Fashion as spectator sport. No wonder the notion has achieved cliché status, given the multitiered gaping that goes on these days, fueled by the red carpet, the Project Runway effect, the endless paparazzi stalking of celebrities for publishable, post-able photos.
Much of fashion’s appeal as mass entertainment centers on the collections—once on the radar of almost no one other than participating insiders, but now a monthlong global media (both new and old) event. First came the celebrity takeover of the front row, and more recently, the social-media-celebrated external fashion show starring dressed-to-the-hilt editors stalked by a new genre of blogging paparazzi, many of whom themselves dress for the lenses of others.
Lest we forget, some of the actual runway fashion is also delivered with ample showmanship; we’ve come to expect no less from two creators in particular. This season, Marc Jacobs went Pop in New York with a high-drama treatise on the spectator black-and-white that he’s long loved but seldom restricted himself to. (Others were on the wavelength; black, white and graphic developed into one of spring’s most important trends.) At Louis Vuitton, Jacobs took the same visual bravado on a glossy ride to the Sunny Side via yellow-and-white graphics and a major set of escalators. At Chanel, Karl Lagerfeld’s installation of sleek, giant wind turbines provided a bold backdrop for clothes that, stripped of the obvious iconography, nonetheless radiated modernist Chanel. Increasingly, Alexander McQueen’s Sarah Burton has upped her production bravado to better reflect the theatricality of her clothes. This time, moody lighting and a mesmerizing video of bees at work telegraphed “a matriarchal society” in which everyone looked high-glam fabulous. Others, too, have shifted toward showmanship, notably Proenza Schouler’s Jack McCollough and Lazaro Hernandez, who inhabited a decrepit office building in the bowels of lower Manhattan for a dazzling technology-informed collection, and Alexander Wang, who punctuated his audacious, edgy lineup with glow-in-the-dark fun.
Still, the season’s biggest entertainment fest played out in the Battle of the Debuts. One hallowed fashion city, Paris. Two revered names, Dior and Saint Laurent. Two powerhouse groups, LVMH and PPR. Two designers deemed cooler than cool, Raf Simons and Hedi Slimane. Not surprisingly, the anticipation was inevitable. What could not have been predicted was the divide between critics and retailers on Slimane’s Saint Laurent. From this vantage point, Dior and Simons won hands down on the aesthetic plane, delivering what Dior has long needed—beautiful clothes that celebrate currency over camp. I found Saint Laurent oddly sweet in its reverence and mundane in its approachability. Yet I also saw how those two characteristics—and an oft-repeated riff on that good old rock ’n’ roll favorite: the leather jacket and skinny pants—could make a sound prescription for resuscitating the Saint Laurent brand around the world, a theory supported by the retail raves the collection garnered.
The annual Veuve Clicquot Polo Classic in Pacific Palisades this weekend drew Kate Hudson, Tracee Ellis Ross, Laura Dern and more. See pictures of the star-studded event on WWD.com. (📷: @chelsealaurenla) #wwdeye
In his new book “Hollywood Royale,” Andy Warhol’s Protégé Matthew Rolston celebrates the Eighties revival of Hollywood glamour. Featuring more than 100 portraits taken by Rolston from 1977 to 1993, the book contains photos of icons like Michael Jackson, Cyndi Lauper, and @drewbarrymore, pictured here in 1991. “Hollywood Royale,” out today, will be accompanied by an exhibition opening at Los Angeles’ Fahey/Klein Gallery on March 1. #wwdeye
"Nowadays when life is not so happy with everything going on in the world, I think people come to me for a little bit of whimsy and color and fun." - Designer Rebecca De Ravenel on her cult-favorite jewelry line. (📸 : @vsteves) #wwd40
“Everyone is talking about how the retail industry is struggling, but I think it’s an incredible time because brands who are doing something different and innovative are setting themselves up for the future,” said @adamgoldston, who founded the luxury athletic brand @apl with his brother @ryangoldsten. The Goldston’s are part of WWD’s 40 under 40: a group of industry notables. See the rest of the list on WWD.com. (📷: @vsteves) #wwd40
@eyeswoon blogger Athena Calderone debuted her first-ever cookbook, “Cook Beautiful,” which is heavily centered on the presentation and visual expression of food. Pictured here are her miso glazed carrots from the book. Get the recipe on WWD.com. (📷: @johnny_miller_) #wwdeye
“It’s passion that helps get anybody to a certain point and it’s what’s propelled me,” said Kith founder @ronniefieg, one of WWD’s 40 under 40: a group of industry notables who are changing the face of retail, fashion and beauty. Fieg, who opened a Manhattan flagship on October 7, began his career at age 13 as a stock boy and salesman for footwear chain David Z. “I think staying true to [my] beliefs, hard work and passion have gotten me to where [Kith] is today.” See the rest of the 40 at WWD.com. (📷: @vsteves) #wwd40
25-year-old @samweaving is about to break out this fall, starring in Netflix’s horror film “The Babysitter,” fittingly out today on Friday the 13th. That’s not the only place you’ll be seeing her, though — Weaving’s got a role Showtime’s “SMILF” and another alongside Frances McDormand and Woody Harrelson in “Three Billboards Outside Ebbing, Missouri.” Though she’s got a full plate at the moment, there’s one role she’s got her eye on: Marilyn Monroe. “I’m a little too young at the moment, but it’s on my bucket list,” the actress told WWD (📷: @dandoperalski) #wwdeye
BFF's Poppy Jamie and Suki Waterhouse celebrated the launch of their bag line Pop x Suki at Nordstrom last night. "The line is really about our friendship, and how we are so different but complement each other," said Waterhouse. 👯 (📷: Katie Jones) #wwdeye
After designing the new @louisvuitton and @bulgariofficial flagships and a @chanelofficial boutique opening in Japan, @petermarinoarchitect has another project on his plate: The Lobster Club. Located in the Seagram Building, it’s the famed architect’s first restaurant project in New York, serving up modern Japanese brasserie-style cuisine. Bronze hues, bespoke material detailing, blush and chartreuse tones and a heavy emphasis on Picasso can be seen throughout. Mark your calendars for Nov. 1 for the much-anticipated opening. (📷: @clint_spaulding) #wwdeye