Song Lang is deferential in its poignancy and magnificent in its emotional heft. Richly hued in nostalgia, the movie is an ode to the glamour of things past and devastating human desires.
To bask in the same moonlight with your loved one, to the feeble human heart, may be the most transcendental kind of intimacy. It’s also the cheapest that money still cannot buy. If Linh Phung finds solace in the full moon on the anniversary of his parents’ death, Dung lives on in his memory of that glowing sky.
Throughout the story, Linh Phung and Dung keep leaving the unsaid to the light. On the Sinco rooftop. Under the warm, all-encompassing, all-forgiving lamps of the noodle stall. In the kitchen. On a bike zipping through the empty streets, rows of forlorn street lights, a trancelike space between silence and the pulsing heartbeats of the city.
The most tender scene is full of (more) devastating emotions: Linh Phung pretending to sleep under the morning sun--his profile on the pillow, an exposed wrist without the watch, as open as his heart. Here’s all that is pure and good in Dung’s life. What the actors lack in chemistry, the plot makes up for in visual eloquence. You know it’s going fucking nowhere, because this is a movie about cai luong. When Dung picks up the song lang, he’s ready to acknowledge his dual nature and transcend the boundaries within himself. Thug and artist, the bully and the abandoned, the rejector and the prodigal son of cai luong.
Ambitious in both scope and depth, the movie handles deftly the dichotomy between religions, while introducing theater as another kind of religious haven itself. Song Lang is magnificent in its portrayal of an art form long past its prime time: the incense offering, the elaborate rituals, the transcendental synergy, the regal costumes, characters as deities, the subsumption of individuals, etc. People love going to cai luong for a glimpse of something larger than life. Yet with all its archetypal characters and age-old legends, cai luong is an abstraction of life. My Chau’s feathers, in a beautiful moment, blossom on stage as the orchestra crests to a climax. They are vestiges of wretched, everlasting, pitiably human emotions: pieces of us we leave behind in the name of love. It it offers any solace, Linh Phung did bring hope into Dung's life. He in turns gave the singer the greatest gift. The aftertaste of Song Lang is like an empty stage after the show: poetic, haunting, verging on the spiritual.
Honorable mention: Subway series - Bruce Davidson
First published in 1986, Subway translates the collective subconscious of New York City into documentary photos as mentally agonizing as they’re hauntingly romantic. Bathed in the eerie radiance of Davidson’s flash, commuters in the car expose various stages of defeat, fatigue, anomie, or demented joy. Gritty and thumping with the city’s heartbeat, Subway captures New York in the 80s in all its violence, its madness but also its ever-inspiring humanity.
From Versace’s regally kitschy home collection to Margiela’s egg door stop, the feat of human engineering that is designer furniture stands at the crossroads of sculpture, mercantilism and inherently performance arts. While the world is waiting for IKEANYE to happen (yo let him furnish), I wrote about some of the collections that have been crushing the purse and minds of designer cultists worldwide.
Honorable mention: Yayoi Kusama, Compulsion Furniture (Accumulation)
Surrealism, Art Brut, wretched obsessions and demented fear collide in a series of Kusama’s sculptures, whose insignia is Accumulation No.1 - an armchair exploding with phallic protrusions stuffed with cotton and sprayed in white paint. First exhibited in 1962 along works by Warhol and Oldenburg, Accumulation No.1 was the prototype that spawned Kusama’s microcosm of soft sculptures, one that materialized from the artist’s endlessly compulsive obsessions and mental suffering. Excruciating to look at and comforting to the dweller, the Accumulation series is as intimate as connivance between an artist and dark corners of their souls.
Designer Rei Kawakubo's latest Comme des Garçons collection, which the cult figure herself described as a "ceremony of separation”, was presented during Sunday's solemn show in the Mineralogy Gallery at the Muséum National d'Histoire Naturelle.
The mutants that Kawakubo has engineered bring back memories of her notorious Dress Meets Body, Body Meets Dress 1997 collection - the "Bump collection" that shook the canons of Western tailoring to the core with bulbous tumors of down. The dreary decadence drips through narrow shrouds bound with ruffles and bows, overblown cocoons, patch-worked or tied into bundles and engulfing models’ frames in a tomb-like fashion. John Waters, in his 2012 CFDA Fashion Awards speech, addressed Kawakubo as "the Saint Teresa of fashion": "I always imagined her locked in a self-imposed, deconstructed cell, like, massacring hemlines for her next season’s “no-dimensional” outfits that will be mocked, brilliantly reviewed, and worn by the brave." Although she doesn't take invisibility to theological extremes like Martin Margiela, Kawakubo rarely gives an interview and no longer takes a bow after her shows. (There's only one photo of Rei smiling that floats around the internet, and if you can find another one, you're a more devoted crow than I am).
