21 posts tagged "Stella Tennant"
Missoni has a bit of a thing for quirky fashion films. If you’ll remember, last season Stella Tennant struck some wacky poses for the Fall ’13 Alasdair McLellan-lensed campaign and video. The house continues in that vein today, with the debut of its Spring ’14 ads and film. Original-supermodel-going-strong Christy Turlington stars in the Spring spread, showing off Missoni’s printed wares alongside model Vincent Lacrocq and some giant, geometric Plexiglas cutouts (which, if you look closely, actually spell out M-i-s-s-o-n-i frame-by-frame). Shot by artist Viviane Sassen in the Canary Islands, the serene but offbeat images and short have a vintage sci-fi edge, and we think that’s somewhat fitting, considering Turlington—who, at 44, has been nabbing a bevy of major campaigns and recently ran the New York Marathon—is nothing short of a modern-day Wonder Woman. Watch her in the film’s debut, below.
Curator Alistair O’Neill only met the late Isabella Blow once. He was at an art opening with designer Julien Macdonald, one of the late, great Blow’s charges, whom he studied with at the Royal College of Art. “Isabella was wearing a famous Philip Treacy hat, which is in the exhibition. It had feathers around the eyes, which covered her nose and her mouth and her forehead,” he recalled. “I spent the evening talking to her and was completely fascinated. But all that I could concentrate on were her eyes, because I couldn’t really see her mouth. I could only just about listen to what she was saying, and I was just mesmerized by this image of these eyes being framed by the feathers. The combination of her intelligence and her laughing was really intoxicating,” he continued. “I’ve never forgotten that.”
On November 20, O’Neill, along with Shonagh Marshall and Central Saint Martins, will aim to bring the editor, patron, and muse’s work and wardrobe to life with the opening of Isabella Blow: Fashion Galore! at the Somerset House in London. Before her tragic suicide, in 2007, Blow was a pillar of London’s emerging fashion community. Having worked everywhere—from British and American Vogue to The Sunday Times to Tatler—Blow is credited with discovering such designers as Alexander McQueen (as the story goes, she bought his entire graduate collection after it walked down the Central Saint Martins Runway in 1992), milliner Philip Treacy, Jeremy Scott, and Hussein Chalayan, as well as models Sophie Dahl (whom she once described as a “blow-up doll with brains”) and Stella Tennant.
Aside from being a steadfast supporter of young talents (Treacy and McQueen both lived with her at one point, and she not only gave the designers financial and editorial support but also fed them ideas from her wealth of historical knowledge—fashion and otherwise), Blow, who came from a complicated aristocratic background, was known as a great eccentric—both in her behavior and her dress. Her infamous wardrobe comprised the most extreme pieces by all of the conceptual up-and-comers she helped along the way. And, of course, Treacy’s hats were her screaming signature. Following her death, her sartorial collection was to be sold at Christie’s to settle her estate, but Blow’s friend Daphne Guinness swooped in at the last minute and purchased every piece, because that’s how Isabella—or Issy, as she was known—would have wanted it.
O’Neill, however, did not want to simply paint Blow as an eccentric. “I thought it was important to distance Isabella from those literary ideas of the English eccentric, because they’re often quite tragic,” he explained. “And I’m not sure Isabella was fully tragic—she was quite brave, and very funny. She had a very bored and black humor.” Furthermore, Blow always wore her outfits—whether it be a metallic McQueen corset or an ensemble crafted from brightly hued garbage bags—in a deeply considered manner. “Isabella used her clothes, her hats, and her accessories as a means to modify and transform herself,” said O’Neill. “She had a great eye for silhouette, and her hats were almost a means of plastic surgery for her face, without going under the knife,” added Marshall. “She said they can lift you, they can make you look different, and I think that was something that she really indulged in.” Continue Reading “Isabella Blow: Beyond the Eccentric” »
For Chinese labels, brand endurance is a tricky thing indeed, especially as perceptions of “Made in China” are still heavily stigmatized. But Edition 10 has its sights set on the long haul. As the high-end offering of Chinese ready-to-wear brand MO&Co., which originated in Guangzhou in 2004, Edition 10 has been making slow and steady, yet impressive headway with the help of brand director Jenny Kim. Geared toward spirited, urban women who appreciate both comfort and clothes with an edge, the label’s main aesthetic is “boy-girl chic.” Kim places a heavy emphasis on quality, materials, and technique—and she’s confident that Edition 10′s look and high production values have international appeal. “We began our international wholesale business in 2012, first with Lane Crawford, which has been a milestone for the company,” Kim told Style.com. “For [Spring '14]‘s market week, we will be presenting to international buyers and press in New York, London, and Paris, targeting top-tier retailers like Barneys, Selfridges, and Printemps.” With a strong network of stores in major cities throughout Mainland China, Kim is aiming to make Edition 10 the first pioneering Chinese womenswear range to really go global.
