fashionologie

Tilda Swinton Works With a Creative Director for Her Red Carpet Looks Instead of a Stylist

fashionologie — Tue, 12 Jul 2011 10:11:00 PDT

>> Tilda Swinton has played muse for Viktor & Rolf and Haider Ackermann - she met both, as well as Alber Elbaz, Stefano Pilati, Phoebe Philo, and Raf Simons (who designed her wardrobe for the 2010 film I Am Love) - through her close friend Jerry Stafford, the creative director of a French production company, who she works with in place of a stylist. “He’s my playmate,” she says. “It’s a game, and we have great fun with it.”

Swinton cites David Bowie and her father, Major General Sir John Swinton, as her style icons, and says of working with friends on what she wears for the red carpet: “For someone to know what you need to make you comfortable, they need to know who you are. Having them make clothes for me is like being cooked for by someone who knows what you like to eat.”

For the one-sleeve black Lanvin sheath she wore to the 2008 Oscars, for instance, she told Elbaz she wanted “to attract as little attention as possible and to feel as comfortable as if I were wearing pajamas. Little did I know that the really simple, chic dress one might have worn in Paris or Berlin would stick out like a sore thumb in Los Angeles.”

Stafford also creative directed Swinton's cover story for the August 2011 issue of W (left) - together they created a mood board for the shoot.

Karl Lagerfeld, Donatella Versace, and More React to Kate Middleton's Wedding Dress

fashionologie — Fri, 29 Apr 2011 05:45:54 PDT

>> Vera Wang was on CNN this morning, weighing in who she hoped designed Kate Middleton's dress; but, now that it's been revealed to be Alexander McQueen's Sarah Burton, how do Burton's other designing colleagues rate the dress? (And one can't help but wonder what Alexander McQueen would have thought of a partnership between his label and Middleton, given that he once famously wrote "I am a c*nt" in the lining of a jacket destined for Prince Charles.) But without further ado . . .

Karl Lagerfeld: “[Middleton] is very elegant. The dress is classic and goes very well in the Westminster decor. It almost reminds me of (Queen) Elizabeth’s wedding, the royal weddings in the '50s. The proportion of the train is good. The lace is very pretty. I like the veil a lot.”

Christian Lacroix: “I like the dress very much, simpler than expected: A combination just in between 1956 Grace Kelly and 1947 Queen Elizabeth dress. I love the modest veil with the Queen Mother’s '30s scroll tiara and balanced volume of the whole gown. She’s radiant; she never was so beautiful. And Prince William’s red Irish uniform is gorgeous.”

Hubert de Givenchy: “The dress is very simple and very nice. The veil is a little flat, but because she has such a lovely face, she can afford to wear it this way. She is very pretty.”

Peter Copping of Nina Ricci: “Very much in a royal tradition, reminiscent of Queen Elizabeth’s - and a little bit Grace Kelly. She looks happy, radiant, and natural.”

Donatella Versace: "Kate's dress was beautiful. She looked very regal."

Prabal Gurung: “I thought it was pretty and appropriate. A high-profile wedding like this is not the place for making a crazy fashion moment. It sounds like an oxymoron but it was a personal moment in a very public place. The dress clearly said she’s a modern girl and of this generation. It was not McQueen at its theatrical sense but McQueen in its quiet but beautiful sense. I loved the bustle and how her silk tulle veil was moving softly in the wind.”

Jason Wu: “I thought Catherine’s dress looked stunning. The details were very well done and I loved the emphasis on craftsmanship and the use of British talent. Her choice to pay tribute to Alexander McQueen was both touching and exciting.”

Viktor & Rolf: “Kate’s dress was simply elegant. Her hair down was a beautiful and natural touch, and the tiara was stunning. She looked as at ease as humanly possible and was radiant. Our compliments.”

Diane von Furstenberg: “The dress was beautiful. I think she is irresistible, she is so beautiful. I am happy it was McQueen. It was absolutely the right thing to do. They made [the dress] simple, so it wasn’t costumey but a beautiful evening gown. I was happy for Sarah, happy for the Met, and happy for McQueen."

