When it came to star sightings, the front rows at the Fall ’14 shows gave the Oscars a run for its money. The celebrity set came out strong this fashion season, supporting the designers who dress them for so many of their red-carpet moments. Lupita Nyong’o, who brought home an Academy Award this past weekend, was spotted in the front rows of Miu Miu and Calvin Klein Collection, both of which helped her top best-dressed lists during her promo tour for 12 Years a Slave, as well as the awards season. At Miu Miu, she turned up in a burgundy jacket with an embellished collar by the label and a light pink miniskirt, while for Calvin Klein Collection, she donned a pale knit dress from Pre-Fall ’14. Jason Wu’s debut at Hugo Boss in New York also brought out a bevy of stars, including Gwyneth Paltrow, Reese Witherspoon, and Diane Kruger, who led the standing ovation at the show’s close.
Notables were also spotted in the front row of Burberry Prorsum‘s London show, a favorite among Hollywood’s elite. Naomie Harris looked on in a long, navy velvet devoré and a green gown. In Milan, Jeremy Scott’s first runway show for Moschino brought out celebs known for their playful fashion choices. Rita Ora and Katy Perry were among the front-row dwellers in looks from the Pre-Fall ’14 lineup.
Despite all of the big names who attended the Paris shows (including Jared Leto, Keira Knightley, and Kanye West), all eyes were on Rihanna. RiRi stole the spotlight, turning up at all of the biggest shows like Chanel, Dior, Givenchy, Miu Miu, Lanvin, and Stella McCartney, just to name a few. While it’s difficult to choose a highlight from her flawless arsenal of looks, we were particularly taken by the Melitta Baumeister, Hyein Seo, and Adam Selman mash-up she wore to Comme des Garçons; her gray peplum jacket and fur shrug at Lanvin; and the sexy LBD she paired with stockings and a cherry Pre-Fall ’14 mink coat at Dior. She was a street-style photographer’s dream from start to finish.
Here, more front-row highlights from the Fall ’14 shows. —Erinn HermsenPhoto: Courtesy of Miu Miu
Just when we thought Paris had maxed out on its supermodel sightings, Freja Beha Erichsen caused us to audibly gasp when she opened Louis Vuitton on the final day of shows. Sure, seeing Gisele Bündchen close Balenciaga and the high-wattage cast at Balmain earlier in the week were definite highlights, but for true model obsessives, it’s difficult to top a surprise appearance by Erichsen, who has been absent from the runways since Spring ’12. Among the other noteworthy ladies in the LV lineup were Liya Kebede, Maggie Rizer, Marte Mei van Haaster (who took a break this season to focus on school), and scads of newcomers including closer Rianne von Rompaey and Julia Bergshoeff. While Bergshoeff also walked Miu Miu later that day, we wish she had done more shows and taken a less exclusive route. Her only other Fall outing was Proenza Schouler.
There were plenty more major modeling moments during the second half of PFW. Miranda Kerr turned up at Sonia Rykiel of all places—the brand stepped things up this time around by enlisting stylist Katie Grand and casting director Anita Bitton. Elsewhere, Sasha Pivovarova made a lovely cameo at Chloé, and Kendall Jenner convinced us to consider her a serious model at Givenchy and Chanel. But even doing those big shows won’t quite earn Jenner a spot on our forthcoming top new models list. The competition in that category is steep, with fresh faces like Lexi Boling, Ola Rudnicka, Waleska Gorczevski, and Harleth Kuusik each walking more than fifty shows. All in all, a very strong season for veterans and promising rookies alike. —Brittany AdamsPhoto: Alesssandro Garofalo / indigitalimages.com
Since launching her line in 2010, New York-based designer Zana Bayne has been blurring the lines between clothing, accessories, and bondage-tinged harnesses at warp speed. Fresh off her New York fashion week debut, she jetted to Paris, her home away from home, to present her collection to buyers.
“The whole city is black and gold. When I got back to Paris, I thought, Oh, so that’s where this collection came from,” said the raven-haired designer of her Fall ’14 outing, Ornamentalist. The lineup was inspired by fifties-era images from L’Officiel and featured black and croc-embossed cowhide and gold embellishments.
