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August 22 2014

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17 posts tagged "Delfina Delettrez"

Insta-Gratification: #PFW Edition

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In the age of Instagram, all it takes is a smartphone to achieve a photo finish, be it filtered or #nofilter-ed. That’s why Style.com’s social media editor, Rachel Walgrove, is rounding up our favorite snaps and bringing them into focus. For this very special edition of Insta-Gratification, she’ll be calling out the best shots from #PFW. See below for today’s picks.

Wednesday, March 6

Model massage train.

Front row selfie realness with Lupita and RiRi.

A note from Nicolas.

What I love most about this picture is that Jared Leto took it.

Peace out, Paris. Continue Reading “Insta-Gratification: #PFW Edition” »

Delfina Delettrez’s Soft Surrealism

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“I’m becoming more minimal,” offered Delfina Delettrez during a preview of her Fall ’14 collection at New York’s Dover Street Market. However, as anyone who’s familiar with Delettrez’s surreal jewelry knows, the designer’s definition of “minimal” isn’t necessarily the same as yours and mine. To be fair, Delettrez did tone it down—gone are the eye earrings, spider cuffs, and wasp rings of seasons past. In their place are light, elegant ear cuffs and floating cage rings garnished with diamonds, sapphires, and topaz in a rainbow of lovely hues. “I wanted to use very classic precious stones in soft colors,” offered Delettrez of her Fall lineup, which is filled with pinks, lavenders, cobalts, and emerald greens. “It’s an evolution—a new way to wear diamonds,” she added, gesturing to a full-fingered ring stacked with prongs of stones. “Why would you wear one diamond if you could wear ten?” Good point.

Although, just because Fall is pared down doesn’t mean Delettrez’s freak flag is at half mast—she’s been letting out her wild side on the Fendi runway, where her delectable outré baubles accent her mother Silvia Venturini Fendi and Karl Lagerfeld’s visions. “You can exaggerate more on the catwalk,” said Delettrez, when asked about the growing family collaboration. “I’m obsessed by the movement of jewelry, so I really enjoy working different, crazy materials.” Judging by those furry cuffs she sent out for Fall, it’s work that she does very well. The designer also took a walk on the weird side when creating her Fall ’14 film, Gold Vein. Directed by Daniel Sannwald, the short transports viewers into the designer’s trippy but serene world. Have a first look at the new collection and the video, above, exclusively on Style.com.

Silvia Venturini Fendi: The Original Mother Monster

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Silvia and Maria

The house of Fendi has long held close ties to the world of design. While everyone else was (and is) collaborating with artists (this year’s Art Basel brings Ryan McGinley for Calvin Klein and Visionaire for Gap, to name just a couple), Fendi was focusing on its own cross-pollination. Silvia Venturini Fendi, daughter of Anna Fendi and mother of Delfina, has been at the forefront of the house’s push toward contemporary design since founding Fendi Casa in 1997—applying the brand’s playful, irreverent aesthetic to specially commissioned projects with forward-thinking designers, including Aranda/Lasch, Beta Tank, and Toan Nguyen. This week, Fendi Casa is introducing a new capsule collection of steel- and fur-based items with famed Paris furniture designer Maria Pergay. We sat down with Venturini Fendi at the pool by The Standard Spa to discuss her work with Pergay, how Fendi Casa fits into the house’s larger vision, and why Karl Lagerfeld never—and always—shocks.

On the fashion front, how do you and Karl Lagerfeld keep the house of Fendi’s designs fresh?
We are always the same. Karl has been working with Fendi since forever…from ’65. Me, I was born at Fendi, so we are always the same people. But we have finally set up a structure thanks to the LVMH group entering in 2000, and we went through many, many changes. And today we are ready to go like a lightning bolt to what we really want and to what Fendi really is. We have a very good energy at the moment at Fendi. We are very free in what we do—and this you can see. Our shows and our collections are concentrated on what Fendi has been doing and representing in the fashion world: quality, tradition, and heavy, heavy experimentation. We don’t take ourselves too seriously. That’s something that I think we really have in common with Maria Pergay. It’s this lightness in serious things.

Has working with Karl changed over the years?
I can say no. Every time is like the first time. You know, Karl will surprise you. He’s not predictable at all. And every time, when he arrives [in Rome from Paris], there’s the same expectation and energy. He has to say, “Oh! How did you do that? It’s what I really wanted to achieve and you made it!” Karl is one of the most intelligent people that I’ve ever met in my life. And he gets bored very easily. If he sees something that he’s already seen, he’s not attracted at all. So every time, you have to submit something new—like new techniques, new materials, and new ways of doing the same thing, like fur, for instance. Every time, we really want it to morph into something else.