Lace was the material predominantly used for these silhouettes, ornately embellished or built with bows—another leitmotif at Comme des Garçons alongside crushed frills, wilted tulle, eyelet and fraying ruffles. Imbued with a patina of ghostly delicacy, the ensembles, despite their sovereign refinement, appear to have been ravaged by moths; the linings come adrift from their scaffolding, the mourner wears their tethered souls on their sleeves.
Kawakubo has pieced together what I imagine the Dickensian Miss Havisham would wear, from her wedding day until her death, mourning a maidenhood abandoned along with its illusions. Ceremony of Separation, in its desolate melancholia, captured the tension between morbidity and the fragile human existence, a vanitas artwork amidst the modern Parisian scenes.
Without a touch of sensationalism, the pose in Cattelle’s photos is never flashy or provocative; instead, the nude figure becomes one with the space she inhabits. The effect is powerful, not just because of the eroticism, but also because her nakedness seems to emphasize excruciating human vulnerability. The contrast between the texture of dead, abandoned industrial spaces and the soft, quiet vivacity of the bare human body could be described as both mentally agonizing and hauntingly romantic.
Black and white photography, one that started since Cattelle was in high school, has turned into the artist’s life-long obsession. Cattelle’s virtuosity with the format hasn’t truly manifests itself until his BARE-USA project, in which Cattelle juxtaposes nudity against industrial decay and urban ruins. He is in the course of travelling and shooting local models in each of 50 USA States, and June Ann of GEMINIJUNEMOON has had the chance to collaborate with Cattelle when he made a stop at Missouri this summer.
As part of an international subculture of urban explorers, Cattelle spends a lot of time surveying the decaying skeleton of urban cities. Beyond the thrill of seeing what others have not seen, or dare not see, and the sense that it should be recorded for future generations, urban explorers are driven by other motives, among them romance.
For Cattelle, the draw is the uncultivated, feral beauty that can be found in the broken-down landscape of industrial-age America. And that’s when nude photography came into the picture. With Bare-USA, Cattelle was able to depict the city as a living organism, dissect it and look into its unseen layers. The human figures manifest themselves as dwellers in the darkest rooms in the collective subconscious of all modern cities. Yet the project is not so much about the figure as it is about the triumph of decay and entropy, and the human resistance against it. This sense of communicating with the city on a secret frequency may be what is most appealing to the artist and viewer alike.
The photos have a spooky, voyeuristic quality not unlike the feeling you get from looking at Weegee’s crime-scene photos. Beyond the forbidden nature of urban exploration, it is impossible to visit some of the spectacular haunts without experiencing a touch of the sacred. Concrete columns lined up in perfectly symmetrical order, creating a dreamlike procession of naves whose architectural rigor stands in stark contrast to rotting ruin and decay on the floor. But what really gave the building its rarefied air was the silence. Amid the daily cacophony of the city, where every place is packed with a scrum of people, this space stood empty, a still counterpoint to everything around it. And thus Cattelle has accomplished more than what he set out to do: the photos are not only aesthetically beautiful, they’re narrative, poetic, spiritual.
In case you missed the entire extravaganza that happened during the #STLFW Emerging Designer Competition at Union Station (read: everything) here is what you need to know to talk about these 6 collections like a fashion connoisseur.
It takes an artist’s virtuosity to dress up the #girlgang models with the sobriety and nonchalance of boys. Against the music backdrop of throbbing drum rolls that reminds us of Stravinsky’s modern masterpiece Rite of Spring, Daniella Kallmeyer showed us how she collapsed the planes of primitive aesthetics and modern minimalism into this winning collection.
Emily Koplar’s celebration of romance flourishes through coral pink marble prints, draping silhouettes and hemlines that swirl around the ankles while her models sashay with the uttermost poise of a baroness. The Wai Ming SS15 collection brought onto stage an exodus of feminine finesse, one that exudes an air of effortless elegance her brand has long been famous for. Browse through her other collections at WaiMingStudio.com.
