#dior maison line as the dior expands

[sindoshipping]

How Dior Able to be the Most Popular Luxury Brand in Recent Time?

Christian Dior, widely known as Dior, has firmly established itself as one of the most prominent luxury brands in recent times. This rise to prominence is the result of a combination of strategic market positioning, expansive global reach, and significant impact on the world market. Dior’s success story is not just about high fashion; it is a meticulously crafted journey involving innovation,…

[theremotelyreview]

Rihanna Is Launching New Fashion Brand With LVMH

On Friday, LVMH Moët Hennessy Louis Vuitton, the world’s largest luxury group, officially confirmed not only that the fashion line created by Rihanna was becoming part of its gilded stable, but also that the first products from the new company would be unveiled — in a few weeks. Thus the disruption of the status quo begins.

Rihanna will become the first woman to create an original brand at LVMH, the first woman of color at the top of an LVMH maison, and her line will be the first new house created by the group since Christian Lacroix in 1987. It joins such storied heritage brands as Dior, Givenchy, Celine and Fendi and positions Rihanna as a breakthrough designer on a number of levels.

The move is a formal acknowledgment from the establishment that a multi-hyphenate pop star/actress/image-maker now has as much global currency, name-recognition and (yes) influence as designers like Hedi Slimane and Nicolas Ghesquière. That there is no need to limit them to the street or sportswear world. And that growth in the luxury industry may no longer come just from reinventing old heritage names, but by embracing a new diverse, digital, direct communication-enabled reality.

The brand, whose logo features a graphic representation of Fenty that resembles a Greek key design, as well as the name in white letters against a blue background with a reversed “N,” will be based in Paris, include ready-to-wear, shoes and accessories, and “is centered on Rihanna, developed by her, and takes shape with her vision,” according to a statement from LVMH.

It is, in other words, the first brand of the Instagram age supported by one of the three big groups that have defined the global luxury era.

“Designing a line like this with LVMH is an incredibly special moment for us,” Rihanna, 31, said in the statement. “Mr. Arnault has given me a unique opportunity to develop a fashion house in the luxury sector, with no artistic limits. I couldn’t imagine a better partner both creatively and business-wise, and I’m ready for the world to see what we have built together.”

The news of a deal between LVMH and Rihanna, whose full name is Robyn Rihanna Fenty, was originally leaked in January, but this is the first time either party has spoken about their agreement. It marks an evolution in the celebrity-style synergy, which has progressed from one-off collaborations (Selena Gomez and Coach) to longer term deals between sports brands and stars (Beyoncé and Adidas) to, now, the sort of brand that Emilio Pucci built.

“Everybody knows Rihanna as a wonderful singer, but through our partnership at Fenty Beauty, I discovered a true entrepreneur, a real C.E.O. and a terrific leader,” Bernard Arnault, the chairman of LVMH, said in the statement, referring to the partnership Fenty has had with LVMH since 2017 to create and distribute its beauty line.

“She naturally finds her full place within LVMH,” he continued. “To support Rihanna to start up the Fenty Maison, we have built a talented and multicultural team supported by the Group resources.”

The Group resources are notably large — LVMH reported first-quarter revenues in April of 12.5 billion euros ($14.1 billion), an increase of 16 percent — and the emphasis on “multicultural,” in a time when many luxury brands are suffering from charges of cultural insensitivity and discrimination, is significant.

LVMH has been making strides in recent years to right the gender balance in luxury, appointing the first female designers of Givenchy in 2017 and Dior in 2016. It has also begun to address the need for diversity, naming Virgil Abloh as the first African-American to head Louis Vuitton men’s wear in 2018.

Fenty, however, has made inclusivity of all kinds — size, race, gender identity — part of its identity from the beginning.

Founded in 2016 under an agreement with Puma, which was then owned by the LVMH rival Kering (the brand was originally called Fenty x Puma), Fenty had its debut at New York Fashion Week before moving to Paris for two seasons and unexpectedly charming the normally suspicious French fashion world with the kind of clothes that, she said at the time, “Marie Antoinette would wear if she was going to the gym.”

In 2017, it returned to New York for a show at the Park Avenue Armory that featured freestyle motocross racers zooming around a runway and doing tricks over mounds of sparkly pink sand, demonstrating that when it comes to spectacle (and LVMH loves a fashion show spectacle), Rihanna can hold her own with any marketing machine. Last year she expanded the line to lingerie with Savage x Fenty.

Though she has not shown ready-to-wear on the runway since September 2017, there is no reason to expect the new version of Fenty will be significantly different from the old, though presumably it will benefit from the manufacturing and materials savoir-faire of LVMH.

In other words, expect haute streetwear of many sizes and shades.

Both parties declined to comment further on the plans for a show or stores, but the inclusion of a website — fenty.com — in the statement suggested that the focus, for the beginning at least, would be digital, yet another departure for a group that practically invented the concept of the flagship as brand temple.

LVMH’s first foray into original couture, Lacroix, did not end too well; it sold the brand in 2005, and the name is now largely associated with an unrelated sparkling water. Whether this story will rewrite the playbook of luxury remains to be seen. But the first chapter is about to begin.

[nctinfo]

[TRANS]  NCT U Interview for Vogue Korea ‘Super Youth’ March 2018 Issue!

In an era of uncertainty, NCT made its debut like an organism with a free survival method that expanded and transformed. The cells of NCT U in 2018 are Taeyong, Jaehyun, Doyoung, Mark, Lucas, Jungwoo and Winwin. On the border between boys and adolescents, they show how much they can live in the black frame. 

Lucas’ white shirt is from (Dior Homme), denim pants are form (Rag&Bone at Beaker), belt (Bottega Veneta). Doyoung’s shirt (Saint Laurent by Anthony Vaccarello at Boon The Shop), denim pants (Levi’s). Mark’s t-shirt (Juun.J), denim pants (Bell&Nouveau). Jungwoo’s denim jacket, pants (MSGM). Winwin’s top (Juun.J). Taeyong’s knitted vest (Maison Margiela at Boon The Shop), denim pants (MSGM). Jaehyun’s shirt, denim pants (Calvin Klein Jeans). The last idol that I have given a line to public broadcast as a fan, is H.O.T. When I was dreaming of a reunion in 17 years through <Infinite Challenge>, I met NCT U, NCT's unit. It took three days to understand the organic, futuristic and neolithic group called NCT. Jung Hyungdon, who runs the idol program, asks NCT's team, "So what is NCT?” I found and watched NCT’s neat videos on Youtube. For fans, it might be a familiar term, but it's a simple matter. NCT stands for 'Neo Culture Technology', which is a concept of infinite opening and infinite expansion. Any number of members of the unit may be increased or changed. NCT U, NCT127, NCT DREAM are active in NCT. In April 2016, NCT U, who made their debut with the digital single '7th Sense', has five members, and NCT U who sang 'Without You' has three. The NCT U of 2018 I met had seven. In 2018, NCT's full members are 18 members, including new members (Lucas, Jung Woo and Kun). It's like a rap with a rhyme. “NCT is a completely new group format. It may take a while, but if you understand it completely, you'll definitely like NCT with a new system and form!” (WINWIN) "NCT is like a brand.” (MARK) "NCT is a team that is not trapped and always pursuing newness.“ (JUNGWOO)

NCT is coming to life. If each member were to be a cell and when they unite, they create a new organism. Not only the members but also the music, performance and (fashion) style will vary depending on the case. A minors-only team, NCT DREAM, are boys with an innocent image riding on hoverboards and sing 'Chewing Gum' before they become men. Named after Seoul's longitude 127, NCT 127 emphasizes the masculine image and dream to conquer the world. NCT U brings out different performances and matches the style of the song like a separate unit. These newcomers are rather pleased with this repetition of reforming and changing (the concept). "Sensible ballads, hip-hop, splendid performances, it's nice that I can show you many different sides of myself" (JAEHYUN) “I can show you a fresh image every time.”(LUCAS) “For the fans, we can often comeback with different looks ”(WINWIN)

Until now, idols always have a certain key style, character, and identity. Like these specific adaption: sexy, feminine and beastdols, and like how GIRLFRIEND, Boyfriend, Oh My Girl and Seventeen have their identity explained through the team name. NCT aims for 'de-identity' (t/n: not having one specific identity) and rather adapts to the future. We don't know how the future will look like, there's not one thing that's for sure, it can change quickly and I know many adaptions/preferences will coexist. SM, who has always been a half-foot ahead with new/fresh idol styles, has this time taken a whole-foot ahead (which is somewhat difficult to understand) and introduced a new union of idols to the front. In 2016, during a business summit, head Lee Sooman said SM would be reborn as 'New Culture Technology'. The stage was decorated by NCT (Neo Culture Technology). They are what SM describes as the future.

