36 posts tagged "Courtney Love"
Only for Hedi Slimane is it par for the course to dress a Rolling Stone. The designer—who opened the doors to Saint Laurent’s swanky new Avenue Montaigne flagship today—has created Keith Richards’ onstage duds for the Stones’ 50 Years and Counting tour. Considering the designer’s musical ties (most recently, he created Daft Punk’s helmeted Coachella costumes, his pals include Sky Ferreira and Alison Mosshart, and, of course, his latest ad campaigns feature the likes of Beck, Courtney Love, and Marilyn Manson), and the fact that he dressed the Stones while at Dior Homme, Slimane was, perhaps, the obvious choice for Richards (front man Mick Jagger, however, turned to girlfriend L’Wren Scott for his looks). The rocker’s ensemble will consist of silk scarves, T-shirts, a vest, and a café racer jacket. The latter—aptly named the Keith jacket—will be available for a mere $4,850 as part of the forthcoming Saint Laurent Stage Wear by Hedi Slimane collection, which will hit stores in June. Not surprisingly, Saint Laurent reports that Slimane has more sartorial stage projects in the pipeline.
You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.
Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.
How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.
Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »
Rosie On The Runway, James Franco To Play Mapplethorpe, Harper Beckham’s “Ridiculous” Wardrobe, And More…
Rosie Huntington-Whiteley ended her year-long catwalk hiatus to strut down the runway in the Animale fashion show in São Paulo. The model donned two looks from designer Priscilla Darolt’s Fall ’12 collection. [Telegraph]
James Franco has reportedly signed on to play Robert Mapplethorpe in an upcoming biopic about the photographer directed by Ondi Timoner. No word yet on who will play his pal Patti Smith. [Hint]
Watch out, Suri, there’s a new baby style star in town. David and Victoria Beckham’s 6-month-old daughter Harper has already been seen wearing Chloé tights and Bonpoint looks. “Her wardrobe is ridiculous,” her dad jokes. “I’m glad I got a two-year contract.” [Vogue U.K.]
Courtney Love, who faced eviction from her West Village town house after she reportedly set it on fire, has won her court battle. Despite her triumph in the case, Love is moving out when the lease expires in February to a new spot downtown. [Page Six]
Art week kicked into gear last night at London’s Cuckoo Club, where the likes of Courtney Love, Michael Stipe, Tali Lennox, and Daisy Lowe gathered for the “Rave in a Cave”-themed party fêting the debut issue of AWE (Art Wednesday Editorial) magazine. “I’m not hungover, luckily, but more than a few people might be—it was pretty wild,” co-founder and editor Max Bergius says of last night’s festivities.
Today, Bergius was still punchdrunk from the excitement of seeing his magazine finally come to fruition (his first glimpse of the final copy was at 3 p.m. yesterday). Roughly a year ago, Bergius started his site, ArtWednesday.com, and then decided to do the unconventional and turn it into a magazine with his friend James Penfold. “It seemed like a physical version was important because Web content is so disposable,” he explains. So, they enlisted a team that included Paola Kudacki, Maryna Linchuk, Annabel Tollman, Todd Selby, and William Eadon to work on their first issue of their biannual arts and culture mag.
“The most challenging thing is stepping up to the mark and being able to produce something that is original,” Bergius says. “There are so many incredible magazines out there, but many of them have similar themes and the same people going through them.” In the case of AWE magazine, the photographers and writers were given free rein to do whatever they wanted, with Bergius and Penfold on the sidelines, simply “guiding them in a way that allowed their creativity to come out.” In the case of some of the contributors, they were asked to step outside their comfort zone and do a job they had almost never done before. There’s an eclectic, innovative assortment of stories, including Selby’s shoot with Robert Wilson, unpublished photos by Alvin Baltrop, and Lily Cole’s feature on sustainability. If those topics feel too PG for your liking, Bergius says, “What’s the word? Well, Paola’s shoot with Maryna is a bit dirty; it’s adult art.”