It’s about now that a film studio’s fancy turns to thoughts of awards. They need to get their Oscar/Bafta/Golden Globe contenders in by the end of the year, and general wisdom dictates that it is always better to save the most powerful for the end, so that they remain fresh in voters’ minds.
So the holiday season coincides with the release of high-minded movies such as Philomena , Dallas Buyers Club and The Book Thief – films that deal with big subjects such as adoption and motherhood, terminal illness and the Holocaust, as opposed to, say, superheroes and aliens, or bachelors on the loose. And as in film, so in fashion.
Blame it on Michelle Obama’s elegant arms and the related tricep/bicep workout craze, but women want to show off their upper limbs like never before and there are few ways to do so as stylishly as in a one-shoulder top. Once upon a time, a bare shoulder was almost a synonym for disco nights, but these versions are altogether more grown-up, polished and accessible. Read more
It’s too bad EU trade commissioner Karel De Gucht wasn’t at the couture shows last week. It would have given him lots of ammunition during this week’s EU-US free trade talks (presuming they go ahead) when the question of the French exception culturelle is raised. After all, the fashion industry is not covered – not even the made-to-order highest end of it, as invented and perfected in Paris. What became increasingly clear during the collections is that, other than location, couture no longer seems to have much to do with France.
Part of this is literal: of the big brand names still on the couture schedule, only one, Jean Paul Gaultier, is actually designed by a Frenchman. The rest are created by Belgians (Dior, Martin Margiela Artisanale), Dutch (Viktor & Rolf), German (Chanel), Italians (Versace, Armani, Valli, Valentino), Russians (Ulyana Sergeenko) and Lebanese (Elie Saab). But most of it is aesthetic.
An interesting side show is taking place at Paris’s Palais de Tokyo during couture: Net-a-Porter is unveiling a new initiative involving five artists commissioned to make five one-off pieces of clothing, which you can think of as couture or art, depending, and which will be sold in September in New York – though whether they are to be worn or to be hung on a wall is unclear, as is the price. What is sure, however, is they will be very, very expensive. Take that, Moda Operandi and Farfetch and every other pretender to the throne! Net has just seen your bid for their spot in the e-verse and raised you by a factor of ten. Read more
There has been some confusion in the e-verse after the news that last week I joined Twitter (@VVFriedman). I’d like to clear this up.
Some thoughtful souls have pointed out I actually joined in 2009, tweeted once, and then fell silent for four years after writing a column about how confusing I found the platform. This is true – kind of. I did join, as @VVF67, to find out what my friends were so excited about, but in a personal capacity, not as a fashion professional. I did find all the personal tweets a bit odd. When it became clear Twitter was a fashion issue, I wrote about it. Read more
So you thought the fashion weeks were over for now, and that you did not have to hear about catwalk shows for at least another three months or so (until June, anyway, when menswear begins again). Sucker!
Last night I made my end of fashion week pilgrimage to the atelier of Azzedine Alaïa to see what he has been working on. As usual, Mr Alaïa did not have a show during the Paris collections; he was too busy.
Indeed, he’s got quite a lot to say about the time pressures on designers, and other industry professionals who engage in the catwalk game, to the extent that he’s planning a symposium on the subject. Stay tuned.
Anyway, there’s a lot going on over there.
Starting with the fact he’s not just busy making clothes: he is making the costumes for a French ballet, to debut in April, as well as for a Los Angeles Opera production of the Marriage of Figaro, which will open mid-May. Oh, and he’s getting ready for a major exhibit of his work at the Musée Galliera in the autumn. Read more
It was clean, it was exact, it didn’t rock the boat (or the brand). It was, as the French say, pas mal.
Almost entirely in black and white, Alexander Wang’s first Balenciaga show nodded to the house’s architectural past. Building from a base of a flat suede boot/legging, he layered on skinny black trousers, high-waisted skirts cut in a curve on the hem and waist to dip in back and rise in front. There were white shirts that mixed cotton piqué with a nubbly cloqué added under or over in origami-folds; neat dresses in a marbelised print realised in appliqués on organza; intarsia furs; a cracked painted leather polo neck and matching skirt; and suede trousers flashing bits of flesh between the cracks.
As an interpretation of the now-abstract idea of Balenciaga, it looked exactly like what to expect if one imagined the archives and what a young designer would make of them, which will probably be gratifying from a consumer perspective: not too challenging, but elegant enough, the clothes suggested the past without confronting it. It’s nice to be proved correct when you enter a store (or pick a designer). And they will probably attract Mr Wang’s band of cool, growing-up, society girls – even, possibly, their mothers. Read more
Helen Hunt wearing an H&M gown on the red carpet at the Oscars on Sunday
On Wednesday H&M is having its first-ever Paris fashion show – in the Musée Rodin, the haute art ex-venue of Tom Ford’s Yves Saint Laurent and John Galliano’s Christian Dior. Coming on the back of Sunday’s Oscar moment, when best supporting actress nominee Helen Hunt wore H&M on the red carpet, it seems to indicate more upmarket ambitions for the brand. So, is this a sign of the times or a sign of the decline of western fashion civilisation? Maybe a bit of both.
(Note: it doesn’t seem to be the unveiling of the group’s new, higher-priced brand collection & Other Stories – it’s H&M itself. So it’s not a move to elevate a line to, say, the Martin Sitbon level.)
On one level, it sounds silly. The whole point of great high street brands such as H&M is that it so quickly, effectively and economically translates high-fashion trends for the rest of the world without the frills, hoo-ha and elitism associated with the whole show system, its seating ranks, invitations and exclusionary velvet ropes. It led the revolution to democratise style, and its consumers love it for it. Read more
Marni's sunglasses with “excavated details”. Getty Images
Today is travel day as the fashion flock heads to Paris. Looking back over the past week in Italy, I was struck by the fact that of all the trends to come out of Milan – fur, leather, dominatrix gear, (I’m not kidding about this last one) – the biggest one is the sudden trumpeting, by pretty much every brand, of “Made in Italy”.
From Dolce & Gabbana and their mosaic dresses to Fendi’s extraordinary fur melange, it was artisanship all the way. You just need to read the show notes, supposedly to help journalists understand what a collection is about, but in reality mostly serve as pre-show entertainment.
Take Marni, for example, “the colour palette is severe, with turbulent peaks”; sunglasses have “excavated details”. Or from Armani: “calculated eccentricity shines through in berets featuring special workmanship in woven velvet, their spherical forma adorning the head.” I’ll be tweeting the best ones, so follow us on @FTLuxury360 for some real prose treats. Read more