It's the true mark of an important designer that he can take a concept, translate it into beautiful clothes and then see them influence the way women dress all over the worldclass='yshortcuts' id='lw_1330520300_4'Sou. Which is what will happen with the latest collection from Dries Van Noten, a magna print meditation and posh battlefield chic aesthetic that won the designer an enormous cheer in his show in Paris on Wednesday, Febhis Shirt' by The Irrepressibles, strongR: C. 29n class='yshortcuts' id='.
Van Noten has been staging his women's shows for the past several seasons in Paris' baroque City Hall, though this fall 2012 collection looked like the one most suitable for this locationid='lw_1330520300_1'Paris Fashion Week/sp. For the very mix of strict neo-classical fluted columns and curly gilded decoration was echoed by the spiraling designs on the clothesassisting at span class.
Dries has been very good lately at dipping into all sorts of different cultural inputsfollowed if you hadn't become a design. Where his February men's collection was based on Dutch artist Gijs Frieling or his last women's show on photographs by young artist James Reeve, today he went in a completely opposite direction for fall 2012t her and she was actually. The designer looked at classic Asian dressgner span class='yshortcuts' id='lw_1330520300_0'M. He was even photographed in a Korean pink silk coat for a backstage TV interview, and went about deconstructing a pattern of print from the two dimensional into the three-dimensional I would have loved to be in the. This meant that classic sleeves were aligned as print on the center of the body to give the collection a fresh spin and unexpected twisttial accessory and why?br / Me.
He also teamed up with Victoria & Albert Museum in London, tapping into their Oriental costume archives with brilliant resultsshortcuts' id='lw_1330520300_5'JIKI/s. Clearly, Van Noten always likes to balance his mighty inspirations with street wear and his military khakis grounded the colorful print party on his dresses and coatsshortcuts' id='lw_13305.
It all felt very new, in particular the officer's ceremonial coats, whose bullion insignia were reimagined as cranes flying toward the heavenss' id='lw_1330520300_3'sources of i. There was a particularly elegant turquoise finale where a group of the kimono prints looked like Escher architectural drawings, that brought an appreciative rumble of sighs from the audience, perched on bleachers in the historic settingIrrepressibles, strongR: Cast.
In terms of silhouette, however, Van Noten cleaves a little too much to the restrainedm/strongstrong: What in you. He clearly finds short dresses and exposed flesh a little vulgar, so the collection did miss more adventure in its cuttingty of timelessness about . Where just above the knee is the skirt length throughout all the major shows in Europe this month, he finished half way down the skinn, dead, alive or from fiction, would y. An oddity when he wraps his women in military coats that the designer does not feel they are tough enough to go out in public in a short skirt/ M,S,:/strong I would have been an.
That said, this was an impressive fashion statement by a designer who is very much setting the stylistic agenda today
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Wednesday, February 29, 2012
Milan Fashion Week top trends: Patterns, metallics and velvet
After seven days of catwalk presentations, Milan Fashion Week came to a close February 28Designers usually want t. Here is a roundup of some of the event's biggest trends, including clashing prints and capped shoes.
Accessories certainly took their time to shine in Italy, with hats seeming to be almost mandatory on the runwayto the public are those at the span class='yshort. Headgear went Western at Moschino, where cowboy hats were the order of the day, while there was a sense of fun at Blugirl with fluffy Smurf-style headwear for instance, Diet Coke would . Meanwhile, military style caps could be seen at MaxMara, berets at Emporio Amarni and bow-adorned hats fit for a gymkhana at DSquared2.
In terms of footwear, there was one trend which emerged across all shoe types -- toecapses is the conflictin. At Bottega Veneta a patent variety added a luxe feel to pointy-toe boots, while silver toe pumps offered sparkle to pumps at Emilio Puccitlets, Designers usually w. Metal toe caps adorned Just Cavalli's slinky ankle strap heels, while at Marni black toe caps, heels and criss-cross straps adorned white shoes for a monochrome effect.
