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Corduroy
Corduroy
Etats-Unis, trimestriel, 96 p., n° 6,
230 x 300 mm, 9 euros.
Managing editor: Tim Chan
Creative director: Peter Ash Lee
Design director: Sula Park
Publisher: Corduroy Media Group
corduroymag.com
C’est comme un film indépendant
new-yorkais : des visages peu connus,
mais charmants et/ou intéressants, des
acteurs principaux et des seconds rôles,
quelques scènes contemplatives et un
ton détaché. Ce que réussit Corduroy,
c’est de conduire un magazine hors
des chemins balisés de la promo classique.
Pourtant, le magazine se base
sur la rencontre et ses 96 pages ne sont
qu’une succession de visages et d’entretiens.
Mis à part Starck – qui joue
Starck –, les portraits sont frais dans
leurs mots comme dans leurs images.
Acteurs, musiciens, designers, photographes…
Corduroy esquisse une nouvelle
scène, essentiellement new-yorkaise,
sans longs textes emphatiques,
mais sous forme de présentations courtoises,
comme lors d’une soirée sans
prétention. L’unité du magazine tient
aussi à un style de portraits poétique
et hors du temps. Quant au titre, si sa
sonorité est très « Ancien Régime »
ici, il signifie « velours côtelé » pour
les Anglo-saxons ; rien de sacré donc.
Extrait
Henrik Vibskov
As much as you want to believe Henrik
Vibskov when he says he’s “not so
much into fashion,” you can’t help but
want to call his bluff. After all, this is a
designer whose inventive designs are
matched only their elaborate runway
shows, among the most anticipated
every season in Paris. Like a kid with
A.D.D., Vibskov’s line of men’s and
women’s clothing goes from muted
to mad-cap in the span of a single collection,
with bold colors and graphics
mashed with jagged silhouettes to create
something avant-garde and inventive,
yet eminently wearable.
But this is a guy who grew up far
removed from fashion, in a town called
Jutland in the Danish countryside.
He grew up fascinated by drumming
and big beats, which soon led to legendary
back alley break-dancing battles
with neighborhood kids. That he is
now showing annual collections in
Paris speaks to his talent, and perhaps,
a little bit of serendipidity too. In fact,
Vibskov probably have never entered
the world of fashion, if it weren’t for
a girl.
“I got into fashion by total coincidence,”
Vibskov recalls. “There was
this girl I fancied who went to Central
Saint Martins (College of Art and
Design). I really wanted to get in so I
prepared a portfolio overnight, flew to
London and the next thing you know,
was accepted.”
Vibskov returned to Copenhagen
after graduation and started his eponymous
menswear label shortly thereafter.
A womenswear collection
soon followed, designed in collaboration
with fellow Saint Martins graduate,
Maja Brix. The clothing immediately
struck a chord with critics and buyers
alike, buoyed by a sense of whimsy
that permeates throughout his collections,
which run the gamut from tailored
shirts and cropped pants to more
outrageous customing.
“I am interested in the co-existence
of mechanical things and comfortable
human elements,” Vibskov explains,
citing a recent collection entitled “The
Humain Laundry Machine”, which
featured stylized models walking
through an installation of huge, spinning
“laundry” wheels.
[…] Tim Chan, p. 12
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