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13 posts tagged "Giancarlo Giammetti"

“The Most Strong and Beautiful Thing”: Valentino, Alicia Keys, and More Turn Out for NYCB’s Gala Evening

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ValentinoBetween the Met ball, Dior’s Cruise show, the kickoff of the Frieze Art Fair, and a slew of other charity galas, this week’s social calendar has been a demanding one to say the least. But that didn’t keep the social set from turning out for New York City Ballet’s Spring Gala last night, celebrating the company’s fiftieth year at Lincoln Center.

As guests, including Alicia Keys, Catherine Malandrino, and Gilles Mendel, made their way inside the David H. Koch Theater, they were handed a mini bottle of vodka and a shot glass along with the evening’s program. “Well, I guess we are really going to have a party now,” said one surprised attendee. “Do you think we get refills?”

Minutes later, ballet master in chief Peter Martins took the stage to lead the crowd in a toast—a company tradition started by its co-founder George Balanchine. That was followed by a series of tributes to opening night in 1964, including a song from the musical Carousel, which was performed by Kristen Bell and Aaron Lazar, and a classic Balanchine number. “I am immensely biased, but the New York City Ballet dancers are the best in the world,” said Martins.

The audience seemed to agree—everyone in the theater was on their feet for an extended standing ovation after the conclusion of NYCB soloist and choreographer Justin Peck’s world premiere of Everywhere We Go, featuring music by Sufjan Stevens and costumes by former NYCB dancer Janie Taylor. “Exceptional—I think it was the most strong and beautiful thing,” Valentino Garavani told Style.com before dinner. And how were the dancers going to let loose after the black-tie affair? “We will probably just go to a dive bar and get a few drinks; we all have to be at work tomorrow, so we can’t get too crazy,” said Peck. The evening raised more than $3.15 million for the ballet.

Photo: Getty Images 

Insta-Gratification: #MFW Edition

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In the age of Instagram, all it takes is a smartphone to achieve a photo finish, be it filtered or #nofilter-ed. That’s why Style.com’s social media editor, Rachel Walgrove, is rounding up our favorite snaps and bringing them into focus. For this very special edition of Insta-Gratification, she’ll be calling out the best shots from #MFW. See below for today’s picks.

Monday, February 24

Giorgio and his Armani army.

Collect them all.

Marni, through Linda Fargo’s lens.

Missoni’s pre-show clique.

The finale bow. Squared. Continue Reading “Insta-Gratification: #MFW Edition” »

Private No More: Giancarlo Giammetti on Life With Valentino, Elizabeth Taylor’s Expensive Taste, and Lauren Hutton’s Tantrums

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Giancarlo GiammettiMany of fashion’s great performers have benefited from great showrunners—those unsung partners who protect and guide from offstage. The line you hear about Giancarlo Giammetti, then, is that he allows Valentino to be Valentino. What that means exactly can be hard to explain. Suffice it to say that what began as a mutual attraction turned into one of the most fruitful collaborations the fashion world has ever seen. In helping to build up the legendary label, Giammetti also laid the groundwork for the industry as it is today. His relationship with his partner is as moving as it is complicated—or so it appears in Valentino: The Last Emperor, the acclaimed documentary that ushered Valentino vividly back into the spotlight in 2008, at a time when the pair behind the famous name might have retreated into relative (but impossibly opulent) obscurity. Now, with Private: Giancarlo Giammetti, Giammetti offers another peek into the Valentino world. Published by Assouline, the twelve-pound tome is a compendium of reflections and photos, nearly all of them snapped by Giammetti himself, of the long, enviable life he’s led—one that has contained so many royals, Hollywood idols, and pharaonic fashion types that it more or less functions as an illustrated social history of the latter half of the twentieth century. Giammetti spoke with Style.com about fashion then and now, the glamorous “tribe” with which he’s always traveled, and the “diva fits” he’s come to take in stride.

"Private," left; the young Giancarlo Giammetti and Valentino Garvani, right
In his foreword to the book, Valentino writes that he learned some things about you that he did not know before. Is that even possible?
It’s true. Everybody has secrets, no? It was easier to tell them to the book than to him! He would have reacted, probably. At least the book was silent.

The Last Emperor made your life public in a way that it never had been before. Could you have done this book without that movie?
No.