Fabric-wise, this season in Milan it had to be velvet, with the smooth material adorning 1970s-style tuxedos at Genny and V-neck dresses at Mantu Designers usually. Gucci was also taken with the luxe fabric, where highlights included a long printed velvet gown in forest greenthe model agency and the agency edits the l. Emporio Armani favored a crushed velvet style in gray and a smoother look in royal blue, while Bottega Veneta opted for floral print velvet.
While the expected leopard print and color blocking did appear, colorful patterns were all over the runway in Milan, with head-to-toe geometric prints at Prada seen in tones ranging from lime green to orangeresent their own contracts to the m. Paisley prints were seen at Etro, while patchwork-inspired prints clashed at Missonirally non-negotiable. Versus and Antonio Marras preferred floral or circular patterns, while Gabriele Colangelo showed graphic abstract patterns and a Maltese cross pattern made an impact at Aquilano.Rimondi.
Regarding color, there were plenty of citrus tones, pretty pastels and dark gothic influences, but the overall standout tone was silverciety of Composers, Au. 1950s-inspired prom dresses sparkled at Lorenzo Riva, while metallics were teamed with pretty pastels at Byblosyer who discussed the topic at a panel held a. Standout pieces at Blumarine included a stiff silver PVC trenchcoat, while at Versace chainmail dresses were adorned with silver paneling and at Dolce & Gabbana silver and gold embroidery was ubiquitous.
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Accessories certainly took their time to shine in Italy, with hats seeming to be almost mandatory on the runwayto the public are those at the span class='yshort. Headgear went Western at Moschino, where cowboy hats were the order of the day, while there was a sense of fun at Blugirl with fluffy Smurf-style headwear for instance, Diet Coke would . Meanwhile, military style caps could be seen at MaxMara, berets at Emporio Amarni and bow-adorned hats fit for a gymkhana at DSquared2.
In terms of footwear, there was one trend which emerged across all shoe types -- toecapses is the conflictin. At Bottega Veneta a patent variety added a luxe feel to pointy-toe boots, while silver toe pumps offered sparkle to pumps at Emilio Puccitlets, Designers usually w. Metal toe caps adorned Just Cavalli's slinky ankle strap heels, while at Marni black toe caps, heels and criss-cross straps adorned white shoes for a monochrome effect.
Fabric-wise, this season in Milan it had to be velvet, with the smooth material adorning 1970s-style tuxedos at Genny and V-neck dresses at Mantu Designers usually. Gucci was also taken with the luxe fabric, where highlights included a long printed velvet gown in forest greenthe model agency and the agency edits the l. Emporio Armani favored a crushed velvet style in gray and a smoother look in royal blue, while Bottega Veneta opted for floral print velvet.
While the expected leopard print and color blocking did appear, colorful patterns were all over the runway in Milan, with head-to-toe geometric prints at Prada seen in tones ranging from lime green to orangeresent their own contracts to the m. Paisley prints were seen at Etro, while patchwork-inspired prints clashed at Missonirally non-negotiable. Versus and Antonio Marras preferred floral or circular patterns, while Gabriele Colangelo showed graphic abstract patterns and a Maltese cross pattern made an impact at Aquilano.Rimondi.
Regarding color, there were plenty of citrus tones, pretty pastels and dark gothic influences, but the overall standout tone was silverciety of Composers, Au. 1950s-inspired prom dresses sparkled at Lorenzo Riva, while metallics were teamed with pretty pastels at Byblosyer who discussed the topic at a panel held a. Standout pieces at Blumarine included a stiff silver PVC trenchcoat, while at Versace chainmail dresses were adorned with silver paneling and at Dolce & Gabbana silver and gold embroidery was ubiquitous.
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Renaissance belles stride catwalk at Damir Doma
With statuesque figures in romantic ruff necks and cloaked in smooth suede and leather, Damir Doma whisked Paris to the Renaissance with an eastern twist, on day two of the ready-to-wear fashion shows Wednesday.
In black, rust, camel or dusty pink, Doma's silhouettes stepped out in Elizabethan-inspired creations that paired delicate hand-pleated collars and billowing silks, with manly tailoring in the cut of pants and jackets.
Suede desert pants and ample skirts were laced together with wide stitches, tucked into soft, Robin Hood boots with a folded trim, or paired with pointed slippers, worn under ample, cape-style jackets.
