It’s no secret that fashion week is jam-packed, and the conundrum of New York’s hectic, often overlapping schedule has been at the center of industry conversations. Brands have begun to switch it up—Oscar de la Renta last season cut his invite list in half; Rag & Bone hosted a photography presentation in lieu of a runway event to debut its Spring ’15 menswear range; Gareth Pugh is this season “disrupting” New York fashion week with a secret extravaganza; and Opening Ceremony is putting on a play instead of sending models down the runway. Band of Outsiders’ Scott Sternberg is the latest designer to take the road less traveled, this morning announcing that he won’t be showing at all. Instead, he’ll be focusing his attentions on the September 7 launch of his first New York flagship. “I mean, literally, I thought nobody would notice,” laughed Sternberg over the phone from L.A. “I just figured we’d fly under the radar and focus on the store this season,” he added. Naturally, however, his choice to forgo a runway romp instantly made headlines, in part due to comments the designer made last season condemning the “dog-and-pony show” that fashion week has become. Here, Sternberg speaks exclusively with Style.com about why he’s skipping the catwalk; his new store and collection; and why, in reality, he doesn’t mind the “dog-and-pony show” so much after all. —Katharine K. Zarrella
So why did you decide to skip the show this season?
You know, to us here in L.A. who are sort of living in our own bubble, it was so obvious. We’ve been thinking about it for a while. Somehow it became a news item. Fashion week is a platform to put ideas out there and be part of the fashion dialogue. But it’s also a really, really dense platform now. If you look at that calendar, there are a million shows a minute. What are we ultimately trying to do when we step back and think about it? We’re trying to convey a message about the brand and where the brand’s at. Normally, that’s through a collection, but it felt like this season, even just from a clarity-communication perspective, we wanted the message to be about the store. I didn’t think it was a big deal to not have a presentation. Once we started talking about it with our PR and other people in New York, they were like, “Really? Huh. OK. Maybe we should rethink this.” But ultimately, the collection’s really strong. It stands on its own, even on a rack. We’re opening a showroom behind the store, and when we have the opening event a week from Saturday, the showroom will be open as well and the collection will be in there.
So editors will still be able to go into the showroom and touch, feel, and experience the clothes?
Oh, yeah. The collection has a rich narrative behind it just like anything else we do. The beauty of me not sitting in castings and fittings and going through this laborious process of putting on a show is that I can really focus on the store and focus on the business aspects. I’m both the creative and the business leader of the company, so there’s a lot to do there. Beyond that, I’ll actually be able to take a lot of press appointments and do what we do with the pre-collections, which is talk people through the pieces.
Do you find that one-on-one experience with editors and buyers more beneficial than a show?
Yeah. For me, I think it’s more about you guys. It’s about an editor or a reviewer or a stylist. And you know, there’s always an opportunity to tell the story in a different way. I think if I just sat in a showroom season after season, holding items up and having a model walk in a look or two, that wouldn’t be so compelling. But if you look at the totality of how many collections we’ll be putting together and how many we’ve shown over the years, it seems this is a valid way to do it one season. Then, another season, we can have a rock-ish runway show and another season it can be a straightforward presentation. With menswear, we’ve tried to redefine what a fashion show is and engage editors and consumers directly during fashion week in a way that’s not so reliant on the typical format of a presentation or a runway show. I think [all these methods] are effective, and I think it’s really the totality of the message over time and the story of the brand and how all those pieces sort of play together.
Do you think that you’ll show next season, or will you try to do something a little bit different?
We’ve done shows for men where I put a model in a gallery window in Paris for three days and filmed him changing into 32 looks. We had a scavenger hunt one season. I’m a Hollywood guy, so I’ve always felt that a show, no matter if it’s a static presentation or something else, it’s gotta be a show! And listen, you don’t want to make it difficult for everybody. There are a lot of people showing, there’s a lot of great stuff out there—you guys are all busy. Ultimately, it should be convenient, for lack of a better term. Easy, but certainly not always reliant on the same format. Who knows what we’ll do next season. I’m sure it’ll be much more straightforward.
Last season, in an interview with Apartamento, you spoke about the “dog-and-pony show” that fashion week has become. Do you have any thoughts on what we can do to make fashion week more user-friendly and less manic?
Oh, the Apartamento me-in-a-bad-mood-giving-an-interview piece. Yes. Note to self: Don’t take interviews when you haven’t slept the night before. That all came across a little harsh. I actually think the dog-and-pony show at its best is pretty great! I mean, what a great opportunity to be wildly creative in front of all these wildly receptive, creative people in their own right! I do think it’s a bit of a grind season after season if you can’t open yourself up and have the confidence to say, “OK, I’m going to do it a little differently this time.”
When I look at a European show calendar, it definitely seems a little more sane and certainly less democratic, but probably more palatable for an editor. But look at how much fashion images have proliferated into mainstream culture. Social media is the platform—the content is so ripe, it’s so out there, and it’s great for all of us. It’s taken the exclusivity out of what this world used to be, and I think that’s for the betterment of the business. So it’s not such a bad thing, but it’s also tough when you see young designers getting trapped in the cycle and spending a lot of time and resources on a show and not backing up to think about the bigger picture.
Are you worried at all about the repercussions of not showing?
No. Listen, I’m going through the process with Elisa, our stylist. We’ll spend our Labor Day weekend creating the looks out of the products that we’ve been laboring over for months. We’re still doing the looks and we’re still shooting them. When we do the looks, we take them just as seriously—it’s the same conversation as if you’re having a runway show or a presentation or whatever it is. It’s sort of that final step before the campaign. Honestly, the images will still be on Style.com and on our social media. They’ll be as accessible as any show. People will come to the store. And in terms of the images you want out there in the world-world, the store’s the news.
You mentioned you have done some experimental presentations, and now we have Opening Ceremony doing a full-on play, Gareth Pugh coming to New York for a big production, etc. Do you think this is the new way to do things—these off-the-beaten-path presentations?
