District Diversions: "HELLO my name is" Graffiti Exhibit to Open at The Fridge

HKS 181 For HELLO My Name Is Image Courtesy The Fridge
HKS 181 For HELLO My Name Is Image Courtesy The Fridge

While DC has seen a lot of hype for the Corcoran’s retrospective Pump Me Up: DC Subculture of the 80s, The Fridge is set to show people a snapshot of what the graffiti world is bringing at this very moment.

Curators CHE and ULTRA, both members of the history-making DC-based KGB crew, have compiled a list of 80 artists who have all received a canvas silk-screened with a “HELLO my name is” sticker.

The artists have each been charged with creating a new, original piece of artwork riffing on their nickname. The show’s concept is a play on the beginnings of the graffiti art movement – the importance of the name. At the start, artists used their nicknames to make a mark across NYC, predominantly working on the inside and outside of subway cars to travel their names across the city. Competition drove the development of bigger, more intricate and more prolific tagging, use of color and illustration, diversified media, and the reach into cities like Philadelphia, DC, and Chicago.

Today, graffiti and street art are a ubiquitous part of urban and suburban areas alike. To go along with the exhibit, the curators are creating a book with all of the artworks that will be on view, the launch is set for March 23, 1 – 3pm. The gallery will also have a film screening on March 10, 1 – 3pm.

CON For HELLO My Name Is Image Courtesy The Fridge
CON For HELLO My Name Is Image Courtesy The Fridge

UHM For HELLO My Name Is Image Courtesy The Fridge
UHM For HELLO My Name Is Image Courtesy The Fridge

FOES For HELLO My Name Is Image Courtesy The Fridge
FOES For HELLO My Name Is Image Courtesy The Fridge

HELLO my name is will be on view through March 31, 2013. For more information on the exhibit, visit The Fridge website. The Fridge is located at 516 ½ 8th Street SE (google map).

The Icon Archives: Summer Of Love

The Icon Archives: Summer of Love

The Icon Archives: Summer Of Love

The year was 1967 and all the girls were running around sunny San Francisco with flowers in their hair. Right? No.

Anyone who’s ever spent a summer in San Francisco knows that gauzy boho nothings are a quick trip to frostbite. And those who took part in the “Summer of Love” wore neither flowers in their hair nor whatever hippy-love-peace outfit you might be conjuring up in your mind.

Before all the hangers-on arrived, the disillusioned artists who coalesced to create a populist youth movement that got stuck with a down-right commercial moniker had grand ambitions. Huge, sweeping, grandiose ambitions. And they dressed the part. Not in blue jeans and tunics, but as harlequins and princes and knights. Here to overthrow the man in the blue flannel suit, they arrived Romantics, donning togs from Romantic eras and peoples. And then left just as disillusioned as they began.

Tom Wolfe noted their historical style in his 1968-published book,  The Electric Kool-Aid Acid Test, noting their “costumes, the jesuchrist strung-out hair, Indian beads, Indian headbands, donkey beads, temple bells, amulets, mandalas, god’s-eyes, fluorescent vests, unicorn horns, Errol Flynn dueling shirts.”

It was a mishmash of pattern and time: half- English country squire and half-Venetian merchant. All in the gloomy fog of a San Francisco summer. They were the first in the now great tradition of playing to street style photography, like Tommy Ton outside of Lincoln Center they ambled around San Francisco in their crazy, ambled outfits. People would drive into Haight-Ashbury just to see them. The way they layered and clashed was completely foreign to the time, but almost compulsory for any good fashion editor now.

There were many good epistles of their Youth-cum-Baroque style over the years, but the latest (and potentially greatest) is Miuccia Prada. Eighteen in 1967, Prada lived the summer and resulting wave over the next decade, studying to become a mine, joining the Communist Party, and championing women’s rights. Then, you know, she started designing clothes.