NCT also has SM's past. SM has made successful artists through trial and error. EXO's perfect worldview and narrative, SHINee's hitbox and Red Velvet's refreshing images. It can be fully implemented to the cell combination of NCT. "Because our team can change continuously we're trying to show you good music and performances like our sunbaenims" (DOYOUNG). "NCT has a variety of colors. We think, the more colors, the more beautiful and pretty it is" (TAEYONG).  Before the appearance of groups with 9 or 11 idols was shocking but 'there must have been one member you'd like'. Now you can say that NCT has all you want in an idol group, music, and performances. This style sums up "tal-style (different-style)" and rather creates NCT's own style. "It's our goal to create NCT's own genre. We want to reinterpret NCT's various concepts with a quality feel. "(MARK) 

Mark is active through all of NCT 127, NCT DREAM and NCT U. Though there’s probably no idol that doesn’t work hard anywhere, you can see how hard they are working in a tough world with infinite scaling just by looking at Mark. He has been writing lyrics for a long time. These days he writes his lyrics on his smartphone and keeps a diary on his notebook. “Even if it isn’t for an album, I still often write lyrics by myself. Though the feeling of being a producer is still far away, I am constantly trying to be creative because I’m greedy” (MARK)

Even when they talk about their favorite musicians, they always end it with their 'willingness to try'. "Like Frank Ocean, I want to be a musician who is continuously searched for and lingers in your mind. I have a habit of listening to many great singers like him. It's for my own development. And to become a great singer, I first have to become a good person so I can appreciate the world a little bit more and fill up my heart generously." (MARK) The same goes for the other members. "Every day I practice, study/research and try to broaden my horizons." (JAEHYUN) "I think the fundamentals are important. When I become a better person, my songs and dances will also be heard and seen better. " (TAEYONG) "I always watch other singers and different stages to analyze them." (JUNGWOO) "I practice, practice, practice." (LUCAS)

With my auntie mind, I want to tell them that they are doing well and can run less (hard), but I'm not in the position to say this. They have a dream. The dreams of racers don't easily let themselves get exhausted by the restrains of the world. For them, the tough times should be overcome before they can be sad. "I organize my thoughts through conversations and I keep a journal for myself" (MARK) "I create a box/space of my own and try to see my true self." (TAEYONG)

The burden of Taeyong, leader of NCT, would be heavier than the other members. "It's not easy to gather all the NCT members in one place. Since trainee days, I always thought it was important to get acknowledgment from the team first. I try to take initiatives and imagine myself in their shoes. At first, I thought it was not going as I wished it would, but that was a wrong thought. It shouldn't go according to my will, but according to the will of everyone. It takes everyone's effort and that's what makes a team. I'm grateful for the members who come along well and work hard." (TAEYONG)

Many things change, but what has/will never change in NCT.  "Our connections with our fans. This applies to other teams as well, but for our team, our connection with our fans is really important." (DOYOUNG) "What never changes is our view of the world. Even when we're not together, I think that empathy with one another through our dreams and music is permanent. The standard of our music that matches our worldview will also not change. It's our responsibility to prepare in good conditions." (MARK)

NCT U's keywords for the upcoming comeback are empathy, dream, and NCT. "The goal for this comeback is first of all, for all the members to have fun without getting hurt. I'm also worried about the new members who will make their debut. And I want to meet many fans again. We need more communication, sympathy, and connections with the fans." (TAEYONG) "In a society where there is superficial and fragmented communication, because of a busy life or for other reasons, we wrote a message through NCT's music with hopes of empathizing with one another. We will be the bosses that will lead you to empathy/genuine connections. Please believe and follow us (laughs)." (JAEHYUN)

Translation: Esmee, Selin, Teddy @ FY! NCT (NCTINFO) | Source: Vogue Korea

— Please take out with full credits

[beautifulballad]

Nina Dobrev Becomes Fragrance Ambassador For Maison Christian Dior

Nina Dobrev Becomes Fragrance Ambassador For Maison Christian Dior

Nina Dobrev is expanding her relationship with Maison Christian Dior. The young actress is set to front the newest ambassador for the brand’s fragrance collection. Announced as an ambassador for the Dior Beauty line in 2019, the young actress will now cross over the scents and fragrances campaigns as well. In a press release from Dior, Nina spoke about the transition stating, “I’m thrilled to…

[black-is-no-colour]

Martin Margiela's Advice to John Galliano: “Take What You Will from the DNA of the House, Protect Yourself, and Make It Your Own.”

Vogue.com   I    by Laird Borrelli-Persson, on 12 October 2017   

Since 2015, Gibraltar-born, London-raised John Galliano has been ensconced in the Paris-based Maison Margiela, where anonymity has always reigned. Galliano once took his bows at Christian Dior, Givenchy, and his eponymous label in all matter of fantasy costumes; at Margiela he never appears, but his signature Midas touch is on every piece that comes down the runway.

The designer’s early work was driven by improbable and irresistible narratives pulled from history and literature. His muses ranged from royalty (Princess Lucretia, Cleopatra, the Marchesa Luisa Casati) to pinups and Degas dancers. If one could rack up points for time travel, Galliano would never set foot off a plane, as his past work zigzagged between the Harlem Renaissance and the Elizabethan era. The DNA of the Maison Margiela is deconstruction (aka “la mode destroy”), an approach to which Galliano has added romance and surprise, combined with a devotion to craft. Jettisoning dramatic scenography, and epic tales, the designer has pared back his approach and narrowed his focus, and now tells stories more directly through garments that push the fashion conversation forward.

At today’s Forces of Fashion conference, Galliano sat down with his old friend André Leon Talley to discuss creativity then, now, and always. Here are highlights from their conversation.

On the blouse blanche I adopted it out of great respect for Maison Margiela. It’s a great thing to wear. Everyone wears white coats, so, when we have visitors, everyone’s super nice to everyone because they’re not quite sure if they’re [talking to] the CEO. You know, democratic values.

On his new gig [Moving from Dior to Margiela] didn’t really effect my creative process, but I did have to get very creative in every other aspect, for sure. There was a room called atelier; it said Atelier, but when I went in, no, no, no, no. I just had to surround myself with really strong people—people I'd worked with before—and creatively begin to build a team. Honestly, the existing team that was there, they’d done a great job, but they were more bricolage, which is, you know, cutting things up and putting them together again. I wanted to create new volumes, because fashion can’t go forward [otherwise]. Fashion is about volumes; you have to expand it with volumes. I remember presenting a bit of an experiment I’d done on the stand and a sketch, and they were like, “What’s that?!” Anyway, they only lasted three or four days. I never saw them again!

Also, I was obsessed with perfection and polishing—you know, over-polishing—and at Maison Margiela I’ve discovered the joy in the unfinished. It doesn’t have to be so polished. It’s helped me to, perhaps, loosen my control over image and things—it’s actually quite nice when mistakes happen along the way. It may not be what I asked for at the beginning, but it’s certainly something quite new and worth playing with; that rawness and that emotion just really sits very well with me, and Maison Margiela is able to express emotion through volume and cut, line….

On overcoming adversity I had to do the work I had to do, and I’m so grateful of that time that I spent on my own. Really, the joy of creativity is what pulled me through. It’s why I’m here today.

On the bias technique I will be honest, I had started to cut things on the circle—circular sleeves, circular bodies—to cause some sort of disruption or cowling. It was one of my tutors who said, “Oh, that fabric is on the bias.” I had no idea, and then I was introduced to Madeleine Vionnet and I was just blown away. …. [Bias] teaches you so much, it’s like liquid mercurial. It’s a dialogue, it stretches, it shrinks, it’s chaotic, you know, but it teaches you so much. It’s a real challenge. It’s just the most beautiful way of cutting, I think. And I think it’s been very gendered, too. I’m going to try doing it for menswear. The idea of producing a bias-cut men’s suit, can you imagine it? That illustrative line…but so comfortable to wear.

