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20110731

SUPER duper


... just back from my three-week-trip to California and a little bit of Nevada (yes, that's right, Las Vegas of course ...), and I must say, America never stops short of surprising me (in Las Vegas I felt like a stupid cow from some forgotten village in the countryside - aka Europe - when marvelling at all the artificial glitz and bling and ever blinking, flashing and twinkling, well, EVERYTHING there), but this time round I think I found the actual key to the American-dream-mentality: this set of HOLOGRAPHIC CORRECTING STICKERS really is America in a nutshell, it seems to sum up the essence of what US citizens want their, uhm, things to be like - so bear that in mind, everyone toying with the idea of hitting it big in the US, BIG is not enough ...

20110727

MANISH will puzzle you

Manish Arora's "Puzzle Dress" created with Swarovski Elements
is the centre-piece of Gerda Buxbaum's shop window installation
"Summer of Love",
now on display in Vienna

... just the other day I remembered the fact that the Indian designer Manish Arora was confirmed as the creative mind in charge of reviving a Paco Rabanne ready-to-wear line. Improbable choice? Well, let's wait and see. Next thing I heard was that the "puzzle dress" he created in collaboration with Swarovski Elements earlier this year had been brought to Vienna by Gerda Buxbaum, who is in charge of decorating the Swarovski Flagship Store windows on Kärtner Straße. What a perfect opportunity to check out the (hidden) qualities of that infamous puzzle dress by Manish and to cross-check whether the puzzle dress may indeed be considered as the updated version of Paco's legendary metal dress (hardly so, I'd say) ...


... quelques jours après m'être souvenu du fait que Manish Arora va être en charge du relancement du prêt-à-porter de la marque Paco Rabanne (que nous retrouvons actuellement plutôt dans les pages "beauté et parfums" des revues ...), voilà que j'ai reçu cette information pas tout à fait indifférente : Gerda Buxbaum, l'ancienne directrice de l'école de mode à Hetzendorf (et qui s'est battue comme une lionne pour lancer un cours de licence en création de mode à Hetzendorf en collaboration avec l'Université des Arts à Linz) qui s'occupe maintenant de la décoration des vitrines de la boutique Swarovski sise Kärntner Straße, a réussi à faire venir à Vienne la robe "puzzle" créée par Manish en utilisant les Swarovski Elements. C'est l'occasion ultime pour tous les fashion people de Vienne d'aller voir si la robe-puzzle de Manish a le potentiel de succéder à la légendaire robe en métal créée par Paco à la fin des années soixante ...

all images courtesy of Swarovski/Gerda Buxbaum

... appena mi ero ricordato del fatto che quest'anno Manish Arora è stato confirmato come designer da rilanciare la collezione di prêt-à-porter del marchio Paco Rabanne, ecco che ho ricevuto l'informazione che Gerda Buxbaum è riuscita a far venire a Vienna un esemplare del vestito-puzzle creato da Manish in collaborazione con Swarovski Elements. Gerda si occupa attualmente della decorazione delle vetrine del flagship-store di Swarovski a Vienna, e per la sua installazione "Summer of Love" ha scelto di esporre il vestito scintillante che fa abbastanza bella figura, devo dire. Sebbene, se ci ricordiamo dei legendari vestiti di metallo o di plastica disegnato da Paco negli anni sessanta (abbiamo visto un eco delle sue placchette nella collezione d'inverno 2011 di Prada, mi sto chiedendo?), non sono sicuro se la versione "puzzle" di Manish ha davvero la stessa forza espressiva. Comunque, vedremo che tipo di lavoro farà per la maison Rabanne, vero ? ...

20110710

AUX anges

Bette Midler in Ruthless People, screenshot (the fashion!!!)

... I'm off for my summer vacation which takes me to LOS ANGELES of all places, I mean all of California of course but that's where we start our little journey, and I'm very much looking forward to that much needed and awaited time off. Absurdly, one of the first things that comes to my mind when I think of L.A. interiors is the living room of the Stone couple in RUTHLESS PEOPLE, such a charming Hollywood comedy, and I can only wonder whether that place is really filled to the brim with MEMPHIS DESIGN objects? Hardly, right? But I'm definitely in for some ARTIFICIAL AESTHETICS, I should think ...

Danny DeVito in Ruthless People, screenshot, the interior!!!

... vivent les vacances - les miennes, cette année, se déroulent en Californie. Wouah! Bizarrement, pour moi, l'esthétique californienne, mis à part les toiles d'Alex Katz, c'est le salon entièrement décoré en Memphis Design du film Y a-t-il quelqu'un pour tuer ma femme ? que j'adorais et que je continue à adorer. Ben, on verra si c'est vraiment ça, là-bas ...

Memhis Design, Google image search, screenshot

... finalmente, un po' di TEMPO LIBERO, un viaggione come si vuole, e sapete dove vado quest'anno (dopo la Corea del Nord l'anno scorso si voleva un po' di cambio...)? La California, e cominceremo il nostro giro a LOS ANGELES, è molto eccitante per me. Anche perché la prima cosa a cui penso quando penso a Los Angeles, eccovi, è il salone dei Stone nel film Per favore, ammazzatemi mia moglie. Interamente decorato con mobiliare Memphis Design. Anche se Los Angeles non è solo fucsia e flashy, sono sicuro che d'estetica artificiosa ce ne sarà abbastanza ...

20110707

SHOE bee doo


... just a quick word about the BALLY CENTRAL SAINT MARTINS capsule collection of select shoe models created by Craig Green, student of Saint Martins' MA in fashion design. I think it is so important that a famous and globally renowned brand such as Bally should choose to collaborate with a fashion school and pick a student who is allowed to create a limited range of models that will be sold through Bally's retail network (the collections hit stores on July 4). And now wait, if we consider that Bally was bought by the investment group Labelux with its central office in Vienna, wouldn't that open up new possibilities of academic approaches? I'm just saying ...


... c'est la fin de l'année universitaire, quelle belle occasion donc pour Bally de lancer finalement les modèles créés par le jeune étudiant en mode Craig Green, inscrit à l'université SAINT MARTINS à Londres dans le cadre de la soi-disant BALLY CENTRAL SAINT MARTINS COLLECTION. Combien de choses à apprendre, combien d'expériences gagnées grâce à un projet du genre, n'est-ce pas ? Il est très important et à saluer absolument que de tels projets soient réalisés. Et puis, juste une petite pensée supplémentaire, si nous considérons que Bally a été racheté par le groupe d'investissement Labelux il y a un ou deux ans, et que le siège social de Labelux se trouve à Vienne, eh ben, pour de futures collaborations, on pourrait peut-être s'orienter vers la capitale autrichienne, non, oui, non ? ...

