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Posts Tagged ‘fashion designers’

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Marc Jacobs strikes a pose in Harper’s Bazaar, May 2020. Photo: Zoey Grossman.

I was leaving my shrink one day in a Celine leopard coat and rhinestone hair clips – I was done up. I noticed this sanitation worker staring at me and thought he was a hater, but then he said, ‘Love that outfit, man, you go.’

Marc Jacobs – American fashion designer.

I love that his handbag, by Hermes, has a cup holder.

Marc Jacobs is a controversial designer, but I have always liked him. Often his designs are vintage inspired, which appeals to me.

Word has it that Jacobs has lost his way in fashion. I took a peek online at his spring 2020 show and he’s all over the map. There’s no cohesion to the line, which includes 40s-inspired suits, 70s-style maxi dresses, 60s mini-dresses and some avant-garde dresses a la Balenciaga. All colors, all patterns, shapes, silhouettes are included. Hats run the gamut, too.

In total contradiction, the show itself was minimalist. It took place in a large empty venue with no runway, none of the usual fashion show hoopla. Just the audience and the models, who initially came out all together and walked between and past the audience, reconvened in the back and then came out one at a time, keeping a reasonable pace (nice for journalists and anyone who really wants to see the clothes).

I read that since the shutdown Jacobs has been posting selfies on Instagram. That’s got me wondering what his post-pandemic designs will be like.

 

 

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One of the assignments in the fashion history class I recently completed was to find historical fashion references in current fashion. In magazines I looked for examples covering ancient clothing to the 20th century and matched with historical images from books, plus I had to write a comment.

I hopped right on it and started looking when the class began in January and it took me pretty much the whole semester. It wasn’t something you could get done in one sitting (I think that some of the other students might have tried). It was old-school cut and paste and I really had fun with it.

I’m going to share my findings with ODFL readers over the next weeks. First up is the Schenti:

FH1

Tune in again next week.

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The Tear Dress by Elsa Schiaparelli.

 

In difficult times fashion is always outrageous. 

Elsa Schiaparelli (1890-1973), Italian born fashion designer.

Schiaparelli is my favorite designer of all time. Known for her collaboration with Surreal artist Salvador Dali, Schiaparelli designs were unique and fanciful and very much of the Art Deco era.  She turned the shape of a shoe into a hat and circus animals became buttons.

In this quote I wonder if Schiaparelli means that the idea of fashion during challenging times is outrageous. Or is she saying that fashion itself is (or should be) outrageous during such times.

Let’s go with the latter, and if it’s true then 2020 should see some extreme fashion, like the Schiaparelli dress pictured above. The Tear dress was part of the designer’s Circus Collection for summer 1938. The printed image on the delicate fabric is of cut skin reveling dark red blood underneath. There are actual slashes in the mantle worn over the head (pictured above left), which reminds me of the popularity of slashed fabrics during the 16th century.

Judith Watt says of the dress in her book Vogue on Elsa Schiaparelli (Quadrille Publishing, 2012), “The Tear dress remains a singularly hostile work … Taken out of political context in which General Franco was to seize complete power in Spain and Hitler was poised to annex Czechoslovakia and Austria, its meaning and impact is lost.”

Hostile garb for hostile times. What do we wear to reflect our current state of outrage?

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Edwardian ladies in lace. 

Society tottered through the last of the pre-War parties, waved tiny lace handkerchiefs, and carried elaborate parasols until the War came with its sweeping changes. 

Lucile, Lady Duff Gordon (1863-1935), British fashion designer.

World War I (1914-1918) brought about many changes in fashion, particularly for women. Long lacy gowns were replace by shorter skirts and jackets in sturdy fabrics. No more excessively large hats but instead close fitted hats with little to no embellishments. Women were now on the move and their clothes had to move with them.

With this Covid-19 pandemic,  we might see our own changes in fashion. Or will we? Truth be told, we really can’t get any more casual. Perhaps we will flip to the other side and want to dress up, but I doubt it. For starters, most people don’t even know how to do that anymore.

One added accessory will be masks. Perhaps more people will want to wear hats, as added protection. Also, gloves. Matching sets! I see a potential for additional pockets in clothing to make things like hand sanitizer quickly accessible. Otherwise, with the distraction of the virus and wanting to keep distant and stay safe, people, now more than ever, are going to want to be comfortable.

