Have You Heard!!!!!

It’s Official: Maria Grazia Chiuri Is in at Christian Dior!!!

Oh I can’t even explain how excited I am about this news! We have lived thru John Galliano being dismissed, yes old news.  We lived thru Raf Simons what a painful experience that was. I was beginning to loose hope that  one of the oldest and greatest global fashion houses in the world would not find the right fit for a Creative Director and now could it be true that we have the right person? The right head that can steer the Dior enormous ship thru the changing waters of fashion. I’m really excited about the choice and was secretly hoping they could lure her away.  There is hope for Dior!!

If you don’t know who she is or where she came from below is picture and article that Vogue posted.


Christian Dior has lured Maria Grazia Chiuri away fromValentino. After many weeks of rumors, and the headlines yesterday that she had exited her role as co–creative director at the Italian house, the news became official today. I, for one, am pleased: They’ve managed to hire a very cool woman. I’ve spent quite a lot of time with Maria Grazia on Vogue missions since she stepped up with her design partner Pierpaolo Piccioli as co–creative director in 2007, and I can say she’s come to be one of the women designers I like and respect most. She’s an accomplished, extremely experienced professional, a mother, and a principled feminist who has all her ideas about life, work, family, and fashion cut down to the right size. She knows how a couture house works inside out (as Raf Simons did not) and how to run an internationally important women’s ready-to-wear and accessories brand.

Most of all, I like the quote Maria Grazia gave me about how she and Piccioli first came up with the romantic, renaissance, virginal mood which has turned around the fortunes of Valentino. More than a fairy-like fantasy, it also had a double-edged significance, she said. “It was the Berlusconi moment in Italy!” she declared. “It was terrible. I really felt we were strongly reacting against that picture of women.” She’s someone who deeply mulls over the meaning of fashion from a woman’s point of view. To really start inhabiting our lives and minds, design needs to be about something more than churning out a house style or rearranging its signatures in an abstract way. Christian Dior is a house in need of that.

Maria Grazia Chiuri is a person up to that bigger-picture task. After all, the refreshed vision she brought to Valentino with Piccioli, has, while being sensitive, been markedly uninhibited by slavish adherence to the past. One thing I’ve observed is that no one should ever underestimate her. This is a down-to-earth, friendly, and very modern Italian woman who jumps on her Vespa and scoots herself to work at Valentino headquarters in Rome, her home city. Although she and Piccioli started in accessories, first as a team at Fendi in 1989, and then at Valentino since 1999, they both went on to prove their ability to rise to the challenge of taking over both couture and ready-to-wear. In turn, they grew the business hugely. When Valentino retired in 2008, she didn’t speak a word of English. Already a married mother of two children, she studied at home at night, and is now fluent.

Before the news was confirmed I wondered: Would Chiuri really want to leave Valentino? Rome is her home. She’s married to Paolo Regini, who owns a shirtmaking atelier, and their son Nicolo and daughter Rachele are university age. Then again, much as her long working partnership with Piccioli has been a success, she might be seeing it as a case of “job done” at Valentino. For a woman who I’ve seen to be so energized by challenge and learning new things, and who really respects and understands every stitch of the way the people in couture ateliers work, this might be an opportunity she’d be ready to take.

After 26 years of Chiuri and Piccioli working together, this is the end of an era. I wouldn’t be so concerned about Valentino in the short term, though. The other person I’ve gotten to know well in my years of reporting is Pierpaolo Piccioli. He’s a very cool dude.

by Sarah Mower/Vogue

Photo Credit/Maripol/Dior

Crazy Amazing Sunglasses

Carretto Sunglasses

Handmade and hand painted sunglasses created by master craftsmen from the Sicilian tradition who lend their skills to fashion


Dolce & Gabbana


Take A Look On How It’s done

Dolce&Gabbana pays homage to the Sicilian cart with a special Sicilian Carretto eyewear collection, of which only 100 numbered pieces have been produced. One of the best-known symbols of Sicilian folk iconography, the cart was created as a means of transport that responded to practical needs, but went on to be transformed into a vehicle for cultural transmission. Sculpture and painting were applied its various constituent parts to represent moments from the island’s history, or from epic stories or popular religion, creating valuable constructions that were genuine traveling works of art.

The imageries of the collection theme are rooted in ancient traditions from Sicily; the island deeply embedded into the souls of Domenico Dolce and Stefano Gabbana and the source of their infinite inspiration. The traditional puppet and marionette theater featuring medieval knights and dames; the carretto and the Sicilian wheel are all elements of Dolce&Gabbana aesthetics.

