121 posts tagged "Rodarte"
Each week, renowned artist and fashion illustrator Cédric Rivrain unveils an exclusive drawing on Style.com. See fashion through his eyes, below.
C-3PO & Chloe Norgaard in Rodarte
“A rob-mance between Chloe and C-3PO, bistre-colored makeup, and georgette, gold, and rhinestones, glamour and Star Wars. The bold seventies mysteriously twisted à la Rodarte.
The “future of fashion” was the topic last night at the 92Y, where our editor in chief Dirk Standen hosted a panel discussion with Leandra Medine, of Man Repeller fame, and Lizzie Tisch and Kim Kassel, cofounders of Suite 1521, a luxury shopping destination that allows its members to meet up-and-coming designers like Mary Katrantzou, Rodarte, and Creatures of the Wind and shop their collections in an intimate setting. The evening’s wide-ranging discussion took in the pros and cons of fast fashion, the feasibility of wearable technology, and the ever-expanding influence of platforms like Instagram. “If the metric of success was once measured in dollars, in 2014 it’s measured in social following,” noted Medine, who was, it turned out, quoting her dad.
Perhaps the liveliest part of the conversation came after Standen suggested that women were still underrepresented in the ranks of designers and wondered when that would change. “I don’t feel like we have more men than women [designers]. I think we’re divided. But I do find that with men, the skirts are up to here, the pants are a little too long,” said Tisch. “And, well, what about if fabric is itchy? I don’t think [a male designer] cares, but if a woman puts it on, she could be like, ‘Oh, get this off me immediately.’”
The evening concluded with a question from the audience about a more immediate future concern: What one item did the panelists want for fall? Kassel said she was in the market for a cape, while Tisch was on the lookout for a great pair of boots. Medine, meanwhile, had something even more essential on her wish list: “A Vitamix.”
Lately, the evolution of hip-hop is nowhere more apparent than in the clothing choices made by rappers. So far we’ve seen Kid Cudi in a crop top, Young Thug in a leopard peplum dress, and Future in a cascade cardigan. Now Jay Z is hopping on the trend. Yesterday, while strolling around NYC with his wife, Beyoncé, Hov was spotted in a women’s jersey by Rodarte from its current collection, emblazoned with scorpion insignia on the sleeves and an “05″ in the middle of the body.
Not that we should expect him to reach Kanye West levels of fashion risk-taking, but Jay Z’s womenswear cosign feels especially notable. Longtime fans of Shawn Carter are well aware that the rapper has never been one to veer left of center when it comes to his wardrobe. So this move marks a stylistic turn for Jay Z—granted, it’s still a football jersey, so he’s not veering too far off course. Curiously, his first choice wasn’t the Tom Ford jersey inspired by his song named for the designer—although Beyoncé wore the sequin dress version onstage recently, so one can assume Mr. and Mrs. Carter aren’t ready to start sharing clothes just yet.
In 2012, it was Rodarte and Frank Gehry. Last year, Azzedine Alaïa and Jean Nouvel had their turn. On Friday, Hussein Chalayan and Zaha Hadid will be the last mega-talents to impose their visions on L.A. Philharmonic’s Mozart/Da Ponte Project. The opera trilogy–Don Giovanni, The Marriage of Figaro and Così Fan Tutte, respectively, all conducted by Gustavo Dudamel – has been nothing short of ambitious in partnering architect with fashion designer (or designers, in the case of Rodarte’s Laura and Kate Mulleavy). Even for Chalayan, whose runway shows have often bordered on performances and who is no stranger to conceiving costumes (for Michael Clark’s current/SEE in 1998 and the Saddler’s Wells Theatre in London in 2010), this production challenged his thinking. When the designer spoke to Style.com from London, he was preparing to visit L.A. for the final rehearsals. And unsurprisingly, he remained somewhat elusive on details, only to emphasize that his interpretation of Così Fan Tutte will be contemporary. Certainly his sketches – alternately diaphanous and sculptural – suggest an outright dismissal of late-18th century fashion. They, along with Hadid’s vision for the set, debut exclusively here. With only four performances, it’s a short run for so much effort. But there’s no doubt that the reward will last long past closing night.
