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The StyleForum Runway & High Fashion Thread - Page 22

post #316 of 1188
thanks for the info urth!
post #317 of 1188
Spring/Summer 2013-2014 cometh! Full schedule at the link. Anyone going?

Definitely share the article once you can urth, would be much appreciated smile.gif.
post #318 of 1188

Argh. Just spent thirty minutes compiling a Philo's Céline best of and Huddler crashed my browser. censored.gif


Will post up the article as soon as I manage to reduce the number of overwrought sentences masking banal thoughts to a bareable level.

post #319 of 1188
post #320 of 1188
Originally Posted by Ivwri View Post

That issue of Fantastic Man was the first fashion mag I had picked up in a looooong time. Was horrified by that pic, especially when I saw people reblogging it on tumblr and gushing over it and the rest of the pics from that photoshoot. Horrible. Feel sad that I missed the period of Raf that really struck my fancy design-wise...I love how Hapsical is ride or die though.
On the stylist issue I actually thought that the styling would usually come from an in-house stylist not someone third party. I guess that is naive, but I guess it's like hiring photographers and art directors. They come in and bring their professionalism and knowledge and use it to interpret the designer's vision for that collection. They also seem to be responsible for making this whole fashion business more obtuse than it needs to be a lot of the time for non-hobbyists. A lot of people I know believe that most of the clothes they see on the runway never make it to production and that you have to have special connections to pick up pieces shown there. Is that successful styling? Surely as much as fashion can be an artistic and intellectually satisfying experience it is also a commercial one? Some of these stylists remind me of advertising agencies and graphic/web designers that began making more and more obtuse ads and other content that only made sense to others "in the know". Made for great awards shows, but ultimately alienated the potential consumers they were selling to.
Was having a conversation with my sister-in-law about fashion as she is interested in expanding her knowledge (and wardrobe) of designers and when she saw Rick shows she liked some pieces but thought it would be too much for her. After she browsed some online stores her opinion of the brand changed completely and she said that Rick's clothing looked a lot more interesting and wearable for her now she is going to check it out in brick & mortar stores. Same thing with Phoebe Philo's Celine collections which she liked in the stores when she saw them and didn't even know who Phoebe Philo was. When she saw the runway shows she felt unmoved and even alienated by them.
Speaking of which, anyone willing to do a Phoebe Philo rundown on here? Really liking some of her stuff and aesthetic.

I think in some cases, more than knowledge stylists bring their own vision to the table and the whole can become more than the sum of its parts, the work of Melanie Ward at Helmut Lang comes to mind for example, although I'll admit that's not exactly the same thing and a far cry from the freelance stylist phenomenon discussed in the articles. I do agree that it can make to whole thing a bit obtuse to the outside but that's probably more due to the incestuous dynamics of the fashion world.

There's a pretty long feature on Philo in the first issue of The Gentlewoman (haven't read it though), not sure if it's available online... The Chloé stuff was definitely more frilly and vintage-y looking compared to what she's been doing at Céline (minimalism x sportswear x color blocking), the last fall collections were the ones I liked the more (2004 and 2005 I think ? ). Everything Céline 2011 was really nice, didn't feel fall 2012 so much...

That whole Raf spread was terrible, must've been an in-joke between Raf and Willy Vanderperre

please consider exhbit B

457 263

How is Fantastic Man generally speaking though ?

Originally Posted by Urthwhyte View Post

I've always thought of it a bit like product development and engineering (I guess because that's what I know). You have one set of people come up with the ideas, determine how it's going to work, the next set implements it, and then a third makes it pretty, and the final set gets it to market. Most stuff follows that model nowadays

Kind of, except that since fashion is a visual medium first and foremost the boundaries between the one that comes up with the idea and the one that makes it pretty can get a bit tenuous.
post #321 of 1188
post #322 of 1188
So awesome. But it'd be good to point out that *jet pack not included.
post #323 of 1188
Chalayan needs to get on that fully functional jetpack business
post #324 of 1188

While I was looking for the Gentlewoman article sipang mentioned online I came across this from the NYT. Not bad.


Comme as you Are is also excellent.

post #325 of 1188
philophiles inlove.gif
post #326 of 1188
yeah I found that one but I don't think The Gentlewoman one is available, couldn't find any scans of the text either only the picturz

More like Philomaniacs
post #327 of 1188
nvm, got it

"New biannual magazine for women - The Gentlewoman launches this month . . . We've chatted to Penny Martin, editor in chief, to find out the story behind the mag, sister title to hugely popular menswear title, FANTASTIC MAN.

