The Ultimate Show. Tom Ford SS11

January 3, 2021 | Design & Culture by Ed

I’m currently reading André Leon Talley’s phenomenal “The Chiffon Trenches: A Memoir“, and I came across his account of Tom Ford‘s first runway collection coming from his own, name-sake label. The author recalled the event in the most ethereal way. And as it happened about ten years ago (and this is the reason why it’s the first proper post of 2021!), I was surprised I didn’t really have any image in my mind from that spectacular line-up, until Talley noted the whole event was kept mostly in a secret, and the only photographer allowed was Terry Richardson. Thankfully, some photos and this delightful video coverage are present on the web. So, spring-summer 2011 was Ford’s first big come-back to runway after his days at Gucci and Yves Saint Laurent. At the beginning of September, 2010, under the cloak of secrecy, he hosted an intimate cocktail party-slah-fashion-show at his menswear store on Madison Avenue. Luminary friends such as Julianne Moore, Lisa Eisner, Rita Wilson, Marisa Berenson, Daphne Guinness and Lou Doillon all sashayed down the runway, as did Ford model favorites Daria Werbowy, Liya Kebede (who Ford made a supermodel), Amber Valletta and the late Stella Tennant. Somehow, he even got Beyoncé to shimmy down the runway in a body-clinging, sparkle-laden gown. “Beyoncé in real life is actually quite quiet and very sweet,” Ford told Harper’s Bazaar back in the day. “But she can really turn it on.” Ford controlled the entire presentation, as in the days of intimate salon presentations, right down to the music volume, introducing every girl by name and describing her outfit in detail. For added amusement, he catcalled a few of them, teased Eisner for walking too quickly, told model Joan Smalls she might have turned him straight, and then told Beyoncé she definitely did. While many thought the show was a flashback to Parisian couture shows, Ford said the impetus for the show’s format was much more curious and much more camp. “I was on the train from London to Paris, and all of a sudden it just popped into my head: I’m going to do the Don Loper fashion show from ‘I Love Lucy’,” Ford explained. That particular episode, shot in Los Angeles with real Hollywood wives (Dean Martin’s and William Holden’s among them), is a classic: Lucy wants a covetable Don Loper dress she can’t afford. But lo and behold, Loper is doing a fashion show (which he narrates himself) and asks Lucy to model. She sits by the pool too long in hopes of achieving a perfect California bronze but ends up badly sunburned, “and she gets a tweed outfit and she can barely walk. It’s all very cute and everyone claps,” explains Ford. Of course, his 2010 version was more sexy than cute, and instead of claps he got a standing ovation. The casting was intentional. “I chose these models because I knew them. I designed these things thinking of them,” he explains. Following the Oscars, he thrust himself into designing the collection, using a mental list of about 30 women he would love to dress: “women I find inspirational and who are archetypes,” Ford says. “My collection each season should have something that a woman in her 60s, who is still stylish and lived through the Charlie era, could wear, so Lauren Hutton gets that look. There’s something someone of Rachel Feinstein’s size should wear and something for someone who is extravagant and shops at a bunch of vintage stores, like Lisa Eisner, should wear.” The incredible, magnetic Tom Ford.

Collage by Edward Kanarecki.

Artisan. Moncler x Pierpaolo Piccioli AW19

March 2, 2019March 2, 2019 | Design & Culture by Ed

Moncler continues its successful ‘Genius’ concept and keeps on inviting designers to reinterpret the famous duvet. Valentino’s Pierpaolo Piccioli presented his second line-up for the brand and it’s as good as the first one. The statuesque, floor-sweeping puffer dresses are here again, but this time they’re covered in prints made in collaboration with model Liya Kebede, and her sustainable and socially responsible label Lemlem. Graphic vibrancy of Lemlem’s contribution did wonders to the exaggerated volumes of Piccioli’s creations. Now, they look even more bold, especially when kept in colour (just see all these yellows, oranges and pistachios…). But coming back to Kebede’s Lemlem, it’s produced by artisan seamstresses in her native Ethiopia, who apply traditional patterns to everyday, approachable clothes. Re-creating the Lemlem fabrics in nylon not only gave additional work opportunities, but as well raised awareness of the brand’s actions. With grace and, very much in Piccioli’s manner, beauty.

Collage by Edward Kanarecki.

Colour. Valentino Couture SS19

January 26, 2019January 26, 2019 | Design & Culture by Ed

Pierpaolo Piccioli’s couture for Valentino is the only couture that matters. No crazy venues that attempt to distract you from noticing how plain the collection is (I see you, Dior and Chanel). Just pure, joyous, glorious haute couture that enchants and truly impresses. And makes Celine Dion cry. This spring-summer 2019 collection, reserved for the richest and most extravagant women on our planet, was a triumph of audacious colour, beauty and glamour. But also, it was a major model casting breakthrough, with completely diverse models that made the garments even more exquisite. The designer embraced black beauty, having Adut Akech open the show (in a brilliant, pink ensemble) and Naomi Campbell close (in a gown made out of translucent organza in the shade of Chocolate Dahlia). There was Liya Kebede, there was Lineisy Montero, there was Ugbad Abdi. Runway icons, veterans, and newcomers. The entire scene looked like a fairy-tale… that really took place. This couture collection again proved that colour is crucial for Pierpaolo, especially in terms of couture. “You don’t invent beauty, but you can invent new harmonies for colour”, the maestro said backstage. Just read the following: a coral coat worn with a chocolate crepe blouse and emerald gabardine pants. Lilac serape topped a pair of orange pants. Turquoise lace and tangerine silk faille. Green sequins. Pale mauve. Matisse blue. All that worked with voluminous ball gowns that took hundreds of hours to create at Valentino atelier in Rome. Unquestionably, Piccioli is a couturier of Garavani’s heights. And it’s a blessing for today’s fashion to experience his genius.