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.
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.
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.
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.
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.
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.
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.
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!!!!
The curtains are closing on New York Fashion Week for the fall-winter 2015 collections, and what a week it was: From the new crop of trends to teen models who took over, there certainly wasn’t a minute to rest if you were watching the catwalk as closely as I was. Even this last day of shows brought us some excitement, a touch of the West with ever classy Ralph Lauren and a new lust for lacquered skirts and jackets, even Michael Kors brought some down to earth glamour that he said backstage “it felt like the Duchess of Windsor would have worn something with this feeling in her day” that we will never know, but he was inspired by her. He said people want sedate glamour among other things.
But Marc Jacobs finale might have the week summed up perfectly: With exaggerated silhouettes, punchy pops of pink and orange and just a bit of that classic Marc-y Marc grunge, he gave us a little of all that we loved from the best shows this week.
It’s been over a year now since Marc Jacobs left his post at Louis Vuitton. Good breakup or bad, splitting up is hard, and it sort of showed in his last two collections for his own label. Both last Fall’s show, over which Jessica Lange intoned unconvincingly that “happy days are here again,” and the all-army green lineup he presented for Spring felt not exactly dull
but definitely melancholic. Tonight’s show was something very different, with a Stefan Beckman-designed backdrop inspired by Jeremiah Goodman’s painting of Diana Vreeland’s sitting room and a bone-rattling loud soundtrack lifted from Darren Aronofsky’s Requiem for a Dream, both of which fairly screamed, “I’m back!”
The clothes lived up to the advance billing. From the relatively quiet start of Erin O’Connor’s almost-black checked sheath with four wide bands of bugle beads below the waist, the collection built and built. It touched on metallic brocades and leopard print, chevroned mink, grommeted leather, nailhead studded silk, and embroideries that looked like digitized and pixelated portraits of the eccentric Vreeland. “She was a genius,” Jacobs said of the legendaryVogue editor backstage. “She got the whole fashion thing: being decisive, being so excitable, and then being as passionate and dismissive about the very same thing the next day.” Jacobs read her Memos book while he was working on the Fall collection; the surprise is that he hasn’t made a muse of Vreeland before. “I felt like that’s what fashion is,” he continued, “that complete addiction, obsession, that I’ve-got-to-have-it need until I basically wouldn’t be caught dead in it.”
Over the years, Jacobs has produced that obsessive feeling in fashion lovers more reliably than most. As the models paraded by in their polished patent leather boots, you could tick off the looks that will get his fans’ blood pumping, from the snake-print coats with jet embroidery to the long, straight column dresses that felt spare despite their swirls of sequins. Will the floor-scraping pleated skirts and the mutton-sleeve jackets make a come back? Hard to say. They’re definitely not where fashion’s collective unconscious is in early 2015. But who knows? To borrow a quote from the famously quotable Vreeland, Jacobs may just have given us what we never knew we wanted.
Inside Dolce & Gabbana’s Diamond-Spiked Alta Moda Weekend in Milan
Here’s a fantasy to savor: You are wealthy beyond common comprehension—and far beyond mere lottery-winning daydream. You might own a vast oil field, a huge natural gas concession, or maybe some tech company that the Nasdaq can’t get enough of. Perhaps you are the scion of an immensely wealthy family concern, or a Saudi princess, or a Russian who made economic hay when the Soviet Union collapsed—then got out before the ruble did, too. The details are immaterial. But the bottom line is that your bottom line is outrageously perky. You are the one percent of the one percent. And you like to look good—no, you like to look unique.
So here’s the question: What are you going to wear? For you, the boutiques of Bond Street and Madison are like Gap. Red-carpet clothes are overexposed by actresses who—can you imagine?—get paid to wear them. Even the couture collections in Paris are a touch déclassé, for where’s the mystery in wearing a dress that anyone can see on a Style.com show gallery?
