July 30 2014

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20 posts tagged "Rochas"

I Want To Wear A Roitfeld: Carine To Launch Her Own Label? And More…


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]

Photo: Neil Rasmus /

Marco Zanini’s Paris Fashion Week Diary


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?

“Astrakhan craze!”

“Our shoes arrived on time…a miracle!” Continue Reading “Marco Zanini’s Paris Fashion Week Diary” »

Banana In Bloom


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.

Photo: Thomas Kletecka /

Rochas’ Marco Zanini On His Favorite Flicks


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 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.”

Photo: Everett Collection

Blasblog: Theyskens, Picture Perfect


The fashion industry loves to wring its hands over poor Olivier Theyskens, the talented Belgian designer who has spent the past decade bouncing between his own namesake label and the French brands Rochas and Nina Ricci. But by the look of a smiling Theyskens at Barneys New York on Thursday night for the release of his book The Other Side of the Picture (Assouline), he’s doing just fine, thanks. His trademark flowing locks snipped—too much time on the beaches of Brazil, he explained; “the wind and the sea kill the ends, so I had to cut off the bottom”—he was looking tan and happy. The reason? A little time to work on his long-delayed book project and, perhaps, a few things in the works. “I’ve had the materials ready for two years, but now I’ve had the time and the energy to really put together the project,” Theyskens said of The Other Side. The photos of Theyskens and his work, by Julien Claessens, go back to the nineties.

As for the what’s-next rumors—my favorite has him heading to Lanvin, following Karl Lagerfeld’s retirement at Chanel and Alber Elbaz’s assumption of the reins at Rue Cambon—Theyskens remained mum. Leigh Lezark, Dr. Lisa Airan, and Fabiola Beracasa—the last wearing an original Theyskens (pictured with the designer, above)—were lobbying for him to move to New York to set up shop, but no, he retorted, he was going back to Paris the next day. Take it for what you will, I noticed that Christopher Burch, who reportedly has been in talks with the designer on a new retail venture, was in just as jovial a mood as the celebrated guest.

Photo: Neilson Barnard / Getty Images