7 posts tagged "Fenton"
Lensed by Hugh Lippe, Fenton’s Fall campaign takes a cue from the dark, dreamy opulence of David Lynch’s Blue Velvet. And who better to star in the cinematic snaps than twenty-first-century femme fatale Crystal Renn? “I immediately thought of this Dorothy Vallens-type woman from Blue Velvet, mixed with a kind of Alexis Carrington,” Fenton designer Dana Lorenz said of the shots. “I thought of a voyeuristic view on this woman either packing and leaving her lover or going on a midnight rendezvous.” Get a first look at Renn posing with Fenton’s latest baubles in the campaign’s exclusive debut here.
Inspired by botany and the weeping willow, Fenton’s pre-fall ’13 jewelry boasts an irresistible hard-soft duality. Case in point: this mesh-and-pearl necklace that fuses delicate femininity with a dark, almost eerie edge. “I love the idea of balancing out the structure of our signature bondage wrapped chokers with the ease of the fabric-like metal mesh,” says Fenton designer Dana Lorenz. “I imagine this piece, part of our new cultured pearl collection, paired with a menswear look or tuxedo jacket, à la Katharine Hepburn or Greta Garbo.” We think it would look romantic if worn with Alexander Wang’s geometric pre-fall separates. Or, on Lorenz’s advice, it’s the perfect accessory to pair with a tailored men’s suit, if you’re daring enough to jump on fall’s gender-bending bandwagon.
For Fenton designer Dana Lorenz’s Spring ’13 ad campaign, it was model Eliza Cummings or bust. “We had to have her,” Lorenz tells Style.com. “She flew in for one day to NYC specifically to walk Marc Jacobs, and we made it work to shoot her in the few hours before her call time.” Here, Style.com has the exclusive first look at the campaign (lensed by Sharif Hamza), featuring Fenton’s newest candylike, oversized baubles—a departure from some of her more gothic turns in past seasons . “I really wanted to convey a sense of strength and color this season,” the designer explains of the collection, highlighting the geometric Shinde pendant. “I looked to the oversized, structured jewelry of Ambaji Shinde for Harry Winston from the fifties and sixties and the geometric, illusion-esque formica works from Richard Artschwager.” Look out for the collection on her newly launched e-commerce site FentonUSA.com this spring.
Fenton jewelry designer Dana Lorenz is still going with her “more is more” approach, but for Spring she lightened up her look with layers of pastels, pearls, and geometrics baubles inspired by Miami Art Deco. Some of the dyed agate, jade, and moonstone statement necklaces—a few of them trimmed with feathers—are almost sizable enough to be a chestplate (left), but it’s the studded collar that caught our eyes. It had that dark, almost gothic edge of some of her previous collections.
Speaking of past seasons, Lorenz has once again joined forces with Alexandre Plokhov. (The two collaborated before she launched Fenton.) Tomorrow, Plokhov makes his return to New York with his debut womenswear collection after spending time working for Versace.
“He wanted the jewelry to be really graphic and strong but almost seamless with the clothing,” Lorenz tells Style.com of the oversized cuffs she created, in basic black and white as well as “shocking” colors. “We used rough-cut diamonds as inspiration—the result is a multifaceted, enormous cuff; they are huge!”
For her Fall 2011 Fenton presentation, Dana Lorenz invited guests to her Garment District studio. Not much to look at from the outside, admittedly. But step in and you were in a baroque fantasy. The Fall Fenton line, called Versailles at Midnight, is inspired by the court of Louis XIV, and to properly display it, Lorenz called in a set of Louis Quatorze furniture (on loan from D&D) and a sparkling set of Baccarat crystal. (“It had to look perfect,” she said. “This isn’t a barnyard theme, you know?”) The jewelry lived up to the decor. Scattered throughout were references to gilded and polished interiors: A chain link was a miniature handle found on a porcelain pitcher; a gold bangle was ringed with lion’s feet from a claw-foot tub. Different sections of the collection called to mind different times of day: Midnight offerings came in burnished matte onyx and glittering red stone, reflecting a palatial darkness. An earlier morning hour got acid green jade for a shocking, slightly eighties touch. Lorenz’s creations tend to have a contemporary, and-the-kitchen-sink feel rather than a more classical simplicity, but it was a nice surprise how well the older references worked with her reigning aesthetic. She was searching, she said over sips of Champagne, for “a super hand-crafted feeling. I really want to get back to that, especially with Fenton—everything handmade, everything custom.” That’s a sentiment a baroque queen would surely have appreciated.