This is an extremely niche (and, it goes without saying, extremely privileged) rationale—socioeconomics demands it—but it does exist. And for the last five seasons, Dolce & Gabbana has served its subscribers with the Alta Moda collections. These began in July 2012 in Taormina, Sicily; continued 12 months later in Venice; and then moved onto Capri in 2014. Those winter collections were interspersed by summer collections, shown in January in Milan immediately after the Paris couture shows. They were born of what seemed at the time the perverse decision to absorb D&G, the commercially successful but—the designers said then—creatively unfulfilling second line into their main ready-to-wear offering. As Domenico Dolce said after their final D&G show in 2011: “We don’t want to be the richest men in the cemetery. We love trends, but we want to stay in our mood, our style. If you appreciate it, I appreciate it.”
Alta Moda is Dolce & Gabbana—Sicily-infused, lace-dripped, Baroque, wantonly Catholic—but on diamond-spiked steroids. A roster that now stands at nearly 200 clients supports a full, freestanding atelier in Milan. Each collection is accompanied by a jewelry offering—also handmade. The manner in which it operates is willfully antiquated, for the sake of fantasy: All communication between client and atelier, for instance, must be handwritten. And instead of a quick in-then-out show, each presentation is staggered over several days to allow appointments and several lunches, dinners, and a closing party—each event an opportunity for clients to wear their pieces as well as to buy more.
Last Friday Dolce & Gabbana presented what aficionados argued afterward that it might be the most sensually overwhelming Alta Moda collection yet. Last July, after Capri, the designers decided to take their inspiration from La Scala—Milan’s 18th-century opera house—and arranged a meeting with its artistic director, Alexander Pereira, in November to ask permission to use the house’s vintage ballet posters as motifs in the collection. More in hope than expectation, Dolce also inquired if there might be any chance of holding their show in the theater—something never done before—because, he said: “If I hadn’t asked the question, it would have kept bothering me.” Pereira agreed, and Gabbana added: “Afterward, I was trying to keep a straight face, but in the car home I was screaming. For us to be here is amazing—like touching the sky with your finger.” The designers said they have both been coming here since they were age 7 or so—Dolce’s regular box is number 17. “La Scala is Italy—it is Verdi, Pavarotti, Toscanini, Rossini, Bolle,” said Dolce. “And it is more than Italy, too—it is Nureyev, it is Callas.”
The show was interwoven with performances from the dancer Roberto Bolle and members of La Scala’s company and school, choreographed by him. The first movement of clothes homaged the attire of ballet: Typically teamed with mink shorts or silk cady trousers and flat, jeweled boots, there was a series of feminized men’s corpetto jackets, in silk brocade or soft alligator, decorated with gemstones and painted leather curlicues that came lined in mink with a silk raffia-effect trim. Slowly, the focus panned from stage to audience. A series of 15 or so black dresses, some cantilevered at the hip, some with eye-ambush detail at the neckline, all sensuous, slunk past. Two dresses, their skirts amplified with golden boning, were one-offs made in silk tulle hand-painted with florals or etched with silver-streaked orbs—vintage fabrics sourced by the Alta Moda team. Those vintage stage bills were used in a finale of tulle fantasy-ballerina gowns. Accessories included mink clutch bags and a pair of shoes handmade of filigreed gold, with what appeared to be a ruby inset in each toe: Each weighed about a pound.
During the show, clients noted the pieces that most caught their eye. And at a lunch of cotoletta alla Milanese afterward held in the foyer of La Scala under the eye of a statue of Rossini, they began to order—via a staff of Alta Moda ambassadors—or made arrangements to view and commission personalized versions. As one client said at that lunch: “What I like is that I know what I buy here is mine, for me only. It is exquisite. And to be here to see it is beautiful, too.”
During the last two years, the Milan Alta Moda shows have ended with a dinner, then a party—typically raucous—and then the guests disperse back to their real (unreal) worlds. This season, however, another 24 hours has been added to the schedule to allow for the Alta project’s newest category: Alta Sartoria.
