24 posts tagged "Natalie Massenet"
Last October, British stylist Charlotte Stockdale announced she was leaving her post at i-D, a pillar of British street and underground fashion, and joining Garage magazine as its fashion director. The über-cool stylist’s first efforts for Dasha Zhukova’s biannual art and fashion mag were unveiled today, when issue six hit newsstands. Garage gave us an exclusive first look at its Nick Knight-lensed covers (above), which feature Karlie Kloss and Cara Delevingne. As evidenced by Garage‘s new snaps, Stockdale can seamlessly transition between high-gloss and grit—a skill that no doubt came in handy during her stints at Dazed & Confused and Harper’s Bazaar, and while styling shows for the likes of Dolce & Gabbana and Fendi. She’s worked with Karl Lagerfeld on the latter’s runway looks and campaigns for the last five years. Here, Style.com caught up with Stockdale to talk about the state of British fashion, leaving i-D, and her vision for Garage.
What drew you to Garage?
Everything about it. I remember the first issue coming out and thinking it was something different, courageous, seriously beautiful, and sometimes quite shocking. It’s not safe and it’s incredibly sophisticated. I talked on and off with Dasha about shooting for her, but it never worked because I was too busy with i-D. Then we met for tea after the summer—I was quite relaxed from holiday—and she said she was looking into a fashion director, and obviously that evolved into a conversation.
Did you feel that i-D was no longer those things—courageous, shocking, and beautiful? Is that why you left?
No, that’s not why I left. Not in the slightest. I enjoy conceptual fashion, and there isn’t a lot of space left for it anymore. Garage is a venue where conceptual fashion is still the right thing. When I started at Dazed & Confused at the beginning, conceptual fashion was the thing. I like exploring it on multilayers, not just mixing jackets and trousers for a good picture.
And how does that translate in terms of your vision for this magazine?
I would like to keep a delicate mix of sophisticated and playful. Humor is very important, but it can’t be silly, and beauty is really important. The art content is serious. I don’t mean serious in a way that it is not amusing. Some of it is very amusing, but they put in heavyweights. The fashion needs to balance that out. I love working with the stylish photographers and new photographers and new designers. So far, most of them are saying “yes.”
On the subject of new designers, who are you particularly excited about right now in London?
It sounds awfully predictable to say, but I am very interested in J.W. Anderson and Christopher Kane. London right now has finally hit its stride. There’s Peter Pilotto, Mary Katrantzou, etc., and they have all found this balance between creativity and the business, which are equally important. That wasn’t so much the case when I was young. Some succeeded and others didn’t—the balance wasn’t correct. I have seen so much talent leave Britain and move to other cities. We have always felt it was such a shame that these kids aren’t back at home building proper brands themselves.
How do you think this momentum with London fashion will progress in the next few seasons?
I think the momentum will continue. With Natalie Massenet at the helm of British Fashion Council, everything has stepped up a few notches. Obviously, she is a lady of no fear. These young designers all have solid bases, and they are building proper businesses. The month is a very crowded month, and it is pretty challenging for [fashion] people like ourselves. London used to be a three-day thing and you could miss it. Now it’s a solid five-day event full of high-class content. It is the most interesting fashion week aside from Paris.
Exclusive: LVMH Reveals the Forty Heavy Hitters on Its LVMH Prize for Young Fashion Designers Experts Panel-------
Back in November, we broke the news that LVMH was launching its new 300,000-euro LVMH Prize for Young Designers. After applications close on February 2, an LVMH team will select thirty promising talents from the long list of hopefuls. And during Paris fashion week, those up-and-comers will present their collections to an esteemed panel of forty industry insiders. Today, we can reveal the heavy hitters who will be sitting in the judges’ seats, and boy, if the fact that 300K is on the line doesn’t give the contestants butterflies, the international powerhouses set to survey their work just might. Central Saint Martins’ Louise Wilson, stylist Olivier Rizzo, Net-a-Porter’s Natalie Massenet, stylist Camilla Nickerson, Colette’s Sarah Andelman, Dover Street Market’s Adrian Joffe, and editor Katie Grand are just some of the experts in the group. Of course, we can’t leave out Style.com’s own Tim Blanks and Jo-Ann Furniss, who will be joining their peers in narrowing down the pool from thirty to ten designers. As for the ultimate winner, we’ll have to hold our breath until May, when a group including Nicolas Ghesquière, Marc Jacobs, Karl Lagerfeld, Humberto Leon, Carol Lim, Phoebe Philo, Raf Simons, and Riccardo Tisci, as well as Delphine Arnault, Jean-Paul Claverie, and Pierre-Yves Roussel decide who wins the grand prize. But considering the knowledge and taste levels the members of LVMH’s panel boast, it’s going to be worth the wait. Take a look at the full list of judges, below. As for the ultimate winner, we’ll have to hold our breath…
