9 posts tagged "Cher"
“These were some of the first shoes Rick ever made when he was in Hollywood,” said Michele Lamy at the opening of Show and Tell: Calder Jewelry and Mobiles last night. Lamy—the wife and muse of Rick Owens—was referring to a pair of sky-high, heelless black platforms that she wore while effortlessly climbing the spiral staircase of Salon94‘s uptown gallery. Lamy had come into town from Paris to style the exhibition, which showcased the oft-overlooked crowns, earrings, necklaces, and cuffs (most of which are for sale through Salon94) crafted by twentieth-century sculptor and painter Alexander Calder. “I screamed when I first saw the jewelry,” professed Lamy during our interview, pulling her tattoo- and ring-covered fingers to the chest of her Comme des Garçons vest. She flashed a smile, exposing her gold and diamond teeth. “I’m such a fan of his.”
In addition to styling models for the event, Lamy enlisted artist Matthew Stone to snap Polaroids (with Andy Warhol’s camera, no less) of guests donning Calder’s creations. Furthermore, she’s working with artist Youssef Nabil on a Calder-centric photo series, which will star such characters as Debbie Harry, Cindy Sherman, Björk, Joni Mitchell, and Cher.
Although Lamy is most frequently associated with Owens, whom she met in her forties, she’s led an enthralling and utterly eccentric existence all her own. “It’s like she’s had ten lives,” said artist Carson McColl, who flew in from London for the fete with his boyfriend, Gareth Pugh. Considering she’s spent time as a cabaret dancer, an L.A. club kid, a fashion designer, a law-school student, and a stripper, he was hardly exaggerating. Here, Lamy talks to Style.com about Rick Owens’ Spring show, Calder’s work, and her taste in jewelry.
This exhibition celebrates an artist who also made jewelry. Do you think that jewelry and fashion are art?
That’s always the question! Some think art is unique pieces, and the Calder pieces are unique. If you do your own piece, it could be art. It’s very difficult to know the difference. Calder’s pieces were made by hand, and I think that makes it art. Clothing is more difficult because you have to produce more of it.
Do you think what you and Rick create is art?
I hope our life is.
Are your and Rick’s creative visions always in line? Do they ever differ?
They differ, but he always wins. If you don’t have the same aesthetic values, it’s difficult to live with somebody. If you don’t have the same political ideas or whatever, it’s fine. But if somebody says, “Oh, I like this,” you have to know what it is and feel the same way. Because he’s the designer, he’s the one at the front, and then I’m navigating. He’s the captain, but I’m pushing him.
You’re the current.
I recently interviewed Nicola Formichetti, and he said that Rick’s Spring show “changed everything” and that he and the other designers who watched it “were all jealous of his genius.” What is your reaction to that, and how did you feel about the show?
It was extraordinary to come [to the States] after the show, because it was around Halloween and there were people who went dressed as Rick Owens steppers! I told him immediately that this was a statement. The show was such a burst of joy and emotion. Those girls rehearsed themselves. It’s what they do, and all their hearts were in it. It was a burst of humanité, générosité, and loving, and everything was fantastic. Rick said that it was so real that he’s not going to try to top this show…of course, we’ll see. You know, in New York there was a discussion about [race on the runway], and then [people said] that Rick did this show and it was the answer. But it was just a spontaneous gesture—wanting to express how you feel about yourself to the world. Continue Reading “Michele Lamy: Adorned and Unfiltered” »
Enduring diva Cher is gearing up for her umpteenth maybe-final tour, and she’s tapped her longtime costumer, Bob Mackie, to create the wardrobe. “It’s not like dressing a regular person—it’s like dressing a crazy goddess,” Mackie told WWD. If the new duds are anything like Mackie’s previous Cher looks (like that infamous Mohawk-ed ensemble she wore to the Oscars in 1986, or the silver-tinseled jumpsuit she donned onstage with Michael Jackson in the seventies), we say keep the farewell tours coming—somebody has to keep Gaga on her toes, no?
The work of Stephen Burrows is as much about fun as it is about fashion. And that message shines through in a retrospective of the designer’s early creations, which opens at the Museum of the City of New York tomorrow. Burrows and the show’s curators, Phyllis Magidson and Daniela Morera, gave Style.com a sneak peek of the exhibition, which features more than fifty garments created between 1968 and 1983. “I didn’t think of it as history-making or anything,” says Burrows of his early, flowing garments made to be worn with ease on the dance floor until 4 a.m. “I just did what I wanted to see in front of me.”