Belts became bras, or were elongated to look like skirts, sometimes with extreme accentuated waists. Some pieces were adorned with tassels, big buckles, or extra rivets, and a lingerie feel was created via elastic details and garter belts.
While in Paris, Bayne welcomed Rei Kawakubo to her showroom—Bayne’s leathers are currently sold at Comme des Garçons in New York, and she’s preparing for a project with London’s Dover Street Market in the fall. Bayne’s wares, which are priced between $150 and $1,500, are also carried by such stockists as Opening Ceremony, Selfridges in London, and Paris’ Mise en Cage.
Bayne aims to clothe more than just fashion’s edgy avant-garde. In fact, the ambitious 25-year-old, who has crafted pieces for both Prabal Gurung and Lorde, is aiming for sartorial world domination. She is expanding her handbag line and splitting her collection into two: the handcrafted runway range Zana Bayne Collection, and Zana Bayne Originals, which will offer seasonless pieces from the archive.
“It’s not just for the cool kids. There are pieces for all sorts of silhouettes. There are garter belts, full-body pieces, and really delicate items as well,” she explained. “I like to make sure there’s a variety.” Bayne hopes there’s a little something in her collections for everyone—even for her dream client, Michelle Obama. —Tiffany GodoyPhoto: Courtesy of Zana Bayne
California native Michelle Campbell Mason was an actress and model in a previous life—her first break was on CSI, as a hooker with good intentions who meets a gruesome fate. (“My parents loved that one,” she laughed.)
Things slowed down at one point, Mason said, and she started to lose it. But after inheriting a bunch of jewelry from her grandmother, she picked up a pencil and began to sketch. “They were a little too antique to wear, so I wanted to create something that would complement them, something a little more clean and to the point,” she explains.
Three years on, Campbell’s floating rings and major cuffs have made waves everywhere from Bergdorf Goodman and Neiman Marcus to Shopbop.com. This fall, Campbell is taking her first step into fine jewelry with a collection that builds on her signature floaty, classic modernism. Her massive honeycomb cuff was the inspiration for a number of new styles, while a darker-than-usual theme in black and white diamonds on white gold conveys an ongoing fascination with architecture, particularly what she finds in her new home base, New York. “This is meant to play off the contemporary [pieces],” she noted. “We all wear fine jewelry—just not by itself. It’s really clean, easy to pile on and layer,” she explained. And that, in a nutshell, is how crime TV’s loss became fashion’s gain. —Tina Isaac-GoizéPhoto: Courtesy Photo
Fringe is one of the biggest trends for spring, and I still haven’t had a chance to step into it. Ever since I saw Tamara Mellon’s presentation back in 2013, her leather fringe skirt has been on my wish list. Today, Mellon is launching her brand’s e-commerce site, and I finally got a chance to add this little number to my shopping cart.
Tamara Mellon leather fringe skirt, $895, Buy it now —Marina LarroudéPhoto: Tamara Mellon
Maniamania’s darkly elegant baubles are about to find luxe new life as the brand branches out with Immortalia, its first fine-jewelry effort, set to launch on themaniamania.com on March 10. Fans of the five-year-old line’s quietly macabre aesthetic will no doubt delight in Immortalia’s jumping-off point: Victorian and Georgian memento mori (from the Latin meaning “remember you will die”) trinkets. Here, though, the ghoulish 19th-century wares have been stripped of more literal motifs like skulls, withering blooms, et al., in favor of sophisticated styles that should please a variety of customers. Pieces range from Equinox, an upscale take on the knuckle ring featuring a delicate crescent moon with a pavé of gray and white diamonds, to Mineralia, a whopping cocktail ring in white gold, rutilated quartz, and champagne diamonds. For those with marriage on their minds, there are both an engagement and wedding band on offer. All nine of the collection’s styles, which are priced between $1,180 and $8,200, are handmade to order in New York using only ethically sourced and certified gems. The release also reunites Maniamania with Lindsey Wixson, who lends her otherworldly pout to the campaign. As designer Melanie Kamsler tells it, “We haven’t deviated too far. Our muse and inspirations are the same, it’s just a more sophisticated interpretation.” Have a first look at the collection here, exclusively on Style.com. —Kristin Anderson