I hope so. The reality is this: Originally, the purpose of showing was for press and buyers. It was for the market. It wasn’t for the world. And now, inevitably, it’s for everyone. So I think a brand like Opening Ceremony or a brand like Band or somebody who’s not a serious European fashion house can really take this awesome platform—the world’s attention is on New York for a week—and try to do something different. But again, the flip side is there’s a wholesale business. You’re selling a collection and you’ve got to do that within a short period of time. How much time do editors have? If everybody went outside the box, nobody would be inside the box. It would be a very long fashion week with lots of commutes to, like, far out in Brooklyn.
Are there any hints you can give us about the store or the upcoming collection?
The collection is tight. The inspiration started with these graphics taken from Brazilian jazz records from the mid-’60s. They’re so rad. They’re a Tropicália-inspired world of graphics, and I took those and did a lot of research on Brazil and Tropicália in that time period. I looked at all these Louise Dahl-Wolfe photographs. It’s cool. And then the store’s just awesome. It’s like everything I want my store to be. Milk Bar is opening up in front, although that won’t be officially open for probably another week and a half, after the health department does all the things they need to do. But it’s crazy. It’s Band. You’ll see. We tried not to do any retail clichés. Not for the sake of just being different, but to try and have this clean slate in people’s heads about what a store could be. I think it should be cool. Photo: Stefano Masse / Indigital Images
Yohji Yamamoto Makes Us Want to Be a Part of This Soccer Team, Chelsea Handler Goes Out With a Bang, and More of the News You Missed Today
Yamamoto for Real Madrid…
Today is a good day for fashion-crazed fans looking for another reason to justify watching sports, as Yohji Yamamoto has signed on to create jerseys for the Spanish soccer team Real Madrid. The Yamamoto-designed shirts will be the players’ third option, worn only if both the home and away uniforms are too similar to the opponents’. We guess Real Madrid agrees that your best outfits should be kept for very special occasions. [The New York Times]
Chelsea Handler signs off…
In a star-studded final episode of Chelsea Lately, Chelsea Handler said good-bye to late-night television. From a shower scene with Ellen DeGeneres to an intervention by Jennifer Aniston and Sandra Bullock, the show had no shortage of funny moments. Our favorite part? The celebrity-packed sing-along, which featured a mix of stars including Gerard Butler, Fergie, Tim Gunn, Selena Gomez, and Gwen Stefani. [Elle]
Instagram’s new video app…
Just in time for the social media madness that is NYFW, Instagram has launched a new video app called Hyperlapse. The app features built-in stabilization technology, which allows users to create professional-looking time-lapse videos, previously only possible through the use of expensive equipment. We can’t wait to see how editors and bloggers use this one to introduce the new collections to the world. [Forbes]
Lady Gaga and Tony Bennett reunite again…
They’ve created an album together, so why not front a campaign together? Lady Gaga and Tony Bennett were announced today as the stars of this year’s H&M holiday campaign. The two will be featured in a TV commercial, as well as print and online ads, due to debut at the end of November. [WWD]
Melissa McCarthy memorable moments…
Remember when she was just the adorable Sookie St. James on Gilmore Girls? We sure do. (Full disclosure: There are more than a few GG fans in the Style.com offices.) In honor of her 44th birthday, a look back at McCarthy’s style evolution. Somehow, a jean jacket seems acceptable on the red carpet when it’s worn by one of the most hilarious ladies out there. [The Huffington Post] —Zoe Anastasiou
“A good pair of sunglasses will make you look hot no matter what,” said Claire Goldsmith—and she should know. The London-based designer is the great-granddaughter of Oliver Goldsmith, who became London’s leading creator of high-fashion frames when he launched his label in 1926. The still-family-owned-and-run brand was favored by Audrey Hepburn (remember those black stunners in Breakfast at Tiffany’s? Oliver Goldsmith), Michael Caine, Peter Sellers, and Grace Kelly, who had 42 pairs. Dior and Givenchy commissioned Goldsmith to make custom shades for the runway, and Vidal Sassoon enlisted OG to design the iconic pyramid glasses, shaped specifically to complement the hairstylist’s arched bangs, featured in a 1969 campaign. “[My grandfather] broke the mold,” asserted Claire. “And he built himself a reputation of being the best.”
He may have been the best, but Goldsmith’s business, which in its prime turned out eccentric styles like butterfly frames, winking shades, and Union Jack glasses, shuttered in 1985. He was forced to close his doors due to the original logomania movement and the popularity of sunnies embellished with the emblems of big brands (Gucci, Versace, and the like). “When I was little, I actually recall saying to my dad, ‘Can you get me a pair of Gucci sunglasses?’ And I just remember his face—he was horrified,” Claire said.
Years later, Claire found herself studying marketing at college, where she specialized in heritage brands. “Finally, I kind of naturally came around to thinking, Well, hang on a minute, my family has a heritage brand. Why don’t we make glasses anymore?” She couldn’t find a single reason why the market should be deprived of OG’s fit, craftsmanship, and utterly unique wares, so in 2005, Claire put Olivier Goldsmith back on the board. Today, OG offers vintage shapes as part of its Icons series, as well as ready-to-wear and custom-fit styles, all of which are handmade in England (just as her grandfather would have insisted). “Someone described us as the ‘best-kept secret in eyewear,’” Claire recalled. “But I’d really like to be less of a secret.”
After five years of reworking her kin’s eccentric designs, Claire had racked up her fair share of inspiration, and in 2010, she decided it was time to follow in her grandfather’s footsteps and bow her own brand. CG Eyewear, a dynamic line of made-in-Italy frames, was born. “CG is a whole lot more personal and emotional,” Claire told me. “I would say with Oliver Goldsmith, I’m a narrator. But with Claire, I’m much more sensitive. I think it’s nice to have a playground of sorts where we can produce glasses at the same level of quality and care, but aesthetically, we’re free to do what we want.” Naturally, she’s influenced by her grandfather’s handwriting, but Claire insists that her own collection is younger, more colorful, and “you can clearly see that it does not look vintage.”