"It feels like we’re at a moment in fashion where a certain kind of brash flash sparkly era seems to be on its way out and the designers everyone's raving about are more minimal, and very, very grown up. Tell us the story of Celine, Phoebe Philo and Issue 1 of The Gentlewoman . . .
(Background: Penny went to interview Phoebe in 2005, while she was the head of Chloe, whose profits were soaring under her leadership. Penny’s angle was supposed to be ‘fantastic career woman, mother to a young baby, lovely husband, having it all, the sweet smell of success . . . and so on’ but she found Philo exhausted, and unsure of her ability to carry on at the pace of high fashion with a little baby too. Soon afterwards she left Chloe and took several years out of the biz spending time with her children and freelancing a tiny bit). Penny picks up the story in 2010 . . .
“Right from when we were putting ideas together for the launch issue we knew we wanted to talk to Phoebe, but she wasn’t doing many interviews about her new role at Celine. Then when she heard about The Gentlewoman, and about our concept she said she wanted to be involved. And, since I did her last interview at Chloe, she requested that I go and meet her to talk about Celine”.

So it started to come together . . .
“Yes, but it wasn’t till Jop [Creative Director Jop Van Bennekom] and I went to her show (SS10 - Phoebe’s inaugural one as head designer of Celine) that we realised how great it was going to be. That collection! We were on such a high we pretty much cartwheeled out of there! Then we started getting so excited about layout and magazine design based on the modernist feel of Phoebe’s designs. It started to influence our choices for the other people we wanted to feature – it was the collection that changed everything."

editorial (Click to show)
David Sims / Camilla Nickerson





article (Click to show)
By PENNY MARTIN The Gentlewoman #1 spring/summer 2010

One might wonder at the thoughts crossing LVMH CEO Bernard Arnault's mind as he sat on a bench in a disused office space last October, clutching an anthology of grainy images that had more in common with a copy of Penthouse from the 1970s than a glossy brochure for Celine - the last bastion of the bourgeois French fashion plate. With not a press statement in sight, the stylish picture book was a gift for everyone there to witness Phoebe Philo's long-awaited debut runway show for Celine, the venerable house that for seven decades has dressed Parisian matriarchs who couldn't quite stretch to Chanel but still had a penchant for boucle tweed and a gilt button. In what was almost a memorial service to the legacy of BCBG, both book and collection demonstrated that the brand's future would be replete with beautiful, powerful and, above all, ultra-modern women.
"I surround myself with images for their emotional qualities," says Phoebe when I meet her at the recently restored Georgian townhouse in Cavendish Square that Celine has made its Lodon headquarters. "I get an energy from their tenderness, strength and glamour that I'm very responsive to." It is the Friday before a big collection deadline so members of Phoebe's team are adding finishing touches to fabric research in the studios downstairs. The contemporary artwork decorating the oval staircase up to Phoebe's office certainly hints at this emotional sensibility. While a vast seascape by the French photographer Marine Hugonnier brings meditative calm to the busy lobby, Brit artists Tim noble and Sue Webster's Forever light piece sparkles romantically in the austere hallway above. Perhaps most touching of all, standing on a plinth by the designer's desk is a darling white figurine of the sculptor don brown's wife, Yoko. Her slender, childlike form is dressed in little more than a pair of chunky wedges. They're not unlike the substantial, clog-like footwear that was Phoebe's trademark during her tenure at Chloe, come to think of it, or the wooden-soled platforms that marched down the runway for Celine.
The specific pictures Phoebe is referring to, however, are those pinned to the giant mood boards that line her office wall, and which formed the basis of the catalogue given out at the show. From an extraordinary mid-'70s image of Cher attired in a constellation of Bob Mackie feathers and bugle beads and energetic reportage shots of naked '60s festival revellers, to punchy David Sims/Melanie Ward editorial dating from the early '90s, these pictures were culled from a personal collection of tear sheets she has benn amassing since the age of 13. With which, incidentally, she has plastered the walls of her bathroom at home in the leafy Brondesbury district of North West London. "What you're seeing in the book is my universe. By putting it on a seat at the show, I didn't want it to be at all promotional," she explains in the soft, slightly cautious tones of someone who wants to be open and understood while also being mindful of her new position. "The only reference to Celine is a photo took of the new logotype."
Phoebe's voice is characterised by long vowels and the occasional glottal stop in place of a "t" that endearingly gives away her North London upbringing. The metropolitan accent is in slight contrast to the classicism of her looks: the swooping hollow under her cheekbones, the pointed arch of her eyebrows and the ravishing widow's peak that gives her heart-shaped face a dashing "principal boy" air. Huddling under a very precise, knee-length camel coat from her first pre-spring collection for Celine, the 36-year-old designer is wearing a sage cashmere sweater, slim jeans and a pair of black "tabi" Margiela ankle-boots. Her sole adornments are a tasteful pair of gold stud earrings and fine gold double wedding bands. But for the fact that Phoebe goes without socks on a chilly day, the cloven toes and spindly stiletto heels of the boots are the only clues to her fashion provenance. from the ankles up, she could just as well be a very chic curator or a glamorous academic.
"Some of the images are iconic," she continues, thumbing a spread of an incandescently sexy, young Charlotte Rampling. "Others are random: pictures of animals, pages from Sunday supplements. Someone said the book looked very autobiographical, and I guess it is nostalgic - my being born in '73. Or familiar: it reminds me of my mum."

