August 27 2014

styledotcom Tom Ford nominates Nicolas Ghesquière and Hedi Slimane for the #ALSIceBucketChallenge:

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Giambattista Valli Introduces Second Line


Giambatista ValliNearly ten years after launching his eponymous ready-to-wear label (and just three years after he began showing couture in Paris), Giambattista Valli is introducing a second range for fans of his feminine, spirited clothes. His new prêt-à-porter line, Giamba (which also happens to be the designer’s nickname), will complement his original Giambattista Valli label but will offer a more contemporary, dynamic approach. Giamba will give the Valli girl the opportunity to dress for any and all occasions, but will also be available for new customers to discover at more than five hundred retail outlets worldwide. Giamba’s first collection is set to debut in September at the women’s Spring ’15 ready-to-wear shows in Milan.

Photo:Yannis Vlamos/

Bethann Hardison Talks Diversity on the Runways, Igniting the Fashion Industry, and Making People Feel Responsible



Bethann Hardison has been making fashion headlines since at least 1973, the year she walked in Le Grand Divertissement à Versailles, a runway show that pitted American fashion designers against French ones. (The Americans won, thanks in large part to the prowess of Hardison and her fellow catwalkers Pat Cleveland and Alva Chinn.) These days the model-turned-model agent-turned industry legend is in the news for her advocacy. Hardison’s cause: diversity on the runways. Last September, the Diversity Coalition she founded published an open letter to the fashion councils in New York, London, Milan, and Paris that called to task designers who used no or very few models of color in their fashion shows.

“At some point you think your industry has flatlined, that it’s not interesting anymore. That fashion shows are just run-of-the-mill,” Hardison says. “I don’t go to them anymore, I’d rather clean out my closet. My doing this was going to be something that puts a little excitement into our industry again. It may be a point of education, it may be a prickly subject. But I thought it would ignite some energy, and that’s really why I did it.” The results of the Coalition’s open letter were fairly instantaneous. You saw more models of color not only on the Spring 2014 runways, but also in advertising. That said, there’s still quite a ways to go. “It’s a permanency that you’re trying to effect,” Hardison says. On the eve of the CFDA Awards, where she’ll pick up the Founder’s Award, she reflects on her long career in fashion. She’s as outspoken as ever.

How did it feel when you heard you would receive the Founder’s Award?
As soon as Diane [von Furstenberg] said, “Bethann, you’ve been given the Founder’s Award, darling,” I just started to cry. I was stunned. I kept thinking of the word revolution. People say, “Oh, come on, you couldn’t have been that surprised.” But why would I ever think [I'd get an award]? You don’t think there’s an award for this. What I’m doing has nothing to do with making something look nice.

You’ve been advocating for diversity on the runway for years now. Do you remember why you got started?
Kim Hastreiter [the editor in chief of Paper magazine] took me out to dinner. She said there was no diversity on the runways anymore, and she blamed me because I was no longer in the industry. I was living in Mexico at the time, and I really didn’t like hearing that because it sounded like, “Oh, Lord, now I gotta come back and do something.” That’s when Naomi [Campbell, who calls Hardison "Ma"] started calling me. “You gotta do something,” she said. There are no models [of color] around. From the end of 2004 to 2007, I said I was going to do something, but it took me a while.

What pushed you to do it?
By 2007 the agencies were saying, “No blacks, no ethnics.” Casting directors. Who are they? They didn’t exist before. Here and now, they have the power to say that and designers are following their lead because they’re happy to have someone else do the work. In the world I come from, the designer’s team did all that. I realized it was time [to do something]. We held a press conference, and it was great. Later that year, the curator at the New York Public Library wanted us to do a panel there; we did and it was sold out. The New York Times picked it up, WWD was giving it the front page. It’s a theme that can shake up things, to say, “Is fashion racist?” It did change things. If nothing more, no one has ever said after that: “No blacks, no ethnics.” That ended. And right after that came the Black Issue from Italian Vogue. The powers that be began to recognize the issue.

When did you launch the Diversity Coalition?
The beginning of 2013. I call them the secret society. They have jobs in the good places and they don’t like what they see. They’re white, they’re black, they’re Hawaiian, they’re Asian, they’re men, they’re women, they’re short, they’re tall, they’re all sizes. The point is: There was frustration. We did one big, long conference call. Then I just wrote up the letter in Mexico. I didn’t think of it as trying to shame anyone. I wanted people to adjust their thinking because racism affects society as a whole.

