Back to Care-Free Days. Chanel Couture SS21

There seems to be an attitude division in haute couture industry these days. The first camp challenges the couture conventions and focuses on creating phenomenal wonders, like in case of Daniel Roseberry’s Schiaparelli. The latter does “pretty” couture – and this season, Virginie Viard‘s Chanel stays in this safe camp. Her spring-summer 2021 line-up felt like a nostalgic memory of dreamy garden party somewhere in the south of France in pre-COVID reality. These are not, as Viard told Vogue, the conventional fancy nuptials one might expect from a Parisian couture collection, but instead “more bohemian style – more a wedding or a family celebration in a village than at the Ritz!” complete with “the mother and the aunt, and the 15-year-old girl dressing up for the first time” – the latter in a tiny little grown-up black dress of spangled black tulle worn with 1980s opaque white tights. A very fête galante vision draws in one’s mind. There are also boys at this wedding, or rather girls who, in Viard’s words, are “a little garçonne” and dressed in old fashioned boys’ clothes – tweedy Oxford bags, and waistcoats for instance, a reminder of Gabrielle “Coco” Chanel’s appropriations of menswear in her designs, and her literal borrowing from the wardrobes of her lovers including Boy Capel and the Duke of Westminster. The mother of the bride, meanwhile, has some chic little suits in silvery embroidery and lace to choose from, or a skinny shrunken cardigan jacket embroidered by Vernoux, while more adventurous guests might opt for a lace jumpsuit or a tiny tweed coat dress with a ruffled overskirt to tie on like an apron. There are “a lot of flounces and petticoats,” Viard continued, as though the Gypsy Kings were playing at the celebration and the guests in those big tulle skirts were going to spin around the town square. “There is a masculine/feminine side to the silhouettes,” she added, and the fairy-tale grandeur of these pale net ballgowns is brought into the real world when those skirts are paired with white boyfriend shirts, or singlets of crocheted chiffon, worked by the embroidery house of Montex. While at a first glance the collection strikes with a certain, relaxing simplicity, the details are top knotch couture standards, of course. This season, Viard has also worked with photographer Anton Corbijn, whom she met when he shot her for the December 2020 Vogue profile, La Vie de Virginie, and whose music industry credentials – he has shot videos for U2 and Depeche Mode, among many others and directed Control, the magisterial biographical movie about Joy Division’s Ian Curtis – appealed to the rock chick in her. It’s a lovely collection, yes, but I really love seeing Viard doing something a bit more rough.

“Live” collage by Edward Kanarecki.

The Row’s Vintage Selection

It’s no news that vintage is taking over the fashion industry. Sites like Vestiaire Collective and The Real Real are growing competitors for the big on-line empires like Net-A-Porter or Farfetch, while vintage Westwoods and Muglers are historically (and aesthetically) worth more than any trendy, “new season” arrival. Even some brands are opening up to the possibilities of vintage. Dries Van Noten’s Los Angeles store has an expansive section of the label’s archives, all available to buy. And now, The Row is the latest to join the conversation with their newly opened, on-line “Galerie“. I’m pretty much sure that those are Ashley and Mary Kate Olsen‘s personal treasures: an Issey Miyake trench coat from 1979, Chanel haute couture navy total-look from the 70s, John Galliano’s black kimono dress from his iconic spring-summer 1995 collection, some Comme Des Garçons singular items from the 80s and 90s… all items are upon request, but I guess they won’t sit there for long. Hope the Olsens are planning to update their vintage selection from time to time with new, unique garments! Oh… and just imagine wearing those gems with The Row’s investment pieces (maybe even from the second hand?).

Photos via therow.com

Stella Tennant. Forever.

Steven Meisel for British Vogue

Stella Tennant, the iconic British model famed for her statuesque beauty and inimitable personal style, has passed away at the age of 50. My heart broke when I discovered the news. Wisdom and beauty, royalty and true artist, game-changing rebel and forever elegant. While Tennant was first known for her signature tousled pixie haircut, androgynous features, and commanding six-foot-tall presence – as well as her longstanding creative relationships with fashion legends from Steven Meisel to Karl Lagerfeld – her passion for sculpture, environmental causes, revival of the heritage Holland & Holland brand and her home country of Scotland were what eventually became closest to her heart. The news of Tennant’s untimely death was confirmed earlier today in a statement released by her family – including her husband, the French photographer David Lasnet, and her four children, Marcel, Cecily, Jasmine, and Iris – who asked for their privacy to be respected.

