Kate Moss wearing Yves Saint Laurent by Tom Ford Fall/Winter 2003/2004. Photograph by Steven Klein scanned from a special Kate Moss issue of Paris Vogue from December 2005/January 2006 with Kate on the cover and featuring all things Kate Moss.
Ah green, my favourite colour. How I love thee. Give me anything in green and I’m gonna wear it to death. Tom Ford is such a talented fellow, don’t you think?
Have a great weekend.
*I have not been able to find the name of the photographer for this image. If anyone can help, please leave a comment with the name of the photographer so I can give credit. Thank you!
Image source: bradgoreski.tumblr
A scene from “Jungle Fever” editorial photographed by Hans Feurer and styled by Francoise Ha Van as seen in Paris Vogue June/July 2003.
Facteur Cèleste coat in flax and silk double cotton calico, Nakul Sen muslin dress of silk embroidered with pearls, underneath is a Vannina Vesperini dress of silk and lace from Calais, and worn over the hair is a Dries Van Noten silk scarf featuring glass beads.
It was the colourful coat that initially caught my eye, but after looking closer, the detail of this outfit is mesmerising.
This is why I love layering so much! Beautifully put together layers of varying texture which are simple and elegant and so well defined by stylist Francoise Ha Van.
Have a great weekend.
Source: image scanned from my own copy of Paris Vogue, June/July 2003.
I am making my own version of the little summer dress below for my girls Annabel and Chloe. They are going to look so cute!
Layering isn’t just for cooler weather. Cropped light-knits and flowing, belted dresses look classy and chic. I’m loving this look.
Give it your best shot, you know you won’t regret it!
Sources: The Sartorialist, People.com, Stockholm Streetstyle, Style.com
This year Paris’s enigmatic legendary designer celebrated 40 years on the fashion scene with a show that was according to one lucky attendee, (unfortunately not moi) the most spontaneously exuberant and genuinely fun fashion event in recent history.
Sonia Rykiel’s eponymous label was founded in 1968 wither her first boutique opening on the Rue de Grenelle on the Left Bank in Paris. Aside from window-dressing her father’s shops in her teens, Rykiel had no formal training. Later she began creating her own maternity sweaters out of necessity when she couldn’t find what she wanted in stores. In 1962, Rykiel went on to sell her sweaters under her husband’s label “Laura” and when one made the cover of Elle magazine, it brought her fame and in 1970 she was dubbed the “Queen of Knits” by fashion bible Women’s Wear Daily.
“I didn’t have a métier. I was supposed to be a mother, like my mother, who didn’t work. I had two children — Nathalie and Jean-Philippe. My husband had a boutique called Laura. I wanted a maternity dress and I couldn’t find anything I liked. Everything was abominable. So I made one. Then I made a pullover. Elle put it on the cover. Then WWD elected me the queen of knitwear.” Sonia Rykiel to Women’s Wear Daily.
Rykiel is famous for inventing inside-out stitching, no-hem and ‘un-lined’ pieces that reflected ‘la de-mode’ or rather ‘un-fashion’. This new philosophy allowed women the freedom to dress for their personality. She encouraged women to use their head to create fashion for their body rather than be told what to wear and how to wear it.
Sonia’s Spring 2009 collection in my opinion was the most gorgeous collection of colour, fabric and femininity I have seen in a very, very, very long time. There wasn’t one piece from this collection that I would not wear. It was pure perfection, pure girlishness, dreamy, sexy, and heavenly all at once.
The author of several books, Rykiel began to incorporate words into her designs. “I feel more like a novelist than a fashion designer,” she commented to the International Herald Tribune ‘s Suzy Menkes. “Someone who writes a new chapter each season, including everything I see around me.” And what she has seen around her becomes emblazoned on slinky dresses and the fronts or backs of sweaters variously inscribed “Moi,” “Fête,” and “Plaisir,” among others plus English words: “Artist,” “Ready,” “Black Tie,” and “Black is Beautiful” have also been included.
First I destroyed, undid what I had made. I wasn’t satisfied with it, it wasn’t me. It didn’t relate to me. It was fashion, but it wasn’t my fashion. I wanted to abolish the laws, the rules. I wanted to undo, overflow, exceed fashion. I wanted to unfold, unwind it. I wanted a lifestyle appropriate to the woman I was…this woman-symphony who was living the life of a woman mingled with the life of a worker.
I wanted airplane-style, travel-style, luggage-style. I saw myself as a woman on the go, surrounded by bags and children…so I imagined “kangaroo-clothes,” stackable, collapsible, movable, with no right side, no wrong side, and no hem. Clothes to be worn in the daytime I could refine at night. I put “fashion” aside to create “non-fashion.”
