38 posts tagged "Roberto Cavalli"
Florals have long been the quintessential symbol of summer femininity, and this season the look is bold and graphic. However, designers gave Spring ’13′s blossoms a dark, moody twist, resulting in wares that are certainly not for the demure floraphile. From Christopher Kane and Marni’s Man Ray-esque prints to Roberto Cavalli’s romantic painted pumps, shop our gothic garden picks, below.
1. 3.1 Phillip Lim jeans, $495, available at www.farfetch.com
2. Christopher Kane top, $780, available at www.farfetch.com
3. Roberto Cavalli pumps, $1,126, available at www.luisaviaroma.com
4. Givenchy Dahlia Noir eau de parfum, $90, available at www.sephora.com
5. Marni shopper, $350, available at www.saksfifthavenue.com
Roberto Cavalli flirted with insanity while showcasing its Fall ’13 wares: The label has just completed its latest creative endeavor, Psychotic Love—a satirical photographic story of a rebellious redheaded woman on the brink of going mad. The only things keeping our heroine from tipping over the edge seem to be an adoring rooster (counterintuitive, we know), and, of course, her Cavalli Hera bag (above). A selection of shots from the visual tale, which was directed by Cavalli’s daughter, Rachele (she also happens to be the creative director of the brand’s accessories range), debuts here. The sanity-sustaining Hera bag hits stores later this month.
You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.
Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.
How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.
Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »
London’s latest fashion week was really only two days—presumably so the models could get back to their naps and their homework. Yes, this week, London hosted the inaugural Global Kids Fashion Week (GKFW), sponsored by the children’s e-tail powerhouse AlexandAlexa (think Net-a-porter for kids).
At Tuesday afternoon’s big launch event, held in the Freemasons hall in Convent Garden, Amber Le Bon spun the tunes, whilst Jodie and Jemma Kidd, Portia Freeman, Charlotte Tilbury, and more came out with their kids to check out models cartwheeling, skipping, and crying their waydown the catwalk. Meanwhile, front row yummy mummies tried to restrain their toddlers from clambering onto the runway (with limited success). It was an exuberant, carnival-like, laughter filled affair complete with a giant bubble machine, popcorn, and temper tantrums backstage. (“So”, remarked one harried hairstylist as her model screamed out while having her hair teased, “not that different from the grown-up shows, then.”)
Participants in GKFW included Chloé, Little Marc Jacobs, John Galliano, Kenzo, Fendi, Missoni, Ralph Lauren, Roberto Cavalli, Little Paul & Joe, Kenzo, Marni, and many more, with ticket proceeds of the sold out event going to Gwyneth Paltrow’s favorite charity, the Kids Company. Consumer and fashion overload? Perhaps. But there’s no denying the fiscal strength of the high-end children’s clothing market. And by the end, most cynicism was brushed aside. As one fierce seven-year-old stomped down the catwalk in a quilted, structured plaid dress from Junior Gaultier, our fashion instinct clicked in. Hmm. Wonder if we fit into the kids’ size twelve.
How to make leather light? Designers found innovative ways to bring out the delicate side of skins for Spring. Leading the way, the Proenza Schouler duo showed oversize coats in perforated patent bonded to jersey that was laser-cut, then crocheted back together by artisans in Madagascar. “It was a weird mix of technology and handcraft,” they told Style.com. Graphic shifts at Giles were etched with a shattered-glass pattern, while Sportmax’s cutout houndstooth coats had a scalpel-like precision. Roberto Cavalli, for his part, incorporated both leather and lace into exquisitely intricate sorbet-colored slipdresses; the leather appeared as finely shredded paneling and also as appliqués embroidered onto the tonal lace. Part tough, part dainty—this season was proof that leather works for any weather.
CLICK FOR A SLIDESHOW of perforated and laser-cut Spring looks.