52 posts tagged "Fendi"
London’s latest fashion week was really only two days—presumably so the models could get back to their naps and their homework. Yes, this week, London hosted the inaugural Global Kids Fashion Week (GKFW), sponsored by the children’s e-tail powerhouse AlexandAlexa (think Net-a-porter for kids).
At Tuesday afternoon’s big launch event, held in the Freemasons hall in Convent Garden, Amber Le Bon spun the tunes, whilst Jodie and Jemma Kidd, Portia Freeman, Charlotte Tilbury, and more came out with their kids to check out models cartwheeling, skipping, and crying their waydown the catwalk. Meanwhile, front row yummy mummies tried to restrain their toddlers from clambering onto the runway (with limited success). It was an exuberant, carnival-like, laughter filled affair complete with a giant bubble machine, popcorn, and temper tantrums backstage. (“So”, remarked one harried hairstylist as her model screamed out while having her hair teased, “not that different from the grown-up shows, then.”)
Participants in GKFW included Chloé, Little Marc Jacobs, John Galliano, Kenzo, Fendi, Missoni, Ralph Lauren, Roberto Cavalli, Little Paul & Joe, Kenzo, Marni, and many more, with ticket proceeds of the sold out event going to Gwyneth Paltrow’s favorite charity, the Kids Company. Consumer and fashion overload? Perhaps. But there’s no denying the fiscal strength of the high-end children’s clothing market. And by the end, most cynicism was brushed aside. As one fierce seven-year-old stomped down the catwalk in a quilted, structured plaid dress from Junior Gaultier, our fashion instinct clicked in. Hmm. Wonder if we fit into the kids’ size twelve.
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.
The Fall 2013 shows come to a close in Paris today, and a quick survey of the collections will tell you that punk is back in a big way: nails, vinyl, and tartan at Versace, Mohawks at Fendi, spiky shoes at Anthony Vaccarello, chain boots and leather waders at Chanel, the list goes on. British designer Zandra Rhodes, for one, is thrilled. “A pair of safety pins is just as beautiful as embroidery,” she said of punk’s place on the runway. And she should know—with her 1977 Conceptual Chic collection, Rhodes became one of the first (if not the first) designers to translate the gritty, antiestablishment subculture into high-fashion wares. “I had always done things covered in print, and I had a very elegant shop [on Bond Street], but I suddenly wanted to try out something different,” said Rhodes when asked why she made the 1977 collection, which earned her the title Princess of Punk.
Featuring shredded pink, red, and black dresses, tops, and skirts held together by bejeweled safety pins and chains, Conceptual Chic was a sharp departure from the vivid printed party frocks and caftans for which Rhodes was known. But that’s not to say the designer, who has, for the past few decades, flawlessly multicolored hair and geometric makeup, was a stranger to the punk spirit. “I don’t think a self-respecting street punk would have described me as [a punk], but I had a very wild appearance that was totally my own. And it was influenced by [punk culture],” said Rhodes. “There was this whole street movement going on, and I was really trying to look at it from another angle; I wanted to see the beauty that could come from it,” she added, noting that Vivienne Westwood’s die-hard punk designs were not a direct influence. “We worked totally independently. Westwood was on one side of the scale, working on her things, and I was on the other side, working on mine. Neither of us have had any contact.” Continue Reading “Pretty in Punk with Zandra Rhodes” »
Ever since Fendi debuted its multicolored fur Mohawks in Milan, the punked-up coifs have been fanning out all over the Fall runways. But they’re not appearing as you might expect; rather, designers have appropriated the motif and completely turned it on its head. For starters, Fendi’s pastel quiffs got so much attention that one might have missed Lagerfeld’s punchy Mohawked boots and bags. Haider Ackermann put his own spin on the look, sending his models out with white matted hair fashioned into “death hawks” (a style favored by goths). Not surprisingly, the same rebellious tresses popped up in black at Vivienne Westwood, but the Dame of Punk placed her death dos on black platform booties rather than her catwalkers’ noggins. Jean Paul Gaultier experimented with aubergine and bubblegum-highlighted faux-hawk-mullet hybrids at his Fall show, and over at Loewe, Stuart Vevers garnished the heels of his single-soled sandals with exaggerated, razor-sharp black or blonde fringe. Loewe’s shoes were a particularly “uptown” take on the antiestablishment-rooted style (what would the punks of the seventies have said about that?) and reminded us of YSL’s much-snapped suede Mohawk pumps from Fall 2010. Now, don’t shave and dye your hair just yet (or, actually, maybe do), but we’d have to say that the Mohawk, in its many incarnations, is one of Fall’s most prominent (and playful) punk trends so far.
Last night, on the Boulevard Saint-Germain, Karl Lagerfeld opened the first boutique dedicated to his own collection. His responsibility for the merchandise that fills hundreds of Chanel and Fendi shops around the world begged the question: How did it feel to walk into his very own retail environment? “Like looking in a mirror,” said Lagerfeld, “in every corner. At least I don’t see my face in those other places.” But the oppression of overexposure was easily balanced by the designer’s extraordinary detachment from what he does—and even from what he has become in the wondering eyes of the world. Lagerfeld’s explanation? “I’m never a victim of things, especially of my name.” He simply isn’t as attached to the material world as his ability to shape it in his image would suggest.
Not that you’d know it from the store, which is a banquet of all things Lagerfeld—from departments for men’s and women’s clothing, to a surprisingly large shoe department, to a book nook, to a department stocking fifty separate styles of Lagerfeld’s new watches. “I have a very bad relationship with time,” the designer conceded, though it might be closer to the truth to say that time has a bad relationship with him, given his utter defiance of any kind of temporal constraint. Nevertheless, he worked as closely with project director Trey Laird on the watches as he did on every other aspect of the store and its contents. That tiny strip of light on the front door? Lagerfeld insisted it be moved from the bottom of the door to the top. If it didn’t exactly make a major difference, Laird said it was a definite improvement.
The store hadn’t been open more than a few hours and Lagerfeld had already been shopping. He’d bought mesh covers for his iPad and iPhone. And he paid full price. “I’m against discounts,” he said dismissively. “If people want something, they should pay the price.” Who knows? We may be looking at the start of a retail revolution, with Karl Lagerfeld as its firebrand figurehead.