Posts tagged Paris
Posts tagged Paris
Each year the scope of Salone del Mobile in Milan expands, making it not only the largest contemporary lifestyle fair on the planet, but now, the event is so large it’s impossible to cover the entire program. Even scratching the surface is no mean feat!!
Highlights from the Press Preview Day included - Established & Sons, who this year, in a radical departure from the first 7 years of the young brand’s existence, opted to co-exihit with iconic Italian ceramic brand BizazzaÂ in Zona Tortona.
Standouts of the installation were undoubtedly the extension of the WRONG WOODS collection, the collaboration between the artist RICHARD WOODS & Established&Sons Creative Director Sebastian Wrong.Â Â Sebastian explained to us the move to join Bisazza, whilst at first, to him, co-exhibiting with the Italian tile monolith seemed incongruous given the brand’s ‘indy’ style, self-driven trajectory from zero to hero in international design stakes - makes sound commercial sense - opening up the collections to the enormous, and established (no pun!) Bisazza customer base. Smart Move.
The newest destination on the design block is the Tom Dixon-driven collective MOST.Â Housed in the National Museum of Science & Technology.Â The most apparent trend, or in fashionista-speak - the ‘new black’ in designÂ is clearly the ‘experience’, & MOST delivers ‘experience’ in spades!!
With a plethora of brand installations pickled among the Museum’s permanent exhibits, visitors move past World War 2 fighter jets, a hall full of stream trains, & a cavernous space filled with a variety of full scale sea craft - the word ‘experience’ comes to life in the most literal sense. One must be there to comprehend the installations, as MOST doesn’t fare well in the re-telling, a photograph or video. Like Dixon himself - the location is industrial to the core.
On entry, moving past Cartier’s new watch installation, visitors venture through Dixon’s own strong collection of furniture & lighting, the visit topped by the excellent accessory brand extension Tom Dixon ECLECTIC - Dixon’s object and accessory line than launched in Paris at Maison Objet. Outstanding. Jack Light or Brogue shoe paper weights, & Factory money box the clear highlights - the products ready for sale in September during London Design Festival, are not expensive & the materiality consistently industrial per the Dixon design ethos.
Brit stylist come Creative Director Faye Toogood of Studio Toogood presented an actual ‘experience’ for skincare brand NIVEA. Visitors must pre-book a seat for the 20 minute performance that runs every hour. A darkened, tented, space-within-a-spacee houses 20 or so chairs (designed by Toogood), & androgynous, bandaged performers theatrically present gusets with a small treat, then a tray with doe, & ultimately the inevitable NIVEA infused hand towel to clean up. On the stage the performers mold doe into objects and the audience become part of the installation - the culmination of the ‘experience’ being the objects molded by the viewers being collected and added to the central platform or stage. Once seen, the ‘experience’ is not easily forgotten - a clever move by NIVEA, successfully entering the design arena by partnering with Toogood.
Final stop of the day was Spazio Rossana Orlandi -Â yet to officially open to visitors - every small space was throbbing with installers, removalists, & exhibiting designers scrambling to complete their displays - and whilst the opportunity to catch the ‘next breaking designer’ seems almost too good to miss - reconnecting with Rossana herself is as entertaining as it is enlightening! Cheeky to the core, she shuns photographers who tardily ask to take her picture (poking her tongue out & laughint ‘I am terrible, bad luck’!), & yet generously pauses to share her own highlights to more seasoned enquirers. But more on this later.
Standout clearly was global-forecaster Li Edelkoort’s curated installation with Rubelli - the ribboned- taxidermy birds, Maartin Baas burnt chairs upholstered in Rubelli, & an an ORIGINAL Gio Ponti armchair
So as now we enter the official day one - enjoy some of our highlights from yesterday!!
Karl Lagerfeld’s homage to Bombay drew from imagination rather than reality, given he’s yet to visit India - “Inspiration is not a copy but a starting point, taking us somewhere new,” Lagerfeld explains. Rich with lavish embellishment, texture, & of course cultural reference, the Pre-Fall 12 collection was shown last week at the Grand Palais, Paris.
Barely 12 months after quitting her post as editor of Paris Vogue, Carine Roitfeld, turned the tables and went to the couture shows as a customer. This engaging clip is part of a documentary released last week by W magazine. Enjoy Roitfeld gems - giggling the models are too big as she scours the collections for couture that will allow her to reflect her own style, playfully telling Karl Largefeld over the phone ‘the models are a little’ bit too fat’ as the outfit she tries requires remodelling to fit her tiny frame. Followed up by lamenting to Donatella ‘it’s a bit too small, or upon entering a darkened Armani Prive runway location noting ‘it’s like a nightclub, I mean there’s champagne! I always wondered who it is that drinks champagne at 10am!’ Citing her current look to be combined skirt, tights and a ‘feeted’ vest, Roitfeld makes a buiguiling customer, much to the amusement of the heads of the major fashion houses, each insisting she takes what she wants. There’s even a cameo by Cate Blanchett.