Photo: Courtesy of Mania Mania
Since September, Belgian designer Glenn Martens has been carrying on in the spirit of Y/Project founder Yohan Serfaty, who passed away last April. But whereas Serfaty specialized in a mostly leather menswear line, Martens has, in addition to designing menswear, been spinning out his late mentor’s style into a full-fledged women’s collection. On the docket for Fall: easy, urban pieces such as elegant but streetwise leather coats made of wide, vertical sweeping panels that sway with its wearer’s gait (or, as Martens put it, “They explode when you walk.”). Serfaty was a strong tailor, and that influence is evident in sharp, menswear-inspired suits with raw cut finishes; oversize blazers; jackets with clever zip work; and wide, comfortable silk pants. Elsewhere, there were thoughtful multifunctional pieces such as a top run through with vertical drawstrings that can do double duty as a dress. “I love that duality. When you’re running around and your day is never-ending, you have to be prepared,” the designer said. “You can make it work to your body.” Judging by the early response (the line has already been picked up by a bevy of retailers, including ØDD in New York), it won’t be long before bodies stateside will be working that vibe. —Tina Isaac-Goizé
If you’ve ever fallen hard for a piece of high-fashion costume jewelry, chances are good that it has passed through Edgard Hamon. Founded in 1919, the atelier was the first to create belts for Chanel, and decades later, it was the first to thread strips of leather through metal chains.
Today, the Edgard Hamon archives scan like a who’s who of couture’s glory days: Yves Saint Laurent, Lanvin, Nina Ricci, Chanel, Givenchy, Thierry Mugler, Balenciaga, and Christian Lacroix have all called on Edgard Hamon at some point.
Which is why Lacroix, along with Elie Top, Paris Vogue jewelry editor Franceline Prat, and various other experts all gathered today at the Musée des Arts Décoratifs. Their mission was to elect the winners of the two first-ever Edgard Hamon awards: the Edgard Hamon Prize for Costume Jewellery, which goes to a designer under 30 years old who has worked in fashion jewelry in France, and the 3,000-euro Edgard Hamon Future Hope Prize for Costume Jewellery, which goes to a student in his or her last year at a European school of fashion.
The contestants were challenged to design pieces based on the work of a chosen architect, and tonight, Style.com can exclusively reveal the winners. Century Xie took the 15,000-euro Edgard Hamon Prize for Costume Jewellery, and Yao Yu won the Edgard Hamon Future Hope Prize for Costume Jewellery.
“We had a great time, they were incredibly creative,” said Lacroix of the selection process. “It was really beautiful. Many of them referenced Gaudí or Prouvé, for example. And many of them were influenced by Elie [Top].”
Top, the self-taught talent behind Lanvin’s fabulous baubles, replied that he was flattered to hear it. “Everyone’s always talking about bags and shoes, but costume jewelry really deserves attention. It’s so closely linked with fashion’s silhouettes, color, and what you want now—that’s the magic of it. There’s so much more to it than silver and gold.”
Xie’s line will be produced and displayed at Le Bon Marché; Edgard Hamon will produce three of Yu’s prototypes and she will receive an internship. The winners’ collections will be presented at an official ceremony at the Musée des Arts Décoratifs on July 4. —Tina Isaac-GoizéPhoto: Courtesy Photo
Karolina Kurkova was recently snapped in London sporting a white Steven Tai dress with navy floral appliqués—a pick that definitely helped edge him further onto the global fashion radar.
Tai, 29, who was born in Macao and mostly raised in Canada, belongs to a brand-new generation of designers who found their passion thanks to Style.com. “I remember being a geek in high school, becoming interested in how dress indicated belonging and how to look the part,” he recalled. Around his senior year, someone introduced him to Style.com. “It opened up a whole new world for me,” he said in his Paris showroom the other day. “It really turned me into a fashion person.”
