With ‘Echoes of Armani’
2014 June 25. | Szerző: shannon
When performers start titling their efforts “whispers,” “memories” or “echoes” — like the “Echoes of Armani” show Tuesday — you can usually expect the farewell tour.
Giorgio Armani, on the other hand, isn’t going anywhere. As he has said many times in the press, Mr. Armani, who turns 80 in two weeks, probably will work until he drops. And he will continue to comb through his fertile back pages for ideas, motifs and gestures that have kept him in the game since the 1980 film “American Gigolo” and the body-hugging power suit.
One reason Mr. Armani remains by far the most successful designer ever to come out of Italy is his conviction that his original design note was pitched correctly. And he clearly was onto something because reverberations have rippled outward ever since.
Though the soft suiting we all now take for granted didn’t start with him, it was Mr. Armani who adapted core elements of traditional Neapolitan tailoring — natural shoulders, form-fitting suits, the use of half-linings and pliable, rather than rigid, woolens — and sold them to the world.
That he can still put it across was made clear by both Giorgio Armani and Emporio Armani this week, where, in shows spaced several days apart, Mr. Armani and his team gave evidence of having appraised a design brief in need of invigoration and then provided a jolt.
They did it with monochrome graphics. In an Emporio show emptily titled “Avant Garde,” and enough prolonged to give Marina Abramovic a run for her money in terms of duration (more than 100 looks), Mr. Armani sent out peacoats, snug bombers, mackintoshes, shiny shirts with short sleeves and shoulders that were fused rather than stitched. Hatches, slashes, windowpane checks, fishnet patterns and lane-divider stripes covered almost everything.
The full, pleated trousers the designer prefers had been tapered to follow the now nearly universal fashion for a narrow leg. On the best style, a single skinny line of contrasting color traced the crease of the pants. Happily, the thick-soled white sneakers and paddock boots — more appealing than any footwear Mr. Armani has offered in some time — were free of hectic patterns. A man needs some place to rest his eye when he crosses his legs.
Mr. Armani’s main show, presented for an audience that included the singer Joe Jonas and the actor (and Armani Code poster boy) Chris Pine, was emotionally and tonally muted, opening with two slouchy belted trenches reminiscent of Italy in the postwar years.
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The classic Armani proportions remained in place: a visually constricted chest, flowing trousers, outerwear shapes either boxy or voluminously draped. And with the exception of several brightly striped tunic jackets that looked as though they’d been swiped from a gondolier’s closet, the palette was muted.
No trends were set and none were really expected. That is only half true. Following a practice increasingly common on runways here, Mr. Armani showed his men’s wear in two dominant and divergent sets of proportion. This likely indicates less about any design inspiration than it does about the importance of penetrating emerging markets. Lest anyone miss the message, roughly a fifth of the models were Asian.
DSquared2, always shown on an early morning at the end of fashion week, can usually be counted on to gin up something to rouse the spirits of a fashion flock that, at this point on a long circuit, is generally in the grip of some type of hangover. One time it was Rihanna, in the early “Umbrella” days. Once it was a troupe of semi-drag acrobat rockers.
The clothes seldom vary much — jeans, jeans jackets, khakis, bumfreezer blazers — and, according to the mood of the twin designers Dean and Dan Caten, are either laboriously distressed or ostentatiously schoolboy proper.
There are always semi-naked hunks and expanses of hairless flesh. There is reliably a theme, and this one had something vaguely to do with artists and models. If anything about the clothes was different from whatever was the last thing DSquared2 showed, it was probably the appliqué patterns and prints that lazily alluded to Jean-Michel Basquiat and Andy Warhol.
A group of neon get-ups with Stephen Sprouse-for-Louis Vuitton graffiti scrawled across them was shown on long-haired models who bore a vague resemblance to the designer. Reminded by this dim attempt at wit how exciting things are when real ideas by gifted designers such as Mr. Sprouse are in play, this reporter closed his notebook, laid down the pen and sprinted for the exit.
