20 posts tagged "Marios Schwab"
Although you’ve definitely seen her influence, you may not have heard of Katy England. She isn’t one for the street-style paps or the blogosphere—probably because she’s too busy styling the collections of such talents as Riccardo Tisci, Tom Ford, and Marios Schwab to stop and strike a pose. During her twenty-year-and-counting career, England has built close relationships with Dazed & Confused and AnOther magazines (she previously held the role of fashion director at the latter), and served as the creative director of Alexander McQueen’s studio from the mid-nineties to the mid-naughties. If you’re still not impressed, we should tell you that she’s styled covers and spreads with photographers such as Rankin, Nick Knight, and Willy Vanderperre, and currently works with one Kate Moss on her much-talked-about Topshop range.
England has just released Made in England, a short film, created in collaboration with Vauxhall, that focuses on the many facets of contemporary British youth culture. Here, the stylist talks to Style.com about her directorial debut, McQueen, and why fashion is for the young.
Your film is all about British youth culture, which has historically played a huge role in British fashion. Do you think that youth culture now is equally as influential as it was during the punk or New Romantic/club kid eras?
I don’t feel there’s the same energy. It’s just so different, but I’m not young anymore. Teenagers today think they’re doing the most exciting things, just like we did at our age. It’s all relative. But I think designers—all of us—get inspired by young people and what they’re doing. I certainly do. Real fashion, high fashion, is from the kids and for the kids. We can all look stylish, and we can all dress really well and be on trend, but real fashion, as I would call it, is for the young. I work with Riccardo Tisci on his menswear collections; he is so inspired by what young kids are doing worldwide. And I’m sure Marc Jacobs does as well. I think there’s a certain bunch of them that are really young at heart.
What do you think of the increasing focus being placed on London’s young talents?
I used to work for Alexander McQueen, and when he took his position at Givenchy many, many years ago, it was the beginning of designers being approached by big houses. We were just kids—new kids on the block at the house of Givenchy—and we didn’t know what to do, and we didn’t get much support. I think now it’s become much more familiar—it happens all the time. And it’s great, but [the young designers] all need to have support around them, whether it’s great stylists, great people helping them research, great technicians…. I think these jobs are huge, and they’re a lot of pressure for the kids. If they’re supported, they’ll be fine, because they have a huge amount of energy, but it’s so tough. I did it with Alexander McQueen, unsupported. And it was harsh—really harsh.
Do you think it’s a positive thing that big houses are tapping young talents, and that these important companies are investing in new designers?
Sometimes I think it’s too much too soon, and I think there’s a huge value in learning in a smaller way. I work with Marios Schwab, who has a very small company in London. He’s been doing it a long time, and he’s such a talent. Bit by bit, he keeps going, and I hope that it will happen for him in the end. And when it does, my god will he be set up and ready for it, because he’s learned his craft. You have to learn your craft. You can’t just catapult. You’re going to be better for it if you learn the hard way.
Would you prefer to have youth or wisdom?
I’d love the energy of youth. I love being around people with that energy. I really feed off of that. But it’s tough for kids now. When I started in the fashion industry, it was so openly creative and you were not restricted in any way. Kids don’t have that opportunity so much anymore, because fashion is much more of a business now. Even with photo shoots, the clients are so much more powerful, because of digital photography—they can watch the shoot taking place. That was never the case before, and they had to put trust in a team of creatives to book the right people and get on with it. It was literally so free, and you would hope that you captured it, and you’d be so excited to see the film in the end. The creative process is very spontaneous, and it needs to be spontaneous. I think that we’ve lost a lot of that spontaneity. Continue Reading “Katy England Would Rather Just Get on With It” »
The rumor mill is churning again today, with a choice bit of unconfirmed gossip: Wags are wondering if London designer Marios Schwab isn’t lending a hand to the famously anonymous Maison Martin Margiela. Margiela himself exited the company in 2009, and ever since there have been rumors and reports of other designers—most recently former Céline hand Ivana Omazic—guiding the design team. The Margiela team’s only comment was that it does not communicate on who its designers are, and, in the words of WWD, “characterizing its studio as a creative collective with members of long standing that it feeds regularly with new contributors.”
