French Fashion Designer, Hospitalized?

Paris - French fashion designer Pierre Cardin has been hospitalized with an undiagnosed ailment after falling ill at his home in the southern village of Lacoste, the daily La Provence reported Wednesday.

The 86-year-old designer was taken to a hospital in the city of Marseille by a chopper, for such reason of security purposes rather than the gravity of the illness.

It is the second time in less than a week that Cardin has been in hospital. He was briefly hospitalized at the end of last week after breaking his shoulder blade in a fall at his home.

Considered one of the primary designers of the 20th century corp., Cardin counted former American first lady Jacqueline Kennedy and the Beatles among his clients.

Source: M&C

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Designer Book On The Process

What would you make for the writer who has most influenced your life? The question has been asked of 50 of the world's best-known designers, from the couturiers Christian Lacroix and Paul Smith to the architect India Mahdavi.

Their imaginary creations for authors including Haruki Murakami and Ian Fleming will be shown in a series of exhibitions across Paris until September, and have been collated in Design et Littérature: Une Liaison Inspiré to be published this week.

The architect and designer Claudio Colucci conceived a lounge sofa made from carbon fibre for the James Bond writer Ian Fleming. "I have always liked the fantasy element in design," he said. "Too much function bores me. I thought of creating an amphibious car, but that already exists, so I designed a lounge-sofa for drinking champagne, for two, of course."

The fashion designer Christian Lacroix imagined a mid-20th Century wrought-iron chair for the French novelist, Patrick Modiano. Lacroix said: "I like his form of melancholy; like him, I'm nostalgic."

British designer Paul Smith has sketched a 19th-century-inspired chair, customised with old material, for lyric writer Patti Smith, his "favourite rock literary icon" and modern "capturer of emotions".

The architect India Mahdavi designed a cat-shaped sofa in homage to Japanese author Haruki Murakami. Mahdavi, who chose a cat because the animal appears throughout Murakami's work, said that when she was introduced to the novelist, "it was like entering someone's dream, in a universe where fantasy and reality are mixed".

The writer Esther Henwood said she thought of the idea for the series of exhibitions and the book because of her interest in the relationship between the arts. "The different art forms – music, design, literature, fashion – are seen as being separate," she said. "Yet they are interrelated ...

"All the designers told me how much they love and are influenced by literature in all their work, even if it is not apparent." She said she was so "delighted" by the responses that she told design houses limited editions of the works should be created.

"We are holding a series of exhibitions across Paris," she said. "Some of the works have been imagined for great literary figures, such as Proust, Tolstoy and Flaubert. Others were conceived for contemporary writers who will have the chance to see the designs that have been imagined."

Source: The Independent

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Russian Fashion Week: Patriarch Of Russian Fashion

The rich, spectacular, and romantic Slava Zaitsev’s haute-couture collection has been inspired by the Sergey Dyagilev Seasons in Paris.

It’s dedicated to the 100-year anniversary of the renowned Ballets Russes company that was a success in Paris in the beginning of the 20th century.

“The collection is very powerful and breathtakingly beautiful. Each item is an object of art,” says Zaitsev. “It’s for those who value beauty in fashion. However, it doesn’t mean that I create clothes that are hard to wear. Despite their artistic value, my creations are functional and comfortable. I’m not a fan of abstract style in clothing. It’s boring. Besides, I have to sell my collections to customers."

Zaitsev says he has always been a strong admirer of aesthetism. “I think even if you put on a white shirt with a black skirt, black shoes, black stockings, and a black hat you’ll look beautiful.”

Despite international success, Zaitsev has always preferred to keep close to his roots, urging Russian designers not to be influenced by the West. Russian folklore tradition has always been an inspiration for him.

Zaitsev says, he has never been a slave to fashion. “The French media once said about Yves Saint Laurent, that he 'walks down the opposite side of the street called Fashion.' The same applies to me. Fashion rules don’t exist for me."

In Soviet times, Zaitsev was the first designer who was allowed to put a label in his clothing. “I’ve been in the fashion business for 46 years. I’ve lived through the '60s, '70s, '80s, and '90s. I’m not interested in re-creating something that’s already been created by somebody. I just try to entice people into the whirlpool of passions, joy, and beauty that exist in my world of fashion”.

