4 posts tagged "Nathalie Rykiel"
Following the likes of recent Dorchester Collection Fashion Prize winners like Thomas Tait and Anndra Neen‘s Phoebe and Annette Stephens, designers Annelie Augustin (pictured, left) and Odély Teboul (pictured, right) of Paris-based label Augustin Teboul have been announced as the prestigious award’s 2012 winners. The duo’s all-black collection won over the judging panel, made up of designers like Kenzo Takada, Bruno Frisoni (pictured, center), and Nathalie Rykiel, last night at Hôtel Plaza Athénée in Paris. The two beat out rising labels such as Calla, IRM Design, Les Garçons Paris, and Quentin Veron for the $39,000 prize. “We are very moved,” Teboul told WWD. “At the moment, Annelie and I do everything ourselves.” If Tait and the Anndra Neen girls are any example, then that won’t be the case for Augustin Teboul much longer thanks to their new funds to amp up their studio staff. Watch this space.
It’s been a good few years for Sonia Rykiel. At its Spring ’09 show in Paris, the family-owned, family-run label celebrated its 40th year in business with an exuberant homage: a surprise show-within-the-show featuring Rykiel-inspired looks designed by the likes of Karl Lagerfeld, Martin Margiela, Giorgio Armani, and many others. Not long thereafter, Rizzoli published a history of the house, and not long after that, H&M announced that they would be collaborating with the brand on two collections. The first, a range of lingerie, debuted at the end of 2009; the second, a collection of accessories and signature Rykiel knits for women and girls, launches worldwide on February 20. Sonia Rykiel artistic director Nathalie Rykiel (pictured) was in town last night to preview the looks and took a few minutes to speak with Style.com about expensive clothes, free women, and why she can’t stop thinking about tomorrow.
How did the H&M collaboration come about?
Well, they called to ask if we were interested, and the answer was obvious.
Because of the Rykiel philosophy. I love that we are part of this wonderful fashion universe, which is full of beautiful things that are very expensive. It’s fantastic to make women dream. But I had frustrations. You know, my mother, she was the first couturier to make ready-to-wear clothes that were affordable. Her original customers, who were very well-off, bourgeois, they didn’t like that at first—that a secretary could also be wearing Rykiel. But my mother decided, Rykiel is for everyone. That attitude is part of the brand. And so for that reason, working with H&M, it was obvious.
Sonia Rykiel celebrated its 40th anniversary last year. The brand has remained remarkably consistent over the years—you can see that in the book Sonia Rykiel—but do you think the woman who buys Sonia Rykiel has changed?
Yes and no. Sonia Rykiel has always been designed for the woman who is free. This is still true. What has changed, of course, is the context. The woman who buys Rykiel now is incredibly well educated about fashion, thanks to the media, and she is spoiled, in a good way, by the offer of products that exists today. And so, whereas in the beginning of Rykiel, you would see women who dressed in Rykiel head-to-toe—coat, hat, even shoes—now Rykiel is part of a wardrobe. The Rykiel woman loves to shop and she loves to mix. Even I do it. I’ll wear Rykiel with Prada, for instance. It’s the modern way. But there is still this attraction to the brand, a connection to what makes it distinct.
Marc Jacobs, American in Paris, was decorated as a Chevalier des Arts et des Lettres in France, alongside Nathalie Rykiel, creative director of Sonia Rykiel. Jacobs delivered a grateful acceptance speech in French, and even traded in his usual skirt for a suit for the occasion. [WWD]
Couture’s only been going on for a few hours, but already its tiniest correspondent, blogger Tavi, is causing drama: A tweeting reporter from Grazia Daily complains that the 13-year-old’s enormous hat is obstructing the views of those not lucky enough to be front-row. [Racked]
Friday night saw the final episode of the Conan O’Brien-helmed Late Show, but the grassroots pro-Conan campaigns are bound to continue. Amid a flurry of “I’m With Coco” signs and sites plastered with images of the redhead, Modelinia weighs in its support for a fellow ginger Coco—Coco Rocha. Well, she does do some TV. [Modelinia]
Finally, a tantalizing little tidbit from the Paris men’s shows: Apparently Pharrell approached Alber Elbaz after the Lanvin presentation to offer his services to the brand. Consider Lanvin’s beats now spoken for. [WWD]
There’s fiction—Ugly Betty, The Devil Wears Prada. There’s “reality”—Project Runway, America’s Next Top Model, The Rachel Zoe Show, and so on, ad nauseum. Now comes reality. Tomorrow night, the Sundance Channel debuts The Day Before, a documentary series portraying the final hours before the Sonia Rykiel, Proenza Schouler, Fendi, and Gaultier Haute Couture fashion shows. Commanding access that should make the hair of any fashion aspirant stand on end, director Loïc Prigent takes pains to show the real life of fashion, as sublime, as surreal, as high-stakes and as prosaic as it is, day-to-day. Dresses unsewn mere minutes before the lights go up on the catwalk. Missing models. Technical mishaps. Whacked-out seamstresses staging a 1 a.m. runway show. Alongside The September Issue, the series effectively counterpunches the prevailing public image of fashion people as a community of shopaholic psychotics, replacing it with something richer, stranger, and—yes—realer. Prigent himself is no stranger to the scene behind the scenes: Together with Agnès Boulard, Prigent produces a popular fashion-themed show for French television, and he directed the the miniseries Signé Chanel and the documentary Marc Jacobs & Louis Vuitton, both of which previously aired on the Sundance Channel. This evening, the network fêtes The Day Before, and the multi-platform Full Frontal Fashion initiative it tentpoles, with a party hosted by Nathalie Rykiel and Lazaro Hernandez and Jack McCollough of Proenza Schouler. Here, the director talks to Style.com about fashion geekdom, fur machismo, and filming for a nation of drama queens.
OK, I have to start by asking—how on earth did you convince these designers to let you and your camera crews in on their last-minute show preparations? That’s a high-pressure situation as is. And for that matter, how on earth did you convince Karl Lagerfeld and Marc Jacobs to let you follow them around—camera in tow—for months on end?
You know, I think the decisive moment, when I began really to have access to this world, was at the first show of Tom Ford for Yves Saint Laurent. Everyone else was filming the celebrities, but I had always one eye for Yves Saint Laurent, because he was there in the front row, and I was like, totally starstruck. And so I never panned to the movie stars, I just kept my camera rolling on Monsieur Saint Laurent. The mic was on, and I got Monsieur Saint Laurent saying to Bernard Arnault, “Monsieur Arnault, please get us out of this scam.” But in French, he used a very bad word—not a word you would expect out of Yves Saint Laurent. Of course, he was referring to Tom Ford coming to Yves Saint Laurent, and the Gucci Group buying the label, and he was upset about all this. A very revealing conversation. And everyone was like, “Oh my God, you can’t use that!” But to me, I mean, Monsieur Saint Laurent had never spoke about any of this in public, and it was such a great story, I had to use it. So, since then, it seems like people give me more access.
Continue Reading “A Conversation With Loïc Prigent, Fashion Geek” »