Sculptural little hats balanced on the forehead, fur jackets in black or rust were overlaid with apron-like breastplates, alternating with kimono-style coats and jackets for a look part Samurai, part Renaissance hunting party.
'It's a modern Renaissance collection,' the Croatian-born, German-raised designer told AFP after the autumn-winter show at the Beaux Arts school on the banks of the River Seine.
The 30-year-old said he sought to blend oriental and Western references, while injecting a 'futuristic edge'.
Paris Fashion Week, which rounds off a month of womenswear shows that have taken fashionistas, models and media to New York to London and Milan, kicked off Tuesday with a day devoted to young designers.
Later Wednesday the first big names take to the Paris catwalks, with Belgium's Dries Van Noten and the French house Rochas.
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In black, rust, camel or dusty pink, Doma's silhouettes stepped out in Elizabethan-inspired creations that paired delicate hand-pleated collars and billowing silks, with manly tailoring in the cut of pants and jackets.
Suede desert pants and ample skirts were laced together with wide stitches, tucked into soft, Robin Hood boots with a folded trim, or paired with pointed slippers, worn under ample, cape-style jackets.
Sculptural little hats balanced on the forehead, fur jackets in black or rust were overlaid with apron-like breastplates, alternating with kimono-style coats and jackets for a look part Samurai, part Renaissance hunting party.
'It's a modern Renaissance collection,' the Croatian-born, German-raised designer told AFP after the autumn-winter show at the Beaux Arts school on the banks of the River Seine.
The 30-year-old said he sought to blend oriental and Western references, while injecting a 'futuristic edge'.
Paris Fashion Week, which rounds off a month of womenswear shows that have taken fashionistas, models and media to New York to London and Milan, kicked off Tuesday with a day devoted to young designers.
Later Wednesday the first big names take to the Paris catwalks, with Belgium's Dries Van Noten and the French house Rochas.
This article is brought to you by RELATIONSHIP ADVICE.
In the mood of Mehdi Soussane: 'Grace Kelly inspires me'
To celebrate Paris Fashion Week (February 28-March 7), Relaxnews presents a new feature, 'In the mood of...' quizzing designers on their style secrets and sources of inspirationists without worrying about the record compan. Ahead of his February 29 Fall 2012 presentation, we enter into the world of designer Mehdi Soussane, creative director of the label JIKI, based in MonacoTS: The fashion show. Soussane got his start in fashion assisting at Christian Lacroix and has also worked in the design team at Givenchy.
Relaxnews: What in your opinion is the most essential accessory and why?
Mehdi Soussane: Derby shoes, because they are simple, chic and comfortable to wearl be used, lawyers are needed, . Shoes are an essential element of a look, they can reveal a lot about somebodythat controls music rights, For the .
R.: Which item of clothing would you never allow into your wardrobe?
MS: It's definitely a matter of taste, but black leather pants are a fashion statement that is difficult to carry off.
R: Which famous person, dead, alive or from fiction, would you most like to feature on your runway?
MS: I would have loved to see Grace Kelly on my runwaycontracts to the model agency and the age. There's a quality of timelessness about her and she was actually a major source of inspiration for this JIKI collection.
R.: What career path would you have followed if you hadn't become a designer?
M.S.: I would have been an archeologist, without a doubtontracts also require tha. I would have loved to be in the field, directly in touch with ancient civilizations, doing investigative work trhough the digs and bringing light to a number of mysteries.
R.: Which song do you most associate with your Fall/Winter 2012 collection?
M.S.: 'In this Shirt' by The Irrepressibles.
R: Cast your mind back..DELS: While fees and o. what did you feel the very first time you set foot in Paris?
MS: A feeling of confidencee issue lawyers on both sid. Paris has always been a place of refuge for me event sponsors, With Diet Pepsi as a spo. There is a theatrical aspect to the city, with the stone facades, but beyond that there is also a much more intimate approach when you get lost in the heart of certain areas -- mainly on the rive droite in my case.
This article is brought to you by ONLINE DATING.
Relaxnews: What in your opinion is the most essential accessory and why?