Prada FW 2012 Collection [divider]

While many of her collections echo the summer, Prada’s Fall/Winter 2012 collection could have been a touring outfit for Jefferson Airplane. Rife with geometrics, brocades and print-on-print on print, they cut through the pirate hat silliness of the era to match the polished modern woman. Yes, we do love it that much.

As all things with fashion known to come full circle, these clothes with their jewel-tone rich, heavily-woven textiles like tufted velvets, may seem jarring at first, but remember the pioneers who transformed these once-conservative styles into the costumes signifying the lofty dreams and aspirations that made them legends.
The Icon Archives: Summer of Love

[box title="Get This Look" color="#000000"]

Rachel Zoe Eggplant Velvet Hutton Blazer


CK Jeans Nell Heeled Oxford Shoes - Suede-Patent Leather

Rochas - 3d Rayon Brocade High Waisted Trousers

Lizzie Fortunato Indian Summer III Purse


The Icon Archives: Warhol Superstar Nico (3)

The Icon Archives: Warhol Superstar Nico

The Icon Archives: Warhol Superstar Nico (1)

Before there was… there was Nico. There is only Nico, the model, musician, poet, and artist who bolted on her contract to be the face of Chanel at the age of 17 and never looked back.

Nico is the beautiful, tragic finale to our two-part series (Part 1, Edie Sedgwick) looking at the Superstars coming out of Andy Warhol’s famed NYC Factory in the ‘60s.

While Edie’s claim to fame is all wrapped up in her identity as a Warhol Superstar—in part due to her untimely demise—Nico launched out of The Factory and onto a record of her own making.

Nico’s heavy-lidded stare, throaty wandering tone, long blonde hair and lanky 5’ 10” frame first got her attention as a model working in Berlin, and, soon after, she became known as an international ingénue and, finally, a revered musician.

Her Gypsy-nomad bohemian lifestyle led her to take up residence in Germany, Ibiza, Italy, France, England and the States over the course of her 50-year life, all the while picking up new accolades and new talents.

Nico is best known for lending her voice to The Velvet Underground’s 1967 debut release, "The Velvet Underground & Nico," a match made by Andy Warhol, who also designed the iconic banana peel cover.

"The Velvet Underground & Nico" was named the 13th best album of all time by Rolling Stone. If you haven’t picked up the album yet, you’ll recognize Nico’s purr from the soundtrack to Wes Anderson’s "The Royal Tenenbaums," or you can just imagine Stuart Lee Murdoch of Belle and Sebastian, but better.

Nico went on to collaborate with a formidable list of artists including Bob Dylan (who wrote a song for her immediately after they met, cause yeah, she was like that), Frederico Fellini, Serge Gainsbourg, Brian Jones, Jimmy Page, Lou Reed, Jon Cale, and Brian Eno.

She most certainly ran in a boys club, and her minimalist, menswear-inspired look reflects her stance as an equal, not a muse. The white pants and boxy blazer finished with dark Beatle boots worn for "The Velvet Underground & Nico" promo shots is the kind of look that only a Nico could rock and still pull off the utterly feminine.

She barely budged from her palette of stark whites and blacks, but wore them so casually that she exuded a utilitarian, almost gender neutral elegance. And this was during a time when women were running around in flower child flowing maxis and all.

In many ways, her look pre-dates magazine editors falling over themselves to gush about the simple, sensible and beautiful cut clothes that have been coming out of strong female led-design houses like Chloe for years. Stella McCartney’s impeccable tailoring and Phoebe Philo’s winning separates at Celine immediately come to mind, and surely Jil Sander is a spiritual sister.

Bonus round: Nico’s signature long blunt cut with fringe would follow her all her days, the kind of effortless personal statement that makes a woman memorable and timeless.

The Icon Archives: Warhol Superstar Nico (2)

[box title="Shop the Look" color="#333333"]

Maison martin margiela Signet Rock Ring

See by Chloé Cotton-blend double-breasted blazer

A.P.C.  Zip Ankle Boot

Inhabit Crewneck sweater

H&M Trousers



Street Art Exhibit Featuring 10+ Graffiti Artists and 50 Works to Open Friday in D.C.

