Archive for the ‘Typically’ Category

Celebrity stylists

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OSCARS: Red Carpet Is Fashion’s Runway.

If all roads once led to Rome, then most fashion runways now merge into the Red Carpet. For the past decade or so, celebrity stylists have cherry-picked the fashion runways for the very best frocks for their A-list clients on awards nights. In essence, you would first see a gown on Kate Moss and then on Cate Blanchett.
But more recently, the trend is for actresses to show up to the Oscars in ready-to-wear or one-of-a-kind couture gowns that haven’t yet debuted at fashion week or the European shows. In many instances, the Red Carpet is the new runway.
Case in point: The one-shoulder black-and-white column gown that Claire Danes wore to the SAG Awards came from Givenchy’s pre-fall 2013 collection.
“In an effort to trump other celebs, it’s become about wearing something that hReasn’t even been seen on the runway yet”, says Cameron Silver, a fashion expert known for his serrated wit and the author of the new style encyclopedia, Decades: A Century Of Fashion.
“The system is so out of control”. By system, Silver means the big, greasy machine in which actresses and designers make exclusivity deals.
Though no star or stylist will speak on the record about such dalliances, it’s been suggested that anywhere from $50,000 to $100,000 can come sewn into the hem of a red-carpet gown worn by a nominated actress. On a less cynical note, however, stylists can’t be blamed for calling first dibs on spectacular gowns that they preview.
“The advantage to using dresses that haven’t been shown yet is that no one else has seen them”, says the powerful Hollywood stylist Elizabeth Stewart, whose clients include fashion risk-takers Blanchett and Oscar nominee Jessica Chastain. “There’s a better chance of a good dress not having been snapped up”.

Devotees

Decoded Fashion and CFDA Host Fashion Hackathon.

On Super Bowl Sunday, when most New Yorkers were prepping for the big game, hundreds of fashion and technology devotees were going head to head.

Decoded Fashion, a company aiming to connect the fashion and technology worlds, and the Council of Fashion Designers of America hosted something called a “fashion hackathon,” at the Alley, an event space on Seventh Avenue. An assembly of programmers, developers and graphic designers were given 24 hours to create an app or start-up idea to be pitched to a cast of judges (this reporter included). Five semifinalists were chosen to complete their pitch by the last day of New York Fashion Week, Feb. 14. Judges were instructed to identify apps or solutions that could be useful to the fashion industry and support the CFDA mission of considering the future. Originality of ideas, user interface and design, and overall technical achievement during a day of coding were also weighed.

Fashion may be an unlikely subject for tech geeks, but the event drew a large number of participants, as well as the support of the CFDA (including the designer Zac Posen); Condé Nast; and new-media fixtures like Dennis Crowley of Foursquare, Dirk Standen, editor-in-chief of Style.com, and Valentine Uhovski of Tumblr.

“I’ve been to a lot of hackathons, two to three hundred people, but this is the first hackathon I’ve been to that attracted 600 people, half of them women,” said Drew Schutte, the manager for emerging technologies at Condé Nast.

Really

Zero Dark Thirty’s Fashion Blooper.

In the Oscar-nominated film, Jessica Chastain’s character carries a Proenza Schouler PS1 bag. The problem? It first appears in the film five years before the bag even existed. We all know Jessica Chastain has great style – but who knew Maya, her nerdy CIA character in Zero Dark Thirty– was also fashion-forward?

And we mean really fashion forward: throughout the film, the feisty Maya carries a tote bag from high-fashion label Proenza Schouler, which retails for $2,350 in stores. But there’s a catch: she wears the bag as early as 2003 –and the Proenza Schouler PS1 bag was not actually released until 2008.

Chastain’s Maya is first spotted with the PS1 as she arrives at the US embassy in Pakistan around 2003. She carries it across the globe for the next five years while interrogating terrorists at CIA black-op sites in Poland and Afganistan. The bag takes its last on-screen turn as her character is caught in the unfortunate cross-fire at the September 20, 2008 attack on the Mariott Hotel in Islamabad—two months before the PS1 even launched in November 2008.

A representative for Proenza Schouler confirmed to The Daily Beast that it was in fact the PS1 bag that was featured throughout the film.

Typically

Prada Goes With Her Feelings.

A fashion show typically lasts about 10 minutes, and that’s just enough time to either be suicidal from boredom or convinced you haven’t even begun to live, since you never thought of wearing a black party dress over the gray cardigan you leave at the office because you, Ms. Mouse, are always cold.
Miuccia Prada, like Rei Kawakubo and Phoebe Philo, established that there is a world of difference between men and women as designers. One difference is that a woman will readily use her feelings to build a collection instead of an outside source, like the work of an artist.

Karl Lagerfeld might be clever at loading up the pop cultural references at Fendi, and obscuring the evidence in a dizzy pile of fun furs, but you can’t imagine him trying to give a shape and texture to female repression. He’d rather stick a pen in his eye, but that’s just a guess.

More than 20 years after the sex fantasies of Gianni Versace and Jean Paul Gaultier, studded leather looks like an adolescent rash, it’s so commonplace and down-market.

No wonder Donatella Versace, in her show on Friday, made the spikes in collars and dresses four inches long. There’s no edge left to the fantasy. But male designers have never been good at the kind of fashion known as “ugly chic.” That emotional territory belongs to female designers. Actually, the territory belongs to just one.

“It’s everything I like,” said Ms. Prada before her show, referring to the done-undone quality of the outfits, with tweed or beaded chiffon dresses worn carelessly over drab cardigans, the garments left partly unbuttoned so they fell off shoulders. The midcentury silhouette, with deep fur cuffs on hard leather jackets and gray flannel suits, was another Prada favorite. The gloomy set and the wet “Les Miserables” hair seemed mostly a Prada ploy, and didn’t really add anything.

As the models lined up for the show, Ms. Prada said: “I’m obsessed with this problem — that everything is forbidden. There is so much control that you can’t abandon yourself to anything.” If Ms. Prada, who turns 64 this year, is frustrated, she shouldn’t be too concerned. A generation of women has been peculiarly susceptible to her fashion: they feel exactly what she feels. So, even if this was not the most challenging Prada collection, its naïve, almost do-it-yourself glamour still got under your skin.