martes, 5 de octubre de 2010

Chanel Spring 2011: Bitter Sweet Symphony” y 11 mas

Chanel Spring 2011: Bitter Sweet Symphony” y 11 mas

Chanel Spring 2011: Bitter Sweet Symphony

Posted: 05 Oct 2010 06:30 AM PDT

PARIS–Why Chanel does not show in the last slot of Paris Fashion Week mystifies me. If there was ever a grand finale, this morning’s performance at the Grand Palais was it. Karl Lagerfeld sent out 80 models, over 85 looks, and brought in a symphony to accompany the models strutting down the runway. Jean-Baptiste, Crystal Renn, and Erin Wasson were there, along with the legendary Inès de la Fressange, who played with her soft, wavy black bob as she swept the white pebbled floor.

The looks were classic Karl-for-Chanel. Plenty of tweed suits reinterpreted for spring, some florals, a wide-brimmed hat transformed into an umbrella, and enough tulle to decorate a ballroom.

Of course, nearly everyone in the room was toting a Chanel bag (including myself) or wearing a Chanel jacket (haven’t gotten that far in life yet). As Karl entered the room to take his bow to the sound of The Verve’s “Bitter Sweet Symphony,” he took Inès’ hand. They circled around the room like king and queen. We bow to you, Karl. Yes, we do.



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Fashion Forward at the New Yorker Festival: What Maria Cornejo Said When She Wasn’t Dissing Carla Bruni

Posted: 04 Oct 2010 04:13 PM PDT

On Saturday, The New Yorker Festival presented Fashion Forward, a panel that included Maria Cornejo, Phillip Lim, Naeem Khan and David Neville and Marcus Wainwright from Rag & Bone. As you may have heard, Maria Cornejo expressed her not so high opinion of Carla Bruni-Sarkozy at said panel. We were there, and surrounding that brief and hilarious moment, was a very thoughtful and open discussion about the business of fashion.

The New Yorker labeled these designers "The New Guard." They have all established measurable success and are probably on their way to becoming household names. Cornejo and Khan have designed dresses for the first lady. Phillip, David and Marcus have won CFDA awards. All of them have impressively withstood the shaky economy and none of them were born in the U.S.

The similarities pretty much end there. The contrasts between each designer were more interesting to see unfold throughout the discussion, starting with each designer's background and how it influenced–or didn't influence–their career. David and Marcus' traditional British upbringing, for example, has had a strong influence on Rag & Bone's aesthetic and tailoring. But so has traditional American workwear–they learned patternmaking and started making jeans in Kentucky before moving to New York.

Naeem Khan was born in India to parents who manufactured saris for dignitaries and socialites. He designed fabrics for Halston, who influenced Khan's tendency towards simple cuts with luxurious fabrics. He now makes luxury evening wear for celebrities and first ladies.

Maria Cornejo is a mom, was born in Chile, and also lived in London for 12 years. She, Neville and Wainwright agreed that they wouldn't have found success without moving from Europe to the States. She explained that London is not very encouraging and Europeans can be quite blasé about emerging talent, whereas New York is a "very open city" that likes to see people succeed. However, she is not enamored with everything American. "The only thing I found a drawback here is the obsession with youth," she said.

Phillip Lim said that his seamstress mother did not really have an influence on his career. He essentially dismissed the idea that his background had to be relevant. "It's not where we come from, but where we're going," he feels.

Also fascinating was each designer's commentary on whom they design clothes for. None of them like the question, "If you could dress anyone, who would it be?" The inspiration for Naeem Khan's Spring '11 collection was a hard-partying trip to Miami where he saw an abundance of young, sexy, girls about town and thought, "That's who I want to wear my clothes." But then he realized none of those girls could afford his clothes.

The Rag & Bone boys, quite simply, just wanted to make clothes that, "girls think guys look cute in and guys think girls look cute in." David said of one look that took the stage, "If she was walking towards me on the street, I'd be like damn." Cornejo makes what she calls "urban camouflage" for women that (unlike Bruni) actually do things and need clothes that they don't have to constantly be aware of. She basically designs for herself. "I'm always trying to design the ultimate dress I would wear because I don't like dresses."

Another hot topic was the economy and the tough business side of fashion, which each designer de-glamorized for us. Phillip Lim lamented not even having time to "get inspired," dismissing the idea that designers have six whole months to design a collection. For him, it's more like 45 days each for two men's and five women's collections per year.