ASTROTWITCH.jpg: ASTROTWITCH, Untitled. Ink, acrylic and watercolor on plywood, 40 inches x 40 inches. 2012. Image courtesy The Fridge. 

This August, The Fridge DC is welcoming six arts collectives rotating in and out of their 1000 square foot space, bringing theatre, dance, graffiti, sculpture, slam poetry and more for its second annual FRESH PRODUCE.

This Friday, opening 7 – 11pm, The Fridge is showing STREET MARKET, an exhibit taking it home for the gallery who has built its name on graffiti legends.

STREET MARKET features work from 10 DC-based street artists and one Baltimore legend. Work is coming in from underground, emerging DC artists such as the previously San Fran-based ASTROTWITCH, and also writers who have shaped the scene for a decade or more, like ULTRA, DECOY and Tim Conlon, who was featured in the National Portrait Gallery’s RECOGNIZE in 2008.

Gallery Owner and Director Alex Goldstein says, “Arts collectives are where it’s at in DC right now. These arts leaders are tapped into vast networks of creative people, coming from all disciplines, and all working in the DMV. The Fridge is the place for artists like this to meet, artists that are trying new things.”

Goldstein continues, “Sometimes I hear people say, where do I find art in DC? This is the place. We’re giving people the opportunity to tap into 60 plus artists this month, all coming from different backgrounds.”

Coming on the weekends of August 24 and August 31, EMP Collective and VESTIBULE will move in to the space, in turn.

EMP has just announced a list of 27 visual/video artists, musicians and performers who will be a part of the show Genesis, running August 24, 7 – 10pm at The Fridge, and in the EMP space (306 W Redwood St, Baltimore) on August 17.

Carly Bales for EMP Collective’s Genesis. Photo by Maggie Villegas.

Each of the artists are creating a new piece in response to Uruguayan journalist Eduardo Galeano’s collection of 60 Pre-Columbian Native American creation myths.

VESTIBULE is planning a two part performance inspired by Empire, a book by post-Marxist philosophers Antonio Negri and Michael Hard.

The first night of the performances will be dedicated to desecration (September 1, 7:30 – 9pm), and the second night explores consecration (September 2, 7:30 – 9pm). The stage will be set with an installation created by collaborating visual artists and a performance-based dance will bring the art to life.

More information may be found at http://freshproducedc.tumblr.com/ and by calling 202.550.2208. The Fridge is located at 516 ½ 8th Street SE on Barrack’s Row. Eastern Market metro.

The Icon Archives: Warhol's Superstars — Edie Sedgwick (3)

The Icon Archives: Warhol's Edie Sedgwick

The Icon Archives: Warhol's Superstars — Edie Sedgwick (3)

There was a lot of chatter when Paris Hilton broke on the scene, the pretty, vapid socialite, who was famous for being famous. Her popularity left the door open for the likes of Perez Hilton and, broadly, a new pop culture, celebrity-obsessed phenomenon.

But 40 years before, father of pop-art Andy Warhol was manufacturing not only his famed screen prints, but a series of Warhol Superstars – eye catching, creative mega-personalities – out of his loft studio space, The Factory.

Because of the resounding impact of Warhol’s Factory and the Superstars he produced, this “Icon Archives” is a two part series.

This week, we’ll be taking a look at Warhol’s megastar Edie Sedgwick, a pixie who was best known for emerging from the quirky Factory to become a national sweetheart, It Girl, and, ultimately, for her tragic end at age 28.

Warhol’s Factory was aptly named, it was home to the assembly line for many of his most famous pieces, including his screen prints, but also his series of screen tests and films, which frequently featured his Warhol Superstars.

