65 posts tagged "Donatella Versace"
Flipping an age-old adage on its glittering axis, designers have proposed diamonds—the shape, though, not the gemstone—as a Spring ’14 menswear motif. Both Ports 1961 and Giorgio Armani sent forth abstract, faded parallelograms—the former on a cream-colored bomber, the latter by means of spray-painted T-shirts. Yet the strongest use of the shape came on knitwear. Tomas Maier, for example, offered a heather-gray jumper with a repeating diamond pattern in his midcentury mash-up for Bottega Veneta (above, left). Donatella Versace paneled a navy, Medusa-buttoned cardigan in delicate rhombuses (above, center). And lastly, London’s Peter Jensen rendered a vermillion paragon on an ice-blue jumper, knit from ultrafine U.K. yarns (above, right). “There’s a whole playing card intarsia story in my collection,” Jensen told Style.com, noting his use of hearts, spades, and clubs, too. But the diamond may be his favorite. “It’s about time that diamonds become a boy’s best friend,” he said.
Bras outside the boudoir seem like a natural progression for a burgeoning season that oft abides by midriffs and swimwear. At Resort, designers are blurring the line between bedroom and warm-weather wares, giving tiny tops a bustier feel. Take, for instance, Jason Wu‘s balconette-meets-bandage bra (above, center), which he paired with matching botanical-print board shorts. “I’ve always loved these lingerie-esque looks, and I’ve always loved a little swimsuit for Resort,” offered Wu when asked about his belly-baring wares. “The lower-waisted proportion felt right, and there was almost like a surfer-ish attitude about it. And I think it’s a sexy place to bare,” he added. “You work very hard for it. So why not?”
Others, like Carly Cushnie and Michelle Ochs, offered a seemingly more conservative approach to the crème de la crop top. The pair showed a red pencil-skirt-and-elongated-blazer combo which, upon further inspection, reveals an itty-bitty top with an iteration of Cushnie et Ochs’ signature cutouts. At Versace (above, left), Donatella turned out a spearmint gingham top-let coupled with a playfully patterned pant. Meanwhile, Hervé Léger‘s Max Azria and Calvin Klein‘s Francisco Costa served up a sportier approach to the bra-turned-top by incorporating full-frontal zippers. The same sense of ease was seen at A.L.C. and Emilio Pucci (above, right), where banded bras seemed more staple than statement maker.
Next week’s Salone del Mobile, the annual Milanese furniture fair, will include plenty of Italian labels, as usual. Marni is releasing the latest of its colorful chairs, as well as hosting a workshop with the Castello di Rivoli Museo d’Arte Contemporanea, where visitors can create “Abi-tante,” which the label describes as “small objects in the form of humanoids/robots made out of industrial waste.” Vionnet’s Goga Ashkenazi has blessed a variety of Italian designers with her patronage, and they’ve responded in kind with pieces like Nacho Carbonell’s chandelier inspired by the Maison.
But the festival queen may be Donatella Versace, who takes the occasion of the fair to show off Versace Home’s latest OTT wares. This year, she teamed up with the young L.A.-based Haas Brothers (their other brother, Lukas, is a sometime actor and rocker), who have already contributed one-off pieces to Mario Testino shoots and been commissioned by Peter Marino. For Versace, they created pieces like the Honeycomb club chair and the demurely named Bondage bench (above). “The process is very important to us,” Nikolai and Simon Haas told style.com. “It starts with a spark of inspiration and then becomes a tangible form. Donatella was the spark, and this furniture collection is our interpretation of the legend and the house of Versace.”
The spark herself had this to say: “I love the new iconic pieces the Haas Brothers have created for Versace Home. They have captured the essence of Versace today, with pieces that are grounded in tradition while also looking fearlessly to the future. It’s amazing how they have taken elements from Versace’s fashion DNA and remixed them to make pieces for the home that are fresh and new. I enjoyed working with the Haas Brothers so much, they also created some special graphic animal prints for my recent Fall 2013 womenswear show.”
Keep reading for a special video teaser of the collaboration coming together >
As the self-proclaimed “first weird-looking model,” Kristen McMenamy has broken just about every rule there is during her thirty years (and counting) in fashion, which exactly is why we chose to profile her in the new issue of Style.com/Print. Throughout her career, the irreverent icon became renowned for her androgynous appeal, eccentric personality, madwoman-on-a-mission runway walk, and willingness to sacrifice life and limb in pursuit of the elusive perfect picture.
McMenamy was a fixture in the glossies during her nineties heyday (back then, her cropped hair, shaved eyebrows, unconventional features, and sinewy frame made her an ideal poster girl for the grunge movement); she has shot with the likes of Steven Meisel, Richard Avedon, Helmut Newton, Juergen Teller, and Nick Knight, who took the pared-down portraits of her that run in Style.com/Print. Along the way, she has cultivated a support system of designers. “If fashion is her family, then Donatella Versace is her big sister,” writes Jo-Ann Furniss in her profile. That makes Karl Lagerfeld McMenamy’s proverbial father. Lagerfeld did, after all, walk her down the aisle at her ’99 wedding to photographer Miles Aldridge, in addition to casting her in a multitude of campaigns and runway shows.
See them all in our slideshow roundup of McMenamy’s career highlights >
Versace’s Fall 2013 collection walked down the Milan runway just hours ago. The looks—some of which were in plaid or PVC—definitely had hints of the punk sensibility that’s been gaining steam this season. But what really jumped out at us was Ms. Versace’s use of metal nails in a few of her sexed-up wares. One purple dress, in particular (above, left), recalled that famed Versace safety-pin gown that Liz Hurley wore in 1994 (above, right). (Side note: Hurley’s gown will appear in the Met’s upcoming Punk: Chaos to Couture exhibition.) We’re also reminded of Christopher Kane’s ultra-feminine Spring ’13 collection, which was literally held together with plastic nuts and bolts. So, we have to ask: Could Kane’s Spring fastenings have ignited a sartorial hardware movement? Or perhaps more pressing: Is Donatella doing for the nail what Gianni did for the safety pin? We may need to wait until the end of fashion month (and until the Fall ’13 collections start popping up on the red carpet) to find out.