What’s my line? Yves Saint Laurent
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Monthly Archives: May 2009
YSL prefall 2009
From FW08 on, fashion people expect a lot from Stefano Pilati chez Yves Saint Laurent, I still enjoy watching that show, it was such a career benchmark for him to top. And when first seeing his cruise 09 collection I thought: ‘hmmm… okaaaay.’ Then a while later, I looked it up again, there are in fact many interesting ‘THINGS’ to be discovered, the collection is very happening actually, which:
- is extremely wearable as a pre-collection is supposed to/should be;
- is the ultimate modern fashionable working girls’ wardrobe;
- strikes a very good balance between day ‘n night;
- has all the fashion elements: cinch’d waistline ‘n flare hem à la modern Alaïa;
- included some good investment pieces that can stand the test of time;
- easy, chic and elegant enough for any given woman at any age and manage to make them all look younger – RATHER YOUNG actually!!!
- has just enough animal prints and use of precious skin pieces to echo Saint Laurent
I think the latest 2009/10 Edition 24 was light, timeless and seasonless, full of surprises. It didn’t get trapped by the idea of 24/7 blah blah; the upcoming prefall 09/10 is just as practical and modern.
YSL prefall 2009/10
IMO, Pilati is one of the strongest designers today. He really takes YSL to the 21th century without too much superficial gimmick. Some still don’t like his twisted YSL mentality, having his Prada subversive training background is a big plus, and he’s done well. Both Yves Saint Laurent 2009/10 Edtion24 and prefall collection are now online.
Fashion Movies
I’ve been following <The Hills> and <The City> lately (yes, don’t judge), and have ambiguous feeling about the product placement/collaboration in TV shows. I mean all those Chanel handbag with gianormous interlocking CC are there for sheer commercial p.o.v., the gesture is no difference from sending stars the seasonal handbag for free, wishing them to use day-in day-out in order to maximize exposure and reach wider audience; rather vulgar. It triggered to think of the last fashion movie I watch in Hollywood cinematheque; which could well be <The Thomas Crown Affair> from 10 years ago, I believe; or maybe the amusing <Le Divorce>, a comedy about French and Hermès ‘Kelly’ by Merchant Ivory. Well, <Marie Antoinette> by Sofia Coppola is one in its own right, IMO.
When I say fashion movie, I don’t mean the subject or story line like <Signé Chanel> or <The Devil wears Prada> respectively, or <SATC: the movie> for that matter. I actually mean movie with fashion being taken as dominant costume like the good old Audrey Hepburn movies, in Givenchy or/and Edith Head combo, or Paco Rabanne even (in <Two for the Road>); not to forget Catherine Deneuve in Saint Laurent from <Belle du Jour>(1967) to <Place Vendôme>(2000) along the way – of course. No doubt, the genuine mutual friendship collaboration between fashion and actress is missing in Hollywood films industry nowadays, except on red carpet. Saying that, I still find it in French movies. From Audrey Tautou who wore lots of Azzaro in <Priceless> (Fr: <Hors de Prix>/2006), to former Dior Homme model Gaspard Ulliel serving the label loyally in both <Paris, je t‘aime> and <De Dernier Jour>, in which his mother played by Nicole Garcia wore Balenciaga. The movie was directed by Rodolphe Marconi who also directed <Lagerfeld Confidential> later.
I believe many fashion lovers love watching fashion movie, it’s like seeing two beautiful dreams combine into one. I know a couple of fellow bloggers have been musing about <Dans Paris>(above) by Christophe Honoré, especially with the clips above. I watched the film few months back and liked it. In which, I believe Joanna Preiss, confidente of Nicolas Ghesquière, was entirely Balenciaga-clad throughout, from showpieces white long coat to all the knit and flare trousers from the capsule collection, and of course the gigantic orange ‘Weekender’. It’s not that difficult to spot them.
Although might not be my favourite film, but the chic clothes worn by Mathieu Amalric in <L’Histoire de Richard O> were rather early Pilati/YSL, I wonder if they’re in fact from the brand. Funny how Vanessa Seward of Azzaro actually took part as Julie Delpy’s designer friend ‘Vanessa’ in <2 Days in Paris>, did you notice?
Loulou de la Falaise on HSN
Knowing something you don’t want to believe is better than seeing it with your own flesh pair of eyes, because it really has this traumatize effect that lingers. Last year, I learnt that Loulou de la Falaise start selling on HSN in the US, my feeling was ambiguous… and worrying. Then we know she went on to help Oscar de la Renta designing haute jewelry, understandable, make sense and fitting. However, looking at her with her flat sandals w/ ankle strap for $59.9 (fashion week prix) and pointelle knit sweater for HSN prix $69.9, suede peep-toe ankle boots for $79.9 or purple and black fabric cord tassel necklace for $49.95 and so on…, all nicely designed with her personal style, but too affordable for ‘Loulou de la Falaise’ the brand at such H&M price point, non? French aura doesn’t come cheap, my dear.
OMG, why do you do that, Loulou? You are chic Parisian, the muse of Saint Laurent the Great. You can see her sighing and rolling her eye by 3.00 min, when the woman next to her talking non-stop, literally hard-selling every single tiny detail for the $59.90 1-inch heel sandal down to the refined gold trimming and to who?! At 4.30 mins, she oozed her haute bohème root naturally and lightheartedly so by suggesting to wear the sandals to Riviera, then “or to the grocery store! one can image, but more than likely, it’s more likely to go to the grocery store…” came straight from the host. It’s a bit painful to see Loulou doing all these, all I can say is: You can take Loulou out of Paris, but you can’t take Paris (or Riviera, for that matter) out of her.
