HONG KONG — Calvin Klein platinum label, the fashion house’s newly rebranded bridge line, introduced its men’s and women’s apparel here Thursday as its global creative director, Kevin Carrigan, spoke of his efforts to “recode” the brand for a new generation.
To launch the label, which replaces the ck Calvin Klein business, Calvin Klein staged a runway show at Shaw Studios, a film-production complex northeast of the city. The evening show attracted a host of celebrities including Japanese actress and model Tao Okamoto, Hong Kong model Gaile Lai and model-turned-Calvin Klein fashion blogger Hanneli Mustaparta.
“Calvin Klein’s on fast-forward to reinvigorate, regenerate and bring the brand DNA back to a new audience, in a way that’s warmer, in a way that is more soulful, in a way that connects,” said Carrigan, who celebrated his 15th anniversary at the brand last week. He said he hopes for the line to impart warmth and charm, and to be “more approachable.”
Platinum label’s apparel debut featured billowing slip dresses, asymmetric skirts, structured T-shirts and relaxed pants that combined pure fabrics in multiple shades of the label’s signature platinum for spring. Soft pleats, low heels and reverse-twill pants, as well as dropped-sleeved, exposed-edge and textured T-shirts, were in abundance. There were elements of the brand’s signature athleticism, expressed through racer-back tank tops and dresses. The label uses few blended fabrics, focusing on fabrics such as 100 percent wool and cashmere against pure nylons and acetates, which provide a more technical and futuristic element.
“So there’s a sense of luxury, and there’s a sense of athleticism too,” Carrigan said, “and that’s how I’m going to keep approaching the brand.”
Staying true to the brand’s palette, the new bridge label uses a rich variety of grays liberally, and this was most obvious backstage before the show, where a crowd of models were seen in metallic, platinum, graphite, chalk, off-white, heather gray and sheer black pieces. The sea of gray was broken up by punches of color in viridian green, cobalt blue and icy pink. Once the lights dimmed and these pieces were paraded onto the runway, the hues played dramatically against a massive, jutting structure, measuring 150 by 20 feet and covered in crisp, metallic Mylar, which served as the show’s background.
The newly revamped bridge line, which is distributed mainly in Asia and Europe, was introduced this fall with the launch of platinum label jewelry and watches.
The label occupies the segment between the premium Calvin Klein Collection and the accessible white label. Carrigan said he aimed for the platinum label to be “believable” in the bridge area, unlike the bridge lines that have flooded the market in the past eight years, which he considers subbrands. “People do not want a diluted label,” he said. “They want the real label.”
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast