15 posts tagged "Saskia de Brauw"
Karl Lagerfeld has scarcely found a subject or a medium that hasn’t induced him to a collaboration, capsule collection, or self-published tome. Maybe it was only a matter of time before he turned his attention to horror films. His new campaign film for Fendi, Invito Pericoloso (that is to say, “A Dangerous Invitation”) stars Lagerfeld favorites Cara Delevingne and Saskia de Brauw as guests-to-be at a chilling dinner party, and Lady Amanda Harlech as their hostess/captor. Cue the creepy music! The film debuts exclusively here on Style.com, and arrives tomorrow at Fendi.com.
There was a full moon over Medellín last week when Colombia’s favorite son, Haider Ackermann, came home. He offered a spectacular career overview to inaugurate the trade show Colombiamoda 2013 and mark the twenty-fifth anniversary of Inexmoda, an organization that tirelessly promotes the country’s fashion industry. Ackermann was barely months old when he left the country in the arms of his adoptive parents, but his return was clearly the biggest fashion event in Colombia’s history. I mean, 1,300 people turned out to hear him talk at a panel discussion on fashion entrepreneurship the day after his event. And why on earth not? How many satellite fashion entities around the world wish they could lay claim to that kind of connection, especially when Ackermann gave his gorgeous all on the catwalk? The show itself played like chapters in an autobiography, each group of clothes tellingly matched to a different snatch of music, from the spectral pulse of Ackermann’s most recent Paris presentation to Leonard Cohen’s “A Thousand Kisses Deep” from his epochal Fall 2011 offering to sounds that merged into one long, sensual fugue as the hands of time ticked further back. The designer parachuted in a platoon of familiar faces, among them Saskia de Brauw, Kati Nescher, Alana Zimmer, and Daiane Conterato, for assistance. There was also a baker’s dozen of his nearest and dearest—from his pal Jerry Stafford to his frequent traveling companion Waris Ahluwalia—for moral support. You still need friends when you’re sightseeing in Medellín.
That full moon was a reminder that the city looks best by night. Medellín is smeared across a bowl between mountain ranges, a geographic fact that becomes spectacularly clear when darkness falls and the almost vertical steepness of the settlements climbing up the enclosing walls is illuminated. Otherwise, this visitor’s most vivid impression was of a city racing to remodel itself after years of designation as the world’s most dangerous destination. Just how dangerous was made tragically, poignantly clear as almost everyone we met told stories about their own losses. It was much worse than what the journalists, who dared to descend into the hell that Pablo Escobar and his cartel cohorts created, ever detailed.
The concept of blurred gender lines isn’t anything new. But it’s been at the front of our minds over the last few months, after seeing gaggles of girls dressed like boys (Saskia de Brauw in Saint Laurent’s Spring menswear campaign, Tamy Glauser, Jenny Shimizu, and Ashleigh Good on Givenchy’s Fall ’13 men’s runway) and boys dressed like girls (thank you, J.W. Anderson and Meadham Kirchhoff ). The art world seems to be pondering the topic, too. Evidence? Last night’s opening of Ladies & Gents—an exhibition at Salomon Contemporary that aims to cheekily explore our perception of the sexes. Featuring sixteen works, like Kiki Smith’s Daisy Chain (a long metal chain with a woman’s head and feet, made in 1992), Deborah Kass’ Four Barbras, Six Red Barbras, Four Barbras (a 1993 Barbra Streisand-centric silk-screen series), and Judith Hudson’s Bribe (an irreverent 2009 watercolor of a topless, pearl-adorned woman), the show lightheartedly juxtaposes masculinity and femininity, and sometimes fuses both. Take, for instance, E.V. Day’s work Spidey / Striptease (2012). Known for deconstructing fashion items (like a Chanel jacket, an Hervé Léger bandage dress, and pink panties) and stringing them up into complicated webs, Day presented a piece that combined a shredded Spider-Man costume, fishnets, and red stiletto heels. “I love Spider-Man, because his web looks just like a fishnet stocking,” said Day. “And that brought me to the realization that there’s a feminine idea about him,” she added.
Nir Hod—who showed Genius, a new painting that depicts a jaded, judgmental child wearing what looks like Elizabethan clothes while he smokes a cigarette—insisted that his work is about pure beauty. “That’s beyond gender. If you asked me if this was a boy or a girl, I couldn’t even tell you.” Continue Reading “Ladies & Gents, Unsexed” »
Out of the mystic comes “The Stars (Are Out Tonight),” a new Bowie video. This one is a lot less oblique than the video that artist Tony Oursler made for “Where Are We Now?,” the first single from Bowie’s startling comeback album, and that’s mostly because director Floria Sigismondi’s natural genius with a twisted narrative (case in point: Marilyn Manson’s “The Beautiful People” promo) gels so well with what one imagines is Bowie’s own predilection for the cinematically perverse. “The Stars” sumptuously elevates the man and the myth to new heights.
This particular offering toys with the androgyny, the bravado, the decadence, the desire that turns an ordinary human being into a raving fan. It also has a strong contemporary-fashion quotient, appropriate given that Bowie was, in a way that the upcoming exhibition at the Victoria & Albert Museum will surely clarify, always inclined to the fashion experiment—from the early days of his Kansai jumpsuits to McQueen frock coats and Hedi Slimane suits.
Stylist Jerry Stafford was responsible for dressing the cast of five for the two-day shoot in L.A.: models Saskia de Brauw, Andrej Pejic, and Iselin Steiro, plus Bowie himself and his co-star Tilda Swinton, with whom Stafford has worked for fifteen years. Stafford is, like me, a child of Bowie, but he says there was no time on the set for fandom. “Everyone understood they were part of something special.” There was one moment when Stafford presented Bowie with a long coat, explaining to him it was by a designer named Rick Owens. “More Rick Wakeman than Rick Owens,” was the response, Wakeman being the wizard-coat-wearing keyboard king of Brit prog rock. “He played piano on ‘Life on Mars?,’ ” chimed in Stafford, the sole moment when he let himself indulge his know-every-last-detail trainspotter obsession. “And, indeed, on the whole of Hunky Dory,” Bowie said with a knowing smile. Continue Reading “Inside David Bowie’s “The Stars (Are Out Tonight)”” »
First, it was meggings. Now mantyhose? According to an article in WWD, men’s pantyhose is a hot item at Emilio Cavallini. Popular styles include those printed with argyle, barbed wire, dots, and crossword puzzles. Quite frankly, we can’t say we’re surprised. What else would gentlemen wear with J.W. Anderson’s Fall ’13 men’s minidresses? With the gender lines blurring more by the minute (boys dressed like girls—think Andrej Pejic; girls dressed like boys, à la Saskia de Brauw, Casey Legler, and Tamy Glauser), this trend—while perhaps surprising at first—actually sort of makes sense. Mantyhose are basically just printed long underwear, which men are apparently donning with shorts (questionable), under ripped jeans (sensible), and as a cozy sock alternative. (Lisa Cavallini told WWD that her male clientele likes the patterns peeking out from their shoes.) If Rick Owens can champion the men’s heel and Marc Jacobs can wear a lace dress, why not push stockings for boys? However, we have a feeling they’d catch on faster if they weren’t called “mantyhose.”