5 posts tagged "Ashleigh Good"
Maternitywear just got a whole lot chicer—and more expensive—thanks to Ashleigh Good, who closed this morning’s Chanel Haute Couture show in Paris during what appears to be her third trimester of pregnancy. While we’ve witnessed supermodels like Jourdan Dunn or Alessandra Ambrosio strut catwalks sporting visible baby bumps, it’s essentially unprecedented to send someone this far along down the runway. Leave it to Karl Lagerfeld to break down industry barriers.
Undoubtedly, Good’s lap around the Grand Palais in a gilded white empire-neck gown was a celebration of female power, strength, and overall womanliness— not to mention a push for new body image acceptance. While some critics may question the moral implications of today’s finale by dismissing it is as exploitive or a controversy-seeking stunt, it was ultimately a mutual decision between Lagerfeld and Good, who has become a part of the Chanel family in recent years.
Good has walked in Chanel’s show the past nine seasons in a row (beginning with the brand’s 2013 Metiers d’Art spectacle in Scotland), so it was somewhat of a head-scratcher when she didn’t turn up in Dubai back in May. Lagerfeld has been instrumental in Good’s blast-off success, and regards the 22-year-old aristocratic beauty in the same light as Stella Tennant. In addition to lensing Good for multiple campaigns, Lagerfeld cast her to open four of his shows. She made the Spring ’13 Haute Couture collection a memorable one by appearing alongside Kati Nescher a lesbian bride. Outside of Chanel, the energetic Kiwi-by-way-of-Britain hasn’t skipped a beat, and has kept busy with editorial work. One thing’s for sure about Good’s future offspring: Hudson Kroenig just got a lot of competition.
In other Chanel news: Kendall Jenner made her Haute Couture debut on today’s runway. All in all, lots going on in Karl’s house.
Who said lookbooks had to be boring? Chanel has released the press kit for its Pre-Fall Metiers d’Art collection, which debuted with much fanfare in Dallas last week. And, thanks to couturier-cum-shutterbug Karl Lagerfeld, the package includes some campaign-worthy images, which star his show opener, the newly platinum Ashleigh Good. Sure, the pair had a little fun with the clothes’ Texas theme (cue the photos’ sepia tone, and Good striking a shoot-em-up pose in leather gloves and a metal-fringed jacket). But the snaps, which show every painstaking detail of the Western-inspired range, are cold hard proof that, despite some critics’ concerns, Karl’s latest outing is anything but costume.
The Karl caravan has arrived in Singapore. Lagerfeld and forty-seven models are set up at the city’s famous Raffles Hotel, the gorgeous nineteenth-century English-colonial hotel, with enough hardworking dressers, stylists, and global PR reps attending them to put you in mind of a postcolonial Downton Abbey. Today, they’ll put on Chanel’s Cruise show. But last night, it was a party for a prelude: a pair of short films, screened alfresco in the hotel courtyard, beside which Maugham and Hemingway sat in the Long Bar, sipping Singapore Slings.
Leave it to Lagerfeld to make not one, but two films. The preview and the movie: They just go together, he explained. So Women Only featured a raft of his favorite girls—Kati, Cara, Lindsey, Lina, Xiao Wen, Soo Joo, et al., all clad in Chanel Pre-Fall—piling into a movie theater for the debut of a new film. Then the film within the film: Naturally, it’s a little number by Lagerfeld. Once Upon a Time… takes us back a century, to the opening of Gabrielle Chanel’s shop in the French resort town of Deauville. It opens with a scene of two servant girls impugning the name of Chanel. “Who is Gabrielle Chanel?” they wonder as they wander past her shop. “I don’t know, but she has no taste.”
But he who laughs last laughs best. Business starts out slow for Coco Chanel (Keira Knightley, absent from this Singaporean affair, on her honeymoon) and her partner/confidante Aunt Adrienne (Clotilde Hesme), but the crème de la crème of Riviera society eventually come swishing through her door. That Chanel girl, the consensus eventually runs, she’s really got something.
So does her latter-day inheritor, Karl Lagerfeld. “I did everything,” Lagerfeld said after the applause had died down. “I designed the set, I made the costumes, I made the characters, I made the dialogue. I make everything—otherwise, I’m not interested. I could never work with somebody who makes the dialogue, because I want them to talk the way I’m thinking.” He built a town from scratch—the whole thing was shot at a Paris film studio—and assembled a cast of thousands. (Well, 160 extras, at least; but as Hesme laughed, “I think the budget is much larger than the film I did before.”) And he bravely tossed the book out and shot without a script, calling out lines just before takes and encouraging his actresses to improvise. A task like that separates the wheat from the chaff. And who knows, some stars may have been born. Lagerfeld saved special mention for Ashleigh Good, who played the Swedish actress Jacqueline Forzane, and he wasn’t the only one. “Keira was impressed by Ashleigh,” he said gravely. As for others—well, the catwalk is a fine consolation.