Lim also talked about balancing art and commerce. "The worst thing is when you put your heart and soul into something and see it on a sale rack," he said. Khan, who makes $20,000 dresses, may have had the most difficult time negotiating this problem. He adapted this season by attempting to make glamorous separates so that shoppers can buy, say, a $2,000 top or skirt instead. The Rag & Bone boys feel their advantage lies in authenticity and fabric quality and sounded the least frustrated about money, perhaps due in part to investment by Theory CEO Andrew Rosen (which was not mentioned). They explained that they're "frugal" in the way they open stores and concluded that if they were given a large some of money, they wouldn't really know what to do with it because they're happy with the way they are.

They suggested that Rag & Bone and the other designers on stage have succeeded because they all make great-looking clothes that have a little something extra behind them, from a super wearable jacket with the perfect fit to a dress that, while pricey, took trained artisans 300 hours to hand-bead. Clearly, despite differing backgrounds, experience levels and customer bases, they're all doing something right and aspiring designers and business owners alike should take note.



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A Guide To Winning The Sea of Shoes Art Contest

Posted: 04 Oct 2010 03:00 PM PDT

Earlier this year we dubbed Jane Aldridge from Sea of Shoes one of the most influential style bloggers.

Now, in addition to blogger and (sometimes) designer, Jane is taking on a new role: Art critic. Jane has come up with a contest, asking readers to choose their favorite look from Spring 2011 and create a sketch inspired by that look. On November 1, Jane will post her 15 favorite submissions and post them on her blog.

With hundreds of entries already pouring in, winning this contest might be a little difficult. Lucky for you, we’ve created some guidelines that will ensure you a spot on the top 15. Take a look.

1. Choose Wisely. Now, if you’re thinking of drawing a look from Philip Lim or Dolce and Gabbana’s Spring collections, think again. Over at Sea of Shoes, the rule seems to be the more off-beat the better. We’re talking excessive layering, busy patterns (preferably mixed with other busy patterns), and puffy sleeves. If you’re having trouble picking a designer may we suggest Meadham Kirchhoff or Junya Watanabe.

2. Scribble. Jane loves to scribble. Judging from her hand-painted pants and her doodled chairs for charity, anything resembling the drawings found inside a high school text book will have an edge.

3. Include Weird Animals. While drawing your picture, it would be best to include little drawings of beetles, cockroaches, and octopuses in the background.

4. Accessorize. If the look you have chosen isn’t already styled with pounds of jewelry you must add it. Jane loves jewelry. Especially large statement jewelry. Throw in a lot of bracelets, a huge pendant necklace, and some oversized cocktail rings and you’re good to go.

5. Know Your Judges. We all know that Jane’s mom, Judy, is a big influence on her daughters work. So, chances are Judy will also have a say in the competition winners. Make sure to also please Judy by including a Christopher Ross belt somewhere in the mix, as well as some sort of food reference.

6. Think Outside The Box. After Jane’s trip to Japan we learned that she loves cat cafes and odd stuffed toys. So, if you feel like drawing your favorite look on a stuffed cat, do it. Chances are you’ll be ahead of the game.

So there you have it. Now get drawing. And if you want to check out your competition, we’ve chosen our top five submissions so far. Take a look and good luck!

SCAN0088a Erroll James Dela Cruz, 22, Phillippines, Jil Sa Inslee, 25, Washington DC, Oscar de Lela London, LONDON Jonathan Saunders Marrit Bolingo, Norway, Erdem Shaima, 16, Paris, Jil Sander



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Would You Rather…? The Kilt Edition

Posted: 04 Oct 2010 02:30 PM PDT

Which legend rocks the kilt better: Diddy while performing in Scotland or Marc Jacobs while doing almost anything?



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New Site Alert: Birchbox Offers Monthly Beauty Samples, Advice, and E-Commerce

Posted: 04 Oct 2010 02:00 PM PDT

In high school I used to swagger up to make-up counters, ask a bunch of questions, pretend I was going to buy something, then sheepishly ask for some samples. Which I usually got, but not without feeling rather undignified after the whole process. (Full disclosure: I still sometimes do this.)

Enter Birchbox, a new beauty e-commerce site with a few unique twists, which just launched this September. For $10 per month or $110 per year, Birchbox will send you a pretty pink box full of deluxe, oversized samples once a month. Samples span all product categories including fragrance, make-up, skin care, and hair care.

