2 posts tagged "Andrea Incontri"
Tod’s continues to amp up its ready-to-wear presence. Back in September, the leather goods company brought on Alessandra Facchinetti to design its women’s collections, and today it announced that Andrea Incontri has been hired as the label’s new creative director of menswear.
“Becoming part of a company like Tod’s is both an honor and an exciting challenge,” says Incontri. “Quality and contemporary Italian style are Tod’s values that are already part of my personal vision of the modern man. My aim is to develop them, always keeping in mind the importance of the roots of a brand with such a rich history and craftsmanship.”
Incontri has been showing his namesake men’s and women’s labels since Spring 2013, but will no doubt benefit from the global exposure of Tod’s. Incontri’s first collection for the house will be shown in Milan this Sunday, June 22.
Richard Haines is somewhat of a fashion-week anomaly—he’s a 61-year-old illustrator with a blog. In a past life, he was a womenswear designer for some of America’s biggest brands, such as Calvin Klein, Bill Blass, Perry Ellis, and Puff Daddy, but he threw all that in to focus on art in the digital age. He quickly gained traction, getting hired by everyone from J.Crew to The New York Times for his ability to make guys look far cooler on paper than they do in real life (you can only imagine what he does for models at runway shows). And recently, he received the ultimate validation: a gig illustrating Prada’s menswear collections, the fruits of which were released in book and T-shirt form. Haines gave us a sneak peek at his Spring ’14 illustrations from Prada (below, left), Jil Sander (below, right), and Andrea Incontri (bottom), which debut exclusively here. And below, the talent talks about flying on private jets with Calvin Klein, life as a blogger, and that one time three days ago when Beppe Modenese mistook him for Bill Cunningham.
When did you first come to the shows and what’s changed since then?
Eighteen thirty-four [laughs]. I went to Paris fashion week in the early eighties, when I was designing, and a friend of mine, who was the editor of New York magazine, would take me to shows like Claude Montana and Thierry Mugler. It was this amazing moment in Paris. Back then I saw womenswear, now I see menswear, so the scale of the audience is different. The biggest thing [then] was this trend of sending out, like, eight models in the same outfit all at once. It was very dramatic, and that doesn’t seem to happen now. If anything, it’s gotten more intimate and more manageable. But the media has made fashion week very different, which is fascinating.
I’ve heard you say that people were dropping a lot more money back in those days.
Yeah, it was a different time. It was easier to be in the fashion business, because there weren’t these constant collections to do. The stakes weren’t as high, and people did it with a lot more money. Now, there are more brands competing for less money. A couple of years after I started going to the collections in Paris, I was working at Calvin Klein, and it was a privately owned company—it was his company—so if he wanted to charter a jet, he would. We’d go to London and then the fabric shows in Milan, and then we’d go to Lake Como and stay at the Villa d’Este. It wasn’t bad.
What’s it like being one of the only illustrators at the shows?
I love doing it. There’s something really exciting about sitting down and watching someone present and being able to draw it. I don’t think about whether I’m one of the only people doing this. I just love doing it, and it makes me happy. I just keep going.
What are your fashion-week essentials?
I inevitably always forget one thing. I have little cases where I carry charcoal pencils, Moleskine notebooks—which reminds me, I need to buy a new one today—a charger for my cell phone, antidepressants…. And that’s it. When I first started doing this, I would forget paper, and I started drawing on envelopes and show notes and people loved that, so sometimes it works to my advantage. Continue Reading “Quick to the Draw: A Moment With Richard Haines” »