36 posts tagged "Manolo Blahnik"
Maybe it has something to do with Dior’s recent jaunt in Monaco , or the classic striated looks Chanel showed in Singapore, but we’ve been lusting for old school nautical glamour—not to mention a waterfront vacation—of late. With Dolce & Gabbana’s bold striped skirt and Tucker’s silk crepe de chine top, you don’t need to be lounging on the Riviera to look like you’re on holiday. Add a wide-brimmed sun hat, kitten heels, and a pair of cat-eye sunglasses to really play up the retro chic. Let your clothes transport you, and shop our picks from Lanvin, RED Valentino, and more, below.
1. Tucker top, $215, available at www.net-a-porter.com
2. Dolce & Gabbana skirt, $739, available at www.matchesfashion.com
3. Lanvin hat, $832, available at www.matchesfashion.com
4. Karen Walker sunglasses, $314, available at www.matchesfashion.com
5. Manolo Blahnik shoes, $775, available at www.neimanmarcus.com
6. RED Valentino bag, $895, available at www.saksfifthavenue.com
Each season, Style.com’s market director, Marina Larroudé, combs through every collection to find the most covetable accoutrements. In our Fall 2013 Accessories Index, she highlights the best and biggest trends—from funny furs and demure pearls to spikes, studs, and combat boots. We couldn’t help but pick our own favorites, so below, the Style.com editors reveal what we’ll be craving come fall.
“It’s a long process to work on the Accessories Index. We feature almost 200 brands and around 5,000 images. Every season, I like to discover new brands to add to our list. It’s unfair to ask me for a favorite accessory, but I would be happy to have Rochas’ earrings, any Prada shoe, or any Victoria Beckham day bag.” —Marina Larroudé, market director
“I love the schoolmarm-meets-sexpot look of this Narciso Rodriguez pump.” —Nicole Phelps, executive editor
“In my imagination, I’m that chic kind of girl who cabs to and from appointments in a pair of single-sole Manolos. In reality, I’m subway-ing everywhere and need shoes I can really stomp around in. These lug-soled Stella McCartney beauties are the footwear equivalent of all-terrain vehicles, placing them at the top of my must-have list for fall.” —Brittany Adams, associate fashion editor Continue Reading “The Must-Have Accessories of Fall 2013, According to the Editors” »
When your world tour is called Diamonds, the wardrobe had better sparkle. Luckily, Rihanna had stylist Mel Ottenberg on hand to ensure that her looks do just that. Featuring a total of—count ‘em—seven costumes, each of which was custom made by a megawatt designer (think Riccardo Tisci, Raf Simons, Alber Elbaz, and Adam Selman—Rihanna’s River Island collaborator), the pop star’s onstage wares boast everything from holographs to “orgy” embroidery (courtesy of Givenchy, naturally). “The most amazing thing about Rihanna is what a chameleon she is,” said Ottenberg, who’s worked with Riri for two years. “She’s always up for something new. She’s fearless, she knows what she likes, and it’s fun to see which ideas she’ll jump for.”
The Diamonds lineup begins with a bespoke black Givenchy Couture cape, embroidered coat, shorts, bra, and boots, and ends with a shimmering tailor-made Lanvin jumpsuit. “Riccardo blew it out of the park,” said Ottenberg. “And Givenchy went above and beyond with the level of customization, and dealing with all the pop-world craziness.” (Adding to said craziness was the fact that the entire wardrobe had to be put together in the middle of fashion week.) “And with Lanvin, I knew that, more than anybody, [Alber] would just murder a strong sparkly look to work with the idea of Diamonds.” Each outfit, Ottenberg tells us, plays off creative director Willo Perron’s multi-themed tour concept. For instance, one section, during which Rihanna sings “Rude Boy” and “Man Down,” has a hip-hop-cum-dance-hall vibe. This is where Raf Simons’ graphic oversize T-shirt dress (which is worn with Louboutin boots and a Michael Schmidt nameplate necklace) comes in. For a more rock ‘n’ roll section, Selman created a red-and-yellow leather bra and pants ensemble that’s finished off with white Manolo Blahnik boots. “It was eighties David Lee Roth bouncing around on stage mixed with a sleek Lamborghini/Ferrari situation,” Ottenberg laughs. And Selman’s much-talked-about holographic money-print dress and coat—which Rihanna wears during a rave portion of the show—actually began with a pair of Pierre Hardy sneakers made just for the tour. “The whole thing is very Thug Life Tupac mixed with nineties candy raver,” Ottenberg explained. Forget the music (well no, don’t—it’s pretty great). Rihanna’s tour is a sartorial odyssey not to be missed.
