PARIS, FRANCE – MARCH 04: A model walks the runway at the Haider Ackermann Autumn Winter 2017 fashion show during Paris Fashion Week on March 4, 2017 in Paris, France. (Photo by Catwalking/Getty Images)
There’s a belief in Japan, called wabi sabi, that the smallest flaw, crack or imperfection only adds to the beauty and uniqueness of an object. Haider Ackermann must be a devoted student. In one of the most beautifully diverse runways, Haider Ackermann quietly yet effectively proved the power of a tuxedo and precision tailoring featuring a single graphic line that looked like cracks.
He gave himself a strict palette to work within – black an white, with a shot of electric blue and metallic details. Ackermann wanted to be graceful, and on the whole he succeeded with a collection that had a sense of something simmering under the surface. A Liberated Haider Ackerman.
It was the moment when New York became the apex of fashion, art and music. It was May 2, 1977 at Studio 54 – Ian Schrager and Steve Rubell’s new club that Bianca Jagger rode into on a white horse to celebrate her 30th birthday. The moment was captured by noted fashion photographer Rose Hartman and the image eventually became a legend.
Bianca Jagger cemented her status as a style icon during the ’70s in looks that still continue to inspire us to this day. The It Girl of the decade, Jagger’s glam look ranged from sleek menswear suiting to disco fashion fit for dancing the night away.
After it makes it mark on the NYFW runways, we explore how Lynch’s road movie is his most stylish.
This month London’s Institute of Contemporary Arts is celebrating one of cinema’s most beloved surrealists. From sliced eyeballs to women having mud slung at them, the dark imagery of Luis Buñuel’s work troubled the lines of taste, blending the blasphemous or straight up banal with deviant sexuality. No more so was this true than in his 1967 film Belle de Jour, where iconic beauty Catherine Deneuve plays Séverine, bored housewife and sexual masochist who takes a job working afternoons at a brothel to satisfy the darker desires left unfulfilled by her picture perfect marriage. Her costumes, key in the creation of her character, were designed by Yves Saint Laurent, marking out the start of a long relationship between the pair.
Neat, stylish and even borderline prim, Séverine’s outfits are the pinnacle of feminine, Parisian taste – there are none of YSL’s famous Le Smoking suits here. From the ski resort (where she’s in knitwear, with precisely rolled cuffs) to the tennis court (pristine whites, complete with a girlish headband) and even the home (a bubblegum pink dressing gown) her wardrobe speaks of a bourgeois domestication, finished off with neat blonde hair and perfectly applied make up. In one scene shortly after she first arrives in the brothel, she wears a shapeless beige creation, which strangely enough is quickly admired by her new co-workers, the contrast between her buttoned up good taste and their lacy lingerie a visual virgin/whore parallel – until they help shed her bourgeois skin by stripping her to her underwear, undressing her not only of her clothes but also of any remaining sexual propriety. After all, Saint Laurent (according to longterm partner Pierre Bergé) was himself in possession of a “contempt for all that is bourgeois” – making his consciously proper clothing a perfect fit for the film.
Belle de Jour remains to be a film decades before its time, especially when it comes to female sexuality (really, it’s only let down by the implications that our heroine’s lusts are the results of childhood abuse). Saint Laurent and Deneuve became close friends, and the designer would go on to create costumes for several of her later films, from New Wave director Francois Truffaut’s La Sirène du Mississipi (1969) to 1983 vampire flick The Hunger, where she starred opposite David Bowie. Deneuve became an icon of French fashion in her own right, starring in campaigns for Chanel and, more recently, Louis Vuitton. At his final, triumphant fashion farewell in 2002 before his retirement, she appeared on stage with the designer, clasping hands. They remained friends until his death in 2008.
The power of the fashion advertising campaign is not to be underestimated. While we may often leaf past them idly while thumbing through a magazine, there are some campaigns that have had a more serious impact over the years. Certain images are destined to define a particular mood, or to reflect a new idea, in a way that only truly iconic pictures could do, thanks to the creativity of some of the world’s most talented fashion insiders. Delve back through style history with us as we revisit some of the most influential fashion campaigns.
Patrick Demarchelier’s first campaign for Calvin Klein, after Bruce Weber’s long tenure shooting for the brand, would be an important debut. But the job only fell to Kate Moss after Klein’s first choice, Vanessa Paradis, turned it down. So it became Kate’s ticket to stardom, beginning a long and illustrious career that included eight years working with Klein.
Kate Moss for Calvin Klein, 1992 Photography by Patrick Demarchelier, Courtesy of Calvin Klein
Louise Pedersen for Gucci S/S03 Photography by Mario Testino, Courtesy of Gucci
Never one to shy away from a scandal, Tom Ford again turned heads with his Gucci campaign for Spring 2003, styled by Carine Roitfeld and shot by Mario Testino, in which Louise Pedersen pulls down her blue knickers to reveal a Gucci G manicured carefully into her pubic hair. Ford later maintained in an interview with Tina Brown that he was personally responsible for the manicuring on set. “Why? Because we like to do things, we like to be in control,” he explained. “I even had to fill it in with an eyebrow pencil so that we could read it on camera.”
The legendary Jane Birkin is the free-spirited ’60s sex kitten whose casually eclectic chic, androgynous style has influenced generation after generation. She made us dream with her incomparable Parisian-meets-boyish style. Her approach to dressing was never ostenanious or overdone. Whether it was a metallic Glomesh dress or a pair of faded blue flares worn with a t-shirt and bare feet, Jane managed everything look perfectly appropriate. Her style is timeless; her choice of garments can be worn in any decade. She continues to inspire designers today with her minimalistic, elegant bohemian and Parisian style.
Van Gogh noted that Frans Hals painted with 27 shades of black. In terms of fashion, no wardrobe is complete without the black color.Every woman should own a simple elegant black dress. This opinion is staple since the 1920s,when Coco Chanel published a picture of a short, calf-length, straight dress decorated only by few diagonal lines. Vogue called it “Chanel’s Ford”. Later, in the 50s and 60s Audrey Hepburn was dressed by Givenchy in Breakfast at Tiffany’s in trousers and evening gowns all in black. Black was the color of the end of the twentieth century and its popularity goes from strength to strength. Designers such as Yohji Yamamoto, Helmund Lang, Nicole Farhi have black at the heart of their colors. After all, Black is an absence not a presence.
In the 1990s it was no longer the done thing to follow fashion slavishly, a share contrast to the highly a la mode 1970s and 1980s. The phobia of being undressed was finally completely displaced by the fear of overdressing. When the designers Yohji Yamamoto, Issaye Miyake and Rei Kawakubo, founder of Comme des Garcons, became the toast of Paris fashion week in the early 1980s, their relentlessly monochrome, asymmetric and intellectual vision of clothing was a revelation. Since the early 1990s the collections of Martin Margiela, Helmut Lang, Hussein Chalayan, Miuccia Prada and Raf Simons have emphasized simplicity of shape and realistic form, focused of aesthetics over function and employed repetitive structures and serial systems or progressions. The principles materialize in the designers’ interpretations of deconstruction fashion, defined by Barbara Vinken as the demonstration of constructedness.Today’s Minimalism movement in fashion continues its futuristic slant, with a stronger emphasis on geometric structures and artificiality. Where the old Minimalism sees the human body as a primary structure, it has now become a network of fractured places dissected by lines. There is also a stronger focus on the creation of futuristic beings, or cyborg lookalikes, inhibiting a post-gender world, continuing the conversation of removing gender out of clothing. Aesthetic still trumps function, but with an emphasis on fluidity and simplicity over intricacies.