fashion tips › 2015年06月

Fresh and floral fashion at Paris Spring


Bourgeois was the watchword at the Dior Homme spring-summer fashion show in Paris.

With the aim of widening his target client base, the brand’s Belgian creative director Kris Van Assche focussed on a mix of menswear codes, sending his models down a catwalk lined by a garden of fresh white roses.

There were, of course, the traditional suits, but the collection also featured everything a bourgeois boy might need on a weekend – including camouflage, argyle knits and even navy jackets with the signature orange lining.

Fresh and floral fashion at Paris Spring-Summer menswear shows

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Louis Vuitton’s menswear show was all about world travel.

While designer Kim Jones generally creates collections that refer to one region in particular, this bright, colourful and typically luxurious show mixed influences from New York, Tokyo, Bangkok and Paris.

Jones channeled Southeast Asia with intricate Thai embroidery on satin blousons and silk boxing shorts.

Japan came through in the sundried Kobe leathers, worked into traditional American flight jacket shapes.

And France made an appearance in the Louis Vuitton monogram canvas bags, leather footwear and cord necklaces.

Hermès showed its Spring-Summer menswear collection among the rose bushes and stone arches of the Cordeliers convent.

The clothing was as lush and luminous as the setting – a combination of informal and sublime luxury that have become designer Veronique Nichanian’s trademarks.

Models wore linen suits, cotton T-shirts with leather jackets, poetic prints with graphic stripes – all in eye-pleasing, summery colours of mint green, blue, beige and white.

The label’s famous scarves were ever-present, paired with half-buttoned shirts and tasteful outerwear for an off-duty, leisurely look.

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From June 25 to July 4, we'll be examining — and at times, celebrating — all things American made, from the state of U.S. apparel manufacturing to American-born models on the rise. You can follow all of our coverage here.

"The thing that sums up Stan Herman, if you have to sum it up, is that I’ve been in just about everything," Herman says in his studio overlooking Bryant Park. "I’ve done bras, I’ve done security uniforms, I’ve designed evening clothes, I’ve done bridal gowns, I’ve just had a very long, long career being in the hot center maybe two or three times."

Indeed, Herman has had one of the longest and most diverse careers in fashion. After serving in the Army during the Korean War, he came to New York and started working as a designer in the Garment District. Fashion fame came early as a designer for the critically lauded Mr. Mort in the '60s. After the company closed in the '80s, Herman worked as a freelance designer and quietly built up a sizable business developing uniforms for major American companies like FedEx and McDonalds and charming audiences on QVC, where he still sells loungewear on live television today.

In the midst of all this, Herman served as president of the Council of Fashion Designers of America from 1991 to 2006, changing the industry forever by overseeing the first decade of New York Fashion Week in Bryant Park and shepherding its purchase by IMG in 2001.

I spoke with the designer at his studio about the early days of the CFDA, how he's managed to wrangle the industry's personalities over the years and the evolution of fashion week.

Tell me about your early days at the CFDA.

The council was a very small fraternity run by Eleanor Lambert, who was also a publicist. The industry was much smaller at that time but she was who really controlled the press in New York. She was smart enough to arrange press week. And she wanted to form a group of “better,” she called them, “couture American designers” who represent the art world in fashion, fashion as art and that really was the beginning of the first time that I can remember that any designer joined anything, because designers never joined anything. Especially when you go back before me, when you go back to the ‘40s and early ‘50s. Designers were just not political people at all.

Eleanor understood early on that there was a designer behind these things and she began to elevate them by representing them and then she formed the CFDA. The original list of CFDA members I think were 13 or 14. They were all designing what we call “better” clothes at that point. I remember I was a hot designer in the ‘60s, a really hot designer, and I found it hard to get into the CFDA. It took me until 1967 to get into the organization and I was just a member. There were maybe 40 of us.