Click for a slideshow of performance snaps and exclusive sketches by Givenchy’s Riccardo Tisci, Dior’s Raf Simons, Lanvin’s Alber Elbaz, and Adam Selman.
Camilla Morton’s new book Diane von Furstenberg and the Tale of the Empress’ New Clothes landed on our desk today, a holiday gift from von Furstenberg herself. And what a tale it is! Morton is well practiced at translating fashionable lives into fairy tales—she’s already done it with Manolo Blahnik and the Tale of the Elves and the Shoemaker and Christian Lacroix and the Tale of Sleeping Beauty—but von Furstenberg’s fairy story needs less fictionalizing than most. Consider the evidence:
The heroine’s royal pedigree: von Furstenberg is actually a princess, thanks to her previous marriage, to Prince Egon of Furstenberg.
The heroine’s trial and triumph: She did, as a young woman, consider and then reject a rival suitor: Fidel Castro. (“I didn’t,” she insisted at a talk this fall at the 92nd Street Y, “have an affair with him. I had this incredible idealistic image of him. And he was quite good looking. But after two days I must say I was very disappointed.”)
The happy ending: von Furstenberg has earned not only the keys to the kingdom—at least the kingdoms of New York and fashion, as the president of the CFDA and a friend of Mayor Michael Bloomberg—but also the crown jewels: She revealed at the 92nd Street Y talk that husband Barry Diller proposed with 26 diamond wedding bands—one for each year they weren’t married.
She also exhibits fairy-princess generosity: “Whenever a friend of mine is sad, I give her one,” she said.
Let’s be real here. Fashion is a hypercompetitive industry full of people who can be witheringly (but often hilariously) critical of each other. So when it comes time for an awards gala, wherein the members of the fashion scene must play nice and hand out plaudits to their peers, most people cope by sighing into their free Champagne and mumbling that so-and-so was sorely overlooked…as usual. But every so often, an award is given out to a designer who is so self-evidently deserving that only the most vicious fashion misanthrope could protest. Such was the case recently at the Footwear News FN Awards, where Charlotte Dellal took home the Designer of the Year honor for her rapidly expanding five-year-old brand, Charlotte Olympia. This has been a threshold year for Dellal, one that saw her launch a range of bridal footwear, collaborate with Victoria Beckham, and open her first stateside store on New York’s Upper East Side. More generally, 2012 was the year that Charlotte Olympia firmly and finally established itself as a go-to brand for VIPs looking to rock a glam shoe on the red carpet. (Or anywhere else, for that matter.) Here, the cool and impeccably coiffed Dellal talks to Style.com about gilded platforms, her brand’s evolution, and the importance of having a sense of humor.
Congratulations! I guess this is as good a time as any to ask you that burning fashion question: What is the deal with women and shoes?
You mean, why do women love shoes? I always have a hard time with that one. They just do. I think, maybe, it has something to do with the fact that they’re objects—beautiful objects that you can wear. They look good on, and they look good off.
Did you always know you wanted to design shoes?
