7 posts tagged "Alaia"
It’s coming…. Last year, it was announced that Rei Kawakubo’s conceptual shopping wonderland, Dover Street Market, which already has locations in London and Tokyo, would be opening its doors in New York. But we didn’t know exactly when the Manhattan mecca would launch, until today. This afternoon, DSM revealed that the store, located on the fittingly unlikely corner of Thirtieth Street and Lexington Avenue, will bow on December 21. What treasures will be on offer, you ask? Prada, Thom Browne, Supreme, Simone Rocha, Christopher Kane, Alaïa, Atto, A.P.C., Rick Owens, Junya Watanabe, and a brand-new range from nineties fashion star Andre Walker are just some of the lines on DSM New York’s stock list. And don’t worry—wares from every breed of Comme des Garçons you could possibly dream of will be up for sale, too. Whether DSM will be able to transform the notoriously bland Murray Hill neighborhood into something with a little more elegance and edge is up for debate, but if anyone can do it, it’s Rei Kawakubo. For more information on DSM’s stateside arrival, read our Q&A with Comme des Garçons CEO Adrian Joffe.
There are only a handful of shops worldwide as iconic as the Joseph on 77 Fulham Road, or known in the fashion world simply as 77. With a prized position in the heart of South Kensington, Joseph is flanked on both sides by some other icons: Daphne’s, Princess Diana’s favorite restaurant; Boujis, her son Harry’s current nightclub of choice; and, of course, Bibendum in the Michelin House, where loyal customers have been enjoying oysters and champagne for generations. That was where yours truly first met the late, great Joseph Ettedgui in 2003, sipping his espresso and puffing a cigar, those eyes squinting behind his trademark round glasses in the glorious October sun, as he put his paper down to fill me in on details of the project at that moment in his life—the renovation of his home. During our many conversations, a constant stream of people was always stopping to say hello. Joseph Ettedgui was the most popular guy in the hood, his charms and charisma irresistible.
September 14 marks the twenty-fifth anniversary of 77, and celebrations are afoot for the man who brought Kenzo, Castelbajac, Alaïa, and Yamamoto to the world and who basically created the mold for concept stores like Colette and Dover Street Market. Celebrations start by revealing twenty-five quotes from Joseph’s nearest and dearest, like Naomi Campbell, Katie Grand, and Alexandra Shulman, and they’ll live on the Joseph Web site during London fashion week.
There will also be a window during LFW designed by Vanity Fair‘s Michael Roberts, a great friend and confidante of Joseph’s who, back in the day, worked as a stylist and was all but Joseph’s “right-hand man.” The window is inspired by one of Joseph’s only fashion shows, held around twenty-five years ago, styled by Roberts, where body mapping was somewhat of a thing. Louise Trotter, Joseph’s creative director, has also created a Haring jacquard jumper, inspired by the same fashion show, which will hit the shops September 14. On the eve of the anniversary, Style.com sat down with Roberts to discuss Mr. Ettedgui, who died from cancer in 2010, at age 74.
What are your fondest memories of both Josephs—the man and the brand?
I would see Joseph with a cigar and a coffee, listening attentively, and then motivating you to just “do it.” He was a doer, making sure that things got done. There would be one central meeting, then he would spring into action. Once you had done what it was you set out to do, he would become almost childlike, exclaiming and jumping up and down in celebration and excitement. Continue Reading “Happy Birthday, Dear Joseph” »
Just in case you haven’t gotten your fill of Lady Gaga’s paint-smeared face, it’s back in the video for “Applause,” the first single to (officially) drop from the singer’s forthcoming album, Artpop. Fittingly, for the woman devoted to living her life as a live-action editorial shoot, the video was directed by fashion photographers Inez van Lamsweerde and Vinoodh Matadin, who also shot Artpop‘s cover and Gaga’s four September V covers. “For me, it was one of the most memorable experiences that we’ve ever had,” Gaga’s stylist, Brandon Maxwell, told Style.com when asked about working with the photographers. Of course, the clothes—like an archival John Galliano gown accessorized with duct tape and safety-pin baubles by Mathieu Mirano, and Valentino Couture lingerie paired with Alaïa boots—added to the excitement.
“The concept was really, What would you do for the applause?” explained Maxwell. Donning a custom Gareth Pugh pillow gown (which explodes around a black catsuit by Mila Schön) and a Maison Martin Margiela Couture jacket (Gaga wears it atop a mirror-and-pin costume conceived by her sister, Natali Germanotta) seems a good place to start. However, Maxwell stressed that some of Gaga’s most memorable looks boast a DIY touch. “Nobody loves clothes and couture more than Gaga, but I think some of her most famous costumes are things that she made with her own two hands,” asserted the stylist. “So there are parts of the video that are incredible for fashion people—like, I was basically crying during that whole Galliano scene. But she has a huge fan base, and I like to choose pieces—whether they’re off the runway or made by us—that some of these kids can make at home.” This time around, those items included seashell pasties; a floating bikini bottom that Gaga’s in-house Renaissance man, Perry Meek, assembled from fresh flowers, glue, and string; and a surreal top by Jean-Charles de Castelbajac shaped to look as though two gloved hands are grasping Gaga’s breasts. The pop star also wears assemblage-style wings—fashioned from broken umbrella spokes—by L.A.-based Junker Designs. Continue Reading ““Applause,” Please: Brandon Maxwell Talks Styling Lady Gaga’s Latest Video” »
Head-to-toe white has a tendency to look a bit clinical—but not so when it comes to this season’s perforated leather wares. Punctuated, laser-cut leathers in icy hues were spotted all over the Spring ’13 runways. At Proenza Schouler, the technique gave off a sporty techno vibe, while Jonathan Simkhai’s laser-cut floral designs were simultaneously sharp and ladylike. Shop our punchy picks, from Alaïa, Thierry Mugler, and more, below.
1. Jonathan Simkhai shirt, $1,230, available at www.matchesfashion.com.
2. Incase iPad snap case, $24.95, available at goincase.com.
3. Proenza Schouler skirt, $1,959, available at www.mytheresa.com.
4. Thierry Mugler Vintage shoes, $426, available at www.farfetch.com.
5. Alaïa bag, $1,883, available at www.farfetch.com.
Azzedine Alaïa recently showed his Fall ’13 collection his way: Quietly and off schedule, with a small presentation at his Paris studio and showroom, well after the end of Paris’ dedicated ready-to-wear-week. Below, Style.com correspondent Alex Veblen weighs in on the collection. Read on for more, and a slideshow of Alaïa’s Fall looks.
Minutes before the informal show (held, as usual, in Alaïa’s sun-drenched Marais showroom), we were advised that the Fall collection would be “reduced.” The designer has been busy working on the costumes for the Los Angeles Philharmonic’s production of Le Nozze di Figaro (Jean Nouvel is overseeing the staging). But no disclaimer was necessary. If Alaïa is feeling overworked, it certainly did not show. The Tunisian-born designer has been working with the same Italian knit mill for the last three decades. There is something acutely metaphoric in considering that you can find a continuous thread throughout a hypothetical Alaïa catalogue raisonné. And indeed, this season you will still find many familiar conceits: the bell-shaped skirts; the ribbed body-con dresses; the dense velour; the crisp, stylized white shirt.
But Alaïa also introduced a new motif, and it’s one that has staying power. The knits had sprouted orderly rows of dimensional dots—or “pois” (peas), if you prefer. In some cases, they ran longitudinal down the torso; other times, they served to demarcate the knit pleats or ran horizontally as a pseudo hemline. They also zigzagged in rows of two and danced down leggings. The effect was rhythmic and technical in equal measure. It was colorful, too, but on a much subtler level. The dots occasionally shifted to Lurex green or red, as if he flipped on the switch of dance-club light. The metallic yarn reappeared as a much larger solid statement; at this point, a retailer could be heard swooning. But the piano-key black-and-ivory looks were the sharpest. One fun standout: a double-faced dress with vertical bands of rose, mint, and sand popping out through the black openwork.
Along with a few ingenue flourishes (compact polo collars, black bow-tie belts, and baby-doll silhouettes over jumpsuits), he showed longer skirts and wide velour pants that on first impression might be interpreted as a mature counterpoint. But actually Alaïa wasn’t making a point about age; his point was freedom. At least, the accompanying song “Freedom” (sung by Anthony Hamilton and Elayna Boynton), from Django Unchained, suggested as much. And maybe this also explains why, for the first time, he showed an in-between 90-mm heel height. After all the luxe lacquered croc coats last Fall, the designer relegated the exotic skins to accessories and footwear. Perhaps this was what was meant by “reduced.” No matter. All that stiffness gave way to a flirtier collection. Certainly, it had kick.
A few blocks from Alaïa’s showroom, a new exhibition on the history of Haute Couture has been mounted at the Hôtel de Ville. An Alaïa bandage dress circa 1990 stands out like the ribbed rebel amid the finery and embellishment. Next fall, when the Musée Galliera reopens, an Alaïa retrospective will be the marquee show. It’s safe to assume there will be a lot of dames in dots on the opening night.
Click here for a slideshow of Alaïa’s new collection >