40 posts tagged "Carven"
While scrolling through our latest crop of Tommy Ton street-style photos, we found a range of new trends to try, from minimalist suits to basketball shorts to our current favorite look: hyper-vivid color combinations. We saw clashing patterns, three shades of neon, and interesting new fabrics—and that was all on one outfit. It’s inspiring us to think outside the black-and-white box and incorporate a few more pops of color into our wardrobes. Even one pair of standout shoes gives your go-to jeans a playful lift. Or do as the editors do and wear the entire Roy G. Biv spectrum. Either way, our approach to summer dressing just got a whole lot livelier. Shop our favorite rainbow-bright pieces by Carven, Michael Kors, and more, below.
1. Michael Kors stretch-cotton poplin skirt, $695, available at net-a-porter.com
2. Charlotte Olympia Neon Sign Girls clutch, $1,495, available at nordstrom.com
3. Illesteva Leonard tortoise sunglasses with blue-mirrored lenses, $177, available at editorialist.com
4. Carven green suede bow strap ballerinas, $212, available at avenue32.com
5. J.Crew gemstone floral printed silk top, $120, available at net-a-porter.com
In keeping with the concept behind his Fall ’14 collection, Carven’s Guillaume Henry looked to Dadaism when creating his Fall campaign. Lensed by Viviane Sassen for the sixth consecutive season, the snaps star models Kremi Otashliyska and Gustaaf Wassink as they pose against surreal, fragmented backdrops in Carven’s Fall wares. “There are three focuses in viewing each image: the background, color element, and model,” Henry told Style.com. “We wanted to create an art image as well as an advertising image, and it was conceived this way. We chose the images to be produced as collages, a technique borrowed from Dadaism with influences from Erwin Blumenfeld. It’s an artistic message—full of reference but also unique.” Have a look at the heady images, which debut above, exclusively on Style.com.
Long before Olivier Saillard arrived to shake things up as director of the Palais Galliera, the fashion museum of the City of Paris had established a tradition of mounting exhibitions around a given decade, such as the twenties or thirties.
With The 50s: Fashion in France, 1947-1957, which opens on July 12, Saillard sought to honor that heritage and also remind the world that the fifties, at least in fashion terms, was a few years ahead of the Gregorian calendar. “It was really that revolutionary bomb of Christian Dior’s New Look in 1947 that brought the decade into the fifties,” Saillard commented during a preview. A decade later, Mr. Dior died suddenly and his young assistant, Yves Saint Laurent, moved to the helm. In between those bookends flourished what was arguably the last golden era of couture. “I like the idea of putting the couture heritage out there, because right now we’re seeing several young designers who are redeveloping it in their own way,” observed Saillard. “It’s also an era that’s joliment scandaleuse [prettily scandalous] as much at the beginning as the end.”
The Galliera’s considerable trove includes a lot of Dior. (Consider for a moment that by the mid-fifties, Dior alone accounted for 49 percent of French fashion’s total exports.) A Bar suit stands sentry at the entrance, followed swiftly by the rose pink Bonbon dress from Dior’s first collection and the asymmetrical peplumed Bernique (Winter ’50-’51), a recent discovery. But Saillard and his team bring to the fore other remarkable, iconic wares, including a 1954 Chanel suit (a look the Americans were quicker than the French to embrace, he noted, precisely because it was made to be worn from morning to cocktail hour). Elsewhere, a 1954 black Balenciaga suit that looks as though it could have stepped off the runway yesterday keeps company with pieces by Carven, Balmain, Fath, Givenchy, Cardin, Schiaparelli, and Saint Laurent, among others. All-but-unknowns get play, too, such as Jean Dessès, Grès, Henry a la Pensée, and Jacques Heim, a star of the time who costumed films such as Falbalas (known in English as Paris Frills).
“There’s a real feeling of destiny about this decade,” observed Saillard. “When you map out the stars, there are so many houses we still talk about. Givenchy, Saint Laurent, and Karl Lagerfeld were taking their first steps in fashion, and it’s also a time when future greats, such as Christian Lacroix and Jean Paul Gaultier, were born. So many names are anchored in that decade in one way or another, it’s very strange.”
The show’s staging resurrects old nuggets from fashion’s lexicon (day suit, day dress, late-afternoon dress, city dress, tea dress, travel coat, etc.), a reminder of how much things have changed. “Today it’s just a dress,” quipped Saillard, rattling off a few numbers that speak volumes, too: There were 106 couture houses in Paris in 1946, a number that had dwindled to thirty-six by 1958.
Given that there are more than a hundred pieces displayed, highlights are too numerous to list here, but they include clever beachwear (a yellow popover by Hermès practically begs for re-edition), accessories, and evening dresses once worn by style icons: the Duchess of Windsor’s Palmyre dress by Dior (1952) is one of the museum’s most precious pieces. Nearby, the 1957 Opium dress from Dior’s last collection (Winter 1957) was donated by Best Dressed legend Jacqueline de Ribes, who will be the subject of her own exhibition at the Met next year.
The 50s: Fashion in France, 1947-1957 runs from July 12 to November 2 at Paris’ Palais Galliera
The Spring ’15 menswear collections are under way in Milan, and will be followed by the shows in Paris. Before the new clothes hit the runway, we’ve asked some of the most anticipated names to offer a sneak peek. Per usual, it’s a busy time for all—designers and fashion followers alike—so we’re continuing our split-second previews: tweet-length at 140 characters or less. Our entire collection of Spring ’15 previews is available here.
WHO: Carven, designed by Guillaume Henry
WHEN: Wednesday, June 25
WHAT: “Urban poetry.”—Guillaume Henry. The designer sent us his Spring ’15 inspiration images, above.
On Friday Carven unveiled a souped-up, revamped website featuring editorial content and e-commerce. The launch also marks the first time U.S. customers will be able to take advantage of Carven’s online shopping. “The website at first was more intimate,” offered Carven’s creative director, Guillaume Henry, who helped to revive the French house when he took the reins back in 2009. “But now, Carven is a global brand, and we needed to be a bit more open. So we had to rethink the website to help the customers get the mood and the feel of the brand.”
Along with the new site comes a heightened social media presence and the release of a clever short dubbed Carven: Social Media Love. “By myself, I’m not a big social media user because I would be an addict. I don’t want to communicate too much about who I am and what I love other than being a designer,” said Henry about his personal aversion to Twitter, Facebook, Instagram, and the like. “But Carven needs a social media presence because the brand belongs to everyone.”
Created in the style of French New Wave (or La Nouvelle Vague) director Jean-Luc Godard, the sweet, quirky video shows fans Carven’s playful side. “Godard was part of La Nouvelle Vague. He was very fresh and had a very French taste, and that’s what we do at Carven,” explained Henry, describing the parallels between Godard’s vision and the direction of Carven. “It’s easy and sophisticated, but with a sense of humor and tasteful chicness.”
Henry makes a cameo in the flick, which premieres exclusively here, but he won’t be quitting his day job for a life onscreen any time soon. “It was so weird!” he said, laughing. “I like to design clothes. That’s what I do. But when you are a designer, you’re the face and voice of the brand, and I quite like the fact that they used my image in a friendly way—it’s nothing serious or pretentious at all.” Watch Henry’s endearing onscreen debut, above.