I was always interested in the business of fashion, not how to run a business, but why it all existed. I was not married to draping or sketching or living the life of the creative person alone and very often fashion success comes very quickly if you don’t know where it comes from. All of sudden by a fluke I did a collection that seemed to work [for Mr. Mort] and I became a person in the industry which is really what it’s all about. There’s a little corral that you open the door to get in to. It still exists today and it’s the same thing. It’s a little bigger. And all of a sudden the people in that corral are your friends and those are the people that you know and then you realize that the people that you know are really the people. They are the ones that are making all the big decisions. And there are all these people outside looking in, so I was lucky. I was very lucky.

Then Perry Ellis was the president of the group at the time and I can’t tell you why but he asked me to be on the board and of course I was very excited about it. I went on the board and sat on that board for 10, 15 years. I seldom spoke, the meetings were run by Eleanor and then of course by Oscar [de la Renta] and Bill [Blass]. I was there, I was dependable, I did work but I wasn’t a mover and shaker at all. It was so controlled by Oscar and by Bill and Mary McFadden that we didn’t do anything. I didn’t understand why I was there. I just never thought it would be what it ended up becoming.

The AIDS epidemic occurred and like all things of those sort, it pulled people together. At the time the president of the CFDA was a woman named Carolyne Roehm. And we did a big gala which was run by Vogue, Anna [Wintour],Donna Karan and Carolyne. Nobody understood how incredible it was going to be, it was just a runaway success. We earned a lot of money and put it into the bank. And then out of nowhere, Carolyne said she didn’t want to be president anymore, which was a shock. I did not think that I was the next person in line.

It changed the whole way my life was in fashion at that point. I was sort of biting off the edges, I wasn’t in the hot center any longer, I wasn’t competitive with these people. They trusted me because I wasn’t their competitor and I was smart enough to know how to get along with them. I remember our first meeting in this studio when I was president. It was a fabulous meeting where I didn’t have enough chairs and I remember I sat on one of the high chairs because I wanted to be higher than Oscar and all the other people. We had a big problem — we had all this money in the bank and nobody knew what to do with it but finally we were an organization. And then I hired Fern Mallis, who became my executive director and a very positive woman who with me really believed that we could do lots of things for the industry. And 16 years later I was still there; she wasn’t any longer.

How did you have time to design and lead the CFDA at the same time?

I was no longer in the hot center, I had my loungewear business, my uniform business and the studio was sort of far from the maddening crowd. Also, on a personal note, my partner at the time died just when I became president of the CFDA so I had time, and it was great timing because otherwise I think would have… I don’t know what I would have done. Nobody really wanted the job after I took it because they thought it was such a hard thing to do. There were a number of people who thought, especially one or two of the designers, who didn’t [like] the direction that I was taking the CFDA in, so I always had a number of people to stave off and by the end of 16 years I was a little tired of it. I think I would have stayed, I was sort of pushed out in a nice way, in an honest way and we had an election which was very highly profiled everywhere. We wanted a new person and in the beginning I did not think that Diane [von Furstenberg] would be the person. I thought she was resurrecting her own career, we had other people in mind but in order to be a president you have to be on the board. I’m so happy she became president, she’s been extraordinary. She’s taken it three levels higher and she’s a major player in almost everything she does and she’s taken it very seriously, which I wasn’t sure of in the beginning. Definitely she’s not everybody’s cup of tea but she’s amazing.

Stan Herman and his former right-hand woman Fern Mallis at the 2015 CFDA Awards. Photo: Dimitrios Kambouris/Getty Images

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How would you describe the direction you were taking the CFDA?

We were representing what was happening in the business. It was no longer a little Garment Center over there, we became more and more positive and globally accepted. Fern was a marvelous bulldozer. When she got an idea, she would really go for it. Fern was my executive director, then Peter Arnold, thenSteven Kolb. I worked with him for a year before Diane took over.

And in this industry, as you know, there is somebody named Anna Wintour who is behind the scenes in almost everything and certainly was with me and the CFDA. They became in tandem with the CFDA. Vogue, CFDA — you don’t think of Harper’s. The Fashion Fund started at the end of my term but Diane and certainly Anna have taken it to a superb level at this point. Now there isn’t anything you can do without knowing that the CFDA is behind it. When I left we had five people working in the office, I think there are like 30 people now. It’s a big-time organization with lots of money flowing through it, lots of philanthropy going on and building a stronger fashion business.

Do you think fashion week will every be centralized again?

Yes it will be eventually. I think it will go to the Hudson Yards, the tent that they are setting up there, the Culture Shed. I think a lot is going to have to do — this is Diane’s last year — with who the next president will be and how long Anna stays on as the mover and shaker. I think we went through the most exciting time period, it was young and it was fresh, it was like kids off the block. Now it’s big business. We were constantly being criticized as being too commercial but when you do those kinds of things, you have to have money.

Your first test run for fashion week was a show for the Democratic National Convention in 1992, right?

Fern’s memory of it is even better than mine. The first shows that we did that we got everybody to join, there were no tents. We weren’t in [Bryant] Park, we were all in little areas around here. The first two tents, I always call them Bar Mitzvah tents. But once we were able to get down through the lawn, it was amazing.

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How to Survive Milan Fashion Week


Not content with being just one of the Big Four global fashion capitals alongside New York, London and Paris, Milan deftly manages to offer some of the most exciting and innovative cuisine to be found in Europe. Thoughts of Milan as an 'industrial' city, full of concrete buildings, which lack the more refined elegance of Rome or the wondrous scenery of Tuscany have been firmly left in the past, thanks in part to the arrival of World Expo 2015 and the Salone del Mobile design fair.

Milan Fashion Week is unquestionably one of the most important dates in the fashion calendar, with industry insiders from Anna Dello Russo to Daisy Lowe coming from around the world to grace the Front Row. Fashion week can be a rather daunting experience for the uninitiated, with the seemingly endless back-to-back shows, dinners and afterparties draining even the most energetic fashionista, especially in the almost 40°C heat Milan ever so kindly provides.

When it comes to traditional dining options the elite of media, fashion and society flock to the opulent Ristorante da Giacomo, designed by Renzo Mongiardino, who has been hailed as an exceptional twentieth century designer. We quickly decided on the Garganelli with little squids and mullet roe, spider crab salad in Veneziana style and Giacomo's bomb. The quality of ingredients in all the dishes was clear to taste, with Giacomo's bomb being an indulgent treat to finish off the lunch.

Although we reached our seats just after the restaurant opened its doors at 12:30pm, within a mere 15 minutes the well-heeled fellow diners had already packed most of the eatery. The sudden influx of customers was well received, as we were beginning to feel rather self-conscious with four waiters floating solely around our table. The atmosphere is the real reason why Giacomo appears to be so oversubscribed, particularly due to the eclectic decor.

Next on the itinerary was Mantra Raw Vegan, which describes itself as 'the restaurant that does not cook anything'. I must admit to being somewhat apprehensive before visiting Mantra, as I had not been exposed to a great deal of vegan food previously, let alone raw vegan cuisine. The kelp noodles with pepper cream and chocolate brownie stuck out to us on the menu, with the next two dishes newly created by the chef showing an experimental streak.


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Mantra's skill is not to simply make good vegan dishes, but good food, full stop. While I personally enjoyed all four courses, my dining companion, who happens to be vegan, found some of the tastes to be a little too variety and busy for her palate. The unusual White Charcoal water filter, which is meant to naturally adsorb impurities from water and release vital minerals, is certainly an interesting talking point for the table.

A mix of models, designers, bankers and socialites manage to muster enough energy to have late night rendezvouses at Just Cavalli Milano, which unlike many other designer branded night clubs always stays seasonal, with the decor being changed every season to ensure trends are followed exactingly. The location within the largest city park in Milan, Parco Sempione, gives Just Cavalli a distinctively exclusive and hidden away vibe.

For the morning after the night before Pavé, in the up and coming Porta Venezia area, provides much needed respite from the bustling city streets, with the homely and friendly feel it offers. This pastry and bakery shop has already been recognised as one of the 20 best bakeries in Italy by food and wine magazine Gambero Rosso and is currently looking for another location in Milan to expand into.

