Tom Sachs's mission to Mars launched last night at the Armory in Manhattan.

 
His latest full-scale works are truly awe-inspiring in their detail; a unique blend of technical mastery and humour. Mission control patrol the area on skateboards, doing stunts on the Mars rocks. The lunar module is has 2 floors and a fully stocked bar at the top.

The two female astronauts who are living on Mars for the duration have a strange love-hate relationship. Their mission includes digging up the surface of Mars to plant opium poppies, the seeds for which are scraped off poppy-seed bagels.

In Tom's first piece of architecture they perform a tea ceremony in a hut built for the purpose.

There are demonstrations taking place weekly until mid June including an endurance demonstration of everything in there on June 7th. 

This is a major mission which you shouldn't miss. The whole crew have been training in space camp for weeks now. I just want to have a go at driving that Mars Rover!
 

Related Pops:

• POP 875 Thursday 29 March 2012

Just in time for the Cannes Film Festival (yep it is the time of the year again!) – Mr Armani released his new Frames Of Life campaign video which was filmed nowhere else than in St Tropez!
Let's say the story is a little bit of when Romy got a hair cut like Jean and met Alain and what could have happened if there was a happy ending…
Some of us were lucky to be on set of this little movie and enjoy a few days of St Tropez' at its best… Miss Tui, when do we go back?

armani.com/framesoflife

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POP loves all things China and all things Prada.

Word is Hangzhou's MixC Mall – the city's luxury shopping centre – has just welcomed Prada as its latest addition.

We think China + Prada is almost as good as Bowie + Iggy…

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A year after the widely acclaimed Alexander McQueen retrospective, the Met's current Costume Institute exhibition explores the work and philosophy of two iconic designers from different eras.

Inspired by caricaturist Miguel Covarrubias' 'Impossible Interviews' for Vanity Fair in the 1930s, 'Schiaparelli and Prada: Impossible Conversations' surrounds the very words of these two fascinating Italian women, and encourages us to view their work in a new light.

Directed by Baz Luhrmann, the videos of simulated conversation between Schiaparelli (played by Judy Davis) and Prada over a dinner table run throughout the exhibition and explore themes such as 'Waist Up / Waist Down', 'The Surreal Body' or 'Ugly Chic'. Both amusing and insightful (while Miuccia and Elsa do not always agree with one another), the conversations draw parallels between their conceptual and creative approaches to challenge conventional ideas of beauty and glamour, whether in their unexpected use of materials and imagery, surrealistic strategy or sartorial provocation.

The exhibition features approximately ninety designs and thirty accessories from the Costume Institute's collection, the Prada archive as well as other institutions and private collections, with highlights including Schiaparelli's tear dress, pieces from her Circus collection, Prada's S/S 1999 dresses embroidered with broken mirrors and S/S 2008 pieces featuring fantastical illustrations by James Jean. Prada shoe lovers and Schiaparelli millinery fanatics will not be disappointed!

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From Louis Vuitton's exhibition at Les Arts Décoratifs to Christian Louboutin at the Design Museum later this year, 2012 is set to celebrate the great fashion houses of our time. One of which will be the elusive House of Hermès, displaying their six-decade long history with Leather Forever, an exhibition opening today that celebrates the maison's renowned craftsmanship. After 175 years, Hermès is still, by far, one of the greats in leather goods, due much to their understated luxury aesthetic. It all started as a harness and saddle brand and later responded to popular demand by adding leather accessories. Soon after the brand the established itself amongst The House of Goyard and Louis Vuitton as one of the world's most elegant Fashion houses.

The exhibition positions itself appropriately as Hermès nears its 176th year and loyal fans will no doubt be profoundly impressed by the extensive backlog of bags on show – including four celebratory pieces respectably named 'England, Ireland, Scotland and Wales' all of which will be sold to support The Royal Academy of Art. But what makes this exhibition so relentless to indulge is the exclusive look into how production takes place, as several craftsmen from the Hermès workshop in Paris will be whipping up the finest leather bags live at the exhibition – for visitors' eyes only. As a Kelly fanatic myself, I have to give Hermès kudos for the ultimate demonstration in a retrospective. You can't get closer than this.

Leather Forever opens today, 8 May, at 6 Burlington Gardens, London.

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Speed and excess; a playboy pair of nouns that sums up the status of today. Governed by a touch-of-a-button culture. We've become hungrier, thirstier and seldom satisfied. Impatience and impermanence govern. Collections are turned out and blasted online. Take-your-pick-please-pre-order. Fatigued before they've even hit the shop floor. 