From left: Valentino spring-summer 2020 couture, Vogue Italia cover by Steven Meisel, Juergen Teller.

Holland & Holland ad by Hawkesworth, Steven Meisel, Missoni ad.

Paolo Roversi.

Tennant was born in 1970 as the youngest of three to the Hon. Tobias Tennant and his wife Lady Emma—daughter of the current Duke of Devonshire and his wife Deborah, the youngest of the famous high-society Mitford sisters. Despite her aristocratic pedigree, Tennant’s upbringing was decidedly more down to earth; she grew up on a 1,500-acre sheep farm in the Scottish Borders. It was a region that remained close to her heart throughout her jet-setting modeling career and one she would eventually call home again upon purchasing a Berwickshire farmhouse in the early-aughts. Tennant displayed a natural creative instinct from a young age, attending the famous British boarding school Marlborough College before going on to complete a degree in sculpture at the Winchester College of Art. Her career as a model began when she caught the eye of fashion writer Plum Sykes, with whom she appeared in the now-iconic Steven Meisel shoot for British Vogue’s December 1993 issue, “Anglo-Saxon Attitude,” which captured a nascent London scene of well-heeled women whose eccentric take on style offered a British counterpart to the U.S. grunge movement. A famous anecdote saw Tennant show up to the shoot with a nose ring, much to the surprise of the Vogue editors – it was her refusal to remove it that endeared her to Meisel, who invited her to model for him the next day in a Paris shoot for Vogue Italia.

 

Chanel ad, with Karl Lagerfeld, Bruce Weber for Vogue Italia.

 

Self Service.

Juergen Teller for Purple, Steven Meisel for Vogue Italia, Bruce Weber for Vogue.

Mark Borthwick, Tim Walker, Mark Borthwick.

Martin Parr for Sunday Times Style.

From there, Tennant was a regular muse of Meisel’s, shot by him most recently for the December 2018 cover of British Vogue. She also became a favorite of some of the most influential fashion photographers of the 1990s, including Mario Testino, David Sims, and Mark Borthwick, embodying the edgy, waifish insouciance that served as one of the defining features of fashion imagery throughout that decade. On the runways, Tennant made regular appearances for Karl Lagerfeld at Chanel, alongside the likes of Jean-Paul Gaultier and Versace. She also became a mainstay of Alexander McQueen’s runway spectacles, walking for some of his most iconic shows, including spring 1996’s “The Hunger” and spring 1997’s “La Poupée.” In 1998, after announcing her first pregnancy with her photographer boyfriend David Lasnet, Tennant retired from the industry. (The pair would marry later that year, with Tennant wearing a memorably minimalist Helmut Lang gown for their wedding in Scotland.) Shortly after the birth of her third child in 2002, Tennant made a return to modeling in a campaign for Burberry shot by Mario Testino that was partly credited with revitalizing the fortunes of the brand and returning it to its now global status as a fashion leader. Another career milestone came at the closing ceremony for the 2012 London Olympics, at which Tennant appeared with fellow British models Kate Moss and Naomi Campbell (among others) during a tribute to the country’s fashion industry.

Juergen Teller for Marc Jacobs and Céline, Steven Meisel for British Vogue.

Martin Parr for Sunday Times Style, Versace ad by Bruce Weber, Bruce Weber.

British Vogue, Juergen Teller for Saint Laurent, Jamie Hawkesworth.

Paolo Roversi.

Tennant always maintained a lifelong interest in sculpture, establishing a studio at her home in Berwickshire, where she worked with her sister Issy on a luxury homewares brand named Tennant & Tennant. Over the past decade, Tennant also grew to be a vocal advocate for environmental causes, appearing in a number of campaigns for the nonprofit Global Cool raising awareness around climate change, and joining forces with Oxfam for Second Hand September. Already, tributes have begun pouring in from luminaries of the fashion world. But while the statement released by her family earlier today marks the end of an extraordinary career as one of fashion’s most beloved and iconic personalities, Tennant’s legacy as a groundbreaking figure in the history of British style, as well as a passionate supporter of causes close to her heart, will live on.

Willy Vanderperre for Document, Self Service, Mark Borthwick.

Tim Walker.

Versace ad.

REST IN PEACE, Queen. You will be missed.