Givenchy: Rottweiler Grunge Dandies

  One could never fault Givenchy's creative director Riccardo Tisci for lacking chutzpah when it comes to inspiration, especially this season when he based the latest menswear collection in Paris on Friday, Jan. 21, around a novel fashion wellspring - the rottweiler.

Images of the German cattle breeding dog growled from black T-shirts, leapt across to-the-knee shorts or fought it out on silk bomber jackets with Tisci's now signature Romanesque trim.
The designer even had his models wear felt hats with dog ears pinioned down on top, just to make the message clear. One sweatshirt with a sketch of the hound - a breed used by ancient Roman armies to herd the cattle needed to feed troops - appeared with the phrase "Est. 1952," referring to the year of the couture house's foundation.
Tisci combined his canine conception with a whole grunge element, specifically faded plaid shirts, many over printed with more rottweillers, in an ideal outfit for a revival concert of Nirvana.
Under this designer, Givenchy always dabbles with a diabolical element and did again in this show, which featured Black Magic insignia of tough chic belts. Plus, the show contained some great new bulky footwear, a sort of Timberland meets Paris dandy look, sure to be highly influential.
Whether or not many men will wear all this rottweiller imagery with thick shorts, ribbed woolly leggings and hefty boots next winter, remains to be seen. But the clever cool classic pieces mixed into the collection - like beige cashmere jackets with zips down the spine, or the padded down jackets with over-sized fur collars - will find plenty of fans.
http://news.yahoo.com/s/fwd/20110122/en_fashion_fwd/givenchyrottweilergrungedandies

Christian Dior's Rene Gruau Groove

We got grand style and hyper opulent chic at Christian Dior Couture Monday, Jan. 24, in Paris, when the house's couturier John Galliano sought inspiration from Monsieur Dior's most fruitful collaborator, illustrator Rene Gruau.

Staged over a massively elongated runway in the garden of Paris' Rodin Museum, the show opened with a voluminous blood orange red silk coat wrapped over a half dozen layers of tulle, an ensemble that floated by on model Karlie Kloss, on whose head sprouted a stiff Stephen Jones hat, mimicking the signature flourish of one of Gruau's sketches.
Gruau was born Renato Zavagli Ricciardelli in Rome. He adopted his divorced mother's maiden name, moved to Paris and lived to be 95, going on to become the most influential illustrator in fashion history.
Much of this spring 2011 collection riffed on the extended volumes of Dior's epoch-making New Look show, which Gruau himself played a key role in making so famous through his brilliant sketches.
"Rene Gruau's crayons, his pencil marks and his paint strokes, all inspired us. I hope something of the results looked effortlessly chic," Galliano said backstage.
Gruau's squiggles and brush strokes were reproduced in three dimensions on a series of remarkable looks, pencil lines imitated by strips of sequins, paint strokes by dashes of stiff chiffon.
"And the play of light and darkness and the chiaroscuro was evident in Karlie's first look," said Galliano, adding that the only question was why he had taken so long to base a collection on Gruau, given his fundamental role in the house's history.
http://news.yahoo.com/s/fwd/20110125/en_fashion_fwd/christiandiorsrenegruaugroove

Chanel's Ethereal Haute Couture

"Intemporel," the French word for timeless and a term that also suggests eternal, seems the right adjective to describe the latest haute couture collection by Chanel, a remarkable exercise in pure aesthetics and a major statement about modern fashion.
Presented Tuesday morning, Jan. 25, it was timeless in the sense that even though the collection was inspired by Marie Laurencin and echoed a famed painting this early 20th century "feminist" artist composed of Coco Chanel, the collection did not really suggested any specific era. Instead, it played on light throughout, rarefying it through crystals, pearls, beads and semi transparency to create clothes that shimmered and dazzled the audience in rue Cambon, in central Paris, where the collection was shown.
The show opened quietly - with a series of models in sequined leggings or jeans - tie-dyed, faded, in rose or pink and finished at the ankle with cluster of semi-precious stones - all worn with flat ballet slippers, tied with black silk ribbons, with the same strips used as chokers. Over the jeans, Chanel's creative director Karl Lagerfeld sent out sleek tunics and mid-length coats, seemingly dusted with delicate twigs and rococo squiggles. Each stood out brightly before the dark surrounding setting - a series of Coromandel screens, the Chinese lacquered paneling which Coco used to decorate her own Paris apartment, back when she posed for Laurencin.
Halfway through the show, the Chanel atelier swung into high gear with a remarkable series of outfits that were completely made of embroidery - gauzy fitted jackets woven with crystals, tulle pencil pants in micro pearls, or redingotes that dazzlingly reflected the light.
"Embroidering a design on to a sleeve or lapel is tricky, but making a whole jacket out of embroidery is incredibly difficult. I drove the atelier mad," said Lagerfeld.
For his finale, several score of models posed on a staircase with tall background mirrors, a reproduction of the same stairway at the top of which Mademoiselle Chanel used to quietly observe her own runway shows.
"Karl didn't so much sketch out this collection, as design it in light," quipped his muse and sounding board Amanda Harlech after this epoch making show.
http://news.yahoo.com/s/fwd/20110126/en_fashion_fwd/chanelsetherealhautecouture