And then I did put [the bias] to the side, actually. I did. I thought I’d become quite known for the bias cuts, and when I went to Maison Margiela… I just wasn’t there yet. But, having a bit more freedom at Margiela, I realized that it didn’t have to be over-polished or overbalanced or any of those over- things, so I started playing with the bias again. I thought, “How can I do it? I do want to do it, it’s me—it’s part of me—but I want to do it in a way that is relevant for Maison Margiela.” So I started to play with tweeds on the bias and they would unravel. A tweed dress for day (for day!) on the bias... And then I started playing���mixing tweeds with satin-backed crepe—and there was this kind of disruption, which normally, we’d have to fix, but I went with it. I rather liked the disruption that the two fabrics were causing and I thought it was really beautiful. So that’s kind of how the bias has now developed at Maison Margiela and I’m really happy. I embrace it, but it just took me a little bit of time to cleanse and to take it on board again, and I’m really happy I have. 

On meeting Martin Margiela The last time we met he said, “You may not see me ever again.” [That was] just before I joined [Maison Margiela]. I mean, we write each other emails. He’s very anonymous. I did invite him to my house for tea. Well, he wanted to meet, and so we met. It was the most amazing, amazing experience ever. He remembered me and he said we’d hung out in clubs and stuff in London, but I have no recollection. I was not that conscious then. He was the assistant to Jean Paul [Gaultier] at the time, so there is truth in it. Anyway, I invited him round to number 5 and we had tea. I had so many questions to ask him, but I didn’t have to ask, it just poured out. Everything that you would want to know, anything that you…you just couldn’t find in a book—I mean, I can’t expose too much, because some of it was very personal, but he told me about his love of 17th-century French literature, 18th-century costume. Are these things you know about Martin? Because I certainly didn’t. So we had a great time. It was tea; it started at 4 p.m. and I think he left about 10 p.m. It was just amazing. He said: “Take what you will from the DNA of the house, protect yourself, and make it your own.” A Gentleman.

On the importance of social media [Social media] is really important. Like I said, my stages help me to create mood boards: we follow people, we engage with them. "I love the way [kids on social media] put themselves together now, because [a selfie] is a glamourous shot." It’s more spontaneous, I find, than when we were dressing up as kids and, you know, we’d spend three days getting ready. It’s much more spontaneous and immediate and, because of that, they’re less precious about everything. They really don’t need to know or care if David Bowie wore those trousers in ’72 and that they were worsted and cut by Tommy Nutter. No. The image speaks to them or it doesn’t, so of course [social media] has an effect, even on how you put a running order together in a show—the narrative, a direct message, what is it we’re trying to say with this show?

Taken from Vogue.com

[caesarsme]

Authentic Used Discount Louis Vuitton Purse Outlet Sale

She turns one next month however she's already a style icon. South African artist Nicholas Hlobo prefers to let the owner determine if his bag is art or not. It's informed by the use. If someone is using it as a bag, then it is a style object. If it's not used and displayed as an paintings, its presentation redefines it as an art object.” replica lv handbags He is the only one of the six to use leather-based regularly in his installations, which touch upon gender, ethnicity and culture in submit-apartheid South Africa. His work options intricate two- and three‑dimensional objects crafted from discarded ribbon, leather-based, wooden and rubber, and his Louis Vuitton bag, with its rippling, softly padded reliefs and hand-plaited tails, is probably the most tactile in the set. Identified for its impeccable fashion and quality, the Louis Vuitton model is one highly admired by the fashion world. The corporate bought its start approach back in 1854 when the younger French designer Louis Vuitton started making his own model of trunks and baggage, and subsequently expanded the model's offering to incorporate various seasonal purses and bags. The 33-12 months-old took part in a photograph shoot for style big Louis Vuitton in Bondi Seashore. This explicit Louis Vuitton capsule is comprised of the Speedy, Neverfull, Keepall, Bumbag, micro purse, Onthego and mini Seaside Pouch. Every silhouette boasts a reinterpreted monogram print, with contrasting pops of color. We see hits of pink paired with green, orange with lilac, pink with vivid pink, and yellow with orange and khaki. Crafted in restricted portions from the finest supplies and completed in rich, deep colors, Louis Vuitton Exotics are rarely seen on the public sale market. These crocodile, alligator, ostrich and snakeskin pieces symbolize the pinnacle of the Vuitton collector market. The shine on a crocodile bag — such as the instance proven above — surpasses anything that can be crafted in leather-based. Like the old saying goes, whether it is too good to be true, then it probably is. This goes for Louis Vuitton baggage as properly. An authentic Louis Vuitton is crafted from high-finish luxury materials and the value tag displays that truth. Do not be fooled into shopping for a pretend. Educate yourself and be nicely-knowledgeable on what to look out for when buying a designer bag. There are various misconceptions surrounding Monogram canvas. Although many people imagine that LV logos are never reduce off and that they are never upside down, this isn't true. The Speedy is the proper example of an the other way up brand, since it is made out of one steady piece of fabric.

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[dd20century]

Shocking Designer: Elsa Schiaparelli Part Two

This is the second part of “Shocking Designer: Elsa Schiaparelli.” Read part one.

Elsa Schiaparelli’s Greatest Successes

An American buyer was taken with Schiaparelli’s design for a sweater that featured “black and white trompe l’oeil design patterned with a square collar and red bowknot” (4) which soon became a sensation on both sides of the Atlantic. By the early 1930s Schiaparelli’s company expanded to 400 employees who produced over 7000 garments yearly. (4) Schiaparelli surrounded herself with the best creative artists of the period and drew inspiration from them: Alberto Giacometti, Salvador Dali, Jean Cocteau, Jean Schlumberger, Jean Clément, Lina Baretti, Jean-Michel Frank to name only a few. (4)

Elsa Schiaparelli and Salvador Dali, Lobster Dress (1938). Image source.

The middle of the 1930s were perhaps the climax of Schiaparelli’s career. In 1934 she became the first female to be featured on the cover of the American magazine Time. It was during this period that she designed some of her most renowned designs: the lobster dress, the skeleton dress, the tear dress, and in collaboration with Jean Cocteau the optical illusion coat. Her most “surreal” creation was perhaps the Shoe Hat (1937) inspired by a photo of Salvator Dali wearing a shoe on his head. (2)

Elsa Schiaparelli and Léonor Fini, “Shocking” Perfume Bottle (1937). Image source.

In 1935 Schiaparelli moved production to workshops at 21 Place Vendôme, and it was reported that just before World War II the firm was turning out over 10,000 garments a year. Schiaparelli was not only designing clothes. In 1937 she created the color “Shocking” Pink and the perfume of the same name, “whose bottle designed by Léonor Fini” (2) and said to have been inspired by the curves of actress Mae West.(3)

Elsa Schiaparelli and Jean Cocteau, Optical illusion Dress (1937). Image source.

Schiaparelli and Chanel

About all that Elsa Schiaparelli and Coco Chanel had in common were they are contemporaries and female fashion designers. Unlike Schiaparelli, Chanel was born into dire poverty. Chanel always put herself and her vision over the interest of others. Schiaparelli viewed fashion as art. It didn’t matter how one felt wearing one of her outfits as long as it looked sensational. Chanel’s clothes, however, were designed to give women more freedom of movement to complement their newly liberated lifestyles. (5)

Elsa Schiaparelli, Pheobus Cape (1938). Image source.

World War II Disrupts Schiaparelli’s Career

As Europe descended into war, Schiaparelli’s Spring 1940 collection reflected the current mood in Paris, “’trench’ brown and camouflage print taffetas” (3). Despite her valiant efforts to keep the workshop at 21 Place Vendôme running and to keep her employees working, she had to close up in the summer of 1940. She then returned to the United States to give a series of lectures. She also “involved herself with war-related volunteer activities, including providing service as a nurse’s aide at Bellevue Hospital” (4). Schiaparelli spent most of her time during the War in New York, except for a brief visit to Paris in early 1941 (3).

Schiaparelli in Post-war Paris

After the War Schiaparelli opened a manufacturing facility in New York City, but soon returned home to Paris. Upon her arrival, like her rival Coco Chanel, Schiaparelli discovered that “her influence was eclipsed by the emergence of a new generation of couturiers, most notably Christian Dior and Cristobal Balenciaga”(4). In 1946 sensing that during peacetime women had the opportunity to travel more Schiaparelli introduced the Constellation wardrobe aimed at women travelers. In addition to dresses, the collection included a reversible coat and folding hat.  But unlike Coco Chanel who took up the challenge from the “New Look” designers and eventually emerged triumphant, Schiaparelli could never recreate her earlier success or launch another popular collection.

