>> After last Summer's repeat cover appearances by a singular style of Miu Miu dress and then the Fall's cover domination by one gold Balmain dress, it's Prada (followed somewhat by Dolce & Gabbana) that seems to be the Spring 2011 cover go-to. The striped Spring 2011 Prada collection has figured front-and-center into over 15 fashion magazine covers in the last few months, including Anna Wintour's WSJ. cover and Gisele Bundchen's February 2011 Vogue China cover; Fashionista has a comprehensive look. [Fashionista]
Posts for April 2011
>> Kate Middleton's wedding is just over two weeks away, and now reports are circulating that she has commissioned three wedding dresses from three different designers. That way, she has two "backups" in case the designer of her chosen dress is correctly leaked, allowing her to choose one of the other dresses instead. Word is that Jasper Conran may be one of the dress contenders — and Fashionista notes that the designer has taken the images from his most recent bridal collection off his website. Middleton is also expected to change into a different dress for her wedding reception.
Cathy Horyn, meanwhile, is still betting on Alexander McQueen's Sarah Burton as the winner in the dress sweepstakes. Horyn points out that when consulted, Alexandra Shulman reportedly recommended that Middleton wear McQueen, and notes that Shulman's wedding-themed May 2011 issue of Vogue UK features models wearing Oscar de la Renta, Bruce Oldfield, Vivienne Westwood, and Marchesa bridal gowns. "Ah, but no McQueen dress in the mix," Horyn writes, "Its absence raising speculation that maybe Sarah Burton, the creative director of McQueen, is making Ms. Middleton’s dress after all."
The wedding guest list was partially leaked today, and one designer is expected to attend: Victoria Beckham. Last month, it was reported that after Beckham sent Middleton a selection of three of her Spring 2011 dresses, the bride-to-be phoned Beckham to thank her and asked her for general advice on eveningwear for her honeymoon.
>> Gemma Ward's last international fashion magazine cover was on the October 2008 issue of Spanish Marie Claire — and even then, she had been out of the spotlight for the better part of a year — but now, she's back with a supplement cover shot by Peter Ash Lee for Australian Harper's Bazaar's May 2011 issue. Lee also shot her recently for a Australian Sunday Telegraph cover story, and it's possible that this cover image is from that same shoot — Ward appears to be wearing the same thing. In any case, both shoots have been promotional for the Perth-based play Ward is currently appearing in, rather than focusing on any kind of modeling comeback. [Jezebel]
>> Agyness Deyn is back on the scene — and so is the bleach blonde crop that originally helped make her a model of the moment. After sporting a buzz cut and then a dirty blonde shag in recent months, Deyn was snapped last week with a lighter shade and more feminine cut.
Deyn is also slowly working her way back into modelling: she's in Vogue UK's May 2011 issue — her first appearance in the magazine in two years — shot by Tim Walker in the Namib Desert. But she's not giving up those film ambitions. James Franco recently shot her for a project, and though she remains coy about upcoming work, Deyn says: "I've done some short films last year, which were great, and I worked with amazing people. I've got a few projects coming up."
>> John Galliano, who left France on March 1 to enter rehab at The Meadows facility in Wickenberg, Arizona, seems to be done with treatment a little over a month later. He was spotted yesterday at LAX airport in Los Angeles, where he was heckled by reporters — none of whom he responded to — and called a "f*cking racist" by one photographer.
>> We're currently thinking about loose layers and lighter fabrics for Spring, and this look from Gary Pepper Vintage provides the perfect inspiration. We love the off-shoulder tee paired with camel high-waisted pants, and for added polish, a leopard print jacket, pumps, and dark red lips. Get the same draped and slouched 'fit with our picks from ASOS, Rebecca Taylor, and Ash.
Left to right: ASOS Belted Trousers ($72), Rebecca Taylor Leopard Coat ($277, originally $425), Dereon Gold Layer Necklace ($44), Nyx Jumbo Lipstick Pencil ($4), Victoria's Secret Off-Shoulder Tee ($25), Dooney & Bourke Barrel Satchel ($198), Ash Suede Platform Pump ($105)
Photo courtesy of Gary Pepper Vintage
>> If brights aren't your thing, designers like Phillip Lim, Richard Chai Love, and Rag & Bone are making sure that neutrals have a strong stake in the Spring game. We picked out the top pieces, ranging from suede crop tops to mesh sandal boots, that are sure to guarantee a standout look without screaming for attention.
>> We're ready to escape to sunnier pastures this week, and with Coachella on the horizon, we're daydreaming of a festival look that's simultaneously fresh and functional. We love the print on this Lindsey Thornburg dress, and the hard-edged look of the LD Tuttle sandals. Meanwhile, we're filling the eco-friendly Collina Strada bucket bag with necessities like milk-lotion sunscreen and a handy Canon S95 for snapping all of the amazing music acts and festival fashion.
