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He wasn’t the only designer to incorporate artwork into the runway experience. At Loewe, Jonathan Anderson installed several rooms of artwork at Maison de l’Unesco for his show: There were woven baskets in some (by Joe Hogan, a finalist for this year's Loewe Craft Prize and one of its past winners), ceramics in others (by Ryoji Koie) and, in the room where I was seated, giant whirring brushes of the kind that you might otherwise find at a car wash (by Lara Favoretto) — after the show, security guards gleefully posed alongside them. And at Vivienne Westwood, Andreas Kronthaler went full circus. He worked with Bernhard Willhelm, who art directed the show; there were musclemen riding scooters and models riding skateboards and, as a centerpiece, an enormous paper sculpture by the London-based set designer Gary Card, who spent the show in the middle of it all, fixing and remolding it with a team of assistants wielding bottles of flame retardant. The cumulative effect — and how often can you say this at a fashion show — was a good time had by all. — MATTHEW SCHNEIER, deputy fashion critic and reporter, Styles
"Well, really, our memories are all we have, and even those we think of as "real" are made up. Art can condense experience into something greater than reality, and it can also give us permission to do or think certain things that otherwise we’ve avoided or felt ashamed of. The imagination is where reality lives; it’s the instant lie of backwash from the prow of that boat that we think of as cutting the present moment, everything following it becoming less and less "factual" but no less real than what we think of as having actually occurred."