In the 1930s Schiaparelli had designed costumes for several French films, and in 1952 she got the opportunity to design costumes for actress Zsa Zsa Gabor in the Hollywood production of Moulin Rouge. Miss Gabor played the Parisienne performer Jane Avril; Schiaparelli took her inspiration for Miss Gabor’s costumes from Henri de Toulouse-Lautrec’s paintings and posters of Avril. (3)

Eva Gabor as Jane Avril in “Moulin Rouge” (1952), United Artists. Costume designed by Elsa Schiaparelli. Image source.

Elsa Schiaparelli Retires

After struggling to keep her company financial solvent in the post-war years Schiaparelli “discontinued her couture business in 1951, and finally closed down the heavily indebted design house in December 1954” (3). She retired from the fashion industry in order to devote her time to writing her autobiography, Shocking Life (2,3). She spent the rest of her life dividing her time between Paris and her vacation home in Tunsia (3). In November 1973, Schiaparelli died in Paris.

In 2008 the Philadelphia Museum of Art held a retrospective of Schiaparelli’s work, "Shocking!" The Art and Fashion of Elsa Schiaparelli". (3) In 2012 the Metropolitan Museum of Art mounted an exhibition called “Schiaparelli and Prada: Impossible Conversations” which compared explored the designs of contemporary Italian designer Miuccia Prada with those of Elsa Schiaparelli. (6)

The Rebirth of the House of Schiaparelli and 21 Place Vendôme

In 2006, Italian businessman Diego Della Valle purchased the rights to the Schiaparelli brand. He had to wait, however, six more years before he could acquire 21 Place Vendôme, the site of Schiaparelli’s original studio. In 2014 almost sixty years after Schiaparelli closed her shop, with Marco Zanini as creative director, (3) a new Schiaparelli collection was introduced. The 2014 collection “included dark men’s blazers over soft-colored taffeta dresses, ultra-short embroidered bolero jackets, long polka dot bustier dresses and unexpected mixes of fabrics such as feathers with tulle and silk” (7).

Last year Daniel Roseberry took over as Schiaparelli’s creative director (8). In addition to Haute Couture, House of Schiaparelli also offers a ready to wear line of clothing and accessories. The Autumn 2020 collection features an evening gown and bolero jacket inspired by Schiaparelli’s skeleton dress, elaborately patterned fabrics and unique draping and folding also inspired by Schiaparelli. Celebrities Cate Blanchette, Ella Balinski, and Joan Smalls been seen wearing designs from the latest Schiaparelli collections. (7)

Daniel Roseberry for Schiaparelli, Double breasted jacket and trousers with jewelry buttons and chains, Spring 2020 collection. Image source.

Almost one hundred years since Elsa Schiaparelli began selling her unique designs out of her apartment, her work continues to inspire today’s designers, and the house that once bore her name is again shocking the fashion world.

References 1. Encyclopaedia Britannica, (2 September, 2020). Elsa Schiaparelli. https://www.britannica.com/biography/Elsa-Schiaparelli 2. Maison Schiaparelli, (n.d). Shocking life: A Hommage to the Famous Firsts of a Legendary Couturiee. https://www.schiaparelli.com/en/21-place-vendome/the-life-of-elsa/ 3. Wikipedia,  (4 September, 2020). Elsa Schiaparelli. https://en.wikipedia.org/wiki/Elsa_Schiaparelli 4. Reeder, J., (2011). Elsa Schiaparelli (1890-1973).   https://www.metmuseum.org/toah/hd/elsa/hd_elsa.htm 5. Garelick, R.K. and Secrest, M., (2 October, 2014). Chanel vs. Schiaparelli. https://www.harpersbazaar.com/culture/features/a3781/chanel-schiaparelli-rivalry-1014/ 6. Metropolitan Museum of Art (2012). Schiaparelli and Prada: Impossible Conversations. https://www.metmuseum.org/impossibleconversations/ 7. Wendlandt, A.,(20 January, 2014). Schiaparelli brand back in Paris fashion after 60-year silence.  Reuters website. https://www.reuters.com/article/us-fashion-france-schiaparelli/schiaparelli-brand-back-in-paris-fashion-after-60-year-silence-idUSBREA0J18Y20140120 8. Deeny, G., (23 April, 2019). Schiaparelli names Daniel Roseberry as artistic director. https://in.fashionnetwork.com/news/Schiaparelli-names-daniel-roseberry-as-artistic-director,1091967.html

[jessicakehoe]

Behold, Hedi Slimane’s first Celine fragrance is on its way

Overnight, the world was given the first glimpse at Hedi Slimane’s debut Celine fragrance. The French fashion house is expanding into scent for the first time in many years under Creative, Image and Artistic Director Hedi Slimane – and the industry is abuzz with intrigue. 

The expansion into fragrance was first announced alongside Slimane’s appointment at the helm of the storied house back at the start of 2018. In addition to completely overhauling the brand’s aesthetic (to much criticism), introducing menswear and changing its logo, the designer has also found the time to design a range of fragrances in that time. 

An image was shared on Celine’s Instagram that depicted what looked like three metal mould casings all separated out. And although the image didn’t necessarily hint at a fragrance, the caption most certainly did. The brand wrote, “Celine Haute Parfumerie Collection Debut,” to accompany the shot. 

In addition to the image, a video of the pieces was also shared on the social media platform with the caption, “15 years after the creation of Maison Christian Dior perfume collection, Hedi Slimane presents his Haute Parfumerie Collection for Maison Celine.”

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LA COLLECTION CELINE HAUTE PARFUMERIE CELINE HAUTE PARFUMERIE COLLECTION DEBUT ⠀⠀⠀⠀⠀⠀ 15 ANS APRES AVOIR CRÉÉ LA COLLECTION DE PARFUMS MAISON CHRISTIAN DIOR, HEDI SLIMANE PRÉSENTE SA COLLECTION DE HAUTE PARFUMERIE POUR LA MAISON CELINE. ⠀⠀⠀⠀⠀⠀ 15 YEARS AFTER THE CREATION OF MAISON CHRISTIAN DIOR PERFUME COLLECTION, HEDI SLIMANE PRESENTS HIS HAUTE PARFUMERIE COLLECTION FOR MAISON CELINE. ⠀⠀⠀⠀⠀⠀ #CELINEBYHEDISLIMANE #CELINEHAUTEPARFUMERIE

A post shared by CELINE (@celine) on Aug 18, 2019 at 10:04am PDT

Slimane was indeed the man behind Dior’s first menswear fragrance line, and as with its sartorial offering, LVMH-owned Celine is likely looking to emulate his previous successes in the field. The scent from Slimane will be the first in many years for the brand, whose first scent, Vent Fou, launched back in 1964. Interestingly, despite her prior experience in launching cult-favourite (and top-selling) perfumes for brands like Loewe, Louis Vuitton and Chanel, Slimane’s predecessor Phoebe Philo never created a scent for Celine during her 10-year stint. 

There’s no word yet on the scent profile or a release date for the collection, however the brand has certainly captured attention around the world with the video having racked up almost 16,000 views since it was posted 19 hours ago. Watch this space. 

The post Behold, Hedi Slimane’s first Celine fragrance is on its way appeared first on FASHION Magazine.

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[biofunmy]

Rihanna, Breaking New Ground, Joins With LVMH for Fashion Brand

Get ready for the second coming of Fenty.

On Friday, LVMH Moët Hennessy Louis Vuitton, the world’s largest luxury group, officially confirmed not only that the fashion line created by Rihanna was becoming part of its gilded stable, but also that the first products from the new company would be unveiled — in a few weeks. Thus the disruption of the status quo begins.

Rihanna will become the first woman to create an original brand at LVMH, the first woman of color at the top of an LVMH maison, and her line will be the first new house created by the group since Christian Lacroix in 1987. It joins such storied heritage brands as Dior, Givenchy, Celine and Fendi and positions Rihanna as a breakthrough designer on a number of levels.

