4 posts tagged "Paloma Picasso"
In September, just before Milan fashion week, 10 Corso Como’s Galleria Carla Sozzani will pay tribute to Tony Viramontes, one of the most revered fashion illustrators of the seventies and eighties. Hailing from Los Angeles, Viramontes worked with everyone from Givenchy, Yves Saint Laurent, Pierre Cardin, and the House of Dior to Donna Summer, Duran Duran, Janet Jackson, and Paloma Picasso. His high-impact drawings—a product of what the artist, who died of AIDS in 1988, once described as “a state of creative anxiety and insecurity”—stood out for their sassy, sensual punch, and his images’ vivid palettes, moody shading, and extreme expressions seamlessly captured the glamour of the era. Titled “Tony Viramontes: Bold, Beautiful, and Damned,” the exhibition will run from September 6 to November 3, 2013.
“My aesthetic is about motion that creates…attitude,” says handbag designer Renaud Pellegrino. Considering that his signature Sac Danseuse features multicolored satin panels and two pairs of golden ballet slippers that seemingly kick out of the base, we’d say that’s a pretty apt analysis. Pellegrino may not be a household name, but the Paris-based designer, who counts Catherine Deneuve, Paloma Picasso, and Lauren Bacall as fans of his hyper-luxurious handmade clutches, evening bags, and minaudières, has been catering to the haute set for decades. In fact, 2013 marks the 30th anniversary of his eponymous range. And it’s a particularly sweet birthday, too, since he recently opened a plush new boutique on rue Saint-Honoré after nearly shuttering for good in 2009 (long story, his former parent company got into a financial kerfuffle, but L’Atelier du Maroquinier scooped him up). “I do feel happy to see that shapes that I created 30 years ago are still relevant,” says the designer. “My warmest memories are precious moments shared with [pleased] customers—famous or not.”According to Pellegrino, who actually got his start designing handbags for Yves Saint Laurent in the mid-seventies, “lightness, functionality, and proportion” are the three most important qualities in a handbag. A more visible focus, however, is his vivid use of geometric blocks of color. For instance, his Fall ’13 palette ranges from fuchsia, moss, and lemon to burnt orange, lavender, and champagne. “I swim in [colors],” he tells Style.com. “For me, the most exciting thing in a collection is when I have to choose the colors and decide how to mix them—when all the colors are like explosions for your eyes.” His graphic wares, many of which were snapped on the street by Tommy Ton during the recent Paris shows, are of the timeless variety. With its clean lines, Pellegrino’s Fall ’13 satin box clutch—each side of which is shown in a different hue—feels like a modern burst of energy. However, his Sac Danseuse and equally classic Sac Cardinal—both of which have been reissued in celebration of the anniversary—feel fresher than ever.Renaud Pellegrino is located at 149, Rue Saint Honoré, 75001, Paris; +33-1-42-61-75-32.
Fashion wasn’t built in a day. The industry obsessed with what’s new and what’s next has, of course, a long history, and no one knows it better than Olivier Saillard, curator at the Louvre’s Musée des Arts Décoratifs. (In May, he’ll decamp from the Louvre to take a post at the Musée Galliera, Paris’ museum of fashion.) Saillard’s latest show presents “an ideal history of contemporary fashion” of the seventies and eighties, seen through films of the era’s shows and television reports. The curator spoke to Style.com about the scandals and successes of the period, as well as the holy grail of eighties shows—the Paris debut of Comme des Garçons, of course.
What was going on in fashion in the seventies and eighties?
The exhibition starts in 1971 with Yves Saint Laurent’s collection Hommage aux Années 40 [Homage to the Forties, pictured]. It caused a scandal in France. The short skirts, broad shoulders, and platform shoes [of the 1940′s] were a reaction to the Nazi occupation of Paris during WWII. Frenchwomen made skirts out of their curtains, wore men’s tailored jackets, and put their hair in turbans. The look was arrogant, rather than the neutral style one would expect from the women of an occupied country.
The collection was scandalous in France because YSL’s couture clients in ’71 did not want to remember what they had lived through and the clothes they had worn. It was their daughters, young women like Paloma Picasso, who had started wearing forties clothes from the flea market and turbans, that inspired Saint Laurent. This show went on to inspire Jean Paul Gaultier, who turned the forties into eighties style, and [later] Maison Martin Margiela, who evoked the forties in the nineties. Yves Saint Laurent’s 1971 collection was the first time the forties had been revived in fashion, although Karl Lagerfeld at Chloé was doing collections inspired by thirties Art Deco.
Do you have favorite shows from the time period?
My favorite show from the seventies is the Spring 1972 group show with Kenzo, Dorothée Bis, and Chantal Thomass for Ter et Bantine. Jacqueline Jacobson of Dorothée Bis and Chantal Thomass were both immensely popular designers at the time. The show was held at Salle Wagram, an old Paris dance hall, staged by Argentinean director Alfredo Arias with Donna Jordan [a seventies model and Warhol superstar] as the guest star. The fact that these designers showed together was amazing—I don’t think that could happen today. And my favorite from the eighties is Marc Audibet’s Fall 1986 show. Audibet introduced elasticity in clothing. He perfected the use of Lycra and put stretch into the fashion vocabulary. His vision was romantic and completely different than the S&M hourglass chic of Thierry Mugler and Claude Montana, which reigned at the time. And Audibet’s show featured a new soundtrack for fashion, the spellbinding, repetitive music of contemporary composers Philip Glass and Steve Reich.
I’m a jewelry girl—and more than any other pieces, giant, chunky cocktail rings are at the top of my list, the bigger, bolder, and more colorful, the better. But after seeing the glut of them over the past few years, the style doesn’t seem as fresh to me as it used to. I’ll never give them up for good, but now I’m feeling the forgotten pinky ring. It’s an unexpected accessory, and as I’ve been adding more classic and neutral pieces to my wardrobe these last few seasons, I’ve found it adds the kick of surprise I’ve been looking for. Last week, I saw a gorgeous collection of diamond-encrusted pinky rings from the Taiwanese designer Cindy Chao. Those’ll be available in September at Bergdorf Goodman, and they’re to die for. But in the meantime, here are a few favorites in stores now, from Bulgari’s classic coin ring to a chic new way to wear your heart on your sleeve—I mean, pinky.
Left to right: Paloma Picasso for Tiffany Double Modern gold ring, $2,250, available at www.tiffany.com; Ileana Makri pink gold skull ring with diamonds, $3,285, available at www.barneys.com; Bulgari coin ring, $4,450, available at www.bulgari.com.