104 posts tagged "Rodarte"
Who knew Jonah Hill was so fashion-savvy? The Superbad star spoke out in Fino Man, Filipa Fino’s new online men’s magazine, stating that his style icon is Steve McQueen. Hill also divulged that Freemans Sporting Club and Rag & Bone are his go-to labels and that he bought a Rolex Daytona watch in honor of Paul Newman. We’re impressed. [Page Six]
In other male fashion news, British actor-turned-Prada-model Gary Oldman tells Harper’s Bazaar U.K. all about his runway gig last January during Milan men’s fashion week. “It was a gas, mainly because of Mrs. Prada and her team, who are meticulous and treated me royally,” he said. [Telegraph]
Right on the heels of Rodarte and Valentino, Walter Van Beirendonck is the next designer to dabble in the realm of ballet costumes. The designer has just signed his first collaboration project with the National Opéra of Paris ballet to create costumes specifically for principal dancer Marie-Agnes Gillot. [WWD]
Kate Moss was the topic of conversation at Jade Jagger’s wedding this weekend when she turned up in a black and nude dress from Alexander McQueen’s Spring 2012 collection. Moss decided forgo doing her hair and wearing a bra for the occasion. Talk about model behavior. [Styleite]
Hedi In Hiding? Designer’s First Men’s And Resort Collections To Be Shown To Buyers Only, And More Of The Day’s Top Stories
Good things come to those who wait, right? Hedi Slimane must think so. The French designer, who recently took over Stefano Pilati’s post at Yves Saint Laurent, has decided to present his debut collections for the house, women’s Cruise and Spring menswear, only to buyers. The rest of the world will see his debut during Paris women’s fashion week in September. [WWD]
Just on the heels of the New York City Ballet’s spring gala, which debuted ballets with costumes by Rodarte and J. Mendel, Valentino Garavani has announced he’s getting on his toes. Or, at least, he’s designing for those that do: He’s created all of the costumes for NYCB’s fall opening. [Valentino.com]
Queen Elizabeth II’s crown is getting a makeover. Luxury labels Bulgari, Mulberry, Valentino, and more have taken a stab at reinterpreting the iconic crown in celebration of her upcoming Diamond Jubilee, 31 of which are on display at Harrods department store in London. [NY Daily News]
Since Adam Yauch’s death on May 4, fans have paid countless tributes to the late Beastie Boy. But now, Brooklyn residents arelooking to pay a different kind of homage with something permanent. Residents of Brooklyn Heights have petitioned to rename Squibb Park, which is currently undergoing renovations to become a skateboarding facility, in honor of Yauch. [The Hollywood Reporter]
Their past projects include the Fra Angelico Collection at LACMA and the solo exhibition States of Matter at MOCA, but Pasadena natives Kate and Laura Mulleavy’s latest artistic endeavor is their largest undertaking yet: designing the costumes for the L.A. Philharmonic’s production of Mozart’s Don Giovanni, led by Gustavo Dudamel. For a short, four-performance run, the show presented itself as an opportunity for Rodarte to firmly secure itself as part of the city’s art establishment—not to mention to work with the legendary Frank Gehry.
Gehry’s set design transformed the Walt Disney Concert Hall—also of his design—into an abstract interpretation of Don Giovanni’s mind. A meeting of the minds is the right way to describe the sisters’ collaboration with Gehry, too. “We would have these meetings with Frank and would talk about things that had nothing to do with opera,” Laura Mulleavy told Style.com, citing the need to “learn each other’s language.” “But in that sense it was indirectly working on the project, because we needed to understand the way he was going to come up with the idea and eventually design a set, and then we would design the costumes to go with it.” Rodarte’s creations included two beaded gowns for each female lead, using silk, sequins, and intricate hand embroidery in a largely gray and white palette that introduced strategic color in the second act. For the men, they used denim (a first for the pair) to create a striking combination of straitjacket and armor, dressing each in a chest plate with a hand-painted marble finish—representing the chess pieces in Don Giovanni’s world.
In both lead time and inspiration, the Mulleavys’ operatic costume debut was a departure from their normal design process. “You are working with material that is so classic that everyone knows it, so you’re starting from a ground point that’s already decided for you,” Laura said of the source material for the year-long effort. But though they’re familiar with defining characters in their collections, these costume designs were part of an evolving collaboration that entailed multiple moving parts. “When you’re designing for characters, you really have to become a costume designer. You’re not the sole decider and you’re not a fashion designer in that situation.”
Don Giovanni concludes its run at the Walt Disney Concert Hall, L.A., with performances May 24 and 26.
With just hours before the curtain rises at the David H. Koch theater for the New York City Ballet’s Spring Gala tonight, J. Mendel’s Gilles Mendel is busy making the finishing touches on the costumes he’s designed for mater in chief Peter Martins’ new work, titled Mes Oiseaux. “I have been running back and forth to Lincoln Center with my scissors for two days now,” he told Style.com before heading back to the theater today. “It’s like doing a haircut—just a little more on this side and on that side until it’s perfect. It’s so surreal, here I am standing on the stage at Lincoln Center having the dancers of the New York City ballet do pirouettes for me so we can see that everything looks just right.”
It’s not the French designer’s first spin in the dance world. Back in 2010 he created the costumes for NYCB’s performance of Melissa Barak’s original ballet, Call Me Ben, which also provided inspiration for his Spring 2011 collection. “I like my clothes to be very precise because in fashion you want to look at them up close,” he said. “But from that experience, I learned to let go and stand 20 feet away from the dancer—things have to look good from a distance on the stage.”
For his second act, the designer brought the same femininity that’s linked to the J. Mendel aesthetic using tulle, stretch georgette, and muslin. But, he warns, “I think people will be quite surprised—it’s very graphic. The ballet is about three women and their relationship with a man. Peter and I wanted to give to the public a moment of discovery, so you wouldn’t know immediately that one woman is good, one is bad.” He designed a series of mostly-black costumes for the number, which only show the dancer’s true colors—figuratively and literally—when they move. An exclusive sketch of one of Mendel’s costumes is above.
Mes Oiseaux will be performed tonight alongside the Balanchine classic Symphony in C, with costumes by Marc Happel, and the latest work (titled Two Hearts) by former NYCB principal dancer and husband to Natalie Portman, Benjamin Millepied, with costumes by Rodarte. And check back tomorrow in People & Parties for our full report on the gala, hosted by honorary chairman Natalie Portman.
With Rodarte on the bill as costume collaborators, the New York City Ballet’s upcoming spring gala is one that has the fashion set buzzing. But that’s not the only fashion brand in the mix; Swarovski also teamed up with the ballet for the newly redesigned costumes for George Balanchine’s Symphony in C. New York City Ballet’s director of costumes, Marc Happel, scattered more than 105,000 crystals and stones in midnight blue, black diamond, jet, and crystal on the 62 costumes and tiaras for the piece, which was (fittingly) originally called Le Palais de Cristal (Crystal Palace). “Ultimately, the challenge was to design a ballet that is modern and hopefully timeless but at the same time is completely comfortable for our dancers,” Happel tells Style.com of the project, which took a little over a year to complete. Here, an exclusive behind-the-scenes look at the making of the costumes as they came together.