28 posts tagged "Inez & Vinoodh"
Christian Dior may have been reserved in person, but he left volumes of quotable lines about his work. One example: “Black and white could be enough.” Apt for this particular season, and also for the Christian Dior Museum in Granville, Normandy, where it is writ large on the wall at the exhibition Dior: The Legendary Images: Great Photographers and Dior, open through September 21.
“Museums are almost replacing books. [An exhibition is] like a living book, and that’s especially true for [ones about] fashion,” noted the show’s curator, Florence Müller (Though it should be note that Rizzoli has released a book corresponding with the show, and the tome is pretty impressive in and of itself.) “What’s beautiful about fashion photography is that beyond an iconic piece like the Bar jacket, you have the makeup, the look, and all the refinement of a time that makes you dream. In the end, it’s like a film. It’s magnified beauty.”
Black and white might well have been enough: Hollywood-worthy moments abound in the exhibition. Alongside the Bar suit is Pat England’s original shot of the ensemble at Dior’s first presentation of the New Look, which made the designer a star overnight in 1947; there’s Richard Avedon’s Dovima and the elephants; a Marc Riboud shot of Audrey Hepburn exuberant over a dress in 1959; an early fashion series by Irving Penn; house images by Willy Maywald; iconic images of the model Renée by Henry Clarke, Beaton, Blumenfeld, Newton, Demarchelier, and beyond—all in black and white. Then comes vibrant color, from the first fashion shoots in exotic locales by Norman Parkinson, Corinne Day, Sarah Moon, Steven Klein, Bruce Weber, Mondino, and Inez & Vinoodh, the duo behind the house’s current Secret Garden campaign. But rather than present Dior’s photographs chronologically, Müller sought to bridge past and present thematically, which led to a few surprises—not least a trove of color negatives freshly unearthed from the Elle archives.
“It’s always thrilling to rediscover something you thought you knew by heart,” notes Müller, who started by leafing through sixty years of fashion magazines—the French editions of Elle and Marie Claire and the archives of Vogue Paris and American Vogue. “In the case of the Bonbon dress from Dior’s winter 1947 collection, we found an image by Emile Savitry we’d never seen before—and then we realized we actually had the dress,” she notes. The Chantecler dress from the controversial 1954 ‘H’ collection is echoed in a vintage photograph by Clifford Coffin, a star lensman in his day (one of his photographs headlines the exhibition). The Trapeze dress from Yves Saint Laurent’s triumphant 1957 debut at Dior is front and center in one display. Another archival picture of a last-minute fitting of a dress once worn by Rita Hayworth finds an incarnation upstairs, in a 2012 iteration by Raf Simons.
“Exhibitions should be a spectacle—beautiful, strange, curious, bizarre,” said Müller, citing John Galliano’s Tibetan-inspired creation and his 1997 Masai-inspired outing. “When you stand back, you realize that a fifties dress could be contemporary, or that the contemporary creation was completely in the spirit of what M. Dior liked. You realize that fashion is not a museum,” Müller concluded. “It’s an ongoing conversation.”
Here’s to new beginnings. Iconic travel magazine Holiday, whose pages were graced with such bylines as Steinbeck, Kerouac, Didion, and Hemingway before it shuttered in 1977, will relaunch this month. Creative director Franck Durand (who previously lent his keen eye to the likes of Balmain and Isabel Marant) will be heading up the title alongside Marc Beaugé. The publication’s 21st-century debut boasts an Ibizan dispatch from novelist Arthur Dreyfus, photography by Josh Olins (below), and a recherché peek into Inez & Vinoodh’s Manhattan loft. Dubbed “The 69 Issue,” the Fall/Winter 2014 offering, which is currently being celebrated via a window at Colette, draws from the freewheeling sensibilities of 1969. And for those whose tastes for mid-century jet-set glamour aren’t to be sated by print alone, still to come are a café and sister clothing line. Only time will tell, but we’ve got a hunch that where Holiday is concerned, absence does indeed make the heart grow fonder.
Holiday‘s 373rd issue hits newsstands April 5, with exclusive images debuting on Style.com.
Last week, Portermagazine celebrated Lady Gaga’s 28th birthday in a big way: by confirming her as the cover star of Issue 2. Naturally, there was speculation aplenty as to how the star would be presented: Would Portergo over-the-top in true Artpop fashion? Or would the look be a little more natural, à la Gisele on Issue 1? We were pleased to see the latter was the case when Porterrevealed the black-and-white cover on Instagram this morning. Lensed by Inez & Vinoodh, Gaga is shown with minimal makeup, soft waves, and messy bangs. It’s the icon as she is rarely seen, but it’s right in line with Porter‘s mission to focus on strong women and their stories—not costumes and unattainable perfection.