Dolce&Gabbana presents a flourish of crimson suits
2014 June 23. | Szerző: shannon
It’s no time to shy away from colour, men.
Milan Fashion Week previews opened on Saturday for next summer’s menswear, and already a trend is coming into focus: bold, electric colours.
Economic indicators suggest men have become as fashion-conscious as women. Now, Milan fashion designers are offering fashion-forward men ever more daring looks, digging into sartorial embellishments that long have been the playthings of women’s fashion: brocade, embroidery, sequins and jewel tones. Milan Fashion Week runs until Tuesday, with Bottega Veneta, Armani, Gucci and Ferragamo among the designers scheduled to show their looks in the coming days.
Costume National
A leisure suit silhouette with flared trousers, followed by leather biker outfit with laced outer seams, convey a vaguely 1970s vibe — or more specifically, an American honky-tonk tone — in Ennio Capasa’s new collection for Costume National.
But the looks defy preconceived notions. Suits are worn without shirts, or with just a vest. And instead of ties, a neat foulard is knotted just askance of the Adam’s apple. Ankle boots confirm the western feel.
The runway show’s setting, a big white industrialised space, made the colours pop: a monochrome purple suit with matching shirt, another in burnt orange, then more in soothing shades of blue. Outfits followed of pure white, with diaphanous shirts that looked more like blouses.
Capasa said he was inspired by the “liberated elegance” of rock icons, including Mick Jagger, David Bowie and Lou Reed.
The looks were finished with sunglasses and hobo bags worn over the shoulder, not in the more masculine cross-body fashion.
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Armani welcomes another newcomer
When the announcement went out that Christian Pellizzari would be making his Milan runway debut at Giorgio Armani’s theatre, the designer remarked that “it was like a bomb exploded”.
The 33-year-old native of Treviso, near Venice, has taken cues both from the disciplined sartorial brand Tonello, where he honed the skills of an Italian craftsman, and from the extravagance of Vionnet’s Paris couture, where he later worked.
Pellizzari’s looks seek to balance those two extremes. His tailoring gives a serious fashion underpinning to such extravagances as embroidered and sequined peonies, that are a motif of the season. The designer says his goal is to create clothes that his friends back home would wear, not just fashionistas. So he combines cropped jacquard trousers with casual lace-sleeved cotton tops.
An embroidered top “could be worn at the beach with a pair of shorts,” he said backstage.
He called the looks American Gigolo and heralded the free spirit by sending models down the artificial turf runway barefoot, tassels dangling around their ankles in a tribal touch.
Pellizzari , who launched his own brand four years ago, is the latest up-and-coming designer selected by Armani to preview their collections at his theatre. It’s part of Milan’s efforts to inject fresh energy into fashion weeks.
Dolce and Gabbana
Since a group of butterflies is a flutter, it seems only fair to call a parade of Dolce&Gabbana models in tailored crimson suits a flourish.
Once again, the pair consider a moment in their fabled Sicily’s history when it was the object of conquest. Last season it was the Medieval Norman invasion, this season Spanish rule.
While the Spaniards may not have specifically brought bullfighting to Sicily, it is the matador jacket, embellished with swirls of piping and ribbon, which forms the backbone of the collection — and offers the sort of baroque elements that often underpin Dolce&Gabbana style. Instead of traditional gold, these new accents are black. The jackets are worn with cropped trousers and slippers.
The designers offer a new version of their boxy top, often worn with skinny trousers, this one with pictures of charging bulls — the icon of the season. Worn around the neck to accompany this fierce image is a delicate rosary, suggesting either the fervour it must take to enter an arena with a raging bull or gratitude for having survived.
The designers have incorporated decorative elements from the traditional toreador costumes into more urban suits, including ribboning. The final distillation is a series of shiny three-piece suits with inventive scoop-neck gilets in a series of colors: cornflower blue, evergreen, emerald, purple and salmon pink — all giving way to a finale of crimson red.
This was a serious collection, heavy on ornament and light on beach wear. Unless you count a big boxer short worn with an oversized boxer’s belt.