Fendi was a standout show with designer Silvia Fendi saying after the presentation that "these are just young, everyday basics, done in a more sophisticated way." Models entered on a faux-wet granite runway, as Silvia placed synthetic and organic materials against one another, blurring the difference between the two. Although the pieces were minimalist in nature, the fabrics used betrayed the understated design. The Roman house turned potentially unglamorous looks into luxe items for the everyman inside consumers who pay far much more than everyday prices.

The commercially focused collection saw the addition of the "Bug" mascot to two bomber jackets, amidst the unstructured and boxy silhouettes on display. The craftsmanship took priority in the menswear pieces, with the oversized tees and sweatpants still appearing meticulously constructed.

Backstage saw Fendi family scion Delfina Delettrez and Leonetta Luciano mingle with Breaking Bad's RJ Mitte, who also opened the Vivienne Westwood show, andBoyhood's Ellar Coltrane, while discussing the latest collection.

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Wore it to my dinner and it was a hit!


Wore it to my dinner and it was a hit!

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Posted by pink at 15:35Comments(0)

It was exactly like the picture on your site


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 And of course every young lady wants to look like a princess at prom and marieprom's delivered that experience for her. We went with the custom size option and were very careful with our measurements. The dress arrived in 7 days, (sooner than expected). The quality was exceptional right down to the tiny but durable zipper. The physical appearance of the dress was accurate to the online image and the fit was perfect. We would recommend marieprom's House for all of your formal needs.

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6 Orange is the New Black beauty hacks


Anyone else got sallow skin and serious under-eye baggage from binge-watching the new season of Orange Is The New Black until the early hours of this morning? (Curse Netflix's six-episode release strategy.)

Don't fret! We've got makeup tips to add some colour and pep to your look.

Celebrity makeup artist Jamie Greenberg (who has tended to the faces of Rashida Jones, Elizabeth Moss and Lizzy Caplan, among others) has just released an OITNB-inspired beauty tutorial that's equal parts enlightening and hilarious.

As Sophia's mocha pout and Daya's ombré streaks demonstrate, just because you're behind bars doesn't mean you have to let your beauty game slide. They wear makeup not to attract men, but to express their individuality, feel empowered and connect with the women they were on the outside.

Doing your face in prison can be a complex art, but Greenberg makes it look easy. The beauty guru has managed to concoct her own makeup – or 'fakeup', if you will – from pantry products, turning your average prison commissary into a pop-up Sephora.

As Greenberg puts it, "Stay out of jail. But if you're in jail, you still can be beautiful."

You may be a meth-head in a dun-coloured jumpsuit, but that doesn't mean you can't enjoy on-fleek brows and a flush of blush on the cheeks …

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When you're stuck indoors under unflattering fluorescent bulbs, it can be hard to achieve that sun-kissed glow. Fake it 'til you can make it with Swiss Miss Hot Cocoa, placed on the areas where the sun would usually hit – across the high planes of your cheeks, the bridge of your nose, on your forehead and across your chin. If you don't happen to have a Costco membership, Nestlé's Alpen Blend works just as well for Kardashian-inspired contouring.


Who needs Benefit's Benetint when you can use Pepto-Bismol to achieve that same just-in-from-the-cold flush? The tummy settler, with its liquid consistency, works surprisingly well on your cheeks. Less is more in this instance. Simply smile and apply to the apples of your cheeks and blend.


Want to tame those hungry caterpillars? After threading with dental floss (tweezers and hot wax are no-goes), combine Vaseline with ground-down International Roast to create a pigmented brow gel.


When it comes to prison pick-me-ups, there's no beating a statement pout. (Morello may be an obsessed stalker, but she looks like a gorgeous '50s pin-up with that contraband lipstick of hers.) The other women of Litchfield use Kool-Aid and Greenberg recommends powdered ice tea, but since that can be hard to come by, we're settling for Aeroplane Jelly in 'Port Wine'. (The pigment's intense, kiss-proof and totally delicious, but unfortunately a bit too sticky for the eyes.)

