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August 22 2014

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21 posts tagged "LOVE"

Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution

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You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.

Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.

How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.

Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »

Cara Wants Candy…And Hogan’s Zebra Stripes

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Fall 2013 marks Love magazine’s Katie Grand’s second collaborative capsule for Hogan. Titled Gang, the range includes everything from iPhone cases to skate shoes, and features lots and lots of zebra print, simply because, as Grand explains, “It felt right and looked great.” In true Grand style, the collection debuts via a playful film, which stars Love-ettes like Cara Delevingne, Tallulah Harlech, Stephanie Seymour, and Ondria Hardin. Shot by Daniel Jackson, the short shows the ladies bouncing around in Katie Grand x Hogan’s wares to the tune “I Want Candy,” sung by Miss Delevingne herself. “Cara kept saying how she wanted to do something with me that wasn’t modeling, so when I wanted to do something special with the video, I thought it was ideal to get her to sing the soundtrack,” Grand told Style.com. Catch the film’s premiere, as well as Cara’s singing skills, above, exclusively on Style.com.

From Cara With Love

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Today, Love magazine released In Bed With Cara—a sweet and saucy cinematic V-Day treat featuring the always-adorable Cara Delevingne (who just happens to be one of Issue Nine’s cover girls). Wearing a marabou-trimmed Giles teddy and heart-shaped glasses, Miss Delevingne munches on candies and bounces on a bed with some metallic confetti and loose Swarovski crystals to the tune of Salt-N-Pepa’s “Whatta Man.” Cute, right? Well, Love sent over a decidedly more subversive X-rated version of the film, which features a few extra wiggles and a not-so-seductive (but classically Cara-goofy) surprise ending. The exclusive version debuts above. As Love EIC Katie Grand puts it, it’s “hot stuff.”

Moss Madness

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After racking up an impressive lot of Spring ’13 campaigns (Versace and Givenchy among them) and countless covers last year, Kate Moss (who celebrated her thirty-ninth birthday last week) shows no signs of slowing. Today marks a double whammy for the model: The Internet’s abuzz about her Tim Walker-lensed cover and spread for Love magazine’s ninth issue (her ensembles include a stretched tank top, which she wears in a bathtub, a bouquet of strategically placed flowers, and not much else). On the other end of the spectrum, Rag & Bone has released its Spring ’13 images, which, shot by Alasdair McLellan, feature a fresh-faced (and fully clothed) Moss perched on a park bench. The model’s partnership with Rag & Bone began last season, when she was shot by Craig McDean in North London for the brand’s first-ever ad campaign. This time around, she posed in Southrop, Gloucestershire, which just happens to be the same Cotswolds town where she married Kills rocker Jamie Hince in 2011.”We…thought it would be an interesting contrast to follow up [our first campaign] in a remote English village, which Kate happens to have an affinity for,” said Marcus Wainwright, who designs the range along with David Neville, in a press release. “It was also a fun play on our British heritage,” he added. Moss’ latest campaign coup debuts above, exclusively on Style.com.

Photo: Alasdair McLellan

It’s A Zoo In London—And The Bears Are Better Dressed Than The Bidders

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Sometimes the gap between London and New York seems infinitely wide. The charity auction scene in NYC, so firmly established and often the model of decorum—and can we say, often quite dull—would not have known what had hit it when confronted by the frequently hilarious and very drunken antics in London last night. Whoever thinks the British are civilized is sorely mistaken. It was like one of those Gossip Girl auction set pieces, taken over by a hard drinking and older version of the cast of Saved by the Bell.


Christie’s auction house in Mayfair was the site of the Children in Need auction. It featured numerous re-fashionings of that charity’s iconic figurehead, Pudsey Bear, by many of the top designers and houses in the fashion world. The stylist and editor in chief of Love magazine, Katie Grand, who curated the event, had ensured that the bears turned out in force. She is, as she would readily admit herself, quite bossy, which proves extremely useful in the mustering of such an event. “It’s really like doing a show!” she said backstage, perfecting the bear running order with their celebrity handlers, each of whom was attired according to the bear’s provenance. That is apart from Sibling’s showgirl, Cara Delevingne (above left) who decided to just dress as a bear herself.

The day before, Grand had mused, “I don’t really know rich people who do this sort of thing. I bloody hope they come.” She had nothing to worry about, they turned out in force. And were on the phones.

Backstage, the gaggle of models, actresses, fashion designers, WAGs (like Abbey Crouch, who did the honors for Norton & Sons, left), and the odd photographer and sports star wrangled with their bears. “It’s bigger than me, this thing!” the petite actress Jaime Winstone said of her Fendi bear. The statuesque Jodie Kidd struggled with the weight of her gigantic suede Smythson bear, made even more difficult by the folds of caftan she had been attired in. Liberty Ross, meanwhile, became so attached to her Loewe bear she started a bidding war for it when she got onstage.


Chloë Moretz (above, right) gave one of the best sells of the evening with her Versace bear: “He’s quite high maintenance. And Audrey, Donatella’s dog, has some issues with him. He had to go.” And Kristen McMenamy’s coruscating and brilliantly unhinged performance with her McQueen bear: supermodel sashaying, the screeching “There are children in need, you know!” and the accosting of one phone bidder who hung up on the model. “I actually thought it was a man when I got on that phone,” said McMenamy, left, afterward. “I said ‘I’ll go out on a date with you,’ but it was a woman and she got offended! That’s improv for you.” (John Waters, give this woman a part.) There was also Marc Jacobs in disbelief at how much his Louis Vuitton bear was selling for: £20,000. And the finale to the event was the footballer Peter Crouch’s robot dance, the voguing of designer Giles Deacon, and the disco turn of the auctioneer, Hugh Edmeades—the international director of auctioneering, no less—with the staff of Christie’s looking on agog.

The online auction, featuring Nicolas Ghesquière’s bear creations for Balenciaga, continues at www.designerpudsey.co.uk.

Photos: Dave J. Hogan/Getty Images