Latest news with #Disarm
Vogue
10-07-2025
- Entertainment
- Vogue
Billy Corgan on Soundtracking Glenn Martens's Margiela Debut—'God, I Would Die to Wear That'
How did this collaboration come about? Billy Corgan: They reached out, gosh, it seems like about a month ago. They wanted to use 'Disarm,' which is a song I wrote—and I said they could do whatever they liked with it. I'm cool with it. I had no expectations when I was invited to the show; we were in Paris anyway for a trip, so I thought, 'this is nice!' I hadn't been to a fashion show in probably over 20 years—I think Valentino was the last fashion show I was at. This is the world my wife [designer Gilles Mendel's daughter] lives in, not me. Of course, I know Margiela, I used to buy Margiela back in the '90s, so it's not like I didn't think it was going to be beautiful, but whatever expectations I had, I was just blown away. I knew they were going to use the song, but I had no idea that the song was going to be the core of the presentation. It was surreal because I'm both feeling the song—it's my song—and then I'm watching this beautiful work go by and I thought it was magical. I loved it. The show was amazing. The use of my song was amazing. It was a pretty mind-blowing experience. Did you get to meet Glenn Martens after the show? I'm not somebody who wants to bum-rush my way backstage. I'm often put in the same position, especially after a show, it's a lot of intensity, energy, and emotion; so we went upstairs and hung out at the party. [But after] we went and talked to him. He told us that he'd been listening to the song for about three days in a row as they were preparing for the show. It was very flattering. He said, 'I'd love to do something again,' and I said, 'look, you could use my music into infinity, if this is the way you're going to use my music.' How does it feel when people make connections like this with your music? It's Glenn's debut show at Margiela and it plays such a big part in the message that he's trying to transmit. I don't know what it's like to launch a show like he did, but I certainly know what it's like to put yourself in the position of all that pressure and all that expectation. And I felt very honored to be a part of that. As somebody who routinely stands onstage in front of 40 or 50,000 people; as the gowns were going by, I was like, 'oh my God, I want to wear that, Oh my God, I want to wear that.' So I did mention that last night to Glenn, and I said, man, I want to wear some of this stuff on stage. It's so tremendous. That's the greatest compliment I can pay somebody, to say, oh my God, I would die to wear that.
Fashion Network
09-07-2025
- Entertainment
- Fashion Network
Maison Margiela Artisanal: Martens makes a stumbling debut
In a quiet haute couture season in Paris, the city needed a major wow-factor debut, but it did not really get one at Glenn Martens ' first show for Maison Margiela Artisanal on Wednesday night. There were undoubtedly some moments of real magic, notably some highly distinctive aviary action – from sublime feathered looks, to some bold and brilliant tailored coats made in a Renaissance style prints of game birds. The final evening dresses in crepe and silk finished in small clouds of lace showed a highly skilled draper at work. To those, we add a kicky series of mashed up interior fabrics, which one imagined founder Martin Margiela would have loved. However, the decision to cover every model's head with a mask, skullcap or even cooper pot eventually felt tired and repetitive. It also meant many of the cast were forced to plod ponderously around the show space. Post-show, many iPhone videos that editors shot looked like slo-mos even if they were filmed in real time. Staged in 104, a north Paris art and theater show-space where Martin Margiela staged shows, the set was a mock marble palace that had fallen on hard times. Martens' opening looks had plenty of punch: a series of dresses and gowns made in scrunched up plastic, with no underwear visible. Their accompanying masks were scrunched up plastic too. A splendid conical dress followed in a shade of degraded concrete, with lining and skullcap made of silvery beading. Born as the conceptual brand par excellence, a series on dark suits or the house's signature painted jeans covered in muddy plastic seemed logical. Then Glenn went into overdrive with two humungous yellow gold and blackened silver metallic dresses, leotards and masks were superbly theatrical. However, while the clothes must have been complicated to make they were clearly even more complicated to wear. Many models could barely move their legs. And the cast hesitated to even turn as they marched through the various rooms and corridors of the set. Several strums of a Spanish guitar announced the beginning of this show, whose crescendo was The Smashing Pumpkins' "Disarm". But this show did not disarm or enchant. Martens always had a hard act to follow, seeing as the final couture show of his predecessor was the most acclaimed fashion show of the decade. Martens has always been a very talented designer, and still seems a good fit for Margiela. However, all told, this show looked like a pale shadow of that final epic Galliano display.
Fashion Network
09-07-2025
- Entertainment
- Fashion Network
Maison Margiela Artisanal: Martens makes a stumbling debut
In a quiet haute couture season in Paris, the city needed a major wow-factor debut, but it did not really get one at Glenn Martens ' first show for Maison Margiela Artisanal on Wednesday night. There were undoubtedly some moments of real magic, notably some highly distinctive aviary action – from sublime feathered looks, to some bold and brilliant tailored coats made in a Renaissance style prints of game birds. The final evening dresses in crepe and silk finished in small clouds of lace showed a highly skilled draper at work. To those, we add a kicky series of mashed up interior fabrics, which one imagined founder Martin Margiela would have loved. However, the decision to cover every model's head with a mask, skullcap or even cooper pot eventually felt tired and repetitive. It also meant many of the cast were forced to plod ponderously around the show space. Post-show, many iPhone videos that editors shot looked like slo-mos even if they were filmed in real time. Staged in 104, a north Paris art and theater show-space where Martin Margiela staged shows, the set was a mock marble palace that had fallen on hard times. Martens' opening looks had plenty of punch: a series of dresses and gowns made in scrunched up plastic, with no underwear visible. Their accompanying masks were scrunched up plastic too. A splendid conical dress followed in a shade of degraded concrete, with lining and skullcap made of silvery beading. Born as the conceptual brand par excellence, a series on dark suits or the house's signature painted jeans covered in muddy plastic seemed logical. Then Glenn went into overdrive with two humungous yellow gold and blackened silver metallic dresses, leotards and masks were superbly theatrical. However, while the clothes must have been complicated to make they were clearly even more complicated to wear. Many models could barely move their legs. And the cast hesitated to even turn as they marched through the various rooms and corridors of the set. Several strums of a Spanish guitar announced the beginning of this show, whose crescendo was The Smashing Pumpkins' "Disarm". But this show did not disarm or enchant. Martens always had a hard act to follow, seeing as the final couture show of his predecessor was the most acclaimed fashion show of the decade. Martens has always been a very talented designer, and still seems a good fit for Margiela. However, all told, this show looked like a pale shadow of that final epic Galliano display.
