22 posts tagged "Hugo Boss"
Without a doubt, Edie Campbell is fashion’s muse-of-the-moment. Coming off of several seasons of stellar editorial and runway work, the It Brit model’s star continues to rise this summer with a deluge of recently released campaigns. Last week alone, Campbell debuted in ads for Alexander McQueen and Lanvin. The latter’s Tim Walker-lensed shoot was a true family affair: Campbell posed alongside her mom, Sophie Hicks; dad, Roddy; mullet-rocking brother Arthur; younger sister Olympia; and her oft-Instagrammed horse, Dolly.
In addition to being a mainstay on the Saint Laurent catwalk, Campbell is also the new face of YSL Beauty’s Black Opium fragrance and has landed yet another Marc Jacobs Beauty campaign. Other recent work includes Bottega Veneta’s Fall ’14 series lensed by David Sims, as well as ads for Hugo Boss and Sandro. Sweetening the deal is Campbell’s latest Vogue Italia group cover (in which she premieres a freshly lightened blond shag) photographed by Steven Meisel. With her versatile, aristocratic look and wry sense of humor, it’s no wonder the industry can’t seem to get enough Edie right now. We approve.
After seven years, Berlin Fashion Week is solidly in its sophomore phase. The surge of energy that initially propelled it has waned, with major regional fashion houses such as Joop!, Hugo Boss and Rena Lange bowing out, while internationally renowned German designers like Jil Sander and Kostas Murkudis never participated. Yet optimism unites the fifty-one designers currently presenting collections on the Mercedes Benz catwalk. Bright, clear, confident yellow – the color of sunshine and high hopes – has beamed onto most catwalks during BFW’s past three days.
Vladimir Karaleev, an insiders’ favorite for his roughly finished and sculptural creations, showed a coat made from an unhemmed sunny jacquard silk which could have upholstered a chair in Louis XIV’s living quarters. Models sported fist-sized Marigold corsages over denim and cocktail attire at Marc Cain. Laurèl launched its show with a jumpsuit, shift, skirt and trousers in the same yellow and white lacework print. Young designer Rebekka Ruétz, a beacon for the Berlin fashion scene, presented variations of a tangy tie-dye print in belted blazers, leggings, jumpsuits and skirts under white chiffon veils. And Rike Feurstein suited a model in genteel high-waisted lemony trousers with a matching net breastplate and shoulder-pads the size of hats. Surreal or pragmatic, yellow was the tone of optimism for Berlin’s stalwart designers.
Every day we ask Style.com readers to weigh in on the latest trends. Whether it’s overalls, floral prints, or graphic tees, we trust you to make the call in our Look of the Day poll. With Resort and menswear shows in full swing this week, we’ve been spoiled with new trends to try. On Monday, our eyes were on crisp, all-white ensembles. It was no surprise that Edie Campbell’s sporty Hugo Boss Resort look won top prize—think of it as normcore at its finest. Narciso Rodriguez, Derek Lam, Rosie Assoulin, and dozens more are in favor of head-to-toe ivory as well. On Tuesday, we saw short shorts make a comeback for both women and men. Mary Katrantzou showed her trademark eye-catching prints on high-waisted, up-to-there mini shorts. Even the boys can try out the trend next season: At Calvin Klein Collection, Italo Zucchelli layered cropped neon shorts over longer boxer briefs. On Wednesday, we got into the Shark Week spirit with Jaws-inspired looks. Theophilus London performed at Philipp Plein’s Spring ’15 menswear show last Saturday on the back of a Jet Ski and sported an appropriate shark-embroidered vest (above). Mark your calendars—Shark Week premieres August 10 on Discovery Channel.
Which looks won your vote this week? Click here to see all of the winners and a week’s worth of style inspiration.
