THE WEEK IN FASHION 20TH-24TH JUNE

Posted by Fashion Junior at Large

This week in fashion has been all about making up, breaking up, love and hate. It's been emotional.  Here's our look at the goings on from the fashion playground over the last 5 days...

 Galliano's last couture collection for Christian Dior. There will probably never be anything like this ever again.

1) The big one. John Galliano's trial took place on Wednesday at the Paris magistrates court. Just in case you were under a rock/in rehab/on the moon when the scandal broke, Galliano is being sued on moral grounds for an alleged anti-semitic, racist, and generally offensive rant directed towards three people in a Paris cafe earlier this year. He also subsequently lost his job at both Dior and his own label. It's a really sorry state of affairs, which has seen a former shining light of the industry reduced to a shadow of his normal gregarious self; hidden away in a rehabilitation program since the alleged attack, his future remaining highly uncertain and bleak.

He appeared in court to explain his behaviour (apparently a consequence of problems with drink, drugs and stress) and the result of the trial will be announced in September. This is undoubtedly a very dark moment for both the designer and the industry, and the case should be given the coverage it deserves - however is the slew of commentary about the outfit he wore for his court appearance really necessary? With that in mind, I won't be posting a picture. If you do crave a blow by blow account, the Telegraph have it covered in their live blog.

 

Tania Fares, Bella Freud and Lulu Kennedy, all in Lulu &Co

2) In a much friendlier turn of events, this week Lulu Kennedy hosted a lunch to celebrate the launch of the latest Lulu and Co collection. According to a certain Fashion editor at Large who happened to be in attendance, "the whole of London" turned out for the fashion feast, proving that there is a lot of love for Lulu. The new collection will be in stores from August.
 
3) Back to the business of bitching, and Azzedine Alaia has exploded with the outburst to end all outbursts, and the subjects of his disapproval are one Karl Lagerfeld and one Anna Wintour.

 Grace Jones and Azzadine Alaia. Who do you reckon is scarier? Read on to find out...

Lucky it was no-one important, eh? According to Alaia, Karl "has never touched a pair of scissors in his life", and "no-one will remember" Anna Wintour. Despite her scary rep, Alaia claims that when the Editor-in-chief of US Vogue sees him, "she is the scared one." Somehow, we're not surprised! 

4) As far as fashion relationships go, this week has been more on and off than Made in Chelsea's Caggie and Spencer (oh! the drama!). After joining in the whoops and hollers that followed the announcement of a Versace and H&M collaboration, the industry was subdued by the news that Jil Sander will no longer be designing for Uniqlo, and the next J+ collection will be the last. There were audible sobs emitting from fashion editor's offices across the city. If you are a fan of the Sander/Uniqlo collab, you better start preparing for the last offering now; it will no doubt be elbows at dawn when it hits stores.

Jil Sander: no longer + Uniqlo

5) Florence Welch 'got the love' from Nylon magazine (sorry, that was terrible) when she hosted a party at the Mondrian Hotel in New York, to celebrate their music issue, of which she is the cover star. Florence can do no wrong in my eyes; she is consistently beautiful, inspiring and unique. Her choice of this quirky Anna Sui dress for the party has divided opinion, but the people who don't like it are, well, wrong.

Flo: it's good to see you back. New music soon please!

6) Fashion doesn't get much more friendly than bestest buds Leith Clark (Ed of Lula) and Kirsten Dunst, who are rarely seen at events without each other, and have obviously been having a bit of a girly week out and about in London town. These two are so close, they are even co-ordinating outfits like schoolgirl best friends do - but you know what? They are so cool, they can get away with it.

 Leith and Kirsten looking demure yet achingly stylish at Wimbledon  (nice sunnies, Ms Clark!) ...

...and just a little bit naughtier as they skip out of The Box in matching trenchcoats. Kirsten&Leith4Eva!

7) And finally, a little bit of eye candy to put a spring in your step this sunny Friday afternoon. The SS12 Menswear shows have been happening over the past week and yesterday's offerings from Paris were causing ripples all the way over this side of the Channel. Friend of the Fash Ed, Kim Jones, sent his debut Louis Vuitton collection down the catwalk to rave reviews, with critics hailing his arrival as the best thing to happen to the label since Marc Jacobs.

