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August 22 2014

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121 posts tagged "Dior"

Dressing for Laughs

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There’s been lots of talk about the controversial practice of “peacocking” this season. But as we look back at four weeks of Fall ’13 shows with weary eyes, a few designers (and street-style stars) remind us that the f in fashion stands for fun. And perhaps embracing that with a little panache isn’t such a bad thing—particularly when it comes to novelty accessories. Take Dior, for instance: This season, Raf Simons brought a dash of wit to his slick collection by embossing boxy handbags with Warholian sketches of pointy single-soled shoes, thereby fusing two of our favorite things into one. (His raised-eyebrow sunglasses also deserve an honorable mention.) At Fendi, Karl Lagerfeld garnished his handbags with furry multicolored dice (one of which reminds us a little bit of an Angry Bird), and over at Chanel, he sent out models with mini-globe handbags and cobalt, powder-pink, mint-green, or red fur Anna Wintour bobs that looked like they were plucked from an anime cartoon. Speaking of fur, we can’t forget the giant skunk-striped mittens that turned up at Altuzarra or, for that matter, the arctic-appropriate full-length black gloves at Alexander Wang.

We also saw loads of cheeky headgear (Yazbukey‘s Plexiglas heart-and-arrow hat, Piers Atkinson‘s devil-horn cap, Meadham Kirchhoff‘s unicorns-in-love crown), jewelry (Henry Holland‘s crystal martini earrings, Lanvin‘s wildly appropriate “Help” pendants and wasp brooches, Louise Gray‘s eggbeater earrings), and miscellanea (Dsquared²‘s Sunset Boulevard-worthy extra long crystal-encrusted cigarette holders). But the sartorial satire wasn’t just on the runway. Outside the shows, Tommy Ton captured everything from skeleton gloves to Vika Gazinskaya’s scarf, which is made out of what appears to be a stuffed-animal iteration of a lemur. Sure, many of the shows were dark and somber, with their punk themes and muted palettes. But that just made the odd touch of zany all the more welcome.

Photos: GoRunway

French Castle, American Story

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2013 marks the fortieth anniversary of Le Grand Divertissement è Versailles, the runway battle royal that took place in 1973 between French fashion houses (Givenchy, Dior, Ungaro, Yves Saint Laurent, and Pierre Cardin) and American designers (Halston, Oscar de la Renta, Anne Klein, Stephen Burrows, and Bill Blass). Held as a fundraiser to restore the palace, the evening was attended by everyone from Andy Warhol to Princess Grace of Monaco, and, in addition to a bevy of couture, featured performances by the likes of Liza Minnelli and Josephine Baker (above).

But aside from being, perhaps, the most epic runway spectacle to date, Versailles marked the first time African-American models took a prominent place on the European fashion stage. Last night, in honor of the anniversary, and in celebration of Women’s History Month, the Fashion Institute of Technology hosted a screening of Deborah Riley Draper’s 2012 documentary, Versailles '73: American Runway Revolution. And the historic event’s stars, like Pat Cleveland (below, right), Billie Blair, Norma Jean Darden, and Bethann Hardison, among others, turned out for the film and a lively panel discussion. Continue Reading “French Castle, American Story” »

Cat Walking

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Fashion loves a good comeback, and Catherine McNeil is having just that. The twenty-three-year-old Australian model is arguably looking better than ever. (Perhaps that has something to do with love; she’s been in a relationship with fellow tatted catwalker Miles Langford for the past year or so.) And casting directors seem to be taking notice, as Fall ’13 has undoubtedly been McNeil’s biggest season, in terms of runway work, since her debut—count ’em—six years ago, in 2007. Over the past few weeks, the strong, feline beauty has been walking back-to-back major shows in all four cities, and she’s been particularly successful in Paris. Just yesterday, McNeil bookended Nina Ricci and Barbara Bui, and also did turns at Lanvin and Balmain. Additionally, she hit up Dior today, as well as Dries Van Noten and Anthony Vaccarello earlier in the week. Other A-list appearances this month include Prada, Giorgio Armani (where she was the opener), Marc Jacobs, and Jason Wu. McNeil has enjoyed a resurgence in editorial work, too, recently covering the February issue of Vogue Turkey and turning up in the pages of V and Harper’s Bazaar. McNeil is like a confident supermodel in a sea of stringy teenagers, and that’s refreshing.

Photo :Getty Images

Exclusive: A Magazine Curated by Stephen Jones

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Antwerp’s A Magazine has always been much more than a magazine. The key to its cultish allure lies in the subtitle: Curated by. The first issue, in 2004, was curated by Martin Margiela, the most recent by Rodarte. And in between, the likes of Yohji Yamamoto, Haider Ackermann, Riccardo Tisci, and Proenza Schouler have corralled their favorite photographers, artists, and writers to make A Magazine.