Cape Town designer stars on the red carpet
2014 June 7. | Szerző: shannon
A local designer is in the spotlight after actress and model Tanit Phoenix wore one of his designs to the Hollywood premiere of Maleficent.
Jas Myburgh, a fashion and design lecturer at Cape Peninsula University of Technology (CPUT), has designed four evening gowns for Phoenix, one for each of the premieres. The rest will take place in Tokyo, London and Sydney.
Phoenix is dating South African actor Sharlto Copley, who plays the part of King Stephan in the dark fantasy film. Maleficent is Disney’s spin on Sleeping Beauty. Copley co-stars with Angelina Jolie and Elle Fanning.
Jolie wore a Versace gown to the May 28 world premiere at the El Capitan Theatre, while her husband Brad Pitt wore Gucci. But Phoenix opted for a South African designer.
Myburgh studied fashion design at CPUT in 1990. He spent two years working in Spain, and started designing under his own name when he came back.
He is passionate about teaching, and the clothes he makes. Myburgh has dressed several South African models and celebrities, and has been involved in national and international competitions.
He met Phoenix – who was born in Durban – in 2006. He designed her lingerie for a shoot, and they stayed in touch and became friends. In August last year, she told Myburgh she’d love to wear a local garment to the premiere.
Phoenix was in the country for three months last year, and Myburgh started working on the gowns.
“I tried to keep a very unique look for her. The garments are African and South African inspired,” he says.
“There is so much inspiration in Africa. It is one of the big trends at the moment, with lots of colour. We took that and transformed it into a glamorous evening gown. Something special with a story behind it.”
The bodice is made of silk tulle, with an Ndebele pattern embroidered on it. Black crystal beads were hand-sewn. It took about a month to make.
“In the South African clothing industry, the seamstresses get so little credit for what they do,” says Myburgh. “It’s something that’s dying out. The specialists in this field are getting old, and the new generation aren’t interested in this aspect of design.
Myburgh is passionate about keeping it alive, as the “fabrication” – creating the details on fabric by hand – is very important to him.
“Hand beading, embroidering, and how a garment is finished off … the reason for couture is how a garment is made,” he says.
While Phoenix wasn’t part of the film, her dress did attract a lot of attention. Myburgh says his social media profile spiked considerably.
“It’s a designer’s dream to dress a celebrity and to be in the spotlight, and on the same platform as Brad Pitt and Angelina Jolie. I’m on cloud nine. It’s the beginning of something new, and very exciting,” he says.
While he can’t reveal what the other garments look like just yet, Myburgh says they are all African-inspired pieces of couture.
“I just hope the movie gets an Oscar. I really want to make her dress for the Oscars,” he says.
Who’s that girl?
Model and actress Tanit Phoenix, 29, was born in Durban, but now lives in Cape Town and Los Angeles.
Phoenix has been in a relationship with actor Sharlto Copley since January 2012. Copely, who acts in Maleficent, also starred in Elysium and District 9. Phoenix has appeared in Spud, Death Race: Inferno, and Safe House.
She started her career in Durban at the age of 14 and has appeared in local and international commercials, on magazine covers and in lingerie campaigns.
Her name seems like the perfect stage name, but it is her real name.
On her Facebook fanpage, Phoenix writes that she is inspired by her work.
“I love everything about modelling, film and acting and it has always stemmed from observing people and understanding the human condition,” she writes.
When acting and modelling, she shows her vulnerability.
“It’s such amazing self-expression, showing raw emotions. It’s empowering and exhilarating. Such a challenge.”
Matthew Williamson and Azza Fahmy get bejewelled
2014 May 30. | Szerző: shannon
You wouldn’t normally associate Egyptian jewellery designer Azza Fahmy with British designer Matthew Williamson. But in the world of fashion, where strange bedfellows can sometimes make great business and creative sense, theirs is a match-up that’s already creating quite the buzz.
The pair recently launched their second jewellery collaboration in Dubai, coming off a successful first line launched in September last year.
