Display case Massimo Osti Cargo, CP Company jacket with internal straps 1990s

Stone Island's exhibition panel, a design masterpiece of visionary Massimo Osti from the 1990s, invites you to approach and immerse yourself in a world of...

This rare Aspesi “Mostacciolo” coat embodies the essence of functional elegance. Designed with a clean, minimalist silhouette, it reflects the brand’s philosophy of quiet luxury and ...

The extraordinary jacket is the original 1991 design. As a hallmark of Moschino's early '90s collection. The 1991 version was produced in limited quantities only, which is why it wa...

A unique patinated bronze sculpture in the form of a 1940's leather bomber jacket hanging on a wall mounted coat rack. The 1940's bomber jacket. It is one of the few items that has really transcended both fashion and trends. People are wearing these jackets today in the same way they have for the last six decades. It's a symbol of freedom, of the rebel in us, or a certain kind of social stigma, a certain attitude. Hanson chooses to isolate and immortalize a man's leather jacket. The choice becomes a comment on the power in our culture of image per se. A comment on the ascendance of personal style and image, via our possessions and fashion, to a consuming culture value. Seemingly casually tossed over a hook, yet frozen there in bronze, the jacket evokes an entire range of masculine stereotypes celebrated by the media-cowboys, mavericks and rebels of our time. The open road, macho bravado, rugged individuality, sex appeal. Yet the presence of this lone jacket equally evokes the very personal, if anonymous, history of its wearer. Like the cast-form-life sculpture of George Segal, it expresses mystery, even poignancy, of its owners absence. As in much of Hanson's art, this culture manages both to critique and also to value such material icons of our culture. Scott Hanson...