For Fall-Winter, Tai’s story revolves around “a girl who broke up with her boyfriend but kept all his clothes”—which means tailored coats with a masculine vibe and slightly bigger, tomboyish silhouettes. Texture is a big focus for Tai, so he’s been developing techniques using laser-cut nylon, a raincoat material he works into flowers or uses as fringe, and sparkling tweed stitched in layers on jackets and coats. “We measure by the number of movies we watched while we are sewing,” he said, indicating one fringed trench. “This one is eight movies for four people.” He’s also been developing jacquards, which he uses in columns and cuts into fringe. “Jacquard is such a traditional fabric, it’s fun to be unsentimental about it,” he joked. Those flowers on Kurkova’s dress are another invention: They may look and feel like velvet, but in fact they are made of finely detailed, sliced embroidery. —Tina Isaac-GoizéPhoto: Courtesy of Steven Tai
Alix Thomsen likes going her own arty, eclectic way, opting for street casting and contemporary galleries over models and catwalks. She’s also recently dipped into an opera collaboration and signed on to do the decor of the Hôtel du Temps in the ninth arrondissement.
For Fall, the Thomsen collection took over the sprawling Emmanuel Perrotin art gallery in the Marais, where the designer presented living tableaux based on an ever-so-slightly-twisted art school theme. “They’ve had a really strict, theoretical education and they’ve been shut off from the world for a long time,” she explained of models who drifted dreamily among the installations, speaking to themselves or maybe no one in particular. In just five short years, Thomsen has grown from a capsule of shirts and jackets into a full-blown line. This season, the line gave us such unconventional options as a Perfecto dipped in pink paint, tie motifs recast onto a wrap dress, and a pinstripe suit turned into a coatdress. The hand behind the prints belongs to the Parisian artist Rafael Alterio, whom Thomsen met while working on the hotel. Colorful and graphic knits round out a pretty, feminine collection that’s still in close touch with its masculine side. —Tina Isaac-GoizéPhoto: Courtesy Photo
We’ve seen metallics all over the Fall runways: Think Rodarte’s Lurex coats, Saint Laurent’s gold leather minidress, Pedro Lourenço’s pencils skirts, and beyond. Naturally, this has inspired me to add metallic to my wardrobe. I’ve already succeeded in the accessories department, but I still wanted a piece of clothing. To my surprise, at a market appointment, I found exactly what I was searching for: the perfect bronze dress from the Burch sisters’ new contemporary brand, Trademark. The label also has great cotton skirts and tops, and nothing costs more than $500. Trademark’s simple aesthetic is what I was immediately drawn to. I’m planning on wearing this frock during the day with a chunky wedge or at night with a simple sandal.
Trademark shirtdress, $228. For more information, visit trade-mark.com. —Marina LarroudéPhoto: via trade-mark.com
Now that he’s had a few months to settle into his new home at LVMH, Nicholas Kirkwood is poised to rocket into new directions with a fresh range of silhouettes and categories. Despite an irresistible jewel-tone palette, Fall ’14 is less about whimsical color combinations (like we saw last season) than it is about shape, structure, and updated signatures.
One of Kirkwood’s latest obsessions, furniture by Constructivist artist Naum Gabo, provided ample fodder for a sculptural metal heel, a motif the designer magnifies and works in negative space as cutouts on black leather boots.
Not only is he bringing extra flourishes to his cocktail shoes with buckles or a slice of metal at the base of a heel, Kirkwood is also ramping up his red-carpet fare. “We’re thinking about metallics—they go with everything—crystals, and more true evening shoes as separate from cocktail shoes,” he explained. As for that much-awaited bag, Kirkwood offered, “A truly iconic bag will run for fifty years, but it takes time to find The One.” —Tina Isaac-Goizé
Hyundai may be best known as a South Korean car manufacturer, but it also dabbles in fashion through a division called Handsome. During the Paris collections, Handsome jumped into the City of Light’s shopping scene by opening a Marais outpost of Tom Greyhound, its multibrand concept store. (Check out the Seoul outpost here.)
Tom Greyhound. The name sounds like a cartoon character, and the store’s not-so-vaguely Batman-esque design reinforces that impression. One spin through the racks, however, and everything snaps into focus. A savvy mix of emerging and international talent—including Rag & Bone, Peter Pilotto, 3.1 Phillip Lim, J.W. Anderson, Christopher Kane, Thakoon, Opening Ceremony, and A.F. Vandevorst, among others—comes arranged by theme, not by brand, and the cozy, loft-style layout is sure to please men and women trying to track down labels that, until now, have been hard to find in Paris.