As far as her hopes for her fledgling brand, Claire offered, “It would be so lovely to get people to start buying some really good, well-designed eyewear. It’s such an important accessory. People always say, ‘Oh, my God, your lenses are amazing [compared with big-name designer styles]. Like, noticeably better!’ We just have to catch [clients] first, and then we’ve got them for life.” Seeing as Oliver Goldsmith and Claire’s line are stocked at more than 300 points of sale worldwide, including Barneys New York, it seems more and more sunglass connoisseurs are falling into her well-lensed net.
Dressing for Fame: Kemal Harris, Stylist to Robin Wright and Idina Menzel, on Making Sure Her Clients Never Show Up Naked
If celebrity status is conferred in red-carpet appearances, then no actress today can compete without the help of just the right stylist. As Kerry Washington once told Glamour after she noticeably upped the sartorial ante, “There were a couple of actresses whom I felt were having the upper hand careerwise—because they knew how to work that red carpet.” A carefully crafted collaboration between stylist and client, the perfect look can create an indelible impact on agents, casting directors, and those of us watching from the sidelines. Straight from the epicenter of all things celebrity, we’ve asked some of the industry’s top stylists to share their experiences and impressions from their perch above Tinseltown. With our Dressing for Fame series, we bring you an exclusive, insider look at everything it takes to create those iconic moments captured by a million photo flashes.
As one part of the bicoastal styling team of Kemal & Karla, Kemal Harris brings her New York sensibility to her enviable roster of clients. Whether she’s shaping Robin Wright’s killer figure in a custom backless Ralph Lauren jumpsuit or helping Idina Menzel realize her red-carpet potential from behind that powerhouse voice, Harris has a singular aesthetic that draws on both contemporary and historical fashion. Here, she talks exclusively with Style.com about why styling as a pair keeps clients covered, how Feist changed her career, and why she’ll never be a yes-man.—Alexis Brunswick
How did you originally form your partnership with Karla Welch?
We met at fashion week through a mutual friend and always kept in touch. I was working with the singer Feist here in New York and connected her with Karla for her L.A. appearances, and through that connection, our bicoastal styling team was born.
What is the process like working as a duo?
Well, clients are never in one spot for very long. Their movie will premiere in L.A., and then they fly to NYC for all the press appearances. I live in NY and Karla is in L.A., so it certainly doesn’t hurt that no matter where they go, we can make sure they’re never naked.
Do you think there is a certain sensibility you’re expected to maintain as a New York-based stylist, as opposed to being in L.A.?
It’s a fact that editorial styling is much different than styling for the red carpet. They almost require different sides of the brain, and neither is easier than the other. Regardless of what medium you’re working in, I think it helps to have a very strong sense of your aesthetic, the sensibilities and requirements of your clients, and an almost preternatural grasp of how garments will photograph.
Do you think your clients expect something specific from you, and if so, what is that?
Personally, I think it’s so important for a stylist to be honest and straightforward with their clients. They’re depending on us to make sure they look their best on their big night. An effective stylist is not a yes-man.
Red dresses flooded the red carpet at the Emmy Awards on Monday night, but Natasha Lyonne’s ocean blue, mermaid-shaped number stood out. Lacy, long-sleeved, with a hint of ’80s prom, the dress looked stunning on the Orange Is the New Black bad girl and was one of our top picks of the night. The piece was custom-made by Opening Ceremony, so we asked cofounder and designer Humberto Leon to tell us a little about it.—Austen Rosenfeld
How did you decide on the silhouette of the dress?Natasha originally fell in love with a dress from Opening Ceremony’s Pre-Fall 2013 runway, and we worked with Karla Welch, her stylist, to adapt it for the Emmys.
Tell us about making the dress.
The process of designing the dress for Natasha was really organic and felt natural. We’ve been friends for a long time and were so excited to have her wear Opening Ceremony at the Emmys.
Anyone else you thought looked particularly great Monday night?
We loved Mindy Kaling in Kenzo, of course! Carrie Brownstein also looked amazing.
Every day, Style.com’s editors reveal their current obsessions—and where to buy them. Check out today’s pick, below.
My Alaïa obsession is second only to my Comme des Garçons addiction, so when I received an e-mail today that Resurrection Vintage got in a black Alaïa zipper dress from 1986 (a favorite of Grace Jones’), my heart skipped a beat. To say this saucy little number, whose swirling zips are almost Charles Jamesian, is timeless would be a gross understatement. It’s going to look divine when paired with high-heeled booties or even my Prada combat boots. The only question remaining is, if I plan on donning it with the hood up, can I still wear a hat?
Alaïa black hooded zipper dress, price upon request. For more information, visit resurrectionvintage.com. —Katharine K. ZarrellaPhoto: Courtesy Photo
Stockholm fashion week began yesterday, and since we can’t be there to report on the collections, Swedish label Cheap Monday is live-streaming its show right here on Style.com. This season’s lineup, titled “Mindless Optimism,” is all about childish naïveté—think bows, puff sleeves, and scribbly prints—mixed with punk-inspired checked shirts and bleached unisex jeans. (You read that correctly: Even boys can wear the “Spray-On” skinny jeans.) Watch the live show, above, and check back later this week for our daily Stockholm street-style updates. —Emily Farra
Nicki Minaj, clad in a green sequined two-piece, gyrated her hips and thrust her backside in the air onstage at Sunday night’s MTV Video Music Awards as she belted out the lyrics to her song “Anaconda.”
“Oh, my gosh, look at her butt/Look at her butt/Look at her butt,” she sang.
Minutes later, pop singer Jessie J (who opened the show alongside Minaj and Ariana Grande) took the stage to perform her hit “Bang Bang.”
The opening lines of the song? “She got a body like an hourglass/But I can give it to you all the time/She got a booty like a Cadillac/But I can send you into overdrive.” Later that night, during her introduction for Iggy Azalea and Rita Ora’s “Black Widow” performance, Jennifer Lopez teased her new “Booty” remix with Azalea, which dropped yesterday. (The original version of the track was released on Lopez’s A.K.A. album, featuring Mr. Worldwide.)
The original chorus (“Big, big booty/What you got a big booty”) remains unchanged. But in the remix, Azalea raps, “The last time the world seen a booty this good it was on Jenny from the block.”
