28 posts tagged "Stephen Jones"
No ifs, ands, or buts about it: The Brits love their hats. And, seeing as they’re fond of supporting emerging designers, it makes sense the London fashion crew would champion bright new milliners, too. (After all, they need something to wear with their up-and-comer-designed duds.) Curated by Stephen Jones and supported by the Royal Ascot (which hosts the most hat-tastic horse race in the UK, and possibly the world), the four-year-old initiative welcomes three new milliners this season—Aurora (designed by Aurora Ozma), Emma Yeo, and Moody and Farrell (designed by Eloise Moody, whose work is pictured, left). They join veterans Piers Atkinson and William Chambers. “The Fall ’13 Headonism milliners usher in a new wave of excitement in millinery, combining London’s individuality and fine craftsmanship,” Jones told Style.com. “These three [new designers] complement perfectly the astounding talents of the witty Piers Atkinson and poetic William Chambers.” Headonism’s Fall ’13 hatters will unveil their new collections at an exhibition at Somerset House on the first day of London fashion week, which begins on February 15.
Antwerp’s A Magazine has always been much more than a magazine. The key to its cultish allure lies in the subtitle: Curated by. The first issue, in 2004, was curated by Martin Margiela, the most recent by Rodarte. And in between, the likes of Yohji Yamamoto, Haider Ackermann, Riccardo Tisci, and Proenza Schouler have corralled their favorite photographers, artists, and writers to make A Magazine.
Issue Number 12, which launches at Bookmarc during Paris Fashion Week, belongs to Stephen Jones, fashion’s favorite hatter. “I like a magazine that looks like a magazine,” he said yesterday. “It’s not a book. I didn’t want it to be page after page of slightly meaningless photographs. That’s why I thought illustration. I love illustration, I draw every day. And that’s the way designers communicate, through drawing.”
Jones’ choice of medium couldn’t be more timely, with the revival of interest in the work of Antonio Lopez and the spotlight that Anna Piaggi’s recent death threw on Vanity, the mythic magazine she produced with Antonio in the eighties. Piaggi was a close friend of Jones’. It was actually Vanity that brought them together. (Jones’ single interaction with Antonio was when he asked if he could see the picture the artist was drawing of him. Antonio crumpled it, threw it in the trash, and offered a flat “No!”). And Jones sees this current project as a kind of tribute to his late friend and inspiratrice.
There’s no theme, unusual for Jones, whose hat collections usually revolve around a story. “When I saw the work coming in, it was very much about the illustrators themselves.” The roster of talent includes David Downton, one of whose pet subjects, Dita Von Teese, models accessories semi-naked and centerfold-style; Peter Turner, Galliano’s illustrator at Dior, who contributes a story on men’s underwear (Jones advertises, “Entirely gratuitous nudity”); and the legendary Howard Tangye, head of womenswear at Central Saint Martins, who illustrates spring for A Magazine‘s pullout calendar.
Jones’ sole brief to the illustrators was that they could draw whatever they wanted. At least half the images are of hats. “It’s you, Stephen,” they told him when he complained that he wanted his magazine to be about everything. He had to shut up and take the compliment. Anyway, there’s always Donald Urquhart’s images of Leigh Bowery to balance the hattage. He drew them with his own genitalia, dipped in ink.
Jones’ own contribution is a selection of ten favorite drawings, which he spent the Christmas holiday picking out of the thousands he’s made since he launched himself as a milliner in 1979. There are also some “conversations in drawing”: Jones would send Mugler or Montana or Kawakubo a suggestion to accessorize a collection, they’d send it back with comments. He’s also included drawings from industrial designers like Zaha Hadid and Marc Newson, as well as some of Raf Simons’ college work. None of it has been seen before.
“I did try to feel like, ‘Think Pink,’ ” says Jones of his guest stint as a magazine editor. “Editing things down is what an editor does. I wanted to edit things up, make it a fantastic showcase. I didn’t want to be restricted by this season’s story. But I didn’t want to be timeless, either. Always what’s interesting for me is doing an amazing hat for Marc or Raf, but then making a baseball cap for a young Japanese guy who comes into the shop. I love variety. That’s what the magazine is about.”
Click here for an exclusive preview of a few illustrations from A Magazine Curated by Stephen Jones >
Keeping the Duchess of Cambridge’s wedding gown hidden from London’s notoriously crafty paparazzi is deserving of accolades in and of itself. But today at Buckingham Palace, Alexander McQueen creative director Sarah Burton was awarded an OBE for her contributions to British fashion. The honor, which stands for Order of the British Empire, has, in the past, been bestowed upon such fashion forces as Professor Louise Wilson of Central Saint Martins (who actually taught Burton) and Stephen Jones, among others.
After Prince Charles presented Burton with her award, The Telegraph asked the designer—who is currently pregnant with twins herself—if she would be making maternity clothes for Kate Middleton. Burton reportedly laughed and said, “I hope I will be.” To be honest, though, we’re more excited to see what she’ll show for McQueen’s upcoming pre-fall collection.
No hat, no entrance. Such are the rules of the Royal Ascot, the U.K.’s most prestigious horse race, sartorially and otherwise, and the functional English equivalent of the Kentucky Derby. Founded in 1711 by Queen Anne, the meet, which runs from June 19-23, attracts everyone from Liz Hurley to the Royals for five days of celebration, steeds, and, of course, spectacular headgear. “I couldn’t have imagined it in my wildest dreams. It’s sort of like heaven!” says up-and-coming English milliner Noel Stewart, who, along with Piers Atkinson, Charlie Le Mindu, J. Smith Esquire, and William Chambers, will showcase his hats at the races in the Stephen Jones-curated Headonism exhibition, sponsored by the Royal Ascot and the British Fashion Council. “It’s the highlight of a milliner’s year and crucially important from a business standpoint. It’s Christmas and Thanksgiving and everything else all rolled into one!” adds Jones, who, in addition to crafting a slew of Ascot hats, is in the midst of creating headpieces for Raf Simons’ debut Dior Couture show.
However, due to a few subpar skin-baring ensembles from years past, Ascot has tightened up its 2012 dress code. Fascinators have been banned in the Royal Enclosure, the race’s most exclusive viewing section (according to Ascot, they’re a “convenient way out” and not in line with formal daywear), and ladies must wear headpieces no smaller than four inches in diameter, as well as day dresses of “modest length” whose straps are at least one inch wide. (The powers that be have suggested the look at left as an example of race-appropriate garb: dress by Nicholas Oakwell, shoes by Bally, and hat by Stephen Jones.) Gents are required to turn up in a top hat and tails. “The new rules are about being more ‘English summer party’ than ‘pop star fleshy,’ ” says Atkinson, who designed a special Racing Collection (below), each hat from which adheres to Ascot’s regulations. His strawberries-and-cream-inspired toppers will be on sale at his pop-up shop at London’s Saint Martins Lane Hotel, open from today until the end of June. Continue Reading “The Only Way Is Ascot” »