... l'anno universitario è arrivato alla sua fine, ed è quindi il momento perfetto per il lancio della collezione BALLY CENTRAL SAINT MARTINS realizzata in stretta collaborazione dal marchio svizzero e dell'università di moda a Londra. E' lo studente Craig Green che ha disegnato quattro modelli scelti dalla squadra Bally diretta da Graeme Fidler e Michael Herz (due signor molto simpatici, inoltre, li ho incontrati a Vienna l'anno scorso quando lavoravano giusto sulla loro prima collezione per Bally). Si capisce cosa vuol dire per uno studente una tale opportunità, e poi mi sono detto ... considerando che Bally è stato comprato dal gruppo d'investimento Labelux qualche anno fa e che Labelux ha la sua centrale a Vienna, sarebbe la ragione perfetta per Bally d'orientarsi anche verso gli studenti di moda della capitale austriaca, vero ? ...

20110705

ASCOT, or almost


... some weeks ago I walked by this amazingly beautiful mural somewhere near Vienna's Naschmarkt flea market zone, and really, what an impressive, perfect example of spontaneous and unsigned public art - of textile nature (again!). For the skilled ones and artists among you: think twice before you throw away that leather jacket of yours, it may well serve as an animal of some sort on a wall, somewhere ...


... il y a quelques semaines déjà, je suis passé devant cette peinture murale tout à fait remarquable, vraiment, très très belle je trouve. Ni signée, ni commissionnée par une institution publique (j'imagine), cette œuvre d'art est un exemple parfait d'art urbain spontané. Et pour tous les artistes parmis mes lecteurs : faudra peut-être y repenser avant de jeter cette veste en cuir que vous vouliez jeter depuis tant de temps, hein - elle pourrait bel et bien servir d'animal mural quelque part ...


... qualche settimana fa ho visto questo bello, bellissimo esempio d'arte urbano nello spazio pubblico di Vienna, giusto accanto alla zona del mercato Naschmarkt, un lavoro spontaneo, non è firmato, non è stato commissionato immagino io, e rappresenta dunque un caso perfetto d'intervenzione artistica in città, inoltre con carattere sostenibile siccome questo chiodo che avevate voglia di gettare da tanto tempo, forse si può trovare un altro uso comunque ? ...

20110703

SEEN IT ALL, done it all

on aura tout vu présente la collection de Galéa,
at the Nouveau Musée National de Monaco,
the exhibition is on until early 2012
photo: Philippe Jusforgues


... when I talked to Didier Grumbach last year, and Monsieur Grumbach is of course the very distinguished and charming president of the ever so important Fédération française de la Haute Couture et du Prêt-à-Porter, he told me that if Haute Couture is to survive (Monsieur Grumbach certainly thinks that it must at all costs do so and prosper in the future), it needs fresh talents and new faces. And you know what: I think he's absolutely right. So when I met Livia Stoianova and Yassen Samouilov from the Parisian couture house "on aura tout vu" (established in the mid-nineties by Samouilov and the late André de Sà-Pessoa), it was after their wonderfully lively, fresh and original couture catwalk show for summer 2011. What they do is certainly a bit short of the great art and skilfull mastership of long established couture houses the likes of Chanel or Dior (but how could it not), and yet, these young designers are certainly on their way. In the late nineties, "on aura tout vu" even ran a multi-faceted interdisciplinary salon where designers, writers and artists were supposed to mingle. (Did you know that Didier Grumbach and his sister Sylvie launched an initiative called "Créateurs et industriels" in the early 1970s that exhaled the same kind of spirit. Charles de Castelbajac, who was one of the designers the programme benefitted, was very enthusiastic when he told me about it...) Well, and today the brand survives not (merely) by selling couture dresses to celebrities, there is also a ready-to-wear line as well as accessories, and then there are some very handy collaborations. Livia and Yassen work for the house of Caron, a long-standing Parisian fragrance brand for which the two design perfume bottles of the most refined nature. And they also design a hugely successful accessory collection for the Moulin Rouge. The latter collection is hugely popular and, I'm told, is also an important source of revenue for the manufacturers behind it. The Haute Couture shows are about to kick off, and I'll be right in the middle. For those of you who prefer to go to Monaco rather than Paris, here's a little cultural tip: on aura tout vu stage the collection of dolls and automats donated by Madeleine de Galéa to the Nouveau Musée National de Monaco, the exhibition is open through January 2012 ...

on aura tout vu, collection de Haute Couture, p/é 2011

... lors d'une interview avec le formidable, très affable et tout à fait merveilleux président de la Fédération française de la Haute Couture et du Prêt-à-porter, Didier Grumbach, je me suis vu me dire : "Si elle veut survivre, la Haute Couture a besoin de nouveaux talents." C'est très net, très clair et tout à fait convaincant, je trouve. En effet, on les a vus, ces dernières années, Anne Valérie Hash par exemple, ou Felipe Oliveira Baptista, des créateurs qui ont célébré leur entrée de manière assez grandiose sur la scène de la HC. Car n'oublions pas : moins de défilés, cela égale plus de visibilité (potentielle), des journalistes plus attentifs, et avec l'accélération du rythme du système de la mode, il y a un grand nombre d'acheteurs venus en Europe pour placer de premiers ordres en juillet. Voilà. Lors de la dernière semaine de la haute couture à Paris, je me suis donc entretenu avec Livia Stoianova et Yassen Samouilov de la très jeune et progressive maison de haute couture "on aura tout vu". Ce sont deux créateures bulgares tout à fait sympathiques (au moment où j'ai parlé avec eux, il y avait un mannequin qui avait défilé pour eux et qui les saluait en envoyant un texto pour les remercier, d'être des "personnes si spéciales" et de lui avoir donné la possibilité de "participer à cet événement extraordinaire"). Mmmmh... Bon, je pense qu'OATV ne survit pas que de la formidable Haute Couture que les deux créent, on fait aussi du PaP, et qui plus est, la maison de beauté Caron fait souvent appel à on aura tout vu pour la création de très précieux flacons de parfums et, surtout surtout, Livia et Yassen créent une ligne d'accessoires pour le Moulin Rouge - une collection qui semble connaître un succès fou. N'oublions pas : si la créativité ne se conjugue pas avec un esprit orienté vers les besoins et les nécessités du marché, c'est difficile de survivre, indépendemment de la création de collections jamais vues et archi-osées. Bravo donc, on aura tout vu ...