The brand’s Fall ’13 campaign is a testament to its goal of breaking into the Western market—familiar fashion faces Stella Tennant (whose video for the label debuts above) and Freja Beha Erichsen represent Edition 10 and MO&Co., respectively.
“Stella has a compelling strength that comes from within, which is way more powerful than fashion and beauty. She embodies a particular attitude and spirit of a modern woman that’s so relevant to our time,” Kim said. “As for Freja, she exudes this nonchalance and handsomeness that has become an elevated form of contrasting beauty.”
It’s important to note that it’s not uncommon for homegrown Chinese fashion brands to launch with great fanfare in the West, only to see their futures cut short rather ignominiously—Shanghai Tang and JNBY (Just Naturally Be Yourself) among them. But Kim is optimistic about Edition 10′s future in the West and elsewhere. “Our newfound confidence has instilled a certain vigor to our brand’s spirit,” she said. “And with our innovative campaigns each season, the brand is becoming much more prominent as a market leader.”
Edition 10 by MO&Co. is available worldwide via Lane Crawford’s Web site. Prices range from about $67 to $2,524.
There are a plethora of adjectives one could use to describe Missoni’s ad campaigns, but ordinary is not one of them. Last season, the house shot models in archival looks against classical interiors, and for Fall ’13, Missoni has sent us a simultaneously serene and eccentric short by Alasdair McLellan. The photographer (who also lensed the campaign images, below) captures Stella Tennant striking some pretty quirky poses on the rocky coast of Cornwall. Giggles ensue when Paul Sculfor shows up wearing the men’s collection (although, we must admit, he appears more suave than silly), and, all in all, the shoot looks like it was a good bit of fun. Catch Stella’s moves—and Missoni’s winter wares—above.
The Karl caravan has arrived in Singapore. Lagerfeld and forty-seven models are set up at the city’s famous Raffles Hotel, the gorgeous nineteenth-century English-colonial hotel, with enough hardworking dressers, stylists, and global PR reps attending them to put you in mind of a postcolonial Downton Abbey. Today, they’ll put on Chanel’s Cruise show. But last night, it was a party for a prelude: a pair of short films, screened alfresco in the hotel courtyard, beside which Maugham and Hemingway sat in the Long Bar, sipping Singapore Slings.
Leave it to Lagerfeld to make not one, but two films. The preview and the movie: They just go together, he explained. So Women Only featured a raft of his favorite girls—Kati, Cara, Lindsey, Lina, Xiao Wen, Soo Joo, et al., all clad in Chanel Pre-Fall—piling into a movie theater for the debut of a new film. Then the film within the film: Naturally, it’s a little number by Lagerfeld. Once Upon a Time… takes us back a century, to the opening of Gabrielle Chanel’s shop in the French resort town of Deauville. It opens with a scene of two servant girls impugning the name of Chanel. “Who is Gabrielle Chanel?” they wonder as they wander past her shop. “I don’t know, but she has no taste.”
But he who laughs last laughs best. Business starts out slow for Coco Chanel (Keira Knightley, absent from this Singaporean affair, on her honeymoon) and her partner/confidante Aunt Adrienne (Clotilde Hesme), but the crème de la crème of Riviera society eventually come swishing through her door. That Chanel girl, the consensus eventually runs, she’s really got something.
So does her latter-day inheritor, Karl Lagerfeld. “I did everything,” Lagerfeld said after the applause had died down. “I designed the set, I made the costumes, I made the characters, I made the dialogue. I make everything—otherwise, I’m not interested. I could never work with somebody who makes the dialogue, because I want them to talk the way I’m thinking.” He built a town from scratch—the whole thing was shot at a Paris film studio—and assembled a cast of thousands. (Well, 160 extras, at least; but as Hesme laughed, “I think the budget is much larger than the film I did before.”) And he bravely tossed the book out and shot without a script, calling out lines just before takes and encouraging his actresses to improvise. A task like that separates the wheat from the chaff. And who knows, some stars may have been born. Lagerfeld saved special mention for Ashleigh Good, who played the Swedish actress Jacqueline Forzane, and he wasn’t the only one. “Keira was impressed by Ashleigh,” he said gravely. As for others—well, the catwalk is a fine consolation.
Lagerfeld is as new to filmmaking as many of his actresses, but Karl’s gals—out in force tonight to celebrate—were full of praise for their fledgling director. “It was great fun—it was a giant playground,” said Stella Tennant, fresh into town from the Met Gala, who played Lady de Grey, Oscar Wilde’s patroness. “He’s very fresh,” added Caroline de Maigret, who played the towering Russian ballerina Ida Rubinstein. (Lagerfeld made her even more towering by dismissing all but the shortest extras for her scene.) “He’s very enthusiastic, excited. He’s laughing, ‘Ah, brilliant, brilliant!’
“He gets excited by everything he doesn’t know,” she declared, stubbing out her cigarette—usually a hot-button issue in law-abiding Singapore, but Karl’s night, Karl’s rules. “That’s his power. That’s what drives him, the unknown.”