THE FIRST PROOF
Every experience has a visual and experiential representation through photography, illustration, product, video, digital, and physical environments. THE FIRST PROOF is another look at the formation of these experiences, focusing equally on creation and creator. It serves as an analysis of the creative inputs and outputs, and its influence.

Observations on fashion, art, design, and creativity. 

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Sunday
Nov052017

Luis Barragán & Color Blocking

While not the only architect that used large washes of color, Luis Barragán is the most identifiable and his work has inspired the choice of locations.these days. 
  
About Mr. Barragán from Bassam Fellows:
Barragán, born in 1902, believed that the combination of architecture and color could be completely transportive. When he was awarded the 1980 Pritzker Prize, the committee called his buildings "a sublime act of the poetic imagination," recognizing their ability to offer spiritual elevation, harmony and a deep connection to nature. 
Barragán thought of his houses as almost spiritual refuges that offered seclusion, privacy, and tranquility. These elements were conveyed with few windows, a sense of hide-and-reveal between intimate and social spaces, and eclectic décor that included everything from works by Joseph Beuys to crucifixes and folkloric totems. And of course, there was color. Lots of it. In Barragán’s eyes, color, more than any other element, had the ability to transcend the corporeal, trigger memory and access the sacred. In his own words: “who can ever describe the vividness, the profusion of light and color?”
Publication: WSJ Magazine
Model: Grace Bol
Photographer: Viviane Sassen
Fashion Editor: Anastasia Barbieri
 
Publication: Harper’s Bazaar US
Model: Mayowa Nicholas
Photographer: Daniel Riera
Fashion Editor: Joanna Hillman
 
Publication: ODDA Magazine
Photographer: Francesco Brigida
Model: Willy Morsch
 
Yoox
Photographer: Ilaria Orsini
Model: Maria Loks & Mildred Gustafsson
 
 
"Smog"
Artist: Mynth
Director: Rupert Höller
Saturday
Oct282017

Editorial Excellence: Art, Fashion, & the Definition of Beauty

Harper's Bazaar U.S. has taken an interesting approach to redefining beauty. They have reinterpreted classic art by juxtapositioning the images with women who are breaking ground with what it means. From plus size, transgender, and vitiligo — these photos give a very modern interpretation to how we perceive the woman of today. Learn more about each of them below.

Hari Nef as John Singer Sargent’s Madame X

Hari Nef is an American actress, model, and writer based in New York City. Nef made her runway debut at New York Fashion Week Spring 2015, walking for both Hood By Air and Eckhaus Latta. Nef is a transgender woman and is known for speaking about important trans issues.

  

Candice Huffine as Sandro Botticelli’s The Birth of Venus

As a plus-size model Huffine has become known for reducing barriers in the fashion industry. Her A-list work includes being featured in publications such as CR Fashion Book, Italian Vogue (cover), Vogue, W, V Magazine, i-D and Glamour. She has worked with top industry names such as Mert and Marcus and Steven Meisel as well as Carine Roitfeld. In 2015 she became the first plus-size woman to be featured in the Pirelli Calendar and it 2016 she gained international attention for Lane Bryant's #ImNoAngel campaign. 


Erika Linder as  Egon Schiele's self portrait

Erika Linder is a Swedish model and actress. She is known as an androgynous model for modeling both male and female clothing. In 2016, she starred in the film Below Her Mouth.


Winnie Harlow as Leonardo da Vinci’s Mona Lisa

Winnie Harlow is a Canadian fashion model, spokesperson, and activist and has modeled for i-DDazed, Vogue Italia, and Swarovski. She was diagnosed with the chronic skin condition, characterized by depigmentation of portions of the skin, at the age of four. In 2016, she was chosen as one of BBC's 100 Women.

 

Halima Aden as Johannes Vermeer’s Girl With a Pearl Earring

Halima Aden (born September 19, 1997) is an American fashion model. She is noted for being the first Somali-American to compete and become a semi-finalist in the Miss Minnesota USA pageant. Following her participation in the pageant, Aden received national attention and was signed to IMG Models. She was the first hijab-wearing model to walk international runways and to be signed to a major agency. In June 2017, she became the first hijab-wearing model on Vogue Arabia's cover. She also became the first hijab-wearing model on an Allure cover, for their July 2017 issue.

 

Photographer: Pari Dukovic

Creative Director: Ignacio Murillo

Fashion Editor: Anna Trevelyan 

Image Courtesy: HarpersBazaar.com

 

Related:

Editorial Excellence: Dazed Magazine Spring/Summer 2017

Editorial Excellence: Burn Rubber By Interview Magazine

Editorial Excellence: Vogue Paris Coloring Book

Editorial Excellence: French Vogue March '17

Thursday
Oct262017

Follow This: Tina Berning

Tina Berning is a Berlin based artist and illustrator. After working as a graphic designer for several years Tina Berning focused on drawing and Illustration in 2000. Since then her award-winning illustrations are published worldwide and are shown in many renowned anthologies. Tina Berning's illustrations have been featured in publications like The New York Times, Playboy (US and Germany), Vogue (Italia, Nippon, Germany), Die Zeit, Süddeutsche Zeitung, Architectural Digest and many others. Her early passion for editorial illustrataion led her to an intensive contemplation on the human figure. Reflecting the female role in media is one of the core issues in her artistic work. Her work as a fine artist is shown regularly in solo exhibitions in the USA, Germany, Japan, the Netherlands and Canada.

http://www.tinaberning.de/

 

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Wednesday
Oct252017

NikeLab x Riccardo Tisci

The second Nike and Riccardo Tisci collaboration has launched. There have been a few hints of what the initiative may look like on Instagram.

