102 posts tagged "Tom Ford"
New It bags and It shoes regularly enter the fashion orbit, but this season’s unexpected must-have accessory is the humble—or not so humble—belt. Back in September, we clocked Céline’s Thanksgiving-appropriate pilgrim buckle on Anna Dello Russo, Giovanna Battaglia, and Elina Halimi, and noticed plenty of statement-making cinching on the Spring runways, too. Michael Kors, Haider Ackermann, and Tom Ford created a wasp-waist silhouette with classic men’s leather belts, while other designers assumed a more-is-more approach. Lanvin’s Alber Elbaz featured sweet cummerbunds decorated with bedazzled hearts; Peter Dundas sent out medallion-spangled bands worthy of a boxing champion at Emilio Pucci; and Vera Wang was snapped wearing an ultrawide style that swallowed up her entire torso.
Although you’ve definitely seen her influence, you may not have heard of Katy England. She isn’t one for the street-style paps or the blogosphere—probably because she’s too busy styling the collections of such talents as Riccardo Tisci, Tom Ford, and Marios Schwab to stop and strike a pose. During her twenty-year-and-counting career, England has built close relationships with Dazed & Confused and AnOther magazines (she previously held the role of fashion director at the latter), and served as the creative director of Alexander McQueen’s studio from the mid-nineties to the mid-naughties. If you’re still not impressed, we should tell you that she’s styled covers and spreads with photographers such as Rankin, Nick Knight, and Willy Vanderperre, and currently works with one Kate Moss on her much-talked-about Topshop range.
England has just released Made in England, a short film, created in collaboration with Vauxhall, that focuses on the many facets of contemporary British youth culture. Here, the stylist talks to Style.com about her directorial debut, McQueen, and why fashion is for the young.
Your film is all about British youth culture, which has historically played a huge role in British fashion. Do you think that youth culture now is equally as influential as it was during the punk or New Romantic/club kid eras?
I don’t feel there’s the same energy. It’s just so different, but I’m not young anymore. Teenagers today think they’re doing the most exciting things, just like we did at our age. It’s all relative. But I think designers—all of us—get inspired by young people and what they’re doing. I certainly do. Real fashion, high fashion, is from the kids and for the kids. We can all look stylish, and we can all dress really well and be on trend, but real fashion, as I would call it, is for the young. I work with Riccardo Tisci on his menswear collections; he is so inspired by what young kids are doing worldwide. And I’m sure Marc Jacobs does as well. I think there’s a certain bunch of them that are really young at heart.
What do you think of the increasing focus being placed on London’s young talents?
I used to work for Alexander McQueen, and when he took his position at Givenchy many, many years ago, it was the beginning of designers being approached by big houses. We were just kids—new kids on the block at the house of Givenchy—and we didn’t know what to do, and we didn’t get much support. I think now it’s become much more familiar—it happens all the time. And it’s great, but [the young designers] all need to have support around them, whether it’s great stylists, great people helping them research, great technicians…. I think these jobs are huge, and they’re a lot of pressure for the kids. If they’re supported, they’ll be fine, because they have a huge amount of energy, but it’s so tough. I did it with Alexander McQueen, unsupported. And it was harsh—really harsh.
Do you think it’s a positive thing that big houses are tapping young talents, and that these important companies are investing in new designers?
Sometimes I think it’s too much too soon, and I think there’s a huge value in learning in a smaller way. I work with Marios Schwab, who has a very small company in London. He’s been doing it a long time, and he’s such a talent. Bit by bit, he keeps going, and I hope that it will happen for him in the end. And when it does, my god will he be set up and ready for it, because he’s learned his craft. You have to learn your craft. You can’t just catapult. You’re going to be better for it if you learn the hard way.
Would you prefer to have youth or wisdom?
I’d love the energy of youth. I love being around people with that energy. I really feed off of that. But it’s tough for kids now. When I started in the fashion industry, it was so openly creative and you were not restricted in any way. Kids don’t have that opportunity so much anymore, because fashion is much more of a business now. Even with photo shoots, the clients are so much more powerful, because of digital photography—they can watch the shoot taking place. That was never the case before, and they had to put trust in a team of creatives to book the right people and get on with it. It was literally so free, and you would hope that you captured it, and you’d be so excited to see the film in the end. The creative process is very spontaneous, and it needs to be spontaneous. I think that we’ve lost a lot of that spontaneity. Continue Reading “Katy England Would Rather Just Get on With It” »
Tonight in New York, industry insiders and supporters such as Julianne Moore, Christina Ricci, and Diane von Furstenberg gathered at Spring Studios for the CFDA/Vogue Fashion Fund’s annual gala. Earlier this year, the decade-old initiative, which provides financial support and mentorship for emerging fashion talents, selected ten semi-finalists for its 2013 prize. And this evening, following a speech by Tom Ford, on-the-rise menswear label Public School, designed by Dao-Yi Chow and Maxwell Osborne, took the top honor. “We’ve been having such a great year, we were happy just to be here with you,” said the designers during their acceptance speech—and they weren’t kidding about the great year bit. The pair also took the 2013 Swarovski Award for Menswear at the CFDAs in June. “To say we’re tremendously humbled is an understatement,” added the winners, who were chosen by a committee that included Reed Krakoff, David Neville, Marcus Wainwright, Anna Wintour, and Jenna Lyons, among others.
The runners up, too, expressed their excitement. “Being in this room and on this stage [with Tom Ford and Julianne Moore], I want to stay here forever,” said second runner up, jewelry designer Mark Alary. Juan Carlos Obando, who was named as the first runner up, offered some heartfelt words of gratitude. “The word thank you is very small. I found a word that is really true. It’s I love you, to all the judges.”