And what was the response like?
People started adjusting right away. I’m sure that the majority of designers in New York voted for Obama; they sure didn’t vote for the other guy. So they’re not racist or consciously trying to keep people back. It’s just we need to adjust what we do. People are looking in on fashion. Before, it was a little, tiny island that no one could see. We need to step it up.


So would you say you’re happy with the changes you’ve seen?

I am happy. You know, the one that impressed me the most is Jil Sander. This is someone who never cast models of color. When I saw that she had one black girl who was so dark, a beautiful girl, I was more impressed with that than Armani having five [models of color] and whatever Miuccia Prada did. I really appreciate Miuccia, I think she leads the designer way. She shut it down, and she had the opportunity to open it up again. Do you know what I mean when I say that?

Not exactly.

Years ago, when Miuccia Prada decided to get rid of the supermodel, that ended anything that was distracting on her runway, including the person of color. Everybody followed. That eliminated [the likes of] Linda Evangelista. Little by little, though, Miuccia started to bring in a couple of girls of color.

Who leads the way?
Designers like to think they’re individual, but they’re not. They’re part of a village. She really switched it up by putting Malaika Firth in that beautiful tweed coat in that ad. That was groundbreaking. That’s advertising. That’s rare. Gucci was doing it with Joan Smalls. And Burberry was doing it with Jourdan Dunn. But to have Malaika—I really give Miuccia a lot of credit for changing how we see things. I do give her the credit. You see more girls of color in advertising than ever before.

So the runway and advertising are two different fights, in a way?
The agents get annoyed that I don’t say more about advertising. But the runway is the first thing everyone sees. It’s the beginning, it’s the birth. The runway is the moment for the fashion model to be introduced, to be recognized. It’s like a cotillion. Until that happens, there is no advertising. She has to be introduced; a designer has to take that moment, that interest, and say, “Let me show you.”

That was the genius of Mr. Saint Laurent. To go to Yves’ show, he had his cabine of girls. Zac Posen is very similar in that mentality. There are certain girls who were always going to be there with Yves. And he didn’t mind taking one who everybody thought was over. I’d go to Yves, “Where did you find her?” She wasn’t even attractive, but she was attractive.

Any other shifts worth discussing?
Céline. Because they took a tough beating from our observation. And I like that girl Phoebe [Philo]. She’s cool. Every kid who’s got $4 wants a Céline bag. And yet, never any representation of anything that isn’t Caucasian. Come on! Then all of a sudden that season, I know it was a conscious effort. Phoebe picking Binx [Walton] for advertising is one thing. And the Saint Laurent designer, Hedi Slimane, is another. He never had any models of color, but after the letters went out, they had Issa [Lish], the Mexican girl, and Binx. There’s a subliminal thing that happens. It’s a switch. Now it’s like—an editor said, “You know, it’s kind of cool now; you’re not hip if you don’t have a person of color in your advertising.” It’s not about trying to raise up a race. It’s about improving the majority, not trying to support the minority. That’s what it’s about for me.

Do you worry that the recent increase in women of color on the runways and in advertising is just a trend?
Yeah, I worry. Definitely. It can’t be. A young designer asked me, “I want to ask you something: Who do you think you’ll hand off this project to?” I think about it. I said, “There’s no one.” I have to leave it to the whole industry. There’s no individual. There’s no Fidel Castro. You need a team, an army.

What comes after the award?
I wish I was that strategic. The most important thing is, I hope that no one thinks, Well, I hope she’s satisfied. This is not my career; this is a philosophy I have that I’m trying to share. The thing I want is that people feel responsible, conscious.

I’m not going to stop counting. We’re going to call it like we see it. I was nice last season. I wanted to really slam casting directors and stylists, but I didn’t. They are the perpetrators; they really don’t understand the responsibility they have. And for those who’ve changed their thinking? Good—now stay there. It’s a responsibility. The history of our country is different than other peoples’ history. This country wasn’t changed because some strong black people changed it. It was some strong white people. Martin Luther King wasn’t just with his black buds. It was a white Jewish guy who was his best guy. The people who changed this country looked like you and me. Not me. That’s what I hope comes of this award, because I don’t know if it’s gonna get me another casting job. [laughs] I don’t know what this can get me as a gig. If it can penetrate the minds of others, that’s what I hope this award does.