Though he worked with the same megawatt team of photography duo Inez & Vinoodh and stylist Joe McKenna, Jason Wu had an easier time shooting his first Fall ’14 Hugo Boss campaign than he did lensing his This Is Boss film for the brand back in January—probably because this time around, there was no blizzard to deal with. Debuting exclusively here, Wu’s inaugural ads for the German house star Edie Campbell (who emerged as Wu’s muse when Wu presented his first Boss collection back in February) and Scott Eastwood. Yes, the ruggedly handsome son of Clint. “It was very important that the first campaign was character-driven,” Wu told Style.com. “Edie Campbell not only stands for the new vision of Boss womenswear, but she is the definition of that confident, sexy, and individual person that I would like the collection to reflect.” As for the menswear snaps, he offered, “The idea of Boss menswear is keeping up tradition. Scott is all about channeling old Hollywood. I love how much he looks like his father, who is absolutely legendary, and he has this classic sensibility that feels completely modern at the same time.”
The photographs are stern and simple—no fancy backdrops or locations this time around—but they’re jam-packed with emotion. That duality is integral to Wu’s Boss aesthetic. “The pictures are so strong that they didn’t need any special layout. They’re just fully focused on the [model], the clothes, and the attitude. It’s about personality within a very rigorous sensibility. And it’s important to have both.”
With his Hugo Boss debut and thriving eponymous line, Jason Wu is having a banner year. So it comes as little surprise that the 31-year-old Taiwanese-Canadian designer is picking up the top honor at Parsons’ 2014 Fashion Benefit, which is set for tomorrow evening. Ahead of the festivities, Wu, who’s both a Parsons alum and—fun fact—a former toy designer, took time away from wrapping his forthcoming Resort collection to speak with Style.com about his secrets to success, New York fashion’s changing landscape, and his obsession with RuPaul.
Congratulations on the Parsons honor. Considering you studied at the school, do you feel you’ve come full circle?
I’ve kind of come full circle because I moved here in 2001 for my first year at Parsons. So it’s nice to go back and be a part of this new generation of the school, which has taught me a lot and done so much for me. It’s a very nice honor and I’m very proud. But I don’t think I’ve made it—at all. I think I’ve hit a nice moment in my career and it feels great to have your peers and people in your industry acknowledge your work. But that’s not to say that there’s not much more work to do.
Between your debut at Hugo Boss, the success of your own line, and now this award, it seems that you’ve really hit your stride this year.
I don’t know. I always think there’s more to do, so I never think I’ve hit my stride. I always want more and want to do more, but certainly I think it’s been a great year so far, having done two shows in New York for the first time, and then getting this award. I guess that comes with age and experience and just doing it for a while. And I guess I’m getting a little better at it.
Do people look at you differently now that you’ve become the big man at Boss?
I don’t know if I’ve knocked it out of the park yet, but I think we had a really successful first show and I guess people look at me a little more like a grown-up, a big person.
Do you feel like a grown-up?
Yeah, I feel a little older. I guess that means grown-up. Definitely achier.
Your Boss show was quite the star-studded event, and Jennifer Lawrence just wore a gown from your Fall collection to the world premiere of X-Men: Days of Future Past. What role does celebrity dressing play in a designer’s success?
Having people you admire wear your clothes in a very public way is inspiring, and it’s also a great way to get your work out there. It’s a great form of advertising. But for me it’s always about quality, not quantity, and it’s about dressing the few girls that I love. I’ve always been very loyal to Diane Kruger, Reese Witherspoon, Rachel Weisz, Michelle Williams, Kerry Washington—those are girls I dress over and over and over again. And you really develop a rapport and a friendship and a relationship. It goes back to the days when Givenchy and Audrey Hepburn, and Catherine Deneuve and Yves Saint Laurent, had those relationships that went [beyond commerciality]. Those were true relationships. It’s great to continue that tradition.
Can a young designer make it these days without a celebrity bump?
Everyone does it differently. There are some people who make clothes that are more appropriate for a red carpet and there are some people who don’t. I’m not sure if it’s a do-or-die situation, but you do have to seek exposure in your own way, in a way that’s right for your brand.
