22 posts tagged "Cathy Horyn"
According to the New York Times, the long-vacant (well, semi-vacant) head job at Dior has been filled: by former Jil Sander creative director Raf Simons. (“Semi-vacant” because since the departure of John Galliano last March, Dior’s collections have been designed by his longtime studio head, Bill Gaytten, who also designs Galliano’s namesake collection; Gaytten’s future at Dior is not known.) Simons had been mentioned many times over the past months as a leading candidate for the job, but until recently was ensconced at Jil Sander. His dramatic departure from the house, announced three days before his triumphant final collection, may have paved the way to the new role. “The first time I heard about the Dior position,” Simons told the Times‘ Cathy Horyn, “I thought, ‘This feels right.’ ” Many will no doubt agree—including, perhaps, Galliano himself. According to Horyn’s sources, the former Dior designer expressed admiration for Simons’ Fall ’12 Jil Sander show.
The equestrian parade continues. The day after Givenchy’s horsey Fall collection, Gucci has announced that Monégasque princess Charlotte Casiraghi (above, at the Cartier International Dubai Polo Challenge earlier this year) will be the face of its forthcoming equestrian-themed Forever Now campaign by photographer Peter Lindbergh. [Vogue U.K.]
In a candid moment, Stella McCartney acknowledged that she still finds the fashion industry “intimidating.” “I don’t go into shops much now, but I used to find it really daunting,” the designer said. McCartney has a shop of her own opening later this week: a second London outpost. [Vogue U.K.]
The cogitating around Raf Simons’ departure continues. In a new piece, the Times‘ Cathy Horyn considers the diminishing role of designers. “[You] sense that designers, their talents apart, are being used in a dreary chess game of brand power,” she writes. [NYT]
Speaking of designer change-ups, Maxime Simoens is reportedly leaving his position at Leonard. While the French designer retains his own namesake label, he is rumored to be in contact with Dior executives. [WWD]
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.