on aura tout vu, collection de Haute Couture, p/é 2011

... all'inizio di quest'anno, abbiamo pubblicato sul giornale per cui lavoro un'intervista che ho realizzato con il molto simptico signor Didier Grumbach, presidente della Federazione francese dell'Alta Costura. Oppure mettiamo comunque, della Haute Couture. Perché di due cose distinte si tratta. Il signor Grumbach mi ha quindi detto che per lui la Haute Couture continua a essere cruciale per il profilo della moda francese e del mondo della moda parigino, ma se vuole sopravvivere ha proprio bisogno di nuovi talenti. Ricordiamoci che anche degli stilisti come Anne Valérie Hash (adorabile!) o Felipe Oliveira Baptista (da poco "Monsieur Lacoste") hanno fatto la loro entrata nella scena di Parigi attraverso delle sfilate durante la settimana della Haute Couture. Ho dunque cercato di conoscere due altri talenti straordinari di questo ambito ed ho incontrato Livia Stoianova e Yassen Samouilov della giovane maison on aura tout vu, fondata a metà degli anni novanta. All'inizio c'era un po' di tutto nel mondo on aura tout vu, ad esempio anche un salone per incontri tra stilisti, artisti, scrittori intitolato "espace on aura tout vu". Questo ambizioso salone è stato chiuso quando si sono messo a fare della Haute Couture nel 2003 o 2004, da allora hanno potuto lasciare la loro impronta, estendendo il campo d'azione alla moda prêt-à-porter, ma collaborano anche con il marchio Caron per la creazione di flaconi di profumo e, soprattutto, creano una collezione d'accessori per il Moulin Rouge. Pare che questi gioielli e guanti conoscano un successo straordinario. Felicitazioni per tanta creatività combinata ad uno spirito astuto assai ...

20110701

MAKE THAT G & G, not D & G

"It Shall Be Written", Gilbert and George 2008

... a fortnight or so ago I was lucky enough (and I do really consider myself lucky to have a job that opens up such opportunities of meeting truly marvellous people) to go to Linz and interview Gilbert & George for the newspaper - right before opening of their exhibition JACK FREAK PICTURES at Lentos Museum (the show is on until early October). Sure enough, Gilbert & George turned out to be two perfectly well groomed, polite and yet original elderly gentlemen, with who I had a chat of approximately 45 minutes. We talked about them considering themselves as the "fairy godmothers" of the contemporary art scene in Great Britain, and about how bit the international art circus has become, and about a person like Charles Saatchi, who, would you believe it, never bought a Gilbert & George painting ...

George: Mr. Saatchi, yes indeed, we have the great distinction of being among the artists he never bought. Very few of our colleagues can say that. It took us years to realise that this is a distinction. People used to come to London to see us and they'd say, which pictures does he own? And we were very embarrassed to have to say: Not one.

Would you like to keep it that way? Or would you sell him a painting if he approached you?
George:
We would probably try to avoid it, very politely of course. Gilbert: But not at all costs. We're quite amazed by the success that he has. Today he shows totally unknown artists from all over the world, and he has a public beyond belief, more visitors than all the big museums. George: His collection is on its way to becoming some kind of circus, people go there who would never normally go to see art, and then they go, it's a different public.

I also liked it when they told me what life is like in London's East End, the part of town where they live and that has become very fashionable in the past few years. Sometimes they are even photographed by tourists who like their looks but do not necessarily recognise them:



"Toynbee Street", Gilbert & George 2008


You once said that the East End, to you, is a microcosm containing everything and anything that's important in society on the whole?
Gilbert: Yes, everything is there, it's such an extraordinary mix, you've got all the bankers, you've got the Bangladeshes, the artists, musicians, tramps, drug addicts, Russians and Romanians now, queuing up for food, sexual dissidents. And it's been changing a lot recently and is still changing, it's become very fashionable. It would seem like every photo shoot has to take place in the East End of London now, in our street.
Is that how you ended up making a guest appearance in a German musician's video - without prior casting, he just passed by and filmed you, right?
George: Yes, oh I remember that, you're right, he didn't know who we were at first. Gilbert: It's actually very interesting because a lot of times the fashion interested people from Japan who come to the East End are fascinated by what we look like, they don't know who we are but they take our picture.
..


20110630

TULIP and beetle


all images by Gabriel Hyden

... ever since Elizaveta Fateeva received the fashion award sponsored by Range Rover during this year's "festival for fashion and photography" in Vienna, I meant to post a little something about the good work that she does. For, disagreeing with a fellow fashion writer, I do think that fresh talent has to and deserves to be shown - and yes, even before a first successful season in Paris or before a commercial collection hits store shelves. For what else can established media effectively give to newcomers on the scene other than encouragement and support. Anyhow... Last year already, Elizaveta's was one of the few collections shown at Show Angewandte that struck me as really mature, an independent work with a strong and easily recognisable signature aesthetic. Well, now she's back, and ready to go international, obviously. I definitely wish her all the best for her international adventures. Just one little remark, if I may: strictly geometrical shapes and silhouettes that remind of ladybirds and flower buds can all too easily become repetitive and lose that edgy surprising little something if they lack the essential dose of variation ...


... quand j'ai vu la collection avec laquelle Elizaveta Fateeva s'est diplômée l'an dernier à l'Université des Arts Décoratifs de Vienne, j'ai été impressionné par la maturité de son style et la clarté très décise et nette de son esthétique. Surtout et aussi en vue du fait que la plupart des étudiants ont évidemment été très épris par le travail de leur (alors) tout nouveau professeur, Monsieur B. Willhelm bien sûr. Bon. Et voilà donc qu'Elizaveta, il y a quelques semaines et lors d'une cérémonie qui a eu lieu pendant le festival de la mode et de la photographie à Vienne, a reçu la première édition du Evoque Fashion Award. Bravo, bravo, je ne peux me retenir de m'écrier, et je souhaite tout le mieux à Elizaveta pour sa future carrière. En ajoutant une toute petite remarque, tout à la fin : des bourgeons de fleurs et des silhouettes qui rappellent vaguement des coccinelles, c'est tout très beau ça, mais il faut absolument faire attention à varier cette inspiration de base afin de ne pas tomber en proie à une répétition dépourvue de sens ni de caractère persuasif. Dans l'avenir, pour l'instant, tout est pour le mieux ...