Held at lunchtime, this is a version of Dolce & Gabbana’s amplified couture, but for men. It came about, said Gabbana, after the husbands, partners, or otherwise significant masculine others of Alta Moda clients began asking for pieces of their own. When one female client from a small nation in Asia bought a gown hand-printed with a re-creation of a Canaletto at the Alta Moda Venice show in 2013, her husband asked for a jacket in the same material—but the designers were initially unable to provide it because they did not have the rights to re-create the painting on a second garment. They got it to him eventually, then decided to create this new masculine Alta venture.
“They have their own style of life,” said Gabbana, “and this allows them to have total creativity in choosing what they want for that life. So this is not just a fashion show: The clients can choose what they want—anything—in any color they want, or material. Or they can ask for something different. It looks grandiose and magnificent, but we are trying to present it with simplicity. We want a simple, friendly relationship with our clients.”
Held in the newly refurbished primo piano of Palazzo Labus, the 16th-century building (refurbished in the 19th century by the studio of Piermarini, which also worked on La Scala) on Corso Venezia that houses the 25-tailor Dolce & Gabbana Sartoria, this men’s collection was barely less extravagant than the women’s that preceded it. Yet it began gently, with a series of classical suiting—often double-breasted, clinically fitted, in canonical patterns, with foulard ties, pocket squares, and floral buttonholes. An astrakhan hat and scarf teamed with a frogged double-breasted overcoat, and shiny pinned slippers augured an acceleration of va-voom: white suiting with cavalry flashed trousers, kaleidoscopically brocaded and pinned evening coats, an outrageous purple-lined evening dressing-gown coat worn with mink mittens. One look starred a fox bomber jacket that Gabbana had originally commissioned for himself—“and it is fantastic, amazing. But when am I going to wear it?” The show eddied to its finale on a tide of reinterpreted evening classics—white tie, shortened tailcoats, tuxedos—with more look-at-me slippers. My favorite looks incorporated the Sartoria’s customizable silk pajamas—one of its strongest-selling categories—into a deeply louche approximation of daywear. The overall emanation was bohemian tsarist gilded by Fabergé. When Domenico Dolce walked the runway afterward, he clutched his head as if to fend off the applause.
Tonight, Palazzo Labus will host the final installment in this two-day, both-gender, entirely immersive wardrobe proposition for the 21st-century supranational superrich. The dress code? “Express Yourself”—which entirely sums up the more-is-more, artisan-realized, quintessential excess of this entirely atypical fashion project.
John Galliano has returned to fashion with a triumphant debut for Maison Margiela and the Martin is gone. In total there were 24 looks. I’ve posted a few hear that I liked.
Presenting his spring 2015 couture collection in London, rather than the usual Paris slot, the former Dior designer chose an anonymous office block setting – how fitting, considering Martin Margiela is a man ironically famed for his invisibility.
Handing over the house keys to one of the most high-profile designers ever was surely a risk for MM’s uniform ‘collective’, but one that seems to have paid off as the artisanal collection emerged.
Perfectly deconstructed tuxedos and pitch-perfect column gowns were quick to remind us that Galliano’s tailoring skills are second-to-none, while surrealist embellishments (a razor cut coat breast covered with patent shells in a sort of latex lobster look) showed us that he can still come up with kooky-cool new concepts aplenty.
He had plenty of supporters there such as Anna Wintor and others.
But it was the show’s finale that really struck a chord with the audience, as the previous looks emerged again in calico toile form, tacked with instructions and handwritten notes. Partly, perhaps, a reference to his original debut as a graduate in 1984, and partly, of course, to remind everyone that the new Galliano is still a work in progress.
I love this dress. I wish I could have been a fly on the wall when Christian Dior designed it. Yards and yards of tule and lace. Tiers and layers at different lengths, full, unique and inventive. This silhouette in the 1950’s was unique to Christian Dior. A picture of it hangs in the Salon in Paris. It has everything I can think of that makes me feel dreamy about fashion. It’s a delightful confection, full of life and the glamour of anticipation of something wonderful and wistful about to happen or has just happened. Sigh . . .