Isabelle Huppert to curate an exhibit on Robert Mapplethorpe’s works. The exhibit will be presented by Galerie Thaddaeus Ropac at the Paris Photo fair, which runs from Nov. 12 to 16 in the Grand Palais.
The New York-based Robert Mapplethorpe Foundation has given Huppert free access to its inventory.
Francisco Costa, women's creative director for Calvin Klein Collection: “I’m really upset. I started my career with him and worked there six years. He taught me a lot. It was always very family-like. It’s very tender to think that he left in such a way. We are going to miss him. He was a father to me in a way. He really embraced everyone in the studio, not just me. I’m sorry I didn’t get to spend more time with him. He was a man of beauty. He surrounded himself with beauty; he surrounded himself with the best. I don’t think there’s another person today who understands living, the sort of fine line between old and new, in a sense. He embraced the sensibility of the old with the great style of how we live today. He lived, full-on. Everything was important to him. The scent, the color, the way he set a table, the way he entertained, the way he greeted people. Also his kindness, his charity. With kids, schools, he always gave back. I also love the fact that he was a fighter. Oscar had a fantastic sense of humor. He could be quite tough. Not mean, but quite twisted. Which is wonderful to think that he still had that sense of humor. He could fight and instigate. He was that kind of man. I was very pleased to have been part of his world.”
Oscar de la Renta, the doyen of American fashion, whose career began in the 1950s in Franco’s Spain and sprawled across the better living rooms of Paris and New York, and who was the last survivor of that generation of bold, all-seeing tastemakers, died on Monday at his home in Kent, Conn. He was 82.
His death was confirmed by his wife, Annette de la Renta.
“Death Becomes Her: A Century of Mourning Attire,” the fall Costume Institute exhibition at The Metropolitan Museum of Art, which opens to the public on Tuesday, is a powerful reminder of how, during much of the 19th century, the mourner’s wardrobe was distinctly defined, and how it evolved at various stages of grief.
The show is arranged chronologically from 1815 through 1915, with about 30 looks, two of which are men’s-specific and one is for a little girl. The theme may come off as a little morbid, but far from sad. Instead, it’s a study of a past ritual that was mainly expressed via fabrics, i.e., matte right after the death of a beloved, with a gradual introduction of color, pattern and even shine as the mourner works through the grief.