August 29 2014

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10 posts tagged "Milan Vukmirovic"

Trussardi Named Special Guest At Pitti Uomo


Trussardi 1911—as its name would indicate—celebrates its 100th birthday next year. The brand announced today that it’s getting an early present of sorts: a coveted spot guesting at the next edition of the Florentine menswear fair Pitti Uomo, where, in the past, Raf Simons (for Jil Sander), Thom Browne, and Adam Kimmel have shown their work. The appearance, though, won’t be limited to Milan Vukmirovic’s ready-to-wear collections (left) for the label. It’ll bridge all of the Trussardi family’s projects, including art, food, and design—all of the Italian-made variety—and will be showcased at Florence’s Leopolda Station during the fair this January.

Photo: Courtesy of Trussardi 1911

Milan Vukmirovic: “Fashion’s Like The Titanic”


On Tuesday, the troika behind the Webster in Miami—Frederic Dechnik, Laure Heriard Dubreuil, and Milan Vukmirovic (pictured)—took over the private salons of the Maison Baccarat to introduce selected friends to the Louis XIII Rare Cask by Rémy Martin. Dressed in a plunging, lace-up black dress by Joseph Altuzarra, Dubreuil noted that despite the fashionable guest list—which included Altuzarra, Alexander Wang, Pierre Hardy, Charlotte Dellal, Pamela Golbin, the Traina sisters, and Gabriele Corto Moltedo—this was really just a family affair. (After all, Dubreuil’s family owns Rémy Martin.)

Through dinner, the talk turned to art and architecture. Dellal, the designer behind Charlotte Olympia shoes, described the restoration process on the ironwork in her new London boutique, set to open in early May. “It’s a nineteenth-century shop, so I am restoring it to what I think it must have been then, by way of the forties,” she said. Dubreuil’s boyfriend, artist Aaron Young, regaled guests with tales of his as-yet-untitled work in progress, a gold-plated modern chariot to be impaled atop one of Augustus’ columns at Rome’s Teatro di Marcello at the end of May, around the opening of his solo show at the city’s MACRO museum. That takes care of the high art; a few attendees were as invested in what’s coming up from below. “Fashion’s like the Titanic,” observed the multitasking creative director Vukmirovic, who also designs Trussardi 1911. “The band plays on, but the era of big designer egos is over. Ready-to-wear is becoming what couture used to be. Fashion is direct and the future reality is that everyone is a star, whether or not they have a fashion culture or even means [to buy it]. The only question that matters is, do they like it?” Some like the booze, at least-reports indicate that the Louis XIII, a few bottles of which will make their way to the U.S. in May, has almost entirely pre-sold at €10,000 a pop.

Photo: Stephane Feugère

Milan Vukmirovic On One Of His Three Jobs


Milan Vukmirovic is a busy guy. These days, the man who helped revolutionize retail as a founder of Colette, and then honed his design chops under Tom Ford and at the helm of Jil Sander, is a triple threat: retailer, editor, and designer. But at Friday night’s opening of Trussardi 1911′s new concept store, Vukmirovic was wearing the latter-most hat as the creative director of the label. (The other two pieces of career millinery turn him into the founder of Miami boutique the Webster and the fashion director of L’Officiel Hommes.) “My baby is Trussardi,” Vukmirovic informed us. “Nicola Trussardi was a real visionary. He was the first in Italy to understand the need for a complete concept lifestyle. He was even the first designer to set up an art foundation.” He added that he was equally happy with the next generation of the house. “Beatrice Trussardi gives me completely free reign,” Vukmirovic said. “And she realizes that you can’t just rely on expensive fashion shows and ad campaigns, that you need to propose a new, special way of living.” That new path is apparently one where you can buy handbags, candles, and pet gear under the same roof. Presumably just for last night, there was also a killer Trussardi shot of toffee and vodka served in a gold-leaf-encrusted glass. It tasted a bit like cough medicine, but in the best way.

Waiting For The Other Balmain Sandal To Drop on Boutique Closings


If you missed the news just before the holidays, Tracey Ross announced that she was closing her trailblazing Los Angeles boutique on New Year’s Eve, after 18 years of selling high-end fashion with her particular SoCal slant to a dedicated, celeb- studded clientele. There’s been a lot of bad news on the fashion front between Thanksgiving and now, so we’ll remind you that in November, retail doyenne Linda Dresner also announced that she would close her famed Park Avenue boutique. It opened in 1983. Though Dresner is keeping her original shop in Birmingham, Michigan, both she and Ross cited department-store desperation in the form of early sales and deep discounts as a major factor in their demise. How can the little guy (or gal, as the case may be) compete with 70 percent off at Neiman Marcus? Apparently, not very well. But these specialty stores don’t merely offer just another cash register to buy a dress. What fans of Dresner, ranging from Jackie O to Carine Roitfeld, loved was her eye—one that enabled her to support designers like Tom Binns and Rick Owens early on. In a recent interview with WWD, Dresner decried the lack of creativity in retailing. There are, of course, great specialty stores still standing in both New York (Opening Ceremony, Jeffrey) and Los Angeles (Opening Ceremony, Satine, Mameg), as well as San Francisco’s Susan and Chicago’s Ikram. And Milan Vukmirovic’s soon-to-open Miami boutique The Webster is the source of much buzz. But it wouldn’t be surprising to hear of yet another closing in the near future. Is the ever-worsening economy spelling the end of the boutique with a finely honed point of view? Tell us what you think.

