23 posts tagged "Marni"
There’s a certain trust that family businesses inspire in consumers, as the idea of a personal, direct relationship with an original creator is always reassuring. So it goes with Marni. Founded almost twenty years ago, the Italian brand still operates under the reign of founder Consuelo Castiglioni, and also happens to employ most of her family—a lot of whom were on hand last night at KaDeWe, Berlin’s prestigious department store, to officially launch Marni’s first signature scent. The champagne and cocktail reception that ushered in the beginning of Fashion Week Berlin summoned the city’s fashion elite: photographer Ellen von Unwerth, Vogue‘s Christiane Arp, and German style icon Nadine Warmuth all gathered around a gigantic replica of the immediately iconic polka-dotted flacon, which served as a larger-than-life centerpiece in the cavernous room. The evening peaked with a special performance by fashion darling and punk protégé Jesse Jo Stark, instantly giving the bergamot, pepper, cardamom, rose, cinnamon bark, and incense perfume an edge of rock ’n’ roll cool. On the eve of the scent’s international release (the fragrance launches stateside in February), Style.com caught up with Carolina Castiglioni (pictured with her mother, Consuelo, above), to discuss the process of perfume creation, which, it turns out, was the product of passion, focused determination, and a move to “bridge the gap” between the Marni faithful and those for whom the brand is strictly aspirational.
So what took you so long? Why launch a scent now?
The reason is because we wanted to find the right partner. We’ve been, for many years, talking about fragrances, but then we had to look for a good partner. And when we met Estée Lauder, we said, “Okay, they are the perfect one for us,” because they are, of course, a leader in the market, but what is important to us is that they trust our brand identity. They gave us the freedom to interpret the Marni aesthetic and to select everything: the bottle, the packaging, the display in shops—everything. And also the scent. We had complete freedom to create the scent.
What was that process like?
My mother doesn’t like sweet fragrances, so more in the direction of incense, wood—something spicy. The idea was to have more of a masculine fragrance, but with a touch of femininity. So we decided to use the black rose, which is, yes, a flower, but not too sweet or girly of a flower. So the first part of the process was to smell all the raw materials, then we selected what was “yes” and what was “no.” Then we went through many, many trials.
Tell me about the bottle. Where did the idea to use the polka dots come from?
We wanted it to embody all of the iconic qualities of the Marni brand. You can see the characteristic dotted pattern, the prêt-à-porter logo, the subtle play with proportions between the container and the cap—it is all mirroring the brand’s signature style.
After announcing last fall that she would launch her first fragrance—with Estée Lauder, no less—Marni creative director Consuelo Castiglioni has finally revealed more details about her house’s debut scent. “It’s for a woman who dresses for herself, who doesn’t follow trends but is sophisticated and also maybe a little eccentric,” the designer explains of the blend of spicy and woody notes tinged by an intense rose heart—all of which should sound familiar to the Marni faithful, who will be equally excited by the perfume’s bottle. Based on a flacon Castiglioni found at a flea market, the glass orb has been polka-dotted and topped with a red cap. “I wanted a bottle that was kind of traditional—that is, one that lasts over time, like the clothes we make,” she tells WWD. “It isn’t seasonal. I think this bottle reflects our concept—you want to keep it.” Ditto the Nick Knight-lensed ad campaign shots starring Raquel Zimmermann. [WWD]
Following two seasons of platinum blonde loyalty and a Fall outing that made shades of deep brunette the runway hair hue du jour, the Spring 2013 shows are at a little bit of a color impasse. Castings have been relatively equal opportunity, with a lot of designers—Alexander Wang and Roberto Cavalli to name a few—requesting deliberately dark and light-haired models for the corresponding black and white sections of their presentations; Marc Jacobs, who ushered in the graphic trend with his Edie Sedgwick sixties salute, went as far as to have Laurie Foley take models black or white-gold, accordingly. Which is why it’s been hard to miss Irina Kravchenko. The Ukrainian newcomer who, despite opening Wang’s show, had a slow start in New York is killing it in Europe—not least because she remains one of the only redheads in this season’s catwalking crew. After staring at her from afar at Prada, Bottega Veneta, Jil Sander, Marni, and Roberto Cavalli this week, we finally managed to get the scoop on those gorgeous ginger-auburn locks—despite some initial trouble understanding one another (beauty is an international language, don’t you know). “It’s blonde naturally,” Kravchenko revealed after we maniacally pointed and gestured to her hair (then ours). The word “salon” helped solicit the revelation that she has no need for one, as she does her dyeing herself with—get this—”chenna.” Henna? “Chenna—from grass,” Kravchenko reiterated. That’s right; those rich, show-stopping strands are the result of an at-home application of the plant that has long been used to dye fabrics, skin, nails—and hair. The style set’s superstar colorists are no doubt chomping at the bit to get their hands on this one.
Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.
“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.
Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.
Bangs are back for Fall, and Paul Hanlon’s onboard with their latest resurrection. “It’s very, very Sassoon,” he said, describing the custom-cut, heavy faux fringe that he beveled around the front edges this morning at Marni, to impart a 1960s look. “The clothes are all really graphic and bold, so it’s really a nice change of pace to do something like this,” the stylist divulged of the “retro-ness” of the hairpieces, pointing out that the specific shape he had snipped into the series of clip-on accessories is particularly flattering to womens’ faces. Using Frederic Fekkai Glossing Cream to give strands a certain softly textured languidness, Hanlon slicked back a front section to have something to slip the bangs into. “It’s a little geeky, in a way, which I kind of like,” he said of the end result.
Tom Pecheux was going for less geek and more ghoul. “She’s a very spooky girl,” he said of the Marni woman for Fall, whom he described as equal parts Tim Burton and The Addams Family. Ghostly as she may be, Consuelo Castiglioni’s girl is nothing if not quirky and posh. “It’s 15 years that I’ve been doing this show, and this is my favorite collection,” Pecheux admitted of the “super-modern, wearable clothes,” that “stink rich,” as he put it. Using a single pot of MAC’s forthcoming Pro Longwear Eyeshadow in Mauveness, the makeup artist sculpted cheeks and eyes with the purplish-brown pigment so that they had a hollowed-out effect. The one break in the monochrome color scheme came via a white pencil that lined the inner rim of the lower lash line and was diffused through the inner corners of the eyes “like a tear,” according to Pecheux. Why were the models crying? We can only imagine it had something to do with all of those oversize fur collars being so heartbreakingly divine.