“I guess the stars just aligned,” smiles Williamson, pointing to a necklace featuring a strand of stars, one of the items in the 21-piece fine jewellery collection. “We were approached by Azza’s team about a year and half ago and it was an easy decision because of what she does. I loved her skill and her expertise in a field I know little about. So it was nice to move out of my comfort zone and advise and bring my spirit to the collection.”
Created to complement Williamson’s fall-winter 2014 collection, the Azza Fahmy x Matthew Williamson range is sold exclusively at Bloomingdale’s Dubai.
The second collection, says the Manchester-born designer, is “much more thought through from start to finish.”
“This collection was about making something specific that would work with our collaboration,” he says. “So I looked at 70s interiors. I came across these beautiful black and white pictures, which looked like it could still be cool today, and in the middle of the lounge there was this tapestry rug with stars and I decided to make the clothes imagining who the woman was that lived in that home and curating the wardrobe for her. The next stage was the jewellery.”
Fahmy, a Hollywood red-carpet favourite, is no stranger to designer collaborations, having worked with Welsh designer Julien Macdonald and London label Preen. Williamson’s aesthetic of bright colours, electric prints and laid-back hippy chic was the perfect starting point for a new collection, she says.
“They showed me his work and how he designs his clothes and prints and I thought ‘this man who takes care of all this and all this research must be good,” she says. “For me it’s all about mixing the past and the future. I am very connected to culture but I’ve always tried to make things contemporary… take from the past and make it alive and wearable.
“For instance, inside some of the stars, you will find filigree work,” she explains, referring to the delicate metalwork popular in Asian jewellery-making. “It’s about successfully bridging those two worlds.”
Fahmy, who opened her first boutique in Cairo in 1981, credits her daughter Amina, who’s now the creative director, for helping keep her namesake fine jewellery brand in relevance.
“She completely changed my perspective about jewellery. How, for instance, to put these contemporary pieces and mix them with culture and art,” she says. But it was Fahmy’s rich catalogue of heritage-inspired work that caught Williamson’s attention.
“With this collection, what we were keen to do was take all that history and the craftsmanship and the skill that Azza knows so well and infuse it with something that she might not usually do,” he says.
Both designers have a strong following in the Middle East, a direct result of their creative inspirations: Williamson is known for his strong Asian references while Fahmy, who trained in the Egyptian way of making jewels, has found her fame spread beyond the Arab world.
Dubai is the perfect setting for their collaboration to blossom, they say.
“It is now the centre of fashion in the Arab world. A lot of people coming from everywhere and it makes sense for us,” says Fahmy.
“It’s a logical place for both of us. It’s the middle of the world isn’t it?” echoes Williamson.
Though non-committal on a third collection, the pair say designer collaborations need to be always properly thought through.
“You make a calculated decision, and you take each one as it comes,” says Williamson. “Sometimes it’s for purely creative reasons, sometimes it’s creative and financial and sometimes it’s the media buzz. Or it could be a mix of all three. You want there to be a sense of every perspective.
“We got something two days ago but it didn’t make sense to me. It’s was a fantastic deal but it makes no sense to collaborate with somebody that we have no synergy with.”
Known for his famous friends, the British designer says that while celebrity endorsements help, it’s not something he or his label actively pursues.
“I don’t work with [celebrities] in a way that it’s a controlled thing. And I don’t pay,” he says. “For me it’s more of a friendship thing with a girl. If it’s the right girl, the right dress, at the right place and the right time, it will work. And when it does, it’s a great brand endorsement.
“But for me it’s always been about personal interaction. I can’t compete with those big brands that have divisions and go ‘who we dressing next?’. We are a cottage industry. So we have to rely on our personal connections. Like Sienna Miller, she’s my best friend so it’s a very organic and personal process.”
Designers have had to become good business people, says Williamson, whose eponymous label has a number of flagship stores including one in Dubai.
“I had to have some understanding [of business]. I like to know,” he says. “But my favourite thing is when someone wears my pieces. I love the beginning of what I do and I love the end. To see it on someone.”
“I’m a really bad business woman,” Fahmy chimes in, laughing. “We have people to take care of that. I’d like to stick to the artistic things.”