The Icon Archives: Warhol's Superstars — Edie Sedgwick (1)
Clockwise from top left to bottom left: Betsey Johnson (Fall 2012 RTW), Edie Sedgwick, Actress Michelle Williams, Edie Sedgwick

Edie came on the scene in 1965 and was immediately a smash. After small roles in Warhol’s “Vinyl” and “Horse” films, the pop artist imagined the “The Poor Little Rich Girl Saga” series featuring Sedgwick. Warhol then gave Sedgwick starring roles in “Kitchen” and “Beauty No. 2.” She went on to appear in four more films before she and Andy’s relationship ended abruptly in 1966.

Edie developed a signature mod style that contributed to her memorability with the masses, including oversized chandelier earrings, horizontal striped shirts, leotards, heavy black eyeliner (Edie was the original smoky eye), and super-mini A-line dresses.

Edie was memorialized in 2006’s “Factory Girl” biopic starring Sienna Miller, and stars like Kirsten Dunst and Michelle Williams have modeled her signature blonde pixie all over the red carpet.

Williams’ It Girl makeover look also took fashion cues from Edie, using a lot of simple cuts, black and white color blocking and Mary Quant peter pan dresses. For Fall 2012 RTW, designer Betsey Johnson, also a Factory regular, sent her models down the runway in high contrast signature sixties colors (bright pink, orange, and yellow; black and white), A-line party dresses, mini skirts and swing coats.

Edie was the classiest tragic, super-celebrity, fashion-obsessed-party-girl heiress on the books, and stylists and designers consistently revisit her look to convey that naïve, disarming charm so coveted by the a-list set.


1. American Apparel Polo Neck Dress

2. Miguel Ases Swarovski Cluster 14k Gold Filled Dangle Earrings

3. M·A·C 'Penultimate' Eye Liner

4. BELLE BY SIGERSON MORRISON Andromeda Leather Ballet Flats

5. Bobbi Brown 'Miami Shimmer Cheek Glow' Powder Gel Bronzer

6. Pro Longwear Eye Shadow

7. Jimmy Choo 'Candy' Clutch

8. Dior 'Diorshow - Black Out' Mascara

The Icon Archives: Woody Allen's Annie Hall

The Icon Archives: Woody Allen’s “Annie Hall”

The Icon Archives: Woody Allen’s “Annie Hall”

By the time he was 20, Woody Allen was earning $1500 a week as a writer for nighttime TV - in 1955.

By the time he was 30, he wrote his first Broadway play, “Don't Drink the Water,” which ran for 598 performances.

Over the course of his career, he has written and directed more than 40 films. Comedy Central gave him the fourth place slot in their list of the 100 greatest stand-up comics of all time.

But, for us, he did more than that. He gave us his witty, bright, passionate and slightly awkward leading lady in role after role on the silver screen.

All of those traits reflect Allen himself, and the lines between were blurred by the Bronx-born Allen in the film “Annie Hall,” which enshrined the androgynous, neurotic character in history (an intentionally cultivated persona on Allen’s part).

With the release of "Annie Hall" in 1977, Allen was hailed as ushering in a new era of film and revolutionizing the romantic comedy category. The film won four Academy Awards: Best Picture, Best Actress for a Leading Role, Best Original Screenplay and Best Director. And when the leading sensation Diane Keaton brought her signature personal style, menswear-style high-waisted, wide leg trousers, ties and vests, to the screen, it immediately became a nation-wide smash.

The Icon Archives: Woody Allen's Annie Hall
Clockwise from top left to bottom left: Celine, Diane Keaton as "Annie Hall," Boy. by Band of Outsiders Pre-Fall 2012 collection inspired by Diane Keaton in "Manhattan," Perry Ellis Spring 1993 campaign.

Then came “Interiors” and “Manhattan,” and over time, “Stardust Memories,” “The Purple Rose of Cairo,” “Radio Days,” “Manhattan Murder Mystery,” “Bullets Over Broadway,” “Mighty Aphrodite,” “Sweet and Lowdown,” “Match Point,” “Vicky Christina Barcelona,” and now, his most successful film at the box office to date, “Midnight in Paris” and many more films in between.