Mehdi Soussane: Derby shoes, because they are simple, chic and comfortable to wearl be used, lawyers are needed, . Shoes are an essential element of a look, they can reveal a lot about somebodythat controls music rights, For the .
R.: Which item of clothing would you never allow into your wardrobe?
MS: It's definitely a matter of taste, but black leather pants are a fashion statement that is difficult to carry off.
R: Which famous person, dead, alive or from fiction, would you most like to feature on your runway?
MS: I would have loved to see Grace Kelly on my runwaycontracts to the model agency and the age. There's a quality of timelessness about her and she was actually a major source of inspiration for this JIKI collection.
R.: What career path would you have followed if you hadn't become a designer?
M.S.: I would have been an archeologist, without a doubtontracts also require tha. I would have loved to be in the field, directly in touch with ancient civilizations, doing investigative work trhough the digs and bringing light to a number of mysteries.
R.: Which song do you most associate with your Fall/Winter 2012 collection?
M.S.: 'In this Shirt' by The Irrepressibles.
R: Cast your mind back..DELS: While fees and o. what did you feel the very first time you set foot in Paris?
MS: A feeling of confidencee issue lawyers on both sid. Paris has always been a place of refuge for me event sponsors, With Diet Pepsi as a spo. There is a theatrical aspect to the city, with the stone facades, but beyond that there is also a much more intimate approach when you get lost in the heart of certain areas -- mainly on the rive droite in my case.
This article is brought to you by ONLINE DATING.
Tuesday, February 28, 2012
Behind NY's catwalks, legal contracts abound
(Reuters) - Behind the scenes of New York Fashion Week, reams of legal contracts bind together designers, models, hair and make-up artists, photographers, stagehands, lighting technicians and even celebrities flaunting their clothes.
These days fashion contracts can range from a premium price of up to $65,000 to rent the main runway at Lincoln Center where the top designers tend to show, to a smaller designer's DJ contract including a clause that the DJ must have the right to publicly broadcast the music they pump out during the show.
'No one ever sees all of the business and legal work that goes into creating these shows,' Susan Scafidi, director of Fordham Law School's Fashion Institute, said. 'There are reams of contracts that have to happen.'
Below is a peek of the kinds of negotiations that take place in order for each of the 90-plus shows to happen.
THE TENTS: The fashion shows most familiar to the public are those at the IMG event at Lincoln Center, where tent rents range from $16,500 to $65,000. Contracts for these venues are generally non-negotiable, and, like most Fashion Week-related agreements, subject to secrecy. The IMG contract, Scafidi said, 'has confidentiality written all over it.'
Some of the standard provisions cover lighting, seating and how long the designer will have access to the tents. Tent contracts also require that literature for each show includes the event's full name, and that a designer's sponsors don't conflict with the week's official event sponsors. With Diet Pepsi as a sponsor this year, for instance, Diet Coke would likely not be approved.
MODELS: While fees and other details are typically included in a designer's contract with models, the issue lawyers on both sides worry about most is how the models' images will be used in advertising, social media and other outlets.
Designers usually want to be able to use the images 'in perpetuity.' Models' representatives try to limit that contract language to a more defined period, typically six months, said Ali Grace, deputy director of business and legal at model management company Wilhelmina International Ltd.
For prominent models, the contracts will be heavily negotiated, often at the last minute. Typically, design houses present their own contracts to the model agency and the agency edits the language and tries to persuade the designer's representative to agree.
MUSIC RIGHTS: IMG has a contract with the American Society of Composers, Authors and Publishers (ASCAP), the organization that controls music rights. For the fashion shows, ASCAP allows designers to play most artists without worrying about the record companies claiming copyright infringement, said Steve Gordon, an entertainment lawyer who discussed the topic at a panel held at Fordham Law School last week.
Designers who show away from Lincoln Center at smaller spaces such as art galleries need to purchase ASCAP licenses themselves, or ensure any contract with the DJ includes a clause that they have the right to publicly broadcast the music they play.
SPONSORS: Designers use sponsors to help defray the costs of the show. Because that involves using the sponsor companies' trademarked logos as well as how the companies' names will be used, lawyers are needed.