The line has arrived, and here is the concept from Nike:

Couture creator Riccardo Tisci teams up with NikeLab to celebrate the elite athleticism of basketball. The Victorious Minotaurs apparel collection unveils a fictitious new squad, borne from Tisci's obsession with hardwood heritage. The resulting off-court collaboration outfits basketball's best with eye-catching pieces suiting their stature. Whether warming up or leaving the locker room with heads held high, the Victorious Minotaurs look to elevate all who dare to reach for the stars.

The partnership is one that feels like a natural for both parties. Mr. Tisci’s Givenchy (mainly the men’s) collections have always had a sports influence. He made the sweatshirt and graphics a staple at the brand.  So how does his second outing compare to the first collaboration? This collection has expanded beyond sneakers to includes apparel. In fact, the clothing outnumbers the sneaker styles. There is only one Air Force 1 sneaker that comes in two colors. The rest of the collection ranges from jackets, skirts, shirts, and pants.

Because this is the second collection, we assume that the partnership was successful at both creating excitement and in sales. We believe that would also give Mr. Tisci some license to push the boundaries a little further. Unfortunately, that isn’t the case. The majority of the collection is a new Minotaur/Nike logo applied to what seems to be generic Nike merchandise. The critical design detail is a red and blue stripe which also feels applied to pre-existing products. The most original item is the Destroyer men’s jacket.

To get to the point, a logo and stripes don't add up to much from a haute couture designer. There have been more creative executions with H&M collaborations, and they are just as big as Nike. A fictitious squad describes a team, but does it translate to something bigger? There are so many elements of basketball that could be exploited - the texture of the ball, netting, the lines around the ball, jerseys, looser longer short silhouettes, the ubiqutous fanny pack, we could go on.

Since this is mostly surface design, here is a reminder of a few of Mr. Tisci’s themes during his tenure at Givenchy that could be inspiration to future design collaborations with Nike:

With Virgil Abloh’s own Nike partnership emerging, Mr. Tisci may want to up his game.

 

The NikeLab x Riccardo Tisci / The Victorious Minotaurs Collection:

NikeLab Air Force 1 High x RT

  

NikeLab x RT Destroyer Men's Jacket

 

NikeLab x RT Highwaisted Women's Tights

 

NikeLab x RT Men's Arm Sleeves

 

NikeLab x RT Men's Track Pants 

 

NikeLab x RT Victorious Minotaurs Women's T-Shirt 

 

NikeLab x RT Women's Basketball Skirt

Shop the collection on Nike.com

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Tuesday
Oct242017

Review: MOMA - "Items: Is Fashion Modern?" 

From the MOMA - "Items: Is Fashion Modern?" explores the present, past—and sometimes the future—of 111 items of clothing and accessories that have had a strong impact on the world in the 20th and 21st centuries—and continue to hold currency today. Driven first and foremost by objects, not designers, the exhibition considers the many relationships between fashion and functionality, culture, aesthetics, politics, labor, identity, economy, and technology.” The 350 pieces within the presentation are curated by MOMA's Paola Antonelli and Michelle Millar Fisher. 
 
More from the MOMA, the exhibition’s statement at the entrance wall:
Items is the first exhibition on fashion at The Museum of Modern Art since 1944 when curator Bernard Rudofsky organized "Are Clothes Modern?", a provocation that was intended to prod museumgoers to reconsider their relationship with the clothes they wore. With today's question "ls Fashion Modern?" we shift the focus from the individual to the collective sphere and highlight not only the ways in which clothing is made but also the ways in which it might be made. Every item in the exhibition can be used as a lens through which to gain a deeper understanding of fashion in all its systemic complexity.
 
Today, like yesterday, "modern" in architecture and design indicates a constructive attitude based on the unity of the arts, working together on society's needs, aspirations, and priorities. In this exhibition, garments created for the benefit of many coexist with those made for the delight of a few. What they have in common is their influence on the world over the past one hundred years. We examine these items in three tiers: archetype, stereotype, and prototype. Presented first in the incarnation that made a particular garment or accessory significant-its stereotype-each item is accompanied by contextual material that traces it back to historical archetypes. Our method for defining a design's stereotype was subjective but drew on collective consciousness: when you close your eyes and think of a sari or a pair of chinos, what do you see? That is the item's stereotype. For about a third of these pieces, we are presenting new prototypes (whose labels have a red corner) that use pioneering materials, more sustainable approaches, and novel design techniques. Most of them were commissioned especially for this exhibition.
The exhibition is opened with a ceiling to floor list of the 111 “categories" that comprise the study. The list starts with Levi’s 501 and ends with Yves Saint Laurent’s Touché Eclat. It is an organization of items as much as it is representative of the themes: archetype (jeans, converse, t-shirts, little black dress), stereotype (burkini, bandanas, suit, keffiyeh, hijab), prototype (Fitbit, moon boot, surgical mask, snugli).
 