Left to right: Lindsey Thornburg Darby Dress ($540), Clarins Milk Sunscreen Spray ($32), Canon S95 Digital Camera ($415), Kara by Kara Ross Linear Scale Earrings ($170), Collina Strada Sierra Bag ($430), LD Tuttle the Crop Leather Sandals ($445)
Carine Roitfeld on Anna Wintour, Drugs, Boring Fashion Shows, and Her Upcoming Book with Karl Lagerfeld
>> Carine Roitfeld is enjoying her new status as a free agent. While meeting with an interviewer from Spiegel, for instance, she was told that she looked "remarkably normal" (She showed up in a "no-name" T-shirt from Los Angeles, Current/Elliott corduroy jeans, and satin shoes that she had custom-made in violet.). Roitfeld's reply? "That's part of my newfound freedom. I always wore a tight skirt at Vogue; it was like a uniform." And the former editor already has plenty of new projects in the works — the Fall 2011 Chanel campaign, consulting work for Barneys, her biographical retrospective book with Olivier Zahm that comes out in October — plus, she mentions that she's working on "a book with Karl Lagerfeld," and adds, "Who knows? Perhaps I'll become a muse for designers again."
Needless to say, there's been no second-guessing her decision to leave Vogue Paris: "[It was] the perfect moment. The French edition of Vogue had never been more successful, had never had more readers or advertisers. And it had never made as much money. For 10 years, my American publisher, Jonathan Newhouse, let me do what I wanted, even when he thought it might be crazy. But it couldn't have gone on for much longer."
A few more highlights from the interview, below.
On editing Vogue Paris and the current state of the industry: "For 10 years, it was a hell of a lot of fun. But, toward the end, it unfortunately got less and less fun. You used to be able to be more playful, but now it's all about money, results and big business. The pret-a-porter shows have become terribly serious. The atmosphere isn't as electric as it once was, and they now have about as much charm as a medical conference. But it takes just one good fashion show to get things exciting again . . . Creativity needs space and a willingness to take risks, but businessmen don't like risk. What's more, designers are coming under more and more pressure. Today, a dress can't just please the women in Paris; it also has to please those in Beijing, Tokyo, Moscow and New York."
On the frequency of drug use in the industry: "My only drug is a small glass of vodka in the evening, if that's what you're asking . . . [Drugs are used in fashion] no more and no less than they are in other artistic circles. Yves Saint Laurent was the first person to openly admit to being a drug addict. Since I never touched drugs myself, I find it hard to tell whether people are taking them. But, of course, some people do. The industry has become faster and faster. People are constantly fighting jet lag and working through the night."
On the rumors of her succeeding Anna Wintour at Vogue: "That was never seriously under discussion. I like to provoke. I'm very French. In America, they're not even allowed to show a hint of nipple in photos. Anna Wintour is the most powerful woman in the global fashion industry, the first lady of fashion. She's a politician; I'm a stylist. They are two very different jobs. Incidentally, despite all the rumors, she is actually very nice."
On the John Galliano scandal: "I had no idea how unhappy John Galliano must have been. You have to be very unhappy and lonely to praise Hitler in public while completely drunk. The House of Dior has always addressed a range of topics, for example, by having haute couture shows on homelessness where all the models look like people living on the street. But drunkenly shouting 'I love Hitler' and calling people in a bar a 'dirty Jew-face' is unacceptable. I don't think he really believes what he said; they were simply the actions of a drunk."
>> Serkan Sarier's off-the-schedule debut last season brought out a VIP-heavy crowd and earned him pickup at Barneys — "they have an exclusive at the moment," the designer said on Monday at Nicholas Robinson Gallery in Chelsea, where an equally heavy-hitting crowd gathered to view his followup collection.
In the gallery's dark basement space, populated by a small grove of birch trunks shipped in from Upstate New York just for the occasion, Sarier previewed his jewel-toned Fall 2011 lineup of sportif couture cocktail dresses and outerwear. "I'm very inspired by couture and athletic wear — I was trying to pair something that in concept seems so opposite, but once you start working with elements, seem like they really belong together," Sarier, who previously spent time in the Paris ateliers of Emanuel Ungaro, Giambattista Valli, and Olivier Theyskens, explained. "So this season I was looking at a lot of elements from extreme sports like mountain climbing, rock climbing, parachute jumping . . . and borrowing elements [from those] and trying to merge them with elements [and] volumes that we are more familiar with [in] couture. For instance, if you look at this jacket (shown, left), it has the silhouette kind of remniscent of '50s volume, but all the volume has a reason to be there — it's all pockets and zippers [and] they have a function, they are not just decoration. I think today, whatever we add on a garment has to have a purpose to be there."