Peir Wu, a Singaporean menswear designer from Central Saint Martins' hallowed MA halls, examines, exploits and overturns this to propose a new ideal man: tight, terse and teutonic: stripped of all superfluous elements and ready to take on menswear. Garms for the thinking man's minimalist, Peir plays on (and off) menswear traditions of tailoring and sportswear via innovative fabrication and tweaked silhouettes. 

Clean, crisp and, above all, considered, this is the antidote to haste and excess. Timeless, aspirational menswear for now and beyond, thank you Peir Wu!

Silver bangle by Tateossian.

Tell me about AW12-13…
AW12-13 was a combination of sportswear and tailoring in a very futuristic and Haute Couture way. The techniques are completely new and unique, I wanted to re-think menswear classics and simplify what I thought was unnecessary; to purify and push in a new direction. Likewise, with every collection I try to challenge convention by combining the unexpected, be it in terms of elements, fabrics and/or techniques. 

There are elements of your previous collections in AW12-13 with the ribbing, the muted palette – Peir Wu trademarks – but they have evolved with the introduction of specific sportswear elements and slightly shifted silhouettes. Was this intentional or more of an organic process? 
It was a very organic process. The MA collection was a self-indulgent experiment into this futuristic tribe of men I envisioned using stripped-down tailored knitwear. It was a good foundation for the label, a fresh clean slate. Simple, but not simpler.

I've been climbing for the past 7 years and it has shaped a lot of how I work and think. In climbing, it's the line of least resistance, technique, grace and tenacity. 

There is no one way to climb a line, you have to be very honest with yourself. It's about focusing on your own abilities and finding your own method. It’s not about pulling your way to the top, but more how beautifully you climb it. That is how I approached building my label. I've had to think more in depth about the intention behind my work: why I do what I do, the bigger picture, and really focusing on how I would do something which is unique, yet effortless and, in a way, no bullshit. So the ideas evolved….

I know fabric development is really integral to your work, can you tell me about the fabrics and techniques you've used for this season?
I was inspired by a power mesh, which is traditionally used for corsetry and I applied my knowledge of tailoring in a kind of new radical way. The surface of this material is strange (in a good way!). It has an incredible "body" to it, like a new super lightweight neoprene. I also continued with the technique I developed for AW11 but applied it in a simpler way on the edges of ribbed sleeves to make it look like the sleeve has been dipped in a liquid crepe! 

With the power mesh, there was strong fabric development into finding the right fusion for it. It may look very simple but there was a lot of experimentation into developing the material, and then simplifying the process. It is something that no one else has done so it wasn't easy to find the right people to execute the work for me. It is a very demanding process, but I’m lucky to have just the right amount of support to realise and execute the idea.

I took your MA collection as a purposeful play on (and against) tradtional menswear, how important is the dialogue between tradition and innovation in your work? And is this something you consider with regard to fabric choice?
With building a collection for men there are certain pieces one needs to make, for example: a jacket, a pair of trousers, a shirt, a coat. But it didn't just end with a jacket, say a 3-button jacket with the 3 fabric variations from my collection. I thought if Prada or Thom Browne could do a classic 3-button suit jacket better than anyone else, then there wouldn't be a point in designing one as well. So then what am I bringing that’s new to the market? A new silhouette? My personal vision of what menswear could be? 

So for example, one of the main pieces of the AW12 collection is a tailored jacket. I took away the lapels, took away all welt pockets on the front or inside of the jacket – it's a patch pocket on the inside front of the jacket – hidden zip closure instead of a (insert any number here) button closure – an invisible zip back pocket like in a cycle jacket – and ribbed sleeves. It's kind of radical but very simple at the same time, not difficult to wear. I'm not sure if it's the perfect balance between tradition and innovation but I'm just trying out some ideas at the moment, putting it out there and hope it starts a dialogue.

With fabrics, it's either about reviving the mundane (like using ribbed knit for example) or new materials (like power mesh for menswear tailoring), but I'm all about finding new combinations and techniques with the way I work. 

Do you think this dialogue between tradition and innovation is indicative of menswear designers in general?
There is definitely a strong focus on new finishing’s, new combinations in womenswear, also a new reductionism, and it will slowly filter through to menswear; the trends are much slower. I think we're all definitely searching for more now. Not just surface embellishment nor a themed version of something. It's no longer just a marginal improvement on what everyone else is offering.

You mentioned the three-button blazer, menswear 'staples', do you find the purported impositions of menswear help or hindrance? 
Hmm….I don't really see it as helpful or a hindrance… I think the Central Saint Martins MA was kind of a crucible to emerge out of and be free of all rules and accepted ideas. Of course I don't believe in futuristic menswear just for the sake of it; it's about finding the perfect balance. I recently read an article by Cathy Horyn – her reflection on the recent menswear shows – and she wrote this which I found inspiring:

"What's interesting to me is that a young fashion customer might actually prefer the leaner visual drama of a gentleman who is at heart a murderer. I got that sense from the super-polished black leather in Raf Simons' Jil Sander show. Obviously no old-school gentleman would wear head-to-toe leather, but that's my point: What if there's a new class of gentlemen out there? It's up to designers to imagine how such a person might interpret things like impeccable tailoring and good taste. You don't have to stay in the same Savile Row rut or, for that matter, in the costume shop at Pinewood Studios."