Valentino's Subversively Elegant Couture

Paris – Valentino's latest haute couture collection was all about empowerment; allowing women to be ladylike yet physically revealing, sophisticated yet ever so seditious.
Presented Wednesday, Jan. 26, in the Solomon Rothschild mansion of central Paris, this spring collection 2011 was hyper chic - cascades of ivory crepe to create to-the-floor dresses, twists of gazar silk fashioned into slim cocktail looks. Yet, thanks to the racy cuts, semi-transparency and generally see-through finish the clothes packed visceral punch.
"To be elegant today you have to be a little subversive. True modern beauty should be a little dangerous," said Pier Paolo Piccioli, after he and design partner Maria Grazia Chiuri had taken their bow, heavily applauded as the marched along the twisting gold parquet runway rambling through three rooms and several passageways.
The collection opened in opaque pristine whites and ivories, but as the show unfurled, few looks failed to reveal some flesh. Over all, the deep gorge cuts of summer lunchtime dresses and exposed skin were somehow ladylike yet racy.
http://news.yahoo.com/s/fwd/20110127/en_fashion_fwd/valentinossubversivelyelegantcouture

Wedding Dress Designer Profile: Janet Nelson Kumar

Since the beginning, Janet Nelson Kumar has stood for ‘Modern Sophistication, Easy Elegance‘. She designs for the bride who desires a modern, elegant and timeless look. “Every bride deserves to look like her best self on her wedding day,” Janet says. “[She should stay] true to herself, [and be] confident that she looks the best version of herself.”

Janet’s love of fashion started early. When she was a young girl she helped her grandmother sew dresses for herself and other family members. For Janet, creating gowns that fit well and flatter many body types is of paramount importance. Each piece handmade in New York City using beautiful silks, luxurious laces, couture techniques and quality workmanship. Choosing to produce everything in NYC allows Janet to oversee and control the entire production process. Janet and her team put their creative energies into each design to make sure each gown is a jewel.

This season’s collection was based on the idea of ‘lightness’ and volume without weight. Nearly every dress uses multiple layers of sheer fabrics to create the opacity, but overall the gowns are light and airy and move and flow. We also layered color under a couple of the dresses to have sheer washes of color, which also brings out the beauty of the laces. The silhouette is strongly in the early sixties vein with emphasis on the natural waist and full skirts or trumpet and mermaid shape.
http://www.weddingdresses.com/wedding-news/

Hot Bridal Accessory: Bridal Fascinators

One of the hottest trends in bridal accessories is the fascinator. Although fascinators are much more popular across the pond (especially for wedding guests), many American brides are opting to wear them on their wedding day.
For those of you who have no idea what a fascinator is, it’s a headpiece worn in your hair that’s commonly made with feathers, flowers, beads and/or ribbons and is attached to a comb, clip or headband.



Or opt for a flower made of feathers. This one from Etsy seller PowderBlueBijoux is made using ivory and gold feathers with a vintage faux pearl and crystal earring center.

Want a bigger feathery flower?

Want something a little more extreme?

Looking to add a little blue to your ensemble?

Not sure if you want to don a fascinator yourself, but still like the look for your big day? Think about them for your bridesmaids instead. A simple fascinator like this one would be perfect for your girls.
http://www.weddingdresses.com/style-trends/2009/09/bridal-fascinators/

Fashion Group International Awards Rising Stars

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Men’s apparel winner Loris Diran.

Lauren Bush and Marc Marmel

NEW YORK — Being a rising star can be a double-edged sword — at least according to Norma Kamali, who was a keynote speaker at Fashion Group International’s Rising Star Awards Thursday.
“A rising star award is a good thing, and it may even be a bad thing,” she said. “What happens if you don’t become a star? Is that going to be the end of it for you? I never wanted to be a star and never really was or am a star. I am just my own little constellation up in the sky, doing my own thing.
“For those of you who die to be a star, you probably will for a certain amount of time, but how long that will be?” she added. “Stardom has its highs and lows, and it could be a curse to a lot of people.”
Before venturing too deep into Jacqueline Susann territory, however, Kamali had a few pointers for the fresh talent on hand. “Longevity has its ups and downs, and its periods and times that are very frightening,” she said. “I am very grateful for all the times I have fallen, because I had to get up and reinvent myself to be not just me again but the new me. I love every experience and every frightening experience I have had, and am enjoying every invention and reinvention.”
Men’s apparel winner Loris Diran learned two crucial lessons while working for Kamali early in his career. “Trust your instincts, and the most important thing in this industry is to be a survivor,” Diran said.
The women’s apparel award was a tie between Fabiola Arias and Bradley Scott, who shared some of his early career lessons. “You have to be true to yourself and to others,” Scott told the audience, which included Lauren Bush, Prabal Gurung, Catherine Malandrino, Ippolita, Linda Fargo, Kim Vernon, Maria Cornejo, Eddie Borgo and Julie Macklowe.
Jennifer Fleiss and Jennifer Hyman of Rent the Runway took home the retail award. The accessories trophy went to Marc Marmel, and fine jewelry to Betty Lou Moscot of Blu Betty Lou Moscot. In the beauty category, Siddharth Shah of Givaudan Fragrances Corp. was named winner of the fragrance corporate award, while Harold Zimmerman of Votre Vu was the emerging fragrance entrepreneur.
http://www.wwd.com/eyescoop/fashion-scoops/fashion-scoops-3417191#/article/fashion-news/fashion-scoops/fashion-group-international-awards-rising-stars-3452200?navSection=fashion-scoops