Fashion Network
09-07-2025
- Entertainment
- Fashion Network
Maison Margiela Artisanal: Martens makes a stumbling debut
In a quiet haute couture season in Paris, the city needed a major wow-factor debut, but it did not really get one at Glenn Martens ' first show for Maison Margiela Artisanal on Wednesday night. There were undoubtedly some moments of real magic, notably some highly distinctive aviary action – from sublime feathered looks, to some bold and brilliant tailored coats made in a Renaissance style prints of game birds. The final evening dresses in crepe and silk finished in small clouds of lace showed a highly skilled draper at work. To those, we add a kicky series of mashed up interior fabrics, which one imagined founder Martin Margiela would have loved. However, the decision to cover every model's head with a mask, skullcap or even cooper pot eventually felt tired and repetitive. It also meant many of the cast were forced to plod ponderously around the show space. Post-show, many iPhone videos that editors shot looked like slo-mos even if they were filmed in real time. Staged in 104, a north Paris art and theater show-space where Martin Margiela staged shows, the set was a mock marble palace that had fallen on hard times. Martens' opening looks had plenty of punch: a series of dresses and gowns made in scrunched up plastic, with no underwear visible. Their accompanying masks were scrunched up plastic too. A splendid conical dress followed in a shade of degraded concrete, with lining and skullcap made of silvery beading. Born as the conceptual brand par excellence, a series on dark suits or the house's signature painted jeans covered in muddy plastic seemed logical. Then Glenn went into overdrive with two humungous yellow gold and blackened silver metallic dresses, leotards and masks were superbly theatrical. However, while the clothes must have been complicated to make they were clearly even more complicated to wear. Many models could barely move their legs. And the cast hesitated to even turn as they marched through the various rooms and corridors of the set. Several strums of a Spanish guitar announced the beginning of this show, whose crescendo was The Smashing Pumpkins' "Disarm". But this show did not disarm or enchant. Martens always had a hard act to follow, seeing as the final couture show of his predecessor was the most acclaimed fashion show of the decade. Martens has always been a very talented designer, and still seems a good fit for Margiela. However, all told, this show looked like a pale shadow of that final epic Galliano display.
7NEWS
03-06-2025
- Lifestyle
- 7NEWS
THE ICONIC end of season sale: Shop top brands like Levi's, Calvin Klein, Tony Bianco up to 60 per cent off
The ICONIC is having a massive sale on many of its top brands including Levi's. Levi's continues to define timeless denim with its latest release, the '94 Baggy Jeans, a modern take on a relaxed classic. The jeans, normally $119.95, currently $83 are crafted from a sustainable blend of 95 per cent cotton and 5 per cent recycled cotton. Know the news with the 7NEWS app: Download today These jeans not only offer the comfort and durability Levi's is known for but also reflect a growing commitment to environmentally conscious design. The high-rise waist, belt loops, and traditional button-fly closure nod to Levi's heritage, while the exaggerated baggy fit channels a laid-back, vintage aesthetic that's making a strong return in today's streetwear-inspired fashion. Designed for both longevity and style, the '94 Baggy Jeans are made to be worn often and washed sparingly — just once every 10 wears — to extend their life and reduce environmental impact. True to Levi's philosophy of quality and culture, these jeans blend the brand's historic appeal with a modern edge, making them a staple for anyone looking to balance authenticity with current trends. Whether styled with a classic tee or a structured blazer, the '94 Baggy Jeans are a versatile piece that effortlessly bridges the gap between comfort and cool. To help you shop the full sale range, we've curated lists below of some of The Iconic's top products. Levi's Ribcage Wide-Leg Jeans, $127 — $32.95 down from $159.95 90's 501 Jeans, $111.97 — $47.98 down from $159.95 Wedgie Bootcut Jeans, $119 — $30.95 down from $149.95 Vintage Denim Overalls, $143 — $36.95 down from $179.95 High Baggy Shorts, $90 — $39.95 down from $129.95 Calvin Klein Modern Cotton Unlined Bralette, $29.97 — $19.98 down from $49.95 Cotton Stretch Boxers Brief 3x Pack, $62.50 — $37.45 down from $99.95 — $29.98 down from $99.95 Modern Cotton Bikini Briefs, $17.97 — $11.98 down from $29.95 Strapless Push-Up Bra, $44 — $45.95 down from $89.95 Tony Bianco Frisky Boots, $179.97 — $119.98 down from $299.95 Archer Shoes, $96 — $93 down from $189 Hawaii Flats, $80 — $109.95 down from $189.95 Jasmin Heels, $120 — $99.95 down from $219.95 Fancy Boots, $209.97 — $89.98 down from $299.95 Mossman — $110.95 down from $359.95 Monaco Maxi Dress, $129 — $190.95 down from $319.95 Astor Long Sleeve Top, $125.97 — $83.98 down from $209.95 Disarm Top, $119.97 — $79.98 down from $119.97 Imperial Midi Dress, $230.97 — $98.98 down from $329.95