LVMH’s Panel of Experts
Imran Amed, founder and editor of Business of Fashion (London)
Sarah Andelman, creative director of Colette (Paris)
Fabien Baron, art director, founder of Baron & Baron (New York)
Tim Blanks, editor at large, Style.com (London)
Mariacarla Boscono, supermodel and muse (Rome)
Angelica Cheung, editor in chief of Vogue China (Beijing)
Alexandre de Betak, founder of Bureau Betak (Paris)
Godfrey Deeny, editor at large, fashion, Le Figaro (Paris)
Patrick Demarchelier, photographer (New York)
Babeth Djian, editor in chief of Numéro (Paris)
Linda Fargo, senior vice president of Bergdorf Goodman (New York)
Jo-Ann Furniss, writer, editor, and creative director (London)
Chantal Gaemperlé, LVMH group executive vice president for human resources and synergies (Paris)
Stephen Gan, founder of Fashion Media Group LLC (New York)
Julie Gilhart, consultant (New York)
Katie Grand, editor in chief of Love magazine (London)
Jefferson Hack, co-founder and editorial director of Dazed Group (London)
Laure Hériard Dubreuil, co-founder and chief executive of The Webster (Miami)
Adrian Joffe, chief executive officer of Dover Street Market International (London)
Sylvia Jorif, journalist at Elle magazine (Paris)
Hirofumi Kurino, creative Director of United Arrows (Tokyo)
Linda Loppa, director of Polimoda (Florence)
Natalie Massenet, founder and executive chairman of Net-a-Porter (London)
Pat McGrath, makeup artist (New York)
Marigay McKee, president of Saks Fifth Avenue (New York)
Sarah Mower, contributing editor, American Vogue (London)
Camilla Nickerson, stylist (New York)
Lilian Pacce, fashion editor and writer (São Paulo)
Jean-Jacques Picart, fashion and luxury consultant (Paris)
Gaia Repossi, creative director of Repossi (Paris)
Olivier Rizzo, stylist (Antwerp)
Carine Roitfeld, Founder of CR Fashion Book (Paris)
Olivier Saillard, director of the Galliera Museum (Paris)
Marie-Amelie Sauvé, stylist (Paris)
Carla Sozzani, founder of 10 Corso Como (Milan)
Charlotte Stockdale, stylist (London)
Tomoki Sukezane, stylist (Tokyo)
Natalia Vodianova, supermodel and philanthropist (Paris)
Louise Wilson, course director of the Fashion M.A. at Central Saint Martins College of Art and Design (London)
Dasha Zhukova, editor in chief of Garage magazine and founder of Garage Museum of Contemporary Art (Moscow)
Considering that, in the past few seasons, such brands as Pierre Balmain, See by Chloé, ICB, and Peter Som have all experimented with showing online rather than on the catwalk, Diane von Furstenberg’s recent hypothesis that physical fashion shows may be made “extinct by digital substitutes within the next few years,” doesn’t seem too far outside the realm of possibility. This London fashion week, Clements Ribeiro—the Natalie Massenet-mentored ready-to-wear brand designed by Suzanne Clements and Inacio Ribeiro—will be joining the crop of labels that are debuting their collections via the Internet.
On Saturday at 2 p.m. GST, Clements Ribeiro’s Spring ’14 range goes up digitally, coinciding with the launch of its new Web site, which comes with bells and whistles that cater to industry insiders and fashion fans alike. The buyers can fill their orders (the financing of which will be neatly handled by clever software), the press can view lookbooks, and fiercely loyal customers can buy online.
“It is unquestionable that fashion shows are a powerful tool for many brands—but there are just too many shows,” offered Ribeiro. “We found there is a better way to serve the entire chain. Yes, for sure, there is less adrenaline than a live runway show, but also less pressure. And from experience, this is how our clients want it—steady as she goes.” The Clements Ribeiro model is one of the first case studies for the British Fashion Council’s new digital department, and will also include a social media element. The designers will be available for a live Q&A via Twitter during the presentation, using the hashtag #CRSS14LIVE, and will be chilling in a Google hangout. For the brand, going online was a logical next move, since 60 percent of its sales were from the Internet anyway.
The label’s latest offering, an exclusive preview of which debuts here, is inspired by Ribeiro’s native Brazil. Spring ’14 is all about monochrome meeting pattern—the Girl from Ipanema turned bookish. The models featured in the designers’ Spring lookbook are pictured leaping barefoot, which, to Ribeiro, is a perfect representation of the brand. “I feel that we too are jumping—in leaps and bounds—to our next steps.”