Eye Shadow

Though Morello uses instant coffee for eye shadow, hot chocolate is much finer. Apply onto your eye's crease, adding water for more intense pigment towards the outer corners. "The only problem is everyone's going to want to eat you in your cell," warns Greenberg.


You may not be able to achieve a winged cat eye as perfect as Alex Vause's (Vause uses a Sharpie and that sounds mighty permanent to us), but a smoky eye is definitely on the cards with dampened, crushed-up jellybeans and other "artificially dyed things", according to Greenberg. Imagine the colour possibilities if you were to use the sweet candy-coated shell of an M&M, for instance!

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Fashion Ads Gone Wrong


A recent Yves Saint Laurent advertisement was banned in the UK by watchdog Advertising Standards Authority (ASA) for featuring a model that appeared “unhealthily thin.” The complaint about the released photo was from a reader who saw the ad in a magazine spread.

The ever-notorious ASA agreed by claiming, “her thighs and knees appeared a similar width.” ASA then said that the ad presents an “aspirational ideal,” which sets “unachievable expectations” that may result in unhealthy life choices for readers.

Photo courtesy of Miu Miu

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But how does one digest a fashion image? If you’ll notice, the ASA was very careful with the wording of their complaint—they made sure that the critique was directed at the brand, not the model. Yesterday, Eva Wiseman wrote in The Guardian, “If a model’s legs look terrifyingly thin, it’s likely that the stylist wants you to see them that way. It’s not just the clothes that are styled, it’s the body itself. ” In other words, the photo has been “manipulated and massaged…until its almost art.” The fault is pointed towards the fashion labels for choosing to release such an image.

Fashion has always walked the tightrope when it comes to the beauty standards that they set and promulgate. It unintentionally glamorizes things that could be problematic or harmful all in the name of fashion and beauty. However, when does the industry cross the line? When does it send out the wrong message?

Here are other fashion campaigns through the time that didn’t quite make the cut:

Miu Miu (2015)

Nymphomaniac actress Mia Goth posed for a Miu Miu campaign, which got a complaint saying that she looked too much like a “child dressed as an adult” in what appears to be a “sexually suggestive pose.” For Prada S.p.A., Miu Miu’s parent company, the 22-year-old actress is wearing sophisticated garb, and that Vogue readers are appreciative of its value as a great photograph. However, because Mia was dressed in clothes too large—which made her look as if she was 16 instead of 22—and the setting was voyeuristic in feel, the ad was banned under the impression that it “presented a child in a sexualized way.”

Sisley (2007)

The scene: Two girls sniffing a strap dress through straws, mimicking the intake of cocaine. Sisley’s “Fashion Junkie” ad series crossed the line between being addicted to fashion and glamorizing an addicting to illegal drugs. Other banned ads in its repertoire include a model squirting milk on her face from a cow’s udder, and another features a woman lying with her legs spread open while waiting for a bull to attack.

Miu Miu (2011)

The complaint that Miu Miu received just this year wasn’t its first. In 2011, then 14-year-old actress Hailee Steinfeld starred in a campaign for the label, where she was shot by photographer Bruce Weber as she cried by the train tracks. The image was deemed irresponsible because it depicted a child in an unsafe location and suggested a suicide attempt.

Marc Jacobs (2011)

That same year, another child star, Dakota Fanning, was in a fragrance ad where she has a flower (the flower being a large bottle of Marc’s Oh, Lola! fragrance) in between her legs. This very pose—considering the length of her dress, leg positioning, and product placement—was said to have drawn “attention to her sexuality.” Taking the fragrance’s name into account, it also might have been a subtle reference to Nabokov’s Lolita.