Zaitsev’s long-time clients are show-biz celebrities, high-ranking officials, and politicians. The indefatigable fashion designer manages 500 people who work at his own fashion house in the center of Moscow.

Source: RT

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Fashion News: Spring Shopping in Paris

In 2001, the collaboration between Louis Vuitton's creative director Marc Jacobs and American fashion designer and artist Stephen Sprouse resulted in handbags covered with brightly-colored graffiti-like scrawl reading Louis Vuitton Paris instead of the famous LV monogram. Initially the bags were intended only for display, but they provoked such an explosion of fashion lust that they became instant It Bags that every fashion follower and celebrity on the planet absolutely had to have. Sprouse died in 2004, but über-designer Jacobs has now created a limited-edition capsule collection for Vuitton based on Sprouse's original designs. Leggings, trainers, scarves, bags and bracelets are daubed with graffiti logos and swirling rose motifs in this season's flashiest colors, including electric pink.

Meanwhile, another French luggage and leather goods specialist, Longchamp, has adopted a surrealist stance with a delightfully cheeky nod to Belgian artist René Magritte, who famously wrote Ceci n'est pas une pipe on his drawing of a pipe. The French brand's spring/summer 2009 collection includes a minimalist canvas shopping tote emblazoned with a drawing of a handbag and the ironic little twist Ceci est un IT BAG.

Will It Bags soon give way to the It Shoe? A change in fashion leather seems afoot. After designing an effigy of himself as a sunglass-wearing teddy bear for Steiff, Karl Lagerfeld has embarked upon another unexpected collaboration, creating a limited edition of summer sandals for Repetto, the French dancewear company, founded in 1947 by the mother of choreographer Roland Petit, that has now branched out into ready-to-wear. Lagerfeld's new patent leather sandals-in the form of towering 4-inch platform heels or more comfortable flats-come complete with detachable leather "tutus" around the ankle. They'll be available starting April 9, and are expected to pirouette right off the shelves.

At the same time, French shoe designer Michel Perry has come up with a novel way of celebrating Barack Obama's arrival in the White House. Putting his own inimitable spin on the Stars and Stripes, Perry has designed a pair of eye-catching sandals, named Vegas, which rework the American flag as foot art.

For luxury shopping with a clear conscience, Dalia and Rose, a multi-brand concept store, is set to open in Paris at the end of March. The boutique, which showcases the latest upscale trends in ethical fashion, lifestyle and design, is the brainchild of Clélia Moretton, a former model now on a mission to promote organic materials and 100% hand-crafted products. With her sharp eye for fashion, Clélia has tracked down a brilliant selection of up-and-coming labels including Camilla Norback, a Swedish designer working with organic silk, organza and cotton; Pachacuti, which claims to sell the world's first fair-trade panama hats; and ethical jewelry by Nikki Butler, a South African designer whose intricate beaded creations, under the label Nikki b, have already been snapped up by the likes of Cameron Diaz and Britney Spears. Dalia and Rose also stock French Touch shoes-adorable ballerina flats that have been ethically sourced-and luxurious alpaca accessories hand-made by fair-trade co-operatives in Bolivia.

Source: France Today

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All About Fashionalism

Paris, France - YOU could call it fashionalism.

At a Vivienne Westwood show, buyer Amanda Ware lists new trends she has spotted in London: quirky hats, trendy scarves - and British-made designer accessories featuring the Union Jack. Several fashion buyers visiting this month's Paris shows reported a jump in nationalist purchases, especially in London, which before the economic crisis prided itself on being the capital of multicultural style.

'I think it's this whole Britishness thing,' said Ms Ware, who buys accessories for luxury store Fortnum & Mason in London. In the boom years, the French and Italian brands she stocks were more popular than British ones, she said. That has changed.

Ms Ware has adjusted her purchases accordingly, buying visibly British accessories such as a Paul Smith scarf with a London city print, which she expects to do well despite the general retail slump.

'There's been a lot of support for both Vivienne Westwood and Paul Smith, it's been the strongest this season,' she said.

'Vivienne Westwood is more tartan, Paul Smith is strong with the Union Jack. It's really flown over the past 8-12 weeks.'

