel nothing as my medium is nothing.

What underwear are you wearing now?

Nothing.

 If the world is a massive criminal stage, should an artist augment crime or make the existing crimes more visible?

I'm not a "should" person.

 Is it ok to be a self-conscious fashion victim?

Yes, it's all ok. 

Does fashion use more slaves than IT?

"Slave" is better as self defined.

 Is violence sexy?

I try not to yuck other people's yum.

Do you enjoy spreading your art with Instagram?

Ok.

Are you represented by a gallery?

Yes.

When did you start?

On Instagram? 2013.

As an artist? 1984.

 What is your favorite brand?

Apple.

What did you create last?  

A 5 min fashion horror film. 

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/ bessnyc4/

/ ITW by REMY RUSSOTTO & production by MICHAEL MARSON /