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Latest jewellery trends at the Grove Communication press day
2014 May 21. | Szerző: shannon
The 13th May was a truly sparkling day for all fashion and jewellery lovers, as Grove Communication held their A/W 2014 press day. At the agency’s press day we got to see all the beautiful sparkling accessories of the season. Some of the brands represented were Cred Jewellery, Victoria Tryon, Bouton, Buckley London and Atwood and Sawyer.
Award-winning ethical jewellery label Cred Jewellery has introduced its Festival collection, just in time for the festival season. The pieces feature bohemian feather pendants, which is continuously in trend after Coachella this year, hard rock style skull ‘n’ bone charms and more romantic styles, also. Our favourites are the pastel-coloured friendship bracelets to seal those once in a lifetime moments.
Another stand-out at the press day was London-based jewellery brand Buckley London. The costume and fashion jewellery brand’s latest Acorn collection symbolises prosperity, youthfulness and power, all in the iconic symbol of the acorn. The pieces are a great addition to the season’s ever-growing pastel trend and make sure to bring a hint of playfulness into any outfit. The cheerful motif can be found on trendy leather bracelets, stylish rose gold necklaces and elegant drop earrings. Other pieces to look out for from Buckley London were the eternally elegant “Evie” bracelet and charm.
Fashion: The world wakes up to globetrotter glam
2014 May 2. | Szerző: shannon
It’s always worth paying attention to Chanel shows. Nobody has their antenna attuned to the moment quite like creative designer Karl Lagerfeld.
Take the brand’s spring 2014 show: recognising the prominence of art fairs such as Frieze and Basel, Lagerfeld transformed Paris’s Grand Palais into an art installation, displaying fashion as an art form in its own right.
The brand’s AW14 show was just as suggestive. A giant globe was erected in the middle of the venue, covered with flags showing where Chanel has stores. But rather than simply demonstrating the label’s reach, the set also reflected a wider movement in fashion.
With emerging economies in South America and Africa, combined with the continued rise of Asia, designers are looking to all corners of the world for inspiration. And, thankfully, the global traveller aesthetic has come a long way since the days of simple khaki jackets, stereotypical African prints and the styles you’ll only dig out on holiday.
Dior set the new mood with its AW13 couture show. The world of couture is inextricably linked with Paris but designer Raf Simons made it his mission to show just how global it is.
The line-up ran like the parade at an Olympics opening ceremony. We had Russian-style embroidered dresses, striking Masai jewellery, sari-type dresses, bold colours and draping that spoke of Africa and a hint of American sportswear thrown in for good measure.
Even proudly Italian label Missoni got swept up in the new mood for spring, with an Africa-by-way-of-Mexico feel. Givenchy’s Riccardo Tisci departed from the fun Disney characters and fantastical motifs of seasons past in favour of a more ethnic aesthetic with dusty desert tones on über-wearable African draping and Kimono-style tuxedos.
But jumping on board doesn’t mean going OTT. Donna Karan’s spring show demonstrated how easy the trend can look. Since the 2010 earthquake, Haiti has been a firm fixture in her collections and her spring line is brimming with nomadic pieces such as languid scarf dresses, chunky low-slung leather belts and woodwork accessories, all in earthy tones.
Ottoman Hands is the perfect way to go, jewellery-wise. The brand, which is now available in Topshop, ranges from rustic arm cuffs to bold rings, all in a similar colour palette. Contemporary label Baukjen offers a more subtle take on the trend. The transformed label has draped dresses and separates that are also classic enough to last into next season.
California-based designer Raquel Allegra has long mastered the global traveller look. Her spring collection manages to make tie-dye sophisticated rather than gap-year chic.
For more of a statement, take styling cues from Valentino, which, unsurprisingly, is a decorative affair full of long black lace gowns embellished with brightly coloured details and dramatic heavily embroidered fringed capes.
Even Peter Dundas went to town with exotic bold-coloured embroidery, giving Pucci’s signature minis a new lease of life with intricate, bold-coloured embroidery.
