6 posts tagged "Albert Kriemler"
To infinity and beyond! The new Fall collections found designers thinking intergalactically. Who could’ve guessed that we’d see Star Wars motifs at not one, but two shows? Rodarte’s Laura and Kate Mulleavy revisited their favorite childhood films with a buzzy finale of gowns featuring familiar characters like Luke Skywalker, C-3PO, and even Yoda. Just five days later, Preen by Thornton Bregazzi crossed over to the dark side with Darth Vader-printed looks and an entourage of stormtroopers who mingled with the models backstage. Others weren’t quite so literal with their outer space references. At Fendi, Karl Lagerfeld sent out a series of sheared fur coats and floaty silk velvet maxi dresses that resembled celestial charts. Elsewhere, Coach’s Stuart Vevers whipped up an Apollo sweater that echoed the one worn by Danny Torrance in The Shining. And Albert Kriemler, working closely with the German photographer Thomas Ruff, incorporated up close surface shots of Mars into several looks at Akris. Meanwhile, our award for the cleverest take on the cosmic trend goes to Undercover’s Jun Takahashi, who printed tiny UFOs on the borders of his Delft-china-patterned pieces.
The Met’s Punk: Chaos to Couture curator, Andrew Bolton, reportedly professed that pink is the color of punk. But, judging by the Resort collections, such associations are all but gone. Designers are swapping angst for allure, offering a noticeably softer take on all things coral and flush. Michael Kors, for example, afforded a bubblegum-colored jumper, replete with a mega-size turtleneck and lots of cozy fuzz (above, center). Max Mara showed a slouchy hooded overcoat in rosebud (above, left), and Giorgio Armani channeled a candy striper with a neat, structured blazer in magenta and golden stripes.
Moving beyond outerwear, Oscar de la Renta paired a cropped jacket in a cotton-candy shade with a matching top and electric-roseate skirt (above, right), and at Akris, Albert Kriemler invoked the arresting palette of Luis Barragán’s Cuadra San Cristobal estate on the outskirts of Mexico City—the result was a collection boasting shades of the manor’s pink stucco and serene fuchsia sunsets.
Alicia Keys kicked off her international Set the World on Fire tour on March 7. And according to her stylist, Laura Jones, her performances are all about the singing, rather than fancy costumes (unlike some pop stars). “Alicia doesn’t like to do a lot of costume changes. We’re not trying to build up some big embellished look [and] we didn’t want her to be hidden by the clothes,” says Jones, who’s been dressing Keys for a year. (They met while Jones was assisting Edward Enninful at W magazine.) But just because Keys is all about the notes doesn’t mean she neglects her onstage aesthetic. For the tour, Jones tells us that they went for strong, sexy, and sophisticated. “Alicia really, really loves clothes and she’s really hands on. She’s hit a place in her life where she’s feeling really confident. We wanted her wardrobe to reflect that,” explains Jones. In order to achieve Keys’ bold but pared-down look, Jones enlisted the help of Michael Kors (who designed the shimmering blue gown Keys wears at the end of her set, as well as the red stunner she donned while singing at the Inauguration last January) and Akris’ Albert Kriemler, who created a host of custom wares.
“The focus was on details, fit, and flattering cuts,” says Jones, noting that Kriemler worked closely with her and Keys for months (in fact, before he met the star, Jones sent him YouTube videos of Keys performing so he could get a sense of how she moves on stage). “It’s all about understanding how she’s going to perform and knowing what fabrics are camera friendly and body friendly,” she adds. (Apparently, jersey is a safe bet for all of the above.) “My job is to make sure the clothes never get in the way of her performance. They should maximize her movements, maximize how she feels, and be a great marriage of functionality, sophistication, and longevity. She’s touring for the rest of the year, so she needs to wear something that won’t feel stale in a couple of months,” offers Jones, explaining that the designers made Alicia around seven different outfits so that she can change up her visage from one performance to the next.
As for the end result, it seems Keys’ team nailed it—last night, the singer gave an animated performance at L.A.’s Staples Center in an Akris V-neck paillette bodysuit and a black Maison Michel hat. So how does the singer feel about her Set the World on Fire wardrobe? “The tour is about a journey to freedom and personal strength,” Keys told Style.com. “I wanted to embody that energy and spirit. The Akris looks that Albert Kriemler designed for me are the perfect balance of striking, strong, glamorous, and chic. I feel empowered on stage wearing them.” Jones was pretty happy about it, too. “When you see it on stage, and everyone is screaming, and she looks so divine, you know you’ve done a good job. And that feels great.”
Is Karl campaigning for mayor of Saint-Tropez? Following Chanel’s Resort show there last month, the label has now opened a temporary store on site, too. Louis Vuitton, not to be outdone, has opened a new, larger store on the Riviera, too. [WWD]
Bergdorf held its first “virtual” trunk show this week, with W‘s Alex White and BG fashion director Linda Fargo chatting with Akris’ Albert Kriemler via Skype. “OMG” seems the only rational response. [WSJ]
The New York Times investigates Milan menswear’s preoccupation with the gigolo. Rent boys, big in ’11? (And because we need no better excuse, here’s the original—Gere in American Gigolo—left.) [NYT]
Tommy Hilfiger, the newly appointed world leader of the nonprofit Millennium Promise, will address 1,000 chief officers at the U.N. tomorrow to discuss initiatives to end world hunger. [WWD]
And Refinery29 offers a peek at the Fall ’10 range from accessory designer and newly minted CFDA award winner Alexis Bittar. What to expect: geometric designs, gunmetal grays, and antlers. Price on request for that antler piece, which presumably doesn’t include the cost of any sweaters it may snag and ruin. [R29]