Louise Trotter on Making Garments That Feel Good
By Wim Langedijk for HURS
Louise Trotter on Making Garments That Feel Good
HUR Reads is our definitive shortlist of the most prominent articles from around the web.
By HURS Team
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Give Louise Trotter Her Time
At Bottega Veneta, Louise Trotter is taking a measured approach to her new role as creative director, favoring gradual evolution over a dramatic reset. Drawing on a career spanning the Gap, Tommy Hilfiger and Carven, she is refining the house’s signature leatherwork while bringing greater softness and texture to its clothes. Her bet: that clients value craftsmanship, quality and how a garment feels as much as how it looks.
THE CUT
For nearly 50 years, Jenny Holzer has used language as her artistic medium, transforming words from archival documents, poetry and government records into public installations. Her latest exhibition at Paris’s Musée d’Orsay draws on letters and diaries by artists and writers from the 19th and early 20th centuries, whose reflections on war, inequality and uncertainty feel strikingly contemporary. Through illuminated texts, sculptures and paintings, Holzer invites visitors to reconsider the present through the voices of the past.
T MAGAZINE
Los Angeles design duo Elora Joshi and Andrew Greene transformed a once-neglected spare room into a considered home office that doubles as a showcase for their studio, Joshi/Greene. Inspired by Shaker design, their space pairs a custom metal peg-rail system with vintage Philippe Starck chairs and a desk of their own design. Personal touches include sketches by Joshi’s mother, reframed in aluminum by Greene, bringing warmth and cultural history to the otherwise minimalist interior.
THE NEW YORK TIMES
Nobel laureate Svetlana Alexievich has spent nearly four decades documenting the human cost of Soviet and post-Soviet history through the testimonies of ordinary people. In a new interview, the Belarusian writer reflects on her oral-history practice, from accounts of the Second World War to the Chernobyl disaster and the Soviet war in Afghanistan. Now living in exile in Berlin, she is working on a book examining hatred and violence amid the Belarusian revolution and Russia’s war on Ukraine.
THE PARIS REVIEW
Before social media made identity a daily performance, Cindy Sherman was already exposing its artifice through her elaborate photographic personas. Her latest series, Fabric Matrons, on view at Hauser & Wirth in London, examines ageing women and the pressures of remaining visible, using archival Chanel fabrics, costume jewellery and prosthetics to create unsettling fictional socialites. Friends and curators reflect on Sherman’s enduring influence and her incisive explorations of femininity, self-presentation and the images through which we define ourselves.