... l'anno scorso quando ho visto la collezione con cui Elizaveta Fateeva si è laureata all'Università delle Arti Decorative di Vienna, sono stato colpito dalla sua estetica coerente, convincente - e sopratutto anche dal fatto che Elizaveta è stata una dei pochi studenti che non si erano lasciati travolgere dall'impatto del loro nuovo professore, il signor B. Willhelm, arrivato frescamente di Parigi all'inizio dell'anno academico (stiamo parlando dell anno 09/10, mi raccomando). Poi qualche settimana fa Elizaveta è riapparsa a Vienna quando ha ricevuto la prima edizione del premio Evoque Fashion Award, felicitazioni. Sono contento di rivedere il suo lavoro, e auguro tutto il meglio a Elizaveta per il futuro. Con un solo commento da fare: l'ispirazione di una silhouette tipo boccio di fiore o coccinella può anche cadere nella troppo facile repetizione se esagerata e continuata troppo a lungo, lo dico solo per il futuro, per ora però - tutto a posto, a postissimo ...



20110626

VEGETABLE monstrosities


the very beautiful motif advertising the exhibition "Monsters in the vegetable shelf",
photographed by Ernst Grilnberger

... when I went to Linz recently I spotted the poster advertising the current exhibition at Landesmuseum Linz - entitled "Monsters in the vegetable shelf". And what a wonderful poster that is. First thing, I couldn't refrain from thinking that the show that started in April 2011 quite genially anticipated one of the topics that's currently on our minds, all over Europe at least. Monster cucumbers and monster sprouts and, well, yes indeed, monster vegetables of all kinds. And then, I repeatedly realised that the blog post "Melon Carving and the World of Fashion" is one of the most popular ones on ParisVienne.com, so I said to myself, why not feed my readers more of that healthy and wholesome veggie stuff, right? ...


tomatoes, photographed by M. Pfosser for "Monsters in the vegetable shelf"

... bon, la semaine dernière j'ai fait une petite découverte lors d'un très court séjour à Linz ; cela a été un truc assez banal en effet, et tout de même je l'ai adoré. Complètement. Vous voulez savoir de quoi il s'agit ? Ben, j'étais là, à côté de la fac, et j'ai vu une affiche pour l'exposition intitulée "Monstres dans le rayon de légumes" du Landesmuseum Linz. Première remarque, l'expo a été inaugurée en avril, elle a donc de la manière la plus géniale anticipé le topique de la "monstruosité" des concombres et des pousses de soja qui nous hante actuellement. Deuxième point, je suis tout à fait ravi que le message "Melon Carving and the World of Fashion" soit l'un des plus lus de mon blog, je me suis donc dit que peut-être les visuels de ce message vont vous plaire autant que les pastèques sculptés ...

you say potäto and I say potato? potatoes, beautifully arranged and photographed by M. Pfosser

... la settimana scorsa sono andato a Linz e poi passai accanto alla facoltà delle arti e ho visto un affisso per la mostra attualmente in corso presso il Landesmuseum Linz: "Mostri dello scaffale di verdura". Due osservazioni, brevissime: quando la mostra è stata inaugurata, in aprile, non c'era ancora traccia dello scandalo dei germogli e/o dei citrioli che ci sta preoccupando in questi giorni. Che stupenda anticipazione, vero? E poi, siccome so che un messaggio su ParisVienne.com nel quale parlo del taglio delle angurie piace estremamente ai lettori, mi sono detto, chissà se questa riuscita non la potrò ripetere ...

20110622

DECORATIVE and dirty (kind of)


one word for this collection: amazing!
George Bezhanishvili in collaboration with Franziska Fürpaß

... after being the last to comment on the HETZENDORF PERFORMANCE BATTLE, why not do the same thing for the FASHION SHOW OF VIENNA'S UNIVERSITY OF APPLIED ARTS - be the last one to comment...? Here we go, then ... après avoir été le dernier à laisser son petit commentaire sur le "combat" conçu et réalisé par les étudiants du département de mode associé a l'Université de Linz mais situé à Vienne/Hetzendorf, je me suis dit que je pourrais bel et bien faire la même chose pour le défilé du département de mode de l'Université des Arts Décoratifs - être le dernier à trouver des mots ... penso che sono stato l'ultimo a fare il suo commento sulla "gara di moda" concepita dagli studenti dell'istituto di Hetzendorf, mi sono detto, finalmente, perché no ripetere la stessa cosa riguardo alla sfilata dell'Università delle Arti Decorative - essere l'ultimo a scrivere qualcosa ...


George Bezhanishvili (graduate collection)

... well, the show was very decently and professionally organised, in a way that you rarely see in Vienna. The budget must have been quite remarkable, too. My overall impression is that, quite surprisingly, the show was much less imbibed with the Bernhard-Willhelm-spirit than last year's, when the then new professor maybe felt like he had to prove something (or students were so in awe of him that they decided they all wanted to be like him...). Well, and of course, there were some good, and a few excellent, even outstanding collections. Why not start with George Bezhanishvili? Right, why not? I already pointed him out as "Vienna's new fashion star" on ParisVienne and even as a guest contributor to Hint Magazine two years ago, and never changed my mind since then. As a matter of fact, I think that working together with Franziska Fürpaß on both the Femme Maison womenswear label and the George Bezhanishvili menswear label has led to amazing results, enabling both of them (I also particularly appreciate Franziska's talent, a point I equally made in the write-up of the 2009 show for Hint) to prove and strengthen his talent. The collection was strong, the presentation was powerful, the silhouettes were astounding, the colours blasting, the catwalk show quick and impressive. Ten points out of ten. No, wait, eleven. And Mr. Bezhanishvili, hopefully alongside Miss Fürpaß, should definitely find his place in the fashion world. Which means, of course, that he should do it outside of Vienna. And you know what, I'm even optimistic both of them will realise just this - with George recently being granted a scholarship for an internship abroad, that may become a wee bit easier ...

gorgeous and classy: Milena Heussler (4th year, to be watched out for)

