17 posts tagged "Rizzoli"
“Our cover situation is drastic…We are on the verge of a drastic emergency.” So reads the first entry in the latest Diana Vreeland tome, Memos: The Vogue Years. Compiled by Vreeland’s grandson Alexander (the husband of Lisa Immordino Vreeland, who directed The Eye Has to Travel), the book features more than 250 of Vreeland’s infamous notes from her time at Vogue, which she’d dictate over the phone to her secretary while puffing on cigarettes in a wicker chair in the bathroom of her Park Avenue apartment. This, Alexander told us, was her preferred mode of communication. “She didn’t believe in meetings,” he said. His assertion is backed up by Diana’s memo to the Vogue team on page fifty-nine, in which she considers holding a meeting about the “controversial” topic of dress lengths, but resolves, “Usually, when we have meetings, we don’t get ideas and views from people.”
But it wasn’t just her staff whom she’d confront about everything from the importance of pearls and bangles to her annoyance with the mistreatment of her initials in her editor’s letter (above), to the necessity that Vogue‘s spreads “never, ever copy…any kind of coiffure that is reminiscent of the 30s, 40s, 50s,” via her rapier dictations. The book—which is available now from Rizzoli—also includes her correspondences with the likes of Richard (or Dick, as she called him) Avedon, Irving Penn (to whom she complains about lackluster tulips), Cecil Beaton, Cristobal Balenciaga (above), Halston, Veruschka, and beyond. Continue Reading “Did You Get The Memo? Diana Vreeland In Her Own Words” »
“Most people today think of Perry Ellis as a brand,” said menswear designer Jeffrey Banks, the co-author (with Doria De La Chapelle and Erica Lennard) of the new Rizzoli monograph, Perry Ellis: An American Original , of his late friend and colleague. “They don’t realize there was a real person named Perry Ellis. And that he was such an incredible influencer—he never followed other designers. He did what he believed in.”
The book, which will launch this evening alongside a one-night-only exhibition of Ellis’ finest designs at Parsons The New School For Design, traces the sportswear enthusiast’s all-too-short career (he died at age 46) with an aim to change that. A forward by former Perry Ellis designer Marc Jacobs (“When we talk to Marc, the one designer he ever idealized and wanted to be like and loved his clothes more than anyone was Perry Ellis,” recalled Banks) and never-before-published photographs from Lennard, who was Ellis’ campaign photographer, accompany Banks’ narrative.
The pieces on view at the show (a sneak peek of which debuts here) are a celebration of Ellis’ singular ability to push the aesthetic boundaries of sportswear classics. A hand-knit sweater emblazoned with a P for Perry (from Ellis’ first collection in which Princeton University cheerleaders danced down the runway) brings to life the moment the designer brought hand-knits into the high-fashion lexicon; a mohair dress and matching cape (“Perry always had amusing touches that were not silly, but fun,” remembered Banks) sits alongside a rich cashmere tunic in a graphic print inspired by French cubist artist Sonia Delaunay. Elsewhere, an oatmeal tweed jacket with Ellis’ signature dimple sleeves and an all-red suit for men (“It takes a gutsy man to wear a raspberry red tweed suit,” said Banks with a laugh) are on display. Each element of the show illustrates Ellis’ take on traditional, all-American sentiments—loosened up and ever-so-slightly irreverent.
“There was no compromise in his vision,” said Banks. Lennard continued, “He really had his own path. He was, to me, the only American designer of his time who was completely original. The other designers were looking at Europe. He had his own vocabulary.”
There are few in fashion (or any realm, for that matter) who know how to turn a phrase so acidic, thought-provoking, and, occasionally, appalling as well as Karl Lagerfeld. The twenty-first century’s Diet Coke-swilling answer to Oscar Wilde, Lagerfeld has made almost as much of a name for himself with his rapier wit and gimlet eye as for his work at Chanel, Fendi, et al. In honor of that silver tongue (which, along with the Kaiser, recently celebrated its 80th birthday), Flammarion has compiled The World According to Karl, a 176-page tome of his takes on fashion, fitness, design, and beyond, all handsomely bound in—you guessed it—black and white. We have a feeling the German provocateur would approve.
Below, Style.com rounds up ten of the book’s top Kaiser quotes.
The World According to Karl will be available at Rizzoli New York beginning September 17.
Ten Unforgettable Thoughts from the Ever-Quotable Karl:
“My only ambition in life is to wear size 30 jeans.”
“I don’t mind being a monster, but there are limits.”
“When people show their ass that doesn’t bother me. When they expose their feelings, that shocks me.”
“I feel no remorse and no regrets. I have amnesia when it comes to the past.”
“I hate rich people who live within their means.”
“Think pink, as Diana Vreeland said—but don’t wear it.”
“I don’t need to shop for food, because I never eat.”
“My childhood dream was not to be a child. I’d find it humiliating to be a child. Second-class human being.”
“I know revenge is mean and horrible, but I see no reason why I shouldn’t do something back if somebody has done something bad to me. When people think it’s all forgotten I pull the chair away—maybe ten years later.”
“I’ve become like a Lacoste alligator. Soon I’ll have to be sewn onto clothes.”
The work of Stephen Burrows is as much about fun as it is about fashion. And that message shines through in a retrospective of the designer’s early creations, which opens at the Museum of the City of New York tomorrow. Burrows and the show’s curators, Phyllis Magidson and Daniela Morera, gave Style.com a sneak peek of the exhibition, which features more than fifty garments created between 1968 and 1983. “I didn’t think of it as history-making or anything,” says Burrows of his early, flowing garments made to be worn with ease on the dance floor until 4 a.m. “I just did what I wanted to see in front of me.”
Intentional or not, Burrows’ clothes were history-making. At the beginning of his career, fashion’s status quo was old-world, and generally French. It wasn’t until the fabled “Battle of Versailles”—a decadent 1973 fund-raiser for the then-decaying palace during which American designers Burrows, Halston, Bill Blass, Oscar de la Renta, and Anne Klein outshined elite French talents Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro—that American designers became truly respected. Burrows’ fresh, fun, and wildly colorful Versailles collection—shown on video in the exhibition—was all about a free-spirited aesthetic. His presence at “The Battle” also made him the first African-American designer to rise to international acclaim. Continue Reading “Stephen Burrows, Still Dancing” »