Let it be known, I will not get civilized…
—Arthur Cravan, Poet & Boxer
From his birthplace in Corsica, David Vincent Camuglio was determined from the word go that he would enter the world of fashion; with this conviction he left Corsica and went to Paris. He started his career at, bespoke tailor on the Rue Du Faubourg Saint-Honoré, and then learned the art of leather with a furrier. He then subsequently assisted Popy Moréni and worked Louis Feraud before studying at the .
Next came work with various creators such as Jeremy Scott, Bertrand Marechal, Shirtology’s, Lanvin, and a spell in New York which persuaded him to present his own personal vision of fashion. Back in Paris, he participated in competitions, the Barclay Catwalk in Zurich and one in Riga, Lithuania, prior to organizing his first collection, Spring/Summer 2001.
In 2002 he participated to the exhibition: “New Fashion Designer” at the museum, Galliéra. Thanks to support from Jean-Jacques Picart, he received a scholarship from the LVMH group for two collections, and supported by the city of Paris, he had a fashion show at the Musée Galliera and was sponsored by Solstiss, Saga Furs, and Moet & Chandon.
“…My research focuses on the design of a contemporary high quality clothing, this work takes place in two stages:
First -all with a story or a dream born through a flash, thanks to an image, a silhouette, a detail, a sentence; that inspiration propels the start of the new collection, it will be my guideline. It can take me to faraway places as in 2003 or I went to St. Petersburg to develop the winter collection.
Then it is to build the garment that is based on the study of the body, its movement, its joints, skin, muscles. It is a real laboratory work that experiments with new volumes. Each piece is distinguished by well developed her outfit, her strength, her cup, and materials.”
Visit David Vincent Camuglio’s website at: http:// www.davidvincentcamuglio.com
“I am a romantic schizophrenic,” Alexander McQueen once said.
The work of designer Alexander McQueen, whose untimely death in 2010 was one of the contemporary art world’s greatest tragedies, served at every turn as an iconoclastic rebuke to the shibboleths of the fashion world. A Savile Row tailor by the age of sixteen, the precocious couturier proved to be one of those rare and indispensable insiders with the courage to excoriate the very establishment he belonged to. He was brash, bold and, above all, brilliant – a transcendent creator who deserves to be mentioned in the same breath as Damien Hurst, Matthew Barney, Marina Abramovic, and the artist
who seems to have played midwife to his particular weltanschauung, Francis Bacon.
Now, the collections that electrified the runways of Paris and Milan have decamped London. The exhibit, ‘Alexander McQueen: Savage Beauty’, presented by the Victoria & Albert Museum in London from March 14th to August 2nd, draws from the breadth of McQueen’s work and explores, as fully as possible in a single exhibit, the ground-breaking designer’s vast stylistic palate, his fascinations with exoticism and the gothic, and his unrivaled gift for subversive and often disturbing juxtapositions, the product of a temperament fully engaged with the ferment of post-modern Western angst.
Viewers planning on attending the exhibit should prepare to be unsettled just the same. There is a darkness in McQueen’s work that evokes what William James referred to as ‘sublime terror’, a paralysis in the face of strange, and not necessarily benevolent, gods. The absence of sentimentality, the existential coldness in these clothes, can be brutal – something like the nihilistic honesty in the films of Gaspar Noé. It is, quite honestly, a discomforting and, yes, savage beauty.