5 posts tagged "Hope"
Sonia Rykiel Names New Creative Director, Gisele In Trouble For Hope Lingerie Campagin, Lagerfeld’s Hogan Book, And More…
April Crichton has been named the new creative director of Sonia Rykiel. She has been working alongside president Nathalie Rykiel since 2009, when Gabrielle Greiss left the house. [WWD]
Gisele Bündchen may be an Angel, but right now, Brazilian authorities don’t think so. Bündchen is being criticized for her new Hope lingerie campaign, which has been called “sexist” and “stereotyped.” [Vogue U.K.]
Karl Lagerfeld has created a book, featuring models Bianca Balti and Jacquelyn Jablonski, for his third collaboration with Hogan. For his past projects with the brand, Lagerfeld made a movie and a photo exhibition. “This time I wanted something else because I hate to repeat myself,” Lagerfeld says. [WWD]
Nicolas Ouchenir is the man who addresses the invites for some of fashion week’s most in-demand shows. The Paris-based calligrapher took a break from doing invites for Rick Owens’ and Gareth Pugh’s shows to talk to Nowness about the process. [Nowness]
H&M is more than a ridiculously successful Swedish company—it’s also a training ground for many of the country’s top designers, and Stockholm fashion week was full of collections by “graduates” of the affordable-fashion giant, from the geometric, seemingly cloud-moistened wrappings at Nakkna to the skinny suits and tawny nature prints at Tiger of Sweden.
Statistically speaking, this is no huge surprise: H&M retains about 100 designers and takes on 35 trainees a year, according to Margareta van den Bosch, the legendary H&M design chief emeritus. Van den Bosch (who still plays an advisory role at the company) provided those numbers at the Hope show, where she was checking up on the latest from former H&M designers Ann Ringstrand and Stefan Söderberg. Having envisioned waiters and fairies at a mid-summer feast, they’d served up a seventies-inflected mix of utility and romance.
At Fifth Avenue Shoe Repair (left), former H&M patternmaker Astrid Olsson is experimenting with exaggerated silhouettes, feminine draping, and the occasional voluminous knot of jersey. (To the disappointment of her growing fan base, her label didn’t show at SFW.) Olsson’s preferred textures at the moment are dry and papery. The mod looks in Roland Hjort’s Spring collection for Whyred, on the other hand, have a greasy sheen that suggests the oily protective layer on feathers. Even if he’s taken flight with his own label, Hjort is grounded in the commercial realities he and his fellow H&M alums picked up there. “What you really learn is that the product has to sell,” Hope’s Söderberg said backstage. “If only one person wants what you design, it won’t last.”
It was only fitting that Nina Persson, former lead singer of a band called the Cardigans, would eventually get around to dabbling in fashion. Now she has, teaming up with Swedish label Hope for a Fall ’10 capsule collection. No cardigans, but the Nina Persson + Hope range does include ten-odd thirties vintage-inspired pieces distilled from many beloved yet not-quite-perfect things hanging in Persson’s own closet. The limited-edition collection will be previewed at a party later this month at Project No. 8‘s Ace Hotel store; in the meantime, Persson chats with Style.com about her debut as a designer.
How did the collaboration with Hope come about?
They asked me if I would be interested in doing a collection, and I thought—why not? I don’t have much else going on.
That can’t be right. Didn’t your new band, A Camp, release a record last year? Haven’t you been on the road, and all that? And you’re part of Citizens Band, too…
Well, that’s all true, but around the time Hope contacted me, I had just finished touring, and I was doing about what I’m doing now, which is being pleasantly lazy. I’m giving myself a chance to say “yes” to things—recording a track with a friend, doing different interesting projects. This seemed like an interesting project.
Had you been nursing a desire to design?
God, not at all. I’m very happy to be, like, an inspired consumer. I think I have good taste—I think that’s why Hope had the idea to work with me. But, to be totally honest, the few occasions before this when I’ve entered into the fashion world, I haven’t been too impressed, you know? Maybe it’s just that it’s quite different from the music world, but at the end of the day, that’s it—I’m a musician. I write songs. I have no idea how to construct clothes. And that’s not something I’ve been dying to master.
There was plenty of grooving at Stockholm Fashion Week this year, where the Swedes showed their collections to an indie rock beat. A live piano concert—shades of Cat Power—attended Filippa K’s noirish collection of pencil skirts, structured dresses, and tilted fedoras in the Museum of Photography, and the crowded scene at Cheap Monday in the Frihamnshallen had the feel of an arena concert. In fact, almost every presentation was held at the Berns, the nineteenth-century hotel-cum-concert-hall where most of the guests were staying. (Good news, that, given that persistent snowdrifts would have made the usual fashion-week runaround pretty unpleasant.) The exception proved the rule at Hope, the week’s highlight, held in the gilded Royal Dramatic Theatre (pictured). As guests sampled delicacies from the Fårö region of Gotland and a second tier of onlookers snapped photos from an upstairs gallery, the two designers gave brief, scholarly explanations of how their crisp, beautifully tailored men’s and women’s wear reflected the influence of Ingmar Bergman’s art-house classic The Seventh Seal, from hooded sweaters meant to evoke Death’s cape to checkerboard prints suggesting his famous chess match. It wasn’t the usual soundtrack for the runway, but the beats were barely missed.