The premise is that the founders want you to be able to try a carefully curated batch of higher-end products before you invest. If you like a product, you can then buy the full-sized version directly from Birchbox. To encourage loyalty, they will give you rewards points for ordering from them, referring friends, and answering surveys. The points can be used towards future purchases.

To round it all out, Birchbox offers editorial content on the site in the form of short articles and videos. Plus all samples arrive with write-ups and how-tos which the company likens to "opening the latest magazine and having the featured products pouring out."

Two Harvard business school graduates, Hayley Barna and Katia Beauchamp, founded the site. Their friend Mollie Chen, a former beauty editor at Condé Nast Traveler, is the Director of Content.

There are, of course, a zillion places to buy beauty products, and samples are usually free, right? I asked Katia about their business model.

"One of the reasons we designed it this way is that there's so much clutter in the beauty industry. We focus on the newest and hottest products. Women don't often know how to find out about all these new things which are constantly launching," she told me. Right now there are only 12 products for sale on the site, but Katia assured me they are slowly increasing their product line. However, it will remain carefully edited.

And finally, why should we pay for samples? "It's actually really hard to get samples that you really want, especially the deluxe ones. At a lot of places you need to spend $100 before you get some. We will offer some hard-to-access brands, too," Katia said. The sample sizes will be large, unique brands (like Phyto and Korres) will be represented, and they will be for products that are new.

Katia thinks that there often isn't brand loyalty and that women like to try out lots of different products. One of the most interesting aspects Birchbox is that eventually the site will offer sample customization. You will enter your beauty profile and get samples specifically for your skin type, hair color, etc.

I actually really like this concept, despite some cons–like the fact I wouldn’t be able to get the Bobbi Brown powder I’ve been using for six years. The prospect of a surprise package to open up every month and no more groveling for a tiny vial of potion or generic shade of lipstick? I could give up two Starbucks lattes per month for that.

–Image by Larkin Clark



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Seven Questions for Erdem Moralioglu

Posted: 04 Oct 2010 01:00 PM PDT

London-based designer Erdem Moralioglu has had his fair share of press. But we were still curious about the man behind those neo-Edwardian prints. So we recently caught up with the designer, whose show was underwritten by Swarovski this season, to chat about everything from the Royal College of Art to finding good food in The Big Smoke.

Fashionista: You’re best known for your prints–now everyone seems to be designing and creating their own textiles–what’s your reaction to that?
Erdem Moralioglu: I think it's really exciting to see what you can do with new technology and apply it to textiles. Innovation in any form is really exciting.

You’re Canadian, you’ve worked for DvF, and you’ve settled down in London. What’s the best thing about working as a designer in the city?
London is where I trained as a designer and is also now my home. The best thing is probably being close to my friends and family but also everyone that I work with.

We have a lot of readers who want to attend school for fashion design. What was the most significant thing about your experience at RCA?
The RCA was a hugely important experience. It was there where I really figured out who I was as a designer.

What’s your favorite restaurant in London?
St. Johns on St John Street.

You’re clothes are so ladylike. Do you ever look to street style for inspiration?
I look to all things for inspiration. Music, movies, books, art…I'm inspired by all sort of things.

You design women’s clothes–what men’s designers do you wear yourself?
I love Dries Van Noten for men. His clothes always feel like I've owned them forever. I also love James Long.

Describe Erdem Spring 2011 in one word. Graceful.



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Trendspotting: Messy Buns Or Stick Straight?

Posted: 04 Oct 2010 12:00 PM PDT


Whether you’re a control freak or have an out-of-bed-and-out-the-door beauty routine, the S/S 2010 runways have you covered. If you’re the first type, your hair will be flat as a pancake. Give it a severe center (or severely off-center) part and hope it doesn’t rain.


If you like effortless hair–or at least the illusion of effortless hair–try the messy bun. Twist it, turn it, and pin it. We are totally growing our hair out for spring to try this one.



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Street Style: Wendy Nichol In Her Own Designs

Posted: 04 Oct 2010 11:11 AM PDT

Name: Wendy Nichol

Occupation: Designer

How would you describe your style?
It’s whatever inspiration hits me in the morning, mixed with whatever is in my reach on the couch. I generally look for one of a kind pieces.

What are the most prominent colors in your wardrobe?
This season it’s black and beige.