The move is a formal acknowledgment from the establishment that a multi-hyphenate pop star/actress/image-maker now has as much global currency, name-recognition and (yes) influence as designers like Hedi Slimane and Nicolas Ghesquière. That there is no need to limit them to the street or sportswear world. And that growth in the luxury industry may no longer come just from reinventing old heritage names, but by embracing a new diverse, digital, direct communication-enabled reality.

The brand, whose logo features a graphic representation of Fenty that resembles a Greek key design, as well as the name in white letters against a blue background with a reversed “N,” will be based in Paris, include ready-to-wear, shoes and accessories, and “is centered on Rihanna, developed by her, and takes shape with her vision,” according to a statement from LVMH.

It is, in other words, the first brand of the Instagram age supported by one of the three big groups that have defined the global luxury era.

“Designing a line like this with LVMH is an incredibly special moment for us,” Rihanna, 31, said in the statement. “Mr. Arnault has given me a unique opportunity to develop a fashion house in the luxury sector, with no artistic limits. I couldn’t imagine a better partner both creatively and business-wise, and I’m ready for the world to see what we have built together.”

The news of a deal between LVMH and Rihanna, whose full name is Robyn Rihanna Fenty, was originally leaked in January, but this is the first time either party has spoken about their agreement. It marks an evolution in the celebrity-style synergy, which has progressed from one-off collaborations (Selena Gomez and Coach) to longer term deals between sports brands and stars (Beyoncé and Adidas) to, now, the sort of brand that Emilio Pucci built.

“Everybody knows Rihanna as a wonderful singer, but through our partnership at Fenty Beauty, I discovered a true entrepreneur, a real C.E.O. and a terrific leader,” Bernard Arnault, the chairman of LVMH, said in the statement, referring to the partnership Fenty has had with LVMH since 2017 to create and distribute its beauty line.

“She naturally finds her full place within LVMH,” he continued. “To support Rihanna to start up the Fenty Maison, we have built a talented and multicultural team supported by the Group resources.”

The Group resources are notably large — LVMH reported first quarter revenues in April of 12.5 billion euros ($14.1 billion), an increase of 16 percent — and the emphasis on “multicultural,” in a time when many luxury brands are suffering from charges of cultural insensitivity and discrimination, is significant.

LVMH has been making strides in recent years to right the gender balance in luxury, appointing the first female designers of Givenchy in 2017 and Dior in 2016. It has also begun to address the need for diversity, naming Virgil Abloh as the first African-American to head Louis Vuitton men’s wear in 2018.

Fenty, however, has made inclusivity of all kinds — size, race, gender identity — part of its identity from the beginning.

Founded in 2016 under an agreement with Puma, which was then owned by the LVMH rival Kering (the brand was originally called Fenty x Puma), Fenty had its debut at New York Fashion Week before moving to Paris for two seasons and unexpectedly charming the normally suspicious French fashion world with the kind of clothes that, she said at the time, “Marie Antoinette would wear if she was going to the gym.”

In 2017, it returned to New York for a show at the Park Avenue Armory that featured freestyle motocross racers zooming around a runway and doing tricks over mounds of sparkly pink sand, demonstrating that when it comes to spectacle (and LVMH loves a fashion show spectacle), Rihanna can hold her own with any marketing machine. Last year she expanded the line to lingerie with Savage x Fenty.

Though she has not shown ready-to-wear on the runway since September 2017, there is no reason to expect the new version of Fenty will be significantly different from the old, though presumably it will benefit from the manufacturing and materials savoir-faire of LVMH.

In other words, expect haute streetwear of many sizes and shades.

Both parties declined to comment further on the plans for a show or stores, but the inclusion of a website — fenty.com — in the statement suggested that the focus, for the beginning at least, would be digital, yet another departure for a group that practically invented the concept of the flagship as brand temple.

LVMH’s first foray into original couture, Lacroix, did not end too well; it sold the brand in 2005, and the name is now largely associated with an unrelated sparkling water. Whether this story will rewrite the playbook of luxury remains to be seen. But the first chapter is about to begin.

Sahred From Source link Arts

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[titoslondon-blog]

New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.co.uk/love-la-perla-lingerie-the-brands-india-ceo-has-good-news-for-you/

Love La Perla lingerie? The brand’s India CEO has good news for you

“Look how far we’ve come,” says Sapna Shehrawat, the India CEO of iconic lingerie label La Perla. We’re in the country’s only La Perla store—they opened doors in August 2016—situated in the capital’s glossy DLF Emporio mall, and Shehrawat, dressed simply in a sleek black silk jumpsuit and no jewellery, is quite the picture of restraint.

It could be said that the Delhi-based Shehrawat, who visits Milan to do the buy herself, knows the label quite intimately. The York University double major in sociology and mass communication swears complete brand loyalty in her choices (both in inner wear and in taking the pieces out of the boudoir, but more on that later), and easily rattles off all the key facts—currently, apart from luxury inner wear made from the finest lace, silk and micro jersey, La Perla also makes ready-to-wear, all under the creative direction of Julia Haart, who came on board in May 2016. Since then, the brand has seen a revival of corsetry (Ada Masotti, who founded the house in 1954 in Bologna, Italy, started out as a corset-maker) as well as the re-launch of its classic Maison line of intimate and nightwear for women.

For Shehrawat, 41, whose own style influences range from Russian fashion media magnate Miroslava Duma to Italian designer Alberta Ferretti, this role is a sartorial dream come true. “What most people are just realising about La Perla is that our pieces work across occasions. Take the Freesia bodysuit, one of our bestsellers—I’ve worn it with velvet trousers, and even paired it with a sari.” She pairs a classic blue silk camisole from the Maison line with high-waisted skirts or trousers. She’s even worn it under a formal pantsuit. “The pieces allow me to experiment with innerwear as outerwear,” she says.

Her aesthetic, she says, veers towards the contemporary. “For me, it’s all about luxury without compromising on comfort,” she says, describing her style as classic with a touch of bohemia. “Change is constant, and the quick-paced evolution of fashion excites me,” she adds, and cites her preference for Céline’s minimal designs as well as her love for the raw energy of Jacquemus’ deconstructed tailoring. “My wardrobe essentials are a custom-made blazer (my favourite is one from Blazé Milano), a silk slip from La Perla, and well-fitted white shirts. These styles can dramatically change your look without bulking up your closet.”

In fact, her commitment to this more textured minimalism extends to her home as well. Pristine white walls, furniture and floors abound, filled with fresh flowers and candles in every room. “Every couple of months, I like to add colour to the space with artworks I paint in my free time, rugs and pillows from artisans and small brands from across India. It’s like having a blank canvas every season,” she says. “This resembles my state of mind when I wake up in the morning and ask myself what I want to wear.”

Mostly, though, she answers that question by going for her favourites: “A simple white T-shirt and blue jeans are my everyday staples. I like high-waisted jeans from Frame, and add colour to my outfits through accessories—shoes from Dior, Hermès, Chloé and Saint Laurent, and handbags from Chanel, Céline and Hermès, plus my watches. When in doubt, I gravitate towards black—I have a closet full of it.” In doing so, she creates a practical look that works well, whether she’s in India or travelling the world. Her latest acquisitions: Off-White X Jimmy Choo Jane sandals, a La Perla swimsuit, and a multi-purpose gilet from Isabel Marant. And as she moves ahead with her plans for La Perla—kickstarting the label’s Indian e-retail platform, Laperla.in, by November or launching male innerwear and expanding the existing shop-at-home service—you can be sure she’s doing it in her very own style.

1/4 Sapna ShehrawatA peek into Shehrawat’s versatile wardrobeHer pristine home is dotted with vibrant art piecesStatement accessories are a staple in Shehrawat’s closet

Styled by Aradhana Baruah

The post Love La Perla lingerie? The brand’s India CEO has good news for you appeared first on VOGUE India.

