Champagne Supernovas
Kate Moss, Marc Jacobs, Alexander McQueen e os rebeldes dos anos 1990 que reinventaram a moda
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- ¥780
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- ¥780
発行者による作品情報
Com a expertise da jornalista Maureen Callahan, Champagne Supernovas nos leva de volta aos anos 90, quando modelos brilhantes deram lugar a verdadeiras lendas, o que era considerado underground e alternativo desfilava nas principais passarelas mainstream, e a moda virou um cenário rico, alimentado pelas mentes mais brilhantes do mundo artístico e cultural. Repleto de histórias divertidas e surpreendentes dos mais celebrados nomes, como os designers Anna Sui e Isaac Mizrahi, as celebridades Kim Gordon, do Sonic Youth, Jane Pratt, da revista Sassy, e um grande elenco de supermodelos, estilistas, editores, fotógrafos e club kids, Champagne Supernovas é, ao mesmo tempo, um relato vibrante sobre uma época e também um estudo revelador dos bastidores, trazendo à tona fatos da vida particular de Moss e até do suicídio de McQueen. Em uma mistura elegante de arte, decadence e genialidade que definiram uma era, este é um panorama legítimo de uma ruptura cultural onde losers e freaks quebraram as regras e emergiram no mundo pop como deuses da moda, mudando drasticamente a forma como entendemos o mundo.
PUBLISHERS WEEKLY
Like the life of a partier, this book from Callahan (Poker Face: The Rise and Rise of Lady Gaga) starts out terrifically exciting and fun but then turns repetitive and ultimately depressing. True, Kate Moss is a cool girl with a great look, and Marc Jacobs is a cool guy with a great eye. And while no one would ever accuse Lee Alexander McQueen of being cool "He was self-conscious about his weight. He hated his face, and for the first few years of his career would only be photographed with his head wrapped in cling film or gaffer's tape" he was brilliant, at first. But then he too gets boring, repetitive, and very, very depressed. Ultimately, these three (along with Miuccia Prada and Consuelo Castiglioni, and others) do change the look of pop culture, from the glamazon to the waif, from hair metal to grunge, from Versace to Versus. In the meantime, they all consume loads of coke, heroin, and sex. Perhaps it's a testament to Kate Moss's ineffable style, but her chapters are the strongest, while Jacobs's battles with fashion's corporate overseers are the least interesting. The sections on the self-destructive McQueen simply feel ominous. Still, this book works as a fun, if cautionary, read about some of the folks who changed fashion in the 1990s. Readers will wonder when a similar trio will arrive to save us all from the Kardashians.