Photo: Bruce Weber; Courtesy of Bethann Hardison

EXCLUSIVE: Alexander Wang Brings Back Saucy Stripper and SNL Legend Mango for His Latest Flick


Saturday Night Live is still funny and all, but I can’t help but miss the days of Chris Kattan and his sassy character Mango, who sexed up the show between 1997 and 2002. An irresistible beret-wearing exotic dancer, Mango seduced everyone from Gwyneth Paltrow and Ben Affleck to Ellen DeGeneres and J.Lo during his time on the program. “You can’t have-a-da-Mango!” he’d scream at the end of each skit, slapping his gold lamé hot-pants-clad caboose. Well, the SNL star has made an exception for the one and only Alexander Wang, who convinced Kattan to bring back the sprightly stripper for his latest T by Alexander Wang video. “I’ve always loved Mango’s character from SNL, and to be able to work with [Kattan] was such an honor,” Wang told “Sometimes when fashion becomes too stiff, it’s great to have someone such as Mango come through and inject a new burst of energy. Having fun and a sense of humor is so important to me that when I’m able to incorporate it into my work, I run with it,” he added of the flick, which also features a musical component and stars rapper-cum-choreographer Sharaya J. This project follows Wang’s 2013 short, a comedy sketch that saw Anjelah Johnson revive her peeingly funny (and always unhelpful) MadTV character Bon Qui Qui. Kattan has a lot to live up to, but somehow, we think Mango will manage.

A teaser for Wang’s Mango film debuts exclusively here. And don’t forget to tune into Wang’s website and social media platforms on June 3 to see the full sketch.

Tim Blanks Revisits Galliano’s “Wedding in Hell” for Dior Haute Couture ’00



Maybe you’ve heard enough about the Red Wedding in Game of Thrones, but have you ever compared it with John Galliano’s Christian Dior Fall ’00 Couture show? Probably not. In this week’s Throwback Thursdays video, Tim Blanks revisits Galliano’s “wedding in hell,” which was simultaneously beautiful and savage. Rather than dressing models in the same hair and makeup, there was a twisted cast of characters: a “sadistic priest,” a gladiator, a wicked mother of the bride, a devil on a leash, and countless more “psycho dream creatures” Galliano dreamed up for the lavish nuptials. The entire show was more like performance art than a runway show. “It was kind of a glorious lunacy,” Blanks noted. We couldn’t have said it better. Click here to watch the full Throwback Thursday video.

The Future’s So Bright, Étude’s Gotta Wear Shades


Etudes x Retrosuperfuture

Just a week after its Lower East Side pop-up’s debut, Études can expect to enjoy some more ink in the days to come. The Parisian cult streetwear label has reunited with RETROSUPERFUTURE for a second sunglasses capsule featuring three new unisex styles that take cues from Études’ Spring lineup. SUPER’s boxy Gals silhouette gets revamped in a digital take on traditional ikat designs. It’s more than just a pretty pair, though, boasting an involved production method in which the pattern is printed onto foil and sandwiched between acetate frames. A more classic spectacle style, the Panama is anything but basic, rendered in brilliant metallic blue stainless steel and mirrored lenses.

Equally noteworthy is the accompanying short film by Jason Nocito, a slice of life from Études’ lately adopted LES digs, with a hearty dose of graphic appeal. “We wanted to work with Jason on creating imagery surrounding the neighborhood,” offered Études designer Aurélien Arbet. The thrum of traffic and cameos from some lower Manhattan landmarks make for a hypnotic minute and a half. “[It was] inspired by the photographs I’ve taken of people, puddles, and the surfaces around my neighborhood,” said Nocito. Until you’re able to snap up a pair, enjoy the video, which makes its exclusive debut on

The Études x SUPER capsule is available exclusively at,, the Études NYC Pop-Up (254 Broome Street), and RETROSUPERFUTURE’s Soho flagship (21 Howard Street).

Photo: Courtesy Photo