29 posts tagged "Inez & Vinoodh"
On June 11, Jason Wu will merge good art with a good cause when he hosts the Second Annual Young Friends of ACRIA Summer Soirée. But his involvement with the AIDS research and education foundation goes far beyond turning up at the benefit and smiling for Billy Farrell. “I want to help pave the way for my generation to get involved,” said Wu, who sits on ACRIA’s board. “I love what ACRIA does, and it’s great for me to be able to work with people I admire, like Francisco Costa and Donna Karan.”
In order to help raise funds for the organization, the designer has put together an extensive auction of photographs (fashion and otherwise), the proceeds from which will naturally go to ACRIA. “Last year I collaborated with artist Nate Lowman on T-shirts, and I wanted to continue the art-and-fashion element,” said Wu. “So I thought it would be nice to curate a collection of photographs by young and established photographers that I admire.”
Open for bidding now on paddle8.com, the auction includes Inez & Vinoodh’s Guinevere Descending a Staircase; Herb Ritts’ 1991 portrait of a pensive Karl Lagerfeld; and Bruce Weber’s erotic snap Gregory and Sacha, Nantucket, Mass, 2012, as well as works by up-and-comers, like Kevin Tachman’s moody shot from Rick Owens’ Fall ’13 show, Kelly Klein’s punk-tinged image, and Gregory Harris’ uplifting 2008 photograph New Hope.
“I’d like the younger generation of creative people to be able to afford and have these things,” offered Wu. To wit, starting bids range from $400 (for Simon Burstall’s grayscale image) to $6,000 (for a Weber or Steven Meisel). Sure, it’s no small investment, but these are pretty appealing prices when it comes to big-name photographers. “This is a great way for people who are really interested in collecting to get an incredible work that most people in their 20s and 30s wouldn’t be able to buy.” A collector as well as a philanthropist (his latest acquisition was an Inez & Vinoodh-lensed print of his Spring ’14 campaign with Karen Elson), Wu places himself in this category. “I’ll definitely be bidding on everything!” he laughed. Why not join him?
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.