From workers protesting against foreigners taking jobs to governments bailing out failing local industries, fashion executives point to a global wave of nationalist protests and policies since the world economy turned sharply down.

The World Bank said in a report this month that since last November, 17 of the G20 nations had implemented measures whose effect is to restrict trade at the expense of other countries.

'The trend in protection is up and the full effects (of) recession have not yet been felt,' said the report by Elisa Gamberoni and Richard Newfarmer.

The patriotic shopping spree suggests such nationalism is seeping into the middle classes, steering those who can afford designer accessories costing several hundred pounds.

Source: Straits Times, REUTERS

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Fashion Secretary

Since Ikram Goldman, owner of the eponymous Chicago boutique, became the unofficial Secretary of Fashion to whom Michelle Obama turns for all her key sartorial decisions, East Coast arbiters of chic have been as twisted up as a braided leather belt. How can a mere retailer, not to mention one from the famously frumpy Midwest, have so much fashion clout? Oscar de la Renta, Arnold Scaasi and others say they don't understand why Mrs. Obama relies on a shopkeeper, when she could - and should - be going directly to them. "I don't think the inaugural gown was flattering in any way. She could have looked much better," sniped Scaasi in the New York Times with the cattiness that comes so naturally to those in the fashion world. He added that it was "strange to think that the wife of" a head of state "would choose clothes from only one store."

Apparently, he's forgotten about Marie Antoinette, the world's first clothes horse, who, like Michelle, relied mostly on one retailer to choose her outfits. Rose Bertin was a fat, porcine-faced seamstress who owned a fancy dress shop in Paris, where the French queen liked to shop. During the eighteenth century in France, dress merchants, called marchands de modes, were the most powerful style arbiters, and Bertin, thanks to her association with Marie Antoinette, grew to international fame, while setting a standard for fashion excess and snobbism that's endured to this day.

As a result of Bertin's power, according to Joan deJean in her book, The Essence of Style, the taste and aspirations of the queen's subjects were greatly elevated. So eager were women to ape Marie Antoinette's look that many were driven to squander family fortunes or accumulate staggering debt. Some of these Emma Bovarys before their time even fell so low as to take lovers to pay their dressmaker bills, thus leading to accusations that Marie Antoinette's fashion passion was destroying the morals of the nation. Could it happen here? In this economic climate, I wonder.

Since it opened in 2001, Ikram has been a favorite of the city's most fashionable women, including Mrs. Obama, who's been shopping here since her husband's books became best sellers several years ago. But now with the Obamas in the White House, and American women eager to emulate Michelle's elegance, Ikram's influence has grown. Suddenly, this pudgy, 41-year-old mother of infant twins, has a Bertinesque power to shape the fashion choices of women across the land.

In 1991, when I moved here with my family from New York, I felt as if I'd been exiled to Style Siberia. About the only good news on the fashion front was that my Bergdorf Goodman credit card worked at Neiman Marcus on Michigan Avenue, where my first year in town I found a black Marc Jacobs dress at half price. I also bought a Prada skirt on sale at Ultimo on Oak Street, the only place in Chicago that sold anything even remotely hip. Thanks to a couple of lively boutiques I'd ferreted out in my neighborhood on the near North Side, I managed to uphold a semblance of Manhattan chic. I'm proud to say I never once succumbed to crewneck sweaters, shapeless parkas, dowdy blazers or galoshes, and, as the years went by, it got easier to dress well. I've watched Chicago's fashion life evolve, and recently, there's been an explosion of design talent and independent boutiques across the city. Only now, though, with the Israeli-born Goldman, has Chicago reached its style apotheosis.

I've walked by Ikram many times, admiring the Lanvins, Yohji Yamamotos, Alaias, and Narcisco Rodriguezs in the window. One Christmas my husband gave me a gorgeous pair of silver drop earrings with green crystals from the store. And once, I actually talked to Ikram herself. I called her about a story I was doing for a magazine, but when I mispronounced Proenza Schouler, the high end brand co-designed by two former students of the Parsons School of Design, she snapped at me officiously: "If you don't know how to say it properly, you shouldn't be asking me about them." Then she hung up.

