20 posts tagged "Vanity Fair"
As much as we love lists, we also love predictions. Yesterday, Vanity Fair gave us both, releasing its annual New Establishment ranking along with an appendage of on-the-verge comers, the Next Establishment. Along with power elite in finance and technology, etc, there’s a sizeable fashion industry factor. On the first are obvious choices like Bernard Arnault (#10) and nemesis François-Henri Pinault (#20), while Ralph Lauren sits between them at a very respectable #13. Having had very good years are J. Crew’s Mickey Drexler, moving up from last year’s #52 spot to #37; Marc Jacobs, who rose from #78 to #54; Diego Della Valle, up from #76 to #50; and John Galliano, strutting from #83 to #56. While Miuccia Prada dropped from #30 to #44, she’s still Mrs. Prada. And fresh off a runway triumph, Alber Elbaz makes his first entry at #73.
As for who might be joining the Lanvin designer at the adults’ table for 2010, there’s Burberry’s Christopher Bailey and Bottega Veneta’s Tomas Maier—both lauded for being forward-thinking caretakers of iconic brands. There’s the face that launched a thousand (well, million) ballet flats, Tory Burch, and red-carpet rulers Marchesa’s Georgina Chapman and Keren Craig. However, the selection of younger Americans is somewhat curious. You could probably guess Rodarte’s Kate and Laura Mulleavy and Alexander Wang, but it’s surprising that Zac Posen and Band of Outsiders’ Scott Sternberg beat out seemingly recession-proof king of contemporary Phillip Lim and Proenza Schouler, the very first of New York’s younger set to win the CFDA’s Designer of the Year award. Also missing are MObama go-tos like Jason Wu and Thakoon Panichgul. Another surprise is MTV host and ubiquitous girl-about-town Alexa Chung. Though going from “who?” to Who’s Who in the course of less than a year is no mean feat.
“I’m calling it the greatest pug movie of all time,” jokes Matt Tyrnauer of his documentary Valentino: The Last Emperor (click above for a clip), which covers two crucial years in the lives of Valentino Garavani and business partner Giancarlo Giammetti. By now most of the fashion fluent have seen the comical canine clip that’s made its rounds on the Web over the past year, but in fact, the film, which premieres today at Film Forum, goes beyond the surface of Val’s over-the-top glamour. Evolving from a feature that Tyrnauer, a Vanity Fair special correspondent, wrote for the magazine in 2004, Valentino is a warts-and-all portrait that digs deep into one of the industry’s greatest partnerships—at times to the subjects’ discomfort. “Valentino’s press is miles wide but only very shallow in depth,” explains Tyrnauer. “He had never talked about his relationship with Giancarlo Giammetti in great depth and he had never given a kind of insiderly look at how he did it. And this is someone that started with nothing and built a global fashion empire.”
Shooting from 2005 to 2007, Tyrnauer captured the glory of Valentino’s 45th anniversary, the bittersweetness of his decision to retire, and the end of the alta moda era with the sale of VFG to private equity firm Permira. But in the end it’s the duo’s unique relationship that takes center stage. “It’s an amazing, dynamic, and sometimes hysterically funny partnership,” Tyrnauer observes. “They’re a great double act.” Here, Tyrnauer talks to Style.com about the details behind documenting la dolce vita.
Being wired for sound for two years seems like a nightmare for people who are accustomed to supreme comforts. Did Valentino and his team know what they were in for?
I don’t think anyone really had a full picture of what it would be like to be pursued by the camera, and, even more annoyingly, sometimes microphones for two years. So there are lots of tense moments, which I put in the movie, because that’s who [Valentino] is. He’s someone who lives in a kind of bubble world of unbelievable luxury; everything is taken care of for him, and mostly by Giancarlo Giammetti, who is this incredibly loyal friend and protector, and at one time, a partner in the romantic sense for half a century.
Your Vanity Fair feature started to get into that. Was it true that no one had talked about their sexuality in print before your story?
I think in print it had never been talked about. Actually, I’m sure of it. It’s just a different era we’re talking about here. The fifties, when Valentino started, and the sixties were a very different time, and Italy is a very different country. It’s 99 percent Catholic and the relationship was not talked about openly. My Vanity Fair story was the first time they both spoke about being boyfriends. Continue Reading “The Last Emperor Director Matt Tyrnauer Talks Pugs, Love, And Valentino” »
BMW and Vanity Fair teamed up last night to throw a party for the Art Car exhibition (which runs through February 24) at the Los Angeles County Museum of Art. Guests including Dennis Hopper, Joan and Jackie Collins, and Rick and Kathy Hilton sipped Champagne and pondered the featured works of art on wheels: vintage Beamers with paint jobs courtesy of big-name Pop artists. There were four in all, by Andy Warhol (colorful impasto), Frank Stella (black and white grid pattern), Roy Lichtenstein (yellow sun rays and signature pixel dots), and Robert Rauschenberg (Old Masters on the doors). Cheryl Tiegs, stationed by the Warhol model, revealed she’s no stranger to customized cars. “The first thing I do is get fatter tires. Instead of 17-inch, I get 19-inch—it’s cooler.” A former swimsuit model and current reality show judge (ABC’s True Beauty) who knows her way around autos—could it get more L.A.? “I’ve pretty much always driven
sports cars, but I want a hybrid,” Tiegs added. Guess that answers that question.
The year ahead for the fashion industry may look somewhat bleak, but that’s all the more reason to be excited about the International Center of Photography’s “Year of Fashion,” a 12-month-long look at style shooters. The year begins on January 16 with three simultaneous exhibitions: a collection of vintage prints from Vogue and Vanity Fair‘s chief lensman Edward Steichen; a 70-image look at non-fashion photographers (Walker Evans, Tina Barney, Robert Mapplethorpe) whose images are nonetheless quite stylish; and another that focuses on the modern fashion photograph, culled from glossies that range from Vogue to Purple Fashion. (The latter two are curated by photography critic and writer Vince Aletti.) There’s a whole lesson in fashion history right there in the first few months of the year. Edward Steichen: In High Fashion, the Condé Nast Years, 1923-1937; This Is Not A Fashion Photograph; and Weird Beauty: Fashion Photography Now will all be on view from January 16 through May 3, 2009.