Now he's model baju batik kantor his hand to directing! Curator, painter, writer, stylist, art , designer - Patrick Kinmonth is among the most prolific creatives of today, yet his name, for many, continues to be relatively unknown. Certainly, you will have felt the contact of his artistic sensibilities; perhaps you saw the Anglo Mania exhibition at the Metropolitan Museum of Art in New York, on which Anna Wintour asked him to do something as creative consultant, or possibly you visited the immaculate Valentino retrospectives he designed in and Paris. (In the event that you didn't, fear not really, for in his studio sits a model because of its planned arrival at Somerset Home next year.) His function has been seen over and over in the pages of Vogue-, a former employee, Kinmonth offers been instrumental in shaping the professions of several Vogue photographers and spent some time working on tasks for Burberry, Prada, Gucci, Versace, Calvin Klein and others. His aesthetic reach even reaches the stage, where he offers been responsible for the design of several operas and ballets at a number of the world's most prestigious opera houses. "Patrick takes multi-tasking to brand-new amounts," observes Anna Wintour. "At any given moment he might be writing an evocative magazine content, designing a museum exhibition which will challenge the way we take into account the history of fashion, art directing a global marketing campaign for a fashion brand, or developing and directing opera. And in his downtime he'll be inventing even more garden fantasies for his magical home in the English countryside. He could be truly a renaissance guy for the twenty-first century."
Kinmonth is one of that rare variety of artists who are pleased to admit that they find better freedom and creative stimulation in working with other people. Yet his most recent incarnation - as a director - may alter all that. This month he follows successful productions of Madame Butterfly and Samson and Delilah with an even bigger undertaking - a overall performance of Bach's St Matthew Interest with Vocal Futures, a charitable foundation which aims to entice a more youthful audience to the opera, and opens with a overall performance within an old concrete laboratory hidden apart in Marylebone. At last, it seems, he is assuming his place center stage.
Walking around the light, airy studio the 54-year-aged inhabits in Chelsea, one is struck instantly by the diversity of his work: stacks of books, scale models of forthcoming exhibitions, tubes of paint and posters for opera productions all clamour for his attention. Kinmonth, currently tanned a deep mahogany after a holiday in Ibiza along with his friend Mario Testino, is normally immaculately dressed up in a crisp white t-shirt and blazer - when a pocket square is positioned just so. After graduating from Oxford with a first-class English degree, Patrick's first ambition was to become a painter. His path was diverted, however, whenever a chance entry in to the Vogue Talent Contest in the first Eighties led him to a position as arts editor He turned his hand to everything, from composing to photography sittings to styling. "Vogue applied me wherever it experienced the ointment was necessary," he observes drily.