Re: Impositions of menswear. Is it something to rally against? Or to consider, ingest, reference and alter? 
Food for thought: "less waste, more taste".

Your Biography mentions an intention to get rid of "all superfluous elements…within a reductionist ethos" and your work has always possessed a quiet, considered minimalism. What appeals to you about reductionism?  
Eliminating all that noise, it gives me space to breathe, think and focus.

Who is inspiring you at the moment?
Yvon Chouinard, the owner and founder of Patagonia. I recently read a book of his entitled "Let My People Go Surfing, The Education of a Reluctant Businessman". It's just an autobiography about his upbringing, how he found a passion for climbing and blacksmithing, set up a business based on a very simple idea (making and designing better pitons and carabiners), surrounded himself with like-minded others and built it up with authenticity. It's a beautiful book, so personal and unique; a story of the success of a social misfit! 

The MAN day schedule for June has recently been announced, peppered with big names and cocktail parties, what is the reality for a young menswear designer in London? 
Of course it's a lot of hard work and so much to learn as we go along. My mind is constantly searching for new possibilities, finding new solutions, and then figuring out ways to execute the ideas. London is a great place to start your own label, so much support for small businesses, there're so many small production units around, freelancers to engage, I also have very close friends from my Saint Martins days and we work hard and support each other's works so I'm happy here. 

I'm not sure what I think of fashion week or maybe rather, the hype and sensation that surround fashion. I find it's a different world and very confusing, personally it's a bit much. You know there are lots of designers who are removed from that who are doing great things because they're focused on their craft. It's just at your own pace, at your own time, and what feels more natural. But I’m a severe introvert and that's just my take on it.

And finally, what's next for Peir Wu. Any SS13 hints? 
Colours! It's more relaxed and fresh. This time I have some amazing people on board, we're working on some new ideas, experimenting, taking risks. We're excited about it, but have to work super hard now, not long left until fashion week!

Photography

Hair Roku Roppongi using Bumble & Bumble
Make-up Kaori Mitsuyasu using M.A.C Cosmetics
Model Harrison Tea at D1 

All clothing by Peir Wu.

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Everything is always a little more satisfying when it’s for a worthy cause.

Taking up his role as Millennium Development Goal Global Leader, Tommy Hilfiger is teaming up with non-profit organisation Millennium Promise to produce a very exciting new collection, with the intention to eradicate world hunger and empower poverty-stricken communities. Since 2009, Mr. Hilfiger has contributed 2 Million Dollars to the Millennium Villages Project throughout Sub-Saharan Africa – more specifically, a cluster of villages called Ruhuiira in Uganda. The innovative partnership celebrates the globalisation of its philanthropic mission to help build a healthy and civil society.

The collection features trademark Hilfiger design classics imbued with a fresh African inspired colour palette and bold ethnic prints. The best part is that 100% of the proceeds will go back into the charity to help maintain their long-term goals. This, the designer stresses is to “engage our customers and have full transparency, we are even giving them the chance to track, online, how their purchases directly affect a person or village in Ruhiira”.

The best part about the collaboration is its ability to increase awareness about fundamental global concerns such as HIV and Aids, Universal Education and Women’s Rights. With vivid prints everywhere this summer, this is charitable giving which requires no effort. We look forward to more collections like this in the future.

Kudos Tommy.

The Promise Collection is available now in Tommy Hilfiger stores globally, and online.

tommy.com

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In what seems like an unlikely pairing, the design team at Dr. Martens dived into Liberty of London’s textiles archive to customise a new set of floral footwear, suitably christened “Wild Nature”. 

Punks once wore DMs to stray mainstream society. These days, it’s more of an aesthetic choice. Founding father of the arts and crafts movement William Morris would be glad to know that the DM team pulled out his ‘Strawberry Thief’ print – which famously mythologised the cheeky thrushes that once prevented fruit from blossoming in his family home – and reworked it onto their classic boots and satchel bags. The product is already pretty wild, but studs and a good ol’ Sharpie will do no harm. Find the collection first at Liberty of London from Tuesday before hitting Dr. Martens stores worldwide this June.

POP speaks to the longtime bootmakers’ Marketing Director Simon Jobson about the collaboration, beauty and rebellion.

