45 posts tagged "Jeremy Scott"
Moschino, which celebrated its thirtieth anniversary in Milan last month, has hired Jeremy Scott to be its new creative director. The 39-year-old L.A.-based designer replaces Rossella Jardini, who has headed up the label since 1994, when the house founder, Franco Moschino, died. Scott will make his runway debut at Moschino’s Fall 2014 show in February next year. In an e-mail, Aeffe chairman Massimo Ferretti said, “I am enthusiastic about this significant change, as our goal is to inject new energy into our Group in keeping with the changes already in place with other Aeffe brands such as Philosophy, Emanuel Ungaro, Pollini, and Cédric Charlier.” Scott will continue to design his own label, which he launched in 1997. With a rebellious streak at least a mile wide—at one of his early shows, he tossed coins printed with his face at the audience—Scott is a savvy match for Moschino, a label known for its irony and irreverence. “It’s the closing of one chapter and the beginning of a new one,” he said via phone this morning. Here, the Missouri farm boy who Karl Lagerfeld once took under wing discusses his plans for Moschino as he ushers it into its fourth decade.
There are so many synergies between you and the Moschino brand. How did you feel when you were approached?
I was really excited. For me, one of the key elements of Moschino is humor. It’s one of the few houses that has humor, and it’s the same thing for me. Another one of the bonding elements is their written messages that express thoughts and twist ideas. We share an obsession with poking fun at fashion. Whimsy, also.
Were you a Moschino fan before this offer came through?
I was. The ironic thing is, during my last year of college, when I was at Pratt, I interned for the Moschino press office, for Michelle Stein here in New York. Yeah, it’s kind of a fairy-tale story. I was the intern, and now I’m running the company.
You once said you turned down job offers from Pucci, Versace, Paco Rabanne, and Chloé. Why did you say yes to this one?
It’s two things. At the beginning of my career, I felt it was really important to establish my own name. I feel like my own brand, my own DNA, is created and solid now, and I’ve built a global fan base. I don’t have that fear I used to have of the possibility of me getting lost in someone else’s house. On the one hand, I’m different now; the other has to do with the brand. It’s hand in glove. When I heard it, it was like, “Oh my God, yeah, of course.” This is so natural for me; I can take this so many different ways.
When did Moschino come to you?
I was contacted in July. It was very effortless, actually. I feel like they were pretty fixated on the idea and certain about me being the right person. I’ll continue to do my own line, as well as my Adidas collaboration. I’ve been working very vigorously to be ahead of my normal procrastinated self in anticipation of having a larger workload.
Have you been spending time in Italy?
Not yet. Other than meeting them in July, I’ve gone to Milan maybe two or three times. I’m not very familiar with the city, so that in itself will be an adventure for me. I literally don’t even know where to get toothpaste.
I’m going to be there the entire month of November—to understand how they work and to meet my design team, which is already in place. But I’m a very modern boy. I work a lot through the Internet. That’s one of the reasons I moved from Paris to Los Angeles in the first place, actually. Nothing was being made in Paris except the things in my own studio. I could be anywhere. Now that’s even more the case with iPhones and gadgets. But at the same time, I want to see the archives, to learn the house, and to be physically there, as well. We’ll see. Whatever it’s going to take for it to feel right, that’s all I’m concerned about. I want to do a good job.
How does it feel to be headed back to Europe?
I started my career in Paris, so it feels like home. I’m excited about learning more about Milan, Milan life, and Italian style. I’ve only been to Rome once, when Karl [Lagerfeld] brought me. The proximity of everything—I mean, Italy is the size of California, I can spend the weekends sightseeing. I’ve never been to Venice…I’ve always wanted to go, and now I have the perfect opportunity.
On the other hand, California, where you currently work, seems to be having a moment. Does it feel like there’s something going on there?
I am the pioneer, I got here first. I even remember Tom [Ford] saying to me, “I can’t believe you’re moving there, I wish I could do it.” I love it here. I feel inspired, it’s a wonderful way of creating for me—it just feels really good. I don’t really think about how [it's having a moment], but I realize it through other people’s eyes. All the stories about [the new boutique] Just One Eye, all the attention they’re getting. Other people are focusing here. The only thing I can think of that’s different now than when I first moved here is that there’s a younger generation that’s come up, that has become part of the look of the city. There’s been so much more enthusiasm about fashion and style from this new generation of kids. Continue Reading “Jeremy Scott: The New Man At Moschino” »
In the age of Instagram, Facebook, Twitter, and RSS readers, our news feeds are more flooded than ever, and the latest collections gave us even more to process. On the runways, models were transformed into walking billboards with clothes that were quite literally statement-making. Whether the message was political (see: Kenzo’s “No fish, no nothing” manifesto against overfishing) or just plain weird (Jeremy Scott’s “Earth Sucks” transmission), Spring is all about wearing your status update on your sleeve. In the streets, novelty T-shirts splashed with tongue-in-cheek phrases like “Sorry for Partying” or “Bite Me” also commanded attention.
Is it us, or do sunglasses just keep getting freakier? Thanks to a bevy of designers this Spring ’14 season, it appears that statement making will soon trump solar protection—but for results this OTT, we’re willing to endure a bit of a glare.