[shionamcmillandesignorigins]

The History of Dior

In December of 1946, Christian Dior decided to create his own unique fashion house situated in Paris on 30 Avenue Montaigne with The Boussac Group after what he described as “fate” telling him what to do. He bumped into his childhood friend Georges Vigouraux three times consecutively, who had told him of Boussac’s wish to find a designer who could inject new life into his company: “the humdrum shape of a childhood friend… now the director of Gaston, a couture house in the rue Saint Florentin.” (Dior, 1957). In February of 1947, he made history by releasing his first collection, which quickly gained the name “The New Look” and threw Dior into the limelight, something he struggled with initially but grew to accept after creating an alter ego of sorts for his public appearances, as he was a very private, shy man. This collection featured iconic pieces such as the bar jacket and the passe-partout suit, which exhibited his interest in traditional styling methods, such as lining his clothing with taffeta, a technique that had previously been lost due to the restrictions placed upon fashion during the war. Dior’s designs appealed to the side of women of the time that wanted to feel sexy and feminine after such a dark period. His focus on the natural curves of women and how to accentuate these curves celebrated femininity, so much so that his designs were initially seen to be outrageous at the time, although this only made his customers want them more. After an incredible first year for Maison Dior, the fashion house expanded significantly, even after Dior’s shocking death in 1957. The house continues to release new and innovative lines, regularly changing their creative directors to keep the approach fresh and young. Since Dior’s death, they have expanded into markets such as leather goods, jewellery, makeup, shoes, and even have individual watch lines.

References:

Dior, C., 1957. Dior by Dior, 1st ed., N.A, Weidenfield.

[bouboukos]

Martin Margiela’s Advice to John Galliano: “Take What You Will From the DNA of the House, Protect Yourself, and Make It Your Own”

(FROM VOGUE)

OCTOBER 13, 2017 12:40 AMby

LAIRD BORRELLI-PERSSON

André Leon Talley and John GallianoPhotographed by Corey Tenold

Since 2015, Gibraltar-born, London-raised John Galliano has been ensconced in the Paris-based Maison Margiela, where anonymity has always reigned. Galliano once took his bows at Christian Dior, Givenchy, and his eponymous label in all matter of fantasy costumes; at Margiela he never appears, but his signature Midas touch is on every piece that comes down the runway.

The designer’s early work was driven by improbable and irresistible narratives pulled from history and literature. His muses ranged from royalty (Princess Lucretia, Cleopatra, the Marchesa Luisa Casati) to pinups and Degas dancers. If one could rack up points for time travel, Galliano would never set foot off a plane, as his past work zigzagged between the Harlem Renaissance and the Elizabethan era. The DNA of the Maison Margiela is deconstruction (aka “la mode destroy”), an approach to which Galliano has added romance and surprise, combined with a devotion to craft. Jettisoning dramatic scenography, and epic tales, the designer has pared back his approach and narrowed his focus, and now tells stories more directly through garments that push the fashion conversation forward.

At today’s Forces of Fashion conference, Galliano sat down with his old friend André Leon Talley to discuss creativity then, now, and always. Here are highlights from their conversation.

On the blouse blanche I adopted it out of great respect for Maison Margiela. It’s a great thing to wear. Everyone wears white coats, so, when we have visitors, everyone’s super nice to everyone because they’re not quite sure if they’re [talking to] the CEO. You know, democratic values.

On his new gig [Moving from Dior to Margiela] didn’t really effect my creative process, but I did have to get very creative in every other aspect, for sure. There was a room called atelier; it said Atelier, but when I went in, no, no, no, no. I just had to surround myself with really strong people—people I’d worked with before—and creatively begin to build a team. Honestly, the existing team that was there, they’d done a great job, but they were more bricolage, which is, you know, cutting things up and putting them together again. I wanted to create new volumes, because fashion can’t go forward [otherwise]. Fashion is about volumes; you have to expand it with volumes. I remember presenting a bit of an experiment I’d done on the stand and a sketch, and they were like, “What’s that?!” Anyway, they only lasted three or four days. I never saw them again!

Also, I was obsessed with perfection and polishing—you know, over-polishing—and at Maison Margiela I’ve discovered the joy in the unfinished. It doesn’t have to be so polished. It’s helped me to, perhaps, loosen my control over image and things—it’s actually quite nice when mistakes happen along the way. It may not be what I asked for at the beginning, but it’s certainly something quite new and worth playing with; that rawness and that emotion just really sits very well with me, and Maison Margiela is able to express emotion through volume and cut, line. . . .

On overcoming adversity I had to do the work I had to do, and I’m so grateful of that time that I spent on my own. Really, the joy of creativity is what pulled me through. It’s why I’m here today.

On the bias technique I will be honest, I had started to cut things on the circle—circular sleeves, circular bodies—to cause some sort of disruption or cowling. It was one of my tutors who said, “Oh, that fabric is on the bias.” I had no idea, and then I was introduced to Madeleine Vionnet and I was just blown away. . . . [Bias] teaches you so much, it’s like liquid mercurial. It’s a dialogue, it stretches, it shrinks, it’s chaotic, you know, but it teaches you so much. It’s a real challenge. It’s just the most beautiful way of cutting, I think. And I think it’s been very gendered, too. I’m going to try doing it for menswear. The idea of producing a bias-cut men’s suit, can you imagine it? That illustrative line. . . but so comfortable to wear.

And then I did put [the bias] to the side, actually. I did. I thought I’d become quite known for the bias cuts, and when I went to Maison Margiela. . . I just wasn’t there yet. But, having a bit more freedom at Margiela, I realized that it didn’t have to be over-polished or overbalanced or any of those over- things, so I started playing with the bias again. I thought, “How can I do it? I do want to do it, it’s me—it’s part of me—but I want to do it in a way that is relevant for Maison Margiela.” So I started to play with tweeds on the bias and they would unravel. A tweed dress for day (for day!) on the bias. . . . And then I started playing—mixing tweeds with satin-backed crepe—and there was this kind of disruption, which normally, we’d have to fix, but I went with it. I rather liked the disruption that the two fabrics were causing and I thought it was really beautiful. So that’s kind of how the bias has now developed at Maison Margiela and I’m really happy. I embrace it, but it just took me a little bit of time to cleanse and to take it on board again, and I’m really happy I have.

On meeting Martin Margiela The last time we met he said, “You may not see me ever again.” [That was] just before I joined [Maison Margiela]. I mean, we write each other emails. He’s very anonymous. I did invite him to my house for tea. Well, he wanted to meet, and so we met. It was the most amazing, amazing experience ever. He remembered me and he said we’d hung out in clubs and stuff in London, but I have no recollection. I was not that conscious then. He was the assistant to Jean-Paul [Gaultier] at the time, so there is truth in it. Anyway, I invited him round to Number 5 and we had tea. I had so many questions to ask him, but I didn’t have to ask, it just poured out. Everything that you would want to know, anything that you. . . you just couldn’t find in a book—I mean, I can’t expose too much, because some of it was very personal, but he told me about his love of 17th-century French literature, 18th-century costume. Are these things you know about Martin? Because I certainly didn’t. So we had a great time. It was tea; it started at 4:00 p.m. and I think he left about 10:00 p.m. It was just amazing. He said: “Take what you will from the DNA of the house, protect yourself, and make it your own.” A gentleman.

On the importance of social media [Social media] is really important. Like I said, my stages help me to create mood boards: We follow people, we engage with them. I love the way [kids on social media] put themselves together now, because [a selfie] is a glamorous shot. It’s more spontaneous, I find, than when we were dressing up as kids and, you know, we’d spend three days getting ready. It’s much more spontaneous and immediate and, because of that, they’re less precious about everything. They really don’t need to know or care if David Bowie wore those trousers in ’72 and that they were worsted and cut by Tommy Nutter. No. The image speaks to them or it doesn’t, so of course [social media] has an effect, even on how you put a running order together in a show—the narrative, a direct message, what is it we’re trying to say with this show?

[jessicakehoe]

Why Beige is, Surprisingly, 2019’s Least Boring Trend

“What’s with all this otherworldly iridescence?” a friend texted me after the Fall 2018 runway shows had wrapped. She’d noticed an abundance of spacey, oil-slick-effect garments at the Sies Marjan, Maison Margiela and Balmain shows and was hoping her fashion bellwether (me) could explain their existence. Right away I thought, “Because we all want to get off this planet!”  

One of fashion’s powers is its ability to take the temperature of our collective mood and manifest it as a wearable statement. From excessive ’80s power dressing symbolizing an upswing in economic prosperity to last year’s popular political slogan tees worn as a response to civil unrest, it seems that very often we are what we wear. 