In an economic climate calling for pragmatic clothes for working women, it is perhaps unsurprising that the new crop of - principally British, 30-something - designers exerting the most impact upon fashion are surrently reinverigating the period of their childhood. For it was of course the 1970s when the notion of women "having it all" - the family and the job - was a hotly contested topic at middle-class dinner tables in Northern Europe. Hence the focus on believable daywear, the sturdy fabrics and sympathetic cutting and, above all, the charmingly frumpy palette of camel, khaki and beige. Each of these elements of early '70s dressing were notable in the Spring/Summer 2010 presentations by Stuart Vevers for Loewe, Hannah McGibbon at Chloe and Phoebe Philo for Celine.
On one hand, Phoebe refers to her luxuriously utilitarian collection as "a wardrobe, a practical ABC of clothes" - an understatement that is made explicit in Juergen Teller's inspired devertising campaign, which rejects the celebrity model in favour of prosaic close-ups of the garments. Yet Phoebe has deeper associations with the 1970s lifestyle from which the Celine aesthetic emanates. "The image I have of my mother at that time;she seemed to have a freedom that i think we long for now, a lack of the pressure that there is today. Life was much simpler." Phoebe seems to become aware that her observations might be painting an over-simplified idyll of stay-at-homem Stepford Momdom because she quickly reminds me that her mother, Celia, had a career in the decidedly blokey field of deigning music packaging. She famously created the LP cover of David Bowie's Aladdin Sane. "My mum did work as a graphic designer, but it was in a more freelance way that fitted around having a family. From my point of view now, nothing felt like a rush. She didn't learn to drive until I was five, so there was lots of walking, with my little brother in the buggy."
Crucially for Phoebe, her mother's family-centred itinerary was allied to an identifiable uniform, one with a silhouette that should be recognisable to the legions of young women nicknamed "the Philophiles" who so adored the nipped-in shoulders of Phoebe's tailored jackets and the ease of her boyish pants at Chloe. "She wore very practical clothes and had the same pieces for ten years. Things that lasted: a plimsoll with a lovely, washed-out old wide-leg jean and a little tight T-shirt," recalls Phoebe. "They didn't have much money at that stage so didn't consume much."
How, I wonder, does that memory of stylish frugality square with the current prices of Celine? The jacket draped over Phoebe's shoulders is currently retailing at 2000euros in the Selfridges department store situated four blocks along the road frome the Celine building.
It's expensive.
"It's expensive," she echoes in areement, wincing at the paradox.
Is it worth it?
"I hope so," she says sincerely, pulling the thick cashmere closer to her body by its lapels. The workmanship of the redoubtable Caruso factory in Florence now manufacturing Celine's tailoring is evident in the precision of the beautifully finished seams inside. "They're well made and the fabrics are beautiful. So I believe they will last, as an investment. They're sounding less like a presciption for modern dressing and more a formula for modern living, it should be remembered that these are the words of a woman who in the past ten years has gone from being Stella McCartney's Girl Friday to a spokesperson for her generation.
I remind Phoebe of the first time that I met her. In November 2005, I was despatched to interview her on behalf of a Japanese magazine. My brief was partly to celebrate the skyrocketing sales figures at Chloe, where she had been creative director since 2001. Revenue from her girlish, pin-tucked baby-doll dresses and heavy leather accessories had increased 60% in the previous year alone. But I was instructed mainly to focus on her lovely home life with her husband, the terribly handsome and debonair art dealer Max Wigram, and their new baby Maya Celia Sally (who is named after African-American poet Maya Angelou and Phoebe and Max's respective mothers). "Up, up, up,!" were the words of my commissioning editor.
What I got on tape instead taht day were the remote responses of a shell-shocked young mother who was clearly finding balancing the demands of work with her family almost unbearable. Though she had successfully negotiated with Chloe to work from a studio in London to minimise the punishing commute to Paris that was eventually cited as her reason for leaving, our discussion was dominated by her frustrations over being regarded as inseparable from the brand and her feelings of being a commodity. "There is Chloe and there is me," she emphasised. "I am not just Chloe." Phoebe herself looked as winsome and dainty as she didi in the pictures I had seen. But she was somehow less ebullient than the rambunctious party girl with the fake nails and the great dance moves that I had read about.
"I wasn't living a true life," she says now of that period. "My life with Max cosisted of fitting a week's worth of conversations and everything taht goes on between a couple into two days:Saturday and Sunday. It felt manufactured and fake." It was to be the last interview Phoebe gave as creative director of the company before stepping down at the start of 2006. "Leaving Chloe felt like the most honest thing for me to do;for my integrity, my husband and my daughter."

