“There are people who work in fashion because they look fashionable, but then there are people in fashion because, even if they had to spend the rest of their lives wearing only a pajama, they’d be thinking about what other people would be wearing.”—Sally Singer. Read the rest of her interview here.
“Dior Couture” (Rizzoli), by the photographer Patrick Demarchelier, is far and away the most gorgeous book on the house, established by Christian Dior shortly after the end of World War II. It’s not a complete record; Mr. Demarchelier, working closely with Dior, shows roughly 150 dresses, suits and coats, all of them made in the Dior ateliers from 1947 to 2011, and preserved in the archives. Obviously that’s a fraction of Dior’s output.
What Mr. Demarchelier offers is a personal view of fashion from a great Paris house. The opening shot, made originally for American Vogue, shows members of the Dior ateliers assembled in front of the house, at 30 avenue Montaigne. A portrait of men and women in lab coats with tape measures around their necks and perhaps pin cushions on their wrists, it expresses the technical side of dressmaking.
Style.com tells us what Humberto is giving Carol and Jerome Dreyfuss is giving Isabel Marant. It’s like a secret santa for the fashion industry. But, it actually didn’t give me any gift ideas (like InStyle’s December Issue did)….because I just can’t pull things like a trip to Nepal out of my ass.
She’s probably the reason why you love all the Teen Vogue editorials. The native New Yorker, Havana Laffitte, is not afraid to mix textures, shapes and prints while keeping the beauty of the model from being overpowered. What I love most about her is that she likes to have fun with editorials and it shows through her work.
I first became drawn to her name after I fell in love with an editorial in i-D magazine last winter while I was doing a project for a class I was taking at Central Saint Martins. But, her work has been catching the eyes of magazine readers and fashion people way before then.
She has been contributing to i-D magazine since the mid-90s, along with other magazines such as Spin, Numéro, Flair and The Face. She made Nylon a hot commodity when she became the fashion director in 1999, then moved to London to become the senior fashion editor at Nova magazine. Today, she is a contributing stylist and editor at Teen Vogue, Flair and i-D magazine. She has styled runway shows for Peter Som and Erin Fetherson. She also does advertising for Barney’s New York and Kate Spade.
“I think one just has to remain focused on what you do. Maybe there’s some bumps along the way. Some things are great. Some things are a disaster. But you just can’t concern yourself with what everybody else is doing.”— Anna Wintour (via whitneyjenai)
Leaving French Vogue was a good move for Carine Roitfeld. She’s become less of an editor and more of a brand. Her face has been everywhere from being featured in a Barney’s ad campaign (with her perfect family, might I add) and taking on the role as their window and catalogue stylist to her new book Irreverent released just last month.
Now what’s Roitfeld up to?
Oh, just gracing the cover of i-D’s Dreams and Aspirations issue and becoming the face of Barney’s. Smart move, Amanda Brooks.
In this short documentary for Barney’s our dreams come true. We get to follow Carine around and see her fabulous apartment while she schmoozes with fashion people like designer Rick Owen and Purple editor Olivier Zahm. We also get to here her talk about her life as a mother and working in fashion, she spits out a few quotable phrases like: “People are more important than the clothes. Clothes are just a nice envelope, but what’s more important the letter inside the envelope.”