Gucci (2007)

Gucci showed a woman’s nether region with her pubic hair shaved into a letter “G.” The advertisement, under the creative direction of Tom Ford at that time, was instantly iconic and repulsive—a difficult feat to pull off. Nevertheless, it gained enough traction and offended enough people to be banned all over the world,

Whether or not a single complaint against a photo is reflective of mass consensus, it just takes one to stir up a reaction. The fashion industry seems to play blind when it comes to its sphere of influence. What it portrays becomes an ideal, and those ideals become things that people across the world strive for, no matter how unrealistic or unhealthy a certain beauty standard may be. It seems that only the fashion industry itself can end the very cycle it started: by acknowledging the role it plays.

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Posted by pink at 15:26Comments(0)

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Posted by pink at 14:49Comments(0)

Fashion: No half-naked celebs on Carolina Herrera’s watch


Designer Carolina Herrera, wearing a well-tailored, cream-colored dress and a bouquet of lavender brooches, strides into her office on Seventh Avenue with the elongated posture of a dancer. She has fresh-from-the-salon hair that belies the day’s spitting rain. She wears a discreet hint of lipstick. She looks pristine, unhurried and genteel.

There are a lot of designers who choose bland attire – T-shirts and jeans, basic black jersey – as a kind of camouflage. They don’t want to distract from the glory of their collection. Herrera serves as a template, a role model, for the woman who buys her clothes – or at least whom that woman aspires to be.

Herrera maintains a sharp eye for the details that can spoil a look: the stray hair, a skirt that wrinkles across the hips, the bodice that strains against its buttons. Her style is not fussy or old-fashioned, but it is formal. It is considered. Herrera, after all, believes that every woman should own a dress, a pencil skirt and an evening gown.

Herrera’s style stands out in our aggressively informal times. To attend a runway show for her signature collection is to be swept into a room filled with social swells, wealthy shoppers and ladies with foreign accents and terribly convoluted names suggesting nobility somewhere in the upper branches of their family tree.

No need to chase cool

This is the world out of which Herrera herself emerged, more than 30 years ago, at the age of 40, to launch her own ready-to-wear collection. She was born into wealth in Venezuela and married into Spanish nobility. Over the years, she has built a Seventh Avenue-based company that includes her signature line, epitomized by the elegant evening dresses that appear regularly at red carpet occasions, as well as fragrances, bridal gowns and a secondary collection, CH.

Designer Carolina Herrera stands next to an inspiration board in her New York showroom.

photo:vintage prom dresses

Herrera, 76, has succeeded in the fashion industry by refraining from chasing cool. She does not aspire to be hip or edgy. She always wants to surprise her customer with something fresh – because what does a woman say to herself upon walking into a store if not, “What’s new?” – but she is not out to shock them.

“If you are a designer who is born hip and cool, then fine, you can do it. But I don’t understand a designer who sees hip and cool (young designers) and they want to be like the newcomers. You confuse the client,” she says.

Staying contemporary

Herrera aspires to be something more subtle: contemporary, something her four daughters help her with by wearing her classic dresses in such disparate ways. Contemporary is also a mantra she shared with her friend, the late designer Oscar de la Renta. “He always (did) the same silhouette for his designs, but with a modern twist,” she says.

Jaws need not drop for Herrera to declare a collection a success. In fact, she is disappointed – troubled, baffled – by fashion’s current version of one-upsmanship: the idea that modern is synonymous with show-your-tush.

Some designers think “it’s so modern to be naked or almost naked. They think it’s going to attract younger people if they do those dresses. No!” Herrera says emphatically. “The almost naked! Oh God! They’re trying to get people to pay attention to them. In life, there should be a little mystery.”

Herrera turns to the recent Costume Institute gala to make her point. Exhibits A through C: Beyoncé and her bedazzled mosquito netting; Jennifer Lopez in a red beaded gown that was all front and back and no sides; Kim Kardashian with a train of white feathers trailing from a derriere served up for admiration.

“They’re supposed to be fashion icons and they’re not wearing anything,” Herrera says in a tone that is both exasperated and dismayed. “It’s an obsession now.”

Herrera is not a prude. She is more than willing to give her customers a plunging neckline, but doing so requires care and a precise placement of the breasts underneath the fabric. “If it’s open so much, they look like fried eggs,” Herrera says. “Fashion is about proportion.”