In a confab between two married women in their 30s - one with children, the other without - one topic is unavoidable: what's it actually like, giving up work? Phoebe grins and leans foward, conspiratorially. "The first year felt just fabulous." Without deadlines, agendas or having to be anywhere at a given time, she did lots of the things she hadn't had time to do: catching up with friends, spending time with her husband and going to the country to ride. But didn't she experience a sence of loss, a fear that she'd never be able to return? Phoebe shakes her head, quizzically. "It might sound a bit unrealistic, but I honestly left with no plans to do anything. Maybe that would be it with me and fashion. My mum had adapted her career to suit so I think I was confident that I could, too, if need be."
Becoming pregnant for a second time, with her son Marlow, allowed Phoebe to experience pregnancy and birth without eventually having to return to work. For a time, she carried out consultancies at her home, most notably for GAP, but working form home lacked the dynamic and rigour of studio life. "That weird energy of kids in the background felt quite wrong," she remembers. "Within a couple of years, I started to want it back. I wanted that place to go." In addition to recapturing her creative autonomy, the other motivating factor was the issue of retaining her financial independence. "The one thing I have always had is my own income. I had a paper-round when I was 13," she smiles, enjoying the knowledge that slogging a sackload of tabloids around a housing estate in the middle of the night isn't perhaps the kind of work experience one might expect from the head of a luxury fashion label. "That feeling of being paid on a Saturday is important, empowering;the money was mine to do what I wanted with. It wasn't that Max couldn't afford to keep me but that I really don't like the idea of being a kept woman."

With Phoebe being the major breadwinner and her husband working as his own boss in the art world - arguably one of the most progressive fields when it comes to gender dynamics - was there no question that he might have been the one to stay at home to mind the children? "No. What Max is very good at, though, is taking time off. He's not as answerable to so many people as I am. If he returns from a big trip and is tired, he takes two or three days off to recover. That's unheard of in this industry." It is a life lesson Phoebe has taken on board for herself. She recognises that she occupies a privileged position.
"I have so many friends that are single - really intelligent women that are attractive in every single way - who are unable to commit to men. I worry that women are becoming so independent and dominant that they are losing any sense of softness or acceptance. I sometimes have to ask myself: "What do I want to be, right or happy?" Our expectations of men are becoming supersonic. These women expect someone that looks like Bred Pitt, with the brains and creativity of Lucian Freud, and they think these qualities will merge together into someone sho will love them and be totally accepting of all of their weaknesses. It's just not going to funking happen! The one thing I learnt from my mother, who is lucky to still be with the love of her life, is just not to ask for too much."

