TABLE OF CONTENTS

Ken Okiishi

View of “Bernadette Corporation: 2000 Wasted Years,” 2012. Photo: Daniel Perez.

ONE OF THE MOST PUZZLING THINGS about Bernadette Corporation is that it never became truly commercially viable in either the fashion or the art system—unlike many of its peers in the 1990s and 2000s, who were able to capitalize on the interface of those very systems. BC’s hesitation, or perhaps just disorganization, could be seen as a lived resistance to market permeation, both inside the bodies of its various “corporate” members and within the networks of “cool” it activated. And it could also be part of the reason why its work (including its “new” work) continues to look fresh, unlike, say, the current pages of Purple magazine. In fact, BC’s “old” work, in particular the fashion shows from the late ’90s and the magazine Made in USA from the turn of the millennium, may look even better now than when it first appeared—when the group’s contributors were also heavy presences

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