The sunglasses are made from canaletto walnut, with relief miniatures hand-painted by a craftsman. For the traditional cart, details were illuminated by two layers of white and yellow paint: a time consuming task that was undertaken with great care and passion. These sunglasses reveal the same attention to detail: the relief decorations on the frame front are first painted in red with yellow motifs, then in blue, green and orange, according to a precise ritual of colors dictated by Sicilian tradition. Like the antique carts, every pair of glasses is a special piece: the decorator’s hand renders each model completely unique.

The limited edition sunglasses have grey tinted lenses and the Dolce&Gabbana logo engraved on a gold plaque located on the inner temple. They are presented in packaging entirely made from fabric with the Carretto print.

Courtesy of Dolce & Gabbana

Glam Rock Takes Over At Saint Laurent



saint laurent hat leather coatsaint laurent gold dress

saint laurent red velvet shirt

It was quite the scene at the Palladium concert hall on Sunset Boulevard on February 10th when Hedi Slimane transported his Saint Laurent spectacular to his beloved City of Angels. Bottle blonde Justin Bieber brought his skateboard, and Sly Stallone brought his daughters. Ellen DeGeneres cozied up with Sam Smith, and Gaga, in a gold sequin bomber and golden glitter-rimmed Groucho Marx glasses, bounded across the wide dance-floor runway to greet Courtney Love, wearing a slip of molten pewter lamé that placed her breasts very much on view. An ageless Jane Fonda (how could she be 78?) worked a high-rise French pleat and an appropriately star-spangled tux; Lenny Kravitz rocked a beaded breastplate; Asia Chow wore a denim jacket over a frothy tulle prom dress; and Mark Ronson opted for shocking pink.

saint laurent velvet boots for mensaint laurent purple jacketblack leather long coat

Slimane has made Los Angeles his base since 2008 (he moved his studio here four years later), and he has continued to channel the city’s quirky vintage, polished grunge and rock ’n’ roll vibe into his Saint Laurent collections ever since—just as Yves Saint Laurent himself had Marrakech, Morocco’s pink adobe city where the legendary couturier was rejuvenated and inspired when he discovered that city’s flamboyant color mixes, mind-altering substances, and a whole new hippie de luxe perspective on style. So it was an exciting prospect to be invited to step into Slimane’s world and discover why he fell for Los Angeles’s seductive style when he decided to show his Fall 2016 men’s collection, and Part I of his women’s (Part II will be unveiled in Paris later this fashion season) at the storied Palladium. Steeped in Tinseltown legend, it was built in high Hollywood Moderne style on the site of an old Paramount lot, and opened in 1940 with Tommy Dorsey and his orchestra performing with the 24-year-old vocalist Frank Sinatra.

saint laurent tiger dressleopard coat red scarfdavid bowie shoulders


Slimane bathed the concert hall’s curvaceous ceiling moldings and balconies in flaming orange light and framed the various bands’ equipment against a charming “Hollywoodland” backdrop of spindly palm trees, delicately painted in white-on-black by 18-year-old Lucia Ribisi (daughter of the actor Giovanni Ribisi). The 93-look collection also celebrated the 50th anniversary of Yves Saint Laurent’s Rive Gauche collection, and the looks paid subtle homage to his legacy. The girls, stomping out to PyPy’s “She’s Gone,” were all dressed in the sort of midi-length skirts or culottes and Victoriana dresses favored by Loulou de La Falaise at the cusp of the ’70s, complete with the broad belts, shrunken jackets, or Berber capes she wore with them. The looks also evoked Jane Fonda’s fabulous wardrobe as the high-class call girl in Alan J. Pakula’s style-saturated 1971 movie, Klute (so did hairdresser Didier Malige’s choppy shag-cuts). The glam rock touches—like lightning bolt embroideries and peaked shoulders—suggested David Bowie’s powerfully influential Ziggy Stardust costumes.

The asparagus-lean boys, meanwhile, wore Slimane’s signature sprayed-on jeans, or skinny-cut pants with a military stripe down the side, and elaborately embellished Hussar jackets, like the antique ones once coveted by the likes of Mick Jagger and Stephen Tyler, Jimi Hendrix (many of the looks were styled with no-pictures-please rock star sunglasses). There were velvets and brocades, and jabots and fedoras, and jackets bespangled with Parisian embroideries, all put together to suggest the iconic look of that quintessential Los Angeleno, the fashion rocker and NBA enthusiast James Goldstein. The collection was a love letter to the city Slimane adores. “That was a piece of art in every way,” opined Jeffrey Deitch, who should know art when he sees it. “There’s a lot for me to work with!” laughed Lenny Kravitz.

After the usually reclusive Slimane took his bow (in a ruby velvet jacket, with Oscar Wilde–length hair), the dance floor was mobbed by junior beauties. I didn’t know there were so many cute, hip people in Los Angeles.