... première remarque : le défilé de la fac a été l'un des mieux faits et plus professionnels que j'aie vu ces derniers temps à Vienne, tous les festivals et semaines de la mode inclus, donc décidément : chapeau pour ceci (le budget doit avoir été impressionnant, tout de même). Puis, concernant les collections des étudiants, il y en avait qui étaient tout à fait remarquables : chapeau, encore une fois ! Pour l'impression générale, je dirais que le défilé a été de loin moins BERNHARDWILLHELMISÉ que celui de l'an dernier, sera-ce parce que Monsieur Willhelm a compris qu'il ne faut pas que la signature du prof transparaisse à chaque prix, ou parce que ses étudiants se sont émancipés un peu plus ? Qui saura le dire ... ? Bon, la plus impressionnante, plus cohérente, et ouais, pourquoi pas le dire, la meilleure collection de la soirée a été présentée par George Bezhanishvili, qui a encore une fois réaffirmé son talent tout à fait extraordinaire. Et je dirais même, depuis qu'il travaille avec Franziska Fürpaß sur aussi bien la jeune griffe FEMME MAISON que la collection signée "George Bezhanishvili", l'esthétique a maturé, l'effet de l'ensemble étant tout à fait extraordinaire ... allora, primo commento, uno che riguarda l'insieme della sfilata - è stato un evento impressionante, molto professionale, compatto. Poi la presenza del professore Bernhard Willhelm è stata meno evidente che l'anno scorso, non so se perché lui si è ritenuto un po' nelle preparazioni, o se gli studenti hanno realizzato che non si tratta di rimodellare ad ogni costo il lavoro del professore. E tra le collezioni, ci sono stati degli esempi davvero bellissimi, prima di tutto direi la collezione di laurea di George Bezhanishvili, realizzata insieme a Franziska Fürpaß, un duo con un grandissimo talento che si è affirmato recentemente anche nel loro lavoro sulla griffe di moda femminile FEMME MAISON ...

Milena Heussler, Cobra Commander vs. Eminem?

... another collection that I really loved was 011 by Milena Heussler (4th year), who, in my opinion, is a hot tip for an excellent graduate collection to come our way next year ... puis j'ai adoré la collection de Milena Heussler, étudiante en 4ème année, un nom à retenir pour l'année prochaine à mon avis ... tra le altre collezioni sono stato impressionato dal lavoro della giovane Milena Heussler, studente del 4° anno, il suo nome, nella mia opinione, può esser ritenuto per l'anno che viene ...


truly lovely: light colours by Taro Ohmae (3rd year),
one of the astounding young Japanese designers in Vienna


... Taro Ohmae and Takahiro Ueno are two Japanese students in their third year at university who have amply proved their ability to beautifully work out how colours can function in a collection ... deux étudiants d'origine japonaise, et tous les deux en troisième année, ont également retenu mon attention, il s'agit de Taro Ohmae et Takahiro Ueno, les deux ayant prouvé qu'ils savent utiliser la bonnte quantité des bonnes couleurs ... due studenti giapponesi, Takahiro Ueno e Taro Ohmae, tutti e due nel terzo anno di studi, mi hanno convinto con il loro talento di utilizzare dei colori, finalmente, dei colori a Vienna, ptete immaginare ? ...

more Japanese power: Takahiro Ueno (3rd year), more than convincing



fun with Isis Flatz (2nd year)

... excellent, too: Ken Kumagai, another Japanese student (2nd year) and Isis Flatz (2nd year), colourful and witty, but just right, never exaggerated, and that's definitely good to see in Vienna after long years of mournful purism ... des étudiants en 2ème année, j'ai bien aimé les couleurs et l'humour de Ken Kumagai et Isis Flatz, juste ce qu'il fallait, pas d'exagération (comme on la connaît de leur prof, par exemple ...) ... tra gli studenti del secondo anno, ho trovato interessanti le proposizioni di Ken Kumagai (un altro giapponese...!) e Isis Flatz, ancora una volta, colori, umore, ma mai troppo, mai esagerato ...

final proof by Ken Kumagai (2nd year): the Japanese are good with colours



cut-up cosplay or so? ... Anna-Sophie Berger (left, 4th year)
received two awards for her collection,
her work I show next to Caroline Pretterebner's (2nd year)

... well, and of course there were so many other students' collections to be marvelled at, I can hardly mention all of them. All in all, the show definitely proved that there's enough fresh fashion talent around in Vienna for the next few years and that quite obviously, students from abroad also have the town on their fashion radar. Anyhow, if I may just give everyone a little advice: continuing that Viennese tradition of the past few years and launching your own label immediately after university without gathering further work experience or giving a career as an assistant designer at some bigger fashion brand a try is maybe not the cleverest thing to do. Just a thought ...

Luciano Raimondi's diploma was maybe a Kate Middleton aftermath (left),
Markus Binder (3rd year) received one of the numerous awards

... et voilà tout. Beaucoup de collections, énormément d'étudiants, et avec un talent tout à fait extraordinaire remarquable la plupart d'entre eux. Je pense que Vienne se maintient comme capitale prometteuse dans le contexte international, et puis, peut-être, un jour, le chemin logique que fera un jeune créateur issu d'une des facultés viennoises ne sera plus de lancer sa propre marque immédiatement après avoir diplômé, on verra ... eccovi tutto ciò che volevo dire, ovviamente non posso menzionare i nomi ed i lavori di tutti gli studenti, comunque sono ottimista che Vienna si manterrà come una delle città europee con un impressionante ambito per la moda, e non sono della stessa opinione di uno dei miei colleghi che mi ha detto, "ma perché mostrare e dare tanta visibilità al lavoro di studenti che non hanno mai presentato una collezione a Parigi" (appunto perché non l'hanno fatto!), una cosa solo: lanciare il suo proprio marchio immediatamente dopo essersi laureato, questo è un cammino che non consiglio a nessun giovane designer - sebbene sia stata la soluzione tipicamente viennese degli ultimi anni ...

20110621

BRAND confusion? Versace for the Swedes ...