WATCH Carine Roitfeld: The Client
Carine Roitfeld made a triumphant return to Paris Couture Week—and W’s cameras went along for the ride, following the charming editrix to more than 20 fashion shows, to fittings with couturiers from Jean Paul Gaultier to the reclusive Azzedine Alaïa, and, finally, to a two-day shoot with photographer Paolo Roversi. / http://www.wmagazine.com/#ixzz1djsjUtZx
Roitfeld had to sit out the ready-to-wear season six months ago “so people didn’t get confused” after her much-discussed departure from Vogue earlier in the year. Now she’s back in the front row with a raft of new projects, all feverishly chronicled in the blogosphere. There’s the 72-page celebration of Elizabeth Taylor, shot by Mario Testino, for September’s issue of V; Barneys New York’s fall- campaign multimedia tribute to Roitfeld, which has her starring in a short film that was shown in the windows in early September; and Barneys’ Women’s Designer book with Mario Sorrenti, which features 28 or so of her favorite models, family members, and friends wearing her picks. Then there’s her new book, Irreverent, a visual diary done in collaboration with Purple editor Olivier Zahm, due out this month from Rizzoli; another, on the Chanel black jacket, with Karl Lagerfeld, is also in progress. She styled the fall campaigns for Givenchy, Jean Paul Gaultier, and Chanel, injecting house codes with the cool-girl brand of quirkiness she is known for. And, of course, she covered the couture collections for W, styling herself in the portfolio you see here, and taking wmagazine.com viewers on a tour of the scene with an assist from filmmaker Loïc Prigent. “I’m my own boss now, and it’s a little scary,” Roitfeld said. “But it’s nicer. I’m like a butterfly, hopping from place to place.”
Roitfeld has been a stylist since the late Seventies, well before fashion became part of mass culture and the people behind the scenes started amassing groupies of their own. But the raw and intimate quality of her work, which the world at large first came to know when she was Tom Ford’s muse at Gucci in the Nineties, is a big reason why stylists started earning cachet on the level of photographers and designers. “She’s had a huge impact on fashion,” said Donatella Versace at Roitfeld’s Atelier Versace fitting at the Hôtel Plaza Athénée in Paris. “She fights for glamour. Even when everyone was doing minimalism, she fought. She dares. You see her and you get inspired.” Without a Carine and her brash, easily identifiable taste and slightly kinky humor, there would likely not be a Rachel Zoe, who is as well known for her own look as for what she puts on her clients. (Decide for yourself whether or not this is a good thing.)
A casual observer might mistake Roitfeld for the embodiment of French froideur, thanks to her uniform of stilettos and severe pencil skirts—not to mention her fondness for bondage and nudity in shoots. But once you get past the intimidating surface, both her work and her manner are much lighter and more down-to-earth. In conversation, Roitfeld is composed but enthusiastic, frank and a bit shy. Her predilection for heels only became a thing, she explained, so she wouldn’t have to talk up to Testino, who is quite tall, and with whom she’s worked for most of her career.
Watching her play dress-up in couture salons for this story was a master class in controlled giddiness. “Ooh, I love zis one,” she said to Versace, about a saloon hall–style gown made out of perforated black leather and crystals. The oohing and aahing continued from behind the dressing screen as she wriggled into the dress. “It’s more princess-y, more couture,” she said when she emerged, celebrating yet another victory of fitting into a sample size. “I feel like a Barbie,” she later said to Azzedine Alaïa, one of the designers she respects most, as she squeezed into a faux-croc skirt suit straight out of Blade Runner. It got to the point where her entire entourage—designers, producers, assistants—just wanted to dress her up and see how she would react. She indulged them all, putting her hands on her hips and squinting, taking a second and a half to decide, before politely reaching for her preferred choice. Usually, it was black.
Roitfeld is having a good time with her life, too. She’s devoted to Christian Restoin, her partner of 30-plus years, and their two kids, Julia and Vladimir, with whom she’s in touch almost every day by BlackBerry Messenger. She smiles a lot. She drinks vodka. She does ballet and yoga. (Roitfeld doesn’t take fashion dead seriously: For our final sit-down interview, she had just arrived from a class, and paired her workout gear with black canvas Givenchy lace-up stilettos. “Look! Isn’t that glamour?” she said, laughing.)