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Silvia Venturini Fendi. Photo: Filippo Bamberghi. Harper’s Bazaar, April 2020.

Karl taught me that time is the best judgement of creativity. I want to make clothes that people wear throughout their lives. 

Silvia Venturini Fendi, creative director at Fendi.

Ms. Fendi has worked at her family’s brand for close to 30 years, having designed the 90s iconic Baguette bag. Last year she became creative director at Fendi after the death of Karl Lagerfeld. He had designed for Fendi for more than 50 years. Impressive!

 

 

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IMG_20200110_134442128To me, fashion is an ever-changing art.

Vera Neumann (1907-1993), American artist, business woman.

She is known for her line of scarves but there is oh-so- much more to Vera Neumann.

Check back on OverDressedforLife tomorrow for the full scoop.

 

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IMG_20191203_130459My favorite part of the holiday season is that quiet time between Christmas and New Year’s when most of the rush is OVER. When we finally have a chance to stop, stay home, and relax. This is the best time to curl up with a pile of books.

And what’s a better gift for Christmas (Dec. 25), Hanukkah (Dec. 22- Dec. 30), Kwanzaa (Dec. 26-Jan. 1) than a book?

On my fashion book recommendation list is IM: A Memoir (Flatiron Books) by fashion designer Isaac Mizrahi. I devour fashion stories and Mizrahi’s is a good one. He was part of the generation that landed in NYC in the early 80s when the city was edgy but real and making it there without buckets of money was still possible.

I read IM while visiting Manhattan and it was a kick to be walking past some of Mizrahi’s references –  like Macy’s on W. 34th Street across from which was his father’s office (he manufactured children’s clothing) or M&J Trimming on W. 38th Ave.,  (touted to be the best trim shop in Manhattan).

IM is a complete memoir starting with Mizrahi’s childhood in Brooklyn. His family was part of the Syrian Jewish community. With two older sisters and a fashionista mother, our hero was all about style from a young age. But he struggled as an overweight kid who liked Broadway tunes and spent his time making puppets and perfecting his impersonation of Barbra Streisand. He was an outsider at school, in his community, and at home. But he had a close relationship with his mother and even though he was unhappy, on some level it seemed that he accepted and even embraced his quirkiness.

I found the early part of this memoir fascinating, especially the section when Mizrahi attends School of Performing Arts in Manhattan. The same school featured in the 1980 film, Fame.  In fact Mizrahi auditioned for the gay character, Montgomery, which went to Paul McCrane. But he was in the film as part of a montage. It’s little tidbits like this that make IM a fun read.

Although Mizrahi initially wanted to become a performer, he was also drawn to fashion and he began to sell his designs at age 15 while still in high school. That pretty much set his fate, at least for a while.

In IM we get a peek at the fashion industry, how it worked back then and some behind-the scene descriptions. There’s a lot of name dropping and talk about Mizrahi’s friendships with the likes of Liza Minneli and Anna Wintour (both at one time pretty close with Mizrahi but the friendships didn’t stand the test of time). Well-written (ghost written?) and detailed, the narration doesn’t get in its own way. I was disappointed that there are no photos and I thought his work with QVC deserved more than a mention. I was interested to know how that came about.  Target, however, does get a chapter.

There is much to say about this book but I have holiday chores to get to! I’ll wrap it up by saying IM, A Memoir by Isaac Mizrahi is a good choice for you, my fashionable readers, and/or any fashionable on your holiday list.

 

 

 

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Photo: Richard Aiello

When I think of Pierre Cardin I think of the sweet scented Pierre Cardin aftershave in the Space Needle bottle that sat on top of my dad’s dresser. I think of the cream ribbed sweater with a scoop neck, which I bought for myself back in the 1990s. Also what immediately comes to mind is Cardin’s 1960s space-age fashion for which he is best known. But there is so much more to know.

On now through January 5, 2020 at the Brooklyn Museum is Pierre Cardin: Future Fashion, a retrospective of this iconic designer’s work.

 

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Mod Cardin, 1960s.

