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.
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.
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.
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.)
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.
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.
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.
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.
Haute Couture Week Paris is just around the corner January 24th thru the 28! I’m excited hope you are too!!
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.
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.
The extravaganza that is haute couture is by now enough ingrained in our fashion consciousnesses to know that it is a rare and precious environment that is not of this world. That is, of course, aside from those few fierce radical souls who endeavor to apply it to the everyday. But Domenico Dolce and Stefano Gabbana have so much of the everyday in their ready-to-wear business that couture (or alta moda in their mother tongue) gives them an opportunity to slip the surly bonds of Earth and touch the face of God, a silken, gilded, embroidered, sequined, furry God who dwells in a realm of pure indulgent luxury, outside any of the prosaic restraints that bind designers to budgets and deadlines.
Continuing their sterling work for the Italian Tourist Board, D&G chose Portofino as the location to launch their new alta moda on the world. Not just alta moda, but alta sartoria and alta gioellia: womenswear, menswear, and jewelry, a world of one-off splendors, essentially showcased in their own homes. Yes, the duo’s own houses—baby castelli, really—on the outcrop of rock that distinguishes Portofino from its sister enclaves on the rest of the Ligurian coast. “Stefano’s house is the showroom, my house is a backstage for the models,” said Dolce, before Friday night’s mind-numbingly spectacular parade of womenswear. And ownership of that outcrop meant that the designers could indulge their most extreme fashion fantasies: Dante, Homer, and, critically, Shakespeare coming together in their own version of A Midsummer Night’s Dream. But Lewis Carroll also played a part in a hallucinatory mise en scène that transformed Dolce’s garden into a hybrid paradise: grapes on a palm tree, watermelons on an olive tree, orange trees with chestnuts, and a massive upside-down oak, roots waving in the air. “What’s real, what’s fantasy, you won’t know,” Gabbana teased before the show.
“It’s the fashion system’s fault that no one tells a story today,” he continued. It’s maybe closer to the truth that no one tells a story like Dolce & Gabbana. Worker bees had been buzzing around Dolce’s property—auspiciously named Villa San Giovanni, like his mother’s house in Sicily—for a year to make it ready for Friday night. It was the designers’ biggest production to date—94 models, 80 performers—and the substantial uphill hike to the property (thoughtfully eased by hydrating way stations) was sufficiently disorienting enough that the audience was prepped for something extraordinary. It arrived, with a sequence of looks that jammed a movie’s worth of sensory overload into almost every outfit. Let’s set aside the simplest—the doubled tux jacket, the gray pinstripe suit with the Dietrich pants, even the white T-shirt (ermine) with the little black skirt (hyper-embroidered)—to focus on the gigantic skirts, full-blown from Dolce’s bible, Visconti’s The Leopard, each one more overwhelming than the last. Spumes of peacock feathers, sprays of silk printed with pumpkins or owls or parrots, familiars to Dolce’s magician. It all looked hand-painted, but the duo now have their own printing facility, so fairy tales can come true. This wasn’t so much a midsummer night’s dream as it was an entire world re-created by Prospero, Shakespeare’s mage in The Tempest. Dolce even made new animals, like a jacket composed of a hybrid of red, gray, and green fox, red ermine, and yellow ostrich feathers—a bird of paradise redux, paired with a parrot needlepoint skirt and a black lace camisole. The outfits were purest alta moda one-offs, once sold, never repeated, and to ram that point home, there were pieces made from vintage fabrics, like a black lace caftan cut from a single bolt of cloth.
And then, to make the point even more acute, Domenico and Stefano did it all again on Saturday night, this time for men. Tailoring is in Dolce’s blood, but his spin on bespoke menswear was lush, decadent. “Our desire for vanity and beauty doesn’t change,” he said. ”We’ve just lost the way to deliver them.” Consider D&G’s alta sartoria a remedy for that state of affairs. Like the alta moda, this wasn’t intended as a seasonal proposition. Dolce claimed that fashion lay in the way the wearer himself would approach the duo’s alta sartoria, the onus therefore being on the customer to not surrender to fashion victimhood. An interesting challenge, when the men’s collection was such a provocative blend of hard and soft: silk linen pajamas under an officer’s coat in baby cashmere, kimono wraps encrusted with embroidery, cyclamen pajamas under a matching robe. Dolce was insistent that these clothes would be a purely private pleasure for the men who ordered them. He had been in the homes of such people, never a photographer in sight, the utmost discretion at all times. Take, for instance, one of the first clients Dolce & Gabbana’s alta sartoria ever had: He wanted the jacket with the hand-painted Canaletto. When Dolce pointed out that it had already been ordered (one-offs, remember?), he replied, “But I have my own Canaletto.”
In the luxe, calme et volupté of a world where men can have their own Canalettos reproduced on the jacket of their choice, it would seem that extremity could scarcely grab a hold. But Dolce & Gabbana have a canny grasp of the mechanics of desire. Friday night’s event ended with a post-dinner handbag grab for the ladies, a time-and-place souvenir that proved irresistible to just about every woman on Dolce’s mini mountaintop. It was followed by an orgy of cheesy Italian pop that had the crowd vibrating with glee. The following night, men got cigars (not quite as fabulash as a handbag for the nonsmokers) and a swing combo from Palermo called the Bar Room Kings, who were a little less cheesy but still had a noisy, up-for-it crowd gagging for a good time. The weekend climaxed with a club night dedicated to oro, gold, the most antique symbol of human cupidity recast in a disco inferno. And that’s the odd magic of this brand: heights of craftsmanship, depths of fun. Genuine fashion democracy in full cry. And no surprise that it works. People are people, after all.
Really love the color of you new jeans or ones you’ve had for a while and you don’t want them to fade keep fading? Here’s a tip that can help with keeping the color and getting rid of the not washed jeans smell. Put your jeans in a plastic bag and put in the freezer during the night to remove any type of odor.
The freezer will kill most of the bacteria, and you do not need to worry about the dye in your jeans disappearing due to washing or cleaning.
Via: Harpers Bazar
Pretty please would you write just a few words or a lot of words about well . . . what you would like to talk about. I’m into fashion so that what this blog is about but you don’t have to talk with me about that. I would love your opinions about fashion. As long as you want. But I will tell you that this past fashion month has totally wore me out. It was such a huge roller coaster ride! Good or Bad, Ugly or lovely. I had all those feelings. But more than me talking I would like you to talk. It’s so important as a new blogger to find out what you think.
you know nothing about fashion and you just want to say hi or tell me off
you really don’t understand what the big deal is about a whole month of fashion.
you want to talk about what you liked
you want to talk about what you didn’t like
you just want to say something
you have dropped by my blog and you would like me to talk about something in particular.
The point is there is no right and wrong about any of your opinions. It would totally make my day to hear from you.
If you want to have a look at my blog with pictures of the latest fashion you can just click below. Tell me what you think about it!!!!