 Louis Vuitton SS12

However, before Kim Jones took Paris by storm, one other designer had got everyone hot and bothered. Twitter exploded, pictures were being sent round the world, journos who normally pay no attention to the menswear collections were suddenly clicking onto Style.com like there was no tomorrow.

Five words: Nicola Formichetti, Mugler, ARMOUR BOY.

Mugler SS12

Images: Splash, Getty, AFP, Style.com

MY PARIS AW11 A TUMBLE OF IMAGES

Posted by Fashion Editor at Large

It was a monumental Paris. A game-changer, at least in terms of the business of fashion. The last time there was more to report on than the customary new trends and fashion shows was in the late 90s and early 2000's when LVMH and Gucci Group were snapping up designers and brands for their respective conglomerates.

Who knows what will happen between now and September/October when the next runway shows take place. Will Riccardo be moved to Dior as is the word in all quarters? Is Haider Ackermann commercial enough for a move into Givenchy? Can John Galliano recover enough to be seen in public, and can he hope to resurrect his career? Is Sarah Burton designing the Royal wedding dress; or is she, as she protests, busy working on the McQueen brands' hugely significant Met Museum exhibiton, and dressing the attendees of the accompanying ball (three days after the wedding) instead? One thing is certain, right now the fashion industry is the perfect muse for a contemporary Shakespeare. The actual fashion isn't bad either. I'm working on that too. As is customary post the catwalk shows, for the next week I will be sitting in a darkened room with the fashion junior creating a trend report of the season before it all dissolves from my mind...

So welcome to my Paris fashion week tumble.

At the end of the Dior show, which was pretty but surreal after years of seeing the Galliano spectacle, atelier staff came out to take a bow in place of John Galliano. The team, in their white coats, stood and modestly clapped us the audience, while we clapped them. It was a masterful and emotional moment, reminding us - following a decade in fashion that championed fashion designers as stars - that while the creative talent of a fashion house can be disposable, the fashion house itself remains sacrosanct.

This little book is indispensable to me throughout Paris, telling me where to go, when, and who to see about what.

David Bowie taken from Phoebe Philo's inspiration book, placed on seats at the Celine show. Phoebe has hit her stride at Celine. Her show was solid.

Rather loved the Jean Paul Gaultier invitation, and the show was the first one of his I have loved in a long time..

The Jean Paul Gaultier show finale

The Givenchy invitation tickled me; this is a close-up of the Jaguar head featured on one side of the invite. The eyes reflect the silhouettes of a naked make and female. I wonder if this is the exact print Riccardo used in his collection? (below) On closer inspection I don't think so, more's the pity.

The Hakaan invitation was beautiful; this is going into a memory box for future use.  

Below is the translation of Sidney Toledano's address from the beginning of the Dior show. While I respected and admire the manner in which the Dior brand reasserted its power, I still cannot help feeling sorry for John Galliano the man. I hope he will be forgiven for his outrageous conduct.

Ladies and Gentlemen,

Since its founding by Monsieur Dior, the House of Christian Dior has lived an extraordinary and wonderful story and has had the honor of embodying France’s image, and it’s values, all around the world. What has happened over the last week has been a terrible and wrenching ordeal for us all. It has been deeply painful to see the Dior name associated with the disgraceful statements attributed to its designer, however brilliant he may be. Such statements are intolerable because of our collective duty to never forget the Holocaust and its victims, and because of the respect for human dignity that is owed to each person and to all peoples.
These statements have deeply shocked and saddened all at Dior who give body and soul to their work, and it is particularly painful that they came from someone so admired for his remarkable creative talent. So now, more than ever, we must publicly re-commit ourselves to the values of the House of Dior.


Christian Dior founded his House in 1947.


His family had been ruined in the Crash of 1929 and his own beloved sister had been deported to Buchenwald. In the aftermath of the dark years of the war, he sought to free women, to give them back their sparkle and joyfulness.


Christian Dior’s values were those of excellence in all that he undertook, of elegance and of craftsmanship reflecting his unique talent. His mission was not only to make his clients – indeed all women – more beautiful, but also to make them happy, to help them dream. He saw himself as a magician who could give women confidence and make them ever more feminine, more sublime. He believed in the importance of respect and in the capacity of this fundamental value not only to bring out the beauty in women, but also bring out the best in all people.


