50 posts tagged "Nicolas Ghesquiere"
Nicolas Ghesquière’s name has become synonymous with Balenciaga over the 15 years he’s been creative director, which made today’s announcement that he and the house are parting ways at the end of this month as shocking as it is abrupt. Just days after his Spring ’13 show in September, Style.com’s Jo-Ann Furniss sat down with Ghesquière at a photo studio outside of Paris to discuss his tenure at the label and the standout collection, while Alasdair McLellan shot a handful of Ghesquière’s favorite models in the new looks. The full story is in the new issue of Style.com/Print (on stands today, or order online here); Furniss’ profile and a few images from McLellan’s portfolio are now online here. “That’s the thing in fashion,” Ghesquière said, “if you do not move, then you are dead.” No telling what his next move will be; for now, there’s only the testament of his collections. More than a decade’s worth are archived on Style.com here.
Nicolas Ghesquière may have been thinking ballet when he designed his Resort 2013 collection for Balenciaga, but when it came time to create a video for the season, his mind had turned to opera. Specifically Malcolm McLaren’s pop opera Madame Butterfly. If you haven’t seen McLaren’s video in a while, or weren’t around when it debuted in 1984, it’s worth a watch. It’s almost as gorgeous as the Steven Meisel-shot clip we’re premiering online here today.
Balenciaga‘s Nicolas Ghesquière found himself inspired by the late-seventies and early-eighties France for his latest pre-fall collection. He updated the looks with animal-print patchwork and silk and added sharp tailoring to the blazers and trenches. Here, in this new short film by Steven Meisel, styled by Marie-Amélie Sauvé and art directed by House and Holme, catch the looks in action. The video can also be viewed on Balenciaga.com.
Prabal Gurung Takes The Reins At ICB, Designers At Midlife, Spring (Campaigns) Are In The Air, And More…
The Japanese label ICB, formerly designed by Michael Kors and then Victor & Rolf, stopped distribution in the West in 2002, but it will soon be back on these shores. Owning company Onward Kashiyama has announced that Prabal Gurung will helm the relaunch of the collection in U.S. and Europe, beginning here in Fall 2012. [WWD]
In 2011, designers of major labels, including Haider Ackermann, Christopher Bailey, and Nicolas Ghesquière, hit milestone “big O” birthdays (they all turned 40). In the NYT, Suzy Menkes points out that the battle of generations of designers of all ages, however, is a thing to celebrate. [NYT]
The Spring campaigns are upon us! Fashionologie rounds up the best of what’s out now, featuring star turns from Karlie Kloss, Alessandra Ambrosio, Miranda Kerr, and Julia Stegner. [Fashionologie]
Julia Restoin-Roitfeld designed her own collection of lingerie for Kiki de Montparnasse—and pregnancy or no pregnancy, she’s gonna model it, too. [Elle]
Before striking out on her own, Bouchra Jarrar was behind the scenes for the rise of Balenciaga’s ready-to-wear as well as the twilight of Christian Lacroix’s couture. When she launched her own label in 2009, she opted to show her collections during Paris’ Haute Couture week, in testament to the couture-style approach she favors. But she’s always been part of the ready-to-wear world, too: Her line is stocked at enviable retailers like Ikram, Jeffrey, Bergdorf Goodman, and Kirna Zabête. Now, thanks to that growing international presence—and one very visible credit, on the cover of French Elle—Jarrar is keeping her slot on the couture calendar, but adding a version of her namesake show to the RTW week, too, with a handful of new pieces and a bag thrown in for good measure. Style.com checked in with Jarrar at her new atelier and boutique to discuss the old and the new, what she learned under Nicolas Ghesquière, and the eternal allure of the little black dress.
Tell me about seeing your dress on the cover of Elle. Was it a defining moment for you?
I did not know that was going to happen. At all. It was a tremendous moment for me. I felt it was real encouragement. Fashion is hard work. Creation doesn’t just fall from the sky. And it was really powerful to see the magazine place a bet on the future. But it’s not like you’ve arrived; the bar is constantly placed higher, and you have to reach it. Anyway, we got a lot of calls about that dress. Funnily enough, we did not sell any in Paris—we sold a lot in the U.S.
Will it become a recurring piece in your collections?
Yes, but in any case I don’t kill off my collections. We’re a small house, so we leave the door open in case a client wants it. For us, this “new couture” approach is very of the moment.
That’s interesting. So many designers today are going the opposite direction, promoting branding and mass distribution—more, more, more. You’re harkening back to an older model.
I feel at home with the notion of being a fifties-style couturier, who likes to work with the fabric and sew in general, enjoys the process of thinking through “one fashion.” We function like a couture house; half of what I do is artisanal and that implies lots of time. In that sense I feel like I am swimming against the current. But that’s also reassuring because I feel like I am working with profound respect for women. It’s not about power, prestige, or money. The idea of taking a magnificent name, filling it with fast fashion, and calling it luxury says nothing to me. Personally, my definition of success centers on the human aspect. Continue Reading “A “New Couture” Approach, From A Designer Perched Between Ready-To-Wear And Haute” »