Tom Greyhound is located at 19 Rue de Saintonge, Paris, 75003. —Tina Isaac-Goizé
Today, with the opening of the 2014 Whitney Biennial, which runs through May 25, an era will end. The show marks the last staging of one of the art world’s most famously forward-looking events in the Marcel Breuer monolith at Madison Avenue and 75th Street before the museum decamps to its new Meatpacking District digs in the spring of 2015. This year’s BCBGMAXAZRIAGROUP-sponsored show boasts works by 103 artists—both emerging, like duo Zackary Drucker and Rhys Ernst (below), and established, like Sterling Ruby and Gary Indiana (above)—and comprises a dizzying array of mediums and vernaculars. Three curators (Stuart Comer, Anthony Elms, and Michelle Grabner) brought in from outside the organization were each tasked with filling one floor of the museum. Style.com sat down with director Adam Weinberg to talk moving, the future, and why three heads are better than one. —Kristin Anderson
On the eve of the last Biennial in the current space, what is the mood? Excitement? Nostalgia?
It’s forward-looking. I think the great thing about the Whitney is while we have a great history, it’s always about looking forward, and it’s an understanding that you always have to embrace where you are now. To keep your eyes on the horizon but not lose track of where you’ve come from. It doesn’t feel nostalgic to me—it feels right.
Did the upcoming relocation lead you to take a different approach to curating this year’s show?
It did. We brought in three outside curators, and each curator was given a floor of the museum. So it’s basically three exhibitions in one that complement one another and connect to one another but are distinct shows.
Was there any interaction between the curators to ensure a somewhat unified final product?
They met with each other; they got to know each other; they talked about artists together. There were some artists whom they all three agreed they were interested in having, and then they would decide who would best belong where. But otherwise, they did it independently.
How much does the space influence the show’s curation?
Quite a bit because it becomes the frame for the show. If you took the same group of artists and installed it in the new space downtown, it would be a different show. It doesn’t mean it’s not similar, but it would feel different. The concept of physical space changes how you experience it.
What is the new downtown location going to afford you for the next Biennial?
A lot of outdoor space. We have 14,000 square feet of it at the new building. And then we have dedicated performing arts space, which could be used for performance or installation or video. It’ll feel very different.
How do you think that the Whitney is going to fit into the largely gallery-driven downtown art dynamic?
I think it will offer a good contrast because the galleries are not primarily devoted to providing a context of work, and they’re not primarily devoted to scholarship. They pick their artists they believe in and they support them, but their primary role in the end is to support their artists and sell their work. We’re not selling the work. Not directly, anyway.
Does public reaction to past Biennials play into your approach to curating?
Never. No. You can’t curate through marketing. We care about the audience, but you have to start with the art, start with the artist. Our job is to get a sense of what’s really happening. And I truly believe that the real audience is people who want to know what’s going on. The audience is determined by the content and character and quality of the work and not by going out and asking people what they want. I mean, there are a lot of museums that now go out and they have all these voting things. That’s fine; that’s their approach. But my approach is what is our mission, what is our history, what is our connection, what drives us? And that is being active, and the visions of artists working in a particular moment. And it brings people out. Photos: Gary Indiana, Production still from Untitled (Stanley Park), 2012-14; Relationship Zackary Drucker and Rhys Ernst, 2011
In the age of Instagram, all it takes is a smartphone to achieve a photo finish, be it filtered or #nofilter-ed. That’s why Style.com’s social media editor, Rachel Walgrove, is rounding up our favorite snaps and bringing them into focus. For this very special edition of Insta-Gratification, she’ll be calling out the best shots from #PFW. See below for today’s picks.
Wednesday, March 6
Model massage train.
Front row selfie realness with Lupita and RiRi.
A note from Nicolas.
What I love most about this picture is that Jared Leto took it.
Peace out, Paris.
Tuesday, March 4
Tim Blanks, aisle 1.
Ketching-up backstage at Chanel.
“Owl eyes” by Pat McGrath at Alexander McQueen.
All in the famiglia.
Do you see what @hannegabysees?
Monday, March 3
Judging by the blue lids, these must be post-Kenzo kisses.
Finale funny business.
Her name’s Rihanna and she’s wearing Stella, ella, ella, ey, ey, ey…
Fifteen seconds of Saint Laurent.
