157 posts tagged "Prada"
Milanese runways are feeling the heat, as troves of Italy’s presenters this menswear season have rendered sunset-inspired motifs on their wares, from ombré fadeaways to photo-realistic Atlantic twilights.
Calvin Klein‘s Italo Zucchelli showed a brilliant jumper aflame in solar fuchsia—a depiction of the view from his Fire Island summer home (above, right). Zucchelli also looked to James Turrell’s light sculptures—a timely nod, considering the artist’s much-hyped summer installation at New York’s Guggenheim Museum. Moschino, too, lensed a vivid, filmic gloaming on a range of bathing suits.
Dame Vivienne Westwood sent her boys to a sort of pan-global beach town, lending a sun-kissed casualness to her agitprop beat. One periwinkle-turned-rose-petal top caught our eye in particular. But it was Fendi‘s blur on a simple silken T-shirt that won the ombré challenge, hazily recalling a scorching desert (above, left).
And then there’s Prada (above, center). Miuccia gamely explored the underbelly of paradises then and now—spurring thoughts of wartime Vietnam (helicopters on the soundtrack) and seedy Honolulu racketeers. A series of bombers—heat-pressed with dusk-time littoral snapshots—perfectly encapsulated Prada’s ominous tropical sundown.
Richard Haines is somewhat of a fashion-week anomaly—he’s a 61-year-old illustrator with a blog. In a past life, he was a womenswear designer for some of America’s biggest brands, such as Calvin Klein, Bill Blass, Perry Ellis, and Puff Daddy, but he threw all that in to focus on art in the digital age. He quickly gained traction, getting hired by everyone from J.Crew to The New York Times for his ability to make guys look far cooler on paper than they do in real life (you can only imagine what he does for models at runway shows). And recently, he received the ultimate validation: a gig illustrating Prada’s menswear collections, the fruits of which were released in book and T-shirt form. Haines gave us a sneak peek at his Spring ’14 illustrations from Prada (below, left), Jil Sander (below, right), and Andrea Incontri (bottom), which debut exclusively here. And below, the talent talks about flying on private jets with Calvin Klein, life as a blogger, and that one time three days ago when Beppe Modenese mistook him for Bill Cunningham.
When did you first come to the shows and what’s changed since then?
Eighteen thirty-four [laughs]. I went to Paris fashion week in the early eighties, when I was designing, and a friend of mine, who was the editor of New York magazine, would take me to shows like Claude Montana and Thierry Mugler. It was this amazing moment in Paris. Back then I saw womenswear, now I see menswear, so the scale of the audience is different. The biggest thing [then] was this trend of sending out, like, eight models in the same outfit all at once. It was very dramatic, and that doesn’t seem to happen now. If anything, it’s gotten more intimate and more manageable. But the media has made fashion week very different, which is fascinating.
I’ve heard you say that people were dropping a lot more money back in those days.
Yeah, it was a different time. It was easier to be in the fashion business, because there weren’t these constant collections to do. The stakes weren’t as high, and people did it with a lot more money. Now, there are more brands competing for less money. A couple of years after I started going to the collections in Paris, I was working at Calvin Klein, and it was a privately owned company—it was his company—so if he wanted to charter a jet, he would. We’d go to London and then the fabric shows in Milan, and then we’d go to Lake Como and stay at the Villa d’Este. It wasn’t bad.
What’s it like being one of the only illustrators at the shows?
I love doing it. There’s something really exciting about sitting down and watching someone present and being able to draw it. I don’t think about whether I’m one of the only people doing this. I just love doing it, and it makes me happy. I just keep going.
What are your fashion-week essentials?
