Considering the British imprint on the French house, it makes perfect sense that Chloé launched its sixty-year retrospective book, Chloé Attitudes, in London. “Chloé’s had this great succession of cool, young British designers,” Sarah Mower said at last night’s party at the new Serpentine Sackler Gallery. “They are not pretentious and they don’t talk about great lofty inspirations and references. They just talk about what we want, what girls want to wear. That’s really Chloé.”
Succinct, given Mower was tasked with writing the text for the tome. The fete drew such guests as Eliza Doolittle, Damien Hirst, Pixie Geldof (armed with her own Chloé bag), and the label’s creative director, Clare Waight Keller.
“Chloé has always stood for beautiful femininity,” said Waight Keller, who often turns to the house’s archives for inspiration. “But it’s been interesting to realize there has been surrealism, graphicness…there are other facets to the Chloé girl that aren’t always so evident.”
Published by Rizzoli, with art direction by industry legend Marc Ascoli, Chloé Attitudes delves deep into the house’s history. As Mower described it, “It’s a detective story, because there was no real archive for years.” Dating from its founding in 1952, the book draws on Chloé’s rich collaborations with groundbreaking photographers like Helmut Newton, Guy Bourdin, and Patrick Demarchelier.
Ascoli and Mower spoke of finding the common denominator through designers such as Karl Lagerfeld, Stella McCartney, and Phoebe Philo. Waight Keller said it’s simply “an attitude,” but Mower went further: “It’s really an optimistic spirit. It has always been about capturing the spirit of the times, how girls have changed with the times, and what they want at the moment. There’s a feminist thread throughout.” Judging by the evening’s crowd, dressed in Chloé’s greatest hits, the house is still hitting the nail on the head. Of the girls, by the girls, and for the girls—that’s fashion democracy in action.
Sometimes all a party needs is a girl in a corset who can dance. That was the case last night when, around midnight, jewelry designer Yaz Kurhan of Yazbukey christened her Fall collection, Cult, with a sexy dance atop a shrouded piano at Le Baron. The soundtrack was French heartthrob du jour Sébastien Tellier’s hit “Roche.” After her sultry gymnastics, we grilled Yaz about this season’s goods (Spring’s line includes mice coin purses, vintage plastic telephone bags, and a hotdog necklace with all the fixin’s). “It’s all about Sébastien Tellier,” she cooed, holding up the giant mirror-and-Plexi pendant bust of the long-haired, bearded crooner she was wearing. Besides a black lace push-up bra, nude bustier (a forties relic she discovered in an Istanbul souk for €20), and silver spike pumps, the oversize accessory for Fall was about all Yaz had on. “I love how he looks, I love how he sings, and I love all that hair,” she gushed. “Even if you don’t know Sébastien, my pendant also looks a lot like Jesus, don’t you think?” Around 2 a.m., Malcolm McLaren—an intime of Yaz’s—showed up, along with art director Marc Ascoli and his wife, Rue du Mail designer Martine Sitbon. “Yaz was my design intern when she was about 20,” Sitbon said. “She had short, spiky, tomboy hair, and she looked like an Egyptian punk back then. She has the same wicked energy now, only it’s so much more feminine.”