Thursday, December 31, 2009
Monday, December 21, 2009
Sunday, December 20, 2009
Dressed Up for Spring 2010 directed by Loic Prigent follows French TV personality, Agnès Boulard around the Paris and New York Sring 2010 shows. Agnès delivers an accurate yet oh-so humorous commentary on the Spring 2010 season. An absolute joy!
LANVIN. JAMIE BOCHERT BY STEVEN MEISEL
DOLCE AND GABBANA. MADONNA BY STEVEN KLEIN
Saturday, December 19, 2009
Rachel McAdams on the January 2010 cover of American Vogue
Rachel wears Dolce and Gabbana Spring 2010
Lara Stone in Vogue January 2010
At five feet ten and a size 4, supermodel Lara Stone has struggled to fit in. Stone is about 2 sizes larger than her modeling peers, but this has not stopped her career from skyrocketing. “Lara Stone has a gorgeous women’s body,” affirms fan Karl Lagerfeld. Stone has appeared in ad campaigns for the likes of Givenchy and has walked the runway for almost every major designer including Marc Jacobs and Balmain. In the article Hello Gorgeous, Vogue recalls the days when stylists came to a shoot armed with pins to make the clothes fit the models and examines the absurdity of the thought that clothes only hang nicely on super-skinny girls (aka coat hangers). The opposite is also true – some clothes look better on bodies with “boobs,” which is why Stone’s career has flourished. Could her unexpected success mean the return of curves? In the January issue of Vogue, Stone opens up to Rebecca Johnson about how difficult it can be to constantly hear how different she is, her methods of coping, and how she views herself now.
Highlights From The Article
On being a size four in a land of zeros:
“It’s depressing when the clothes don’t fit and you are always the odd one out…I was on a shoot last week and the stylist took out this tight corset dress and said, ‘Here, put it on,’ and I was like, ‘Who are you kidding?’ There was no way, so that was very rude of her. It’s like, come on, she’s a woman; whether you’re buying jeans at the mall, or wearing couture, you know what it’s like for clothes not to fit. It’s not an easy kind of rejections, because it’s very personal. It’s you, you’re body. You take it to heart.”
CONTINUE READING LARA STONE OPENS UP
Lara Stone photographed by Willy Vanderperre
Courtesy of Vogue
Friday, December 4, 2009
Tuesday, December 1, 2009
At two in the morning, under a starlit Paris sky, I looked out across the courtyard in the Marais, and I could recognize the silhouette of my favorite friend-a man I have known intimately for so many years that I endearingly refer to him as Papa-the great designer Azzedine Alaïa. There he was in his atelier, as always, totally immersed in his work. His show was just days away, but you might see that silhouette there any night. He works whenever inspiration strikes.
I had just come from a dinner with Azzedine's usual eclectic mix of guests, which included some of the most creative people in Paris. He had arranged the seating and prepared the food himself-as with his collections, his hand was in every detail. When I'm in Paris, these dinners are the highlight of my visit. Staying Chez Alaïa reminds you of being at a large family house where conversation and the exchange of ideas are the order of the day-and the night.
Azzedine might be the designer who best understands a woman's anatomy, which makes sense because he also is a man who understands a woman's heart and soul. The poetry of Azzedine comes from the fact that he is always free. Buying back his name from the Prada Group in 2007, he formed a partnership with the Compagnie Financière Richemont which allows him to design his way-usually very late at night with an old film playing in the background. Azzedine is not only a great couturier, he is a historian of couture and he is now setting up a foundation to preserve his archives and his priceless haute couture collection.
Azzedine Alaïa is a classicist, possessing a total understanding of the architecture of the female form, of how to drape, and of how to use materials. He doesn't design for a season, he designs for a body. And he continually reinvents himself, always perfecting and improving on what he has done so brilliantly for a lifetime. I began collecting Alaïa when I started modeling for him as a teenager, and I own pieces that continue to astonish me every time I put them on. He even designed my wedding dress. I am honored that Azzedine entrusted me with this interview and that I can share with readers an intimate glimpse of a man who defines genius.
STEPHANIE SEYMOUR BRANT: Okay, Papa, I thought it would be good to start from the beginning. Tell me about growing up in Tunisia.
AZZEDINE ALAÏA: My grandfather in Tunisia was a police officer. He worked in the ID card department. When I didn't have school, he would take me to work with him. I would sit next to the woman who made the ID cards, and she always took three pictures of people. This woman would use a cutter-the photo-booth paper was very thick-then she'd glue and stamp one picture onto the passport, give me another to staple onto their police files, and the third one would be thrown away. I would gather these scrapped photos from the garbage, put them in an envelope, and organize them later at home. I separated the blonde women, the brunettes, the black women, and the men, too, into long hair, short hair, mustaches . . .
CLICK HERE TO CONTINUE READING: AZZEDINE ALAIA INTERVIEWED BY STEPHANIE SEYMOUR BRYANT (INTERVIEW MAGAZINE)