20 posts tagged "Linda Evangelista"
Linda Evangelista is the star of Chanel’s new eyewear campaign. The images, lensed by Karl Lagerfeld, feature Evangelista sporting a slicked-back ‘do and wearing black and white graphic prints. [Fashion Gone Rogue]
Italian financier and playboy Lapo Elkann was in Beijing this week to launch the Fiat 500 by Gucci car he helped design. The limited-edition ride, complete with the Gucci red and green band, is selling for $42,641. [WWD]
Vivienne Westwood has designed a line in celebration of Queen Elizabeth’s Diamond Jubilee. The Red Carpet Capsule Collection, as it’s called, includes cocktail dresses, gowns, and jewelry, and it hits stores in May. [Grazia Daily]
Dior fêted its newly renovated Tokyo Ginza flagship shop last night, along with its traveling Lady Dior As Seen By exhibition (open through May 20). Neither the brand’s interim designer, Bill Gaytten, nor recently named creative director Raf Simons made it out for the event because they are hard at work on the house’s upcoming collections. [WWD]
Scarf prints, bondage straps, studded leathers—fashion is having a vintage Versace moment. That fact hasn’t been lost on Donatella Versace herself: She brought the house down last month with a menswear show that paid homage to the motifs that her late brother Gianni made famous in the eighties and early nineties. Back then, glamazon supermodels—Gianni’s designs helped make Linda, Christy, Naomi, and Cindy household names—and celeb friends alike endorsed Versace’s singular brand of fearless sexuality. (Case in point: the infamous Elizabeth Hurley safety pin dress.)
These days, Lady Gaga is flying the Versace flag. In early June, the superstar told a reporter, “I’m wearing only Versace for, like, the next two months,” and Donatella opened up the house’s archives for her to oblige. Nor is La Gaga the only one feeling the maximalist urge. On recent runways like Givenchy’s and Mary Katrantzou’s as well as Versace’s own, bolder was better. And this November, the high street gets in on the action, too, with the launch of a Versace for H&M collection, which will reportedly reinterpret the house’s greatest hits.
CLICK FOR OUR SLIDESHOW, and let us know what you think about the vintage Versace comeback.
You’re likely to find master hairstylist Julien d’Ys with a brush in hand these days, but not the kind you would expect. The talented Frenchman (né Pierrick Le Verge), known for such tress moments as Linda Evangelista’s career-launching crop, the Marie Antoinette wigs at the Met’s Model as Muse exhibition, and Katy Perry’s retro wave on the June cover of Vanity Fair, has been devoting his time to peinture of late. He kicks off his first ever solo painting exhibition at the Paris Comme des Garçons store today. We caught up with Monsieur d’Ys after a day of installation setup for a tête-à-tête.
You’ve had this long-standing work relationship with Rei Kawakubo of Comme des Garçons. What’s the process like working with Rei on a show?
Working with Rei, it’s always a surprise. We’ve been working together for almost 23 years now. Maybe two weeks before the show, she’ll give me some background. For example, she’ll say, “Black and gold.” I’ll work on it and then we’ll see each other one day before the show to fine-tune the look. I respect her a lot. She gives me a lot of freedom but at the same time I try to find an idea that she is going to like. I like to think between the two of us there’s this osmosis of creation.
When you first started your career, did you ever think you’d have the creative reins to take hair to, pardon the pun, such heights?
No, not at all. I never wanted to be a hairstylist. I just wanted to create, to do things that didn’t exist yet.
Now you’re showcasing your first painting exhibition. Are there similarities or differences between working with hair and paint as a medium?
People know my wig creations but not my paintings. For me painting, drawing, and doing hair are similar. At the very beginning, I was painting and drawing. It was only after that I started doing hair. I treat hair as if I’m painting. During shoots, I think of all the people I work with as canvases.
Is fine art where you find the most satisfaction creatively these days?
Definitely. It has been always like this. To create is my life.
What do you think of Lady Gaga? She seems to have a penchant for outlandish wig and hair pieces.
