3 posts tagged "Jeanne Lanvin"
“We needed to find a way of translating the twenties into something that felt as new and modern and titillating as it was back in 1922,” said Catherine Martin—the designer behind the costumes for husband Baz Luhrmann’s upcoming The Great Gatsby film—during an intimate Q&A with Harold Koda at the Met yesterday evening. If there’s anything that can reignite the Jazz Age’s mystique, it’s Martin’s wares, which are at once painstakingly historically accurate (aside from a zipper here and there) and completely enchanting. The film, which opens on May 10 and stars Leonardo DiCaprio as Gatsby, Tobey Maguire as Nick Carraway, and Carey Mulligan as Daisy Buchanan, boasts such fantasies as feathered frocks worn by the Fitzgerald-penned tale’s “girls in twin yellow dresses” (the looks were inspired by an actual twenties-era vaudevillian act), hordes of boater hats by Rosie Boylan, wigs made in England, and beach pajamas (for the elusive Jordan Baker).
Luhrmann and Martin’s fondness for Schiaparelli (the pair worked on the film for the Met’s Schiaparelli and Prada: Impossible Conversations exhibition), lent a surreal edge to the story’s infamous party scene. “Baz kept saying, ‘We need a lobster!’” recalled Martin. And he got one—the costumer crafted metallic crustacean headpieces for the showgirls at Gatsby’s raucous soiree (below). Continue Reading “Catherine Martin Talks Gatsby” »
Fashion-minded visitors at the Biennale des Antiquaires, which opened to the public today in Paris and runs through September 23, tend to beeline to the haute joaillerie. Mere paces away from the Cartier booth, however, a Parisian gallery has put together something genuine fashion wonks might prefer: a re-creation of an installation that Jeanne Lanvin commissioned in 1925.
Lanvin, who loved the theater, had her interior designer, A.A. Rateau, create an Art Deco dressing room for an exhibition that year at the Grand Palais. She also added a live model—wearing Lanvin, naturellement—to the tableau. The owners of Galerie Mathivet didn’t, but they did (somewhat miraculously) manage to get their hands on the dress. According to Céline Mathivet, Alber Elbaz generously let them borrow it after about six months of back-and-forth. The floral metallic number has only been out of the Lanvin archives once in recent history, for an exhibition in 2007 at the city’s Galliera Musée de la Mode.
The Mathivets are displaying the metallic dress behind a Plexiglas screen (pictured)—no touching!—and it’s the one thing in their authentic mock-up that’s not for sale. As historic as it is, the exhibit is a testament to the staying power of Art Deco, particularly at the level at which Mme. Lanvin engaged it. To this day, the house’s signature Arpège fragrance comes in a vessel that’s for all intents and purposes the original “boule noire” Rateau designed in the twenties. And the leopard-print sculpted armchair in the center of the room looks as desirable as ever—especially for anyone suffering from Biennale bling fatigue.
Today in fashion field trips, part 1: Todd Selby visits Jeanne Lanvin’s personal library in Paris, comes away with shots like the one above. [The Selby]
Today in fashion field trips, part 2: Patrik Ervell heads to Detroit to take in a new Matthew Barney performance piece. Sadly, no snaps are allowed in the performance, but Patrik did share a few of his best shots of Motor City with the crew at Opening Ceremony. [OC New News]
New Gap logo, we hardly knew ye. The much-debated redesign is officially out, replaced by the retailer’s classic navy box. The short-lived new one can now go join the pantheon of New Coke and other revamp missteps. [Fashionista]
And Kim Kardashian made the cover of the new issue of W. Her clothes, for better or worse, did not. [PopSugar]