15 posts tagged "Mert & Marcus"
Tonight, Giorgio Armani and co. will head to Rome to open his new boutique on Via Condotti (think Italy’s answer to Madison Avenue). But this is Armani we’re talking about, so, naturally, there will be a grande event to celebrate the store. At 3 p.m., Style.com will live-stream the house’s One Night Only Roma—a fete that will feature runway shows of the Fall ’13 collections from Giorgio Armani and Emporio Armani, as well as the Armani Privé Spring collection, the opening of Armani’s Eccentrico exhibition, and, of course, una festa with plenty of star power (Milla Jovovich, Tina Turner, and Sophia Loren will all be in attendance). Armani, which has, in the past, hosted similar events in London, Tokyo, and Beijing, has also given us a sneak peek at its Fall ’13 campaign. Lensed by Mert & Marcus and starring Mariacarla Boscono and Florian Van Bael, the snaps have a slick, futuristic edge. Take a peek at the campaign’s exclusive debut (above), and check back this afternoon for the live stream of Giorgio Armani’s One Night Only Roma show and party. For more information on the event, and to view exclusive interviews, visit onenightonly.armani.com.
Givenchy’s Mert & Marcus-lensed Fall campaign broke today, starring two generations of Roitfelds, Amanda Seyfried, and models Dalianah Arekion and Quim Gutiérrez, but time and tide wait for no label. Hot on the heels of the campaign, Riccardo Tisci unveils its Pre-Spring men’s collection exclusively on Style.com. Anyone who’s had an eye on the Fall womenswear will recognize it as a cousin. Florals, flames, and camouflage motifs abound, and those who eyed the bricolage Bambi tees that look likely to be the latest runaway hit will be glad to find them here in men’s versions, too. Even Luigi Murenu’s painted hairdos from the women’s show get translated for the guys. (The sharp tailoring and sporty Bermuda short/leggings combination is classic Givenchy men’s.)
The collection, Tisci says, takes inspiration from Latin culture, and has the potentially sensitive name of Favelas 74. (1974 is Tisci’s birth year.) “Men in favelas are more natural and more confident about their sexuality,” he explains. “They are not scared to mix and match clothing. They represent sensuality, street, and elegance—what I recognize as elegance. I love the fact that they play with opposite things like flowers (which represent peace and serenity) and camouflage (which represents the army), but all interpreted in a very colorful and positive way.”
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” »
Last time Brian Atwood tried to do a film, it was banned. Which wasn’t really surprising, considering the Mert & Marcus-lensed Fall 2012 short featured a completely naked Candice Swanepoel (save a sometimes-there corset and some killer Atwood boots) watching porn and rolling around with two muscular male models. But now that he’s worked out the kinks, Atwood is back for round two. The designer teamed up with the famed photographers again for his Spring ’13 film, which, inspired by Marilyn Monroe’s iconic pool scene in Something’s Got To Give, stars Eva Herzigova. Despite the fact that she’s nude (come on, what did you expect?), the film is a playful and, dare we say, tasteful expression of the seductive femininity around which Atwood’s shoes are built. “I think our last film and campaign was very sexual. It pushed the boundaries. But this is more feminine,” Atwood told Style.com. The video has a distinct Old Hollywood feel and shows Herzigova swimming around in a pair of floral heels (which Atwood thought resembled vintage swimming caps). “Yes, there is a man [you only see his arm as he reaches over the pool to give Herzigova a martini], but it’s all about her,” added the designer, who notes that Monroe’s “unapologetic sex appeal” is a constant source of inspiration. “She was mesmerizing—she had this power over men and women. And I think we captured that in a modern and very luxurious way.” Indeed, what could be more luxurious than wearing emeralds and sky-high sandals in a private pool? “Every woman wants to be that woman.” And Herzigova does a more than credible Marilyn impression. “When we were filming, I told Eva that I didn’t realize she was so curvaceous,” Atwood said. “And she leaned over to my ear and said, ‘I’m three months pregnant.’ ” Watch the debut of Atwood’s Spring ’13 film, above, exclusively on Style.com.