On the high street, Zara’s beaded crop top is a good bet and Asos Africa’s Nigeria-inspired collection is full of statement prints that are ideal for dressing up basics. The charm of embracing this end of the spectrum is that you’re not faced with the ‘what do I wear with this?’ question because the trick is to keep everything else simple.
This Innovative Nail Wand Could Improve Your At-Home Manicure Skillz
2014 April 29. | Szerző: shannon
Nail polish has come a long way over the last several years, with brands introducing countless new finishes, scents, bottle shapes and methods of application. But one thing that’s rarely fiddled with is the actual brush, or wand, itself.
Well, polish brand Julep decided it was time to change that by releasing the “Plié Wand,” a magnetic, swiveling attachment that connects easily to any Julep nail color cap. The idea is that the flexible handle makes it easier to control while giving yourself an at-home manicure — particularly when using your non-dominant hand.
It’s definitely an interesting concept, and one I was eager to test out. I connected the cap, tilted the top at an angle, and began a-brushing. So did it help me perfect my stroke? Here’s my review:
Using the Plié Wand with my right hand (the dominant one, though something about that just sounds icky) was a lot less awkward that I expected. I guess I ended up gripping it more like a pen than a normal brush, and it didn’t feel weird at all — though I was a bit tempted to grip the bottom like I normally would.
When it came to using the wand with my left hand, I didn’t necessarily find that the different angle option was beneficial. Painting with your opposite hand is just hard. There’s no real way around that. Plus, I paint my nails fairly frequently, so I kind of have the technique down. But for a less experienced manicurist, I imagine the wand would make polish application easier. (Lauren, who doesn’t paint her nails often, held the wand like a chop stick when she tried it, and said it made her non-dominant hand less shaky when applying the polish.)
The one major detriment I noticed with the Plié Wand is that, when you’re not actively painting, the wand itself (which is quite a bit longer and therefore, heavier than your average wand) makes the bottle top-heavy and more prone to falling over. But as long as you make sure to screw the cap on securely between coats, that shouldn’t really be an issue.
In short, I think the people over there at Julep are onto something. This product could appeal to those who don’t feel confident enough in their skills to paint their own nails with a regular wand. But whether it’ll catch on with the notoriously fickle — and capable — #nailart community is left to be seen.
Graphic designer Peter Saville still rocks the fashion world
2014 March 22. | Szerző: shannon
Fashion finds it difficult to get over Peter Saville. References abound to his work, past and present. His aesthetic stamp chimes constantly with fashion’s offerings. That’s because Saville isn’t just fashionable. His work is a style unto itself. He’s the original. In Factory cataloguing lingo, Saville would be FAC-0.
Maybe that’s because Saville’s aesthetic imprint is vast. His Factory work seismically shifted popular culture, the graphics he devised have been ripped off on every level – especially in fashion.
Saville doesn’t mind that, though. He’s been involved in fashion for years, working with Nick Knight on ground-breaking catalogues for Yohji Yamamoto which, like his album covers, became design fetish objects. The Yamamoto catalogues were supposed, ostensibly, to show clothing to sell clothing. It did the latter often by eschewing the former.
Even before Saville began working with fashion, he was fascinated with it. “From back when I was at college, I was always more interested in the other disciplines that were going on at art school than the one I was doing,” he says. “Graphic design was a way of communicating something about the things I did find more interesting. I always found architecture, fashion, product design and furniture more interesting.”
That fluidity of medium has become a way of working for many – fashion designers direct films, architects create clothes. Saville pioneered it. “Over the past 25 years, we’ve moved closer and closer to a common ground between these disciplines,” he comments. “There is very much a converged aesthetic now, and a converged audience.” Does Saville realise the fundamental role he played, by creating product design that became a product in itself? You can’t really chart the influence and dispersion of Saville’s ideas, because they’re everywhere. Ubiquitous. Saville changed the lot.