Cardin was born in Italy in 1922. Two years later the family immigrated to France to escape fascism. Cardin began his career in fashion as a tailor’s apprentice. After working with Schiaparelli and Christian Dior, he opened his own house in 1950.

Pierre Cardin: Future Fashion features over 170 pieces from the Cardin archive, exploring all of Cardin’s phases from his more conventional beginnings to his other worldly creations. Included are men’s, women’s, and even children’s clothing as well as furniture, hats, and jewelry. Still photos and videos add to the viewing experience.

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An early Cardin design. Circa 1950.

 

Cardin was among the first to licence his name but he always kept control, which allowed him to make some big bucks without diluting his brand. He bought the famous Parisian restaurant Maxims’s in 1981 and still owns it today along with several other well-known properties, including the Bubble Palace. At 97, Cardin still works and maintains his fashion house showing up at the office every day.

 

Cardin was fearless in experimenting with fabrics, silhouettes, and pattern which helped him get and stay ahead of (sometimes step outside of) the fashion curve. In 1968 he used a synthetic fiber he called “Cardine” (also known as Dynel)  to create molded dresses.

There is much to see in, and learn from this exhibit. A must for any fashion history enthusiast.

On a side note – the museum restaurant, The Norm changes its menu and decor with each major exhibit. To go along with the Cardin exhibit they have recreated Maxim’s. My partner and I decided to treat ourselves. It was lovely to sit in this elegant, quiet environment and feast on delicious soup, salad, and a cocktail of course, while discussing what we just saw in the exhibit. I recommend any visitor to do the same.

If you’re in the Brooklyn area or are planning a visit soon, make sure to see Pierre Cardin: Future Fashion, on through January 5, 2020.

 

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Dress & skirt inspired by traditional Korean embroidered wedding robe with peony, phoenix, and butterfly motifs and combined with denim. Jin Teok, 1995. This piece was part of the Couture Korea exhibit.

My mother’s generation greatly valued tradition in fashion. Until the day she died, she kept her hair in a bun, as women did in the Joseon Period (1392-1910). She made her own clothes with different materials for each of the four seasons. She wore durumagi, a traditional Korean overcoat, made of silk fabrics called myeongju and jamisa in jade green. In winter she wore cotton-padded durumagi, a scarf made of silk, and rubber shoes, which I used to wipe clean whenever she was about to go out. I grew up in such a traditional family. 

Jin Teok, renowned South Korean fashion designer.

This quote is from the essay, Creating Contrasts in Korean Fashion by Jin Teok from the catalogue for Couture Korea, the exhibit at the San Francisco Asian Art Museum in 2017.

One of the things I noticed when I visited Seoul, South Korea was the contrast of traditional and modern – in the architecture, the food, the old and the young people – existing side by side. Seoul is very much a mixture and in that way it’s fascinating.

Jin Teok started her fashion career in 1965 and has been called a “pioneer of Korean fashion.” Known for blending the silhouettes and motifs of traditional Korean clothing with modern fashion, Teok designed the uniforms for the Korean 1988 Olympic teams and a few years later she designed the Asiana Airlines flight attendant uniforms. She has participated in many international fashion shows, putting Korean fashion in a global spotlight.

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IMG_20190922_160622Don’t be afraid to be appropriate. It has become a dirty word in fashion and style talk. But for me, being appropriate means simply being in touch with the moment. When you are in touch with the moment, with yourself, you communicate effortlessly. 

Isabel Toledo (1961-2019), Cuban-American fashion designer.

 

This is a quote from Toledo’s 2012 memoir, Roots of Style: Weaving Together Life, Love, and Fashion (Celebra Books).

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One of the many illustrations by Ruben Toledo in Roots of Style. 

I recently reread this book, which tells the fascinating story of the Toledos – both of whom immigrated to the US from Cuba as children. They met in high school and later forged ahead in their careers as a couple in 1980s Manhattan. Ruben Toledo is an artist and fashion illustrator. His charming illustrations are a highlight of the book.

As for the quote, well, I of course completely agree. Dressing appropriately shows presence in the moment whether that be a wedding, a funeral, a graduation, an expensive restaurant, the theater, the opera … it matters.

 

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