217 posts tagged "Louis Vuitton"
There’s no red carpet quite like the grand staircase at the Cannes Film Festival. With the blink of an eye, international press set off a firestorm of camera flashes that captures looks, turns, and glances from every angle imaginable. And a memorable appearance by an actress at Cannes can help land leading roles and cast her into a different style stratosphere—no pressure, of course. Just hours before Leslie Fremar’s client Julianne Moore made her first appearance at the festival for David Cronenberg’s Maps to the Stars yesterday (wearing custom Louis Vuitton, no less), we sat down with the stylist to talk why Cannes is different than any other red-carpet, and what we can expect to see at the grandest festival of them all.
When Cannes approaches, what are your first thoughts? What is the prep?
It’s exciting because it’s probably the only festival, or the only time, where people can go all out and wear whatever they want. It’s kind of like that fantasy moment where anything goes and you can be more elaborate and it’s so much grander. At the Oscars and Golden Globes, people are a little more concerned about the critics, and here I feel like it’s a lot freer…it’s fun. There’s a lot of prep. It depends which approach you take, whether you’re having things custom-made or if you’re just trying on couture. You decide with your client where you want to go, and then you kind of push it from there. Julianne actually has three red carpets, so she’s wearing one vintage dress that we’ve been working on for a while, and then she has one custom dress, and then she has another that’s couture.
How is Cannes different from other red carpets in terms of styling?
I think that for stylists, it’s more fun because you can choose things that are a little bit more avant-garde and that have a more European sensibility. I like to push it a little bit and not pick just a safe bias-cut dress.
Are there any challenges unique to Cannes? If so, how do you handle them?
With the Oscars or something like that, you’re with your client getting them ready. It’s unusual to travel to Cannes to help them, so you’re sending them off with these major looks and you’re just hoping that everything goes smoothly. Usually the fashion houses will step up and help. So if she’s wearing a European brand, someone will usually come meet her and help her get dressed, which is different from the Oscars, where it’s all about the stylist being there and making sure everything goes smoothly.
How do you go about picking looks for Cannes?
I did some research and saw what was out there and went through pictures of Julianne and did multiple fittings, and we just narrowed it down to the looks that we loved. So it’s kind of a trial-and-error process. You’re looking at sketches, you’re looking at actual pieces, and it’s about making decisions together based on what the event is. She has so many things, from day press to the steps to the red carpet to parties, so she went there with lots of clothes. I did her whole wardrobe for her while she’s there, and I think she went with twelve or thirteen looks.
Is there any particular inspiration you have for Cannes dressing? French Riviera or old Hollywood?
No, I think it’s more that I like to support French design houses when my clients are there. It’s kind of fun to be in France wearing a French designer. And it doesn’t have to be that way and it doesn’t always work out that way, but it is nice to celebrate French design while you’re there.
Does you client’s film ever play a role in the styling decisions?
Yeah, I think Julianne’s role in Maps to the Stars is dark and risqué, and I think her outfit will be the same.
Was there any inspiration in particular for Julianne’s looks?
Honestly, I try to stay away from that. When you’re doing someone’s personal wardrobe and all those types of looks, it’s all about keeping it modern and moving forward instead of inspirational and playing on something that already existed. So our momentum is always moving forward, being current, being fashion-forward, and picking something great that she probably couldn’t get away with wearing in America.
Unexpected news comes from the house of Sonia Rykiel today. The brand announced that Julie de Libran has been appointed as artistic director, replacing Geraldo da Conceicao, who spent only five seasons at the helm of the label. Like Da Conceicao, De Libran comes from Louis Vuitton, where she essentially served as Marc Jacobs’ right-hand woman during her five years as the house’s studio director of women’s ready-to-wear. She also headed up Vuitton’s Resort and Pre-Fall collections. De Libran, who did stints at Prada, Versace, Gianfranco Ferré, and Jean-Charles de Castelbajac before her Vuitton tenure, departed LV after Nicolas Ghesquière took the reins. Her first collection for Sonia Rykiel—a house best known for its Parisian irreverence and gorgeous but wearable knits—will debut in Paris during the Spring ’15 shows.