Then the benches were cleared and the stage was ignited by Father John Misty—the first of 11 performers, each doing three or four songs. Beck followed (casual), and then Joan Jett took to the stage in a spangled red catsuit and a fistful of punk attitude, and she brought the house down with “I Love Rock ’n’ Roll.”  “Thank you, Hedi, for making such beautiful clothes!” shouted Jett, and the crowd roared.

Grace Coddington steps down as creative director of American Vogue!


Vogue has broken the news that Grace Coddington, who has been creative director of American Vogue for 25-plus years, is stepping away from her full-time role.

A spokesperson for Vogue confirmed the announcement to BoF. “After more than 25 years at American Vogue, Grace Coddington will assume the role of creative director at large and take on additional projects outside the magazine. She will work on several Vogue fashion shoots throughout the year.”

She is still contracted to produce at least four editorial spreads a year for Vogue, and as yet there are no plans to fill the role of creative director.

Since joining the magazine in 1988, this is the first time that Coddington will have the opportunity to pursue external projects, which already include a forthcoming collaboration with Comme des Garçons. The 74-year-old will be represented by the Great Bowery, which also represents Bruce Weber and Hedi Slimane.

“I really love Vogue, it’s been in my life always, they discovered me as a model at 19,” Coddington tells BoF. “I’m not running away from Vogue, because it has opened so many doors. But it will be nice to collaborate, and nice to go out [and] give talks to people. It’s just another approach. I’m certainly not going into retirement. I don’t want to sit around.”

I don’t know how anyone could fill her shoes. I’m so sad to see her go! She was the creative force behind making fashion the now and always making Vogue the authority on what’s new in fashion.  I will miss that Coddington feel to a photo shoot.

First Come First Serve Alta Moda Style At D & G


d& G alta moda   dolce-alta-moda-17dolce-alta-moda-22
D& G alta Moda black

After the hustle of the Haute Couture shows in Paris there is always one last thing that I wait for. The super exclusive Dolce & Gabbana Alta Moda (Haute Couture in Italian) show. Only the 1% of the 1% are are invited to see and attend this exclusive collection. The collection was only for sale to an exclusive list of some of the worlds most exclusive and wealthiest clients.

d & G alta Moda




The Alta Moda line, had it’s start just a mere 4 years ago in the fall of 2012 since
then the cloths sell like hot cakes and has been some what expanded. With that to be considered this clothing has turned into collectors pieces and have somehow elevated it to beyond the height of  Haute Couture.


This years setting for the spectacle  Dolce & Gabbana Alta Moda spring 2016 collection brought to light at La Scala opera house, Milan this year as well through as-always dizzy and well-heeled show, reached its completion on January 31, Sunday. And we are barley catching the glimpse of that opulence, experiencing unknown delights and getting high over it. Yes, we are yet again spellbound.

g & G alta Moda

But to begin at the beginning: The social gathering in the foyer for the Dolce & Gabbana command performance surely couldn’t have been more glittering and dressed up than the entrance scenes made by guests in the ’50s, ’60s, and ’70s. At midday on Sunday morning, women were assembling in full-length evening gowns, trains, fur hats, sparkling hair ornaments, and, in at least two cases, crowns. En masse public sightings of couture clients as lavishly dressed as this are almost as rare as spotting a herd of unicorns in Paris—but here they all were, the high-net-worth individuals, wives and husbands, high rollers, heiresses, and mother-and-daughter pairs, the multigenerational international Dolce & Gabbana fan club magnetized to Milan from the United States, China, Russia, the Middle East, Britain, Germany, Switzerland, Taiwan, Singapore, and beyond. The day before, they’d seen the Alta Sartoria collection of bespoke clothes for men, a super smart lure to couples to make a whole weekend of it, a nonstop round of lunches, parties, dancing, and fittings—and with Dolce & Gabbana the only show in town.


But this was the crescendo. The audience sat on gold chairs on the stage, with a full view of the gold and deep red velvet sweep of the auditorium. As the models walked up the aisle of the theater, in unhurried procession, there was a strange sense of both intimacy and high drama. In fashion terms, as always, the eye leapt straight to what it doesn’t ordinarily see, and that was the exceptional dressmaking in black: sculpted black hoods to begin with (something between Catholic mantillas and ’60s space-age couture); tailored skirtsuits with gold buttons on cuffs and flippy gored fishtail hemlines; then a cocktail dress draped to one shoulder; and yet more simple-yet-ineffably sophisticated silhouettes with silvery crystal shoulder straps or the illusion of ’30s-style clips at the waist. (There’s a lot of the languid ’30s beginning to filter through fashion, by the by.)