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Arguably, the designer who chimes the loudest with Saville’s work is the Belgian, Raf Simons. In 2003, Simons delved into the archive of Factory Records, selecting works from Saville’s back-catalogue to integrate into his winter collection. That show was called ‘Closer’ – after a Joy Division track, but also underlining that Simons was closer than ever before to Saville’s universe. The collection was dedicated to Saville. Simons’s work has been obsessed with youth culture, with the graphic details and decals of logo-ed band T-shirts, and with underground music scenes. In short, with Saville.
Ten years later, in summer 2013, Saville sat front-row at Raf Simons’s spring 2014 show. It was an ode to youth, and music, and rave. The rave culture Saville’s work so marked with its bright, two-dimensional colour and reappropriated imagery. Simons’s models bounced out on hefty rubber-soled rave trainers, like chopped-up chunks of the Haçienda’s interior. Saville seemed keen.
“Clothing is perhaps our most instant personal expression of individuality and sense of place. It can be an indicator of zeitgeist. I object to the commodification of spirit in the business of fashion.” That’s more Saville-ism. He evidently doesn’t mean Simons. The spirit of Saville, and Simons, raves on.
‘The Face’ Recap: Dinner & A Runway Competition Brings Out The Tears
2014 March 20. | Szerző: shannon
The Face opened with Naomi calling out Lydia and Anne V, saying, “How dare you put up two women of color for elimination?” as she speaks of the emotional results of the last round — and it doesn’t look the tensions between the mentors are getting any better. As we look forward to the next competition, this time it is all about the runway.
‘The Face’ Recap — Season 2, Episode 3 Runway Competition:
The models are tasked with walking a difficult runway, (hello, steps!), in restrictive clothing — and it really shows which girls have gotten more comfortable and developed their model walk! Famed model Tyson Beckford sat in to help judge, and it was interesting to see how the latex clothing and the sky-high pumps interfered with their walk. Some girls with an amazing walk faltered, while others had just the right amount of confidence to totally own it! “Kira’s painful to watch….this is the worst walk so far,” Naomi explained as she came down the runway.
Tyson named Tiana from Team Anne the winner, and she couldn’t be happier — and we’re sure it will come in handy come campaign day! Kira admits she is so nervous and doesn’t think Naomi likes her — but after seeing her try to rock the runway, we kinda understand where all her doubt is coming from…(no offense, Kira!).
Campaign Day:
Fashion designer Pamella Roland, (who is gearing up to launch her Pamella line), is present on campaign day and the models must model a cocktail dress and a glam red carpet gown on a dinner table — and that’s not all! The gals will also have to walk as seated guests are present. Team Anne V has an advantage, as they will get to select their dresses first — and the wrong dress can definitely do a gal in!
Naomi gives her team advice, and tells them practice makes perfect — and she’s definitely right! Kira is not happy when her model mentor tries to give her constructive criticism — and you do not want to snap back to Naomi! Kira definitely needs to tone down her attitude, especially cause her walk can use all the help it can get.
In the end, it is Team Anne V who takes home the big win — and it is a total game changer as it is their first win! Naomi and Lydia both have to put someone up for elimination, and Lydia’s team is looking like the weakest link.
Elimination Round:
Lydia sends Ray back into the elimination room, and it is because Lydia thinks she really needs a push to get focused — if she doesn’t find her voice she won’t make the cut. Kira is sent in by Naomi, and she says she wants her to fight, (not beg!), to come back. Unfortunately, Kira gets in front of Anne and starts crying and blaming Naomi for not giving her proper directions — ouch. Kira’s bad attitude sends her packing, but not before Naomi breaks the rules and comes after Kira after she hears her crying. She calms her down and tries to comfort her, and you can tell seeing her go is breaking Naomi’s heart. Ray somehow makes it past her second elimination round and sent back to Lydia’s team.