So why the sudden switch? For starters, De Libran has more experience—and industry clout—than Da Conceicao. She was more or less the face of Vuitton’s pre-collections and is familiar with speaking to the press, and designing in line with a particular style or vision. It’s worth noting that the house and First Heritage Brands, which acquired an 80 percent stake in Sonia Rykiel in February 2012, have expressed via a release that De Libran’s hire is part of a “relaunch strategy and accelerated international development.” One might argue that given her name recognition and design track record, De Libran is more qualified than her predecessor to “develop” the label. Furthermore, as Sonia Rykiel’s daughter Nathalie states, De Libran is “a woman, a Frenchwoman. An international woman and a talented one. A woman who enjoys dressing herself and designing for other women.” While one could, I suppose, make a case for reverse sexism here, the fact that De Libran is a femme française who adores fashion (just take a look at the street-style blogs or her Instagram account for proof) and manages to juggle a career and a family allows her to understand the Sonia Rykiel ethos better than a male designer might. Whatever the reason for her appointment, I look forward to seeing what the designer brings to Rykiel in September.
Nicolas Ghesquière continues to mold his vision for Vuitton today. WWD reports that the designer has tapped not one, but three leading photographers—Bruce Weber, Annie Leibovitz, and Juergen Teller—to lens his first campaign for the house. Marc Jacobs often worked with Steven Meisel during his reign at Vuitton, so it will be interesting to see how Ghesquière’s creative relationship with the above bold-faced names develops—if you’ll remember, he tapped Teller to shoot the conceptual Fall ’14 lookbook images (left), which debuted exclusively on Style.com the day of the runway show. Ghesquière’s Fall campaign will feature Liya Kebede (left) and Freja Beha Erichsen (both of whom walked in his Fall show), as well as actress Charlotte Gainsbourg. This move further proves that Ghesquière at Vuitton is a defining force to be reckoned with—as if there was ever any doubt.
Here at Style.com, Look of the Day is ground zero for calling out our fashion preoccupations of the moment. Each day, we choose a theme or event—be it an emerging street style or runway trend, a red-carpet premiere, or our favorite model-on-the-rise—and illustrate the idea with five different images. From there, we turn the poll over to you, our readers, who vote for your favorite looks. We’re always surprised and inspired when our opinion differs from our audience’s. For the first time, we’ve created a slideshow recapping the week’s most-voted Looks of the Day. Between Fall ’14 metallics, Statue of Liberty-inspired designs, and the resurgence of Louis Vuitton’s quintessential monogrammed bags, there’s plenty of stylish food for thought.
Think fashion illustration is a thing of the past? Think again. “I love photography—however, sometimes it’s a little too obvious,” said Paris-based artist Cédric Rivrain when asked about imagery in the digital age. “But fashion illustration, it has poetry. And it helps express the essence of the clothing—both visual and emotional.”
Rivrain’s career is proof enough that designers, insiders, and fashion enthusiasts alike have a hankering for illustration. He’s lent his talents to Lanvin, Hermès, John Galliano (he was the in-house illustrator at Dior), Maison Michel, Martine Sitbon, and more, and has contributed visions to such publications as AnOther, Dazed & Confused, and Numero. Since launching his career in 2001, Rivrain has become one of the most in-demand artists in the biz, and now he’ll be creating exclusive, weekly illustrations for Style.com. Without further ado, we bring you the first installment of “Through Cédric’s Eyes.”
Liya Kebede in Louis Vuitton by Nicolas Ghesquière, Fall 2014
“Sans makeup, sans styled hair, just a natural beauty in a beautiful dress. Very French…very chic.” —Cédric Rivrain