That said, Phoebe has asked for and attained a great deal for a 36-year-old. Think of her critical acclaim, her business acumen, her status as a role model for young women and the fact that after 14 years in fashion, the press still love her. In comparison with her friends' unrealistic expectations of the perfect catch, the dogged, unconditional support of a real, ordinary man isn't something she has merely settled for.
"He's a really strong man, Max," says Phoebe. "And I really love him and I think he really loves me and I really trust him. I know he wants the best for me and he's very gentle with me when I am feeling insecure and scared. He's very reassuring..." Embarrassed that she's divulged more than she meant to, Phoebe adjusts her tone. "I mean, he can be a complete wanker as well!"

It is unusual to hear a successful designer discussing the anxiety and fearfulness that inevitably accompany the relentless schedule and media intrusuion that is their daily life. But not unheard of. When Tom Ford admitted to suffering depression after leaving Gucci that the designer's candour did nothing to diminish his myth. for Phoebe, it only makes her - and her exclusive brand - easier to identify with. "I have massive fear around work," she says. "I definitely experience anxiety and I can be fearful." Phoebe states that she has tried everything from presciption drugs to therapy to help her combat work-related stress but ultimately she finds meditation the most helpful. She leads me over to the large sash window behind her desk. "All I have to do is take five minutes, look at the sky, and think about the bigger picture, not the very little picture that I'm involved in at that moment. I imagine the world and not me in a room with a bunch of clothes." Phoebe pauses. "It sounds very annoying." She switches the conversation to her love of junk food and the fact that a bucket of KFC would be her deathrow meal. "Not very Celine," we both agree.
But what exactly is Celine?
When Bernard Arnault announced in September 2008 that Phoebe would be returning to fashion to redefine the moribund brand, it was universally acknowledged that she had her work cut out for her. Founded by Celine Vipiana in 1945 as a children's footwear supplier, and perceived as a wannabe competitor to Chanel, the brand has enjoyed pockets of success - most recently Michael Kors' seven years of designing for the brand, from 1997-2004 - but it subsequently foundered under a succession of unsuccessful replacements. Phoebe nust have had qualms when the job came up. "I think it's probably best we don't put my first thoughts down in print," she hoots, covering her face with her hands. But in the event, the brand's lack of design interesting project. Celine doesn't have a history of an iconic designer or much of an archive. It can be difficult for designers to step into someone else's shoes. But for me, Celine was a clean slate."
Phoebe means this quite literally. Rather than stealthily integrating the new disigns into the existing Celine stock, she reputedly ditched every last gold-chain handbag in a dramatic overnight cleanout last November.
Now the company's 100 shops worldwide are filled with chic, graphic clothing that fuse the luxury materials and high-quality manufacturing available at Celine with the urban touches Phoebe was loved for in her previous jobs. In a standout look from the spring show, a sharp black leather T-shirt was teamed with a short, A-line skirt in linen canvas, the edges of its hem and central pleat outlined with a slick of black calfskin. the sumptuous leathers for which Celine is known were also present in a glorious arry of accessories - the low-key bags are a canny nod to shifting tastes - but the initial priority was getting the apparel just right, as Phoebe herself would wear it. "I feel like I design things for right now," she says. "The anchor of my kind of classicism and then the more fanciful things around it are what make my collections personal, different from those of other designers."

Today, a purposeful, more grounded Phoebe is also using this fresh start at Celine as an opportunity to build the ideal company structure, one that will allow her to protect her quality of life whilst the brand continues to flourish around her. She tells me that in the various discussions preceding her eventual decision to commit to the company, her being based in Lodon was always "non-negotiable". And this time, not everything will rest on her being in the studio until all hours. Though the clothes and the corporate communications bear Phoebe's unmistakable personal touch, she is insistent that they are the work of a senior and experienced team of inernational designers that will help her carry the can. "The days of me staying until eleven o'clock are no longer. I've come back to work with the strong belief that it is possible to be a mother and to do this job." And as ever, Phoeve is the vest model for her own designs. From the woman who famously said that she refused to design a three-legged trouser, her pragmatism is always at the force. "There are lots of things I've done for Celine that I would personally buy, and I can put myself into looks from the collection. But I'm not everything to the brand and I quite like that." She may hold the secret to modern dressing and have modern living down to a fine art, but what Phoebe has learnt is that having it all doesn't necessarily mean doing it all yourself.
post #328 of 1188
Originally Posted by snowmanxl View Post

philophiles Phoebe Philo inlove.gif

fixed that for me biggrin.gif
post #329 of 1188
Originally Posted by snowmanxl View Post

sipang inlove.gif


saved the thread.

post #330 of 1188
more hi-fashion content for yall

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