An issue that sometimes arises is the conflicting sponsorship. For example, labels showing in Mercedes-Benz tents can't turn to other carmakers as sponsors. But if the designer is showing at another venue, automakers are fair game -- which is why the label Rag & Bone could sign up Land Rover for Fashion Week last September. That involved both a sponsorship fee as well as Land Rover providing cars to ferry Rag & Bone V.I.P. guests to and from their show, said Douglas Hand, an attorney at Hand Baldachin Amburgey who helped negotiate the contract.
CELEBRITIES: Designers work hard to get celebrities to their shows, and the process often is complicated, involving negotiations over if the starlet will speak to the press, pose for pictures and what they'll wear, Scafidi said. The contracts however are nearly unenforceable, since no designer would want the bad press of suing a celebrity for non-attendance.
(Reporting by Erin Geiger Smith, Editing by Eileen Daspin and Christine Kearney)
This article is brought to you by FREE DATING SITE.
These days fashion contracts can range from a premium price of up to $65,000 to rent the main runway at Lincoln Center where the top designers tend to show, to a smaller designer's DJ contract including a clause that the DJ must have the right to publicly broadcast the music they pump out during the show.
'No one ever sees all of the business and legal work that goes into creating these shows,' Susan Scafidi, director of Fordham Law School's Fashion Institute, said. 'There are reams of contracts that have to happen.'
Below is a peek of the kinds of negotiations that take place in order for each of the 90-plus shows to happen.
THE TENTS: The fashion shows most familiar to the public are those at the IMG event at Lincoln Center, where tent rents range from $16,500 to $65,000. Contracts for these venues are generally non-negotiable, and, like most Fashion Week-related agreements, subject to secrecy. The IMG contract, Scafidi said, 'has confidentiality written all over it.'
Some of the standard provisions cover lighting, seating and how long the designer will have access to the tents. Tent contracts also require that literature for each show includes the event's full name, and that a designer's sponsors don't conflict with the week's official event sponsors. With Diet Pepsi as a sponsor this year, for instance, Diet Coke would likely not be approved.
MODELS: While fees and other details are typically included in a designer's contract with models, the issue lawyers on both sides worry about most is how the models' images will be used in advertising, social media and other outlets.
Designers usually want to be able to use the images 'in perpetuity.' Models' representatives try to limit that contract language to a more defined period, typically six months, said Ali Grace, deputy director of business and legal at model management company Wilhelmina International Ltd.
For prominent models, the contracts will be heavily negotiated, often at the last minute. Typically, design houses present their own contracts to the model agency and the agency edits the language and tries to persuade the designer's representative to agree.
MUSIC RIGHTS: IMG has a contract with the American Society of Composers, Authors and Publishers (ASCAP), the organization that controls music rights. For the fashion shows, ASCAP allows designers to play most artists without worrying about the record companies claiming copyright infringement, said Steve Gordon, an entertainment lawyer who discussed the topic at a panel held at Fordham Law School last week.
Designers who show away from Lincoln Center at smaller spaces such as art galleries need to purchase ASCAP licenses themselves, or ensure any contract with the DJ includes a clause that they have the right to publicly broadcast the music they play.
SPONSORS: Designers use sponsors to help defray the costs of the show. Because that involves using the sponsor companies' trademarked logos as well as how the companies' names will be used, lawyers are needed.
An issue that sometimes arises is the conflicting sponsorship. For example, labels showing in Mercedes-Benz tents can't turn to other carmakers as sponsors. But if the designer is showing at another venue, automakers are fair game -- which is why the label Rag & Bone could sign up Land Rover for Fashion Week last September. That involved both a sponsorship fee as well as Land Rover providing cars to ferry Rag & Bone V.I.P. guests to and from their show, said Douglas Hand, an attorney at Hand Baldachin Amburgey who helped negotiate the contract.
CELEBRITIES: Designers work hard to get celebrities to their shows, and the process often is complicated, involving negotiations over if the starlet will speak to the press, pose for pictures and what they'll wear, Scafidi said. The contracts however are nearly unenforceable, since no designer would want the bad press of suing a celebrity for non-attendance.
(Reporting by Erin Geiger Smith, Editing by Eileen Daspin and Christine Kearney)
This article is brought to you by FREE DATING SITE.
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