You’d always guarded your privacy. Tell me about how the movie changed that.
The movie was a surprise. The first time we went to see it, we came out of the room so shocked that I called the lawyers. I felt so violated. I expected a documentary about fashion, the beautiful girls, the runways, the parties. I didn’t expect to feel so naked. Continue Reading “Private No More: Giancarlo Giammetti on Life With Valentino, Elizabeth Taylor’s Expensive Taste, and Lauren Hutton’s Tantrums” »

Giancarlo Giammetti Thought Jerry Hall Was A Call Girl

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Giancarlo GiammettiWhen Giancarlo Giammetti first met Jerry Hall, the supermodel told him that she was a cowgirl. However, to Giancarlo’s ear, her Texan twang made it sound like she said “call girl.” “I was really shocked…So I very shyly ask whether she arranged to meet her clients by phone or in person. She say, ‘What clients?’ I say, ‘You say you are a call girl.’ And she say, ‘No, no, no! I am a cowgirl!’ We became great friends.” Giammetti—the ultra-tan Italian force who’s served as Valentino Garavani’s business partner for 45 years—discusses this, his relationship with Valentino (occupational and otherwise), the influence of stylists, and more in the latest installment of Vanity Fair‘s “Out to Lunch” series. Apparently, Giammetti dined with journalist John Heilpern via Skype. Naturally, the former was stuck on Valentino’s yacht on the Aegean sea, and couldn’t make it for an IRL meal.

Photo: Dave M. Benett/ Getty Images

Glitter and Be Gay? Addressing the LGBT Influence in Fashion

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Calvin Klein AdAs industries go, fashion may be the least closeted there is: No one can deny the massive impact made by men and women who identify as gay, lesbian, bisexual, and transgendered in the history of fashion and costume. Fashion historian Valerie Steele addresses the contributions made by LGBT people in a new exhibition, A Queer History of Fashion: From the Closet to the Catwalk, opening this week at the Museum at F.I.T. It includes pieces ranging from designs by Jean Paul Gaultier and Gianni Versace to Edwardian suits and nineteenth-century finery; clothing made by gays and for gays; as well as those items and styles co-opted and fetishized by gay audiences, and from gay audiences. (See, for example, Versace’s adaptation of leather fetish regalia into his women’s haute couture.)

As the exhibition makes clear—not that it wasn’t out, as it were, already—the gay contribution to fashion is beyond doubt. The question that’s much harder to answer is why. Shortly after the show was announced last year, I sat down with Steele, who co-curated the exhibit with Fred Dennis, to try to tease out the curious correlation and connection between gayness, politics, fashion, and style.

It goes without saying—but let’s say it—that many, many fashion designers and professionals are gay. Is gayness fashion’s default position?

I don’t know if it’s the default position, because there are heterosexual men, and there are women of all different sexualities, straight, gay, and bi, in fashion—though fewer of them have come out than gay men. But I think it’s not just a stereotype to say that there’s a lot of interest in fashion and style among a lot of gay men. What we’re interested in doing with Queer History is, if you can get beyond saying it’s just a stereotype, maybe you can start exploring why it might be the case that there’s this interest in fashion and style. You’re not pathologizing it; for one thing, most people like fashion now. You could explore, is there a kind of gay sensibility that would be drawn to issues of style and fashion?

And is there?
We tend to think yes. But we think there’s not one gay aesthetic, but at least a couple of different gay aesthetics. Several, probably: One that would tend to be more idealizing, and the other that would be more disruptive and gender-fuck.

But that idealizing aesthetic could be a kind of misogyny, no? You have male designers creating designs for women’s bodies that aren’t necessarily forgiving, or even possible…
If you go online, this is the vox pop: Do gay men hate women? You saw that [first] in the fifties, when you had all these very homophobic commentators, like the psychiatrist Bergler, who said that gay men hate women and therefore they make weird clothes for them to wear. But the point is, gay men have made all different types of clothes. It’s not just that they like girls to look like teenage boys, or they like girls to look like a caricature of women. It’s all different styles. And you find that straight men and women of different sexual persuasions also doing those, too. It’s much more related to their individual aesthetic and their time period than it is to their sexual orientations. So I think you have to confront that. Some people who don’t like fashion are going to say that it’s gay men making things for putatively straight women. But I think you can’t be held back by homophobic complaints. I think it’s more important to try and explore where things might lead you and not be constrained by irrational homophobia—and irrational fashion phobia, too.

Which go hand in hand.
Which often do go hand in hand.

Where does this connection between gay men and fashion come from?
I think it’s partly a kind of self-selection early on that gay boys, maybe before they know they’re gay, are interested often in artistic pursuits. “Artistic” was always a kind of euphemism for being gay. Lots of gay people talk about, “When I was four, I was telling my mother how to dress. When I was four, I was doing elaborate drawings of ladies’ costumes.” That’s before you have much of a sexual identity, but there’s already possibly something there that’s attractive about artistic and transformative fields like fashion. Fashion is about artifice and transformation and fantasy and a certain idea of beauty. I think it’s intrinsically very appealing to a lot of people, and it may just be that, at least in certain cultures—and there’s been so little cross-cultural work done, it’s hard to tell—that may be something that’s part of a gay male sensibility. Continue Reading “Glitter and Be Gay? Addressing the LGBT Influence in Fashion” »