Sunday, March 2
Pose off: Kendall vs. Joan.
The star-studded front row at Riccardo Tisci’s Givenchy.
Sasha Pivovarova took over the Chloé Instagram account during show day. Here, she poses with the designer Clare Waight Keller.
A glowing fish at Kenzo.
Not your average riding signals.
Saturday, March 1
Rainbow bright backstage at Yohji Yamamoto.
Getting cheeky at Comme des Garçons.
Hanne Gaby gets her hands on Raf’s sneaker-heel hybrid.
And the bride wore Westwood.
Vivienne and Andreas share the bow.
Friday, February 28
Instagram does not fear Rihanna’s nipple.
The Battaglia sisters step it to Rochas.
Does this mean David and Yohji are neighbors?
Margiela’s Délfilé show, an aerial view.
Thursday, February 27
Front row at Balenciaga: Alice Glass, Dasha Zhukova, and Kanye West.
Gisele closes Wang-lenciaga.
Crushing candy at Manish Arora.
Daiane Conterato flips the lens.
Good looks from bad gal RiRi and Balmain’s Olivier Rousteing.
Wednesday, February 26
Whatever it takes to get the look.
Dries-y does it.
The backstage highlights from #HMStudioAW14.
Miranda Kerr keeps the peace at H&M.
Nicole and Tim send bisous from Paris.
Tuesday, February 25
Kenny Scharf paints it red at Colette.
Pharrell, Felix the cat, and the Westhood hat.
Tom Pecheux uses dental floss to create the beauty look at Anthony Vaccarello.
Pals Anthony Vaccarello and Anja Rubik pose post-show.
The U.K.-based knitwear specialist Barrie has been quietly producing sumptuous cashmere for fashion’s top houses since 1905. But only since its acquisition by Chanel’s métiers d’art arm two years ago (remember that runway romp in a Scottish castle? Barrie had a little something to do with that) has the manufacturer begun a gentle transition into a stand-alone niche brand.
This week in Paris, we were offered an early glimpse of what’s to come via a Karl Lagerfeld-lensed lookbook featuring Lily Collins. Odile Massuger, who oversees knits for Chanel, proposes five themes and twenty silhouettes for winter. Key pieces include a bleu-blanc-rouge “romantic” camouflage cardigan, a soft pink delft theme, and bucolic landscapes. Scarves and fingerless mittens round out the offer. Those gloves and more will be available at Colette come June. —Tina Isaac-GoizéPhoto: Karl Lagerfeld
At the beginning of each season, I promise myself I’ll start fresh and only buy pieces that have longevity—classic items that will last in my wardrobe. But by the time the collections start arriving in stores, I give up my dream and begin what I call an “emotional, well-thought-out purchase.” Do I love it? Will I wear it a whole lot? If I answer these two simple questions with a sincere yes, I’ll most likely make the purchase and get tons of use out of it. It might not be the most practical piece I own, but it will be the one I’ll have the most satisfaction of wearing. This is how I feel about this über-sexy tie-dye denim skirt from Anthony Vaccarello. Is it office appropriate? Not really. But it will be the go-to garment for my nights out. Now I just need to get some parties on the books.
Anthony Vaccarello skirt, $1,546, Buy it now —Marina LarroudéPhoto: Courtesy of Colette
Let’s be serious: Most of us stateside fashionphiles secretly (or in my case, not-so-secretly) wish we were un petit peu français. Well, this spring, Paris-based Zadig & Voltaire will both satiate and capitalize on our cultural envy by bowing five new U.S. stores. Having first opened in the States in 2009, the brand, best known for its edgy men’s and women’s basics with a twist, will add five locations—one in Miami, one in D.C., one in Chicago, and two in Los Angeles—to its existing five American outposts, four of which are in New York and one of which is in L.A. Thierry Gillier, Zadig & Voltaire’s founder, reports that the brand does about 15 percent of its sales in the U.S. “We wanted to take our U.S. expansion slowly—we opened one shop, then another, and we were lucky to get the corner in the Mark Hotel on Madison Avenue [in 2012]. But now we have some very confident American customers, so we are moving further into the market,” explained Gillier when asked why he decided to grow his U.S. presence. Another factor was that he wanted to scoop up prime retail real estate before it’s all gone. “Three years ago on Mercer Street [where Zadig & Voltaire has a boutique], there were only a few stores. Now you can’t get a space. It’s the same everywhere.” Gillier told Style.com that in its latest U.S. push, Zadig & Voltaire rented the last available shop on L.A.’s Rodeo Drive—not too shabby.