Remembering that experience, I've been afraid to go in the store -- until last week, when curiosity overwhelmed me, along with a need to buy a cocktail dress for several upcoming spring events. As a buffer against what I expected to be the sales staff's disdain for my mid-priced, cloth-coated person, I took my friend, Monica, a willowy, black-haired beauty who looks as if she knows not only how to pronounce Proenza Schouler but how to wear it well.

We walked over on a gray, blustery morning. I let Monica, dazzling as usual in leather pants and a full length fur, push through the glass doors first. Though the boutique has strong Asian accents - filigreed wood doors hanging on the back wall, exotic ceramics and dark wood display cases that look as if they came from a Chinese museum -- Ikram has the feel of Paris: everything is exquisite and très cher. Immediately, I saw ten things I wanted, including what looked like a zebra fur handbag with a sculptured silver clasp and a pair of diamond earrings by Loree Rodkin.

Ikram Goldman was no where in sight. Several sales associates, dour looking women in black, and one glum man in a white polo shirt, stood around. They didn't appear to have much to do. Besides us, there was only one shopper in the store - a stocky, jeans- clad woman who was shopping for tee-shirts, a strange pursuit in Chicago's temple of style.

"Are you looking for anything special?" a pretty Asian girl in an adorable green print dress by Tracy Feith asked with a bright smile. She said her name was Jun and asked us our first names. When I recovered from the shock that Jun wasn't a snob, I explained to her my need for a basic spring cocktail dress. As Jun set off cheerfully to search the racks, Monica and I inspected the arched nooks holding shoes and scarves, handbags and sweaters.

Eventually, Jun led us to the rear of the store, to a circular fitting area lined with mirrors and fawn velvet covered benches. A beige carpet imparted a boudoir hush, drowning out the sounds from the rest of the boutique. I tried on seven dresses. The least expensive, at $1,250, was the same red and black print silk Thakoon that Michelle Obama wore the night her husband was nominated for president, only cut several inches shorter. The most expensive, at $6,745, was a structured black silk and chiffon column embroidered with white birds by Alexander McQueen.

I modeled each of the dresses for Monica and Jun, enjoying their exclamations of enthusiasm. Jun was really getting into it, finding different shoes to try on with each dress and offering suggestions for alterations (an extra charge). There was one dress, we all agreed, that stood out - a violet silk blend Jason Wu with embroidered black florets. It had a fitted bodice and straight skirt that reached just below the knee and a graceful neckline that draped over the shoulders. It fit perfectly, as if had been made for me. It was the most beautiful dress I'd ever worn, and I understood perfectly why Michelle Obama is so drawn to this young designer. The only problem was the price -- $3,900.

If I put the dress on my credit card, I'd be doing my part to stimulate the economy. But then I'd have to pay for it at the end of the month. I left Ikram empty handed. Emma Bovary I am not.

Source: The Huffington Post

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Paris Warms To YSL's Art Show

CHRISTIE'S three-day auction of French fashion designer Yves Saint Laurent and businessman Pierre Berge's collection, which starts tonight in Paris, has been valued at $400-600 million.

It has been described as one of the most significant private collection sales in art-auction history. It is also becoming a political hot potato.

On Friday, a group of Chinese lawyers filed a motion in a French court to stop Christie's from auctioning off two antique bronze animal sculptures in the collection.

This follows recent comments by the Chinese Government that the Qing dynasty works had been stolen from Beijing's old imperial summer palace during the second Opium War with the French and British armies in 1860.

Christie's maintains Saint Laurent acquired the items legally. The court is expected to make its decision today, hours before the auction is due to start.

Saint Laurent died last June, aged 71. Berge, his long-time business and personal partner, decided to sell the contents of their Rue de Babylon apartment to fund the Pierre Berge-Yves Saint Laurent Foundation, established in 2002, to preserve 5000 YSL haute couture outfits and 15,000 accessories, sketches and other items.

Berge has said he will also donate money to several charities, including AIDS research.

Several Australian collectors are believed to be interested in certain lots,although the Australian dollar's performance against a strong euro may deter some.

According to Ronan Sulich, Christie's representative in Australia, a number have purchased the boxed set of five catalogues.