Delfina has also become more and more involved.
Yes! Now she’s involved in Fendi. I’m very happy because she’s doing the fashion jewelry. I’m very proud. The story continues. Karl is very happy, and they get along very well. I like her crazy earrings with the feathers, which are in reality fox fur. So light and so beautiful. So we’ll see what she comes up with for the next show. She combines her vision with Fendi’s vision in a very balanced way.

Everyone’s been talking about those Monster bags and fur Buggie charms…
Yeah! They sold out everywhere. The Monsters, really they represent our DNA. In the sixties—[during the time of] my mother and her sisters—fur was something very, very boring, and it was a real status symbol. Men would buy it for women to show that they were rich. The bigger the coat, the bigger the wallet. Really, my mother and her sisters were fighting all that. They wanted to liberate women in the sixties. You couldn’t even drive a car with this heavy fur on, and since it was very, very precious, you had four or five linings to protect the skins. My mother and her sisters took away all of these and treated it like it was a normal fabric. They were cutting things that were so expensive, that nobody could touch. And the little Monsters are really there to say, “Yes, we do fur, but we play with it.” I like them. They make me happy.

Fendi Furniture

Tell us about the collaboration with Maria Pergay. How did it evolve?
I’ve always been fascinated by strong women with strong points of view, and I think that she really is, in a way, a Fendi woman—because she reminds me of the women of my family. In the fifties, when she started her production, she turned steel into something more sensual and feminine. And so, one day when I was at Art Basel, they told me that she was there with her gallery, so I went downstairs to meet her, and I said I was one of her admirers, and one day, maybe she would be open to doing something. And she said, “Yes, yes, yes!” But the first thing that she said was, “You know, I don’t know anything about fashion.” After a few months, we started working on one piece. One piece became several pieces. Four. Maria is the first designer that we are going to produce.

Fendi’s been having this conversation with design for many years, while other people have been focusing more on art.
We really thought from the very beginning that there is a common relationship, and we are closer to design than to art, because design and fashion share the fact that you have to have an aesthetic vision and a creative vision, but also, you have to make something technical and functional. That makes life more challenging sometimes. There is a lot of research that goes into these projects, and all the background work is so interesting. At least to me, this is the best part.

Photos: Courtesy of Fendi

Fendi’s Getting Shady for Spring ’15

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Thierry LasryWhile the rest of us are still mulling over the Spring ’14 collections, which debuted on runways only weeks ago, Fendi is already looking ahead to Spring ’15. Sure, it may seem a little early to start thinking about what we’ll be wearing more than a year from now, but the house has a good reason for the jump-start. Today, Fendi announced that it will release a Spring ’15 capsule collection with eyewear designer Thierry Lasry (left), who’s best known for his hypersleek, sexy shades. The partnership marks Lasry’s first collaboration with a luxury fashion house. Between this, its buggy bags, and Spring ’14′s Delfina Delettrez-designed jewelry (remember those furry little ear cuffs?), we’d say Fendi is seriously upping its cool factor.

Photo: Courtesy Photo

Delfina Delettrez Stops Time

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Delfina Delettrez

Label: Delfina Delettrez

Need to Know: Delfina Delettrez is spinning a lot of plates these days—literally and figuratively. No stranger to runways (she collaborated with Kenzo a few seasons back), the designer got a head start for Spring, debuting jewelry on the Fendi catwalk in Milan (yes, we have her to thank for those furry little earpieces). And there are more collaborations to come; keep your eyes on couture.

With Spring’s Never Too Light roundup, which Delettrez presented on spinning porcelain platters in Paris, she moved the needle a bit. She added more high jewelry, and offered a surreal take on Timeless watches, whose function is purely aesthetic. In place of faces, the wares boast big, colorful quartzes, and their diamond-set bracelets look more like snakeskin than pavé. She also revisited her classics, with pearls (micro, chocolate, gold, and white) and semiprecious stones such as peridot and topaz in phantom settings for rings and single earrings. Another standout: diamond rings sold singly or as a set.

She Says: “I love bending the rules of time. With these watches, it means you’re never late!”

Where to Find It: Opening Ceremony, Saks Fifth Avenue, matchesfashion.com, and delfinadelettrez.it, among others.

Photo:Joe Schildhorn /BFAnyc.com