Set to bow between April and June, each of the five forthcoming stores will have a city-specific design. L.A.’s locations, for example, will boast a “white concept.” But the new shops aren’t all that Zadig & Voltaire has in the pipeline. At the end of March, the brand will launch the second edition of its Style Sans Frontières capsule, the proceeds of which go toward Doctors Without Borders. This season’s muse and collaborator is model Freja Beha Erichsen, who also happens to be the star of Zadig & Voltaire’s Terry Richardson-lensed Spring ’14 campaign (above).
Asked his thoughts on why Zadig & Voltaire is popular in the U.S., Gillier offered, “I think Americans have a little French in their hearts—and the design is a bit different from what American brands are giving them.” He’s got us pegged. Vive la France! —Katharine K. ZarrellaPhoto: Terry Richardson, Courtesy of Zadig & Voltaire
The foursome behind the new label Vetements, which means “clothes” in French, first met at Maison Martin Margiela. After a time, they all dispersed, but the backstory goes a long way toward explaining why, now that they’ve formed a collective, not one wishes to be identified by name. What we can say, however, is that it’s an international crowd with cred—they’re Austrian, Belgian, Ex-Soviet Union, and French, and they’ve done time at Balenciaga and Céline.
Regrouping has been “kind of like a high school reunion,” one of the designers said the other day. “But what we really want to do is just make clothes that are timeless, personal, and nice to have. It’s more a collection of ideas.”
The kind of woman Vetements is talking to is urban, but she’s into pushing it with not-too-basic wares such as vintage 501s reworked as a skirt with uneven, raw hems; boxy jackets in heavy biker leather; and conceptual pieces like garment bag shearling coats and sleeveless vests (these come with a separate set of sleeves). “Brutalist” basics cover a lot of ground, from T-shirts and sweaters to trenchcoats. These are offered in seasonal colors of charcoal, navy, taupe, bordeaux, and black, and the range is brightened by the occasional flash of aluminum nylon. Judging by the retailer response (and the clothes, of course), this wearable compilation of ideas is full of good ones—Opening Ceremony, Joyce Hong Kong, and Maxfield in L.A. have already picked up the brand’s debut collection.
“It’s not topical, we’re not talking themes,” the designer noted. “We’re talking pieces that work on their own and play off each other.” We’ll be keeping an eye out for what this mysterious quartet does next. —Tina Isaac-GoizéPhotos: Courtesy Photos
A singular color, Majorelle Blue, may be the starting point for Eddie Borgo’s Fall collection. But Borgo being Borgo, that was only the start of it. “I’ve always loved the color, I was familiar with Yves Saint Laurent and Pierre Bergé’s home in Marrakesh, but I wanted to find out more. Why this property? Why then?” he recalled in the Paris apartment where he presented his collection. Unraveling those questions led Borgo to photos of Chefchaouen, Morocco’s Blue City; the life of Talitha Getty and her jet-set entourage; and ultimately to interior designer Bill Willis, a friend to Getty and YSL and the interior decorator credited with bringing traditional Moroccan decor—mosaics, sandstone, bells, tassels, etc.—to mainstream design culture.
For Fall, Eddie Borgo gives those bells, tassels, and colors—cobalt, marigold, blood red—a rock-and-roll spin. He combines his signature geometric links with knots on an iteration of a Berber necklace, works starry black sandstone into large drop earrings, and recasts fez tassels as plugs that dangle from behind the ears. Among the lighter, more everyday pieces are a little bell necklace and flat, Tuareg-inspired rings that come in mix-and-match sets of four.
Elsewhere, a cuff bracelet and choker recall snake mosaics Willis created for a few of YSL’s bedrooms. “It’s really about him [Willis],” said Borgo. “The attitude is really specific to that place and time and those people.” No doubt Willis, a man known for living large and suffering no one, would have felt honored. —Tina Isaac-GoizéPhotos: Courtesy of Eddie Borgo