"Because this is such a milestone in auction history, it's understandable a number of people in Australia will be interested," Mr Sulich told The Australian yesterday.

This weekend, an estimated 30,000 people braved chilly weather to queue outside Paris's Grand Palais exhibition centre to view the collection.

It was the first time the works had been seen publicly and many visitors waited up to four hours for the chance to view them.

The collection reflects the eclectic tastes of its owners. It includes statues from ancient Rome, 16th- and 17th-century German silverware, 19th-century tapestries, Impressionist oil paintings and early 20th-century decorative arts.

Saint Laurent and Berge were passionate 20th-century art collectors with a particular interest in the late-Impressionist and Modernist movements. Paintings by Edgar Degas, Paul Cezanne, Edvard Munch, Piet Mondrian, Henri Matisse, Fernand Leger and Pablo Picasso will also go under the hammer over the next three days.

Berge was always considered the financial brain behind Saint Laurent's fashion genius. But he, too, was a man of exceptional taste. Their collection, built over more than 40 years, is a tribute to both men's connoisseurship.

When he announced the auction last November, Berge, who first met Saint Laurent in 1958, told journalists the collection had come to the end of its life.

"I wanted this sale," Berge, 78, told them. "This collection could only have two destinies - end up in a museum, which would have been too onerous, or on the auction block.

"I chose the sale because I felt the collection would not be truly complete until the hammer fell on the last lot."

He added: "This sale is like a separation. You can continue to love, even after the divorce is final.

Source: The Australian

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Fashion Style - Austerity Age

If the world's leading designers are to be believed, we now seem to inhabit an Elysian underworld, an earthly paradise where financial concerns are as far from our minds as, say, a desire for anything as obviously user-friendly as a classic, black jacket.

And so, what British Vogue described only months ago as "the new austere" – read play-safe (if beautiful) fashion that strives to be socially responsible and exudes a certain sobriety – has given way to less obviously pragmatic designs.

The new season decrees it is the job of fashion to provide an escape, to let unbridled fantasy and creativity run riot, safe in the knowledge that, with the economy on its knees, it is romance, opulence and individuality which will prevail.

We may not all be able to afford these clothes but we have the ability to dream about wearing them. Moreover, what is the point of a woman investing in a tailored trouser suit when work-wear is becoming increasingly irrelevant because, put bluntly, less people have a workplace to go to?

It would be misguided to draw any conclusions concerning fashion's future from the haute couture collections paraded in Paris this week. The jewel in the French fashion crown, Paris Haute Couture Week is aimed at no more than a few hundred women who have the inclination to part with thousands of pounds for a one-off, hand-made garment fitted to their every curve. This is the preserve of the super-rich and stylists of Hollywood A-listers in search of a grand statement for the Oscars. More significant is the recession's effect on the ready-to-wear collections: it may be cold outside but spring/summer's designs are making their way into stores. "If people are going to invest in fashion now, they need to know it's worth it," says Alexander McQueen. "They're not going to want to buy a cashmere coat they can wear any season, they are looking for something more individual, and from a more individual designer. Fashion is about fantasy as well as being commercial and sometimes people lose sight of that."

From McQueen we can expect impossibly elaborate, highly engineered clothing intended to make its wearer stand out: wood grain-printed all-in-ones, crystal, enamelled flowers in tulle and more.

McQueen is not alone. At Prada, home to ribbed socks, A-line skirts and round-necked sweaters, we find lightweight sweet nothings cut from what looks like gold leaf and trimmed with ribbons and bows.

At Louis Vuitton, it is maribou feathers in tropical colours and the most over-wroughtly high sandals imaginable. For Dolce & Gabbana, never a label aimed at the understated, shoulder pads just became even larger (and circular), embroideries more intricate and accessories more ornate. Then there are polyvinyl dresses that look like deflated footballs (Comme des Garcons) and others that appear to have been made out of high-end tablecloths (Vivienne Westwood, God love her), a "fur" coat of platinum blonde wigs (Maison Martin Margiela) and Elizabethan-style ruffs the size of car wheels (Gareth Pugh).

