5 posts tagged "Henri Bendel"
Jewelry, jewelry, jewelry. Giles and Sophia did it for Spring. So did Alber. In fact, he went positively over-the-top with it. All of my anecdotal evidence (culled from serious chats with retailers) indicates that jewelry is an increasingly hot commodity. (And why shouldn’t it be? A great necklace easily has a much higher CPW, that’s Cost Per Wear, than a blouse or dress.) It also seems as if there’s more jewelry-related news than ever. Tonight at Henri Bendel, vintage costume jewelry dealer House of Lavande will be celebrating and showing the vintage couture pieces that will be on sale this weekend at the Fifth Avenue department store, like this Chanel collar ($4,500), circa 1940, pictured above. There’s also a groovy seventies Givenchy necklace with a resin heart for $948 and a resin and braided leather Yves Saint Laurent piece for $1,148.
Also this week, Moscow department store Podium opened another outpost of its Podium Jewellery boutique in Paris, its fourth one worldwide; it’s stocked with pieces from Loree Rodkin, Garrard, and Delfina Delettrez. Then, it’s also auction season. This Friday and next Monday, Christie’s is previewing highlights of a few fall sales here in New York and in Geneva. One crowning glory is the Annenberg Diamond, a 32.01-carat D Flawless whopper. Though there’s no guarantees on breaking even with the CPW for that one.
Something’s always a little off in Miles Aldridge’s world. The London-based fashion photographer has made his career on images that are almost diabolically surreal—a woman with a perfect lipstick pout, crumpled against a countertop, stabbing a birthday cake; a lady clad just-so in yellow, pushing an empty swing; a disembodied mouth biting into a forkful of spaghetti. The neon-hued weirdness of Aldridge’s shots makes them leap off pages of magazines and into the same psychological territory as early Almodóvar films: All his women are on the verge of a nervous breakdown. (An exception to the rule, perhaps: Aldridge’s wife, model Kristen McMenamy.) Symptoms of Aldridge-mania include: titillation, studious blankness, frenzy. Now, Aldridge-mania is coming stateside. On Thursday, Aldridge opened the first U.S. show of his work at the Steven Kasher Gallery in Chelsea. Today, he publishes Miles Aldridge: Pictures for Photographs (Editions 7L/Steidl), a compilation of his photographs for magazines such as Vogue Italia and Numéro. This week, Aldridge takes over the Fifth Avenue windows at Henri Bendel, re-creating a few of his images with mannequins. Aldridge will be on hand at Bendel’s to open the display and sign books; here, he talks to Style.com about good luck, lots of cats, and puckers.
You studied illustration at Central Saint Martins. How did you wind up a fashion photographer?
To a certain extent, I just got lucky. In London, around ’95, I was dating this girl who was really beautiful, but not beautiful in a particularly model-y way, at least as that was understood at the time. Basically, she was too short. But then Kate Moss came along, and my girlfriend decided she could be a model after all, so she asked me to take some photos of her, which I did. When she showed her book to British Vogue, they asked to see me. Her career never really got off the ground, but that’s how mine started. It was a good time—between Kate and the whole grunge thing, if you were English and could hold a camera, people in New York would meet with you. And my sister, who was a model, let me know that in her experience all photographers were idiots, so therefore I was qualified.
Spadgermatazz? That’s the name Annalisa Dunn and Dorothee Hagemann gave to their Fall ’09 Cooperative Designs collection. But what on earth does “spadgermatazz” mean? “Our friend Amy Gwatkin, ‘spadgermatazz’ is the name of her blog,” explained Hagemann after the Cooperative Designs show at the Vauxhall Fashion Scout space in London’s Chelsea on Tuesday. “But it’s also the name we’ve given to her look, and she’s our muse,” adds Dunn. “We think of it as ‘English eccentricity with a twist of elegance.’” Both the eccentric and the elegant were in good supply at the show, which featured Cooperative Designs’ hiply graphic riff on traditional English knitwear. Dunn and Hagemann met while completing the M.A. program in knitwear at Central Saint Martins and launched Cooperative Designs straight out of school; Fall ’09 is the duo’s fourth season, and the second one they’ve shown on the buzzy Vauxhall Fashion Scout catwalk. “We like to apply some humor to our work,” noted Dunn, reflecting on the high-energy collection’s puckish mix of layered jumpers and tribal embellishments, provided by Scott Ramsay Kyle. “We’re not interested in doing traditional knitwear in a traditional way. Humor is one way we make the clothes modern.” This month, Dunn and Hagemann are bringing their good humor stateside for the first time: The Cooperative Designs for Henri Bendel collection for Spring ’09 arrives in stores shortly.