How Jeremy Scott Became the Designer for Katy Perry, Madonna, and Miley Cyrus

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The model Coco Rocha at the Jeremy Scott show during New York Fashion Week.

Photo by Brian Ach / Getty

Last Friday, the runway show of Jeremy Scott’s Spring 2018 collection,
at New York Fashion Week, was followed by an after-party—before the
after-after-party—at which the London-based stylist Johnny Blue Eyes,
who is best known for dressing the singer Lana Del Rey, wearing a long,
wavy blond wig and exaggerated eyelashes above his full beard, stripped
to a black thong and rolled across the floor in the middle of a cheering
circle of revellers. That was the beginning of the evening. Scott, who
loves a party, was celebrating the twentieth anniversary of his label—a
milestone made more notable by the fact that he has only recently
experienced popular, critical, and financial success. Many
designers—Alexander Wang and Rodarte’s Mulleavy sisters among them—peak
early and struggle to maintain momentum. Scott spent his early years
bouncing between obscurity and the outright disdain of the fashion
cognoscenti, who didn’t get the point of his cartoon-inflected and
slogan-covered designs. He found, and continues to find, inspiration in
jarring sources—in junk food, for instance, or Jesus—and he likes to
dress adults in teddy-bear prints. For the Italian label Moschino, where
he has been the creative director since 2011, Scott based a collection
on SpongeBob SquarePants.

Brands now seek out Scott for an injection of whimsy. His winged Adidas
trainers sell on eBay for hefty prices. He has designed a Smart car for
Mercedes-Benz, and a baby stroller for Cybex. He has his own peculiar
take on high-low fashion: at Moschino shows he hands out plastic iPhone
cases (one that resembled a pack of cigarettes caused a small scandal),
while at his eponymous label he leaves Longchamp satchels on each
front-row seat. (The initiated know to arrive early.) This season’s
satchel was black, emblazoned in crimson with “Viva Avant Garde”—a
slogan Scott used back in the nineties.

The gallerist Jeffrey Deitch, who attended Friday’s show dressed in a
dark-blue pin-striped double-breasted suit and a pale-blue necktie,
described Scott’s work as “a fusion of Pop art and performance art and
fashion.” In 2003, Deitch organized a gallery showing of Scott’s work
called “Sexybition,” in which Scott’s designs were displayed in
peep-show booths. “What he did was really radical,” Deitch recalled,
adding that there was a “pole-dancer section.” Pole dancers at New York
Fashion Week are now commonplace (the Web site Pornhub showed a small
collection as one of the past week’s events); Scott is accustomed to
seeing his ideas take root. He was designing athleisure long before the
term was coined. The new label Monse (pronounced Mon-say) has been
making a name for itself by placing collars at the hems of shirts and
setting sleeves akimbo. “Taking clothes and turning them upside down—I
did that in 1997,” Scott said.

7Photograph by Peter White / Getty

7Photograph by Jason DeCrow / AP

7Photograph by Victor Virgile / Gamma-Rapho via Getty

7Photograph by Peter White / Getty

7Photograph by Peter White / Getty

Sourse: newyorker.com

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