It goes without saying that Allen's love life has not lived up to the charm, wit or groundbreaking spirit of his films. We're guessing his 37 years in psychoanalysis may have some of the answers. …but we digress…

When Marc Jacobs released his seminal grunge-inspired line for Perry Ellis in Spring 1993, his neutered approach to women's fashion, including loose fitting men’s-cut flannel and military-style black boots, owed a moment of gratitude to Diane Keaton's masculine as feminine approach back in 1977's Annie Hall (down to her middle part with messy long hair). Brittany Spears flirtation with a gender-bending tuxedo at the 2000 MTV VMAs sees its roots in vaudeville, but also draws from the Keaton idea of appropriating the masculine form to steer a new take on sexuality.

More recently, designers like Phoebe Philo at Celine have returned to the long, sleek lines of menswear that were so seminal in Annie Hall. The power of Allen’s vision comes from its opposition role: at a time when the prevailing look was love child hippy chic or Studio 54 glam, his girl provided a no nonsense visual counterpoint.

Perhaps it’s time for a redux version?

After all, with the NY Times trumpeting a new era in Gypsy chic, Woody’s brainy, edgy masculine/feminine heroine offers a brilliant and eminently practical flip side.

The Icon Archives: Woody Allen's Annie Hall

Topshop Premium Mix Chiffon Shirt

RED Valentino Cropped stretch-cotton pants

Diagonal Stripe Suspenders

Camilla Skovgaard London Women's Cr12004.2 Bootie

Furla Canvas Royal Medium Satchel

Super Lucia Rounded Spectacles

Timex Originals Easy Reader

The Icon Archives: French Riviera (3)

The Icon Archives: The French Riviera

The summer is all about where to choose to spend it, be it a roof deck bar, your BFF’s front porch, or, for the more glamorous among us, an international destination (not excluding the Sean - Puffy Daddy/P Diddy - Combs White Party).

The summertime is and always will be synonymous with a fabulous spot. And while our springs are reserved for Paris, nothing holds a candle to a sunny, summery jaunt to the Mediterranean coast of France, a.ka. the French Riviera.

How can a place be an icon?

The Riviera is not just The Riviera, it’s a lifestyle, a feeling, a visual touchstone, a fashion plate.

The Icon Archives: French Riviera (1)Fueled by aristocrats and royalty (a fave of Queen Victoria and King Edward VII), this classic resort area began its journey to icon status in the mid-19th century.

Turn of the century Fauve painters splashed its hills in color and Somerset Maugham held his legendarily booze-fueled literary salon at the grand Villa Mauresque on Cap Ferrat.

By the time Hitchcock fell to its charms with his 1954 love letter to the Riviera, "To Catch A Thief," the French Riviera had become an international iconic cannonball.

When the likes of Brigitte Bardot and Jane Birkin swanned around these waters, the real key to Riviera style began to take shape. And, trust, this is not the place for Vegas tourists.

The Riviera gives new meaning to understated chic, breezy whites, cool linens, and tones that echo the warm colors of St. Tropez facades in the late sunlight. Think effortless elegance and a youthful glamour that screams, “I don’t care if I’m not wearing makeup. I’ve got a killer tan and Serge Gainsbourg on my arm.”

The washed out blues and softly draped sea foam green’s of Jen Kao’s 2013 Resort collection are right at home on the Riviera. French design houses like APC and Tara Jarmon practically design their summer line ready to be packed and shipped off in the Riviera direction. And when Karl Lagerfeld presented Chanel’s 2011/12 Croisiere Collection on Cap d’Antibes, there was no iceberg or over the top presentation. Just bronzed models in simple sandals. Perfect for the effortlessly stylish and forever iconic Côte d'Azur.