 
Does the exhibit answer the question “is fashion modern?” If fashion fulfills a change in the world, the answer is yes - the burkini. If fashion continues a relevance, yes - the white t-shirt. If fashion addresses a future need, yes - the Fitbit. If modern is the evolution or impact of fashion, the answer is obvious. It is an interesting question, as the subject is one that can be perceived as frivolous. These are objects that are associated mostly with excess and fulfilling status. Performance is a growing category, and lifestyle changes drive this need. Nike or Adidas would have never been considered fashion, but with sneaker culture on the rise, this is integrated into most collections. Seldom is fashion recognized for social impact, and the burkini was created to respect traditions in a modern world, a design that sparked controversy when in 2016 there was a proposed ban in areas of France.
 
 
It is an ambitious show with the amount of subjects matters to tackle and bringing some cohesion to the 350 pieces (a few were special commissions). There is a lot to observe, from the understanding of how the garments interact with the body and create silhouettes, how an individual controls the image they portray and establishes another visage, as well as how the changes in the demands of life require innovation. Some ideas had more support than others. Silhouettes were addressed by little black dresses, and undergarments. Social commentary was also sharp with the display of suits as a representation of power and items that point to the change of a woman's needs in a professional world. Innovation was a more desperate angle. The Fitbit and Patagonia jacket almost stood by themselves unrelated to anything else. There were the odd items that just didn’t seem to connect to a topic - the Bain de Sol and Yves Saint Laurent Touche Éclat beauty products are a stretch and also get lost in the entire presentation (besides the fact that they are fashion related but not fashion). 
 
 
This a three-in-one show. If the show had focused on one topic and expanded on the visual, it might have built excitement and cohesion. Take archetype. The t-shirt, jeans, biker jacket, sneaker, tracksuit. Each comes from a place of utility. But today, each is referenced by some of the most prominent design houses. Who would have ever imagined that Valentino presenting sneakers and custom jeans, that Ricardo Tisci would be partnering with Nike, or J.W. Anderson with Converse? Each archetype can be introduced via evolution showing the longevity of the design elements from a very straightforward functional starting point, or discussing how today's best creators still reference these timeless ideas. There is nothing more modern than that. An entire show could also have been created through the idea of prototypes and cultural appropriation. The sari, hijab, and burkini open the topic of appropriation or inspiration. Are there modern interpretations of modesty? How has modesty and cultural norms changed through time? What is the contemporary version of what is acceptable in various social spheres? In this one topic, there are so many sub-topics. The same can be said about innovation and the future of fashion, the developments with sustainable design and fabrications are both timely and future in dialogue.
 
 
The show wants to accomplish so much that it almost does nothing. With a growing public interest in fashion and the immense success of the Metropolitan Museum’s exhibitions, the MOMA needs to focus the subject matter better and find an angle. Does it have to be smart, yes, but shouldn't they understand how this works? The strength of the Metropolitan Museum’s shows is picking one topic and doing a deep dive. Are they always perfect? Sometimes. The Manus X Machina show's simplicity got the point across and informed the viewer that there is more to what they see, the innovation and craftsmanship that is almost invisible. "Items: Is Fashion Modern?” is so conceptual it forgot one significant element - fashion is also inherently visual, the presentation has to enhance the experience, making the entirety of the experience come alive. This is why they opened the show with the little black dresses from Versace, Dior, and Mugler - to entice, which the overall show did not.
 
Given that this is the MOMA’s first fashion exhibition since “Are Clothes Modern?” 73 years ago, there is homework to do. Try to follow along curator Paola Antonelli's thinking in an interview in the video below:
 
 
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Saturday
Oct212017

Illustrator “Frédéric Forest 

@fredericforest: “Frédéric Forest is an artist, designer and creative director based in Paris. In 2008, after various experiences working with designers Erwan and Ronan Bouroullec, Noé Duchaufour-Lawrance and Jean-Marie Massaud, he set up with Clémentine Giaconia their own design consultancy studio FRST (partner with luxury brands), and an eponymous studio Forest & Giaconia (furniture, interior design with editors, and private projects). Alongside international luxury firms, he creates his own art. Frédéric Forest‘s filigree line drawings seem like sketches at first sight. He focuses on the silhouettes of bodies, landscapes, architecture and still life which are seductive in a minimal kind of way. He has worked with numerous publications including Vogue Australia, Kinfolk and Cereal.” - @showstudio

 

http://fredericforest.com/

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