His values, his genius and his legacy have contributed to enhancing France’s image and culture around the world for more than sixty years.


The values that Monsieur Dior taught us are unchanged today. Those values are carried on by the wonderful and diverse group of people within the House of Dior who devote all their talent and energy to achieving the ultimate in artisanship and femininity, respecting traditional skills and incorporating modern techniques.


The heart of the House of Dior, which beats unseen, is made up of its teams and studios, of its seamstresses and craftsmen, who work hard day after day, never counting the hours, and carrying on the value and the vision of Monsieur Dior.


What you are going to see now is the result of the extraordinary, creative, and marvelous efforts of these loyal, hardworking people.
Thank you.

Chanel AW11 by Karl Lagerfeld. Chanel I would wear.

More Chanel pour moi.

Roland Mouret always sends us a little note.

The show notes for Nina Ricci, one of the highlights of my Paris and one of my favourite catwalk looks. I am making it my business to profile Peter Copping, that is if he will let me after I compared his looks to an old photo of Monsieur Dior. He took it well though.  

It was lovely for Phoebe Philo to share some of her visual inspiration with us. I can totally see how these images have inspired her work.

Stella McCartney is another designer sweet enough to add the personal touch to her fashion show notes. In her show Stella had a bit of an 80s Miyake, Alaia and Montana big-shoulder-small-waist moment that I have a feeling will be mighty influential in the coming months.

Stella McCartney AW11. Is Stella studying 80s Miyake and Claude Montana "State of Claude Montana" silhouettes? I like this a lot.

Chloe show notes, and a look from a show that can only be Chloe. I hope Hannah MacGibbon stays on there. She has her own very good thing going on.

The novelty show of the week was Nicola Formichetti's work for Thierry Mugler, the show began a week that was topped and tailed by fetish inspired shows - Louis Vuitton ended the week. (Givenchy was also rather fetish, as was Giles show in London.) By the end of Paris fashion week I was taking the fetish trend seriously.

Mulger by Nicola Formichetti

It also begs the question: why can Lady Gaga get away with smoking on a runway, and Kate Moss can't?

 Lady Gaga smoking on the Mugler runway

Kate smoking on the Vuitton runway

Another still from Phoebe's book.

Finally, to my fashion-show music of the week; Chanel. Karl Lagerfeld seemed to take inspiration from the 1979 Cure track A Forest (my all-time favourite Cure number).

Come closer and see
see into the trees
find the girl
while you can
Come closer and see
see into the dark
just follow your eyes
just follow your eyes

I hear her voice
calling my name
the sound is deep
in the dark
I hear her voice
and start to run
into the trees
into the trees

into the trees

Suddenly I stop
but i know it's too late
I'm lost in a forest
all alone
The girl was never there
it's always the same
I'm running towards nothing
again and again and again

The show setting felt like we were in the middle of a post-apocalyptic forest with the models stomping in their flat boots through scorched, smoking earth. The quality of the sound coming from the speakers was pretty awe-inspiring. Five days afer the show, the song is still going round in my head. The collection also had some great not-typically Chanel elements too - the butchy trousers, workman inspired boots and some fantastic tweed capes. I leave you with The Cure in 1979. Here, Robert Smith looks like Ben Affleck. Clearly his thick eye-liner and badly applied red lipstick wearing days were just around the corner.

Images: Modem, Celine (Artists Research Management and Anna Kustera Gallery), Jean Paul Gaultier, Givenchy, Modem, Hakaan, WWD, Chanel, Kenzo, Chanel, Roland Mouret, Chanel, Nina Ricci, Celine (Larry Fink, Sibylle Bergemann) Stella McCartney, Chloe, New York Times, Celine (The British Council), Christian Dior, Chanel All catwalk images: Chris Moore/Catwalking

GO RICCARDO!?

Posted by Fashion Editor at Large

Mr Tisci

The job of head designer at Givenchy is, traditionally, the "in-waiting" job for when a post at Dior comes up. John Galliano was drafted into Dior from Givenchy in 1996, that was when Alexander McQueen got the job at Givenchy. Such a long time ago.....

