25 posts tagged "Jourdan Dunn"
EXCLUSIVE: Olivier Rousteing, Along With Jourdan Dunn, Binx Walton, Cara Delevingne, and More, Push the New “Balmain Reality” in the Brand’s Fall Ads-------
How does Olivier Rousteing top last season’s Rihanna-fronted Balmain campaign? With not one, but six faces. The brand’s new imagery for Fall, lensed by Mario Sorrenti and art-directed and styled by Katie Grand, features Binx Walton, Cara Delevingne, Jourdan Dunn, Ysaunny Brito, Issa Lish, and Kayla Scott. Sporting Rousteing’s safari-inspired Fall fare, his stars nicely embody the heady, hard-edged sensuality he sent down the catwalk in February.
What made the Love editor in chief and über-stylist a natural choice? “She can break all the rules, and that’s what I really, really love from her,” Rousteing told Style.com of Grand. “It was really a strong decision for me and for Balmain, because we never had a campaign with so many girls and expressing this kind of vision. Katie understood from the beginning, and she translated that with the casting and with the looks that we shot.” The designer’s only quibble about his Brit friend and collaborator? “She has the strongest accent ever! As a French boy, you have a hard time understand[ing] an American, so when you have a strong accent from England, it’s like, sometimes I tell Katie, ‘I’m sorry, I don’t understand.’ Sometimes [she talks] and I’m just quiet an entire minute, she’ll look at me and say, ‘You don’t understand, right?’ And I’m like, ‘No.’”
Rousteing was a longtime admirer of Sorrenti, too, noting that he appreciated the photographer’s particular vision of femininity. One need only glance at, say, Sorrenti’s iconic ads for Calvin Klein Obsession or his 2012 Pirelli calendar to grasp the languid sensuality that makes him a logical choice for Balmain. It’s Sorrenti’s talent for the enigmatic, however, that’s most evident here; there’s not much skin from a lensman who’s built his name on nudes. The ads themselves serve as an allegory for Rousteing’s evolving take on sex appeal. “My first show was a lot of leg, a lot of skin, and that was my vision: body-conscious dresses. But my [latest] is all about being covered up from head to toe, and that’s my new vision of sexiness,” Rousteing said. “I still think a girl can be sexy in an oversize khaki jacket or a parka, [or] black tights and a long, midi-cut skirt. I’m growing up at the same time my collections are growing.”
Perhaps most notable, though, are the ads’ message of diversity—one that Rousteing has to some become a de facto poster boy for. “I’m French, I’m black, and I’m proud to be at Balmain, but this is a message of freedom and globalism,” he said backstage in February. Both on his catwalks and in his campaigns, the designer has been active in promoting diversity by casting girls of color and of varied backgrounds. The Fall images boast models from the Dominican Republic, Great Britain, Mexico, and the U.S. As a young designer, Rousteing’s awareness is something that’s come to him with time. “My first collection was all about making clothes, and it was really, really important for me to work on the tailor[ing] and on the clothes, but I realized that day after day and step by step, I’m not only doing clothes,” he offered. “I think fashion is all about a vision that you can give to people; it’s [about] expressing that passion. We need to show how diversity is important.” The new campaign, then, is another step in that vision. As Rousteing himself tells it, “I think it’s showing a new reality—the Balmain reality.”
We can always count on Paris for high-wattage casts, but we never expected to see so many supermodels this early in the week. None other than Gisele Bündchen kicked things off today by closing Balenciaga (the last time she set foot on a runway was Alexander Wang’s Fall ’12 show two years ago), where she was notably joined by familiar faces Mariacarla Boscono and Natasha Poly. Several hours later, Balmain continued to raise the bar with a lineup full of A-listers, including Angela Lindvall, Anja Rubik, Emily DiDonato, Izabel Goulart, and closer Rosie Huntington-Whiteley (who also walked in the label’s Spring show). Compared to those all-stars, the other major girls in the mix—Karlie Kloss, Joan Smalls, Jourdan Dunn, and Edie Campbell—all but faded into the background. And then leave it to Rick Owens to throw a wrench into the works. Following his step dancers last season, the designer turned heads again by interspersing old-school veterans such as Kirsten Owen and Diana Dondoe with real, mature women (many of whom, we’re happy to say, were not sample size). But this was no street-casting job. Rather, Owens’s casting directors, Angus Munro and Noah Shelley, told Style.com that “most of the ‘women’ were part of the Owens organization.” Owens kept it fresh by keeping it in the family. Speaking of keeping it in the family, we were pleasantly surprised to see Harry Brant follow supermodel mom Stephanie Seymour when he made his runway debut at IRFE. Sadly, his older brother, Peter Brant Jr., didn’t make the cut. There’s always next season, Peter.
