15 posts tagged "Cathy Horyn"
Noritaka Tatehana’s Heel-less Holiday Collection, Inside Dior Couture, Marks And Spencers’ Lingerie Ad Has Too Much Spice, And More…
Noritaka Tatehana, who designs Lady Gaga’s heel-less shoes, has created a Christmas collection, available at Trading Museum Comme des Garçons in Tokyo through December 25. Here’s the catch—the five pairs he made, in white, silver, and crystal, only come in one size. [Hint]
The chiffon dress Amy Winehouse donned for her Back to Black cover album sold for £43,200, or around $67,500, at yesterday’s auction. The dress was bought by the Fundacion Museo de la Moda in Chile. [Huff Po]
Using roughly 150 dresses, suits, and coats, Patrick Demarchelier offers his take on fashion and the house of Dior in his new tome Dior Couture. Of the book, The New York Times‘ Cathy Horyn says, “It’s obvious from Dior Couture that Mr. Demarchelier loves taking pictures of beautiful women, but his photos almost always have an extra quality: he also understands how clothes should look on the body.” [NYT]
A Marks and Spencer lingerie ad has been deemed too sexy for the bus. The ad, featuring a woman in a bra, panties, and stockings on a bed, had appeared on buses in the U.K., but the Advertising Standards Agency declared it “socially irresponsible.” [Telegraph]
Never mind their guest lists of the avant-garde’s great, good, and badly behaved, Charles and Marie-Laure de Noailles’ villa on a hill above the town of Hyères in the South of France must have seemed to the locals like a bemusing glimpse of the future when it was built in the mid-1920′s. Its blocky modernism is still incredibly striking in the pink-shaded and shuttered context of a typical Riviera town, and you couldn’t wish for a better setting if you were an arts festival looking to stage a competition that celebrates creativity untrammeled by the forces of Mammon. Which, for the fashion end of the festival, translates into exhibitions of work by recent graduates from around Europe, for whom Hyères offers one final attempt to Truly Express Themselves. It might be their one last grasp at the high-concept ring before they’re subjected to the external disciplines of internships, studio assistant positions, and judgmental barb-tongues telling them to get real.
Except the judges at Hyères this year weren’t like that at all. The composition of the jury embraced a universe of sensibilities, from the rigorous thought processes of chair Raf Simons and editrix Jo-Ann Furniss, through the not-much-older-than-the-finalists Christopher Kane, Lazaro Hernandez, and Jack McCollough, to the well-seasoned industry perspectives of Carla Sozzani, Floriane de Saint-Pierre, Cathy Horyn, and Michel Gaubert, with my rosé connoisseurship bringing up the rear. Juries are a challenging proposition. In both numbers and gender equity, we were nowhere near 12 angry men, but the differences of opinion—and the passion with which they were aired—were a surprise, especially given that there was genuine agreement on one thing: This was not a bumper fashion year in Hyères. In the spirit of the place, it was bemusing, and even blocky hyères and thyères. But bumper? No.
The jury saw the finalists’ clothes three ways: as a presentation, on the catwalk, and in a showroom. It was fascinating how our appreciation of the designers ebbed and flowed according to the mode in which we were encountering them. Here, the fabrics ruled, there, the showmanship. The eventual winner was Lea Peckre from France. Her collection, Cemeteries Are Fields of Flowers (above), was polished in its execution, intriguing in its fabrication. I’m a sucker for wood sequins—and she also used GodSpeed You! Black Emperor as her show music, which can’t hurt. The attention to structure and the concierge color palette of Peckre’s clothes also had hints of Jean Paul Gaultier, with whom she interned. That too can’t hurt.
The jury’s honorable mention—and the competition’s most polarizing designer—was Emilie Meldem from Switzerland. Some members of the jury were utterly seduced by her directness, her drollness, and what she referred to as “the minimal eccentricity” of the Swiss aesthetic. What I loved most were the showpieces woven from twigs. (“Half my village helped on the dress,” she said with what might have been a chuckle, but could have been a choke.) Each stick was, according to Meldem, treated like a piece of jewelry. The result was so pagan, so ritualistic, that I felt like I was looking at The Wicker Man à la mode. Which can’t be bad.
One final note: Hyères is open to independent applicants from all over the world, which seems to be a well-kept secret. It doesn’t matter where you live, where you received your fashion education. So one word of advice to fashion students everywhere: Apply! Hyères at this time of year? A small patch of heaven.
The International Fashion and Photography Festival that takes place every year in Hyères (sorry, couldn’t resist) in the South of France has an impressive pedigree, a point rammed home by the rapid-fire video appetizer for the 26th edition, which runs April 29 till May 2. (You can watch it, in its slightly hysterical glory, below.) The ten fashion finalists (from France, Germany, Holland, Belgium, and Switzerland) will be judged by a jury headed up by Raf Simons, who also has an exhibition running in the Photography Festival. He’ll have to ride herd on jurors Lazaro Hernandez and Jack McCollough, Christopher Kane, Carla Sozzani, Cathy Horyn, Michel Gaubert, and me, though our verdict will undoubtedly be rendered unanimous under the ameliorating influence of Provence’s finest rosés. And there can be few more appropriate locations in which to judge a new wave of design talent than the Villa Noailles, one of the French Riviera’s great if-walls-could-talk houses. In its pre-war heyday, it played host to Picasso, Dalí, Cocteau, and a whole host of avant-gardists. With Raf, rosé, and Michel Gaubert’s iPod, we should be able to raise a few ghosts.
The Office actress and writer Mindy Kaling is one of our favorite writers—and Twitterers. The fashion-world tweets she cooked up for Harper’s Bazaar are fictional, the mag cautions—but we’re willing to believe there’s a grain of truth buried in there somewhere. If not truth, at least wisdom. To wit: “At Betsey Johnson, in a tutu and fauxhawk. Have decided Helena Bonham Carter should play Betsey in The Betsey Johnson Story. #NYFW 4 hours ago.” Why didn’t we think of that? [Bazaar]
Cathy Horyn takes to the Times to discuss Mugler and the cult of Nicola Formichetti—and comes out with a fairly spirited defense of the collaboration. It’s worth a read this afternoon. [NYT]
Models—they grow up so fast! Just a minute ago, it feels like, Karlie Kloss was a 16-year-old newbie. She’s still all of about 18 years old, but she’s looking rather adult posing in the buff with pal Jourdan Dunn for i-D‘s Exhibitionist Issue. [Fashionologie]
And speaking of top models, they (and the rest of the rich and famous) have got a powerful new ally in British businessman and magnate Sir David Tang. He’s created a new Web site, ICorrect that allows high-profile members to publicly refute anything written about them (or purportedly written by them) in the press. Kate Moss paid the thousand-pound fee to clarify that she has no Twitter account, despite many claiming to be her; and Naomi Campbell wants you to know that she is not glad that Russia won the right to host the 2018 World Cup over England. (For what it’s worth: “”I have never ever expressed any opinion either way about whether FIFA made the right choice for where the 2018 World Cup should be held—I wouldn’t do that, not least because I don’t know enough about the technicalities or process.”) [Vogue U.K.]