... along with probably a zillion other fashion editors around the globe, I just received confirmation that Donatella Versace said YES to the Swedes, and a Versace for H&M collection will hit the stores in November 2011. Well, that adds another brand to H&M's collaboration-hall-of-fame. Right? Actually, I think that Versace is really the biggest fish where H&M high-low fashion is concerned, apart from Karl the Great of course (who, however, if he doesn't design for Chanel or Fendi isn't that big a brand in his own right...). And you know what's particularly interesting? In 2008, and that's not soooo long ago despite all that crazy pace of the fashion universe, Donatella told NY Magazine that H&M, under her reign, never... " (...)
I work very hard to put the Versace line in the luxury section. I think to put the Versace line in H&M would confuse the brand." Well, never say never, right ... moi, et tous les autres journalistes et bloggueurs de mode tout autour du monde, on vient d'avoir la confirmation que la prochaine collection réalisée par H&M en collaboration avec une grande marque de luxe, ce sera VERSACE POUR H&M, les vêtements seront disponibles à partir de novembre 2011 - c'est assez intéressant, je trouve, et pour deux raisons : d'un côté, c'est la plus grande marque à collaborer avec H&M à ce jour (c'est clair, il y avait Karl Lagerfeld bien sûr, mais en tant que marque, il n'est pas aussi grand que Versace...), et puis, voyez donc ce qu'a confié Donatella au New York Magazine en 2008: "... je fais d'énormes efforts pour assurer le positionnement de la marque Versace dans le domaine du luxe. Une collaboration avec H&M pourrait brouiller ce positionnement." Eh ben, elle semble bel et bien avoir changé d'avis ... il "Made in Italy", da novembre, si coniugerà con un branding alla svedese all'occasione della collaborazione di Versace con H&M che è appena stata confirmata. Notevole, vero? E per due ragioni: d'una parte, il marchio Versace è di gran lunga il più importante e più conosciuto tra tutti quelli che hanno firmato una collezione per H&M finora, vabbe', all'inizio c'è stato Karl Lagerfeld ovviamente, ma è stato lui, appunto, e né Chanel né Fendi. Dunque, se di marchio si tratta, è oltrepassato da Versace, e chiaramente. E poi, ancora nel 2008, dunque non fa così tanto tempo, Donatella Versace, parlando con NY Magazine, diceva che per lei, una collaborazione con H&M sarebbe stata inimmaginabile siccome "lavora così duramente per assicurare lo standing di Versace come marchio di lusso" e una collaborazione con H&M "potrebbe causare confusione in questo senso". Eh be', mai dire mai ...

20110620

BATTLE ships


from "Pimp My Silhouette and I Will Reanimate Your Pose" (the evening's
winning team) - I really liked the exuberance and the exaggeration -
and also the fun and the fact that the performance gave a witty interpretation
of "fashion in a nutshell", even though, but that won't come as a surprise
in Vienna, indeed, several people I talked to found the performance too cliché
and too simplistic, to put it very clearly I would say "too reminiscent of fashion",
for the local scene is famously sceptical and critical towards all
things that remind them of the "fashion world", which is obviously
considered as a rather ghastly environment noone would ever want to belong to,
but let me tell you - it's not so bad to stick to what fashion is and
is about, if, of course, one day, you would like to be a successful part
of that fashion that does inevitably live by its clichés and stereotypes ...

... a little late, I know, but still, I wanted to say some words about last week's ultimate PERFORMANCE BATTLE powered by Azubis, the students of the bachelor course at Vienna's Heztendorf institute. First thing: Wally Salner and Johannes Schweiger, the parting professors and designers of _fabrics interseason, did an excellent job throughout the past two years and definitely succeeded in re-positioning Hetzendorf as an important academic institution for fashion design in Austria - so congratulations for that. Second thing: with roughly twenty students per year and a total of three years showing their collections, this makes for a total of sixty to seventy and it is virtually impossible to stage a conventional "fashion show" (unless you would want it to resemble the fashion marathon in Antwerp, which is legendary of course) with each and every student showing his or her creations from the past year. Too much, too long, too straining for the audience that would be. The inevitable solution: to select and combine various outfits - and to come up with "alternative modes of presentation" that are so dear to Johannes and Wally, at least they made that clear the very moment their new position was made official two years ago ...

from "How to Do Things With Performance", a stageing of subtle ways of refracting and
altering the conventional modes of presentation in the context of fashion,
yet not leading the concept of a fashion show completely astray

... now, first result, at the end of the last academic year _fabrics interseason invited Samuel Drira, a Paris-based stylist, and asked him to do the styling for the Azubis01 fashion show, picking whatever he liked from the students' collections (without necessarily using pieces from all the collections and without consulting with them too much). There was some talk back then regarding the not so democratic selection process, but spilt milk is spilt milk and shall not be cried over any more ...

from "Performing the Gap" (left), a reflection about gender in fashion and elsewhere,
and "Dress as Though Your Life Depends on It", a performance where the clothes themselves,
it has to be said, ended up being rather invisible ...

... however, the selection of clothes is a principle that, since it is inevitable, was maintained in this year's presentation, but it's quite clear that the students had a word or two to say. When I talked to him beforehand Johannes told me that the overall motto of the past year had been the stageing of fashion, so the idea to invite artists specialising in art performances and have them work with the students on that genre lay at hand. And so it came that Maria Ziegelböck & Salvatore Viviano (Salvatore is an ex fashion pro and part of the gelatin art collective by the way, and just back from the opening of La Biennale in Venice), Jakob Lena Knebl, Sonja Eismann, Christian Egger and Tanja Widmann directed/"curated" a total of five workshops that comprised all students from Hetzendorf's bachelor course.

from: "It's Over" - a performance that was nurtured by the ambivalence of passive obedience (models)
and aggressive dominance (a God-like voice giving directions)

... well, and I do think that we saw some very impressive peformances last week, just like I'm sure that the audience had a really good time and appreciated the ambitious efforts that had been made in order to create a slightly "different" kind of fashion presenation. To entertain the public is NEVER a mistake if you want to pass on a message, do bear that in mind! Now, inevitably, the performances with all their varying approaches that were presented to the audience that night, made it difficult to distinguish between the different collections that were actually shown, maybe some kind of additional online presentation or lookbook or photo shoot would come in handy there for the students, especially the graduates, to actually have something to show that carries their personal handwriting, but all in all, and that's definitely a valid and noteworthy point, people who had come to see the show and expected to see something special did definitely not have to leave empty-handed ...

Some essential information concerning the different groups of performers and designers:

Group 1:
PIMP MY SILHOUETTE AND I WILL REANIMATE YOUR POSE,
curated by Maria Ziegelböck und Slavatore Viviano
participants: Bakk 2: Birgit Danler, Shira Ehlers, Stella Gebauer, Dorothee Huber, Matejana Ilic, Sebastian Kaucky, Susanne Kerl, Julia Platzgummer, Stephanie Rizaj, Lena Scheerer, Ines Sommer Bakk 4: Olivia Altmann, Pia Bauernberger, Elvira Greblic, Laura Haberkorn, Isabel Helf, Alice Jieun, Kim,Luba Liebendörfer, Simone Kathrin Sassmann, Leonie Soyel, Daria Vdovitchenko, Bakk 6: Johanna Diwold, Lisa Edi, Juliane Hutterer, Daniela Karlinger, Lida Marinkova, Katrin Mayer, Jennifer Milleder, Valentina Suvorova, Dominika Turociova, Romana Zöchling