It was, after all, Lopez who originally kicked off the butt fad back in 2000 with her plunging, derriere-hugging Versace ensemble. “It started when J.Lo showed up in that green see-through dress at the Grammys,” says Dr. Constantino G. Mendieta, a Miami-based plastic surgeon who is the author of The Art of Gluteal Sculpting and a globally recognized expert on the subject of butt augmentation. “After they saw her, people started asking us, ‘Hey, how can I get a backside like that?’”
Ten years ago, women were enhancing their backside shape through silicone implants. Today, however, a quickly growing percentage of women (and even men) are increasing the size and changing the shape of their butts through fat injections, a process better known as the Brazilian Butt Lift. The cost of such a procedure, which can increase your butt size roughly one to two full sizes, can be upwards of a cool $10,000.
“It’s revolutionary what is happening to the backside,” Mendieta tells us. “If you look at the statistics, the number of people getting this procedure went up 53 percent from last year. Nothing else increased in our statistics like butt injections did in the past year, so you are certainly on to something.”
No doubt, butts have never been bigger, both in physical size and as a cultural phenomenon (umm…#belfies, translation: butt selfies). Sunday night’s VMA show only further cemented it. Not only were the performers riffing on booties, they were flaunting their own hourglass shapes, too. Minaj’s and Azalea’s rear ends received more attention—and resulting social media commentary—than most of the show. (There’s now even an app called Tap That, where you can digitally enhance the size of some of the most famous butts out there, including Minaj’s, Azalea’s, Beyoncé’s, and, of course, Kim Kardashian West’s. )
It’s the shapely derrieres of celebs like Beyoncé and Kardashian West (who was fittingly sitting front-row at Sunday night’s show) that’s inspiring women and men to go under the needle. And for those going after something slightly more conservative in scale, the Pippa Middleton treatment is being heavily requested these days.
“Many patients will refer to celebrities when trying to convey the look they desire,” says Dr. Adam Schaffner, a New York-based, board-certified plastic surgeon. “Celebrities with buttocks which are admired by many patients include Jennifer Lopez, Beyoncé, and Kim Kardashian,” he confirms.
Officially, the jury is still out as to whether or not those bold-face names woke up like that, or if they got a little help from their white-coated friends. Nicole Winhoffer, trainer to Madonna, helps ladies get kick-ass booties the old-fashioned way: a hard-core sweat. (This reporter can testify—I took several of her classes and could not walk for days after.)
Winhoffer, who didn’t want to comment on anyone’s plastic surgery, says, “It’s possible to completely change the shape and size of your butt—it’s just about sculpting your butt using different angles, changing the muscle memory, and working with the right trainer.”
Several of the doctors we consulted, however, said that while you can get a great shape from loads of squats and working out, the effects are different than when you add fat volume through injections.
“You can tell a butt when it’s been made. There is more volume in the upper part, it’s more round, and the volumes are not where they are naturally,” says Mendieta. “A butt that is built looks beautiful, but it’s like when you walk into a room and something has been misplaced. You know something has been changed.”
No matter how they got their booties, these ladies are helping to lead a body-positive message. “You have Kim K. and different models really using their butts to promote themselves,” says Winhoffer. “But I love that they are curvy and they love themselves. If you have the power to change the world and you have people paying attention to you—either through social or whatever—and you use it the right way for the right message, I am all for that.”
One thing is clear: The message in pop culture right now is that your backside can be your greatest asset. Beyoncé, for her part, came on top of Forbes‘ 100 Most Powerful Celebrities list this year, raking in $115 million in earnings. Kardashian West brought in an estimated $28 million and also made the Forbes Top 100 list. Azalea is currently the only artist since The Beatles to have the number one and number two record in the country at the same time.
And as for the original face of the booty campaign, Jennifer Lopez? At the end of the day, she’s still Jenny from the Block, but the 45-year-old force to be reckoned with raked in $37 million in the past year and came in 33rd on the 2014 Forbes Top Celebrity 100 list. Used to be a little, now she’s got a lot.
“Real life is very different than being a student,” offered Sara McAlpine, an undergraduate at London’s Central Saint Martins and the editor of the college’s magazine, 1 Granary. “You hit roadblocks—you have to worry about financing and about people with whom you want to collaborate with saying no,” she continued. The second issue of 1 Granary, a publication which was founded by its current editor in chief, Olya Kuryshchuk, in 2013, is about celebrating the pure creativity that comes with studying at CSM. Thus, the sophomore effort is aptly titled “Age of Innocence.” “It might seem a bit kitsch, but we felt it described the time that we’re in,” explained McAlpine. “This is our time to be creative. And as naive as we are, we decided to ask anyone who’s anyone if they want to work with us. If you don’t ask, you don’t get.”
Smart cookies, those CSM kids, and their no-holds-barred attitude resulted in an issue filled with 240 pages of content (not ads, mind you) that most fully financed titles would struggle to get. Alongside shoots and stories that champion CSM student work, there are interviews with Christopher Kane and Ai Weiwei, as well as striking photographs by Rachel Chandler Guinness and SHOWstudio’s Nick Knight. But these heavy hitters didn’t agree to work with the 1 Granary crew out of charity. “It’s not the Bucket Challenge or anything like that,” McAlpine laughed. “The magazine is a space where established names can let loose. [These people] remember that time when they had to jump hurdles and make themselves known straight out of university. And we’re not tied to advertisers—we’re not dependent on them—so I think they actually found that refreshing.”
A handful of the insiders in Issue 2 reminisce about their time of “innocence” at Saint Martins, a sentiment that’s beautifully illustrated by the above Johnnie Shand Kydd-lensed photo of a young Stella McCartney and Phoebe Philo (both CSM alums). But the issue also addresses the future—for instance, budding menswear star and CSM grad Craig Green gives an interview, and the cover features student Louisa Ballou surrounded by her peers. Ballou also appears inside the issue wearing Christopher Kane (below). The abovementioned images debut exclusively here.
