4 posts tagged "Miss Dior"
I often find the fresh-faced look and classic pink lip gloss snooze-fest, but at last night’s opening of Esprit Dior, Miss Dior, in Paris, Natalie Portman made all of the above interesting again. Dense and flirty lashes (a trend we saw this past season at Versace) and a slick side part (reminiscent of Helmut Lang) lent both a feminine and masculine edge. The beauty concept even seemed to echo her ensemble, in which she paired simple black trousers with a bold beaded top. Talk about a package deal.
This week, Dior will inaugurate an exhibition in tribute to the brand’s original, groundbreaking perfume, Miss Dior, at the Grand Palais, in Paris. Launched by Christian Dior in 1947, Miss Dior was named for his beloved sister, Catherine, and its green chypre blend was a bold break from the powdery fragrances of the day—a gambit, like the New Look, that became an instant hit. For the Miss Dior exhibition, the house gave carte blanche to fifteen female designers from all horizons, whose challenge it was to reinterpret the spirit of the fragrance. In an exclusive preview, Style.com spoke with Ionna Vautrin, who took the iconic Dior silk glove and spun it into an architectural feat called Gloriette.
You’ve won two Wallpaper awards (in 2009 and 2011), as well as a prize from the City of Paris, for your creations. Is that why Dior reached out to you for this project?
I don’t think it was because of any one piece. I think it was probably more of a whole. My work is rather feminine and maternal, and I’m guessing that that is what brought me to their attention.
How did the collaboration come together?
It all took shape very simply. When I met with Dior, they presented to me the history of Miss Dior and its codes—the bow, the houndstooth, the dresses, et cetera. Gloves, of course, were a part of the story. I was intrigued by the idea of diverting that shape into a more decorative element that evokes an iconic fragrance.
How did you go about creating Gloriette?
That part wasn’t necessarily so simple! I finally came up with the idea of creating a kind of “micro-architecture” that was somewhere between couture and architecture. I found a very silky technical fabric and had it made into thousands of gloves. Gloriette speaks to a lot of the house codes at once: The layers of gloves that make up the roof create a kind of rosette, or flower; it also suggests a tutu or a dress or a fan, but at the same time, there’s also kind of an animal appeal—it could be feathers on a rare bird. In the end, Gloriette is a giant kiosk, a bit like the luxurious Follies Dior designed to present his perfumes, but in an XXL version.
What does it say about the perfume?
The roof picks up the Miss Dior color codes of black, white, and pink, of course. But what I find even more compelling is that it stimulates the imagination around the creation of perfume: It is something you pass through. You can linger or not, but it is something that you can use and spend time with. Where this fits in with my work is that you can look at it and see many things at once. Lots of different impressions come together whether you are looking at it from the inside—which is like standing under a crinoline—or viewing it from the outside. That said, I am a designer; I don’t consider myself an artist.
For you, what’s the difference between art and design?
The difference for me is that, as a designer, I am in the habit of creating things that should be useful and functional: A chair should be useful every day. I look at design as sitting at the intersection of what is practical and utilitarian—and technical in terms of production—but also sculptural, because an object should spark desire. I think there’s an earthy quality to design. I love telling a story, but I’m not looking to make a political statement. An object’s first purpose is to be functional.
How does design differ from fashion?
For me, fashion is a separate art. It’s a bit like sculpture. When you look at what Christian Dior was doing, it was very sculptural. Creating silhouettes demands know-how, good taste, precision, and sophistication. You have to have a keen sense of detail. It’s really a very special, specific profession. It really demands that you dedicate your life to it, and it’s reinvented constantly.
Did Miss Dior alter anything about how you see design?
This was a chance for me to have a project that was just a little bit zany. I think I am more known for designing small, domestic objects, and Miss Dior allowed me to explore new territory on a few levels. Because the show is designed to travel, it presented a specific set of challenges. Everything has to disassemble and reassemble easily, like Legos. It made me want to explore scenography and micro-architectures.
How familiar were you with Miss Dior before this project?
Obviously, I knew the bottle, because it’s an icon. Beyond that, funnily enough, years ago I got my start working in a design studio that only did perfume bottles! So I knew Miss Dior’s shape, fragrance, and a bit of its history. It’s amusing to have gone from a time in my life when I was designing perfume bottles—not for Dior, mind you—to finding myself on the flip side, telling a story about a perfume through a decorative piece. For me, Miss Dior is a classic, like any other emblematic object. It’s a reference. And there’s also the fact that, in its day, Miss Dior was renegade. It’s the radical side that I find the most touching.
The Esprit Dior, Miss Dior exhibition will be on show at the Grand Palais from November 13 to 25, 2013.
Following the successful line of nail appliqués Ruffian designers Brian Wolk and Claude Morais launched with MAC Cosmetics two years ago, the duo has now teamed up with Birchbox on a three-piece polish range inspired by their forthcoming Spring line. The color palette is still TBD, as Birchbox’s Facebook fans will be left with the task of voting on five possible shades. The winning lacquers will then be revealed in September and featured at Ruffian’s Spring 2014 show. [WWD]
Jennifer Lawrence isn’t the only celebrity to go brunette this week. It looks like Britney Spears has also cashed in her flaxen locks for a shade of chestnut brown. [Us]
Don’t buy perfume based on the advertising, says Hermès in-house perfumer Jean-Claude Ellena. “Ask for a sample and put it on your skin. If you like it on your skin, you can buy. No rush, take the time, because perfume is like a love affair. It’s not good to rush a love affair.” [The Cut]
Christian Dior, on the other hand, is banking on a positive consumer response to the amped-up campaign for its new Miss Dior eau de toilette, which features a TV commercial starring Natalie Portman and directed by Sofia Coppola. [British Vogue]
First grunge, then goth, and now rave—that other nineties subculture that has remained largely unmined by the fashion set of late—has turned up on the runway at Madrid fashion week replete with extra long, art-inspired talons. [Getty Images]
The former stomping ground of Natalia Vodianova, Calvin Klein’s coveted Euphoria campaign will be fronted by Lara Stone beginning in October. [Daily Mail]
Blake Lively’s provocative commercial for Gucci Premiere isn’t the only big-budget ad visual making the rounds today. In Natalie Portman’s latest campaign for Miss Dior, the actress wears a black cat-eye and suggestively stares into the camera while Serge Gainsbourg and Jane Birkin’s “Je t’aime…moi non plus” plays in the background. [NYDN]
According to Hunger Games head stylist Linda Flowers’ Twitter account, there will be plenty more colored wigs and general hair confections in the Capitol when the film’s sequel comes out next fall. [Examiner]
Ten Brooklyn-based beauty brands grow in Paris: The City of Light’s hip haven, Colette, will host ten BK-born beauty brands at its Rue Saint-Honoré digs through October, including lines like MCMC, D.S. & Durga, and Sprout Skincare. [WWD]