Debuting exclusively here on Style.com are two spreads from the story inside. The vibe is moody, sensual, and relaxed, depicting Gaga in comfortable boudoir attire (including a vintage robe that belonged to her grandmother). The idea was to capture her in a pared-down, “undone” state, channeling seventies female musicians. And while it isn’t what we’re used to seeing, Gaga told Porter‘s Christine Lennon that it spurred some nostalgia.
“I used to wear outfits like this! It brought me full circle, returning to my old style,” she said. Her favorite rock-and-rollers inspired her outfits when she was a teenager performing in Manhattan clubs. “I was a huge fan of The Beatles, Yoko Ono, Stevie Nicks, and Led Zeppelin,” she said. “I used to emulate that style, wear my mom’s old clothing, go to vintage shops, and I still had that look when I went to college and wore my little hippie outfits. Then when I was 19 on the Lower East Side, I started experimenting more with glam rock. So this shoot really spans my style from 17 to almost 20.” And after that, we all know what happened: “I started having a little more fun with futurism.”
The full interview can be found in Porter magazine, available on newsstands April 4, and on net-a-porter.com
Porter, Net-a-Porter’s new magazine that launched with an Inez & Vinoodh-lensed Gisele cover in February, certainly knows how to grab an audience—and rack up downloads. Today, the publication’s Instagram account posted a teaser cover of Issue 2, instructing followers to download the #IAmPorter app to discover the mystery cover girl. A second Instagram featuring giant Mickey Mouse ears and the question, “Who’d wear a hat like this? #ARTPOP #ISSUE2,” quickly confirmed the answer: Lady Gaga. Coincidentally (or not so coincidentally?), today also happens to be the star’s 28th birthday.
To encourage social media sharing among Gaga’s many devoted fans, readers can upload photos to the #IAmPorter app and superimpose her famous Philip Treacy headpieces onto the image. Warning: It’s almost too much fun. Prepare for total selfie overload.
Fashion film is a curious genre. Oftentimes, the Style.com team is confronted with the typical pitch: a short little flick featuring haunting indie music, a pensive-looking model, a vintage bohemian ambiance, and, of course, a new collection. Sure, there are great ones (as evidenced by our Video Fashion Week series, which wrapped today), but more often than not, they’re cheesy and lacking in both plot and substance. However, according to former designer, renowned journalist, and A Shaded View on Fashion Film Festival founder Diane Pernet, this breed of cinematography is not fashion film at all. “Just because you’ve used a movie camera doesn’t mean you’ve made a film,” Pernet told Style.com. And she would know. Having launched her famed Paris-based festival in 2008 (it gets its name from her blog, A Shaded View on Fashion), Pernet now sorts through more than five hundred cinematic submissions each year before curating the lineup of films to be shown (and judged) during her grand event. As you can imagine, she’s seen the bad, the terrible, but also the spectacular.
Last weekend, thanks to a little help from the French Institute Alliance Française and Kering, Pernet brought New York its first taste of ASVOFF. She screened the festival’s greatest hits by the likes of Bruce Weber, Ellen von Unwerth, and Mike Figgis with the hopes of inspiring and enlightening her stateside fans. There was no competition element this time around, but Pernet, who’s as well known for her marvelously outré noir uniform as for her widespread work in sartorial cinema, hinted that she hopes to bring the full-fledged festival to the Big Apple next year. Also on her docket? The launch of a trio of perfumes, which debut on Style.com’s Beauty Counter this afternoon. Here, Pernet talks to Style.com about the role of fashion film, her frustration with runway shows, and why fashion flicks are so rarely taken seriously.
Oftentimes, fashion film is not taken seriously. Why do you think that is?
I think the reason it’s not taken seriously is that a lot of fashion photographers making films aren’t filmmakers. It’s their agents who are telling them, “You’d better get a video camera and you’d better make a film because that’s where it’s at.” And a film director has to think of so many different elements that you don’t think about in a frozen image. So a big problem is that some fashion photographers have a hard time making the segue. Of course, there are people who have made a nice entry, like Bruce Weber or Ellen von Unwerth who have been doing it for over a decade, or newer people like Steven Meisel, Steven Klein, and Inez & Vinoodh. But a lot of photographers are just making fashion photo shoots that move. That’s not a film. It’s a fashion shoot in motion and that’s not interesting. Not interesting to me, anyway.
A lot of fashion films that we see are almost a parody of themselves, with the indie music, the “deep in thought” models, the vintage vibe…With that in mind, what does it take to make a compelling fashion film?
