Tag / fashion
It used to be that fine jewellery houses preferred an identikit boutique design of dark, intimate interiors lined with dusty museum-like showcases – all the better, they reckoned, to let quality gemstones shine. Since Peter Marino was invited to apply his golden touch to watch and jewellery boutiques across the globe for the likes of Chanel, Graff and Bulgari, the industry has been persuaded that jewels sparkle all the more if the environment reflects their patrons’ modern aspirations.
Hence, the arrival of Jaime Hayon’s contemporary grand salon for Nirav Modi’s New Delhi flagship, Patricia Urquiola’s pared-back luxury for Panerai and David Collins Studio’s sumptuous modernism for De Grisogono. Adding to that prestigious list is the London jeweller David Morris, which has worked with the former sculptor and furniture designer Eugene Brunelle to design its first boutique beyond the UK – in Paris.
While the exterior is an innocuous addition to the Rue Saint-Honoré’s Eastern string of n..
Scene setting: Last season, Louis Vuitton was the first fashion house allowed to stage a runway show at the IM Pei-designed Cour Marly of the Louvre. For the brand’s S/S 2018 ’s show, creative director Nicolas Ghesquière delved deeper into the foundations of the famed museum, a far cry from its futuristic glass pyramid entrance, into the lower level of the Pavillion de l’Horloge. Located in the west wing of the Palais, the floor is home to a medieval moat, and is a space which offers insight into how the building was transformed from a fortress into a grand and historic palace.
Mood board: The designer was preoccupied with the transcendence of time and the dialogue between past and present wardrobes- garments of the future and archaic artefacts enclosed within museum vitrines. This was conveyed in a collection that fused an amalgam of references, like brocade dress coats paired with sporty boxing shirts, high top trainers and metallic leather trousers or voluminous sleeve blouses with..
Scene setting: ‘Saving the best for last’ is an apt expression for Paris Fashion Week, at least when it comes to show settings. Over the last few years, the legendary French maison has become just as known (if not more) for its otherworldly show scenographies as it is for its quilted 2.55 bags or its petites robes noires. As a matter of fact, the brand has spoiled us so much that guests hardly batted an eyelash upon witnessing a life-size waterfall – complete with stones, moss and all – in the middle of the Grand Palais. It was something between an Amazonian forest landscape and Peter Pan's Neverland. The catwalk was a zigzagging, wooden bridge, elevated over a pool of water (disclaimer: no influencers fell in the pool while taking selfies). Looked at from the fresh point of view of a fashion newcomer and not from the blasé, exhausted eyes of regular showgoers, it certainly was a once in a lifetime experience.
Mood board: As usual, it was Michel Gaubert’s music which fully set th..
Scene setting: Seating arrangements at Miu Miu always hold a particular significance. Miuccia Prada never seems to just accept the standard white benches or gilded chairs commonly present in most Paris shows, eschewing them in favour of more creative – and often luxurious – options. There have been brocade sofas. Decadent pouffs. Purple feathered chairs. In one instance, even beds (a very particular kind of guilty please stems from watching a fashion show reclining like a Roman). This time though, guests were seated in a vulgar variety of garden chairs! Yes, the white plastic kind present in every suburban home in the Western world. Why? Well, because her collection was a witty exploration of the kind of clothing that has been present in every suburban teen’s wardrobe since the fifties.
Mood board: Remember Saved by the Bell? My So-Called Life? Grease? Those were the conceptual inspirations behinnd a collection that explored the varying – and often recurring – inspirations of teen gir..
Mood board: Fashion people may have not felt like dancing when they arrived, for the second time in less than three hours, to the Grand Palais tired from a long nine days of shows – but that was about to change. After all, the Salon d’Honneur had swiftly been transformed into a dance floor, complete with several dozens mirrored disco balls and all. Their light reflected on the ceiling, floor and walls and was a clue of what we were about to see from the collection. Giambattista Valli – creative director of Moncler Gamme Rouge – has famously taken what could otherwise have been practical but boring outerwear and performance clothes to transform them into a world of fun, all the while staying true to his ultra-feminine – and ultra-desirable – sense of aesthetics. Today was not going to be an exception. This time, it was all about dancing, as models entered the runway in typical ballerina attires of pointes, leg warmers and layerings of soft yet performative tutu skirts, sweaters and jack..
Scene setting: In today’s fashion landscape, it’s hard to think of a more quintessentially British designer than Sarah Burton. In the most classic sense of the word, she never fails to capture all that makes British fashion – and Britain – truly unique, which is why she is such a perfect match for Alexander McQueen. The brand’s show yesterday was a perfect combination of that. As guests arrived at the Orangerie du Sénat – a sort of oversized conservatory in the heart of the Jardin du Luxembourg – they were surprised by a set made up of red English bricks and wooden pergolas, with tulle ceilings embroidered with hundreds of multicolour fabric flowers. Clearly, something ‘très anglais’ was cooking in this Parisian show.
Mood board: The gardens of Great Dixter – that was the inspiration behind both the set and the collection. Backstage before the show, Burton spoke of ‘uncontrived floral planting, meandering borders and tangles of vibrant, exuberately coloured blooms drenched in rain and..
When guests arrived at the Akris S/S18 show in the basement of the Palais de Tokyo on Sunday, they didn’t expect to see an installation of colourful, life-size wooden toys with naïf faces staring back at them. The space resembled a Gulliver-esque children’s playroom in the land of Brobdingnag – except the crèche had been invaded by the works of the New York-born, Florence-raised artist Alexander Girard.
From the Cuban-American artist Carmen Herrera to the landscape architect Roberto Burle Marx, Akris creative director Albert Kriemler often suffuses his collections with design references and collaborations. Indeed, Girard, who excelled at architecture as well as interior, furniture and textile design, inspired not just the Swiss fashion house’s recent runway set, but the whole collection.
‘Last year, I saw the exhibition “Alexander Girard: a Designer’s Universe” at the Vitra Design Museum in Weil am Rhein,’ explained Kriemler backstage, adding that he was instantly obsessed with his ..
Scene setting: It was back to the opera house Palais Garnier for showgoers yesterday morning. We had already been there once this week for Balmain. Truth be told, the beyond gilded, over-the-top walls and ceilings of the building, completed in 1875 by Charles Garnier (who won a contest barely out of college) go hand in hand with creative director Olivier Rousteing’s unabashed love of bling. It's a whole different story for Stella McCartney. The British designer used the surroundings of the Palais as a curious counterpoint to a collection that was tasteful, yet touched on streetwear silhouettes. Playing with the idea of taste, the show’s invitations were imagined as a heavy roll of - eco-friendly, we take it - ‘trashion bags’. Whether that was a nod to the current state of fashion or simply just good fun we don't know. In any case, it was a taste of the collection to come. And a damn good way of starting a Monday morning.
Moodboard: Sustainability has always been at the core ..
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