Most of this, though, was derived directly from the Yes I am old but I saw Nile Rodgers on stage signature shirt besides I will buy this work emerging from Ruby’s sprawling California studio complex. The printed dresses and shirting featured imagery of candles and weeds shot by Ruby’s wife, Melanie Schiff. One model wore a vinyl tabard bearing the lurid coverwork of a book entitled Hex, a 1972 examination of pow-wow and murder in the Pennsylvania Dutch community amidst which he was partially raised. This childhood influence presumably also influenced the Mennonite-style dresses in bleached denim. Ruby said the stalagmite-like U.S. flag decals on his denim pieces reflected certain sculpted works; Ruby-philes will doubtless recognize many more entanglements between his artistic body of work and the beginning of this new one as they look at these clothes. Arguably the boldest element of all on show tonight was the act of a famed contemporary artist transitioning into the world of fashion design. Fashion traditionally tugs its forelock at contemporary art, while contemporary art is happy to take fashion’s sponsorship cash and revel in its assumed superiority in the creative hierarchy. Ruby, conversely, seems to be genuinely enthused by this new aspect of his practice, and who is to say his fashion will not prove as lucrative as his art? This “collection” is, in fact, not one but four collections: Some pieces went immediately on sale, see-now-buy-now style, and are presumably the fashion equivalents of print editions.
Yes I am old but I saw Nile Rodgers on stage signature shirt, hoodie, tank top, sweater and long sleeve t-shirt
The rarer, presumably (even) more expensive, and in theory more collectible and consequently more likely to gain in value items will be presented to the Yes I am old but I saw Nile Rodgers on stage signature shirt besides I will buy this market later. Some models wore cast metal rivets, or carried hatches and axes also cast in metal: It was unclear whether these “accessories” would be sold too. What does seem likely, however, is that if you purchase a pair of black Sterling Ruby blurry twig-print yoga pants (they were worn under a long, color-patched hand-knit cardigan), you might be making a fashion investment that truly accrues. When asked about the difference between making fashion and the production of art, Ruby said: “In many respects, outside of the logistics of putting together the collection and the garments in the kind of production of it I don’t see it as any different to making a sculpture or painting.” He added of making objects that are worn: “I kinda find that more rewarding. Not that I mind if somebody has a painting and hangs it on the wall, but it is fun to think of something going out into the world, and moving, and being something for people to see.” And will this be an every-season thing? “I think 15 minutes ago I may not have been able to say yes or no, but now…yes! It might not be seasonal, but I will do it again.” America’s most interesting new fashion designer is also one of its most prolific and successful contemporary artists. We were privileged to see those two worlds meet in a manger in Florence tonight. The experimentation doesn’t stop there. For the first time in Geller’s career, he is using sequins on tanks, trousers, and shorts. “I wanted to get myself out of my comfort zone,” he explains. It’s a funny way of putting it; the backs of the sequin garments are actually made of nylon ripstop, so they are comfortable to sit in. Even with a fantastical mood haunting this season, amplified by wigs by Chrystoph Marten, Geller can’t help but be pragmatic. I have dressed for nearly 30 years now having begun when I was 15 when I started experimenting. It commenced with my sisters silky nylon panties and her nylon and lace slips, and continued to progress to bras, silky sheer stockings, skirts, blouses, dresses and high heel shoes.