The past few years have marked a time of transition for Central Saint Martins: In 2011, the college moved from its storied, dilapidated fashion building on Charing Cross Road to a shiny new campus at King’s Cross, and earlier this year, the Fashion MA program, which launched the careers of designers like Alexander McQueen and Christopher Kane, mourned the passing of its beloved course director, professor Louise Wilson. (It’s worth noting that she was a staunch supporter of 1 Granary). Mix in the fact that university fees in the U.K. are higher than they’ve ever been, and one has to wonder: Can CSM continue to be the creative petri dish that birthed the likes of Katie Grand, Hussein Chalayan, and John Galliano? “I think one of the great interviews in our magazine is with [GQ's] Dylan Jones,” said McAlpine, when asked this particular question. “He [recalled] how he walked through the art studios of the new building, and he said it felt exactly the same [as when he was a student in the '80s]. He said the feeling was still there. I think it’s quite poignant for someone like him to walk through 20 years later and say that.”
1 Granary‘s second issue is set to hit SHOWstudio’s London shop on August 28, and will later hit British and international retailers including Harvey Nichols, Selfridges, Colette, Bookmarc, and more. The magazine will also be available at 1granary.com for £6.90. So what does McAlpine hope readers take away from the 15,000 copies that will be distributed worldwide? “I want [readers] to realize that London is an incredibly exciting place. That CSM is an incredibly exciting place. I want them to know that there are young people banding together, doing something great for the sake of being creative. I want them to know that creativity isn’t dead, basically. It’s not been killed by commercialism.” Considering what these students have achieved—and how hard they’ve worked to achieve it—they seem well on their way to succeeding in the “real world.” And perhaps we’d all benefit from embracing some of our own youthful innocence. —Katharine K. ZarrellaPhotos: Laurence Ellis; Johnnie Shand Kydd; all courtesy of 1 Granary
Tom Ford Challenges Nicolas Ghesquière and Hedi Slimane, Drake Delivers His Belated VMA Acceptance Speech, and More of the News You Missed Today
The best Ice Bucket Challenge yet…
We’ve mostly been refraining from covering the Ice Bucket Challenge, but this is too good to resist: Tom Ford has nominated Nicolas Ghesquière and Hedi Slimane to be next to dump cold water over their heads. We await their response. [@TomFord]
Burning Man won’t dance in the rain…
Burning Man, the annual festival for “community, art, self-expression, and self-reliance,” has been postponed due to bad weather. Originally intended to begin yesterday, event organizers have asked “burners” to reschedule their travel plans and remain in bordering towns until told otherwise. [Rolling Stone]
Swatch watches get smart…
Swatch, the brand that initially pegged smart watches as “novelties,” has announced it’ll be adding fitness features to its 2015 line of Touch digital watches. The fitness-enabled smartwatch is Swatch’s answer to the Samsung Galaxy Gear and Nike Fuelband. [The Wall Street Journal]
America’s Next Top (Role) Model…
Handpicked by Tyra Banks herself, America’s Next Top Model contestant Chantelle Brown-Young is determined to prove she’s got what it takes to become the first supermodel with vitiligo. Diagnosed at age 4, the Canadian-born beauty has overcome schoolyard bullies and teenage insecurities and now counts herself as a role model for people with the skin disease. [Cosmopolitan]
Drake tricked us all…
Since he missed this year’s MTV Video Music Awards due to tour commitments, Drake decided his Mansfield, Massachusetts, show would be the appropriate location to deliver his award acceptance speech. After thanking God and his mother, the artist addressed the technicalities of the hip-hop genre: “I know this is a hip-hop award, and I know a lot of you out there are frustrated, like, ‘This is not a hip-hop song.’ And you know what? You’re right—I tricked you all.” Well, at least he’s honest. [MTV]
There are a few things Michael Jordan and Roger Federer have in common. Both, at various times in their careers as athletes, ruled the court. Driven by the unflinching desire to win, Jordan and Federer have achieved household-name status as seemingly invincible champions. Jordan was 33 when he retired for the first time with six NBA Championships and six NBA Finals MVP awards under his belt. Today, 33-year-old Federer will take the court at the U.S. Open for the 15th time, with hopes of winning his 18th major tournament. He’ll be wearing sneakers with the iconic Air Jordan insignia on the tongue.
“About a year ago, I heard that Roger wanted to design and wear a Jordan shoe on the court,” says Jordan. “I have followed Roger’s career and have been a big fan for some time now. I definitely thought this could be a really unique and special collaboration, and when I heard that Roger wanted the shoe to be modeled after the Air Jordan 3, I was in.”
No athlete compares to Michael Jordan when it comes to kicks, but Federer does have a signature shoe, the Nike Zoom Vapor 9 Tour, designed by Tinker Hatfield, the man responsible for creating many of Jordan’s most iconic styles. Among Hatfield’s greatest contributions to the sneaker world: the Jordan 3, one of the most coveted of the Jordan oeuvre, originally released in 1988. (His Airness now has 29 signature shoes to his name.)
“To me, this collaboration is not just about style,” says Jordan. “The end product features the classic elephant print from the Air Jordan 3 and the best tennis performance technology. I think the fans are going to love it. To see a Jordan shoe debut on the feet of one of the best tennis players of all time is something really amazing.”
That shoe, the NikeCourt Zoom Vapor AJ3 by Jordan, will be available tomorrow, August 27 at Nike stores and on nike.com.—Noah Johnson Photo: Courtesy Nike
Magazines have been telling us where to buy clothes for more than a century, so it was only a matter of time before the roles were reversed and retailers began publishing stories about their favorite editors, models, and trends, too. On September 3, luxury shopping site Matches Fashion will unveil its third issue of The Style Report, its biannual print magazine. Available online and distributed to clients around the world, Eurostar lounges, and five-star hotels, Matches Fashion publishes two issues at a time—one for women and one for men—to cater to both shopping-obsessed markets. An exclusive glimpse at both issues debuts exclusively here.
This time around, women’s topics range from our current obsession with icons of the ’60s and ’70s (penned by Lynn Yaeger) to Linda Rodin’s unique approach to aging. The unconventional cover girl? Caroline de Maigret. The music-producer-slash-model-slash-Karl-Lagerfeld-muse clues us into the timeless appeal of French women just in time for her new book, How to Be Parisian Wherever You Are: Love, Style, and Bad Habits, to drop.