Fashion has historically flourished amid adversity, creatively if not financially. As with any cultural pursuit, when the going gets tough, the frontrunners rise to the challenge. The most celebrated work of Botticelli, which followed the Medici Bank crash in 1494, through to the Golden Age of Hollywood, the fruit of the worst financial crisis in Western history, have roots in adversity. Fashion, perhaps the most visible symbol of capitalist excess, is no exception.

It is no coincidence then that John Galliano, the creative director of Christian Dior, chose to revisit the most famous creation of the house's namesake: The New Look. Unveiled in February 1947, the New Look was possibly the most potent example of fashion excess alleviating hard times. It wasn't new at all but romantically retrogressive. As a reaction to wartime austerity and fabric rationing, Dior harked back to the Belle Epoque by sending out round-shouldered, wasp-waisted jackets and skirts so voluminous they caused an outrage. But if politicians – including Harold Wilson, then the president of the Board of Trade – criticised the frivolity and "let them eat cake"-type disregard for reality, women the world over sought out the New Look. Then, as now, only a handful would wear the originals but copies spread fast, like wildfire.

In the 1970s, the floral-printed, Edwardian-inspired designs of Laura Ashley were a quaintly British take on bucolic life in better times. More importantly, the three-day week and the winter of discontent spawned first punk and then new romanticism, both of which dictated that mainstream attire was for the middle-aged and out of touch. These were clothes for anarchists and were notable for their over-turning of convention and the fact that even the main protagonists – Westwood and her then partner Malcolm McLaren – were advocating a DIY approach that suggested style need not be bought.

Anyone courageous enough could, and did, rustle up an approximation of the look, customising second-hand finds from Oxfam and cutting up black bin-liners in a manner which makes today's slavish attachment to budget high-street fashion seem unimaginative to the point of banal.

When recession hit at the end of the 1980s, power-dressing Dynasty-style gave way to deconstruction – conceptual fashion was born. Japanese designers Comme des Garcons and Yohji Yamamoto introduced an oversized, dark and distressed aesthetic that undermined our preconceived idea of status to the point where some of their most memorable early work came peppered with holes. The bourgeois fashion establishment was, quite simply, lost for words and it was left to critics of art and architecture to wear and write about this look. Later, the Belgian designer Martin Margiela turned clothes inside out, literally sewing the shoulder pads that had come to represent the brash dress codes of the era on to the outside of clothes.

Fast-forward 20 years and, with the value of hindsight, fashion offers up a dazzling amalgamation of all these things and more, united only in an apparent disregard for convention and what is widely assumed to be the strictures of "wearable" clothing.

"We don't all want to dress like soldiers, in the same uniform, for the same price," says McQueen. "There is a viewpoint that people should play safe because they can't afford to frighten their customers but, in fact, the opposite is true. You have to push forward and realise the power of fantasy and escapism if you want to survive."

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"The Class" - Best Picture (Lumiere Awards)

Paris, France -- "The Class" by Laurent Cantet gained the highest honor from foreign press based in Paris as the Festival de Cannes Palme d'Or winner was named best film/picture of the year at the Lumiere Awards ceremony Monday night in Paris.

Also the movie got the international francophone TV channel TV5 Monde's public prize for best film of the year.

Biopics were in the hot spot as Vincent Cassel won the best actor prize for his eponymous role as the legendary criminal in Jean-Francois Richet's "Mesrine," and Yolande Moreau got a major award which is the best actress prize for Martin Provost's "Seraphine."

Francois Dupeyron was named best director for "Aide toi, le ciel t'aidera."

Samuel Benchetrit was honored the best screenplay award for "I've Always Dreamed of Being a Gangster." Nora Arnezeder - most promising actress for her song-filled romp through Christophe Barratier's musical "Faubourg 36", and Mohamed Bouchaib was honored the most promising actor award for his role in Lyes Salem's "Mascarades."

Jean-Pierre and Luc Dardenne's Festival de Cannes Competition title "Lorna's Silence" picked up the prize for best French-language title hailing from a country other than France.

French actress Jeanne Balibar presided over the ceremony, nicknamed the "French Golden Globes," at Paris' Hotel de Ville. The evening featured an homage to recently deceased actor Guillaume Depardieu and marked the closing night of Unifrance's Rendez-vous with French cinema in Paris.