London-based label Peter Pilotto, made up of Pilotto and best friend Christopher De Vos, is known for its kaleidoscopic, futuristic, printed looks. The pair’s work is intensely intricate and, quite often, computer engineered. On February 9, they’ll follow in the footsteps of designers like Phillip Lim and Prabal Gurung when they bring their neon-hued, digi-printed womenswear to the masses via a hotly anticipated collaboration with Target. The beachy seventy-piece capsule comprises trapezoidal-cut swimwear; some very boardwalk-to-street Vans-style trainers; lots of feminine, floral-layered hoop skirts; and some rash-guard-inspired separates. The range, which is priced between $14.99 and $79.99, will be the first of Target’s designer collaborations to be sold on Net-a-Porter—a testament to the quality of the work. Also a testament to the collection? Its campaign cast—not just anybody can get Jessica Stam and Jourdan Dunn to strike a pose. The latter’s ad (above), as well as a behind-the-scenes video (below), debut exclusively here.
We sat down with Pilotto and De Vos to discuss the origins of the Target project; how they translated their detailed, techy designs within the constraints of a mass price-point; and why, at the end of the day, it’s all about the color.
How did Target approach you?
Peter Pilotto: Somebody set up the meeting, and we were like, ‘Oh, that’s great.’ We always knew about Target, obviously. We didn’t have to think much. When they asked us if we really wanted to do it, we were like, “Yeah, sure!” And the whole process was extremely pleasant. They gave us the freedom to do what we liked.
Christopher De Vos: We’re excited that, with this collaboration, we can reach a whole new audience.
PP: And we hope to reach a big audience age-wise, too—from the 15-year-old girl to the 75-year-old woman.
What was the concept behind the collection? And did you find it difficult to translate your vision to fit within the Target price point?
PP: The swimwear was the starting point. We wanted something very signature to our brand but translated in a different way—something very energetic, joyful, summery, and vibrant. We liked the idea so much that you could have a swimwear look and a skirt, and you could build up your look from beach to street.
CDV: We made almost like a rash guard, and you can wear it with a swimsuit and take off your skirt and wear it to the beach. That was the whole idea. We also analyzed our color combinations and how we could translate those. Obviously, there were limitations because of price point, but I think those limitations pushed us to do new things. And while we had to rethink our usual fabrications, we feel it’s very us.
PP: And it was exciting to work in a different way within the systems that were right for Target. We couldn’t do the engineered print that we’re used to doing, so instead, we used seams and worked on layered versions of all of our prints. I guess the collaboration was the highest amount of prints they ever did. I think often, it’s especially stimulating when you have constraints.
The palette is very in tune with what you usually send down the runway.
CDV: I think if we weren’t based in London, we’d do everything in black. But because the weather’s so gray, we’re longing for something colorful.
There is so much color coming out of London, despite all the fog.
PP: It’s very inspiring. And East London, where all the designers are based, all the artists, everybody—it’s a really good spot because of the interesting, the mix of people.
CDV: We feel like we live in a village.
Can you tell us what you have planned for Fall ’14?
PP: I think with our Spring ’14 collection, we wanted to translate our signature ideas in new ways, so we did a lot of lace and embroidery. While we’re known for the print, there is actually so much more now that we’re busy with besides the print that we love to do. It’s all about the desire for color that we try to express in different ways. Last season, we worked with lace that was engineered like the print was in the past—there were color layouts that were made in the lace, layered with print underneath. We want to explore that further, and push those techniques for Fall.
When you’re conceptualizing a collection, where do you normally begin? With this Target collaboration, you were talking about the swimwear. But is it color? Is it silhouette?
CDV: It always starts with colors. Then it’s a constant dialogue. We work together. We make every decision together. And it’s a journey through the seasons.