50 posts tagged "Peter Pilotto"
After losing track of the subzero temperatures and snow accumulation, all anyone can talk about is escaping to a far-flung, 90-degree locale. Prepare for some serious Instagram envy. Luckily, stores are beginning to stock all of our favorite Spring ’14 goods, including a vast array of vacation-ready botanical prints. Splashy florals and ultra-saturated hues will no doubt snap you out of the winter blues. And rest assured: These wares will look just as good for a night out in the city as they will in some warm weather getaway. Shop our favorite tropical prints by Reed Krakoff, Peter Pilotto, Illesteva, and more, below.
1. Illesteva Leonard round-frame acetate mirrored sunglasses, $180, available at net-a-porter.com
2. Reed Krakoff Atlantique mini flora-print leather tote, $1,690, available at net-a-porter.com
3. NARS lipstick in Heat Wave, $26, available at sephora.com
4. J.Crew Falsetto printed leather pumps in brilliant purple, $278, available at jcrew.com
5. Peter Pilotto Kristen printed textured cotton-blend dress, $2,055, available at net-a-porter.com
The Fall ’14 Ready-to-Wear collections are under way in London, and will be followed by the shows in Milan and Paris. Before the new clothes hit the runway, we’ve asked some of the most anticipated names to offer a sneak peek. Per usual, it’s a busy time for all—designers and fashion followers alike—so we’re continuing our split-second previews: tweet-length at 140 characters or less. Our entire collection of Fall ’14 previews is available here.
WHO: Peter Pilotto, designed by Peter Pilotto and Christopher De Vos
WHEN: Monday, February 17
WHAT: “Frozen, mavericks, waves.” —Peter Pilotto. The designer sent us a Fall ’14 inspiration image, above.
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.
Peter Pilotto is having quite a year—and it’s only February. Today, Peter Pilotto and Christopher de Vos, the digital-print masters behind the brand, have won the 2014 BFC/Vogue Designer Fashion Fund, which includes a yearlong mentoring program and hefty £200,000 grant. Pilotto and De Vos were up against ready-to-wear designers Emilia Wickstead, Mary Katrantzou, Osman, Zoë Jordan, and House of Holland, and join the ranks of previous winners like Christopher Kane, Erdem, Jonathan Saunders, and 2013 champ Nicholas Kirkwood, who sold a majority stake of his brand to LVMH less than a year after his victory. With a hotly anticipated Target collaboration hitting stores on February 9, Peter Pilotto’s potential for total world domination is looking good. If Target’s website crashes, they’ll know they’ve really made it.
London-based label Peter Pilotto, made up of Pilotto and best friend Christopher De Vos, is known for its kaleidoscopic, futuristic, printed looks. The pair’s work is intensely intricate and, quite often, computer engineered. On February 9, they’ll follow in the footsteps of designers like Phillip Lim and Prabal Gurung when they bring their neon-hued, digi-printed womenswear to the masses via a hotly anticipated collaboration with Target. The beachy seventy-piece capsule comprises trapezoidal-cut swimwear; some very boardwalk-to-street Vans-style trainers; lots of feminine, floral-layered hoop skirts; and some rash-guard-inspired separates. The range, which is priced between $14.99 and $79.99, will be the first of Target’s designer collaborations to be sold on Net-a-Porter—a testament to the quality of the work. Also a testament to the collection? Its campaign cast—not just anybody can get Jessica Stam and Jourdan Dunn to strike a pose. The latter’s ad (above), as well as a behind-the-scenes video (below), debut exclusively here.
We sat down with Pilotto and De Vos to discuss the origins of the Target project; how they translated their detailed, techy designs within the constraints of a mass price-point; and why, at the end of the day, it’s all about the color.
How did Target approach you?
Peter Pilotto: Somebody set up the meeting, and we were like, ‘Oh, that’s great.’ We always knew about Target, obviously. We didn’t have to think much. When they asked us if we really wanted to do it, we were like, “Yeah, sure!” And the whole process was extremely pleasant. They gave us the freedom to do what we liked.
Christopher De Vos: We’re excited that, with this collaboration, we can reach a whole new audience.
PP: And we hope to reach a big audience age-wise, too—from the 15-year-old girl to the 75-year-old woman.
What was the concept behind the collection? And did you find it difficult to translate your vision to fit within the Target price point?
PP: The swimwear was the starting point. We wanted something very signature to our brand but translated in a different way—something very energetic, joyful, summery, and vibrant. We liked the idea so much that you could have a swimwear look and a skirt, and you could build up your look from beach to street.
CDV: We made almost like a rash guard, and you can wear it with a swimsuit and take off your skirt and wear it to the beach. That was the whole idea. We also analyzed our color combinations and how we could translate those. Obviously, there were limitations because of price point, but I think those limitations pushed us to do new things. And while we had to rethink our usual fabrications, we feel it’s very us.
PP: And it was exciting to work in a different way within the systems that were right for Target. We couldn’t do the engineered print that we’re used to doing, so instead, we used seams and worked on layered versions of all of our prints. I guess the collaboration was the highest amount of prints they ever did. I think often, it’s especially stimulating when you have constraints.
The palette is very in tune with what you usually send down the runway.
CDV: I think if we weren’t based in London, we’d do everything in black. But because the weather’s so gray, we’re longing for something colorful.
There is so much color coming out of London, despite all the fog.
PP: It’s very inspiring. And East London, where all the designers are based, all the artists, everybody—it’s a really good spot because of the interesting, the mix of people.
CDV: We feel like we live in a village.
Can you tell us what you have planned for Fall ’14?
PP: I think with our Spring ’14 collection, we wanted to translate our signature ideas in new ways, so we did a lot of lace and embroidery. While we’re known for the print, there is actually so much more now that we’re busy with besides the print that we love to do. It’s all about the desire for color that we try to express in different ways. Last season, we worked with lace that was engineered like the print was in the past—there were color layouts that were made in the lace, layered with print underneath. We want to explore that further, and push those techniques for Fall.
When you’re conceptualizing a collection, where do you normally begin? With this Target collaboration, you were talking about the swimwear. But is it color? Is it silhouette?
CDV: It always starts with colors. Then it’s a constant dialogue. We work together. We make every decision together. And it’s a journey through the seasons.