Archive for Sarah Nicole Prickett

Art or commerce? We zoom in on the explosion of designer video

By | July 12th, 2012 | 10:00 am

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From left: Ruth Hogben’s Fall 2009 Film for Gareth Pugh (courtesy of showstudio.com), David Lynch directs Marion Cotillard for Dior, 2010, and nowness.com’s <em>Beautiful Rebels</em> by Ryan Mcginley for Edun, 2012 (courtesy of nowness.com)

From left: Ruth Hogben’s Fall 2009 Film for Gareth Pugh (courtesy of showstudio.com), David Lynch directs Marion Cotillard for Dior, 2010, and nowness.com’s Beautiful Rebels by Ryan Mcginley for Edun, 2012 (courtesy of nowness.com)

Fashion Television (RIP) was ahead of its time in several ways, and here is one of them: In 1985, when executive producer Jay Levine launched the program, he imagined it might become a channel for short narrative videos about clothing. Fashion films, now so inescapable a phenomenon, were then just a thought without a name: if music videos could revolutionize the way we consume pop, couldn’t a little cinematography do the same for clothing? The ’70s had seen then-living legends Guy Bourdin and Richard Avedon experiment with the moving image, and as film-recording cameras became less expensive, it seemed likely they’d land in the hands of younger, emerging lensmen. As MTV was to music videos, so might Fashion Television be to this new mode of image-making. Read more »

Roadtrippin’ Instagram style: 13 spellbinding views of the U.S.A, as photo’d through Sarah Nicole Prickett’s iPhone

By | July 11th, 2012 | 12:30 pm

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You don’t understand America until you drive through it, and then you still don’t understand it. The vastness of the country is matched only by the vastness of differences in its people, in its states—states that become states of being. In Arizona, things are one way (both conservative and banally super-weird), and then the second you cross into California, things are a whole other way (sunnier, desultory, laissez-faire). Accents, attitudes, signage change with the scenery. And oh God, the scenery. As I drove—and when I say “I,” what I mean is my boy lover, because the only thing I can drive is a point home, and sometimes not even that—I took pictures. So many pictures. Pictures of the sky and moons and stunning bridges and unwittingly hilarious signs and myself and more sky. Here are 13 of my favourite things in the U.S. of EHHHHH?

Start your trip »
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Online Store of the Week: Shop Occulter for Morrissey-shaped candles, human jaw relicas and all other witchy, uh, essentials

By | June 1st, 2012 | 3:00 pm

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The shop: When did sorcery get so expensive? At Occulter, the two-year-old home of jewellers and object-makers Black Sheep & Prodigal Sons, dark arts become artisanship, and artisanship is code for $$$$$. Perhaps that’s why, at Occulter’s physical manifestation on the Lower East Side, you have to make a private appointment to shop for Styxian accoutrements. Its e-shop, though, is always open, and while it’s much less spell-binding, it’s also less likely to black-leech your bank account dry. I’m not arguing the price of handcraftsmanship, or of magic. It’s just that in the cold light of Google Chrome, a multi-thousand-dollar “Navajo Shamanic” breastplate made from “upcycled salvaged materials” seems exactly as “witch, please” as it is.
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Online Store of the Week: This is Not a Mall brings you the best from South & South East Asia without the cultural-mislabels or the price gouging (plus, we’re getting an extra 10% off!)

By | May 25th, 2012 | 1:00 pm

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The shop: I’m always looking for a good eff-you to Urban Outfitters, and This is Not a Mall—a new fashion and artifacts e-venture from Aussie girls Courtney DeWitt and Annisa Dove—might just be it. For one thing, I found out about it through Susie Bubble, who always knows what’s up. For another, besides their use of the term “curated” (let’s return that word to its original definition; it’s like a year overdue) to describe their hunting-and-gathering activities, DeWitt and Dove are doing things right. Ace vintage? Yes. Correctly identified foreign objects? Yes. (No factory-made, vaguely “ethnic” ripoffs here.) Best international magazines? Some of ‘em, yes. Everything under $100? So far, so yes, although DeWitt says she’ll soon add “super dope higher end labels” along with more menswear and even acer vintage.
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All the lovely ladies crowd into New York’s New Museum to toast the launch of Ari Seth Cohen’s Advanced Style coffee table book. View the pics!

By | May 23rd, 2012 | 3:30 pm

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Photography courtesy of Sara Ventura/NOWNESS.com

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Oldsters at the New Museum converged in technicolour flocks while young things, no longer bright by comparison, looked greenly on. For once on a champagne-soaked night in New York City, the “it” girls weren’t girls at all. They were women with lives as rich as their Chanel bags, faces to live up to their fascinators. They were maybe even, unironically, “ladies.”