Actually, I wanted to do fashion design. Or so I thought. But when I did my foundation course, my tutor suggested I go into Cordwainers and train to make shoes. All my sketches of clothes were heavily accessorized. So I was accessory-focused from the beginning, I guess. And I do love accessories. I love how they personalize a look—you can be wearing the most sober outfit, and add an amazing shoe, a crazy bag, a hat, whatever, and make it something else entirely. It’s that old Hollywood, 1940s thing that I love so much; a way of not just finishing a look, but really elaborating it with your own sense of style.
You have a very distinctive, ’40s Hollywood-inflected personal style, and that’s reflected in Charlotte Olympia. When you design, are you designing for yourself?
Yes and no. I mean, as a designer, you create things that you love, don’t you? And as a female designer, it’s pretty inevitable that you create things that you love and want to wear. They go hand in hand. For me, anyway. So, of course, my sensibility is in the brand; it wouldn’t work otherwise. But my experiences as a woman also inform my sense of what’s missing in the market. Launching bridal—that came pretty directly out of my own experience of being a bride. I was looking around at the shoe options, and it was all, various shades of white and off-white. Like, peep-toe heels and things. And of course, I love color, I love pattern, and I just felt like, well, on your wedding of all days, you should be wearing a pair of shoes you really love, that represent who you are. I had on a huge dress, no one was going to see my shoes, but it made me happy knowing that I had on a pair of leopard-print pumps. And then, in the meantime, I did have women coming to the shop, and buying, like, red shoes to wear at their weddings. So I saw this niche.
How do you see your line as having evolved since you launched five years ago?
Well, this is obvious, but it’s gotten a lot bigger. My first few collections, I was only doing 140mm heels, with the recessed platform. That was about establishing an aesthetic, by the way; it wasn’t that I thought all women should wear super-high heels all the time. But I wanted to establish a silhouette, and a certain…I guess the only way to say it is a certain glamour. You know, as an aside, my true signature, initially, was the recessed gold platform. Some people saw that as really bling-y, but my thinking was, you know, it’s a recessed platform; when you wear the shoe, it’s under your foot, and so all that is is a little golden glow underfoot. A little magic, because—why not? Anyway. Sorry to digress, I just always felt like that gold platform was misunderstood. And of course now I design all sort of shoes—flats, sandals, the whole lot. Plus bags, now, too.
Are there other categories you’d like to explore?
There are lots of things I’d love to do, eventually. Like hats—I’m a big fan of hats, and I’ve been working with Piers Atkinson on some styles. I don’t need to do hats in-house; not right now. There are a lot of milliners I respect. Down the line, who knows? But anything that develops, it will develop organically. I like to joke that my accessories have accessories. Like, the bags started because I wanted a Perspex clutch to match the Perspex heels in a collection. And here we are, doing all these bags. And I love it. The novelty bags we make each season, they’re like the exclamation point at the end of the collection.
Do you have any shoe heroes?
Salvatore Ferragamo. The old Salvatore Ferragamo—the man. He used all this wonderful color and amazing materials. And of course, he was from the era that I love and made special shoes for the Hollywood actresses that have inspired me. And then, of course, when I was a child, my mother’s closet was full of Manolos. And when you’re a child, you’re always in your mother’s closet, trying on her shoes. Again, so many wonderful colors. And such a distinctive femininity—I still really appreciate that.
People tend to talk about your shoes being glamorous. It’s a word you use quite a bit yourself. But I feel like they rarely point out that your shoes are also kind of…funny. You know they’re funny, right?
Of course! I like to bring a sense of humor to my designs. A little silliness.What I really love to do is to play with the obvious—my collections are usually inspired by places, and I love doing things like, when we did the Paris collection, playing on all these Parisian super-clichés, like frou-fy poodles and the Eiffel Tower. I like to make the obvious more obvious. But it’s like I was saying, about the gold platform—why not? It’s so much easier to be bold or silly or over-the-top with your shoes than with pretty much any other part of your wardrobe. I can easily understand women who are shy about wearing some kind of crazy dress. But having fun with shoes? That never hurt anyone.