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Understated elegance. @carolynmurphy evokes sophistication in the #MaxMara #SS19 cotton trench coat for @elleuk shot by @victordemarchelier. #MaxMaraSS19 #MaxMaraEditorials Production: @barbaragarralda Make-up: @fulviafarolfi Hair: @tyshearn

A post shared by Max Mara (@maxmara) on Jun 1, 2019 at 7:57am PDT

At the Spring 2019 shows, I was expecting an examination of where we wanted to be six months down the line, and that place was a sandy vista that seemed to say “Hey, chill out for a sec.” Like a calming sound bath for the eyes, colours like beige (a name that hails from a French word used to describe the colour of undyed wool), tan, khaki, ecru and fawn created the soothing spectrum of the season. 

On some runways, this wasn’t a surprise. Max Mara’s favouritism toward neutrals speaks to the brand’s mastery of garments that are elevated but also have a sense of ease. Chloé designer Natacha Ramsay-Levi often employs a pared-down palette to embody the chilled-out earth mother sensibility her bougie meets boho customer longs for. And Burberry is, of course, known for its sensible tan-coloured trench coats, which were introduced during another historical time of duress: WWI. 

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Quintessentially feminine… but with an edge. Presenting the new capsule collection, #MiuMiuCeremony, available online. Photography by @EmmaCraft Styling by @EmilyDawnLong

A post shared by Miu Miu (@miumiu) on May 23, 2019 at 12:31pm PDT

Other brands used neutrals to give their Spring 2019 collections a new dynamic. Miu Miu, typically known for its offbeat colourways and outré sensibility, used the mild hues with unexpected aplomb. Alexis Honce, stylist and on-air style expert for The Marilyn Denis Show, notes that the brand’s collection included “an ecru dress made of sequins, which was refreshing and fun.” Honce adds that the idiosyncratic styling of these pieces—with white ribbed tights and prim Mary Janes—will likely win over Miu Miu’s quirky devotees and expand fashion fans’ perception of the shade.

In his debut collection for Burberry, Italian designer Riccardo Tisci relied so heavily on beige that it’s actually worth noting. (Tisci far preferred the darker end of the colour spectrum when he made a name for himself creating intricate, ultra-luxe looks for the house of Givenchy.) From demure pleated skirts to amply proportioned trousers to a sumptuously silky take on the classic Burberry trench, the pieces were arresting in their simplicity and signalled a strong sense of self-possession.

“It’s kind of the ultimate statement of who you are, to wear beige and still be noticed,” says Alison Matthews David, an associate professor at Ryerson University’s School of Fashion in Toronto. She highlights how Kim Kardashian, a Tisci muse, typically slinks around in neutrals, simultaneously discreet and utterly visible. (Another of Kardashian’s favourite brands, Balmain, went neutral this season, too.) 

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Can’t wait for you to see #ComingSoon

A post shared by Kim Kardashian West (@kimkardashian) on Jun 18, 2019 at 8:49am PDT

Neutral pieces rely on the construction of the garments themselves—there are no colourful or print-based bells and whistles to distract from shoddy textiles or lacklustre design elements. Aside from colour, the connection between Max Mara’s coveted coats and Burberry’s iconic trench is their elegant, effortless silhouettes and luxurious fabrications. This can also be seen in the slouchy camel-coloured suit offered by New York-based designer Adam Lippes as well as in the dun-hued diaphanous frocks at Christian Dior. “We live in such a surveillance society that we’re aware of being constantly on the radar now in one way or another,” says Matthews David. “In a way, this idea of being unobservable might be pretty appealing.”

Once a less-desirable colour­ation for clothing (Matthews David notes that in the mid-19th century, wearing neutral-hued clothing signified you couldn’t afford dyed pieces), neutrals now evoke an enticing feeling of relaxation while still appearing polished. Some people might mistake beige as being aesthetically boring, but an examination of the array of neutral options this season reveals their undeniable sense of sophistication and serenity.

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My post pizza face in Rome ✨ Werbung wegen Verlinkungen

A post shared by 𝑳𝑰𝑽𝑰𝑨 𝑨𝑼𝑬𝑹 (@livia_auer) on Mar 11, 2019 at 1:31pm PDT

The palette is also a natural (ahem) partner to other currently trendy movements. “Raw beauty, natural and organic products—beige gives a colour to that lifestyle, and Instagrammers are loving it,” notes Honce. She points to social media stars like Song of Style and Livia Auer as enviable neutral-adopters and adds that more celebrities are getting into the biscuit frame of mind, employing the hue to shun the glitz of the red carpet. Constance Wu’s elegant sand-coloured Vera Wang gown from this year’s Golden Globe Awards proved that soft can also be strong.

Even if you’re not an influencer, turning to neutrals this season can provide a bit of respite. Maybe we aren’t able to blast off the planet just yet, but at least we can hit the metaphorical “pause” button for a minute.

The post Why Beige is, Surprisingly, 2019’s Least Boring Trend appeared first on FASHION Magazine.

Why Beige is, Surprisingly, 2019’s Least Boring Trend published first on https://borboletabags.tumblr.com/

[jessicakehoe]

Why Beige is, Surprisingly, 2019’s Least Boring Trend

“What’s with all this otherworldly iridescence?” a friend texted me after the Fall 2018 runway shows had wrapped. She’d noticed an abundance of spacey, oil-slick-effect garments at the Sies Marjan, Maison Margiela and Balmain shows and was hoping her fashion bellwether (me) could explain their existence. Right away I thought, “Because we all want to get off this planet!”  

One of fashion’s powers is its ability to take the temperature of our collective mood and manifest it as a wearable statement. From excessive ’80s power dressing symbolizing an upswing in economic prosperity to last year’s popular political slogan tees worn as a response to civil unrest, it seems that very often we are what we wear. 

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Understated elegance. @carolynmurphy evokes sophistication in the #MaxMara #SS19 cotton trench coat for @elleuk shot by @victordemarchelier. #MaxMaraSS19 #MaxMaraEditorials Production: @barbaragarralda Make-up: @fulviafarolfi Hair: @tyshearn

A post shared by Max Mara (@maxmara) on Jun 1, 2019 at 7:57am PDT

At the Spring 2019 shows, I was expecting an examination of where we wanted to be six months down the line, and that place was a sandy vista that seemed to say “Hey, chill out for a sec.” Like a calming sound bath for the eyes, colours like beige (a name that hails from a French word used to describe the colour of undyed wool), tan, khaki, ecru and fawn created the soothing spectrum of the season. 

On some runways, this wasn’t a surprise. Max Mara’s favouritism toward neutrals speaks to the brand’s mastery of garments that are elevated but also have a sense of ease. Chloé designer Natacha Ramsay-Levi often employs a pared-down palette to embody the chilled-out earth mother sensibility her bougie meets boho customer longs for. And Burberry is, of course, known for its sensible tan-coloured trench coats, which were introduced during another historical time of duress: WWI. 

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Quintessentially feminine… but with an edge. Presenting the new capsule collection, #MiuMiuCeremony, available online. Photography by @EmmaCraft Styling by @EmilyDawnLong

A post shared by Miu Miu (@miumiu) on May 23, 2019 at 12:31pm PDT

Other brands used neutrals to give their Spring 2019 collections a new dynamic. Miu Miu, typically known for its offbeat colourways and outré sensibility, used the mild hues with unexpected aplomb. Alexis Honce, stylist and on-air style expert for The Marilyn Denis Show, notes that the brand’s collection included “an ecru dress made of sequins, which was refreshing and fun.” Honce adds that the idiosyncratic styling of these pieces—with white ribbed tights and prim Mary Janes—will likely win over Miu Miu’s quirky devotees and expand fashion fans’ perception of the shade.

In his debut collection for Burberry, Italian designer Riccardo Tisci relied so heavily on beige that it’s actually worth noting. (Tisci far preferred the darker end of the colour spectrum when he made a name for himself creating intricate, ultra-luxe looks for the house of Givenchy.) From demure pleated skirts to amply proportioned trousers to a sumptuously silky take on the classic Burberry trench, the pieces were arresting in their simplicity and signalled a strong sense of self-possession.

“It’s kind of the ultimate statement of who you are, to wear beige and still be noticed,” says Alison Matthews David, an associate professor at Ryerson University’s School of Fashion in Toronto. She highlights how Kim Kardashian, a Tisci muse, typically slinks around in neutrals, simultaneously discreet and utterly visible. (Another of Kardashian’s favourite brands, Balmain, went neutral this season, too.) 