Though we do appreciate a girls-only attitude, we like to think we’d be just as interested in the men’s issue. After all, this one features The Hobbit‘s Luke Evans on the cover, an interview with Dior’s Raf Simons, and an in-depth profile of Domenico Dolce and Stefano Gabbana. To celebrate the launch of both issues, Matches Fashion is asking readers to tweet and Instagram photos of their personal style, tagging #StyleIs, @MATCHESFASHION, and @MATCHES_MAN. The winner will be awarded a weekend of luxury—four nights at a hotel, a $5,000 shopping spree on Matches Fashion, and a $1,000 gift card to Space NK. In case you needed another reason to check their new arrivals page every day.
Below, see the final cover images for The Style Report Issue No. 3 and a behind-the-scenes video of De Maigret’s photo shoot.—Emily Farra
Fashion week kicks off today in Stockholm, so what better time than now to announce a super-cool partnership between two key fixtures of the Swedish fashion scene? The Malmö-based brands Altewaisaome and Sun Buddies have collaborated for Spring 2015 on a set of shades, seen exclusively here first, to be worn in the Altewaisaome runway show this Thursday.
Natalia Altewai and Randa Saome, the duo behind Altewaisaome, have been in business since 2009, and were named Designer of the Year at this year’s Elle Gala in Sweden. “We were approached by the guys [Hannes and Simon Hogeman of Sun Buddies and the menswear e-shop Très Bien] with the idea of making shades for women, and we thought it to be a perfect match between our two brands,” Altewai told Style.com. “Not only that, we thought it to be a really cool thing that Sun Buddies and the guys behind Très Bien wanted to do a product for women.”
Photo: Courtesy Sun Buddies
As for the shades: “The style is totally new for us,” said Hannes. “It’s called Type 05. The materials are sourced with the Altewaisaome collection in mind in terms of colors. Also, we worked with a triple ‘sandwich’ acetate with black, white, and crystal, inspired by one of the stripes from the Altewaisaome collection.” All of the Altewaisaome shades come with gradient lenses that perfectly complement the oversize frame shape.
So much for slow August news days. Today’s WWD is reporting that LVMH is said to be eyeing a minority stake in Proenza Schouler, the New York label founded by Parsons grads Lazaro Hernandez and Jack McCollough in 2002. The Proenza show, scheduled this season for September 10, is always one of the buzziest on the New York schedule, but this announcement will keep people talking all week long. LVMH and its rival Kering have been zeroing in on hot young designers lately. Alexander Wang landed at Kering’s Balenciaga in late 2012, and the company made a minority investment in Joseph Altuzarra’s burgeoning business last year. Christopher Kane is also in the Kering fold. Should the LVMH deal happen, Hernandez and McCollough would join recent recruits J.W. Anderson, now at Loewe, and shoe designer Nicholas Kirkwood in Bernard Arnault’s growing luxury empire.
Why should we care?
A minority stake in Proenza Schouler’s business would potentially secure Hernandez and McCollough for future posts at LVMH should any of its current star designers leave their posts. I could see Lazaro and Jack in Paris, but my first thought is I hope it doesn’t play out that way. In a four-collections-a-year system, managing two huge brands is more than a designer can handle successfully. Yes, there are two designers in this case, but with all the international travel now required of creative directors, not to mention the other duties required of the face of a brand, it just seems untenable to me. Sure, Karl Lagerfeld does it at Chanel and Fendi, but with Hermès nominating Nadège Vanhee to replace Christophe Lemaire, who had been dividing his time between Hermès and his own label, doing double duty doesn’t seem to be the way the industry is moving.
More likely, Arnault and co. see the value in building up the Proenza Schouler brand. And lucky for them. When Nicolas Ghesquière left Balenciaga, he seemed like an obvious candidate for investment. He had the talent and the name recognition. But at the time, it was said that launching a brand from the ground up was prohibitively expensive, as in eight-figures expensive. (Ghesquière, of course, landed firmly on his feet at Vuitton, Arnault’s crown jewel.) Hernandez and McCollough have been around for 12 years and have used the 40 percent stake Andrew Rosen and John Howard made in their business (acquired from the Valentino Group) to their advantage, opening two Manhattan stores in the last two years and really digging into their accessories business.
Timing, as they say, is everything.—Nicole Phelps Photo: Billy Farrell/BFAnyc.com
Every day, Style.com’s editors reveal their current obsessions—and where to buy them. Check out today’s pick, below.
On a whim, as is often the case when I shop, I purchased a great hunter-green double-breasted suit at Zara many months ago. And though I had been immediately drawn to the full menswear concept (and modest price tag), back at home I couldn’t quite wrap my head around how to wear the jacket and pants together without looking like Robin Hood, so it sat waiting patiently for its turn in the wardrobe rotation.
I have now worn the suit with holey band tees and sneakers; turtlenecks and heels; and button-downs and brogues, and with such high frequency that I regret the time it spent latent in my closet. I’m at the point in my life, however, where I appreciate luxurious fabric, detailed construction, and immaculate fit in a way that just never occurred to my whimsical youth, and thus find myself ready for the Stella McCartney upgrade. I have no doubt that this classic navy wool version will sub in quite nicely and with no Merry Men in sight.
Stella McCartney Floris jacket, $1,645, Buy it now
Stella McCartney Vivian trousers, $610, Buy it now —Rachael WangPhotos: Courtesy Photos
With a family name like Burch, if you’re going to make a foray into fashion, it had better be a good one. And with their newly launched sportswear brand, Trademark, sisters Pookie and Louisa (daughters of J. Christopher and former stepdaughters of Tory) have done just that. Since early this year, they’ve been turning out quietly arty clothes (Donald Judd’s work is a major Trademark design touchstone) that wouldn’t look out of place alongside Jil Sander or Céline, but which all clock in around $100 to $500 a piece. And now they are placing the finishing touches on their first boutique, set to bow in Soho at 95 Grand Street during the start of New York fashion week.
