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"Sprouse, Stephen."
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Seeing the light: Research, conservation and exhibition of a 1980s daylight fluorescent painted leather jacket designed by Sprouse and painted by Castronovo
In the mid-1980s, Stephen Sprouse designed a leather motorcycle jacket, the back of which was subsequently painted by muralist Stefano Castronovo. The silver jacket depicts the unmistakable - albeit fluorescent green - face of the Mona Lisa. Designed as club-wear, the garment's full visual effect is only achieved under black lights. Exhibiting the jacket under ultraviolet radiation with its concomitant degradation concerns presented an ethical conundrum: exhibited this way, the jacket demonstrates to museum visitors the effect desired by Castronovo, but the lifetime of the fluorescent colors would be further shortened. Castronovo's striking painting already suffered from delamination and cracking due to the flexible leather garment. Inpainting these losses was complicated by the jacket's potential short-term display in both the visible and ultraviolet spectrum. Scientific analysis was conducted at the Indianapolis Museum of Art at Newfields on the original fluorescent paints and potential conservation materials to investigate solutions for display and documentation under both lighting conditions. This paper explores how the potential display of a leather jacket painted with daylight fluorescent pigments under visible and/or ultraviolet radiation impacted the treatment, interpretation, and exhibition. The jacket was stabilized, inpainted, and subsequently featured in an exhibition, taking into account the abovementioned research.
Journal Article
80s designer Stephen Sprouse is having a moment
Eight years ago, Sprouse's designs for the French label became lightning in a Speedy bag when Vuitton creative director Marc Jacobs enlisted the punk-meets-pop creator as the first guest artist to have his way with the iconic leather goods.
Newspaper Article
A recession? Then it's time for real luxury High fashion hit list As most women scrimp, fashion is targeting the fortunate few, says Bronwyn Cosgrave
\"Women with money will spend but on inimitable, distinct looks,\" says Paula Reed, Grazia's style director, drawing on comments made by department store buyers she canvassed during New York Fashion Week. \"They are not in the market for a pencil skirt or a blazer,\" she says. \"They are going for major, fabulous items.\" At his Savile Row showroom, Kinder Aggugini, a former Versace designer, concurs. His autumn/winter 2009 collection had suit jackets and frock coats made from silk velvet and corduroy that looked like cotton but was actually crafted from deluxe cashmere. Why? Because he \"doesn't do cheap\". Quite right, reasons Harrods fashion director Marigay McKee: \"If a piece is stunning, it will instantly be perceived as valuable.\" Over at Dover Street Market, Jess Wade, a 20-year-old Imperial College physics student, purchased not one, but two pairs of floral limited edition Nike trainers, produced collaboratively with Liberty of London. Her parents' recession-proof profession also means there is no need to curb her shopping. \"My mum and dad are both doctors,\" she says. \"We live in Hampstead and there is no talk of a recession up there.\"
Newspaper Article
At Pounds 450, it's a scarf and a half
This new scarf will do the same. It's very pretty -- cyclamen pink with splodges of black outlined roses. And in ultra-fine cashmere, it has the requisite raggedy feel, almost as if it were cheap. It's not like a pashmina that would keep you warm; it's pure indulgent decoration.
Newspaper Article
At Pounds 480, it's a scarf and a half Eire Region
This new scarf will do the same. It's very pretty - cyclamen pink with splodges of black outlined roses. And in ultra-fine cashmere, it has the requisite raggedy feel, almost as if it were cheap. It's not like a pashmina that would keep you warm; it's pure indulgent decoration.
Newspaper Article
