Regular readers of this blog will know that I like to top off my fashion month with a visit to the Alaia atelier to see what the designer is doing and experience the fashion equivalent of a cleanse: Mr Alaia, after all, works exactly as he wants, shrugging off the demands of seasons and showing and trends. Ayn Rand would have loved him. Read more
And so couture comes to an end. I could tell you it was all about lightening up, or the new names on the schedule, or the rise of the couture trainer (meaning odds are the coming ready to wear season will be full of comfy rubber-soled shoes of whatever variety), but I’ll leave that for Saturday’s review.
Truth is, what struck me most about this season was the off-piste rise of the new runway game: “Which is the Oscar dress?”
See a conjunction of the evolving red carpet economy and timing means that today couture may well generate more Oscar dresses than any other season. And it is changing what’s on the runway. Read more
So, after all the breathless waiting for Diego Della Valle to name a designer to the house of Schiaparelli, after Christian Lacroix’s guest stint at the last couture, after the newly decorated Schiaparelli atelier on Place Vendome was unveiled and Farida was introduced as the house’s ambassador – after all that build-up, how was Marco Zanini‘s debut as the official designer of the House of Schiaparelli, not to mention his debut as a couturier, not to mention Schiaparelli’s first couture show since 1954?
Not so shocking. Read more
Anya Hindmarch is going to be late. I know this because her office emailed me twice on the day of our dinner to alert me to the probability; she is coming from a meeting with Bergdorf Goodman on 57th Street and we are eating downtown and, well … traffic.
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
The finalists and honorees of the CFDA awards are out, and it’s a surprising list. Actually, that’s not true: it’s a totally predictable list, but it’s also an instructive one. It both shows how meaningless it is to define an “American” designer in a world where Americans design for foreign houses, and foreigners show in America, and how, despite the fact that the fashion schedule gets ever-more crowded, there still seems an extraordinarily thin layer of internationally recognised talent. Which points up yet another truth: there is a major flaw in the time logic of the awards system itself.
After last week’s announcement that Conde Nast International had made a significant investment (for them) in Farfetch.com comes news that Advance Publications, ie the parent company of Conde Nast, just led the latest $20 million fundraising round for Renttherunway.com, the web site that allows consumers to rent a catwalk look for an event. The first move got a lot of play, and this one has been slightly quieter (another investor, Highland Capital, issued the release), but put them together and you get what looks like an interesting picture developing, no?
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
One of the most surprising revelations to come from the FT’s recent mini Business of Luxury summit in NYC was the realisation that architect Peter Marino is busy creating a shadow art world in fashion under all our noses, and almost no one has put it together. At one point, about a decade ago, he noted, the grand pooh-bahs of luxury decided it was time to take things “to the next level” with their stores. And that next level was… art.
Consider: he says he has a deal with brands such as Chanel and Louis Vuitton that allows him to commission three to five pieces of new art from pretty much any artists he wants. And though he does recycle it from store to store on occasion, mostly this is new. So given that stores get refits every five to seven years – well, you do the maths. He says he has probably been responsible for commissioning about 200 or more works of art from artists including Vik Muniz, Jean-Michel Othoniel (that’s his glass swirl, above, in a Chanel boutique), Richard Prince, and others. That’s practically a museum in itself. You think it’s a coincidence that Louis Vuitton is opening its own art foundation in the Bois de Boulogne this year? Read more