Group 2:
PERFORMING THE GAP,
curated by: Sonja Eismann
participants: Bakk 6: Stefanie Dirninger, Lisa Donhauser, Diane Krusche, Christina Nehrer, Romana Zöchling, Bakk 2: Alina Saavedra

Group 3:
HOW TO DO THINGS WITH PERFORMANCES
curated by: Jakob Lena Knebl
participants: Olivia Altmann, Valentina Schwarz, Louise Witt-Dörring, Lisa Sattlegger, Sophie Skach, Esther Knoll, Theresa Toth, Matejana Ilic, Gabriel Schlesinger, Katharina Zanon, Katharina Perzl, Natalie Ofenböck, Maximilian Rittler, Simone-Kathrin Sassmann, Alice Frey


Group 4:
DRESS AS THOUGH YOUR LIFE DEPENDS ON IT
curated by: Christian Egger
participants: Isolde Mayer, Lena Scheerer, Katharina Triltsch, Aleksandra Kuleska, Johanna Pflaum, Karin Wallner, Ilija Milicic, Claudia Stanek, Esther Knoll, Dalia Hassan, Carolina Neuhold, Lena Fuhrmann, Jana Wieland


Group 5:
IT´S OVER
curated by: Tanja Widmann
participants: Bakk 2: Renée Chvatal, Theresa-Anna Erlach, Johanna Pflaum, Julia latzgummer, Stephanie Rizaj, Linda Schirmel, Bakk 4: Pia Bauernberger, Elvira Greblic, Laura Haberkoren, Isabel Helf, Bakk 6: Katrin Mayer, Lisa Edi, Lida Marinkova, Johanna Diwold, Daniela Karlinger, Christina Nehrer, Madeleine Nostiz, Valentina Suvorova, Romana Zöchling

20110617

Fashion's name IS AMBER

the installation by Wendy & Jim, photographed by Team Peter Stigter

... art has got its all important biennial exhibition, or rather, there's several of them, Venice, São Paulo, the Whitney Bienial. Well, and since many designers won't disagree if you call what they're doing art, it was about time for fashion to get its own biennial attracting and international audience. Arnhem is the place to be since Arnhem Mode Biennale is on until July 3 (it opened almost at the same time as La Biennale di Venezia on June 1st). The creative director of this year's edition (the fourth one, if I'm not mistaken), JOFF, wanted the participating labels/designers to create installations that would reflect their vision of what MAKES fashion, of what is so FASCINATING about it - beyond the mere display of clothes, obviously. "Amber" was the name given to fashion in this exhibition, you can find all the concepts and explanations and press texts online, I'm probably just to dumb to really understand what it is all meant to be about, or, alternatively, the concept is so conceptual that it does end up being meaningless. Anyhow, Amber (please note that the first three letters may well refer to Arnhem Mode Biennale itself...) makes for an obviously rather beautiful exhibition, and if the images of Prada's installation didn't really make me go crazy (looked just like the Prada showroom in Milan, I mean, SUPER, right? - which is why I didn't even download them), there are quite obviously some nice works to marvel at. Wendy & Jim, the Austrian fashion label that has, after an absence of several seasons from the international fashion stage, resurfaced with an appearance in London earlier this year, was invited and showed a fashion tipi (reminiscent of one of their first installations at Palais de Tokyo in Paris, I think), then there is another half-Austrian fashion duo, BLESS, with some of the works they also showed in the exhibition they had in Graz last year (where I was lucky enough to interview them, the interview was a bit chaotic with so many children and friends and family of theirs around, but it sure was interesting...), then there's some Keith Haring-ish work by Nicholas Kirkwood (I'm actually rather fond of Kirkwood's work, even though the Haring reference is totally unnecessary, even Puma and Hilfiger already had his motifs on their shoes...), yes, well, and that's that, and of course, since I haven't even been there - SHAME ON ME - I can't tell you anything about what is going on in other places in Arnhem and what the whole lecture-programme is all about ...


hammocking with Bless, photo: Team Peter Stigter

... une biennale dédiée à la mode, voilà ce qu'il faut à l'univers obsédé par la beauté, le style et l'esthétique du corps pour affronter le monde de l'art. Je veux dire, la biennale d'Arnhem, aux Pays Bas, a ouvert ses portes presque en même temps que La Biennale di Venezia, elle restera ouverte jusqu'au trois juillet - et elle s'engage pour sonder les profondeurs de la mode. Le personnage fictif auquel s'intéressent tous les participants, c'est la fille AMBER qui a été présentée comme figure de proue de la quatrième édition de cette biennale par son directeur artistique JOFF, car Amber, c'est l'essence même de la mode, c'est elle qui incarne tout ce qui fait la différence entre la mode (en tant que phénomène socio-culturel) et les vêtements tout court. Sont accourus pour participer à la biennale beaucoup de maisons, parmi elles de grands noms comme Prada ou Jil Sander, et de moins grandes, par exemple Nicholas Kirkwood de Londres (le prochain Manolo Blahnik, si vous me demandez, à moi), le duo austro-allemand Bless - et le duo fatal Wendy & Jim de Vienne, qui revoient et représentent leur interprétation du tipi de mode, je pense qu'à Paris on l'a déjà vu au palais de Tokyo au début de leur carrière. Je n'ai pas été à Arnhem, mais je pense que l'exposition principale de la biennale vaut peut-être le coup ...

things get Keith-Haringy with Nicholas Kirkwood - Puma and Hilfiger had done
the artsy shoe trick before, and countless coffee mugs, too
photo: Team Peter Stigter

... mentre tutti i tifosi dell'arte si sono resi a Venezia per l'inaugurazione della Biennale d'Arte, i fashion people che volevano rimaner fedeli al loro mondo (sebbene una parte non trascurabile ha preferito di sorbire lo spumante lungo il Canale Grande) potevano tuffarsi in una biennale di moda, a Arnhem, nei Paesi Bassi. La biennale di Moda a Arnhem rimane aperta fino al 3 luglio. La mostra è organizzata intorno a un personaggio fittizio creato dal direttore artistico JOFF: è una ragazza e si chiama Amber, ed è lo spirito della moda, oppure la sua essenza, è tutto ciò che fa che la moda sia più che solo qualche vestito. Be'... Delle interpretazioni del tema sono state presentate da grandi maisons come Prada o Jil Sander, ma sono anche presenti nella mostra delle griffes più piccoli, giovani, ad esempio il marchio berlinese Bless, il designer di Londra Nicholas Kirkwood, e, appunto, di Vienna, il duo Wendy & Jim. Loro presentano una nuova interpretazione d'una installazione che hanno già mostrato a Parigi qualche anno fa, il loro tipi di moda ...


a little Jil Sander minimalism alongside what looks like some video projections,
photo: Team Peter Stigter

20110615

STUFF YOUR CAKEHOLE with s.o.a.p. and get h.a.p.p.y.