I met her in 2009 in Grace Coddington’s office. When I first met her, I didn’t know who she was. The meeting was to prepare for a photo shoot with Annie Leibovitz: “Hansel & Gretel,” and in the story Lady Gaga was playing the witch. For the meeting, I went with some of the wigs I made for the Metropolitan Museum. I tried a white wig on her and she really liked it. She’s really inspiring. Ours feelings about art are really close.
What other projects do you have coming up?
I don’t know yet. My motto is “go with the wind.”
Casting director Douglas Perrett has made his name not only on the shows he casts (Jeremy Scott and Robert Geller among them) but also on his voracious appetite for the extracurriculars of the fashion world—tweeting (at @COACD), blogging (at COACDinc.com), and, for the second year in a row, gifting: His agency’s limited-edition, homemade client gifts, from T-shirts to straight-boy calendars, are anxiously awaited by those in the know.
This year’s, which is arriving at certain key addresses now, is a doozy: an oversized poster, illustrated by Andrea Mary Marshall, starring the hundred models COACD deems the catwalkers of the year. The mix includes “a lot of the Meisel girls, the iconic girls” like Linda Evangelista and Naomi Campbell, as well as plenty of Victoria’s Secret girls. And, while Perrett says, “It’s definitely more of a commercial mix for us,” no shortage of editorial favorites, like Eniko Mihalik, Kinga Rajzak, and Martha Streck (above). (The toughest to illustrate? Catherine McNeil, says Marshall.)
The poster is printed in an edition of 500, all of which, at the moment, are earmarked for clients and friends. (If you want one, stay tuned—there’s a chance there’ll be a second printing for sale.) But, Perrett says, the first run is gift-only by design. “I’ve been really fascinated by the culture of gifts,” he says. “When I first started we got caramel popcorn—I thought we’d made it. Little did I know the big dogs were getting free trips and designer clothes. So this was our take on it. [Especially] since the recession, how do we make something that has our stamp on it, that’s special? People really respond to that.” As for the gift’s final destination? With almost every girl smoking a cigarette and most sporting cartoony bare breasts, it’s not exactly the thing for your office wall. “My dream is in 20 years that these posters end up in bathrooms in houses in upstate New York,” Perrett says with a laugh. “Or a dentist’s office.”
Anna Sui is a fashion lifer, with a 20-year career in the industry and, now, a 300-page retrospective coffee-table book to show for it. “As a designer, you never have time to look back because you’re always looking six months forward to next season,” Sui said at a signing of the book in New York last night. “To be honest, I’d completely forgotten about so much of the good stuff.”
Anna Sui, penned by the designer’s close friend Andrew Bolton, the curator of the Met’s Costume Institute, goes collection by collection through Sui’s label, interspersed with the many fashion editorials and boldfaced friends who’ve made her a force to be reckoned with from the start. After all, before she ever sent her first collection down the runway for Fall 1991, the Biba-wearing club kid was already dressing Madonna up in baby dolls. (A few of those boldfacers also contributed to the text: Jack White of the White Stripes—husband of Sui’s longtime muse Karen Elson—contributed a preface, where he notes that his favorite of his wife’s dresses always turn out to be Sui’s; Steven Meisel wrote the introduction)
Bolton wades through Sui’s wide-ranging fonts of inspiration, which include everything from Marie Antoinette to rococo pirates to Andy Warhol’s Factory parties—not to mention Sui’s greatest inspiration, music. “Watching one of Anna’s collections is like watching MTV,” Meisel writes. “You see the Clash, Nirvana, the Sex Pistols, the Smashing Pumpkins, Siouxsie and the Banshees, the Red Hot Chili Peppers.” You also see, in Anna Sui, the procession of fashion greats from the nineties, as in the iconic finale of Sui’s 1994 grunge collection: the supe trifecta of Christy, Naomi, and Linda, strutting down the catwalk in feathered headpieces.
PLUS: For more Anna Sui, check out our video of Sui chatting with Marc Jacobs on the occasion of her CFDA Geoffrey Beene Lifetime Achievement Award.