If what I hear coming out from very well placed sources in Paris is true, today Riccardo Tisci, the 35 year old Saint Martins trained, Madonna-loving Italian Roman Catholic boy from Givenchy is to be placed as the creative director at Christian Dior.

Part of me hopes its not true; I love what Tisci has been doing at Givenchy since 2005, when he arrived a virtual unknown and showed Givenchy collections that revealed his preoccupation with gothic romanticism, crucifixes, and playful S&M references and cartooons. That he understands women, and creates a powerful femininity is a given: this is a gay Italian man, with eight - yes EIGHT - sisters. I remember interviewing him when he had just completed a wardrobe for Madonna's Sticky & Sweet tour in 2008 and he talked effusively about how his sisters inspired him, and how he was not frightened of feminine strength. He sure knows how to make a woman look strong. And how to make a man who wants to be a woman (his former assistant Leo is now a transgender supermodel named Lea T) look dignified and wonderful.

His Haute Couture presentation in January was incredible to behold in close-up, with workmanship blending the modern and ancient technique. In turn his couture provided, for me, the best Oscar dress on Cate Blanchett and Grammy dress on Florence Welch for 2011.  Tisci at Givenchy makes a lot more sense than Alber Elbaz. Alber is perfection itself at Lanvin. It would be a travesty to take him away from the house. Givenchy on the other hand can take another bout of reinvention. Maybe from my personal tip for the Dior job, a certain Mr Peter Copping.  

The rumour mill suggests we should expect an announcement after Miu Miu finishes this afternoon, in time for the nightly TV news, and just before tired editors hang up their BlackBerrrys, iPhones and laptops for a couple of days rest as the month-long fashion marathon comes to an end. 

I'm not betting on it. I reckon LVMH should let this guessing game last a bit longer. After all, there are legal requirements in French employment law that mean a lot more hoops needs to be jumped through before Galliano's contract is officially dissolved. With John Galliano away at a rehab facility (as I have heard from close sources) this story does have a while to run.

If John successfully argues (as I have also heard on the rumour mill) that he was mentally ill, and sick from his alcoholism and medications at the time of his anti-Semitic rant then he may have a legal case of his own.  

ANYWAY: this all adds up to wonderful fashion drama and gossip, exactly what any dyed in the wool fashionista such as myself and my colleagues were put on this earth to report on.

Watch this space!

CHRISTIAN DIOR'S NEW CREATIVE DIRECTOR SHOULD BE....

Posted by Fashion Editor at Large

John Galliano 

I didn't see this one coming: after over a decade at the helm John Galliano's reign as the Dauphin at Dior is over and done.

Paris - March 1, 2011
Today, in light of the deeply offensive statements and conduct by John Galliano in a video made public yesterday, Christian Dior has commenced termination proceedings against him. Sidney Toledano, Chairman and Chief Executive Officer of Christian Dior Couture, said: "I unequivocally condemn the statements made by John Galliano which are in total contradiction to the longstanding core values of Christian Dior". From the Huffington Post (via Racked)

While I am a long-time Galliano admirer, can't imagine a fashion industry without John Galliano, and feel compassion for the man, I ruefully agree that Dior chief Sidney Toledano had no choice but to fire him. It's so sad and a tragic way to go, but the bottom line is John totally brought it upon himself, albeit in the unconscious fug of intoxication in a bar in the Marais where he thought no-one knew him or cared what he was doing and saying. In another age maybe he might have been able to obfuscate events; in 2011 there's nowhere to hide from smartphone evidence (even if it wasn't from the night in question) streamed online by one of the worlds biggest media conglomerates. The hard truth leaves no room for public compassion - anti-Semitism is totally unaccepatble.

The ending at Dior also potentially sees his own eponymous line close its doors to him. It is a disastrous outcome, a gravity-defying fall from grace that is surely unprecedented in modern times.
It seems unfair to write all this about such an extraordinary talent. We all have our bad times - and to get through then in private and with dignity should be our right. But though it is unfair and unjust John Galliano doesn't have that option. He has been forced to face the music, but it could be a blessing in disguise. The extreme workload of the modern designer takes its toll on the most creative juices, and maybe a change is the best thing for Galliano and Dior in the long run.