Lagerfeld is as new to filmmaking as many of his actresses, but Karl’s gals—out in force tonight to celebrate—were full of praise for their fledgling director. “It was great fun—it was a giant playground,” said Stella Tennant, fresh into town from the Met Gala, who played Lady de Grey, Oscar Wilde’s patroness. “He’s very fresh,” added Caroline de Maigret, who played the towering Russian ballerina Ida Rubinstein. (Lagerfeld made her even more towering by dismissing all but the shortest extras for her scene.) “He’s very enthusiastic, excited. He’s laughing, ‘Ah, brilliant, brilliant!’
“He gets excited by everything he doesn’t know,” she declared, stubbing out her cigarette—usually a hot-button issue in law-abiding Singapore, but Karl’s night, Karl’s rules. “That’s his power. That’s what drives him, the unknown.”
The concept of blurred gender lines isn’t anything new. But it’s been at the front of our minds over the last few months, after seeing gaggles of girls dressed like boys (Saskia de Brauw in Saint Laurent’s Spring menswear campaign, Tamy Glauser, Jenny Shimizu, and Ashleigh Good on Givenchy’s Fall ’13 men’s runway) and boys dressed like girls (thank you, J.W. Anderson and Meadham Kirchhoff ). The art world seems to be pondering the topic, too. Evidence? Last night’s opening of Ladies & Gents—an exhibition at Salomon Contemporary that aims to cheekily explore our perception of the sexes. Featuring sixteen works, like Kiki Smith’s Daisy Chain (a long metal chain with a woman’s head and feet, made in 1992), Deborah Kass’ Four Barbras, Six Red Barbras, Four Barbras (a 1993 Barbra Streisand-centric silk-screen series), and Judith Hudson’s Bribe (an irreverent 2009 watercolor of a topless, pearl-adorned woman), the show lightheartedly juxtaposes masculinity and femininity, and sometimes fuses both. Take, for instance, E.V. Day’s work Spidey / Striptease (2012). Known for deconstructing fashion items (like a Chanel jacket, an Hervé Léger bandage dress, and pink panties) and stringing them up into complicated webs, Day presented a piece that combined a shredded Spider-Man costume, fishnets, and red stiletto heels. “I love Spider-Man, because his web looks just like a fishnet stocking,” said Day. “And that brought me to the realization that there’s a feminine idea about him,” she added.
Nir Hod—who showed Genius, a new painting that depicts a jaded, judgmental child wearing what looks like Elizabethan clothes while he smokes a cigarette—insisted that his work is about pure beauty. “That’s beyond gender. If you asked me if this was a boy or a girl, I couldn’t even tell you.” Continue Reading “Ladies & Gents, Unsexed” »
Tamy Glauser is a leader in the new wave of gender-bending models. The 28-year-old Swiss tomboy had a breakout moment today on the Givenchy menswear runway in Paris, where her shaved head, fierce gaze, sharp cheekbones, and lanky frame fit right in with the rest of the guys in the cast (plus several other Riccardo Tisci favorites, including Saskia de Brauw, Jenny Shimizu, and Ashleigh Good). Glauser (left, note the “Garcons” sweater) debuted at the Spring shows, walking in Vivienne Westwood and Jean Paul Gaultier, where they spray-painted her hair red to channel Annie Lennox. “When I went to the [Jean Paul Gaultier] casting, it was two o’clock in the morning. I didn’t have heels, and I didn’t know what the designer looked like, because I didn’t really have anything to do with fashion before. After walking for him, he said he liked my look and told me I got the job,” she told Style.com. Since then, it’s been a whirlwind of change for Glauser, who recently relocated from Zurich to Paris, and just shot a menswear editorial (out this February) alongside fellow androgynous star of the moment, Casey Legler, who is the first female model on Ford’s men’s board.
Before beginning her modeling career, Glauser was paying her bills by working in bars and restaurants, with the occasional acting gig on the side. Earlier this year, she starred in an award-winning music video for popular European dubstep musician Joachim Garraud. Back in 2000, Glauser was an Olympics-bound swimmer on the Swiss National Team (her events were the 400- and 800-meter freestyle), but she decided not to pursue becoming a professional athlete, adding, “Swimmers have the weirdest bodies anyways, and I already don’t like my broad shoulders.” Glauser takes each new chapter of her life in stride, and is fully embracing modeling for the moment. “I like being in front of the camera. It gives me the chance to put my shyness away and be someone else,” she explained. “I don’t have an exact future in mind. In this industry, one day it’s one way and the next day it’s another. I feel like if you expect anything, you might get disappointed, so I try not to have any expectations and just appreciate the present.” Chances are, we’ll be seeing more of Glauser at the Fall shows in February.