A brick-and-mortar location was always in the cards since, as Pookie says, “We really wanted to be able to express the entire world around Trademark. And the location was what we’d been looking for: There was foot traffic, but it was still more interesting. The space has a lot of special details about it, and it just had the right energy.” Swedish stark-meister Andreas Bozarth Fornell’s firm, Bozarthfornell Architects, whose client list reads like an industry who’s-cool (Acne Studios, Opening Ceremony, Kenzo), was brought in to design the shop. “It was all about having this beautiful, minimal space with clean lines that felt very modern but still a little bit nostalgic and touching on the classic elements,” says Louisa.
Also on the duo’s docket for autumn? Their first official ad campaign, lensed by British youngblood Jamie Hawkesworth. His beautifully uneasy fine-art work has earned him a commercial résumé that includes the likes of Jil Sander, J.W. Anderson, and Loewe—as well as the longtime admiration of the Burch sisters. For Trademark’s Fall imagery (which debuts exclusively on Style.com), Hawkesworth, stylist Sara Moonves, and a bare-bones crew headed to Lancaster, Pennsylvania. Models were street cast and shot in barns and against the rural backdrops of the prevalently Amish area. The end result is a dreamy tension between the pastoral and the decidedly present-day. “We thought the landscape was really special. And we also felt like we wanted to do something that Jamie was comfortable with and was excited about,” says Louisa. “And I think for Jamie, he loves to photograph real people.”
Trademark, 95 Grand Street, New York. For more information, visit trade-mark.com.—Kristin Anderson Photos: Courtesy of Trademark
Summer’s last hurrah, Labor Day weekend, is just around the corner. Before we trade out summer sandals and breezy basics for fall favorites, we’ve got one last beach trip on the books. We’re packing easy separates like tissue-thin tees, flowy skirts, and a bag large enough to fit all of our sun essentials—in red, white, and blue, of course. Shop our Labor Day must-haves from Suno, Tabitha Simmons, Sundry for J.Crew, and more, below. —Emily Farra
1. Suno multigraphic dots pleated skirt, $775, available at avenue32.com
2. Hatmaker Nivola grosgrain-trimmed straw hat, $555, available at net-a-porter.com
3. Sundry for J.Crew printed palm tree tee, $68, available at jcrew.com
4. Clare V. Marine Grand tote, $230, available at clarevivier.com
5. Tabitha Simmons Dolly silk-jacquard espadrille flats, $395, available at net-a-porter.comPhotos: Courtesy Photos
Over the past year and a half, British-based retailer Karen Millen has successfully implemented a major rebranding transformation to appeal to hip, younger customers, both in the U.K. and worldwide. Following the recent openings of two major flagships (one in Knightsbridge and the other on Fifth Avenue here in Manhattan), the contemporary label kept up its momentum last week by teasing the trailer to its new Fall ’14 campaign video, titled The Journey, featuring a mysterious, red-haired leading lady, which elicited the response: “Who’s that girl?”
Today, the full film debuts here on Style.com, where KM is revealing none other than up-and-coming actress Sophie Turner (who is best known for her role as Sansa Stark on HBO’s Game of Thrones) as its face of the season. The brand assembled a creative dream team for the project, including director-photographer Glen Luchford; stylist Katy England; and It Brit models Rosie Tapner, Lara Mullen, and Brogan Loftus, who explore the vibrant East London neighborhood alongside Turner, wearing pieces from the latest collection. “The idea behind the campaign is to bring our brand world and our woman to life. It is designed to give an evocative snapshot into the energy and creativity of London, where our inspiration is drawn from and the KM atelier is based,” explained Gemma Metheringham, KM’s chief creative officer. “The KM woman has both style and substance: She’s memorable, with a strong character. Sophie is not only very talented, but she also has a great personality and powerful energy, in addition to being incredibly beautiful.”
To coincide with its #KMTheJourney campaign, the retailer will also host a pop-up at its Brompton Road location for six weeks beginning September 1. There, it will offer a curated selection of 15 statement-making fall coats that shoppers can customize in a variety of luxurious fabrications. Below, Turner took time out of her busy filming schedule (in addition to currently shooting season five of GOT in Belfast, Ireland, the talented 18-year-old will also appear in two forthcoming films, Barely Lethal and Alone) to chat with Style.com about her Karen Millen campaign, personal style evolution, and more. —Brittany Adams
How has your opinion of Karen Millen changed since working with them on the new campaign?
When I was growing up, I always saw Karen Millen as a resource for women who were a bit older. Since I started going into their stores more over the past few years, I’ve realized it’s for people of all ages, and actually a really cool brand that I can believe in, so I jumped at the chance to be a part of their campaign when they approached me.
What was the chemistry like with the creative team on set in East London?
I had so much fun during the two days we shot. The director, Glen [Luchford] was just incredible. He’s been behind so many awesome campaigns—like Calvin Klein and Yves Saint Laurent—so I couldn’t believe I was actually working with him. And with Katy [England] behind the styling, we really had the best of the best on this team. It was kind of funny because we were in the middle of London shooting a fall film on what had to be the hottest day of this summer. I was wearing this huge puffy coat and—not to sound gross—but there was definitely sweat dripping down my back.
Speaking of coats, what were some of your favorite items you wore for the shoot?
I absolutely loved that black faux fur coat I’m in when they finally show my face toward the end of the film. I could see myself wearing it casually or for a really posh night out, and it would be perfect for both occasions. The clothes are so versatile, and I will be mixing and matching them with pieces from the ’80s and ’90s that I’ve been swiping from my mother’s closet.
In general, can you describe how your personal style has changed over the years?
I’m pretty young and still trying to figure out—with the help of my stylist, Alex Breed—what my signature style is. Some days I want to look like a hipster kid, and then other days I want to be prim and proper. I really wish I had, like, seven lives so I could go from being a hipster one day to a punk the next. But that’s the great thing about fashion. In a way, it’s like acting, because you can try on all these different roles. When I was younger, my mum used to dress me in, like, lime green leggings with a matching neon jumper and hair scrunch, so I’d say I’ve definitely progressed since then in terms of style.
Aside from Karen Millen, what other brands are you a fan of?
