34 posts tagged "Carven"
Despite the fact that it snowed in New York this week, the red carpet was full of summer vibes. Winter coats returned on the East Coast, and in Hollywood, short hemlines and light colors flourished for a bevy of parties, premieres, and award shows.
On Tuesday, Chloë Grace Moretz attended the opening night celebration of The Library in New York in an ecru lace frock with a black yolk from the Carven Pre-Fall ’14 lineup. The same night, another one of our favorite A-list teens, Kiernan Shipka, stepped out in a white, yellow, and gray patterned Preen dress for Jimmy Choo’s Choo.08 launch party in L.A.
With the premiere tour for The Amazing Spider-Man 2 officially underway, Emma Stone spent a lot of time on the red carpet this week. She stuck to a similar color palette for her Berlin appearances on Tuesday, choosing a light blue Erdem Fall ’14 frock dotted with red beading for the photo call and a Chanel Pre-Fall ’14 dress with a pale lavender skirt and red-striped bodice for the premiere that evening.
In case you were missing all that awards season glamour, Sunday’s MTV Movie Awards brought it back with a summery twist. Ellie Goulding walked the red carpet in a white Emporio Armani dress with cutouts on the sides, while Lupita Nyong’o opted for a gray Chanel Fall ’14 dress speckled with colorful geometrics. Rihanna strayed from the red-carpet norm, turning up in a beige corseted bodysuit and a pink silk robe from Ulyana Sergeenko’s Spring ’14 Haute Couture that took the leg-baring trend to a new level. Your move, Angelina.
This spring I want to be surrounded by flowers. Orchids, tulips, and peonies are my favorites for decorating my house, but I’m less particular about the species when it comes to what I wear—any floral arrangements will do. Carven’s denim rose-print dress is on my wish list this week. Printed denim is an interesting choice, and the crisscross front is an unexpected detail that takes this dress far beyond ordinary.
Carven floral denim crisscross dress, $850, Buy it now
Photo: Courtesy of Moda Operandi
During New York fashion week, pale pink was the street-style color of choice, at least as far as coats were concerned. Ever since Carven sent pastel cocoon coats down the runway last September, we’ve coveted a rosy topper—this editor even surrendered to one. And while by week’s end the pale-hued jackets felt all but ubiquitous, the last day of the New York collections began to validate my purchase.
Both Ralph Lauren and Marc Jacobs cast cloudy variations of neutrals, muddled blues, frothy greens, and lilacs down the runway. We saw comparable wares (plush pink coat included) from Francisco Costa earlier at Calvin Klein Pre-Fall. Marc Jacobs’ girls, with their pristine beauty looks, were visions of almost unattainable perfection—almost like femme fatales from the future. In London Christopher Kane sang a similar tune: His models seemed prepared to conquer all elements—rosé-colored dresses finished with swirled sleeves made a fembot-esque statement. But we had to wonder, would the Italian designers follow suit? Yesterday, Frida Giannini’s pastel-powered Gucci girls took charge in sixties-infused monochromatic shirt-and-suit combos in sage green, baby blue, and sandy pink. While we can appreciate Madonna in a double-breasted Ralph Lauren tuxedo, this color theory is proof that we don’t need to borrow from the boys or opt for a classic black-and-white combo to state our claim as H.B.I.C.
At Prada’s Spring ’14 show, we knew Miuccia was onto something. The giant face murals and face-printed fur coats and dresses sparked a revelation: Who knew the human visage made for such a compelling print? As such, we’re not surprised that the trend is popping up in the Pre-Fall and Fall ’14 menswear collections, but this time around the renderings are more abstract. Guillaume Henry, for instance, sent out sketchy doodles at Carven today. The frenzied black figures drawn on simple, collarless white button-downs seemed a fusion of Jean-Michel Basquiat and Tim Burton. At Stella McCartney’s Pre-Fall fete, the designer said she was inspired by Billy Idol-era punk. McCartney enlisted Gary Hume to draw loopy faces for an ivory crewneck and a black boxy overcoat, truly blurring the line between fashion and art. Finally, at Jean Paul Gaultier, the designer worked a few trends at once, splashing dark, grungy caricatures across a pure-as-snow fur jacket. In addition, his entire lookbook was shot against a cartoonish, hand-drawn backdrop—original art by JPG himself.