Tory Burch: “Kate looked stunning. Choosing Sarah Burton for Alexander McQueen reflects Kate’s modern aesthetic and style, but the handmade lace details and craftsmanship are a great nod to British tradition. The lace, the clean lines of the dress, Queen Elizabeth’s tiara - every detail was stunning.”

Donna Karan: “The dress was extremely elegant. For me, it wasn’t so much about the dress though, it was all about her. She was the most beautiful bride in the world.”

Francisco Costa: “Kate’s dress had a classic elegance with a modern edge. The superb detailing really characterized Sarah’s expert hand.”

Oscar de la Renta: “She looked absolutely ravishing. She looked like a bride should look and she handled herself tremendously. And they look like a much loving couple. I am happy to see fresh blood coming into the family. It was a very traditional, beautiful dress which it needed to be for that kind of wedding. Most of all she devastated with her charm. Listen, she will wear anything and will look ravishing.”

Valentino: “I loved the dress . . . it was very simple and young even if a hint of Grace Kelly's dress spoke of 1950s! I loved the flounce on the back of the skirt and the little decoration all around the short veil. I loved the choice of the tiara: simple, pretty, very right for the dress and for her attitude . . . it was used almost as an hairpiece to keep the hair and the veil, not as a heavy decoration. Compared to the famous Diana’s dress, Diana’s was a dress of a fairy-tale princess . . . still a dress everybody remembers. Kate’s one is a very pretty, modern dress that will be copied everywhere but lacks that fairy-tale element. Today most of the new princesses are young, modern, nonroyal women who have clear ideas, independence from stiff protocol . . . they want to be themselves and not anymore a symbol of the crown.”

Reed Krakoff: “I thought the dress was very modern. It bridged the gap between modern and youthful, and was respectful to the position she is in. It didn’t look to traditional or expected though. I particularly liked the neckline. It was more youthful than I expected. The fact that the bodice was fitted and formfitting was great, because she is a beautiful young woman and it accentuated that.”

Viktor & Rolf Fall 2011

fashionologie — Sat, 05 Mar 2011 14:55:08 PST

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fashionologie — Mon, 07 Jun 2010 08:26:03 PDT

>> Viktor & Rolf In Talks for Another Mainstream Collaboration? - Viktor Horsting and Rolf Snoeren collaborated with H&M for a collection which debuted back in Fall 2006, but it sounds like they may be working with a mass retailer again soon. Investor Edo Jao Tweeted over the weekend: "Viktor&Rolf is 1 of the most interesting labels to acquire stake in currently. Esp if talks of a mainstream collab go thru- *wink*." [@edojao]

Viktor & Rolf Goes Democratic - and Online - for Spring 2009

fashionologie — Mon, 15 Sep 2008 12:01:23 PDT

>> Ever the trailblazers, Viktor Horsting and Rolf Snoeren took a page out of their Fall 2008 Viktor & Rolf collection and just said NO! to showing on a runway for Spring 2009.

Instead, they'll be presenting the showcase online on their web site Oct. 2 as "an actual show filmed in the Grand Salon of our virtual house." Guests will be granted backstage access to watch the designers do last-minute fittings on the "Funny Face"-titled collection, and can also view the models have hair and makeup done - "It is a take on what a fashion show might be in the future."

The decision could be due to their transition into new ownership - or could it really be a move into the future?
*image: source

Shalom Harlow's Modeling Marathon for Viktor & Rolf Spring 2009

fashionologie — Thu, 02 Oct 2008 10:41:45 PDT

>> Viktor Horsting and Rolf Snoeren may have nixed their Spring 2009 runway show in favor of an online fashion film, but the new virtual presentation - online now - was quite an ordeal in its own. As the only model in the seven-minute film, Shalom had to act as fit model and then afterwards walk the 70-foot runway five times in each of the 20 looks, allowing the cameras to capture all the necessary angles. To compensate for the two 14-hour days in high heels the work required, Viktor & Rolf had a foot masseur on set to keep Shalom on her feet.

The film opens with Shalom running in and proclaiming, in the words of Audrey Hepburn's Funny Face character, that she's late for the show. But Funny Face theme aside, the collection is pure Viktor & Rolf - theatrical (also perhaps less so than past collections), full of ruffles, and bold - not to mention those three dresses embroidered with 20,000 Swarovski crystals each, which weigh in at about 44 pounds per dress.
*image: source