It was the launch party for Ari Seth Cohen’s new coffee table book, Advanced Style, published by Powerhouse and based on the popular blog of the same name—and accompanied by a several-minute video that premiered on Nowness.com in March. Guests were happy to watch it again: with advice like “young women, you’re going to be an old woman someday, so don’t worry about it!” and “someone doesn’t like what I’m wearing? I don’t give a shit!” it’s probably the feel-best fashion film any of us has seen. Iris Apfel‘s in it, and so is Tavi, for whom rad granny style is a major inspiration.

“These women are some of my best friends,” said Cohen, who wore a Floridian pink suit he’d bought for $80 in Chinatown. “They’ve definitely influenced my own style—they’re so liberated!” Ilona Royce Smithkin, an ebullient half-pint of a woman with Tang-dyed hair and mink eyelashes to match, tugged impatiently on his sleeve. He had another book to sign. “We don’t have all night,” sighed an elegant woman in mounds of paste jewellery and piles of clashing silk. “We might not even have another five minutes!” replied her friend, and they cackled together. They did not seem to care when the party ended, so long as they were the stars of it.
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Online Store of the Week: ASOS Salon is back for a second season of the prettiest party dresses a couple hundred dollars can buy (or less, with our exclusive discount!)

By | May 17th, 2012 | 11:00 am

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The shop: If you don’t know what ASOS is, please invite me to your Amish-Leninist compound some time? The Internet’s massive answer to H&M/Zara/Topshop has evolved from doing cheap knock-offs to doing less-cheap knock-offs, plus selling lots of real-deal designers and fresh contemporary brands in between. Now, one of the more recent additions to this UK e-tailer’s in-house ouevre—ASOS Salon—is back for a second season of the prettiest party dresses a couple hundred dollars can buy.

The goods: Clicking through the dozen-plus frocks on offer at ASOS Salon, a higher-end take on fancy-dress trends, two words come to mind: Carey Mulligan. From the Christopher Kane-a-like coruscating pastels to the Jil Sander-meets-Erdem florals to the Daisy Buchanan-y tea dress, the Salon is so her (red carpet) style. (The exception: a stiff silvery playsuit that feels like something Zooey Deschanel would wear to her barista’s wedding. I hate it.) This collection is one-note, but what a high, sweet note. Prices are more high than sweet, especially compared to regular ASOS, but better construction—albeit same discount viscose-type materials—and loads of texture give these pieces a worthwhile heft. NB: I went to see a few picks in person to make sure I wasn’t lying to you about this. I’m not.

The shipping: Last time I ordered from ASOS.com, the piece arrived promptly in five business days and no-frills packaging. Expect no different: the whole thing of mass retail is being predictably good enough. If you want it faster, pay $12 for express shipping and get it in two biz days maximum. Plus, free returns! Always.
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Online Store of the Week: Shop Good Night, Day for knits that are far from the granny-on-acid variety

By | May 11th, 2012 | 12:00 pm

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The low down: If you must knit-pick, pick Tara-Lynn Morrison, a.k.a. Good Night, Day. The Hamilton designer has been making lovely mellow sweaters, scarves, hats and headbands for five years now, selling them first on Etsy and at craft fairs, and now through Big Cartel and small boutiques. You might remember her work as Yarn Over Movement, or from sites like Miss Moss, Fieldguided and Refinery29. Bonus trivia: one of her models, Stephanie, used to intern right here at FASHIONmagazine.com.
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We share first impressions of the Impossible Conversations exhibit and ask: Are you a Prada or a Schiap?

By | May 8th, 2012 | 11:00 am

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Last night on livestream, when one Met Gala-goer after another swore they were only really wearing that $50,000 look to the Oscars of fashion so they could sneak-peek “Impossible Conversations,” I almost believed them. The Metropolitan Museum’s daring pairing of a designer exhibit is that good: Schiaparelli, meet Prada; Prada, meet Schiaparelli. Hello, two most seminal fashion designers who also happen to be badass women. Themes of beauty, vulgarity, femininity, labour and play are explored deftly, with sometimes-ingenious curation and a script that tells you just enough to make you want to go to the library. The similarities between the two designers, whose work was separated by a half-century, are remarkable. Their differences are fascinating.

Baz Luhrmann‘s film, which pairs a real live Miuccia with a startling facsimile of Schiap, played by Judy Davis, plays those imagined “conversations” in segments throughout. The looped aphorisms bring to mind another iconoclastic fashion ghost, Diana Vreeland, whom you might call the Phantom of the Met (it was she who introduced such exhibits to the Costume Institute, and curated them for 12 years). I imagine that Vreeland, with her contradictory ideas of chic, could have mediated their disputes about whether fashion is art, for example. The rest of us will have to pick sides.

And so, welcome to Impossible Choices, in which you decide whether you’re Team Prada or Team Schiaparelli. Everybody wins! Bonus: the answers reveal secrets about the exhibit, which runs at the Met from May 10 to August 19.

Time to make some impossible choices »

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