Intentional or not, Burrows’ clothes were history-making. At the beginning of his career, fashion’s status quo was old-world, and generally French. It wasn’t until the fabled “Battle of Versailles”—a decadent 1973 fund-raiser for the then-decaying palace during which American designers Burrows, Halston, Bill Blass, Oscar de la Renta, and Anne Klein outshined elite French talents Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro—that American designers became truly respected. Burrows’ fresh, fun, and wildly colorful Versailles collection—shown on video in the exhibition—was all about a free-spirited aesthetic. His presence at “The Battle” also made him the first African-American designer to rise to international acclaim. Continue Reading “Stephen Burrows, Still Dancing” »
“I can get out of a lot of things, but this dress is not one of them,” said burlesque star Dita Von Teese of the gown she donned to last night’s party at the Ace Hotel. The dress in question was the first fully articulated 3-D printed garment, which was conceptualized by designer Michael Schmidt. And the party, which drew the likes of Debbie Harry, Bob Gruen, and Andrej Pejic, served to toast its unveiling. “I was interested in finding the middle ground between the world of mathematics and the world of ephemeral beauty,” Schmidt told Style.com. The L.A.-based designer, who has crafted looks for stars like Madonna, Cher, and Lady Gaga (the latter wore his glass-bubble costume on the cover of Rolling Stone in 2009), conceived Von Teese’s frock with Fibonacci’s Golden Ratio in mind.
With the help of computational designer and architect Francis Bitonti, Schmidt used 3-D software to realize his space-age gown (think cinched waist and steroidal shoulders). The dress began as a digital rendering, which was then engineered in powdered nylon by high-tech collaborator Shapeways. “As an architect, it’s all about dealing with facades, and this was just about making a curvy one,” mused Bitonti. The body-skimming dress featured an undulating mesh silhouette of three thousand articulated joints fashioned out of layered nylon powder. As if that weren’t complicated enough, it also boasted twelve thousand Swarovski black crystals, which were painstakingly placed by hand after printing. “It’s obviously very futuristic, but I tried to retain a level of old-world glamour that was befitting of Dita,” added Schmidt. Indeed, the Blade Runner-meets-Bettie Page ensemble was worthy of the millennial pinup. “It’s superlight,” Von Teese mused later that evening after slipping into a demure Roland Mouret shift. But was it comfortable? “The only uncomfortable part is that I needed to be very cautious about how I walked. I had to make sure my heels wouldn’t get stuck in the hem.” Even in the future, glamour’s got its obstacles.
“Wearing a bikini is the most naked we ever are in public, so I wanted to create a palette of classic silhouettes that make it easy for women to enjoy that experience,” says swimwear designer Matthew Zink. “I think the swimwear market was missing a brand for the ultimate bikini lover. There didn’t seem to be a provocative swimwear outlet for the gal that wanted a simple approach to feeling sexy.”
Zink certainly knows a thing or two about designing for the almost-naked body—he spent five years at the helm of Victoria’s Secret as the lingerie powerhouse’s design director. During that time, he fell in love with swimwear and eventually departed to launch his line, Charlie by Matthew Zink, in July 2010. “I had so many girl friends that couldn’t seem to find a classic, simple, sexy bikini, so I wanted to create a brand that celebrated the golden era of swimwear that represented the joyful sexuality of the seventies and eighties,” Zink (who also had stints working under Stefano Pilati and Carolina Herrera) tells Style.com, naming the likes of Jerry Hall, Stephanie Seymour, Gianni Versace, and Roy Halston as muses and mentors for his work. “I want to capture that effervescent glamour of these icons of the past.”
Cher, in particular, was his icon of choice for his latest retro collection of swimwear and cover-ups. “I tried to imagine Cher bursting into the Rainbow Room with its arresting rainbow-lighted, oval-shaped ceiling and countless palm plants reaching high above the tables filled with guests that seem to go on forever.” In swimwear terms, that translated into barely-there bikinis in varying bright shades of blue and green, offered in zigzag and dot prints, and cover-ups to match. And it appears retailers like what they see—the line is already available on Net-a-Porter, but Zink’s latest collection ($190 to $375) has also been snatched up by the likes of Barneys (hitting stores later this month), TheCorner.com, and the Webster. Coming soon to Charlie by Matthew Zink: shoes.