I inevitably always forget one thing. I have little cases where I carry charcoal pencils, Moleskine notebooks—which reminds me, I need to buy a new one today—a charger for my cell phone, antidepressants…. And that’s it. When I first started doing this, I would forget paper, and I started drawing on envelopes and show notes and people loved that, so sometimes it works to my advantage. Continue Reading “Quick to the Draw: A Moment With Richard Haines” »
You’d think that, after working with Madonna for 15 years, Arianne Phillips would have seen it all. But Phillips, the stylist and costume designer behind a decade and a half of Madonna videos and performances, as well as films like Walk the Line and W.E., says that the pop star’s 2012 MDNA world tour was like nothing she had ever experienced. “There were an epic amount, a tsunami, of costumes,” Phillips told Style.com of the show’s wardrobe, which included an updated iteration of Madonna’s iconic cone bra by Jean Paul Gaultier. “And we aren’t talking tennis shoes and sneakers—it’s costume and fashion.” Prior to the premiere of Madonna: The MDNA Tour, a documentary that airs on Epix tonight at 8 p.m., Phillips, who’s currently in London working on a new film, talked to Style.com about the MDNA costumes, Madonna’s collaboration with Jean Paul Gaultier, and what it takes to put on an unforgettable show.
Where do you begin when designing costumes for Madonna?
Well, it always starts with the music, of course, and usually Madonna crafts a set list that’s part of a narrative. It’s a story with a beginning, middle, and end. This show was really about transformation. Each act had a different theme and costume had a purpose. This tour with her was definitely the biggest undertaking I have been a part of—on the technical side and on the conceptual side. It’s one thing to just design a costume for Madonna herself, but if you think about it, we had 23 dancers, five band members, and two background singers. And everyone requires multiple costume changes.
How do the costumes help express the show’s narrative?
We think of it as characters, and [Madonna] is playing a part. That character requires development and visuals in addition to the songs she’s singing. In the beginning of the show, she comes out dressed like a queen in a crown with a machine gun. She takes that off to reveal this super-vixen character that we kind of debuted in the “Girl Gone Wild” video. The next act is all about expression and having a message, and it opens up with “Express Yourself.” She’s wearing this homage to a forties majorette. The third act is “Vogue,” and it’s all about identity and gender-bending—iconic Madonna. She’s trying to figure out who she is again. And in the end, it’s a celebration, and she transforms into this powerful Joan of Arc character. Everyone is wearing mesh T-shirts, and it’s just like a really fun party. The tour gave her an opportunity to take classic songs like “Papa Don’t Preach” and give them a new twist. She has been performing these same songs forever, but she’s the queen of reinvention, and she creates an entertaining concept for the shows that keeps it interesting and relevant. The costumes have to underscore that, and they have to provoke and entertain.
How many costume changes did Madonna do throughout the course of the show?
The costumes are part of the choreography, so we have a lot of quick changes, and people are literally changing clothes under the stage. Madonna changes full costumes about four times. But then, for instance, for the “Vogue” act, she comes out in the Gaultier corset and then she disrobes. So by the end of the act, when she sings “Like a Virgin,” she is in a corset and a bra, and she has done different songs in different deconstructions of the outfit. So her costumes change for almost every song.
The Cannes Film Festival got underway today. It’s a fabulous time for red carpet watchers; actresses play it faster and looser in the South of France than they seem to anywhere else—see our Cannes Diary for proof. But the fashion will really heat up on May 23, when amfAR is hosting its 20th anniversary Cinema Against AIDS event. The centerpiece of this year’s gala will be Carine Roitfeld’s The Ultimate Gold Collection Fashion Show, which, as its name suggests, will showcase one-of-a-kind dresses and jewels all in gold. Here, an exclusive look at three of the pieces in the show—a Prada hourglass number worthy of Liz Taylor (above), bracelets by Wright & Teague, and an Anndra Neen clutch (below)–as depicted by one of fashion’s favorite illustrators Lula Herself. LoveGold.com will host a livestream of the runway show, and Roitfeld and her CR Fashion Book team are posting daily Instagram updates on #lovegoldcannes. Continue Reading “Cannes’ Gold Rush” »