71 posts tagged "Jean Paul Gaultier"
Ever since Fendi debuted its multicolored fur Mohawks in Milan, the punked-up coifs have been fanning out all over the Fall runways. But they’re not appearing as you might expect; rather, designers have appropriated the motif and completely turned it on its head. For starters, Fendi’s pastel quiffs got so much attention that one might have missed Lagerfeld’s punchy Mohawked boots and bags. Haider Ackermann put his own spin on the look, sending his models out with white matted hair fashioned into “death hawks” (a style favored by goths). Not surprisingly, the same rebellious tresses popped up in black at Vivienne Westwood, but the Dame of Punk placed her death dos on black platform booties rather than her catwalkers’ noggins. Jean Paul Gaultier experimented with aubergine and bubblegum-highlighted faux-hawk-mullet hybrids at his Fall show, and over at Loewe, Stuart Vevers garnished the heels of his single-soled sandals with exaggerated, razor-sharp black or blonde fringe. Loewe’s shoes were a particularly “uptown” take on the antiestablishment-rooted style (what would the punks of the seventies have said about that?) and reminded us of YSL’s much-snapped suede Mohawk pumps from Fall 2010. Now, don’t shave and dye your hair just yet (or, actually, maybe do), but we’d have to say that the Mohawk, in its many incarnations, is one of Fall’s most prominent (and playful) punk trends so far.
The fusion of fashion and art is a beautiful thing. Just ask London-based milliner Victoria Grant, whose irreverent Spring ’13 collection, a collaboration with British painter Antony Micallef, will feature in an exhibition at London’s HIX Soho next month (the eatery is known for championing artists and has, in the past, displayed works by Andy Warhol, Damien Hirst, and more). Grant, who’s worked with fashion heavyweights like Karl Lagerfeld, Dolce & Gabbana, and Jean Paul Gaultier since launching her line six years ago, explains that her aesthetic is a blend of polished elegance, wicked wit and rock ‘n’ roll taste. This shines through in her Spring collection which, titled Sweet Paris, is, as Grant puts it, a wonderfully twisted play on “childhood, candy-colored fantasy.” An apt description, considering her toppers are printed with Micallef’s images of pastel cigarette boxes, pouty fuchsia lips and open lipstick tubes. She’s even included a bright red lip beret, as well as a pillbox stacked with a pyramid of smokes. “The hats we’ve made are commenting on our own vices,” says Micallef. “They all have a dark sense of humor about them but at the same time, are able to laugh at themselves.” In addition to serving as Grant’s inspiration, the artist worked on five one-off pieces, drizzling them with pink, white, orange, red and green paint that resembles frosting or sugar (a melting ice cream cone beret looks especially scrumptious).
Grant declared that her collaborative creative experience was “electric” and she hopes to keep the sparks flying for Fall ’13. For her new collection, which she’ll show during Paris Fashion Week, Grant has teamed up with stained glass artist John Reyntiens (the same stained glass artist who created a window in Westminster Hall in honor of the Queen Elizabeth II’s Diamond Jubilee). “The new hats may not be particularly functional,” laughs Grant. “But they’ll be wearable. And they’ll be works of art.”
Sweet Paris will be on view at London’s HIX Soho from February 14 through 19. Victoria Grant’s hats are available at Dagny & Barstow in New York, ACT Nightclub in Las Vegas, and at other select international retailers.
Tamy Glauser is a leader in the new wave of gender-bending models. The 28-year-old Swiss tomboy had a breakout moment today on the Givenchy menswear runway in Paris, where her shaved head, fierce gaze, sharp cheekbones, and lanky frame fit right in with the rest of the guys in the cast (plus several other Riccardo Tisci favorites, including Saskia de Brauw, Jenny Shimizu, and Ashleigh Good). Glauser (left, note the “Garcons” sweater) debuted at the Spring shows, walking in Vivienne Westwood and Jean Paul Gaultier, where they spray-painted her hair red to channel Annie Lennox. “When I went to the [Jean Paul Gaultier] casting, it was two o’clock in the morning. I didn’t have heels, and I didn’t know what the designer looked like, because I didn’t really have anything to do with fashion before. After walking for him, he said he liked my look and told me I got the job,” she told Style.com. Since then, it’s been a whirlwind of change for Glauser, who recently relocated from Zurich to Paris, and just shot a menswear editorial (out this February) alongside fellow androgynous star of the moment, Casey Legler, who is the first female model on Ford’s men’s board.