During the evening-gown section of the Spring 2009 40th anniversary show – long tanks and feathery halters and tiers ruffled to the floor—some of the guests started tossing roses at the models. Soon the runway was covered in flowers the color of Rykiel’s dresses. The runway then broke into a dance party when they came out again in taffeta mini-dresses. A few even conga-lined it straight into the audience.
Well, maybe I would re-think wearing this Jean Paul Gaultier for Rykiel over-sized knitting needle sweater… but I do love the play on Sonia’s hair, it looks like almost all the models went down the runway with their hair emulating Rykiels famous locks.
In 1996, the French government showed its appreciation by awarding her the Legion d’Honneur. Today, her label encompasses lingerie, accessories, children’s clothing, menswear, and beauty. It is still a family-owned business with Rykiel’s daughter Nathalie as president and artistic director.
It is not surprising then that Sonia Rykiel has been likened to Coco Chanel, even being called “Coco Rykiel” at one time. Much like Coco Chanel, Sonia Rykiel fell into designing, she challenged the standards and broke the rules and has become successful many times over because of her innovation, her strength, her intelligence, her flair, panache and elegantly simple style.
A woman to be admired, oui?
Images from Google.
In Strasbourg, France on April 3 of this year Michelle Obama broke with tradition when she chose to wear a formal black knit sleeveless dress with a ruffled skirt by designer Azzedine Alaia to the NATO dinner. Much like First Lady Jackie Kennedy did when she met President de Gaulle in France in 1961 with her husband President Kennedy, she too suffered the slings and arrows of her country’s media for choosing Givenchy over an American designer. Mrs Kennedy got away with it though as it was excused as a compliment to her French hosts.
Azzedine Alaia was born in Tunisia in 1935 and in 1957 moved to Paris to work in fashion design. His study of sculpture at the Ecole des Beaux-Arts in Tunisia gave him important insight into the human form which helped immensly in his designs. After stints at Christian Dior, Guy Laroche and Thierry Mugler, Alaia opened his own atelier in his petit apartment on the rue de Bellechase in the late 1970’s in which he dressed his clients for 20 years.
His first pret-a-porter collection debuted in 1980 and in 1984 he was voted Best Designer of the Year and Best Collection of the Year at the Oscars de la Mode. He was a massive hit in America where by 1988 he had opened boutiques in New York and Beverly Hills as well as Paris. It was the media who named him “The King of Cling”.
Clients like Madonna, Raquel Welch, Naomi Campbell, Elle McPherson, Stephanie Seymour, Tina Turner and Carine Roitfeld were all devoted to him. Grace Jones was also a devoted fan and wore many of his creations as May Day in the Bond film A View To A Kill.
With the Prada group his financial partner since 2000, and the hiring of 15 staff from the Yves Saint Laurant Couture house (closed after YSL’s retirement in 2002) Alaia is now able to meet the demands of a Pret-a-Porter line, footwear and sunglasses as well as maintaining his distinctive made to measure and in July 2007 he successfully bought back his house and brand name from the Prada Group, his footwear and leather goods division continue to be owned by the group however.
I remember the above editorial distinctly because I had not seen designs like these anywhere before. The detail and the cut and boy-o-boy, the way they fit! Also I remember being surprised with the frivolity of the models and how Alaia himself was so cute and tiny!
Going through some old magazines got me thinking about my high school graduation formal dress. I spent much of my time designing my dress and scouring magazines to find the perfect look for me.
I knew that I didn’t want to look like anyone else and so that meant wearing something unconventional.
I knew that I had to have an Alaia but short of flying to Paris (an impractical impossibility) I designed a dress based on my favourite silhouette. I found a very talented dressmaker who was as excited as I was to make a pattern and construct my dress, I couldn’t wait! It turned out perfectly and my favourite part was the pleated hem and the sapphire coloured fabric. The only concession I had to make was that my mother would not let me have it made out of lycra (no cling for moi unfortunately), so I had it made from satin and let me tell you, it may have not been form-fitting back in 1990, but after two babies, not only does it still fit, but it clings like it should now!
Oh how I wish I could show you the dress, but alas I do not have any pictures to show you… I have looked high and low, but to no avail. Je suis dèsolè!
When my little girls grow up and attend their high school graduation formal, I wonder how far I will have to go to fulfill their couture desires? Will we have to mortgage our retirement fund in order to buy Parisian couture for them?
It would be fun though, wouldn’t it?