アダムさんのインスタグラム写真 - (アダムInstagram)「Thank you Bridget Foley, @wwd. Full review below:  Adam Lippes doesn’t typically make political statements in his work; it’s not his thing. Yet this season he took inspiration from an iconoclast who lived outside the bounds her society typically imposed on women: the British artist Hannah Gluckstein, who was born at the end of the 19th century and as a young woman decided to live life her way, mostly as a man. Lippes was drawn first to her work as a painter; he loved her florals. But digging deeper, he became moved by her life story. “It just felt so relevant,” he said during a Thursday morning showroom appointment. “I loved the fact that I was attracted to her creative output first, but it was her life that inspired me.” That said, Lippes didn’t engage in obvious, exaggerated homage; there wasn’t a kitsch or costume-y stitch in the collection. Rather, he drew on the totality of “Gluck’s” audacious visual fluidity — she dressed mostly as a man but “at some point she would pull out this long frothy gown,” he said, and one often couldn’t tell if the subjects of her paintings were women or men.」6月7日 20時30分 - adamlippes

アダムのインスタグラム(adamlippes) - 6月7日 20時30分


Thank you Bridget Foley, @wwd.
Full review below:

Adam Lippes doesn’t typically make political statements in his work; it’s not his thing. Yet this season he took inspiration from an iconoclast who lived outside the bounds her society typically imposed on women: the British artist Hannah Gluckstein, who was born at the end of the 19th century and as a young woman decided to live life her way, mostly as a man. Lippes was drawn first to her work as a painter; he loved her florals. But digging deeper, he became moved by her life story. “It just felt so relevant,” he said during a Thursday morning showroom appointment. “I loved the fact that I was attracted to her creative output first, but it was her life that inspired me.” That said, Lippes didn’t engage in obvious, exaggerated homage; there wasn’t a kitsch or costume-y stitch in the collection. Rather, he drew on the totality of “Gluck’s” audacious visual fluidity — she dressed mostly as a man but “at some point she would pull out this long frothy gown,” he said, and one often couldn’t tell if the subjects of her paintings were women or men.


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