At 8 a.m. on Sunday morning, the Camera Nazionale della Moda Italiana held a press conference at which attendance had been all but mandated weeks in advance. The early, un-Italian hour was no doubt meant to indicate the seriousness of the occasion, as was a lineup of speakers that included Patrizio Bertelli, Diego Della Valle, and Gildo Zegna, all of whom have joined the organization’s new board. Essentially, these captains of one of Italy’s most important and cherished industries have banded together to reinvigorate Milan’s increasingly hidebound fashion weeks. “I’ve heard the word boring,” Zegna acknowledged, though he insisted that wasn’t the case. The speeches were heavy on sweeping statements and light on concrete details, which provoked the assembly of sleep-deprived journalists into a volley of probing questions. Bertelli had earlier compared his fellow board members to “senators of fashion,” and he might have been thinking, Et tu, Suzy? as the International New York Times‘ Suzy Menkes led a round of interrogation into everything from Milan’s inhospitality to young designers to its perceived shortcomings on the digital front. Bertelli is no pushover, and he gave as good as he got. When a French journalist asked why we were only hearing from old men (Angela Missoni was a mostly silent presence on the board today), the Prada CEO told him he’d be a dangerous old man himself if he didn’t change his attitude, and then unexpectedly pointed out that Italy was the first country to abolish slavery, in the 1300s. By the end, one attendee was muttering, “Business as usual,” but if the first step to recovery is admitting you have a problem, then today’s announcement should be welcomed as a positive development. Certainly there is enough firepower and entrepreneurial know-how on this new board to solve world peace, let alone bring new energy to a fashion week. Zegna stressed that the process would be a dialogue and said suggestions would be encouraged. In that spirit, here are seven modest proposals for improving Milan fashion week.
1. Lure young, international designers to Milan.
Menkes wondered how Milan would be replacing Burberry and Alexander McQueen, two brands that have recently decamped back to their native London. But the city’s relatively uncrowded schedule could be one of its biggest assets. Given how ridiculously packed the New York and, increasingly, London and Paris schedules have become, you would think any number of hot young brands could be persuaded to believe that they’d have a better chance of standing out in Milan. If access to Italy’s unparalleled production expertise were thrown in as part of the deal, who could resist?
2. Take the show on the road.
The British Fashion Council and, to some extent, the U.S.-based CFDA have done a good job of promoting their designers abroad. As part of the London Showrooms events, a dozen young U.K. talents have even careened around Hong Kong together on a bus. While there are barely enough young Milan-based designers to fill a Smart car let alone a minibus, and its more established designers are already well known internationally, it shouldn’t be too hard to come up with the right kind of touring exhibition. Picture a mix of up-and-comers such as Umit Benan, Andrea Pompilio, and Fausto Puglisi; some cult brands like MP Massimo Piombo and Aspesi; and a couple of designer offshoots like Versace’s Versus line and Lapo Elkann’s highly covetable new made-to-measure collaboration with Gucci—all introduced by a charming, high-profile figure (yes, we’re talking to you, Lapo). That would go some way to showing the rest of the world the extent of Italy’s ambitions. Continue Reading “Seven Suggestions For Improving Milan Fashion Week” »
After parting ways with Emanuel Ungaro back in 2009, Esteban Cortázar revived his namesake line with the help of Net-a-Porter‘s Natalie Massenet and co. They gave him the opportunity to create an exclusive capsule that launched last September, and now they’ve invited him back for a second season. At a preview of the sophomore range, which will be available beginning July 3, the Colombian-born designer explained, “I’m putting all of myself and my past experiences into this new journey, and [Net-a-Porter has] given me all the freedom and confidence to experiment.” Cortázar created eighteen pieces (maxing out at $1,900) that explore the lines and the curves of the female form via body-con silhouettes and architectural cutouts. A stretchy double-faced cady sheath came with a capelet that bisected and highlighted the décolleté (Shala Monroque debuted the look at the Chloé party earlier this week), for example, while long-and-lean jumpsuits featured stingray details reportedly inspired by a migration of manta rays. There were several sportier pieces, like a deconstructed tunic that had a sweatshirt-like ease and a dramatic stone-colored gown with a stretchy, armor-esque bodice and a structured skirt that flowed into a cascading train. The jewelry here, which was done in collaboration with Alican Icoz, completed the total look. Gold contour collars that wrapped around the nape were reminiscent of stingray barbs, while knuckle rings and chokers could’ve passed for medical equipment.
The images from Cortázar’s second capsule for Net-a-Porter debut here on Style.com.