While the impetus to unmask single design geniuses is an understandable one, it may be a model that’s falling out of date. It begs the question: Should we always have one designer to point to, or is a more team-spirited approach the better way? Certainly Margiela has been on an upswing these last few seasons.
The Maison is not alone in adopting, happily, a revolving door mentality. When Christopher Kane left Versus, Donatella Versace opted not to hire a single designer in his place, but to invite a series of guests to try their hands. (First up, J.W. Anderson; second, M.I.A.) And in a recent editorial on the fate of Jil Sander after the departure (again) of Jil Sander, Cathy Horyn wondered aloud if the best practice wouldn’t be to build a strong design team. It’s not hard to imagine that being refreshed with new talent as talent arrives.
Something to think about, as several large houses—from Louis Vuitton to Sander—go, for the moment, without single stewards.
Fashion Rules—a new exhibition at London’s Kensington Palace showcasing twenty-one gowns once worn by Queen Elizabeth II, Princess Margaret, and Princess Diana—provides a peek at the royals’ wardrobes. “These three women were perhaps the most high-profile dressers of their time,” offered the show’s curator, Cassie Davies-Strodder. “Whatever they wore was photographed by international press and seen worldwide. The influence they had on fashion was bar none, and from a historical perspective, we felt it was critical to highlight that.” Now open to the public, the show comes before the much-anticipated September release of Oliver Hirschbiegel’s Diana biopic, in which Naomi Watts stars as the People’s Princess.
Sponsored by Estée Lauder, the exhibition’s opening party was held on Thursday evening at the Palace (once home to Queen Victoria, Princess Diana, and now the Duchess of Cambridge and Wills). And while the historic home’s new renovations—including a majestic stone hall with a thoroughly modern blue light sculpture by Loop.pH, quirky wallpaper boasting illustrations of Diana by artist Julie Verhoeven, and brick walls adorned with Mario Testino-lensed portraits of Princess Di—nearly overshadowed the dresses, several stood out. Key pieces include a gold caftan and turban worn by the party-loving Princess Margaret for a fete in Mustique (above), five gowns worn by the Queen in the fifties (below), and several Bruce Oldfield looks for Princess Diana. Oldfield himself was in attendance, joined by Poppy Delevingne, Tali Lennox, Minnie Driver, and Mr. Selfridge‘s Jeremy Piven. Designers Manolo Blahnik, Erdem Moralioglu, Richard Nicoll, Henry Holland, and Marios Schwab also stopped by to survey the scene. Continue Reading “Fit for a Queen” »
“I was quite shocked by the bananas,” said Christina Martini, the creative director of Greece-based footwear range Ancient Greek Sandals. Let us explain: Martini, who designed shoes for Balenciaga and Louis Vuitton in Paris before launching her line of handmade leather sandals with business partner Nikolas Minoglou in 2011, was approached earlier this year by Carven’s Guillaume Henry. The designer asked her to create a collaborative range of gladiators for his tropical-tinged Resort ’14 collection, and apparently, he requested the fruity look. The result is a capsule of surprisingly graphic wares, which, having debuted at Carven’s Resort presentation yesterday, are offered in three heights and a palette of black, nude, and, of course, banana yellow. “They were easy to design but difficult to make, because all the bananas are at different angles,” offered Martini, who notes that cutouts and hand-stamping were particularly difficult. “And we had to make sure that the tall styles fit nicely on the leg.”
No stranger to runway collaborations, Martini has also worked with fellow Greek designer Marios Schwab on footwear capsules for the past two seasons, and notes that she pulls inspiration from ancient Greek jewelry, ceramics, and classical sandals (hence the name) when creating her collaborative and signature styles. Crafted in Greece using traditional techniques, Martini’s shoes are available at over eighty locations worldwide and online at the label’s Web site. The Carven kicks will start at about $320 and hit stores during Resort ’14 shipments.