How did you come to dress Jennifer Lawrence for her X-Men premiere? Was that a big moment for you?
Yeah. Actually, we just found out [the day before]. I had no idea. I think there’s something so incredibly human about her. That’s why people love her so much—she’s so relatable. She shows a little imperfection—which we all have—and still looks stunning.
You mentioned that people like seeing imperfection in public figures. With that in mind, people seem to like you a lot. What’s your imperfection?
My imperfection is that I’m not as perfect as people seem to think I am. There’s a sense of controlled, sophisticated ideas in my clothes that are quite neat, and I think people sometimes think I’m that, but I’m not.
Are you messy?
I’m actually not messy. I’m terrible at waking up early. I’m terrible at a lot of things. I’m terrible at technology—anything computer-oriented. And I’m terrible at making anything on time, which I’m really working on. Actually, at Parsons, I was always really late, and you can’t be late at Parsons. You really get into trouble.
You, along with Alexander Wang, Prabal Gurung, Joseph Altuzarra, etc., are part of New York’s new guard. How do you think the creative climate here is changing?
Right now, New York fashion week is at its best. We have the most young talent [succeeding] at the same time for the first time in a long, long while, and this is the first time that we’ve really been acknowledged on an international level in a long time. That has to do with the fact that our generation’s outlook is global, rather than local. If you look at Style.com, you can read that anywhere in the world. That certainly helps. Having that kind of recognition all over the world is something that is quite rare. We’re experiencing something of a moment, a movement.
Why is that, do you think?
It is, in so many ways, New York’s time. All [of the young designers] in New York come from different international backgrounds. I think that’s a very nice representation of what New York fashion is about—it’s about diversity; it’s about fresh ideas; it’s about making its own statement, because we don’t have the hundreds of years of history. We’re really still, as a whole, quite new at it.
Do you remember how you felt when you were designing your Parsons graduate collection?
It’s so funny because I went to Parsons and my major was menswear, yet I make the most fit-and-flare dresses you could possibly imagine. I guess after going to the very masculine side, I felt like I was much more comfortable in the very feminine side, and eventually the combination of the two became my work as we know it today.
Why were you initially drawn to menswear?
I always liked the idea of tailoring. I always felt making a jacket was the most difficult thing, and it is still the most difficult. Sometimes the cleanest things with the least amount of details are the most intricate.
What do fashion students need to know that isn’t necessarily taught in school?
It’s that the fashion industry isn’t by-the-books. It’s not about following one specific route, it’s about paving your own way and making it your own. That’s what makes fashion interesting—individual visions—and not one person breaks through in the same way. We all get into it slightly differently—I worked in toys first.
Speaking of toys, I read that back in the day, you did a RuPaul doll?
I worked with RuPaul once! It was a long time ago. We made a RuPaul doll and it was wildly successful and that’s how I met him. Of course, RuPaul’s Drag Race is my favorite show ever. It’s like the best show on television. RuPaul is kind of the ultimate supermodel, and I have an obsession with supermodels.
Does your former life as a toy designer ever inform your fashion designs?
Attention to detail is what links my work as a toy designer and a fashion designer. Most people say I went from dressing toy dolls to real dolls. That’s kind of the press-y version of it. But in actuality, I did everything from designing the sculptural form of the dolls to the industrialization of the molds to the manufacturing. I always knew how to create a really good product, and I think that experience primed me for this industry.
How important has business savvy been to your success?
The balance between creativity and business-savvy is something that every young designer needs to be aware of, because it’s the reality of our industry. Having that balance is something that my generation of New York designers really thinks about.
What is your advice to fashion students who want to be the next Jason Wu?
I don’t know if they do want to be the next Jason Wu! But my advice is seize every opportunity and work hard. It sounds so obvious to say that, but the glamour of the industry can get distracting sometimes, and at the end of the day it’s about the work. I work weekends all the time—there’s no such thing as overtime for me because my own time is overtime. And I don’t have any vacations, so cancel those family plans.