24 posts tagged "Emanuel Ungaro"
It’s time to put away those dangling pendants and dainty chains. For Fall, designers are hot under their collars for fierce, face-framing choker necklaces. Whether they came with door knocker-sized ornaments like Lanvin‘s, Wilma Flintstone-esque pebbled jewels à la Bottega Veneta, or in fetish-y leather as they did at Emanuel Ungaro, it was all about achieving a snug fit that sits atop the collarbone. And chokers aren’t just for the runways. Street-style fixture Taylor Tomasi Hill repped a Masai-inspired number during fashion week, and we spied our industry crush Virginie Mouzat wearing her gold necklet in Moscow.
CLICK FOR A SLIDESHOW, and let us know how chic chokers are in your neck of the woods.
There were plenty of eyes on Giles Deacon for his first presentation for the slightly shaky house of Ungaro, and the designer made sure there was plenty for those eyes to feast on—not only the clothes (a qualified TKO, says Tim Blanks), but the models, too. Casting has emerged as one of the big stories of the season, with many designers opting for a greatest-hits parade. Sure enough, here were some of the biggest names of the recent and slightly less recent past: Shirley Mallmann, Claudia Mason, Georgina Grenville, Angela Lindvall, Kirsten Owen. But among them was a more recent fashion obsession not to miss: Anna Dello Russo (left). (She was toting a lifelike lamb under her arm, a wink, perhaps, at the triceratops bags Deacon showed two seasons ago on his own runway.) How Ungaro will weather the future isn’t yet clear, but if it’s found a defender in ADR, its odds are so much the better.
In advance of Paris Vogue‘s 90th anniversary party tonight, Eric Wilson sits down with editrix Carine Roitfeld for a chat. The whole thing’s worth reading, for Carine’s thoughts on what is and isn’t Vogue and who’s on next, but forgive us if we’re most interested in her dream of opening a karaoke bar. Her song of choice? “You’re So Vain,” which she says aptly describes her industry. [NYT]
Giles Deacon is in Paris prepping his first collection for Emanuel Ungaro, and he promises one thing—no neon brights. He’ll be focusing on the house’s print heritage, as well as including plenty of lace. [WWD]
Björk, who sang at Alexander McQueen’s memorial in London during LFW (left), shares her memories of the designer with GQ U.K. “He was the kind of daredevil that looks death and birth straight in the eye,” the Icelandic pop star says. “Lee managed to connect not only with the civilized part of his culture but somehow channel beyond that a more primordial energy, which is probably where me and him met.” Well, come on, you didn’t think it was going to be in a Marks & Spencer, did you? [GQ U.K. via Vogue U.K.]
And kudos to Balenciaga, for some of the more varied runway casting we’ve seen this season: returning supes Amber Valletta and Carolyn Murphy, sure, but what about pregnant Miranda Kerr? [Stylelist]
LACMA called upon the Mulleavy sisters of Rodarte to contribute drawings inspired by works in its permanent collection to a new exhibition, Cell Phone Stories. (There’s one pictured, left.) Also contributing: Rainn Wilson, a.k.a. Dwight from The Office. We feel confident that this will be the last time we speak of a collaboration between Rodarte and Dwight from The Office. [WWD]
Adidas is the official sportswear partner of the London 2012 Olympic games, and it, too, has called on a famous collaborator to help out: Stella McCartney. McCartney is designing uniforms for the English teams competing in the Olympic and Paralympic Games. [WWD]
After showing his namesake line in Paris last season—a reward of his ANDAM win—Giles Deacon is bringing his collection home to London fashion week this September. “I don’t like the idea of doing two things in one city,” Deacon said. He’ll show his first collection for Emanuel Ungaro, where he was recently named creative director, in the City of Light. [Vogue U.K.]
Christie’s is auctioning off 36 Hermès Kelly bags and 27 Birkins at its London auction today. [Observer]
Sigh: Courtney Love, fashion blogger. [Racked]
Toss the name Emanuel Ungaro into a fashion conversation of late and there’s no chance it’s Emanuel himself who’ll come to mind. The house that the Balenciaga-trained couturier built has had a spiraling stream of tenants, culminating in the chaos and confusion of LiLo’s mercifully brief occupancy. The debacle-riddled label’s appointment of Giles Deacon as creative director is a creative attempt to claw back credibility. At the very least, Deacon’s affable imperturbability offers a reassuring antidote to the immediate past. And—more to the point—there’s an innate logic to the new hire. Deacon has yet to meet Ungaro himself, but his knowledge, enthusiasm, and respect surely suggest the encounter, should it come, would be more simpatico than cocktails with La Lohan.
Wow! Giles loves a challenge.
I thought of all of that, but you’ve just got to see beyond it. It’s such an easy thing for the more salacious writers to get bogged down in, but the legacy of the house is so immense that the last two years have been a week in its lifetime. Anyone with a good fashion knowledge and a sense of history will know what there is to work with. There’s the most amazing archive from 1967 onwards, a huge couture archive from 1970 until Mr. Ungaro finished in 2003, so much to get yourself involved in.
Has the house always been on your radar?
When I was doing my foundation course, before I ever got to Saint Martins, I was a really big fan of Ungaro. The Ratti prints were immediately appealing to my magpie eye. I thought there was always a lot more to Ungaro than the eighties thing with the ruching and the florals, and what I want to do is assimilate all that and make a new version, capturing the spirit and using what little intelligence I have to give it my twist.
And what is that spirit?
Put simply, it’s the vivacious Frenchness that really interests me. They’re very lively clothes in their construction. They look like clothes you can have a good time in, which I’m really attracted to.
Do you detect an Ungaro element in contemporary fashion?
I think there were certain elements in Tom’s first Saint Laurent collections. And Carine Roitfeld has a very Ungaro feel about the way she dresses: the tailored jacket, the pencil skirt. It’s kind of tarty with intelligence. I see them as really empowering clothes, and lots of women like playing with the psychology of all that. It’s an interesting game.
How compatible do you consider your own work to be?
In the use of color and print, and the essential playfulness. But I’m very conscious that I don’t want any blurring. My own line is more subversive. In Ungaro-land, things are a little more obvious. I like the instantness of those clothes, but the world of challenge for me is getting that other kind of lightness and softness. My own things tend to be a little bit harder.
And never forget your natural tendency toward the macabre…
I’ll keep that with me. [Hearty laughter.]
The house of Ungaro was an haute couture stalwart. I imagine the recent past has been brutal to the legacy.
The atelier still exists. There are eight ladies who’ve been working there on private client pieces and wedding dresses. I’m very keen to start that again. To work with those ladies within an atelier setting would be an absolute privilege for me. I’ve got the loose idea of getting a small presentation together for January…The rest of the Ungaro team is amazing, too. The print developer, the fabric technician, they’ve all been there quite some time, and they’re super-ready to get involved and put the past couple of years to one side.
What’s this going to do for your work load?
We’ll have to be organized with military precision. My diary is done about 14 months in advance, anyway, which is fantastic but terrifying at times. Besides, every three days, I’m somewhere else anyway. But I can do door-to-door from my studio in London to Ungaro on Avenue Montaigne in three hours.