Issue Number 12, which launches at Bookmarc during Paris Fashion Week, belongs to Stephen Jones, fashion’s favorite hatter. “I like a magazine that looks like a magazine,” he said yesterday. “It’s not a book. I didn’t want it to be page after page of slightly meaningless photographs. That’s why I thought illustration. I love illustration, I draw every day. And that’s the way designers communicate, through drawing.”


Jones’ choice of medium couldn’t be more timely, with the revival of interest in the work of Antonio Lopez and the spotlight that Anna Piaggi’s recent death threw on Vanity, the mythic magazine she produced with Antonio in the eighties. Piaggi was a close friend of Jones’. It was actually Vanity that brought them together. (Jones’ single interaction with Antonio was when he asked if he could see the picture the artist was drawing of him. Antonio crumpled it, threw it in the trash, and offered a flat “No!”). And Jones sees this current project as a kind of tribute to his late friend and inspiratrice.

There’s no theme, unusual for Jones, whose hat collections usually revolve around a story. “When I saw the work coming in, it was very much about the illustrators themselves.” The roster of talent includes David Downton, one of whose pet subjects, Dita Von Teese, models accessories semi-naked and centerfold-style; Peter Turner, Galliano’s illustrator at Dior, who contributes a story on men’s underwear (Jones advertises, “Entirely gratuitous nudity”); and the legendary Howard Tangye, head of womenswear at Central Saint Martins, who illustrates spring for A Magazine‘s pullout calendar.

Jones’ sole brief to the illustrators was that they could draw whatever they wanted. At least half the images are of hats. “It’s you, Stephen,” they told him when he complained that he wanted his magazine to be about everything. He had to shut up and take the compliment. Anyway, there’s always Donald Urquhart’s images of Leigh Bowery to balance the hattage. He drew them with his own genitalia, dipped in ink.

Jones’ own contribution is a selection of ten favorite drawings, which he spent the Christmas holiday picking out of the thousands he’s made since he launched himself as a milliner in 1979. There are also some “conversations in drawing”: Jones would send Mugler or Montana or Kawakubo a suggestion to accessorize a collection, they’d send it back with comments. He’s also included drawings from industrial designers like Zaha Hadid and Marc Newson, as well as some of Raf Simons’ college work. None of it has been seen before.

“I did try to feel like, ‘Think Pink,’ ” says Jones of his guest stint as a magazine editor. “Editing things down is what an editor does. I wanted to edit things up, make it a fantastic showcase. I didn’t want to be restricted by this season’s story. But I didn’t want to be timeless, either. Always what’s interesting for me is doing an amazing hat for Marc or Raf, but then making a baseball cap for a young Japanese guy who comes into the shop. I love variety. That’s what the magazine is about.”

Click here for an exclusive preview of a few illustrations from A Magazine Curated by Stephen Jones >

Illustration: Gladys Perint Palmer, Courtesy of A Magazine. Photo: Atelier Justine

The Couture World And The Real World

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The Haute Couture shows, which wrapped in Paris this week, are the summa of impossible luxury in the world of fashion. Whatever you can do with clothes (and much of what you think you can’t) gets done. Put plainly, couture is a fantasy. But it doesn’t take much prodding to wonder about the reality, given that couture looks—those actually purchased, not lent to celebrities for red-carpet occasions—cost hundreds of thousands of dollars, and that those on the sidelines have been bewailing the death of couture since the midcentury. Especially in times of economic downturn, a question looms over the proceedings: Does anyone buy?

On her blog today, Cathy Horyn put the question to a few houses and came back with an answer: yes. Sidney Toledano, Dior’s president, has said that the sales of Raf Simons’ first couture collection improved on that of prior ones, to the tune of double-digit growth. Even the more untraditional designs—a three-piece suit, for example—find clients. “We have more orders than our capacity,” Toledano said. Karl Lagerfeld confirmed buyers for his Chanel Couture, too. Horyn hints that they’re largely Russian, as well as Chinese and Middle Eastern. “Lately I’ve heard some incredible stories,” she teases, dropping only that one Russian Chanel client bought twenty outfits in a span of two hours. In the absence of journalistic muckraking, the world can only await the arrival of a headline-grabbing memoir called Confessions of a Couture Client. Here’s hoping some free-spending Muscovite can be convinced to step up.

Photo: Marcus Tondo / InDigital / GoRunway