The collection drips youthful exuberance, each look mesmerizes the audience with a mosaic of bold colors and natural forms that are distorted and looked at through a kaleidoscope. Jessie Liu’s looks burst forth with psychedelic dispositions, featuring vivaciously colorful, va va voom striped pants and raglan sleeve coats, all the while maintaining an almost perfect, Rorschach-inkblot symmetry. See more of her SS15 collections here or on Vogue UK here.
Started out designing the chic-est handbags you could ever spot at Coachella, Hillary Taymour a.k.a THE It-girl of Williamsburg won the hearts of all show-goers this year (I clapped fanatically for Hillary and her dog Pow Wow). Collina Strada’s collection blurs all borders between structured, sportswear-inspired outfits and bohemian chic dresses, combining leather with sheer, psychedelic print with minimal monotone while giving the collection a little luxe edge (think black leather bralette and sheer-back T-shirt dress). Get your cool-girl leather fix and shop her collection here.
Just when we were all in awe at landscape prints, bold brushstrokes with various shades of blue and ornate embroidery, the collection brought forth clean, monotone outfits that are imbued with subtle innuendos in their sheer illusion details, bare midriff and bold cuts. Drop-dead gorgeous with her turquoise cat-eye makeup, the Remi Canarie woman lured us all with her seductive demureness. Click here to see more.
Harbison took the runway by STORM, evoking the most applause from the audience and eventually won the surprise Runner-up Award from STLFW. Twelve looks from his collection exude the aristocratic extravaganza that makes us all sentimental about the 60s (can we talk about the oh-so-tilted hats? And those red pairs of lips? And...). This Parsons graduate designer has gone a long way from his collection at STLFW last year, surprising us all by lacing the women’s structured suits with metallic zipper, crystals on floral 3D details and (gasp) oversized fur clutches...Indulge yourself.
All images courtesy of Brown Shoe Company.
A version of this article appears on GEMINIJUNEMOON on October 26, 2014.
1. Chanel's Staged Feminist Protest:
In his second groundbreaking show of the year, Karl Lagerfeld morphed his SS15 Chanel girls into an army of rioting feminists who chanted their way down a runway reimagined as a Parisian boulevard. 2014 has undoubtedly been a statement year for girl power, with #freethenipple movement and Emma Watson’s UN campaign (which the show referenced with a “He for She” banner). Critics claimed the spectacle was merely a publicity stunt, to which King Karl responded, “it was right for the moment.” There’s no doubting Lagerfeld is the master of capturing the zeitgeist and, like the show or not, it affirmed that strong, independent girls are in fashion.
2. We lost Oscar de la Renta
The American fashion legend passed away this year, though his house is making a bold bid for the future in the hands of newly appointed creative director Peter Copping. As Glenda Bailey, Bazaar’s Editor in Chief, puts it: “Fashion, at its best, is about grace. In this way, Oscar de la Renta was fashion.”
To this note, it must be added: The fashion industry lost another major figure this year, Louise Wilson. Less famous than De la Renta, Wilson was at least as influential, as the course director of the fashion MA program at London's Central Saint Martins. Her students included, among many others, Christopher Kane, Mary Katrantzou, and Simone Rocha.
3. Enter Kendall Jenner
Since making her runway debut at Marc Jacobs AW14, Kendall has been elevated into the echelons of fashion’s most in-demand muses. Choosing Chanel’s Métiers d'Art show over Victoria’s Secret, the 19-year-old breakout star is determined to earn her stardom in the high fashion world.
4. Barneys Launch All-Transgender Campaign
Barneys New York’s casting of 17 transgender models for a SS14 campaign spoke volumes about how the fashion world is embracing gender fluidity. 2014 has been a big year for transgender models – thanks to the likes of Andreja Pejic, Hari Nef and Lea T – and for a major, mainstream department store to offer their nod of support was groundbreaking. Shot by Bruce Weber, the “Brothers, Sisters, Sons & Daughters” campaign featured models from across the trans-spectrum.
5. Fashion’s Game of Musical Chairs Went Around and Around
Nicolas Ghesquière took the reins at Louis Vuitton. At Loewe, J.W. Anderson replaced Stuart Vevers, who’d left last year to head up Coach. As mentioned already, After the Spring '15 shows in Paris, Peter Copping left Nina Ricci for Oscar de la Renta, news that was quickly overshadowed by the announcement that John Galliano (!) would return to fashion as Creative Director at Maison Martin Margiela (!!) and indeed had already been issued his de rigueur white lab coat.
