21 posts tagged "Rochas"
Even among the boldest of street-style exhibitionists, floor-length gowns and poufy ball skirts are typically considered to be too dramatic for broad daylight. Make that were. At the recent Couture shows, Chinese singer Laure Shang (left) and Natuka Karkashadze both made convincing arguments for going long in the afternoon. The belted taffeta Lanvin look worn by Shang and Karkashadze’s houndstooth maxi had a certain demureness about them that reminded us of a few numbers from the latest Resort collections. If you’re daring enough to try, the collections have plenty of options to suggest. At Rochas, Marco Zanini whipped up a full-skirted dress that was spun-sugar sweet, while Valentino‘s Maria Grazia Chiuri and Pier Paolo Piccoli channeled the Warhol sixties with a gown featuring appliqued lace flowers, a high neck, and long sleeves. Sure, they’re meant for the gala circuit. But come the Spring shows in September, we wouldn’t be surprised if one or two hit the pavement before sunset.
CLICK FOR A SLIDESHOW of our favorite long looks.
A blurry Twitpic of a label reading “Carine Roitfeld” has led to rampant Internet speculation that the former Paris Vogue editrix is working on her own collection. Will the world ever be the same? (Our guess: yes.) [Fashionista]
Lara Stone thinks she would make a great evil Bond girl. No disagreements here. You listening, Daniel Craig? [WWD]
Rochas designer Marco Zanini, on the other hand, thinks he could design Dior. We didn’t see it in the stars, but hey, you never know. [NYT]
And Gareth Pugh submits to Hint‘s “One Sentence or Less” interview. The strangest item of clothing in his closet? “A suit—very odd indeed.” [Hint]
Revealed: the guest list for Friday’s Royal Wedding. See you there, Mr. Bean (a.k.a. Rowan Atkinson) and the Yang di-Pertuan Agong and Raja Permaisuri Agong of Malaysia! [BBC]
Today in Paris, Rochas designer Marco Zanini presented his latest collection for the house. He had his camera in hand as he and his sister, Miki, who works on styling the shows, prepared the shoes, the looks, and the girls, and asked and answered that all-important question: hat or no hat?
“Our shoes arrived on time…a miracle!” Continue Reading “Marco Zanini’s Paris Fashion Week Diary” »
For its Spring ’11 collection, Banana Republic sent its girls on a desert safari, picking up the seventies-YSL vibe that’s been in the air of late. But something’s blossoming in these hot climes. Among its accessories offerings, which also included oversized statement necklaces in metallic breastplate designs, creative director Simon Kneen created blooming canvas-flower brooches—a little Rochas Spring 2010, a little vintage Carrie Bradshaw. They’ll no doubt cost less at the register than Marco Zanini’s corsages did, so you can go ahead and make yourself a full bouquet—no green thumb required.
Not many in Marco Zanini’s Rochas audience last March had heard of Cactus Flower, the 1969 movie that inspired his Fall collection. But the clothes were so boldly colorful and optimistically retro, you can bet that a whole lot of us came home and promptly added it to the top of our Netflix queue. The film, which stars the improbable trio of Walter Matthau, Ingrid Bergman, and a 24-year-old Goldie Hawn, who won an Oscar for the role (can you think of a stranger love triangle?), was zanier even than Zanini’s cropped brocade flares and vertigo-inducing heels. So, who better than the Swedish-Italian designer to provide Style.com with a summer movie list? As it happens, Zanini’s upcoming Spring collection isn’t influenced by any of these films, but we wouldn’t be surprised if his recommendations prove persuasive to others. After all, on his visit to New York last week, he told us orders for his Fall Cactus Flower collection are double what they were for his Spring collection.
Fanny & Alexander, by Ingmar Bergman (1982): “Swedish noblesse…”
Together, by Lukas Moodysson (2000): “Swedish tenderness…”
Vivre Sa Vie, by Jean-Luc Godard (1962): “Paris in stylish black and white, the Nouvelle Vague, and the beautiful Anna Karina.”
An American Werewolf in London, by John Landis (1981): “The cult classic, so wicked. When the macabre gets funny.”
The Innocent, by Luchino Visconti (pictured; 1976): “My personal favorite filmmaker. An utterly lavish production with the most sumptuous costumes and interiors.”
Teorema, by Pier Paolo Pasolini (1968): “1968 upper-class discomfort and Silvana Mangano (dressed by Capucci) seduced by Terence Stamp…an ‘abstract’ film.”
Harold and Maude, by Hal Ashby (1971): “Outrageous black comedy. Just my sense of humor.”
It’s Easier for a Camel…, by Valeria Bruni Tedeschi (2003): “I love everything about her.”
Le Feu Follet, by Louis Malle (1963): “Inner turmoil, Erik Satie soundtrack, Coco Chanel outfits from the very first scene, Jeanne Moreau. A deeply penetrating movie.”
The Draughtsman’s Contract, by Peter Greenaway (1982): “Opulent and wildly extravagant! Unforgettable Michael Nyman soundtrack…”
Dans Paris, by Christophe Honoré (2006): “An intense performance by the rather handsome Romain Duris.”