In what is already Objects IV Life's third collection, the artist, designer and founder of the brand Daniel Arsham presents a collection in which two of his greatest passions come together in the same space. In a presentation that was equal parts art exhibition and fashion show, the creator proposed a conversation in which the functionality of the artist's pieces took on a new meaning.
Motivated by the creation of the firm less than a year ago and with the paradox of entering an industry as a consumer of fashion and as an artist whose discourse is based on timelessness and the value of the slow and artisanal, Daniel Arsham makes his contribution to changing the paradigms that define the industry through Object IV Life. In what is the third collection of the firm but the first time presented in the context of Paris Fashion Week, the attendees were able to witness a performance transformed into a fashion show that sums up quite well the philosophy of the creator, in a venue as symbolic for the artist as the Perrotin gallery, where he held his first exhibition 20 years ago.
Arsham begins with a series of garment sculptures in his instantly recognisable and already iconic plaster, reminiscent of the artist's previous work in which he replicates everyday objects in this material, always with a touch of deconstruction and decay, and then approaches and begins to destroy them, removing the plaster to reveal the core of the structure, the actual garment in fabric. Models in matching plaster trousers walk down the runway wearing the jacket that just seconds ago was a sculpture, without completely removing the debris from the piece, displaying what just became wearable art.
Accompanying these central looks are others that evoke a functional and utilitarian aesthetic in garments that, thanks to the technical materials and silhouettes alluding to the most classic workwear, express the same raw, artisanal spirit as the more obvious ones. New models of bags, some matching the plaster garments, and other industrial vibe complements, such as caps and belts, were coupled with the aesthetic to achieve a collection in tune with the message that its creator wanted to portray.
Arsham begins with a series of garment sculptures in his instantly recognisable and already iconic plaster, reminiscent of the artist's previous work in which he replicates everyday objects in this material, always with a touch of deconstruction and decay, and then approaches and begins to destroy them, removing the plaster to reveal the core of the structure, the actual garment in fabric. Models in matching plaster trousers walk down the runway wearing the jacket that just seconds ago was a sculpture, without completely removing the debris from the piece, displaying what just became wearable art.
Accompanying these central looks are others that evoke a functional and utilitarian aesthetic in garments that, thanks to the technical materials and silhouettes alluding to the most classic workwear, express the same raw, artisanal spirit as the more obvious ones. New models of bags, some matching the plaster garments, and other industrial vibe complements, such as caps and belts, were coupled with the aesthetic to achieve a collection in tune with the message that its creator wanted to portray.
