28 posts tagged "Stephen Jones"
Dio mio! According to WWD, an overzealous fan of the late Anna Piaggi stole one of her most iconic chapeaux—a stiletto hat designed by Bill Cunningham—from the Stephen Jones-curated Hat-ology exhibition in Milan. Jones told the Telegraph, “It was one of her most cherished possessions. I hope that the thief will wear it with as much aplomb and chic as Anna did—especially if it’s a man!” Keep your eyes on the street style sites for the well-hatted bandit.
Hat-ology runs through November 30 at Milan’s Palazzo Morando.
Everyone knows their Marcs from their Calvins. But as fashion month kicks into gear, we’ll be spotlighting the up-and-coming designers and indie brands whose names you’ll want to remember.
Label: Maiko Takeda
Need to know: Tokyo-born, London-based designer Maiko Takeda already has a leg up in the competitive young fashion racket: celebrity endorsement. Her biggest fan? None other than the sartorially scrutinized Björk, who noticed Takeda’s Royal College of Art graduation show (she matriculated just this past summer, with a focus on millinery) on a design blog and commissioned pieces for her 2013 Biophilia Tour. Not bad for a newbie. Following that coup, the British Fashion Council came knocking, asking Takeda to develop her spacey and aural headpieces into a full Spring ‘14 collection that the designer has dubbed Atmospheric Reentry. Hand-composed of thousands of printed-acetate wedges and acrylic disks, Takeda’s snoodlike caps are certainly statement makers, and they embrace the U.K.’s millinery heritage: She’s worked under such greats as Stephen Jones and Philip Treacy.
She says: “I wanted to create something like a cloud on the head. I saw this opera called Einstein on the Beach from 1976 at the Barbican. The whole mood and sound and imagery of it was very futuristic and minimal.”
Where to find it: Maiko Takeda online
“The eighties were about being yourself,” said Kate Bethune when asked about the looks in the Victoria and Albert Museum’s latest show, Club to Catwalk. Open from today, the exhibition explores the explosion of ostentatious creativity that rose out of London’s eighties club scene, and how these underground fashions manifested themselves on the catwalk. Throughout the decade, designers and characters such as John Galliano, Jean Paul Gaultier, Boy George, and the king of the club era—performance artist Leigh Bowery (left, center) would create DIY ensembles, dress to the nines, and take on larger-than-life personas in iconic haunts such as Blitz, Kinky Gerlinky, and Taboo. One such character was milliner Stephen Jones, who has two hats featured in the show. “People didn’t really use the word style before 1982,” Jones told Style.com. “But suddenly, your style made it seem as if you were actively concerned about your appearance. It was more personal than fashion,” explained Jones, who described his own nightlife look as “a big dollop of Fellini, hats, French Left Bank, and a little bit of fifties thrown in for good measure.” Naturally, if you weren’t dressed your best, clubs would turn you away at the door. “The Blitz was the most difficult one to get into,” offered Jones. “The guy on the door was Trojan, and he had a little mirror in his pocket, and he’d famously hold it up and say, ‘Would you let you in?’” Jones didn’t have that problem, but sadly none of his own top-to-toe costumes survived. “Our outfits were only made to last one night. They’d sort of dissolve,” he said, adding, “If you wore something from a department store, or designer fashion, it would have been the kiss of death. Terminally uncool.” Continue Reading “The V&A’s Gone Clubbing” »
From her tiny top hats to stacked bowlers to sculpted, plumed creations, Anna Piaggi‘s chapeaux are nearly as well-known as the late Italian editor herself. And this fall in Milan, they’ll be getting their own show. Curated by her good friend and milliner Stephen Jones, the exhibition, titled Hat-ology, will open during Milan fashion week on September 22 at the Palazzo Morando, reports WWD. The headpieces will be displayed inside a re-creation of Piaggi’s Milan apartment, thus giving viewers a sense of the eccentric editor’s lifestyle. Featured toppers will include everything from a McDonald’s baseball cap to Chanel’s couture headgear—a range that speaks to Piaggi’s singular, and inventive, approach to fashion. Piaggi, who died last August at the age of 81, once told the International Herald Tribune, “I feel better if I have a good hat on.”
I’m a history buff, so I get a kick out of being able to date the moments when things change. It’s easy in fashion, which is already glued to a calendar. Five years ago, Stephen Jones curated an exhibition devoted to hats, at the Victoria & Albert Museum. “Without that exhibition, I don’t know what the hat industry in the UK would be,” said milliner William Chambers the other day at Somerset House, where he was one of the designers in the Jones-curated Headonism initiative, a joint effort by the British Fashion Council and Royal Ascot to support the art and craft of millinery. The Royal Ascot—the most famous racing event in the equestrian calendar—is just as famous for its batty hats as it is for its horses. And the Headonists get to show their work not just during London fashion week but also to a captive audience at Ascot itself.
For a millinery master like Stephen Jones, Ascot is a major payday. He’ll make one thousand hats for race-goers. And it’s typical of the sweetest soul in fashion that he would want to share the wealth by curating something like Headonism. “There was no one to show me,” he says, “So it’s great to choose people who are really good and give them a little bit of help.”
This year, the chosen five included Piers Atkinson, already famous for ADR’s cherry headpiece. Though business has been booming for him, especially in the Far East, Atkinson is worried about the effect success might have on his creative freedom. He needn’t bother just yet. What he showed at Headonism mixed Alphonse Mucha’s art nouveau, the Manchu dynasty, a 2-D jigsaw-puzzle headdress inspired by Russian royalty, and a floor-length extravagance of ripped tulle, feathers, and fringing (above) that had Gaga written all over it.
Emma Yeo, in her first season as a hatter, laser-cut and molded wood to replicate the ethereal structure of moths’ wings (above). The technology defied comprehension. Defiance was also key to Aurora Ozma’s headgear. “Plan what you’re wearing around my hats,” said the rock ’n’ roll moll, whose quiff embodied the architectural essence of her designs. Eloise Moody’s work, the most traditional, carried a torch for her hat-wearing granddad.
“I don’t want people to turn out some old stuff I did,” said Jones as he looked around a roomful of his spiritual children. “They’re doing things I would never have thought about.” And yet they wouldn’t be there if it wasn’t for him. It was a rare and generous fashion moment when Piers Atkinson said, “Stephen Jones is everything.” It truly couldn’t happen to a nicer guy.