In New York, Jeremy Scott offered cat-eyes striped in “We’re experiencing technical difficulties” color-blocks. Prabal Gurung put his own spin on vibrant cat-eye shades, trimming them with asymmetrical shapes. Over in London, Meadham Kirchhoff showed a gilded, bat-wing pair—part The Matrix, part baroque Transylvania. Meanwhile, the XL shields that hid models’ peepers at KTZ could very well double as ski goggles. Across the Channel were, perhaps, the cheekiest iterations of all: Jean-Charles de Castelbajac sent hilarious pursed-lip specs and frames shaped to read “Glamour” down his Paris runway. No doubt, the look-at-me street-style set will be optically satiated come spring.
By now, the Linda Farrow story is one of lore. Ten years ago, Tracy Sedino and her boyfriend, Simon Jablon (Linda Farrow’s table tennis-champ son), were redecorating an old warehouse that belonged to his designer mom. And by pure fortune, they discovered a box filled with old sunglasses that Linda had created for Balenciaga, Dior, and YSL in the seventies. The rest is history.
Ten years on and happily married to Jablon, Sedino has been busy fulfilling her mother-in-law’s design dream that was put aside for love, marriage, and children. In the past decade, with Jablon quarterbacking the business angle, Sedino has developed the Linda Farrow brand to an extreme: Their stand-alone products have drawn a legion of fans (think Rihanna, Gaga, Queen Bey, Madonna), and their collaborations have raised the bar even higher. Jeremy Scott, Erdem, Dries Van Noten, Oscar de la Renta, The Row, and Matthew Williamson are just a few designers with whom the brand has worked hand in hand.
To fete their ten-year diamond anniversary, Sedino is taking the brand and its muse—a giant doe-eyed raven-haired doll called Penelope—on a whirlwind road show. First stop was Colette, where Penelope wore Sedino’s Alexander McQueen wedding dress, and now, to Selfridges, where the brand has a “shop-in-shop”—the new parlance for pop-up shop. Sedino and Jablon have called upon ten brands, including Nicholas Kirkwood, Mawi, Falke, and Agent Provocateur to come up with a limited-edition selection of goodies (which will be available until October) to celebrate. And these products are not your typical eyewear. A gold detailed heel from Nicholas Kirkwood, some very naughty bow-detailed pantyhose from Falke, a super-sexy aromatic candle from Cire Trudon, and a Lycra playsuit-cum-harness from Agent Provocateur (which reminds us of something out of Fifty Shades) gives us a clue as to what is on the couple’s minds as they commemorate ten years of marriage and business. A clutch from Bottega Veneta PT 1 and a fur from Saga give the collection just enough grown-up veneer to sugarcoat the boudoir naughtiness. Good to know the flame hasn’t gone out—all ten-year anniversaries should be like this one.
You’d think that, after working with Madonna for 15 years, Arianne Phillips would have seen it all. But Phillips, the stylist and costume designer behind a decade and a half of Madonna videos and performances, as well as films like Walk the Line and W.E., says that the pop star’s 2012 MDNA world tour was like nothing she had ever experienced. “There were an epic amount, a tsunami, of costumes,” Phillips told Style.com of the show’s wardrobe, which included an updated iteration of Madonna’s iconic cone bra by Jean Paul Gaultier. “And we aren’t talking tennis shoes and sneakers—it’s costume and fashion.” Prior to the premiere of Madonna: The MDNA Tour, a documentary that airs on Epix tonight at 8 p.m., Phillips, who’s currently in London working on a new film, talked to Style.com about the MDNA costumes, Madonna’s collaboration with Jean Paul Gaultier, and what it takes to put on an unforgettable show.
Where do you begin when designing costumes for Madonna?
Well, it always starts with the music, of course, and usually Madonna crafts a set list that’s part of a narrative. It’s a story with a beginning, middle, and end. This show was really about transformation. Each act had a different theme and costume had a purpose. This tour with her was definitely the biggest undertaking I have been a part of—on the technical side and on the conceptual side. It’s one thing to just design a costume for Madonna herself, but if you think about it, we had 23 dancers, five band members, and two background singers. And everyone requires multiple costume changes.
How do the costumes help express the show’s narrative?
We think of it as characters, and [Madonna] is playing a part. That character requires development and visuals in addition to the songs she’s singing. In the beginning of the show, she comes out dressed like a queen in a crown with a machine gun. She takes that off to reveal this super-vixen character that we kind of debuted in the “Girl Gone Wild” video. The next act is all about expression and having a message, and it opens up with “Express Yourself.” She’s wearing this homage to a forties majorette. The third act is “Vogue,” and it’s all about identity and gender-bending—iconic Madonna. She’s trying to figure out who she is again. And in the end, it’s a celebration, and she transforms into this powerful Joan of Arc character. Everyone is wearing mesh T-shirts, and it’s just like a really fun party. The tour gave her an opportunity to take classic songs like “Papa Don’t Preach” and give them a new twist. She has been performing these same songs forever, but she’s the queen of reinvention, and she creates an entertaining concept for the shows that keeps it interesting and relevant. The costumes have to underscore that, and they have to provoke and entertain.
How many costume changes did Madonna do throughout the course of the show?
The costumes are part of the choreography, so we have a lot of quick changes, and people are literally changing clothes under the stage. Madonna changes full costumes about four times. But then, for instance, for the “Vogue” act, she comes out in the Gaultier corset and then she disrobes. So by the end of the act, when she sings “Like a Virgin,” she is in a corset and a bra, and she has done different songs in different deconstructions of the outfit. So her costumes change for almost every song.