There is so much British talent out there now. Matthew Williamson has always been a favorite of mine, and I am definitely also rooting for up-and-coming designers like Michael van der Ham. I’ve been to two fashion shows before, for Roland Mouret and Christian Siriano, and hoping I can get a break from filming to see some of the shows next month in London.
For more information on Karen Millen and its new #KMTheJourney campaign, visit us.karenmillen.com.
Photo: Glen Luchford / Courtesy of Karen Millen
What You Didn’t Know About the Emmys, Iggy Azalea Steps Into the Shoe Business, and More of the News You Missed Today
And the Emmy goes to…
Did you know award winners are actually required to buy their Emmy if they want to take it home? Another fun fact: The yellow first-down line shown on broadcasts of NFL football games has won an Emmy. Catch up on all your Emmy trivia on The Huffington Post now, in advance of tonight’s awards. [The Huffington Post]
A chic answer to your dying iPhone battery…
Design company Q has just unveiled a sleek, minimalist bangle that doubles as an iPhone charger, providing you with 60 percent more battery. So Instagram freely, tweet every witty thought, and text to your heart’s content—battery life is no longer an issue. [Refinery 29]
Ralph Lauren gets technical…
Coinciding with the first day of the U.S. Open, Ralph Lauren has launched Polo Tech, a compression shirt that has the ability to read physiological and biological information. It can monitor heartbeat, respiration, energy output, and even stress levels. Throughout the tournament, the shirt will be worn by ball boys and NCAA singles champion Marcos Giron. [WWD]
According to the Romantics Beliefs Scale…
Men are more romantic than women. Yes, you read that correctly. New findings show that guys are apparently more likely to believe in love at first sight, and even place more emphasis on passion in relationships, according to the Romantics Beliefs Scale. [Elle]
Iggy dips her toes in footwear…
Following the likes of Rihanna and Kate Moss, Iggy Azalea (pictured) is the latest celebrity to jump on the collaboration bandwagon. In February 2015, Azalea will launch a collection with footwear brand Steve Madden. This seems like an inevitable next step for the songstress who’s constantly making waves with her risqué style and attention-grabbing outfits. [New York Post] —Zoe Anastasiou
EXCLUSIVE: Daria Werbowy and Mikael Jansson on Nudity in America, Retouching Models’ Knees, and More
Last week, Interview leaked six different cover images from its September 2014 Photographers’ Issue, and the question is: Who isn’t covering a magazine this month? The magazine paired up A-list actresses and supermodels with major photographers: Nicole Kidman with Steven Klein, Léa Seydoux with Peter Lindbergh, Keira Knightley with Patrick Demarchelier, Daria Werbowy with Mikael Jansson, Amber Valletta with Craig McDean, and Naomi Campbell with Mert and Marcus. The fashion and culture publication turned the tables on the talent involved, enlisting its leading ladies to profile their respective lensman for the occasion.
Interview gave Style.com a sneak peek inside the issue at Werbowy’s dialogue with notoriously private Jansson, who shot his frequent subject—they first began working together back in 2003—for the accompanying 20-plus-page spread at his summer cottage on an archipelago near Stockholm. The result was a candid conversation between two industry icons, who discussed the industry’s attitude toward nudity (Jansson had Werbowy pose with a poster from the controversial 1967 film I Am Curious), Jansson’s career evolution, their shared affinity for jazz, rampant retouching, and more.
Below, Style.com highlights exclusive images from the portfolio—Interview‘s latest issue hits newsstands September 2—and insights gleaned from the article. —Brittany Adams
1. Fashion’s attitude toward nudity is backward.
Daria Werbowy: “You take a lot of nudes. For me, I’m very comfortable nude with you. You have a perception of women that I think women appreciate. It’s very different from a random picture of a woman naked. Your perspective is more romantic and more respectful of the female body. It comes from a nice place. So, you obviously saw I Am Curious when you were younger. It was banned in a lot of places.”
Mikael Jansson: “It was banned, but I think it was also the 12th most seen film in America in 1969.”
DW: “Nudity seems to be an issue that America can’t get over in general. I wonder when the day will come when we will finally be OK with it, with the human form.”
MJ: “Things are going backward, in a funny way.”
2. Jansson introduced Richard Avedon to Chet Baker.
DW: “What was that [working with Avedon for two years] like?”
MJ: “It was a fantastic experience. But you had to connect with him outside of photography. I was really into jazz, so I brought my music to the studio and he loved it. So he said, ‘Mikael is in charge of music.’ I had shot Chet Baker in Sweden once before. I showed the picture to Avedon, and he said he wanted to photograph Chet. He said, ‘Let me know when Chet is playing next time.’ I said, ‘He’s playing at a small jazz club downtown.’ He said, ‘Mikael, to be a photographer, you have to do these kinds of things.’ He sent me to the club to ask Chet if I could take his picture.”
3. The best pictures arise from unexpected moments.
DW: “When we went to your cottage by the lake, I felt like I was going back in time—like I was in an old Swedish movie with all the little boats going by. We forget that people live that way still…[that] people do live well and happily and have nice lives in places like that. When you’re taking a picture, how involved are you?”
MJ: “I like to capture the moment. I like to stand back and see what’s going to happen.”
DW: “That’s much more difficult with fashion these days, isn’t it?”
MJ: “But there are those little moments in between—like, if you’re doing hair and makeup and I steal a moment right after.”
4. It’s difficult to put a beautiful visual into words.
DW: “Why don’t you like doing interviews?”
MJ: “I think it’s because I’m not that good verbally. I like to take pictures, it’s like hiding behind a camera.”
5. Werbowy wants photographers to stop retouching models’ knees [Jansson's images here were untouched].
DW: “Where do you think the obsession with retouching comes from?”
MJ: “We get carried away with the technique and with what you can do. You get sort of blind.”
DW: “Girls don’t have knees anymore. I didn’t know people thought knees were so ugly, but they wipe out all the knees. It’s all kneeless people. I think it looks so great to see the real person. I’m not 14 anymore, and I think it’s so much more of a celebration of the human existence to see it the real way.”
Photos: Mikael Jansson / Courtesy of Interview