Nothing glams up an outfit like a little crystal. We saw plenty of bejeweled looks during the Spring ’14 shows—at Prada, for instance, sporty dresses and sandals were studded with candy-colored stones, and Tom Ford whipped up minidresses and jumpsuits with flashy mosaics. For Fall, however, designers focused on simple, clear stones to add a hint of glimmer. A scattering of sparkle is just the thing to add a touch of opulence to your Fall wardrobe, but we wouldn’t stop you from piling it on, either. Shop our favorite crystalized pieces from Valentino, Miu Miu, and more, below.
1. Tory Burch Vesper bead-embellished woven silk top, $395, available at net-a-porter.com
2. Valentino Glam Lock crystal-embellished leather shoulder bag, $3,455, available at net-a-porter.com
3. Biyan Nabila embellished satin twill skirt, $940, available at net-a-porter.com
4. J.Crew jeweled cuff, $125, available at jcrew.com
5. Miu Miu crystal-embellished suede pumps, $990, available at net-a-porter.com
Moschino, which celebrated its thirtieth anniversary in Milan last month, has hired Jeremy Scott to be its new creative director. The 39-year-old L.A.-based designer replaces Rossella Jardini, who has headed up the label since 1994, when the house founder, Franco Moschino, died. Scott will make his runway debut at Moschino’s Fall 2014 show in February next year. In an e-mail, Aeffe chairman Massimo Ferretti said, “I am enthusiastic about this significant change, as our goal is to inject new energy into our Group in keeping with the changes already in place with other Aeffe brands such as Philosophy, Emanuel Ungaro, Pollini, and Cédric Charlier.” Scott will continue to design his own label, which he launched in 1997. With a rebellious streak at least a mile wide—at one of his early shows, he tossed coins printed with his face at the audience—Scott is a savvy match for Moschino, a label known for its irony and irreverence. “It’s the closing of one chapter and the beginning of a new one,” he said via phone this morning. Here, the Missouri farm boy who Karl Lagerfeld once took under wing discusses his plans for Moschino as he ushers it into its fourth decade.
There are so many synergies between you and the Moschino brand. How did you feel when you were approached?
I was really excited. For me, one of the key elements of Moschino is humor. It’s one of the few houses that has humor, and it’s the same thing for me. Another one of the bonding elements is their written messages that express thoughts and twist ideas. We share an obsession with poking fun at fashion. Whimsy, also.
Were you a Moschino fan before this offer came through?
I was. The ironic thing is, during my last year of college, when I was at Pratt, I interned for the Moschino press office, for Michelle Stein here in New York. Yeah, it’s kind of a fairy-tale story. I was the intern, and now I’m running the company.
You once said you turned down job offers from Pucci, Versace, Paco Rabanne, and Chloé. Why did you say yes to this one?
It’s two things. At the beginning of my career, I felt it was really important to establish my own name. I feel like my own brand, my own DNA, is created and solid now, and I’ve built a global fan base. I don’t have that fear I used to have of the possibility of me getting lost in someone else’s house. On the one hand, I’m different now; the other has to do with the brand. It’s hand in glove. When I heard it, it was like, “Oh my God, yeah, of course.” This is so natural for me; I can take this so many different ways.
When did Moschino come to you?
I was contacted in July. It was very effortless, actually. I feel like they were pretty fixated on the idea and certain about me being the right person. I’ll continue to do my own line, as well as my Adidas collaboration. I’ve been working very vigorously to be ahead of my normal procrastinated self in anticipation of having a larger workload.
Have you been spending time in Italy?
Not yet. Other than meeting them in July, I’ve gone to Milan maybe two or three times. I’m not very familiar with the city, so that in itself will be an adventure for me. I literally don’t even know where to get toothpaste.
I’m going to be there the entire month of November—to understand how they work and to meet my design team, which is already in place. But I’m a very modern boy. I work a lot through the Internet. That’s one of the reasons I moved from Paris to Los Angeles in the first place, actually. Nothing was being made in Paris except the things in my own studio. I could be anywhere. Now that’s even more the case with iPhones and gadgets. But at the same time, I want to see the archives, to learn the house, and to be physically there, as well. We’ll see. Whatever it’s going to take for it to feel right, that’s all I’m concerned about. I want to do a good job.
How does it feel to be headed back to Europe?
I started my career in Paris, so it feels like home. I’m excited about learning more about Milan, Milan life, and Italian style. I’ve only been to Rome once, when Karl [Lagerfeld] brought me. The proximity of everything—I mean, Italy is the size of California, I can spend the weekends sightseeing. I’ve never been to Venice…I’ve always wanted to go, and now I have the perfect opportunity.
On the other hand, California, where you currently work, seems to be having a moment. Does it feel like there’s something going on there?
I am the pioneer, I got here first. I even remember Tom [Ford] saying to me, “I can’t believe you’re moving there, I wish I could do it.” I love it here. I feel inspired, it’s a wonderful way of creating for me—it just feels really good. I don’t really think about how [it's having a moment], but I realize it through other people’s eyes. All the stories about [the new boutique] Just One Eye, all the attention they’re getting. Other people are focusing here. The only thing I can think of that’s different now than when I first moved here is that there’s a younger generation that’s come up, that has become part of the look of the city. There’s been so much more enthusiasm about fashion and style from this new generation of kids. Continue Reading “Jeremy Scott: The New Man At Moschino” »