How do you take your coffee?
Latte with whole milk

What is your favorite city?
New York

What is your current favorite song?
I love the whole Von Haze album

What are you wearing?
A vintage skirt and top, No. 6 boots, Zara jacket, and the earrings and bag are my own designs.

**All Photos by Ashley Jahncke

wendy-nichol-cropped wendy-nichol-portrait-cropped wendy-nichol-shoes-cropped wendy-nichol-side-cropped



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Jefferson Hack Interviews Gareth Pugh About Fashion Films Intead Of Runway Shows and His Hong Kong Store

Posted: 04 Oct 2010 10:39 AM PDT

PARIS–Days after Brit expat Gareth Pugh’s Mercury and Ebony S/S 2011 collection was presented on an 8 x 15 meter Imax screen to a warehouse full of buyers and press, the avant-garde designer sits for an informal Q&A at the Louvre’s Apple Store. The avant-gardeist snapped up France’s ANDAM award in 2008 and was rumored as next in line at McQueen and Dior Homme. The last in a series presented by Dazed and Confused called “Meet the Designer” the magazine’s co-founder Jefferson Hack talks with the young designer about the tentative future of catwalk shows, his sold-out shop in Hong Kong and why Saint Martins does not a star make.

Jefferson Hack: Gareth’s first store opened in Hong Kong in July. It was designed by Iwan from from Daytrip Studio who is super young, like 25. What was it like working with him?
Gareth Pugh: I’ve known him since he was 18 and we’re very good friends, I think that helps.
My two stipulations were that I wanted it to look like a black box inside and that one wall could control video.

JH: There’s a video wall that also beams out into the street and an application where people can buy from it, like using his store as a broadcast medium….like a TV station or something.
GP: The store is nestled between Comme Des Garcons and Gucci, so I wanted the shop to speak for itself. To scream.

JH: Describe opening night.
GP: It was surreal to turn the corner and see a shop with my name on, it looked like the inside of my head.

JH: Are those tiles [inside the store]?
GP: That’s actually the changing room, they’re tiles covered in leather. It’s like a padded cell. The message is NOT that you have to be mad to buy my clothes.

JH: I heard the entire stock sold out opening night, is that just a rumor?
GP: Yeah. The factory delivered part of the stock.

JH: (after screening a teaser of the SS11 film directed by Ruth Hogben) You work with strong women like Raquel Zimmerman and Natasha Vodianova that move in a certain way. What type of woman do you look for?
GP: They have to be able to perform and they have to get it right the first time. It lends itself to these extravagant temptress kind of women. For me it’s amazing to find a woman that has both masculinity/femininity. And that’s really important for my clothes. You need somewhat that powerful to carry them off.

JH: There’s been a strong reaction from the press and critics on the collection and the film. Are people starting to accept fashion film as an alternative to catwalk shows? For the record, what was your motivation for making a film and not traditional show?
GP: It was about bringing it to a wider audience and about having complete control over what I bring to that audience. So many things can go wrong with a show and so many things can go wrong in a film but people don’t see those mistakes. It was about taking back control and showing them what I want them to see.

JH: Did the experience match the motivation/expectation of how you wanted it to be received? And also the emotion of it, the feeling of the audience afterward?
GP: Obviously when I do a show there’s a big release at the end. You feel a sense of elation or ”Oh, it’s finished we can get drunk.” We kind of had that when we finished shooting. Then it was two weeks of editing. So there were less peaks and troughs in my mood. Which I think was good. The show is a very small part about what I do as a designer. As soon as the show finishes it’s straight into sales and this time I was able to concentrate on getting that side of things right. It’s often forgotten, or I often forget, that the show is one part of that but, this week, starting from today actually, is where the business happens and I could concentrate on that more.

JH: It is as expensive to make a fashion film as it to stage a show, is that right?
GP: Yeah. I think a lot of people don’t realize that. They consider the option of doing a film as secondary to doing a show because it’s a cheap cop out.

JH: I think you’ve proved the complete opposite. Done at the level at which you do it, is a very clear and viable alternative for you and your brand and your vision.
GP: I think it’s about the choices that you make with regards to the amount of money you spend on things to communicate your brand. To do a show in front of 300 people maybe doesn’t make as much sense to me as making a film that we can present to, potentially millions of people around the world that can see. The idea is not diluted or edited in any way as it can be when you see pictures on sites like style.com. It’s basically what I want people to see. I think the investment…you can reap those benefits. It’s worth the money.