“It’s been sort of like a Carven World Tour these days,” laughed Carven‘s creative director, Guillaume Henry, while sitting in the lobby of the Mercer hotel. His description wasn’t hyperbolic in the least. In the last month, Carven has opened two boutiques in Shanghai, its first flagship in London, and now the house is preparing to debut a stateside outpost, in New York. Located at 83 Mercer Street, in Soho (with stores like Chloé, Saint Laurent, and Proenza Schouler just around the corner), the 1,636-square-foot space was designed in collaboration with architect Eric Chevallier. “I didn’t want it to be too impressive, though,” explained Henry. “I prefer places that feel comfortable, familiar, and approachable.” He plans to achieve said ambience by combining luxurious elements—like a black leather bench and marble details—with more industrial ones. “I love the idea of mixing opposites—day and night, sophisticated and casual, sexy and shy. I love two extreme worlds connected.”
The New York flagship will mark Carven’s sixteenth freestanding boutique (though the designer hints that a third Paris shop, outside the Marais, as well as another location in Manhattan, could be on the way). Carven’s investment in new international digs is a testament to Henry’s success at the brand, which, founded in 1943 by a now 104-year-old Carmen de Tommaso, was revived in 2009. Throughout the past five years, Henry has brought the sleeping heritage house back to life with his crisp, clean sense of modernity and his youthful approach to design. Last night, Henry sat down with Style.com (next to a newlywed couple in a bridal gown and a morning suit, oddly enough) to talk Carven’s history, imagined muses, and why real life is the most incredible inspiration.
You’ve been at Carven for five years. What have you learned?
I’m learning new things every single day. It’s completely crazy. We started with a white page, and now the book is starting to fill up. What I love about Carven is, it’s about pleasure, and a challenge, but at the same time the clothes talk to real people. Carven is part dream, part reality. We do a catwalk each season, and we tell the story of a woman, or a man. But then when the show is finished, they’re not my clothes anymore. They’re everyone’s clothes. And I love that they’re going to tell their own story. People are going to bring our clothes into their daily lives, and that’s something I adore.
What does it take to successfully revive a heritage house? Many have tried and failed, but you seem to have a pretty good grip on it.
I’ve been lucky. Carven is an old brand, but I’ve been there for the rebirth. You know, what Mme Carven [Carmen de Tommaso] did in the fifties was good in the fifties, but you have to think about why the brand worked back then. It worked because it was connected to its client. And Mme Carven was dressing cool young girls at that time, so our goal was to dress cool young people. Young is not only a question of age for me—it’s a question of attitude. It’s a question of having a fresh mind.
Do you ever feel beholden to Carven’s history, or to what Carmen de Tommaso would want?
Not really. It’s a very approachable company, and a very approachable brand. Mrs. Carven was a grand couturier, as we call them, but she didn’t reinvent concepts. She was a designer, for sure, but she was really making clothes, and I do believe in that. I’ve met her a few times, and she’s 104 years old, but she’s super young! I think when she decided to sell the brand, she took a stance and separated herself from it. But I always ask myself if she would understand what I’m designing. I’m sure she wouldn’t have done the same things—but would she respect the DNA of the brand? That’s the main thing for me.
What has been your biggest challenge at Carven thus far?
Getting Carven on Mercer Street. Five years ago, when I’d call retailers and say, “OK, we are Carven,” they would hang up the phone. And now, we’re on Mercer Street, which is like, “OK, we did it!” It’s been a fantastic challenge for us, because it was a dream. It wasn’t a question of success or anything like that. I have no idea what success means. Especially in this industry—you never know. But Carven, for me, is fresh. And for people, it’s a new brand. It’s an international brand. It’s not a question of history anymore. And that’s very satisfying. Continue Reading “Guillaume Henry Takes Carven ‘Round The World” »