Ghostly couture silhouettes designed by Nana Aganovich and Brooke Taylor, the duo behind Aganovich, seemed eerier still once set against the backdrop of a carpenter’s workshop.
The Parisian atelier to the sound of pigeons cooing while models slowly navigated their way along the machines, surrounded by wood planks and various hardware. The label’s second couture collection explored the story of a woman on a journey:
The models’ faces were constricted by veils, with the occasional addition of fake locks of hair piled on top of their heads. White billowing silhouettes were pitted against yellow plaid suits, a Victorian gown followed a jacket with a structured waist, and a delicate feather-rimmed skirt was given a hard edge when paired with leather boots held up by safety pins. Continue reading
Guo Pei took to the temple, allowing her imagination to roam a spiritual safe haven of palatial proportions. With elaborate craftsmanship as the driving force, the designer offered a wide-ranging futuristic and Gothic-infused lineup, part warrior princess, part illustrious queen.
An unusual experiment with waders came at the start of the show, covered in golden-hued dragons and hanging open at the thigh to reveal a pair of bright blue HotPants. On top, more skin, with tasseled shoulder armor leaving an exposed bellybutton.
The complexity of her pieces can be overwhelming, even if they’re sent down the runway at a snail’s pace affording time for a good look. Models were perched on towering platform shoes architectural pieces, too, like the garments.
Her dragons were everywhere, hailing from the Han dynasty, which had them slim and masterful at transforming themselves as was the clothing.
In an example of her East-meets-West aesthetic, Guo embellished a colorful tweed with large, randomly placed rhinestones, and used it to build one of the wider pieces, overlaying a body-fitting bustier.
Lanvin has appointed Bruno Sialelli artistic director, signaling new direction for the historic French house. “His singular and very personal vision, his audacity, his culture, his energy and ability to build a strong creative team definitely convinced us,” said Lanvin chief executive officer Jean-Philippe Hecquet.
The Fosun Fashion Group-owned label cited the designer’s “youthful translation” of its storied heritage along with his ability to navigate between men’s and women’s wear among reasons for settling on the designer in a process that involved an “incredible array” of candidates for the position.The former Loewe men’s wear designer worked under the direction of J.W. Anderson. He has also worked at Balenciaga, with Nicolas Ghesquière and Alexander Wang, as well as Acne Studios, where he was the senior designer for women’s wear, and Paco Rabanne. Continue reading
After launching men’s wear on a beach in the South of France last June, Simon Porte Jacquemus, is back to Paris. His new headquarters is four times bigger and he is entering a transitional phase as the brand grows. 69 Quai de Valmy, 75010 Paris
Simon Porte Jacquemus grew up in the countryside in Provence. He comes from a family of farmers and when he was a kid, he was fascinated by his dungarees which looked like a uniform. Continue reading
It is bingo for Bernard Arnault. He has bet on a new afro-american designer, Virgil Abloh. Yesterday he attended with his two sons at the front row. During the show there was a smell of marijuana. He was a choc between two worlds, as if a family of Boston was meeting an afro-american of Harlem. The mix gave a stunning collection. Continue reading
Tory Burch and Pierre-Yves Roussel have joined forces at work and at home. Tory Burch (née Robinson; born June 17, 1966) is an American fashion designer, businesswomant.
On Tuesday Tory Burch named Pierre-Yves Roussel, a former LVMH Moët Hennessey Louis Vuitton executive, as her chief executive, moving herself into the role of chief creative officer and executive chairman. That Mr. Roussel also happens to be her new husband (they were married in November after becoming engaged in 2016) is both par for the course in the industry and something of a redesign.
And while Ms. Burch has been both C.E.O. and designer since founding her brand in 2004, increasingly conventional wisdom has it that it is better for a leader to focus on one area than try to be all things to all parts of their brand (see: Christopher Bailey and his brief experiment with being both chief creative officer and C.E.O. of Burberry). Continue reading
Streetwear on the runways of Paris has always been that vision that I’ve shared with my friends, the ultimate opportunity to present some new fresh ideas in a city and platform that we have always looked up to,” said Heron Preston, who today at the Palais de Tokyo will present the first runway show of his namesake label, as part of the official calendar of Paris Men’s Fashion Week.
Call him a quick learner. Preston, who was “raised” by the skate culture in San Francisco where he grew up, and who first started making noise in 2012 with his art-project bootleg spins on the Givenchy Rottweiler T-shirt, said that it was only around four years ago, when he started working with Kanye West, that he was introduced to the world of Paris fashion.
A former art director for West, Preston who’s considered a post-Internet Renaissance man worked at Nike and was also a part of the Been Trill art and DJ collective with Virgil Abloh, Justin Saunders and Matthew Williams. Continue reading
Nicolas Ghesquière showcased his designs on stars ranging from Jennifer Connelly and Chloë Grace Moretz to transgender actress Indya Moore. Louis Vuitton has tapped an all-star cast for its pre-fall look book, cementing a growing trend for pre-collections traditionally viewed as commercial filler between runway shows to act as major communications platforms for luxury brands. Continue reading
As canal-luxe first reported in September, the 80 year old beauty glossy magazine is ceasing to be a traditional print publication at the start of 2019. The move comes as a surprise to no one as simply looking at the latest issue of the magazine, pamphlet size at barely more than 100 pages with roughly 40 pages of third-party ads, is a clear indicator that things in print are far from what they once were.
Glamour for many decades was a huge money-maker for Condé, frequently referred to internally as the publisher’s “cash cow.” Payments for placements and ads poured in from the beauty industry, making the magazine’s shift away from print all the more striking. Beauty brands have been some of the fastest to adapt and thrive in the Instagram age of advertising none need the approval of a magazine editor when they can have an cadre of influencers posting praise of products. Continue reading