Celebrity Editorial Hair Stylist Jovan Townsend takes his fashion knowledge and fashion connections to the boutique offering some of the most beautiful designer clothing. Offering labels such as Hermes, Gucci, Louis Vuitton, Prada, Dries Van Noten and more. This boutique sure to be the hottest thing to arrive this summer. Do not miss the opening Sept 8, 2012 at 7 pm.
Archive for painting
PARIS — When Japanese artist Yayoi Kusama first met Marc Jacobs, receiving him at her Tokyo studio in 2006, she presented the designer with a Louis Vuitton Ellipse bag, whose monogram canvas she had painted over with dots, the defining motif of her long career. “That’s so beautiful, look at that,” Jacobs exclaimed, twirling her handiwork for the camera of Loïc Prigent, who captured the encounter in his 2007 documentary “Marc Jacobs & Louis Vuitton.” Six years later, Kusama’s dots are on back on Vuitton leather goods — and this time on a global scale. On July 10, two days ahead of a major Kusama retrospective bowing at the Whitney Museum in New York, Vuitton will unveil a line of clothes and accessories done in collaboration with the artist. Ranging from trenchcoats and silk pajamas to a pendant necklace and wristwatch, the collection is due in Vuitton’s 461 stores in the days that follow the opening, with a second wave of products — hinged on monogram leather goods festooned with Kusama’s tentaclelike “nerves” motif — due out in October. Vuitton will also herald the collaboration via its windows — without any merchandise in sight. “In a fascinating way, the monogram canvas is as obsessional as Yayoi’s dots,” Yves Carcelle, Vuitton’s president and chief executive officer, mused during an exclusive interview to discuss the venture. He noted that the repetitive design, with the LV initials interspersed with stylized flowers, first debuted on trunks in 1896. Carcelle took pains to portray Vuitton’s latest artistic collaboration as a cultural initiative that will help animate its boutiques and burnish the brand, rather than a calculated effort to boost revenues. “It’s not to put products on shelves,” he stressed. The executive allowed that such ventures “tend to be a commercial success because of the strength of the artist and the strength of Vuitton. But the whole concept doesn’t start from a commercial point of view.”
Sarah Burton proved she’s the only choice to expand on Lee McQueen’s legacy with a Resort collection that effortlessly updated his design codes without losing his drama. There’s so much great material lying fallow in old McQueen collections that it would overwhelm anyone without the empathy, experience, and ability to edit that Burton brings to a difficult job. For Resort, she confidently revisited some of her own favorite moments in her mentor’s saga with a lightness that could be easily construed—for want of a better notion—as a woman’s touch.
For instance, a Victorian jacket was reconfigured as a white cotton shirtdress. But, more significantly for the future, proportions were lifted, with a higher waist taking some of the edge off of McQueen’s traditional silhouette. It worked spectacularly well with evening dresses that fell away beautifully from the torso. One of them—in what looked like blood-drenched chiffon—evoked a vision of Isabelle Adjani in La Reine Margot, one of McQueen’s favorite movies. It seems a taste for the macabre comes as naturally to Burton as it did to him. She shares his instinct for extreme glamour, too. His Hollywood clientele will scarcely be disappointed by the tuxedo dress that was bifurcated by black lace.
The tension between hardness and fragility that characterized McQueen’s work was successfully sustained in defined shoulders (some armored like a samurai’s) and tailored torsos that fell away into fins of diaphanousness. Burton continued to hybridize fabrics as she did in the Fall collection—lace transformed into chiffon in one cocktail dress.
Touches like that should allay the inevitable fears of McQueen’s fans that continuation of his line would involve some kind of sellout. Yes, there is more of what could pass for “daywear” here, but if Burton’s collection is commercial, it’s because it is direct. Pieces like the white kimono-sleeved coat-dress or the black dress in a lacquered raffia and organza have a straightforward chic.
Burton hasn’t neglected the dark romance, either—the brocades, the bullion embroidery are still here. She’s simply let some light in.
There are no fashions too small for Silvia Venturini Fendi. The designer is overseeing the Roman house’s latest venture: an upscale kids’ collection in partnership with Italy’s Simonetta SpA. The collection, for newborns to boys and girls up to age 12, was unveiled at Pitti Immagine Bimbo in Florence. The made-in-Italy line for little girls boasts soft and pale colors, floral prints, small checks and a bucolic inspiration, according to Venturini Fendi. Simonetta also produces young lines for Roberto Cavalli and Fay.
Madonna’s 13-year-old daughter began hyping her new fashion line, Material Girl, through a blog on the collection’s Web site on Tuesday.
“I am totally obsessive about ’80s shorts. … You know, the kind that makes your butt look kinda big, with a grunge-looking shirt tucked in,” she wrote. “It’s kinda nerdy but I love it.”
Lola added that the 1980s in general were an obsession of hers, “which is totally amazingly awesome because Material Girl … HELLO! It’s like ’80s themed, which pretty much rocks, so yeah.”
The mini fashionista’s megastar mom — who worked with her on the juniors clothing line — told People.com that the tween is “much more fashion-forward and savvy than I am at this point.”
She added that her daughter has “amazing style” and that the collection is “absolutely an extension of her taste.”
Still, Madonna isn’t alway thrilled with her daughter’s choice of clothes.
“I always have two reactions when Lola comes into my room with an outfit on. One is, ‘Oh, my God, she looks amazing – what incredible style,’ ” she said. “And then my second reaction is, ‘She’s dressed completely inappropriately for school.’ ”
Lourdes will get to incorporate many of the over-the-top elements she can’t wear to school in her Material Girl line.
The collection will hit Macy’s stores on Aug. 3.
CHECK OUT A NEWLY PENNED LADY GAGA SONG. CHECK IT OUT. GAGA ON THE PIANO
ROISIN MURPHY AND HER ABILITY TO CREATE LOOKS ON AND OFF THE STAGE MAKES ROISIN A STYLE ICON. SHE IS IN A LEAGUE OF HER OWN. WHEN IT COMES TO FASHION- VIKTOR & ROLF N- ROISIN WILL ALWAYS HAVE THAT. BUT, ALSO TAKING PART IN FASHION SHOW HISTORY.
ROISIN MURPHY COULD AND PROBABLY BE THE ONLY PERSON TO PULL OF A STAGE PERFORMANCE, WHILE A FASHION SHOW IS HAPPENING. LEAVE IT TO THE SONG SIREN TO PULL THIS ONE OFF.