31 posts tagged "Cameron Silver"
Stars like Ginnifer Goodwin, Christina Hendricks, Abbie Cornish, Marisa Tomei, and Perrey Reeves kicked off Oscar week last night in L.A. at a private reception, sponsored by Dior and Vanity Fair, for artist Kimberly Brooks’ (pictured, with Tomei) exhibition The Stylist Project. Call it a favor returned—the subjects of Brooks’ oil portraits are the men and women who spend their days making sure the celebs look good. And since those stylists—Arianne Phillips, Liz Goldwyn, Mad Men costume designer Janie Bryant—most often spend their time behind the scenes (well, all except Rachel Zoe, another sitter), it was their night to shine. That’s not to say, of course, that the stylists are all retiring types. “I love that he’s talking and holding court,” said Tracee Ellis Ross after surveying the portrait of her friend, Decades’ Cameron Silver. Spoken like an actress. The man himself had professional concerns of his own. “All I cared about was looking young and skinny,” joked Silver, dressed in Alexander McQueen.
The Stylist Project runs through April 3 at Taylor De Cordoba, 2660 S. La Cienaga Blvd., L.A., (310) 559-9156, www.taylordecordoba.com.
Balmainia is no laughing matter. Last night, the fashion house had planned to host a simple little cocktail party to celebrate the refurbishment of their store on the rue François—but by the time word of the fête reached me, the whole thing had blown into a full-on fashion gala. A few hours before the party, Balmain PR e-mailed to break the news that there would be no red carpet, runway show, or celebrity co-hosts, but there was no shortage of chic ladies in their latest Christophe Decarnin duds. “It’s a Balmain army,” Decades’ Cameron Silver observed, not only for the military influences on many of the large-shouldered jackets, but also for how many of the women here would kill if necessary to get their hands on the goods. In the middle of it all was Decarnin himself, soft-spoken and shy as always. He said that he enjoyed updating the store with antique moldings and gilded paneling, since the store hadn’t been touched up since the 1980′s. I thought he might have liked an eighties vibe—his designs have done more than a little digging in that territory—but he demurred. “The stuff here was not the good eighties.”
A few blocks down the rue François, Loewe was hosting a cocktail party of its own for a new line of leather outerwear classics Stuart Vevers designed for the label, as well as to celebrate their new, Katie Grand-styled campaign. Grand had originally only booked two models, Pixie Geldof and Louis Simonon, the son of the Clash frontman and sometime model, who fronted Prada’s Spring campaign last year. But once the snapping began, she felt that there was one trenchcoat that wasn’t right for Pixie or Louis. “I was walking my dog in the park and Katie called,” Tricia Simonon (above, with Louis, her son), remembered at the party. “She asked me to come on the shoot, but I didn’t want to be the sort of mother who tries to jump in on her son’s campaign. I didn’t want to step on his toes.” She didn’t have the chance, not literally at least: She laughed as she told me that Louis took off before she even arrived.
L.A. fashion week is getting a splash of organized glam tonight with a runway show, photography exhibit, and video installation at MoCA courtesy of Cameron Silver and Downtown L.A. Fashion Week, a new group looking to fill the void left by IMG and Smashbox Studios. Celebs like Marisa Tomei, Kelly Lynch, and Zoë Saldana are slated to attend this benefit (proceeds from ticket sales, available at www.DowntownLaFashionWeek.com, go back to the museum), which will see pieces from Silver’s vintage collection gliding down the runway. On tap from the Decades’ archives: a hot-pink strapless number from Christian Dior once slipped into by Gwyneth Paltrow and the second-skin Azzaro frock Nicole Kidman wore to the NYC premiere of Moulin Rouge! Madonna fave Louis Verdad’s new collection, shot in painterly fashion by August Bradley and filmed by Robertino Fonseca, should satisfy attendees’ cravings for this season’s prevailing trend toward multimedia fashion shows.
With the Met’s Costume Institute gala nearing, its theme—the role of fashion models as muses—has become party talk even on the West Coast. Last night, at a memorial celebration for legendary lensman William Claxton, who died a day shy of his 81st birthday last October, it was abundantly clear that no subject offered more grist for the photographer than wife Peggy Moffitt. While working with Peggy on planning this event for the past few weeks, I discovered that Peggy’s own muse had become a life of 48 years with her husband, lived to the max.
Before hundreds of friends that ran from James Galanos and Vidal Sassoon (above, with Moffitt) to Liz Goldwyn and Sandy Schreier to Greg Gorman and Matthew Rolston, the Claxtons’ collaborations were on vibrant display last night inside the Bing Theater at the Los Angeles County Museum of Art. Following a comedic series of tales from Bernie Taupin, a self-avowed fanatic of Bill’s work, Burt Bacharach’s tender “Alfie” turned up the waterworks. Peggy art-directed every ebb and high of the evening, from pal Benedikt Taschen’s opening words to the rousing New Orleans band that capped the night and had us all dancing up a storm in the museum courtyard. No one better than Bill knew the seamless synergy between muse and artist, and how one breathes life into the other until it’s impossible to tell them apart.
The Friends of the Costume Institute hosted a lively discussion Tuesday night at the Metropolitan Museum of Art. The subject—”Fashion Fault Lines: West Coast / East Coast”—was a familiar one to any New Yorker who has lost friends to L.A.’s warmer climes. The Met’s Andrew Bolton led the debate between vintage fashion experts Cameron Silver and Tiffany Dubin; the twosome went head-to-head over the Costume Institute Ball versus the Academy Awards, an argument Silver effectively ended by choosing neither. “Michelle Obama,” he declared, “is the current center of the fashion universe.” On the hot topic of designer collabs with brands like Target and H&M, Lynn Yaeger came down firmly in support of Comme des Garçons‘ line for H&M, while Silver argued that the CFDA/Vogue white T-shirt series at the Gap was the best high-low around. The next face-off was between owners and loaners—those that buy vs. those that borrow, which Dubin said was hardly a debate. “I like to own fashion,” she said matter-of-factly. But toward the end of the talk, Bolton led the discussion back to coastal warfare. To decide which side was better, however, he didn’t look to red carpets but to homegrown designers. While he acknowledged many rising stars working in New York, he suggested that Rodarte and Rick Owens were inching California just ahead.
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