JH: Finally Gareth, if you could have any budget to stage any event to show your clothes, what would it be, another film?
GP: Fashion shows themselves have evolved over the past 20 years into this slick presentation. I’ve seen videos of shows in the 80′s and there was like press all up and down the runway–it was somewhat chaotic, like a bullfight. I’m not trying to say it’s the future. It’s an idea of doing something different. I’m not saying that I’m never going to do a runway show again. It’s very open.

(Audience) How has Central Saint Martins had an effect on you?
Its one of those infamous place so many people have come from. Louise Wilson that teaches on the MA there always jokes that people come in to study at St. Martins expect to be sprinkled with some magic dust and made into a star designer. That’s really not how it is there. It’s very lo-fi and cramped and there’s like one sewing machine to every ten students. I had this theory when I was there that everything you want to do there is made so much harder. Even down to the incredibly unhelpful library staff to or the people that work in the fashion office. It teaches you that if you want to do something you have to do it yourself. You can’t rely on other people to do it for you. It’s kind of my Achilles Heel I suppose because the bigger things get the more stuff that I have to do and oversee and organize. But I wouldn’t be happy if I wasn’t able to have such control over things.



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Fashion News Roundup: Stella McCartney For Target, Fashion Week Twit Pics, And Maria Cornejo Slams Carla Bruni

Posted: 04 Oct 2010 09:37 AM PDT

Louis Vuitton Bags Still Endangered: A few weeks ago, we told you about the shortage of Louis Vuitton Canvas monogram bags. As a result, LV stores in Paris are closing an hour earlier than usual. Apparently, LV can’t keep up with the high demand and want to save inventory for the upcoming holiday season. {Vogue UK}

Stella McCartney For Target: Stella McCartney has designed a capsule collection for Target. Sadly, the collection is only for Australian Targets. The collection includes everything from a lace cocktail dress to heavily embellished shifts. Do we foresee an uptick in Quantas sales? {Racked}

Fashion Week Twitpics: Modelinia has compiled a great slideshow of all the insider twit pics from fashion week. You’ll get a behind the scenes look at preparations for fashion week’s shows and parties. {Modelinia}

Karl Lagerfeld Directs Film For Hogan: Karl Lagerfeld has shot and produced a short film showcasing his capsule collection for the Italian brand. Hogan’s short film, Le Lettre, features Baptiste Giabiconi and Magdalena Frackowiak as (hot) a couple dealing with trust issues. {Catwalk Queen}

Maria Cornejo On The First Ladies: Designer Maria Cornejo didn’t mince words when she was asked, at the New Yorker Festival this past weekend, which first lady she’d rather dress, Carla Bruni or Michelle Obama. "I've met Carla Bruni before and there's not much up there," said the designer. "She's [Michelle Obama] actually doing things that are interesting…She's not just arm candy." {Style.com}



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Finally Some Real Curves on the Runway: Beth Ditto and Crystal Renn Walk for Gaultier

Posted: 04 Oct 2010 08:33 AM PDT

The invitation to Jean Paul Gaultier’s Spring 2011 show reportedly said that the collection would “explore the contrast between XXS and XXL.” True to his word, Gossip’s Beth Ditto, who is, according to the Daily Mail, a UK size 28 (to convert to US sizing, the rule is generally to subtract two, which would mean Ditto’s a US size 26), opened Gaultier’s show this past weekend. Crystal Renn, a size 10, also walked.

This isn’t the first time Gaultier has used plus-size models in his runway shows. A much fuller-figured Crystal Renn also walked in his Spring 2006 collection. Gaultier also featured Renn in his fall ad campaign.

And while there haven’t been many other plus-sized models on the runway this season apart from Renn (who is really more of a supermodel than a “plus-size” model at this point), perhaps it’s a good sign that many of the reviews of Gaultier’s show made little mention of the size debate. Hilary Alexander’s review for the Telegraph didn’t address the fact that Gaultier featured curvier models at all. Nor did Cathy Horyn’s. Suzy Menkes merely hinted at Ditto’s size by describing her walk down the runway as “wobbling.”



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Love is Blind. We are Not. Street Style Censorship.

Posted: 04 Oct 2010 08:00 AM PDT

Which big American glossy won’t allow its street style photographers to shoot editors from other magazines? Apparently, they’re the only book in the biz with a rule like this. And it makes life for their street style shooters hard–particularly during fashion week, when editors are often the best-dressed candidates.
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