The Icon Archives: French Riviera (2)

Get the Look

Kate Rose Gold Mesh Bracelet

Magid Stripe Straw Beach Bag Tote

Aqua Stretch Straw And Enamel Stud Detail 'Emily' Sun Hat

Jen Kao Chevy Tunic

Pour la Victoire aqua and nude leather 'Mali' wedge sandals

Vince Camuto Cat Eye Glasses

1969 Ankle Zip Legging Jeans

The Icon Archives: Cleopatra (2)

The Icon Archives: Cleopatra, Egypt's Last Pharaoh

The Icon Archives: Cleopatra (2)

Cleopatra is almost always remembered for her beauty. But we’d like to delve into her other, far more interesting side: her keen prowess as a businesswoman.

Long before a “personal brand” was part of our lexicon, Cleopatra so successfully positioned herself as a powerful ruler that we remember her long after the end of her 20-year reign. She was the master of giving just enough, but never too much, building a mystique that has enshrined her in lore.

The Icon Archives: Cleopatra (1)She proclaimed herself the reincarnation of Isis, an ancient Egyptian goddess who listened to the wealthy and poor alike. Smart move - Isis played an all-powerful role: mother of the pharaoh and provider of the throne. So, while several men may have partnered with Cleopatra to rule, she was set to hold her own, breaking through the traditional concept of the woman as the subservient ruler. Girl power, indeed.

Before widespread, democratic communications, Cleopatra used iconography on the coin to spread the word of her power. She revived the use of the Egyptian language (it had been replaced by the Greeks), inspiring a sense of nationalism and clarifying her position as a ruler for and of the people. And, always the keen internationalist, pacts with Julius Caesar and Marc Antony sustained her rule (for better and for worse).

In the great tradition of burning out rather than fading away, Cleopatra took her own life with an asp bite, or venomous snake, which – according to Plutarch – she also regularly tested on condemned people for entertainment. Sass.

It’s this penchant for power, combined with potent beauty, that has inspired legions of artists to call upon this icon.

Cleopatra’s name has become synonymous with the concept of a beautiful, fierce and proud female leader. Modern depictions of Cleopatra – gold piled upon gold, bangles, headdresses, belts and that unforgettable hair, can be traced to Theda Bara’s role in the 1917 "Cleopatra"  film, and were later crystallized by Elizabeth Taylor, an icon in her own right.

Over time, artists such as Grace Jones and Beyonce as well as reality darlings such as Kim Kardashian have called upon Cleopatra’s signature look, fluid lines juxtaposed with gold and black architectural forms to project authority in addition to beauty. While all of these women play into the iconography of the look, the real power behind it is: well, power. A true Cleopatra layers on self-confidence just as intently as jet black eye liner.

The Icon Archives: Cleopatra (3)

Get the Look

Aqua Kimono Mini Dress with Metal Belt

Karla Deras x Roman Luxe Luxe Hoop Triangle Earrings

Just Access Set Of Four Bangles

House of Harlow 1960 - Aztec Bangle with Black Leather

CC Skye Feather Bangle

Gucci black piped velvet 'Malika' platform sandals

The Icon Archives: Carmen Miranda (1)

The Icon Archives: Carmen Miranda

The Icon Archives: Carmen Miranda (1)

When Carmen Miranda donned her famous fruit bowl hat in the 1943 film "The Gang’s All Here" (possibly forgettable for everything besides her and the hat), she created a cultural moment that still reverberates – for better or worse – in film, fashion, art and pop culture today. She was the original Brazilian bombshell.

Carmen Miranda performing "Chica Chica Boom Chic"[divider]

Before her, the tropics were regarded by Americans as a backwater, a place that brought to mind mosquitos and colonialism. And then Miranda exploded onto the scene – a Technicolor pin-up as ripe as the fruit glue-gunned onto her costumes. She was so appealing as the tropical goddess that the State Department used her as the poster child for their ‘Good Neighbor’ policy with Latin America.

Her look was the opposite of minimal. A cacophony of sometimes jarring and competing hued prints that only, of course, served as a platform for ruffles, beads, feathers, lace, coins, lamé and, naturally, some sort of fruit-ed up head piece.The Icon Archives: Carmen Miranda (3)

The icon ended up overshadowing the person in the end, reducing Miranda to a caricature.