D & G Crown

Singularity is the thing about haute couture. Dolce and Gabbana said that only one of each outfit will be made—a message that meant that the customers in the audience had their fingers on the triggers of their phones, texting their dibs on the looks even before the music swelled to a close. It was, of course, a fantastical performance on every level, yet one underpinned by reality. Back in the workrooms, there is a large landing crowded with dress forms in all shapes and sizes—the mannequins made to the exact measurements of the women who order here.Dolce_Gabbana_Alta_Moda_spring_summer_2016_collection2-768x536

The house estimates that crowd has now reached 200. That itself is a huge accolade to the two men who began this enterprise as Milanese upstarts in the late ’80s. As they took their bows, wiping away tears, the thunderous applause was the measure of a career pinnacle, and brilliantly well-deserved.


Not Ordinary Fashion

Pictures By Vogue

A True Romance

No dress, amongst all that Elie Saab has constructed, remains as important for the designer than that created for his wife: in 1990, Claudine Saab walked down the aisle in an exquisitely embroidered golden wedding gown, designed at the hands of her future husband.

July 4th, 2015, marked the 25th anniversary of the marriage of Mr. and Mrs. Saab and in celebration of this moment, the wedding gown of the latest Haute Couture collection paid homage to that of Claudine’s.

27 fashion elie saab wedding gown

Twenty craftsmen worked on the creation of the gown that took over 600 hours to complete. With its voluminous full skirt embroidered with gold silk thread and floral appliqués, the final Autumn Winter 2015-2016 wedding gown was a vision of love.

Read more

Haute Couture Week Here We Gooooooo!

Haute Couture Week Paris is just around the corner January 24th thru the 28! I’m excited hope you are too!!5881630084_74eb1d46e9_o

Then we slide right into New York Fashion week and all the other ones and it just fills up February.  I’m excited this year.  I have hope . . . Are you excited? Tell me how you feel about Haute Couture week and the fashion weeks after that. I would love to hear from you.  Hello is anyone out there?



It’s raining outside and cold. It’s January, sigh. Christmas is over.  When I think of January I think of a lot of things. Like yay my family made it through Christmas without a major blowup. Next thing; January is my birthday month. Notice did not say birthDAY I said Month. I like to celebrate it all month-long.  Like doing special little things for myself. Nothing big or even noticeable to others, well maybe now that I think about it people really close to me might notice.  Here are a few examples. I may stay up and binge watch something just a little too long. Drink hot cocoa whenever I want to. Have my hair blown out and styled by someone else. Buy a book I’ve been drooling over. Write in my journal every day what I’m grateful for. Dance in the rain. Don’t make my bed. You know little things that make me happy.  So now that I’ve told the world on my tiny little fashion blog, it’s no longer a secret. I’m not entirely comfortable with that.  The reason this fabulous picture is with this post is that it’s one of my all time fav models and wearing one of my all time fav designs by the amazing Mr. McQueen when he was still with us.  (Nope I’m not going to talk about David Bowie or Alan Rickman.) I’ve wanted this jacket and pants and hair and belt since the first time I saw it on the runway.  As you know this blog is about details and opulence and the remarkable people who design it and create it. I sew and when I look at it I feel humbled every time.  It’s not a small thing to design and create such an amazing garment. Sooooo if I can’t have it for my birthday, I can look at it and really appreciate it and of course the beauty of both the person wearing such a fabulous thing and the people who made it.  It’s a big month in Fashion for the Men’s collections. That’s for another time. Happy January!  Hey, do me a favor and tell me what makes you happy in January.

The Making Of Chanel Haute Couture



Following the announcement that Raf Simons would depart Dior, the house has announced that its upcoming Spring 2016 Couture and Fall 2016 collections will be designed by its in-house team. Translation: A new Dior designer likely won’t be announced for some time. The brand’s decision to entrust its ateliers with the next two runway collections mirrors the scene following John Galliano’s ousting in 2011, when Galliano’s second-in-command, Bill Gaytten, was tasked with leading the design team for six collections until Simons was named creative director in 2012.

Still, Dior’s choice to take its time hiring a successor to Simons is something of a departure from the current system of designer appointments. When Frida Giannini was pushed out of Gucci last winter, Alessandro Michele had filled her shoes within days. It took Balenciaga two months to name Vetements’s Demna Gvasalia as its new creative director after Alexander Wang. LVMH’s decision to go slow on its creative director search will only fuel fashion’s rumor mill—right now, top contenders according to secondhand sources range from Alber Elbaz to Olivier Rousteing—but it might also ensure that Dior ends up with a creative at the helm ready to dedicate him or herself to the house for a longer period. You’ll just have to stay tuned a little longer to see if that proves true.
BY Seff Yotka – Vogue

Not Ordinary Fashions Comments: It was widely known that Raf Simons was new to Haute Couture and had never designed it in his life. It was a surprising decision when they hired him in the first place. He was like a fish out of water, He turned the designing over to the in house team anyway. In my opinion it’s a sad state that Christian Dior is in. One of the most luxurious prolific fashion houses in the fashion world with tremendous resources cannot find a creative director. It’s a very sad thing. I hope they find the right one.

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