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Can’t wait for you to see #ComingSoon

A post shared by Kim Kardashian West (@kimkardashian) on Jun 18, 2019 at 8:49am PDT

Neutral pieces rely on the construction of the garments themselves—there are no colourful or print-based bells and whistles to distract from shoddy textiles or lacklustre design elements. Aside from colour, the connection between Max Mara’s coveted coats and Burberry’s iconic trench is their elegant, effortless silhouettes and luxurious fabrications. This can also be seen in the slouchy camel-coloured suit offered by New York-based designer Adam Lippes as well as in the dun-hued diaphanous frocks at Christian Dior. “We live in such a surveillance society that we’re aware of being constantly on the radar now in one way or another,” says Matthews David. “In a way, this idea of being unobservable might be pretty appealing.”

Once a less-desirable colour­ation for clothing (Matthews David notes that in the mid-19th century, wearing neutral-hued clothing signified you couldn’t afford dyed pieces), neutrals now evoke an enticing feeling of relaxation while still appearing polished. Some people might mistake beige as being aesthetically boring, but an examination of the array of neutral options this season reveals their undeniable sense of sophistication and serenity.

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My post pizza face in Rome ✨ Werbung wegen Verlinkungen

A post shared by 𝑳𝑰𝑽𝑰𝑨 𝑨𝑼𝑬𝑹 (@livia_auer) on Mar 11, 2019 at 1:31pm PDT

The palette is also a natural (ahem) partner to other currently trendy movements. “Raw beauty, natural and organic products—beige gives a colour to that lifestyle, and Instagrammers are loving it,” notes Honce. She points to social media stars like Song of Style and Livia Auer as enviable neutral-adopters and adds that more celebrities are getting into the biscuit frame of mind, employing the hue to shun the glitz of the red carpet. Constance Wu’s elegant sand-coloured Vera Wang gown from this year’s Golden Globe Awards proved that soft can also be strong.

Even if you’re not an influencer, turning to neutrals this season can provide a bit of respite. Maybe we aren’t able to blast off the planet just yet, but at least we can hit the metaphorical “pause” button for a minute.

The post Why Beige is, Surprisingly, 2019’s Least Boring Trend appeared first on FASHION Magazine.

Why Beige is, Surprisingly, 2019’s Least Boring Trend published first on https://borboletabags.tumblr.com/

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New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.co.uk/revival-of-the-fittest-inside-the-poiret-launch-90-years-in-the-making/

Revival of the fittest: Inside the Poiret launch 90 years in the making

Although this Sunday will be the first time Poiret’s name will appear on the official Paris Fashion Week schedule—filling the space once occupied by Phoebe Philo’s Céline—most if not all the designers presenting in Paris this season have, in one way or another, been influenced by its original founder, Paul Poiret.

Nicknamed le Magnifique or, as the Americans referred to him, the King of Fashion, Poiret (1879-1944) is credited with liberating women from the petticoat in 1903 and, most famously, the corset in 1906. He invented the sheath and sack dress (although both are usually attributed to Cristobal Balenciaga, who modernised them in the 1950s) and proposed the first couture trousers. He was the first designer to release a fragrance—a decade before Madame Chanel—named after his first daughter, Rosine, and expanded into lifestyle with his own interiors boutique, Les Ateliers de Martine, named after his second. His designs are relentlessly referenced, most pertinently in the Orientalist collections of John Galliano for Christian Dior, the airy silhouettes of Alber Elbaz’s Lanvin, the sporty suiting of Dries Van Noten and the diaphanous hems of Valentino, to name a few. In 2005, a 600-piece collection of his designs, dating from 1905 to 1928, were discovered in the home of his granddaughter and set records at auction at £1.2 million for the lot. Two years later, the Metropolitan Museum of Art in New York held a retrospective of his work.

Following a 90-year dormancy since it’s closure in 1930, the house will be revived by a female-led team including Beijing-born, Paris-based couturier Yiqing Yin in the role of artistic director and Belgian luxury business mogul Anne Chapelle, the woman behind the success of Ann Demeulemeester and Haider Ackermann. The venture is backed by South Korean fashion and beauty conglomerate Shinsegae International, which is led by Chung Yoo-kyung, the wealthy granddaughter of Samsung’s founder. For Chapelle, Yin was an obvious choice. “The most important thing is finding the designer, the person whose hand you believe in and with whom you have chemistry,” she explains. “I chose her for her mental strength, philosophy—and she is very mature, much more than you would think. I wanted to combine this fragility of the hand and strength of mentality,” Chapelle adds. When asked about Yin’s youth she explains, “I wanted freshness, I wanted somebody young and vivid and wanting to succeed and without baggage.” After all, Poiret was not yet 30 when he penned some of his most innovative creations.

His focus was the hang of a garment from the shoulders in voluminous, yet weightless silhouettes that borrowed from Indian, Islamic and Greek robes, the Roman chiton as well as the empire lines of Edwardian gowns and high-waisted dresses of Post-Revolutionary France. Despite Poiret’s herculean influence on fashion, his legacy faded following World War II—a period that favoured the conservative realism pioneered by Coco Chanel over what had now become the fanciful, cumbersome, impractical romance that Poiret represented. In 1944, the designer died in squalor.

Charged with the behemoth task of resurrecting the maison, Yin, who won the Grand Prize of Creation from the City of Paris in 2010 and the ANDAM Prize for First Collections in 2011 is, at least outwardly, calm in the days before her debut. “I think the grace of Poiret’s wardrobe lies in the pure and radical architecture of his clothing,” the soft-spoken designer offers during a walk-through of the collection she and her team have been working on for the last year. For the launch, Yin explains that she began with what she felt was the strongest archive—the printed jacquard—motioning to an iconic black-and-white image of a woman wearing the cocooning Le Perse coat taken in 1911. It was this print that formed the basis of Yin’s surface treatments: repainting it in languid, raw brush strokes, blowing it out into an unrecognisable macro view. The same print again is then engineered into rich, painterly house jacquards woven from wool and silk that, like Le Perse, cocoon the body with Poiret’s signature curvilinear, hunchback silhouette. There is glittery, lamé-esque suiting in Bowie silver, and carmine red with a draped, asymmetric scarf lapel that all but disappears into the form of the jacket. One cobalt blanket coat is trimmed with the fringing that forms the original selvedge, while the shoulders of a jet black leather bomber unbutton into an organic, almost floral shape on the wearer.

Most of the pieces, Yin tells me, began as simple rectangles that are then draped, refined, refitted and adjusted to create the right fit. One burnished metallic dress that at first glance is an undulation of cowls is, she explains, simply two flat rectangles anchored in two different points on the body. The rectangular paneling is repeated in the lapel-to-shoulder panels of an ankle-grazing cashmere cocoon coat whose seams are finished in gold thread, and in the ashen grey suiting for which Yin works with a combination of flat pattern and drape. “Today we need tailoring,” she explains of the modern addition to the Poiret vocabulary. “But our structures, our shoulders are very pure architecturally.”

The collection is bolstered by a sort of cadavre exquis approach to accessories—square-shaft boots in patrician tones with industrial statement heels, and jewellery heavy with raw chunks of crystal against gilded nails, screws and quotidian objects. These, in the pioneering spirit of its founder, will be in addition to all the lifestyle categories of a modern house, including cosmetics and fragrance, says Chapelle. “I want to keep a house that the Paris streets can be proud of,” she muses. “It’s to build on and to go to all markets from young to old, from luxury to prêt-a-porter, every level.”

And in the wake of the successes and failures of other recently revived luxury houses, are there any challenges that Chapelle foresees? “It’s a good moment to go back to femininity, to go back to sensibility, to go back to the woman in an era where we are all trying to make product and pushing and following business models of sportswear. Let them do that. Let us go back to the beauty and the core of the woman. We are smart in the meantime, but let us be beautiful. That’s a good option.”

1/9 Model wearing dress by designer Paul Poiret

Image: Getty

A model returning to her workplace, clothes by the designer Paul Poiret, Lewis hat

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Illustration of Women wearing dresses by Paul Poiret

Image: Rex Features

Paul Poiret

Image: Rex Features

Paul Poiret

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Miss Callet, model for Paul Poiret

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The entrance to Paul Poiret's house, at the Champs

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Evening dress designed by Paul Poiret

Image: Rex Features

Autumn dress designed by Paul Poiret

Image: Rex Features

The post Revival of the fittest: Inside the Poiret launch 90 years in the making appeared first on VOGUE India.