Before beginning her modeling career, Glauser was paying her bills by working in bars and restaurants, with the occasional acting gig on the side. Earlier this year, she starred in an award-winning music video for popular European dubstep musician Joachim Garraud. Back in 2000, Glauser was an Olympics-bound swimmer on the Swiss National Team (her events were the 400- and 800-meter freestyle), but she decided not to pursue becoming a professional athlete, adding, “Swimmers have the weirdest bodies anyways, and I already don’t like my broad shoulders.” Glauser takes each new chapter of her life in stride, and is fully embracing modeling for the moment. “I like being in front of the camera. It gives me the chance to put my shyness away and be someone else,” she explained. “I don’t have an exact future in mind. In this industry, one day it’s one way and the next day it’s another. I feel like if you expect anything, you might get disappointed, so I try not to have any expectations and just appreciate the present.” Chances are, we’ll be seeing more of Glauser at the Fall shows in February.
When side by side, the words fashion and technology oft conjure images of barely wearable ensembles destined for Lady Gaga. But at the Museum at FIT’s latest exhibition, Fashion and Technology, which opened yesterday, co-curators Ariele Elia and Emma McClendon reveal that technology is a crucial part of our ordinary wares. Spanning 250 years of innovation, the show covers such everyday inventions as the washing machine, rayon, and the zipper. But that’s not to say it’s without sci-fi novelties. For instance, there are jazzy space race-era looks by the likes of Pierre Cardin and Emilio Pucci. Also on display are garments by André Courrèges, who, convinced that space would soon become a hot holiday destination, developed an entire intergalactic wardrobe, complete with a sleek PVC helmet and moon boots.
However, as Diane von Furstenberg notes in a video playing at the exhibition, “Things we thought would be sci-fi exist.” Case in point, von Furstenberg’s Spring ’13 collaboration with Google Glass. Of course, she’s not the only Internet-savvy designer. In 1996, Jean Paul Gaultier created a cyberspace-inspired jumpsuit (pictured above). And don’t even get us started on social media’s fashion influence. Remember the frenzy Burberry caused when it released its Spring ’12 collection on Twitter before it hit the runway?
Perhaps most high-tech is the exhibition’s tiny LilyPad Arduino circuit board, which, when sewn into clothing, is pretty much a wearable computer. “You first see things like wearable electronics in places like athletic wear and the military,” said McClendon, explaining that it’s only later that most designers realize tech-fashion’s artistic potential. A cutting-edge innovation that may take a little longer to catch on? Clothing “grown” from bacteria. Not sure if we’re ready for a “BioCouture” top just yet.
Fashion and Technology is on display at the Museum at FIT from December 4 to May 8.
If Hermès has become a byword in and of itself for luxury, part credit goes to Véronique Nichanian, the house’s longtime menswear designer. Her colleagues on the women’s side—including Martin Margiela (1997-2003) and Jean Paul Gaultier (2003-2010)—have come and gone, but Nichanian has been at her post for some 21 years, during which time she’s injected a dose of levity into the house’s super-rich offerings and, over time, introduced the world’s first men’s-only Hermès boutique, on Madison Avenue, and a bespoke service that covers everything from suiting to shirting to knitwear. In New York last week to promote the personalized services at the 690 Madison store, Nichanian sat down with Style.com to talk history, longevity, luxury, and the only two bespoke commissions she’s ever turned down.
I hadn’t realized how many years you’ve been with Hermès—21, isn’t it?
Yes, I don’t count. Yes, it’s a long time, it’s a long story—a nice story. A love affair, almost. Still happy.
You’ve seen the menswear business change enormously in that time.
Oh, yes. The business is changing, and men generally speaking are changing.
How has that affected you?
It’s more fun. Everyone’s more interested in the men’s business, how men dress.
Do you feel like it’s changed the way you approach design?
Not at all. I’m still doing the same thing, the same approach, still considering in the same way the men’s universe and trying to propose things which are right for now—modern and exclusive at the same time.
How has the customer changed? You’re now dealing with a business that’s much more global than the one you entered into.
It’s a big business now. But generally speaking, that’s right that men are much more self-confident in the way they want to dress, and feel much more their own personality. They look at the magazines, of course, but they know themselves much more; they want to express their personalities. They’re less focused on having a suit to be serious. [They want] to have their own mix, to choose. They’re much more aware of what different [brand] names propose—different cut, different feelings, different philosophy. I think it’s a question of philosophy when you choose a house more than another one. Continue Reading “Niche Appeal: Two-Plus Decades Of Véronique Nichanian At Hermès” »