Her legacy doesn’t acknowledge the reality: she was the original triple threat; a hardworking singer, dancer and actor, and, by 1946, she earned more than any other performer in Hollywood. Within ten years she was dead of a heart attack -before the age of 50.

We remember her for the promise of late nights, endless sun, banana leaves and a sultry samba. Carnival, all wrapped up in one woman. With references as dissonant as the vibrant opening scene in "City of God," to every time Sofia Vergara bats her lashes on "Modern Family," Carmen’s imprint is firmly etched.

Carmen has always been catnip for fashion. But every now and then she bounds back into the hearts and minds of designers. Anyone who wasn’t living under a rock remembers J.Lo’s notorious Versace green dress at the 2000 Grammy awards – it even has its own Wikipedia page.

More recently, Stella McCartney’s S/S 2011 collection paved the way for Altuzarra’s S/S 2012 collection. Everyone loves the promise of a hot beach and a cool drink, and that’s exactly what you’ll want when you check out our Carmen Miranda style picks.

The Icon Archives: Carmen Miranda (2)

Get the Look

Alice + Olivia Pants - Printed Wide Leg

Suede Knotted Turban Headband

Nikita Sunglasses

Mar Y Sol Ariel Ombre Clutch

CARVEN Coral Red Tank Top

Juicy Couture Palm Beach Poolside Cockatoo Bangle

Ted Rossi Python Bangle: Seafoam

Dolce Vita Women's Olly Espadrille

The Icon Archives: Fritz Lang’s “Metropolis”

The Icon Archives: Fritz Lang’s “Metropolis”

The Icon Archives: Fritz Lang’s “Metropolis”

Fritz Lang’s pivotal film "Metropolis " was first screened to audiences in 1927. The art deco-inspired German expressionist film was praised for technological advances and criticized for its simplistic storyline – scientist Rotwang kidnaps activist Maria to use her likeness as a tool to create a robot that will resurrect the beloved, deceased Hel.  Robot Maria is then blamed for the downfall of Metropolis and burned at the stake, revealing her true metal form.

As expected, Lang’s storyline isn’t so much what’s contributed to the film’s intrigue and ongoing influence on everything from film to art to fashion.

The original film itself, in full, was lost, but revered for decades until a copy was discovered in 2008 at a museum in Argentina.

The Icon Archives: Fritz Lang’s “Metropolis” The revived, restored version was screened in 2010, and the brilliant originality of its art deco 1920’s vision for the future – part Chanel decadence, part Bauhaus utility and part Egon Schiele ambiguity - lead to renewed inspiration for fashion designers and musicians alike.

In May 2010, pop and neo-soul phenom Janelle Monáe blew the world away with The ArchAndroid, part of her Metropolis series. Gucci sent Salma Hayek down the Golden Globes runway this year in statuesque art deco/architecture-inspired eveningwear.

Givenchy’s Spring 2012 Couture show featured haunting, cage-like gowns that gathered critical acclaim. Proenza Schouler’s Spring 2012 RTW line was peppered with dresses featuring gold stacked, concentric circles on black.

Whether through the layering of lyrical past to create a sharply futuristic sound or the reductive yet gilded gowns, it’s clear that the darkly modernist vision of "Metropolis" has been enshrined as a cultural touchstone.

So, how do you get the "Metropolis" look?

Pair Roland Mouret's Dugmanta cutout stretch-crepe jumpsuit with a Rafe New York Maryanne Minaudiere, a pair of Christian Louboutin Lady Max Spike T-Strap Sandals, and accessorize with Citrine by the Stones Long Bullet Earrings.

The Icon Archives: Fritz Lang’s “Metropolis”

Get the Look:

Rafe New York Maryanne Minaudiere

Roland Mouret's Dugmanta cutout stretch-crepe jumpsuit

Christian Louboutin Lady Max Spike T-Strap Sandals

Citrine by the Stones Long Bullet Earrings