8 posts tagged "Dean Caten"
Dsquared²’s Dean and Dan Caten have built up quite a library of quirky fashion films—and they’ve added to it for Fall ’13. Today, they’ve released Hot as Ice—a short by up-and-coming director Senio Zapruder that showcases this season’s men’s and women’s collections, which are dubbed #lanouvellenoir and #lesdamesmasculines, respectively. While its setting was inspired by a smoky 1940s New Orleans lounge, the flick blends a little New York and a dash of Paris, infused with a decadent Chinese edge. In fact, the dialogue is entirely in Chinese—with subtitles, of course. “Chinese aesthetics have a different kind of severe, regal allure,” offered the designers of the concept behind their latest cinematic endeavor.
The video stars Fallou Gueye and Sung Hee, the latter of whom fiddles with Champagne glasses, marches with a trumpet, and even plays some iteration of sartorial golf with a clarinet and brightly hued handbags while showing off Dsquared²’s Fall wares. An apt expression of the brand’s signature fusion of glamour and wacky fun, the film debuts exclusively above.
Dsquared²‘s Dean and Dan Caten have taken a cinematic approach to showcasing their collections of late (who could forget last season, when the pair dressed up in drag for their Spring ’13 film?). In order to tell the story behind their Pre-Fall ’13 range, the brothers have expanded upon their Resort video, in which Cara Delevingne—dressed in the house’s glam-gone-grunge wares—screams into a gritty pay phone. Lensed by Senio Zapruder, the new short (above) stars Jasmine Tookes, who prank calls Delevingne while wearing Dsquared²’s decadent vintage Hollywood looks. “[Resort and Pre-Fall] are two very different types of collections—Jasmine is all thirties, and Cara is nineties sexy—but it was an interesting way to connect them,” offered Dan, noting that previous Dsquared² girls, including Lindsey Wixson and Jessica Stam, make cameos as x-ed-out images in Jasmine’s diary.
“We have fun and we don’t take ourselves too seriously; that’s what makes our job interesting,” said Dan when asked about he and Dean’s penchant for dramatics—apparent not only in their videos but also on the runway (Spring ’14 menswear, anyone?). “Sometimes we get bitched out about it, but if we had to be serious and political, and think too much, we would get bored. So whatever; we’re not boring like that yet, and when I am, I will probably stop doing what I do,” he added.
The designers feel it’s important to work with young talent on their creative projects—director Zapruder is a student, and Stefano Riva, who wrote the music for the short, is only 17. “Young people have a lot of fresh ideas and energy. And they know stuff! I’m almost 50, I don’t go out as much as I should, and kids keep you attached to the world,” said Dan.
The brand’s next project will be a film for its new underwear line. “It’s going to be super, super hot,” said Dan. “Like hard-core hot. And we just did a baby collection…. I’m sure we could do a couple things for that royal baby.”
Beyoncé′s Mrs. Carter Show tour kicked off in Belgrade this week, and in addition to Pucci’s Peter Dundas, Dsquared²’s Dean and Dan Caten, and Alon Livne, Bey favorite David Koma created some saucy, custom onstage ensembles for the star and her backup dancers. “We looked at musical instruments as art objects, and the print is a French horn,” said the designer during a chat at the London Showrooms yesterday. The costumes, which were influenced by Koma’s vinyl-record-inspired Fall 2013 collection, feature gold and black printed silk jersey bodices and slick, laser-cut patent leather peplums. “She usually goes for something body conscious and different,” said Koma, who’s worked with the singer since 2009. “And she likes to look strong and sensual at the same time. I mean, come on, she’s Beyoncé!” Take a peek at Koma’s sketches (above) and inspiration board (below), exclusively on Style.com.
For their latest campaign video://www.style.com/stylefile/2013/02/dsquared-does-drag/">“Behind the Mirror”; now we’re going behind “Behind the Mirror,” with Dean and Dan’s mini-doc on the process of making the video. Two and a half hours in makeup, custom wigs, elastic bands to pull their faces smooth: It’s not for the faint of heart. But the brothers have never been that. As they say in the video, “If you are not convinced yourself, you’ll never convince anyone else.” However much makeup you may have on.
“I’m used to being judged, not judging,” sighed Alber Elbaz more than once during Thursday’s European heat of the International Woolmark Prize. The 21 designers from 11 countries that Elbaz and his co-judges—fellow designers Giles Deacon and Dean and Dan Caten; Vogue editors Alexandra Shulman and Christiane Arp; and me as the Sancho Panza of the posse—were assessing represented the usual apples-and-oranges challenge of all such contests, but at least the criteria were crystal clear so it was relatively straightforward to edit them down to a final handful. And then Twelve Angry Men Syndrome kicked in, with occasionally heated debate among jury members. Passionately argued positions dissolved, allegiances shifted, wine flowed (for at least one juror), but it was finally those closely studied criteria that carried Belgium’s Christian Wijnants (left, with Albaz)—at 34, almost a veteran in this context—to the top of the heap with a capsule collection of knit dresses that matched expert technique to an inspired color sense. He’ll face off against Sophie Théallet (U.S.A.), Ban Xiao Xue (China), and yet-to-be-announced designers from Australia and India at the grand finale during London fashion week in February.
For me, the real pleasure of the day was watching Elbaz rise to his responsibilities. Less judge than mentor, he gave all sorts of subtle insights into his own working methods. Turkey’s Ipek Arnas showed a dress with a complex intarsia covering its front. Too in-your-face banal for Elbaz. He advised the designer to reverse the dress, and presto! It took on an entirely different personality. “Now there is a surprise,” he said, satisfied. Elbaz was seduced by the ingenious top half of J.W. Anderson’s outfit, but less taken with the skirt, so he asked to see it just with the underlying crinoline. The result was scarcely as its creator had intended, but that top truly came into its own.
“When you finish a collection, do you love it the next day or hate it?” Elbaz asked a young Italian duo. He was clearly speaking from experience, so it wasn’t surprising that he confessed to being nonplussed by the unambiguously upbeat answers he got to his probing questions, at least in the initial stages of the judging process. “Unhappiness is the motor to move things forward,” Elbaz offered. Take this to heart, designers of the future: Dissatisfaction is an asset.