Milan Vukmirovic Doesn’t Need Another Diptyque Perfume


Multitasking is Milan Vukmirovic’s middle name. After co-founding Colette, he worked alongside Tom Ford at Gucci and succeeded Jil Sander when the beloved designer was ousted. Now the 36-year-old Frenchman is creative director at L’Officiel Hommes and menswear designer for Trussardi—and most recently a co-founder of Miami’s newest retail mecca, the Webster. The three-story boutique, slated to open in March, aims to lay on the luxury thick with labels like Lanvin, Balenciaga, and the newly smoking-hot Balmain—and an outpost of Caviar Kaspia. During Art Basel / Miami Beach, the Webster’s temporary space on Collins Avenue received the likes of Naomi Campbell, Pharrell Williams, and Rachel Zoe. We waited for the celebrity storm to calm before sitting down with him to chat about Miami ‘s surprisingly lofty level of chic, the impending economic gloom, and why fashion mistakes are necessary.

So, you’ve opened a store for the first time in more than a decade. Why Miami?

There’s an incredible clientele here. Miami is very free. You get such a mix. And people don’t care how you dress. In Paris or New York, you go somewhere and people are looking at you from head to toe. Miami is a little cooler. Even at the airport, at customs, the police are much less stressed than when you arrive in New York. When you’re French, you really feel that.

Tell us about the space.

I love all these pastel colors and the Art Deco, so I thought instead of doing a very high-tech, modern store, we should do this ideal of forties tropical elegance. So we put in fans and we’re reproducing the terrazzo floors and the round ceilings.

The store ‘s main focus is serious fashion and not concept-driven items. Why such a departure from Colette?

I was interested in going back to a real fashion store. I was 26 when I did Colette. I’m now 36. A Diptyque perfume, a little toy—I don’t buy this anymore. I’m looking for nice pieces or beautiful fabrics. [Editor's note: Click here for more on Vukmirovic's style essentials.] And I love to select. When you go to a Prada showroom, it’s rooms and rooms of clothes. It’s nice to select, and then to present something different from a label’s own stores here.

What do you think of the direction Colette has taken since you left?

I like it. When you do something, you have to put your soul in it, and if it’s successful it’s because it’s also part of your personality. i-D magazine is Terry Jones, Vogue [U.S.] is Anna Wintour. Sarah [Lerfel] took over Colette and now it reflects her personality. That’s why I like it, because it’s her. She loves Tokyo. She loves Comme des Garçons. Maybe sometimes I don’t have the same taste, but that’s what makes it interesting.

What have you learned about Miami fashion?

At the beginning, the people were telling us, “You should buy this because it’s great for Miami.” Gold, silver, leopard print. People have this image of Miami, a mix of tacky, drugs, sex, salsa. It’s so clichéd. But I always say to [co-owners] Laure [Heriard Debreuil] and Fred[eric Dechnik], “Let’s buy with a European eye.” The clientele we have here is extremely chic. Actually, they buy all the most trendy, edgy labels. When we introduced Balmain, we sold incredibly well. I’m happy, because I was convinced since the beginning that Miami is not just diamonds on T-shirts and jeans.

You picked a heck of a time to open a luxury fashion store. Are you worried about the economy?

You can’t just say “No, everything is fine.” The crisis is real. But people still have money, and life continues. People have to dress, to eat, to shop. If not, the whole system is not working. Crisis or no crisis, winter is a very short season for Miami. So we decided to buy less winter collections and more spring-summer. Like everybody, I think we have to anticipate that if 2009 is very difficult, then we have to buy a little more conservatively.

You succeeded Jil Sander, the woman, as creative director at Jil Sander, the label, so you know a little bit about taking over at a major house. Any thoughts on Alessandra Fachinetti’s recent ousting at Valentino?

It’s always very difficult to take the position of someone who had a huge success. Those labels are very connected to their personality, and when the person is still alive and the label continues with their name on it, it’s very strange. The fashion system is very tough, because they’re going to criticize what you do because they want Jil Sander or Hedi Slimane or whoever to come back to the company. When they criticize your clothes, it’s political. I love what Raf [Simons] is doing for Jil Sander now. I think he’s the right guy.

If you could go back to Jil Sander and do it again, what would you do differently?

When I was at Jil Sander I was very young. I was not in the position to say, “Can I choose my team?” But the team has to be the right one. I told Trussardi, “Don’t take me if you think we’re going to make it in one or two seasons.” It’s a long-term thing. It’s a lot of work, and it’s step by step.

So you think some of these big houses should give their new designers more of a chance?

The most important thing I’ve learned in my life is that you have to let yourself, and people have to let you, make mistakes. How can you do something great if you don’t make mistakes? Give people the time to do something. So many young designers come into a company, stay one or two seasons, then they quit or they’re fired because they didn’t make it commercially. But how can they? There was this syndrome where everyone wanted to appoint Tom Ford to change a company. It took Riccardo Tisci three years at Givenchy before having all the press like him. Alessandra was at Valentino for two seasons and she’s finished already. It’s a pity, because I think she was starting to do something really great, and to take over Valentino is really difficult.