6. Alexander Wang Legitimizes Athleisure
Much like its cousins, health goth and normcore, athleisure is the buzzword on everyone’s lips this year. One of the very best things to happen this year was the Alexander Wang x H&M show, because Missy Elliott performed at the after-party and the model parade was preceded by a parkour performance that pretty much defied physics. The sportif streetwear debuted in stores and online in early November and crashed the e-tailers sites, before selling out almost immediately.
7. Fashion goes POP
For his eagerly-anticipated Moschino debut, Jeremy Scott brought fast fashion to the runway, Americana-style: Spongebob and chocolate bars, a model channeling a McDonald’s employee, and sweaters embossed with “Cash Cow” and “Fur Real.” And it had more than just golden arches in common with McDonald’s: in a bold precedent that scorned the industry’s usual six-month delay, the clothes were available for consumption as soon as the show ended. Vver at the house of Chanel, Karl Lagerfeld was making haute tracksuits for models to wear as they shopped the Chanel supermarché. Fast food: Check. Supermarket sweep: Check. Tony the Tiger: Check, courtesy of Anya Hindmarch's Fall '14 breakfast-cereal-inspired handbags, a major favorite among fashion bloggers.
Two years since Lauren Bander was crowned as Winner of Project: Design! during STLFW 2012 with her LBSS13 collection, the St. Louis-native designer has been celebrating her outré aesthetics from Kansas City Fashion Week to New York Fashion Week.
Throwing back to FW2013, LB all-black couture collection features regal evening gowns so ornate that they remind us of the Dior femme relique - the woman mummified by her opulence. There was plenty of cerebral whimsy to offset the noirish femme fatale appeal. The LB woman is the baroness who disdains the familiarity of inferiors, flaunts her diamonds but never her discretions.
Bander’s most favorite designer is, conceivably, Christian Dior, whose brushstrokes very heavily influenced LB early collections. Bander’s couture has hit the runway in waves of staggering beauty and a little perverse extravagance. The designer’s talent lies in her ability to purge tulle and lace of the materials’ fussy, bourgeois gestures, creating a mermaid nonchalance that is touchingly glamorous. “I wanted to try and turn something ugly into something beautiful,” she explains. “So while the color story is very dark, the designs are beautiful and feminine,” answered Bander in an interview with ALIVE Magazine.
Having studied at The Paris American Academy and lived in the haute couture capital of the world, Bander forever holds Paris dear in her heart. The globe-trotting young designer has certainly paid homage to the Parisian scenes: art, elegance, snobbery, nostalgia, and vice distilled with purity make an eau-de-vie that goes straight to the head.
All images courtesy of Lauren Bander at www.laurenbander.com
A version of this article appears on GEMINIJUNEMOON.com on November 14, 2014.
Without a doubt, Cashmere Cat has quickly become one of the most exciting faces in experimental music, and mostly notably, collaborated with Ludacris, Wiz Khalifa, Banks and Ariana Grande early this year. Having come off a long stretch of remixes, radio shows and club sets, Norwegian producer Magnus Høiberg has polarized the critical community with his latest EP Wedding Bells, with pseudo-tastemaker Pitchfork notably calling it a failed effort to evolve on his genre-bending debut Mirror Maru. However, these criticisms couldn’t be more off point. The whole EP is terrifyingly accomplished, with genius at work in every nanosecond of detail. To anyone weary of all the fanfare given to the chart-topping DJs, this might just be your lifeboat.
While experimenting with the lifelike timbres, he stretches his wordless vocal samples to breaking point. The effect is disorienting and queasy - on "Pearls," the layered high-and-low voices sound like something from a horror movie, in complete contrast to the fanfare of flutes and brass around it.
In spite of these eccentric touches, Wedding Bells has an air of opulence. It is refreshing to see an artist, especially who has achieved EDM stardom, to be more about delaying pleasure rather than instant gratification. Right down to the choice of his stage name, Cashmere Cat seems to be invested in making music that is luxurious yet accessible, original yet unafraid of its cutesy pop inclinations and all the while confident in its own idiosyncrasies. How long this approach will remain fresh or whether Hoiberg can maintain the quality of his productions after the novelty wears off are questions for later records.
looking at fashion as fine arts, architecture, anthropology, an extreme form of human performance.