‘In the beauty business’

The Carolina Herrera brand debuted in 1981. A socialite, Herrera was urged into fashion by the legendary editor Diana Vreeland. In 1995, the company was purchased by the Barcelona-based luxury conglomerate, Puig, which also owns Nina Ricci and Paco Rabanne, as well as a controlling interest in Jean Paul Gaultier. Of these fashion houses, Herrera’s is probably the least attentive to shifts in trends. To stay true to one’s aesthetic sometimes means shunning fads, which can leave a designer outside the fashion conversation. “For me, fashion is about originality, sophistication and beauty,” Herrera says. “I’m not in the fashion business; I’m in the beauty business.”

“You can’t always please the press,” Herrera says. “That’s for your ego.”

Her stubborn restraint has been embraced by first ladies such as Laura Bush and Michelle Obama, who notably chose a Herrera gown – with an embroidered black lace bodice and liberty blue skirt – when the White House hosted a 2014 state dinner for French president François Hollande.

But Herrera’s most loyal client is, perhaps, the actress Renee Zellweger. The two met almost 15 years ago at a Costume Institute gala celebrating the public wardrobe of Jacqueline Kennedy. The actress and the designer chatted and Zellweger asked if she might visit Herrera in her studio. “It was lovely, uncomplicated and easy. Personal,” Herrera says.

The bond, one not bartered through a stylist, has endured. A rarity. “There’s no fidelity,” Herrera says of relationships between designers and celebrities. “There’s millions of designers and they’re offering spectacular things. (Celebrities) go from one to the other.”

Still, dressing bold-faced names resonates. “They go all over the world and if they look fabulous, it’s great for the house,” Herrera says. And if they look a wreck? The house takes the fall. But rest assured, they will not be half-naked. Not on Herrera’s watch.

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Resort 2016


Lanvin Resort 2016

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In a world where life is increasingly experienced through, and filtered for, handheld screens, where the selfie is the most commonly shared method of self-expression and reality television occupies a hazy space between mindless diversion (the entertainment version of cotton candy) and a dystopian bellwether of cultural dissolution (a lingering airborne toxic event), there are still some concepts that, all things considered, are best not ruminated on before breakfast. Which is why Lanvin’s resort presentation—set throughout a paper-thin, but highly glossy vision from the hands of French mixed-media artist Cyril Hatt, who rendered everything from blocks of Euro bank notes (spewed across dinner plates, spilling out of the house’s candy-colored Happy purses, littered throughout the space in small piles on the floor, like cushions) to a red Alfa Romeo, tree stumps, a salle de bains, and a single Somali giraffe created out of thickly lacquered ink-jet prints that had been roughly stapled together and then molded—was happily met by a sumptuous spread of light pastries and coffee this morning, presided over by the ever-gracious host, Alber Elbaz. Better, it seems, to take stock of one’s own reflection on a full stomach.

The idea was to create a hyper-glossy version of events, said Elbaz, like a reality television show. And true to form, the effect was distinctly set-like: models strewn about in glamorous packs and various frozen stages of repose, some heavily sequined, some studying their fringed tweed suiting or lizard-print boots, adjusting a black ruffled frock with criss-crossing straps in the mirror or considering a chessboard, their animal-print jacquards, and their next move. Vibrant colors came through in daytime sixties-style short dresses, suede snap-front skirts and fringed leathers alike, though the latter belied later eras: no minimalism here, but a certain sense of “more, more, more,” all caught under the heavy wattage lights native to this scenario, lines of tape marking the tracks between “sets.”

And here is where Elbaz is truly clever, beyond his genius at creating clothes that women love to wear (in real and fabricated lives alike): that set, for all of its shine and inherent hollowness, could have been knocked over by a stiff breeze. But the clothes—covetable floral peasant dresses boasting a graffiti’ed Lanvin logo, sequined gowns and striped separates and grommeted coats; whimsical and decadent and ultimately useful in equal measure—stood up to the comparison. Sure, they seemed to say, fashion is artifice, but it’s art, too—and besides: It’s fun.

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