But this is all only with hindsight. Until last Thursday I thought the business of Christian Dior was marching along buoyantly with Galliano at the creative helm. His creative work seemed  perfectly upstanding; the Spring/Summer 2011 collection was good. The multi-layered and coloured espadrille ribbon platform sandals from the collection have been massively influential.

Still. Transgression as a modus operandi succeeds on a creative level - but only if one doesn't let it contaminate the personal. Something Linda Grant writes on in todays Guardian online.

John Galliano is an enormous figure in fashion. Enormous. We in the fashion industry and beyond are in shock at the severity of the situation and will massively miss his design magic and  - on a totally superficial level - his famous catwalk exit at the end of each show. It seems silly to say but I feel lucky that I saw his very last show for Christian Dior in January. I hope he goes away somewhere to pull himself together with good friends close by and recover from  this. Someday he will be forgiven. Everyone deserves forgiveness and a second chance.

MOVING ON:
So who should Christian Dior be looking at? My first thoughts are the two Peters. Peter Copping, who heads up Nina Ricci, and Peter Dundas who heads up Emilio Pucci. Pucci is LVMH owned. Ricci is owned by the Puig group. In the same way that Bernard Arnault brought in Galliano to head up Dior from his position at Givenchy, it would be as simple for him to move Dundas into Dior. Or to hire Copping from Puig.

Peter Copping was key to the success of Marc Jacobs first years at Louis Vuitton, and his departure was keenly felt. In the last two years while Copping has been at Nina Ricci, he has brought a sweetness, elegance and purity to the house which is selling really well and bringing in legions of new young and not-so-young fans.

Copping, spookily, bears an almost striking resemblance to the real Christian Dior.

The real Christian Dior in 1953

Peter Copping of Nina Ricci

Peter Dundas of Emilio Pucci

Will update more later!

TRENDS THURSDAY: TRANSPARENCY SS10

Posted by the Fashion Junior at Large

Today we are giving a lesson on the trend for sheer fabrics and transparent layers that came up from the SS10 catwalks and our favourite designers including Alber Elbaz and Karl Lagerfeld at Chanel. You might normally avoid clothing of the see-through variety because it's so, well, revealing (warning: model boobs ahead). But fear not - there are so many creative, beautiful and subtle ways to do it - the key is all in layering, accessorizing and underwear. Take notes from these looks and imagine the fun you'll have messing about with tulle and chiffon this summer...

Lanvin - Note the chunky gold chain sitting under rippling sheer fabric - loving this as a new way to showcase accessories.

Jonathan Saunders shows us a more subtle and wearable way to do transparency. Sheer paneling is the easiest way to embrace the trend without revealing too much.

Antonio Berardi - Me thinks ASOS may have been taking inspiration from this corseted piece. The heavy crystallised embellishments are masterful.

Chanel - Holy jeez this is gorgeous - all those lengths of chiffon billowing in the model's wake.

John Galliano at his theatrical best. Long sheer dresses were the most popular way to show the transparency trend on the SS10 catwalk. Big (but sexy) pants vital.

Giles - Patterned leggings would increase the wearability of this fierce and fabulous dress tenfold.

Alexander McQueen - A true artiste no? All those translucent ripples and folds are bubble-like. It's all very sci-fi.

Prada - This fabric holds its shape beautifully, creating a clean modern version of transparency.

Valentino - Barely there lace netted trousers? They're not classically Valentino, but these layers of wispy fabrics are looking really fresh and pretty. The Fashion Editor at Large loves this!

Prada owned the transparency trend, even extending the see-through theme to a whole season's worth of  great accessories. Can't wait to wear..

Prada - At the press day we discovered this bag was inspired by chandeliers which play with light and throw out rainbow reflections (it comes with an opaque inner bag to keep your valuables hidden). Truly lovely.

 

Chanel prove sheer can be innocent. Wrapping yourself in a chiffon wrap like this is an easy and economical  way to tap into the trend.

Love Sex Money - Don't know this label but this looks so sexy, and the styling is great with the multi-strap platforms, the looped leather belt and the satin shorts. You would have to have a stomach like Britney circa 2002 to wear sheer fabric as clingy as this though. A little black vest is essential.

Giles - How playful was Giles feeling this season? Hoop underskirt, berzerk tulle upper, and fem-bot bustier = pure genius.

Photos courtesy of Catwalking.com / Chris Moore