I always use this as an example because it’s something everybody knows: A Therapy, Roman Polanski’s 2012 film for Prada. That’s an excellent fashion film. I personally like a narrative. I think you need a narrative if you’re going to hold somebody’s interest for three minutes. CO’s She Said, She Said  by Stuart Blumberg, which won best acting in my festival, is a great example. It had a wonderful story. After my festival at Centre Pompidou, I got an e-mail from a digital person at LVMH that said, “Now that is a great way to show fashion.” Fashion film is not about just selling the product—it’s about creating an atmosphere. It’s a story. A great fashion film needs the same criteria as a feature film. Does it take you somewhere? Does it have some kind of emotion? And humor is always great. People in fashion need humor.
Does it upset you that so many brands are dubbing these moving photo shoots “fashion films”?
I get about five hundred submissions [for my festival] every year, and an awful lot are in that category. I think people still don’t have a grip on what a fashion film is—they still believe that if someone’s moving in front of the camera, it’s a film. So that’s a little depressing, but it’s getting better. People are starting to realize that it’s not about, like, here’s the shoe, here’s the dress, here’s this. It’s not an animated lookbook, for God’s sake. It’s a film.
Do you think that fashion film can stand on its own as an art form, or will its primary purpose always be to showcase a product?
I think it can stand on its own. There are a lot of fashion films that are made by actual filmmakers that are not just about a product, even when it is for a product. We have to move away from [product-centric fashion films] because they’re not very interesting. You want something that’s going to make you think. It’s just not about being pretty—it’s got to be more than that.
You were really the first major champion of fashion film. How did you come to be so passionate about it?
Well, my background is in film. That’s what I have my degree in, and I’ve always loved film and I’ve always loved fashion. I think from the first Walt Disney movie I saw in a drive-in, the fantasy of films just captured me. And as far as clothing, I was a designer for thirteen years. I think the real seed of it, though, was planted when I moved to Paris at the end of 1990. My first job was working on a feature film as a costume designer, and I realized how directors are really afraid of fashion. Of course, some directors, like David Lynch and Peter Greenaway, got it. But most are afraid that the fashions are going to take too much importance. But really, fashion is supporting the character, and it can be very subtle. Most directors just don’t understand fashion or they don’t give it the credit that it really warrants. That really made me think about the relationship between fashion and film.
Do you think the fact that directors like Martin Scorsese and Wes Anderson, who have made films for Dolce & Gabbana and Prada, respectively, have elevated the practice to higher regard?
Absolutely. That’s why we like to always have one of our films presented at Cannes because we want more directors like that to be involved. I just met Alejandro Jodorowsky’s son, Adan Jodorowsky, who made this incredible film, The Voice Thief , with Asia Argento. We’re going to put it in the next edition of ASVOFF. I want to always raise the bar, and I want more real directors. I think that’s important.
Do you think that something originally pegged as a fashion film could evolve into something that ends up being a mainstream feature?
Yeah, I hope so. I’d love that. And why not? Take Wes Anderson. I haven’t seen The Grand Budapest Hotel yet. But I think there are directors whose features you can call fashion films. We had William Klein two years ago as a special guest, and that film, Who Are You, Polly Maggoo? , was a fashion film. Or what about Zoolander ? I love Zoolander. That’s a fashion film. I thought it was really interesting. And I love some documentaries, like the one on Diana Vreeland, The Eye Has to Travel . I loved that film. I thought it was really inspiring.
How do fashion films make us look at garments differently than a fashion photograph or a runway show does?
Fashion films are a dream. They’re all about desire. You’re seeing the garment in 3-D. I love a frozen image, too, so I’m not against print. I think there’s a value to that, and they can be something really beautiful. Fashion films are just another way to show fashion—not the only way. I’m not saying that fashion films are going to take over runway shows, because they’ve always been the most efficient way to show fashion, even though now, I think, for the most part they look pretty last century. I don’t think that will change right away.
Do you think it should change? Should we move away from runway shows?
I’d be happier to see more films and installations. I think so many fashion shows shouldn’t even happen. You spend so much time going from one end [of a city] to the other just to see things walking up and down the runway. If you’re going to take us somewhere, like Alexander McQueen used to or like [John] Galliano did in his day, or sometimes other designers like Rick Owens or Haider Ackermann do, there’s something special and emotional about a show. There’s a mood. But I don’t see that a lot anymore. I’ve talked to Rick Owens about this, and he likes the “tribe” experience of a show, but if you ask me, the main point of a lot of these fashion shows now is just to see who’s sitting in what row. I mean, who cares? I think they’re not necessary.