There is a long history of fashion designers trying their hand at ballet or opera costumes. How do you explain the appeal?
You put yourself into a different realm. You think of your clothes in a broader context. It’s something different from what you normally do. It helps to also be thinking within a team. You’re thinking not only about your part but all the other parts. Normally with fashion, you can feel quite isolated. I find these experiences kind of nice; you learn and, hopefully, you become culturally richer for it. Simple as that.
When you came on board, the Rodarte/Frank Gehry production had already taken place. Did it guide you at all?
I had not seen it other than in pictures. And remember, I have done collaborations like this, just never with an architect. So I had some ideas; but this was another situation entirely because what I am doing still has to work with what Zaha is doing and [our work] evolved as islands that met and separated and met again, let’s say.
How do the design considerations change when making costumes for performers?
It is very satisfying because your clothes are on realer looking people. And those people have to be in them for a long while. And they have to feel comfortable in them. And look good in them. It wasn’t like I just plunked onto them whatever I wanted; I needed to consider what I felt was right for their neck height, their shoulders, etcetera… It’s the same kind of effort that I would make for my showpieces plus more. Everything had to be done individually for each person. And they were all different sizes and shapes. It was quite a challenge in that sense – but also very enjoyable because these people animate your clothes in a way that you’re not used to. And that adds another dimension to what I’m doing.
Were you familiar Così Fan Tutte already and how did you go about distancing the costumes from typical period pieces?
Well, of course, I had heard of Così Fan Tutte before, but I had never sat down and watched it. So the first thing was obviously to get familiar with the plot. And the whole story is based on infidelity. I interpreted that as clothes that would change function a little bit or have a deceptive element that would appear to be one thing and then become another thing. I think those ideas as represented through clothes is a lot more abstract. But there’s no point in approaching a designer like me to do period costumes. Zaha as well.
Do you think the audience will pick up on these ideas?
To be honest, I think they’re not so in your face. I mean, there’s a lot of texture and color and stuff. But there is a minimalism to them as well. So I’m hoping they won’t become cliché or anything like that. I’m hoping that they will be unexpected.
Indeed, there is always some element of surprise and whimsy with your collections—a dress covered in artificial nails or a hat that doubles as an umbrella. Can we expect any of that in the production?
There’s some of that, yes, but there are no accessories; it’s all within the clothes. A lot of work went into them. Every single piece is quite monumental. With my collections, you have clothes for different occasions; I am always thinking of the wardrobe. But here, if you can imagine, every single piece behaves like occasion wear.
Costumes can shape how characters perceive themselves in addition to how the audience perceives them. Were you keeping both sides in mind?
The idea is not that the costumes take over the characters. The idea is that the costumes create an ingredient to help enhance the characters. It is about the storyline and the feelings that [director Christopher Alden] wanted to portray. I felt I had to honor what he wanted. And we got on harmoniously from the start.
What kind of synergy is there between your costumes and Zaha’s sets?
I knew right from the beginning what Zaha was doing and I went to meetings at her office so I had an idea. But the main way they connect is that there is a sense of change—an element in transformation—in both my clothes and in the sets. Apart from that, it wasn’t like I wanted the clothes to look like an extension of the set or they wanted the set to look like an extension of the clothes.
Nicolas Ghesquière may be a design pioneer known for his intensity, but he takes a more laid-back approach to social media. The designer waited until 2012 to join Twitter, and it appears that, a few weeks ago, the Louis Vuitton creative director quietly signed up for Instagram under the handle @nicolasghesquiereofficial. Ghesquière currently has seven pictures on the board, among them a pair of self-branded Adidas, a hotel in Madrid, and—wait for it—a stormtrooper. We wonder how long it will take @officialrodarte to click follow.