Degrading or not? Your call. According to Loulou, she reinterprets the best-sellers from the Paris shop exclusively for HSN, “so they have a longer life” to share with American. If that’s the case, fair enough. I hope she doesn’t do it for money, but just to broaden her name and expose her creation to a wider target clientele in the Stateside via HSN. And it certainly works, judging by the count (if it’s real), the suede peep-toe ankle boots sold 406 pairs within 4.03 minutes. Come to think of it, she’s just doing what Kate Moss’s doing with TopShop, good designs at accessible price and at different platform to different audience and why not?
Domenico De Sole: ‘Stay the Course with the Brand’
Luxury Fashion Executive Domenico De Sole atlks at Knowledge at Wharton channel. If interested, here‘s another one of him talking alongside Swatch Group’s Nicolas Hayek at CEO Exchange.
All about The Met
In recent years, The Costume Institute’s party (aka the Met Gala) celebrated Chanel, Poiret, and then “Superheroes: Fashion and Fantasy.” (?!) last year; I was secretly hoping this year would be better. But it’s clearly not so much of a good show but drama instead …
MODELS ON STRIKE | The Met Gala has no doubt become a fashion industry’s Oscar show now. Titled “The Model as Muse: Embodying Fashion”, hosted by Marc Jacobs, Kate Moss and Justin Timberlake, despite being the subject, we see more Hollywood stars than models in the coverage. New designers escorted by new models in their gears has become the gala’s red carpet cliche, both newbies have no choice but to support. Very unfortunately and ironically so, none of “The Trinity” from the 90s show up: Linda Evangelista and Christy Turlington had announced their absence early on. Naomi Campbell originally planned to “outshimmer and outshine every mannequin in sight that night” along with Stephanie Seymour called off also. Some suggested this is an act pointing to hostess Kate Moss, but judging by the very close relationship between Christy, Kate, Naomi, Linda have with Marc Jacobs, they’d have shown up 
and supported. Then in line with Seymour and Campbell’s disapproval that afternoon, it’s got to do with complaints from the Paris designer Azzedine Alaïa that his work was not included in the exhibition. The omission from Campbell’s “Papa”- Mr. Alaïa was surprising given the close relationship he had with the models throughout their careers, and who had seven dresses prepared for models to attend the event, including for Seymour and Evangelista. Although denied for having any involvement in the exhibition, this is Anna’s party at the end, whose fuels with Alaïa for many years was well recorded.
THE POWER SHOW | Also, to take a deeper look, this is very much a LVMH show too, co-hosted by Marc Jacobs (who works for Vuitton and his company owned by the group), having groupies like John Galliano, Donna Karan in presence, and not a single Gucci Group designer/gown in sight – accept Stella McCartney, who dressed Liv tyler, Kate Bosworth and Kate Hudson. Fellow Karl Lagerfeld, Dolce and Gabbana, Michael Kors, the Fendis or the Missonis and many other international peers, Vogue editors mover and shakers etc pulled a no show due to hectic schedule, or cost cutting who knows. At the end this is a big bill event we’re talking about here: $250,000 for a prime table, plus entourage, flight ticket and accommodation.
Have they (i.e. The Met & Vogue US) ever thought about celebrating living designer like Diana Vreeland did for Saint Laurent in 1982? Azzedine Alaïa should indeed be put on top of the list, but we’re unlikely to see that happen as long as Anna’s in the reign. Until then … what about American fashion? Calvin Klein? or even the late Geoffrey Beene?
Maxime de la Falaise, RIP
Maxime de la Falaise (1922-2009)
Remembrance of things past – A beauty in her own right, Maxime de la Falaise passed away at home in Provence, France last Thursday, 30 April 2009. She was 86.
Ms. de la Falaise, an English beauty with dark hair and high cheekbones, was once a celebrated fashion model and muse for artists and designers of the mid-20th century such as Elsa Schiaparelli. Born to painter parents Sir Oswald Birley and Rhoda Vava Mary Lecky Pike, the family tree filled with successful artists, businesspeople, and academics, Maxime had it all combined and married to French count Alain de la Falaise only deepened her aristocratic air. She was for decades a trendsetter in London, Paris and New York society and worked with the world’s most eminent photographers and was a close associate of luminaries of fashion and art, including two most important figures: Yves Saint Laurent and Andy Warhol (she was considered The Factory’s mother). Famous photographer Cecil Beaton who often took her picture, was said to have called Ms. de la Falaise “the only truly chic Englishwoman of her generation”.
After moving to NYC, Ms. de la Falaise designed couture, sportswear, ready-to-wear and boutique clothes for various houses over the years; as well as furniture and rugs. She was later a consultant to Mr. Saint Laurent’s licensees in the United States, and later became a food columinist for <Vogue>, and published <Seven Centuries of English Cooking>. In 2004, The Independent of London called Ms. de la Falaise “one of the greatest living style icons.”
Maxime De la Falaise, the matriarch of a three-generation clan of international couture models died of natural causes, said her daughter Loulou, whose brother Alexis, friend Saint Laurent and now her mother passed away within the past few years. More news: Telegraph, NY Times, IHT