"partial visibility" with behind-the-scenes live coverage,
Berlin's Volksbühne is NOTHING in comparison

... I hardly know how to express my joy and glee, actually, I'm still so excited, amazed, breathless, after the wonderful wonderful theatre epiphany that I had last week. After countless unsuccessful attempts (pretentious boredom: Patrice Chéreau featuring Valeria Bruni Tedeschi, unbearable and catastrophic: Christoph Marthaler, a little better: Peter Sellars for Festwochen, not to speak about some rather ghastly Burgtheater experiences) to see some decent, entertaining, nice dramatic art, I finally - and more or less by chance - found what I was looking for. It was during an interview with the graphic design duo Eva Dranaz and Jochen Fill that they mentioned the satirical project entitled S.O.A.P., a theatrical soap opera persiflage conceived and produced by Herr Tomtschek and the "H.A.P.P.Y." gang. A look back: Mr Tomtschek and his joyful crew started a legendary series of clubbings including absurd performances in the nineties, and I was a huge fan and assiduous follower of theirs when I came to Vienna (the older I got, the less assiduously I followed them, because of the boulot-métro-dodo trap that you might be familiar with).

the inimitable Cliffhanger-choreography performed on stage, and cliffhangers there were

Okay, so what S.O.A.P. is actually all about can hardly be summed up in words (the video trailers that you can find on YouTube eloquently demonstrate this great difficulty). Just like in any "real TV soap", the action is manifold and confusing. Intrigues, love, passion, murder, countless coma patients, sex (the pivotal point, I would say), and lots of, uhm, rhubarbing. Wonderful. Unfortunately, I had missed the two preceding episodes and only started with episode # 1002 (to accelerate things a little, the first episode of S.O.A.P. was officially labelled as the 1000th), but I was quick to understand - that there's nothing to understand, really. Just like in real life. There's no point to it, and full stop. Except for learning about the all-important concept of the CLIFFHANGER, which was the evening's dominant theme. And you know, that's a really really precious kind of knowledge that I wouldn't want to miss. For a cliffhanger apparently is that point where an episode or even an entire series stops and leaves you in the dark about a character's future (my all time favourite: a terrorist attack at a Carrington family member's wedding, where the last scene was endless butchery and you really had to wonder whether Aaron Spelling would let the whole thing continue in the first place).

drama! drama!! drama!!!

Right, and of course, even though episode 1003 will not be on stage before autumn, these H.A.P.P.Y. people will be back with a temporary CAKEHOLE pastry performance from June 19 to 26 in Vienna's 17th district. You can find out everything you need to know about this "happyning" on the website of Kulturnetz Hernals. I think I'll stick to Marie Antoinette's infamous stupidity and indeed have cake instead of bread in this promising setting.

such darlings, the cast of S.O.A.P. - theatre stars that you would really like to befriend... boohoo!!

Un peu épuisé déjà après tant d'affabilité à l'anglaise, mais voyons donc pour les faits essentiels : je viens de découvrir un nouveau spectacle tout à fait extraordinaire, hors de l'habituel, très très très amusant. Le tout s'appelle S.O.A.P., c'est un persiflage de la totalité des soap-opéras télévisés, et cela ne se passe pas la télé mais sur scène. Ce magnifique projet théatral qui fut lancé il y a deux ou trois mois par Herr Tomtschek et les associés du collectif H.A.P.P.Y., à Vienne (les "h.a.p.p.y." people ont, depuis les années 90, organisé des soirées techno formidables). Le premier épisode, c'était officiellement déjà le 1000ème, en effet, pourquoi ne pas accélérer un tantinet les choses. Eh ben voilà, pour ce qui est du contenu, il n'y a pas grand-chose à raconter puisque, de toute manière, le contenu reste plutôt incompréhensible - comme dans quelconque "vrai" soap qui tient à sa réputation. Et puis, bon, pour l'instant S.O.A.P. fait une petite pose et ne recommence qu'en automne (ce qui est tout à fait tragique après que les acteurs ont servi un chiffre impressionnant de soi-disant CLIFFHANGERS aux spectateurs). Mais, pour consoler un peu les anciens et les nouveaux fans des happynings, Mr. Tomtschek et ses amis vont participer au festival de l'arrondissement de Hernals du 19 au 26 juin (cliquez ici pour plus d'info en allemand), où ils offriront du gâteau et des tartes à tous ceux qui sont prêts à descendre dans une cave à pâtisseries. Mmmmh, ça promet ...

in for some cake? eager to stuff your cakeholes with fantastic sweet creations? well, no prob ...

Uffi, ascoltatemi bene perché recentemente ho scoperto qualcosa che v'interesserà sicuramente. Si tratta del progetto teatrale concepito e realizzato da Herr Tomtschek ed il collettivo col nome - programmatico - H.A.P.P.Y. Li conosco dagli anni novanta quando, per me, appena arrivato dalla lontana e molto provinciale Carinzia, sono stati una vera rivelazione. Durante anni e anni hanno soprattutto organizzato delle serate tecno, ma sempre includendo i cosiddetti HAPPYNINGS, dunque una specie di performance molto satirica, umoristica, divertente. Di lì al teatro vero e proprio è stato solo un passo, e qualche mese fa è stato lanciato il progetto S.O.A.P., una parodia molto molto molto riuscita delle soap-opera televisive. Il primo episodio che ci fosse è già stato, ufficialmente si capisce, il millesimo, e infatti, perché perdere tempo. Sesso, droghe, invidia, gelosia, pazienti in coma, intrighi - c'è proprio di tutto. Di tutto ciò che si vuole, anche. Poi, sfortunatamente, adesso S.O.A.P. fa una pausa estiva, ma per tutti i tifosi inhappicizzati, c'è un altro promettente progetto che si realizza dal 19 al 26 giugno nell'ambito del festivale di Hernals (si tratta di un borgo viennese), intitolato BUCO DELLA TORTA. Cosa c'è esattamente dentro questo buco, se si tratta unicamente di torte o se magari c'è ancora qualcosa di più, lo vedranno tutti costoro che hanno il coraggio d'esplorarlo ...