3 posts tagged "Vuitton"
Out of the mystic comes “The Stars (Are Out Tonight),” a new Bowie video. This one is a lot less oblique than the video that artist Tony Oursler made for “Where Are We Now?,” the first single from Bowie’s startling comeback album, and that’s mostly because director Floria Sigismondi’s natural genius with a twisted narrative (case in point: Marilyn Manson’s “The Beautiful People” promo) gels so well with what one imagines is Bowie’s own predilection for the cinematically perverse. “The Stars” sumptuously elevates the man and the myth to new heights.
This particular offering toys with the androgyny, the bravado, the decadence, the desire that turns an ordinary human being into a raving fan. It also has a strong contemporary-fashion quotient, appropriate given that Bowie was, in a way that the upcoming exhibition at the Victoria & Albert Museum will surely clarify, always inclined to the fashion experiment—from the early days of his Kansai jumpsuits to McQueen frock coats and Hedi Slimane suits.
Stylist Jerry Stafford was responsible for dressing the cast of five for the two-day shoot in L.A.: models Saskia de Brauw, Andrej Pejic, and Iselin Steiro, plus Bowie himself and his co-star Tilda Swinton, with whom Stafford has worked for fifteen years. Stafford is, like me, a child of Bowie, but he says there was no time on the set for fandom. “Everyone understood they were part of something special.” There was one moment when Stafford presented Bowie with a long coat, explaining to him it was by a designer named Rick Owens. “More Rick Wakeman than Rick Owens,” was the response, Wakeman being the wizard-coat-wearing keyboard king of Brit prog rock. “He played piano on ‘Life on Mars?,’ ” chimed in Stafford, the sole moment when he let himself indulge his know-every-last-detail trainspotter obsession. “And, indeed, on the whole of Hunky Dory,” Bowie said with a knowing smile. Continue Reading “Inside David Bowie’s “The Stars (Are Out Tonight)”” »
From Dior’s demure gowns to Maison Martin Margiela’s high-fashion denim, the Spring ’13 Haute Couture shows had a lot to offer. But when it comes to couture, no look is quite complete without some jewels to go with it. As the last collections walked the runways today, some of the biggest houses debuted their Haute Joaillerie collections in Paris. Tina Isaac reports back on the most opulent baubles from Chanel, Dior, Louis Vuitton, and more.
Snakes are already trending for 2013—but it’s worth remembering that Boucheron has been turning them out for well over a century. For Spring, the house has rifled the archives and polished up hallmark designs from its first Serpent collection of 1968, giving them a more contemporary spin. Serpent rings in sculpted gold, beading, and the house’s signature snow setting—an eye-catching pavé of studied randomness—come with one head or two, in three sizes; pendants with honeycomb backs can be worn as a necklace or mounted as brooches on gold safety pins.
For the first time, Chanel dedicated its entire high jewelry collection—all ninety-nine pieces—to a single theme: the camellia. The flower appeared rendered every which way: mounted into 3-D diamond swirls; flattened into graphic diamond pavé etched with a black spinel border; sculpted in onyx and white coral; fashioned into a diamond, gold and lacquer ring rendition of Mademoiselle’s celebrated Coromandel screens; or articulated in a big, colorful “origami” of pink sapphires and other stones.
As a prelude to the presentation of her new collection next July, Victoire de Castellane showed a curated selection of additions to existing collections. These included a trio of slimmer caned rings and bracelets in the My Dior collection, a Les Précieuses garden-inspired necklace anchored by a sizable emerald, a Toi et Moi rose-shaped ring in diamonds and emeralds, and a unique set of antique cameos mounted into earrings for the Coffret collection. Meanwhile, the house’s watch lines are expanding fast. Colored gems offset black or white ceramic settings in the Dior 8 line, russet feathers fan into the skirt-shaped oscillating weight on the new model of the Grand Bal watch, and a trio of Mini D watches feature zingy fuchsia, turquoise, or neon yellow bands.
The latest addition to the Place Vendôme continues its travel through time, expanding the Vuitton galaxy with new takes on classic motifs. For instance, Vuitton showed new iterations of its lacy, articulated “knife edge” settings on a collar necklace. There was also a Monogram Infini fractal mandala and delicate bracelets mounted with the house’s signature star and flower cut diamonds. If there’s anyone out there who didn’t know the house was a new installation (Vuitton opened its Vendôme boutique and workshop in 2012), they could easily be forgiven for mistaking the diamond chandelier earrings for pieces that emerged from a bygone era.
For many in fashion, L.A. is a full coast away from where the real action is. “Style in L.A. is sort of an oxymoron,” admits former L.A. Times writer and journalist Melissa Magsaysay. “It’s jeans and it’s T-shirts. But what’s wrong with that?” In hopes of changing the conversation surrounding style in the City of Angels, Magsaysay penned City of Style: Exploring Los Angeles Fashion, from Bohemian to Rock.
While following the contemporary market in L.A., the author realized that mass market brands were referencing L.A.’s ease and attitude as inspiration—without necessarily wanting to admit it. “No one will acknowledge it because it’s not Dior and Vuitton. But to me, it doesn’t have to be those labels and brands to be stylish, per se.” City of Style combines street-style photography with interviews with some of the city’s reigning tastemakers, ranging from Monique Lhuillier and Trina Turk to Phillip Lim and even Slash. Magsaysay makes the case for L.A.’s own native style archetypes, which need no reference to Paris prêt-à-porter or New York cool: its skaters, surfers, rockers, cholas, bohemians, and glamour-pusses of the old Hollywood screen-star mold. “They’re not trends but actual looks that came about from subcultures, music, and counterculture—what I think are inherent and totally unique to the city,” she says. They hint at an L.A. beyond the old jeans-and-tees cliches, and according to stylist/designers (and City of Style subjects) Emily Current and Meritt Elliott, they may prove more influential than many yet admit—even outside city limits. “In the past decade, L.A. has really come into its own in having a distinctive and relevant fashion sensibility,” the duo tells Style.com.
City of Style: Exploring Los Angeles Fashion, from Bohemian to Rock is available at Barnes and Noble May 22.