Steve’s New Girl… Aquazzura Takes Hong Kong
2014 August 4. | Szerző: shannon
Peace Sign
Steve Madden is California dreaming. The namesake exec has a new blogger collaboration, this time with Shea Marie, the Los Angeles-based designer behind Peace Love Shea. “I had never met him, and I thought they just wanted to give me a pair of shoes,” Marie recalled. “I didn’t expect Steve to be there or want to work with me. I tried to play it cool and said, ‘Yeah, okay, maybe.’” The partnership eventually worked out — and seven styles will launch at select Steve Madden stores and online on Sept. 4. Retailers such as Shopbop , Nordstrom and Macy’s will stock the line beginning Sept. 8. The collection features boots with pony hair touches, stilettos with lug soles, a mixed-material loafer and a studded sneaker. “I bring a bit of laid-back cool, edgy and a little bit grungy,” Marie said. To fete the Peace Love Shea x Steve Madden collaboration, the brand will host an influencer party to kick off New York Fashion Week. Here, Madden gives his two cents to Spy.
1. Why were you drawn to Shea Marie?
“She’s an American girl, she loves fashion and [likes] to vamp it up. I really connected with her after the [campaign] shoot. She was sharing her texting secrets, but I can’t tell you [what they are about].”
2. Shea is based in California. What is your favorite part about the West Coast?
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“I love to play golf in Southern California, and I like to drive around — it’s physically beautiful between the mountains and the ocean and the canyons. It’s really unbelievable, very different from New York City and this concrete jungle we live in.”
3. What excites you about bloggers, and who could be next as a partner?
“We just did a great collaboration with The Blonde Salad [Chiara Ferragni], and we have Man Repeller [Leandra Medine] for Superga. We’ve been very lucky with it. They all get Gucci and Louboutin, but they also understand Steve, so I appreciate that. I really like Cupcakes and Cashmere blogger [Emily Schuman].”
Shopping Spree
Aquazzura’s Edgardo Osorio recently ventured to China for an event at Lane Crawford’s IFC Mall store in Hong Kong. Consumers came ready to shop the Aquazzura x Olivia Palermo collection. “One customer arrived and bought everything available in size 35. Another arrived with her personal assistant and managed to shop the collection, pre-order and get her shoes signed in under 15 minutes. Now that’s power shopping,” Osorio said. Then he added, “Another person saw that I posted I was at Lane Crawford on Tuesday, flew to Hong Kong and went to the store — but she was two days too early for the event!” The fashion designer said he “was amazed by how young and fashion-forward the [Hong Kong] clientele is. They responded incredibly quickly through social media.” Plus, he had the chance to reunite with his muse. “It was a pleasure to see Sarah Rutson, [Lane Crawford] fashion director, who has always been in my mood boards and whose style is always an inspiration,” he said.
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Wild West
Welcome to Hollywood, Danner Boots. This December, its Mountain Light Cascade style will make its film debut in “Wild,” starring Reese Witherspoon. Based on the best-selling book by Cheryl Strayed, the movie takes its heroine on a journey of self-discovery across more than a thousand miles of the Pacific Crest Trail. “The costume designer reached out to see if we could replicate the boot [worn] in the book, and we came up with this style based on our original [circa-1980s] Mountain Light style,” said Will Pennartz, senior marketing manager. More than 20 pairs of the look were ordered for Witherspoon, who, in one scene, throws one boot off a cliff, according to Pennartz. For those who want to walk in Witherspoon’s shoes, the hikers will be available in October at retailers including American Rag, James Perse and REI for $299.
Tall Order
Talk about workplace perks. REI head Jerry Stritzke said he didn’t have to go far from home to plan for an upcoming trip up Seattle’s imposing Mt. Ranier. The CEO — who’s set to summit the 14,410-foot glacier-topped mountain this month — sat in on an in-store class at the retail co-op to help prepare. “I went to one of our classes in our flagship store in Seattle — I was there with about 150 people,” he told Spy. “The only downside as I looked around is I was probably the oldest guy in the room.” Stritzke, who joined REI last year from New York-based Coach, said he’s appreciating the Kent, Wash.-based retailer’s outdoor culture. “We have some phenomenal athletes, and so that’s kind of one of the neat things about being here. You have a lot of people who enjoy doing the kind of things that are intriguing to you,” he said.
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