What brought Liberty and Dr. Martens together?
While we have produced our own floral prints, we decided to approach "the" floral print brand, which is also an iconic British institution. We liked the contradiction – both brands stand for quality and craft, but then there is this polar opposition: Liberty’s brings to mind beauty and refined intricacy which sits in strong contrast to the tough and rebellious ethos of Dr. Martens.
 

But was there a spirit of anarchy you detected in Liberty’s ethos?
If you go right back to the inception of the store, Arthur Lasenby Liberty, having worked at Messrs Farmer and Rogers in Regent Street for 10 years, decided he wanted to start a business of his own, believing that he could change the look of homeware and fashion.

This belief is something that has run through the history of the store and whilst it is not necessarily classed as anarchy, it’s still the act of someone wanting to stand out and make a difference, which is what sets iconic people and brands apart.

The Liberty fabric archive is a cornucopia of delightful prints. Why did William Morris’ Strawberry Thief stand out to the DM design team?
We thought that the pre-Raphaelite nature of the artwork made sense as a direct contrast to Dr. Martens’ utilitarian boots and shoes.

How does this first time collaboration with Liberty feel for Dr. Martens?
Very enjoyable and informative. We spent a lot of time going through their back catalogue with their archivist and spoke in detail about the right print and how they made sense from both our perspectives. The second print we are using is "Martens Flower", a floral print from the 30's that hasn't been used for years. They let us update it using our colour palette.

Can rebellion be beautiful?
Of course. Acts of rebellion are often spontaneous and in response to something that people believe strongly in; it is the ultimate act of personal and group expression. Rebellion has also changed the face of history and rewritten culture and society for the better. We wouldn't have had the American Civil Rights Movement. To quote Martin Luther King: "A riot is the language of the unheard.”

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Yesterday was a day of many firsts. Never before had I been to an MC Clash. Nor had I previously spent a Sunday standing in a packed, sweaty tunnel beneath Waterloo station listening to leading artists of the UK's urban music scene. Nor had I ever got so lost in the music that I unconsciously moved with the swarming crowd, attempting to ‘spit’ the resounding lyrics, much to my friend’s embarrassment…

Yesterday I found myself at the first UK Converse Block Party; a free urban musical festival held in the Old Vic Tunnels. The day party was hosted to celebrate the launch of Converse’s new Star Player footwear range and attracted a lively crowd, gathered together for a joint love of urban music and a good time. Donning my trusty Chuck Taylors, I made it over to SE1 (sacrificing my usual lazy Sunday routine of Eastenders Omnibus and sofa sessions) and was pleasantly surprised by the awesome atmosphere and location.

Sizzling street stalls selling jerk chicken established the festival vibe whilst impressive live graffiti demonstrations were supplied by Neas and Vibes – two of the most respected spray can artists. In the main room P Money, Wiley and Skepta performed to a raucous and rapturous response from the young crowd. When it got too much in the excitable throng and a break from the reverberating sound system and humidity within the tunnels was needed, respite could be taken watching the Converse Pro Skate team.

Lady Leshurr, a miniature mix between Nicki Minaj and Azealia Banks via Birmingham, warmed up the revellers before the MC battle. The winner by unanimous decision was Row. D who set the crowd on fire with his witty and sharp rhymes. The highlight: when he told his rival that his girlfriend looked like Lil Wayne. All in all, an unforgettable day. I’d be more than happy to forgo my dose of Dot Cotton et al for a similar event in the future.

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Wednesday evening saw the private view of PRISM’s new temporary space at Harvey Nichols. POP dropped by for a glass of champers and to have a peek at the installation…

Designed by architect Rafael de Cardenas and set designer Robert Storey, World of Prism showcases the hand-made eyewear in a distinctive skeleton beach, lending that holiday vibe we’re all longing for in the recent grim weather.

In Rob's words, "We aimed to reflect the [brand's] aesthetic and where it comes from. Obviously the name PRISM says it all! I wanted to create something for the brand that was beachy, summery, sexy and fun. We all have quite a similar aesthetic, which is why we ended up working together."

The shop stocks the brand’s new collection, featuring frames carved from blocks of Italian acetate, dating as far back as 1849, and is displayed alongside PRISM's latest swimsuit range, summer espadrilles and new collaboration with Box Rox Jewellery.

 
"The collaboration with Rob and Rafael ended up as a bit of a design triangle. We were working together between London, New York, and LA! It developed quickly and felt very natural. Prism’s design is minimal, focusing on the fit, colour and high quality details and materials. The swimwear is designed to be the perfect fit", says founder Anna Laub.

 
The installation will be up for 3 months. On a side note, we've heard whispers that a Prism store is in the works and will open in a major city somewhere soon…keep your eyes peeled!
 

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