She gets some of her best ideas sitting around in airports, because “you see such a mix of people, from first-class to economy, and all types of bodies—skinny, round, short.” More inspiring than perfection, she says, is “bad taste.” (Hence her choice of Elizabeth Taylor for V—“a woman who I think had the worst taste in fashion,” she said.)
Roitfeld’s work is often a study in contrasts. She likes to incorporate quotidian props and personal belongings into the sexiest shoots, posing sharp-dressed models with oven mitt–size reptilian gloves, Frappuccinos, her father’s sweaters, or kitty-cat masks, as she did for the fall Chanel ads. In the pictures taken for this story, she followed the same impulse; in each photo there is an item from her family—either her partner’s, her son’s, or her father’s. And she stayed away from anything too literal: A look featuring a transparent tulle Givenchy gown was nixed for being “too historic”; instead, she popped out of the fitting room with a black harness underneath and, of course, more eyeliner. When directing models, “I want a lot of little gestures like this,” she said, biting her thumbnail, twiddling her hair, and tugging on her shirt. “Natural gestures. I think when women see pictures like that they can see themselves more, because they’re not just looking at a beautiful body.”
As in any profession, stylists work in all sorts of ways. Some are cerebral, and you can easily spot the research and references in their work. Roitfeld, on the other hand, is more instinctive and personal; one could argue that she is her own best muse. “When I was working with Tom Ford, he would just look at me and ask, ‘Will you wear it?’” Roitfeld remembered. “I’d say, ‘Ah, too long, too short, lower waist, deeper V, unbutton’—that sort of thing. I don’t create clothes, but I definitely know how to make them come alive.”
Maison & Objet opens on Friday, a showcase of the latest interior decoration, design and accessory collections. Among many big name brands, Italian design gallery Secondome are set to launch new lighting by French designer Laurent Corio. The lamps feature exquisite detailing, the form reminiscent of his Pyrex decanter Synchronicity. In a design statement Laurent claims inspiration from the way flowers stand in a vase, and the soft hue of candle light.
Robert Stadler explores the notion of ‘shading’, aiming to challenge the viewer to question the established ideals of traditional design, in what he nominates as an homage to Jean Royere. Stadler, an Austrian living and working in Paris, will hold his second show at London’s design/art gallery Carpenters Workshop in September, following ‘Exercise Series’ that was shown by the gallery at the recent Design Miami/Basel.
The African marble series comprised a side table, coffee table and stool, the objects - made from african marble - are said by the designer to be modelled after the characteristics of complex genetic codes, the designs feature a simplified origami-like aesthetic which merges contrasting notions of balance and stability.
Marrying Kills guitarist Jamie Hince this week, Kate Moss wore a vintage inspired gown by disgraced couturier John Galliano, a close friend of Kate’s, and a guest at the three day wedding party. Moss has been a Galliano confident since the very beginning of her career, her first ever catwalk appearance was on the Galliano SS runway, and she has modeled for both Galliano and Dior in the twenty years since. Once again, Kate fronts a campaign for the superbrand, as the face of Dior Addict, the irony of the campaign not lost on the audience!
With the tagline - DIOR ADDICT, Be Iconic - who better to pull it off than Kate?
French luxury brand HERMES launched their inaugural furniture collection inside a Shiguru Ban / Jean de Gastines designed HERMES Pavillion, a spectacular paper and cardboard structure housed in La Pelota stadium during Salone del Mobile in Milan. The collection features pieces designed by Italian maestro Enzo Mari, along with 20 pieces French architectural icon Jean-Michel Frank originally designed in the 1920’s, and reissued by HERMES last November at the launch of their flagship store in Paris.
Italian design brand B&B Italia has now announced a collaboration to manufacture the HERMES collection that will also includes designs by Antonio Citterio - available at select HERMES stores worldwide from September.
IMAGES 1-3 © tomaso sartori, coutesty of HERMES. all rights reserved
IMAGES 4-6 © shigera ban. all rights reserved
The trend for boutique hotels co-branding with fashion designers continues, with the opening of the 5 star Hotel Maison Champs Elysées in Paris last month, the interior art directed by French fashion house Maison Martin Margiela. The marketing blurb boasts a ‘new lifestyle experience’ and 17 ‘couture rooms’, however, the interior design of the 57-room hotel appears somewhat underwhelming - bar the decorative silver leaf detailing in corridors, and retained original features like the sweeping 19th century marble staircase.
Check the great teaser video released by the hotel showing the application of the silver leaf by ateliers, appropriately attired in Margeila-esque aprons.
Images courtesy of Maison Champs-Elysées / Maison Martin Margiela