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Archive for Karl Lagerfeld

Fete Accompli: Another Magazine’s Book Launch and Chanel’s Post-Show Party via NYT [#chanel,#anothermagazine]

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Fete Accompli | Chanel and Another Magazine



Lily Allen at the Chanel and Another Magazine partyPhotos by Oliver Borde Lily Allen at the Chanel and Another Magazine party.

WHO: Chanel and Another Magazine

WHAT: Party for Another Magazine’s Another Fashion Book and Chanel’s post-show.

WHERE: Coco’s old pad, upstairs at 31 rue Cambon.

THE LOOK: An inexplicably Rastafarian-esque beret on Ellen von Unwerth; dark sequins and jeans on Angela Lindvall; Chanel cocktail looks on Anouck Lepère, Frieda Pinto and Lily Allen; L.B.D.’s everywhere else you looked except for the Martin Margiela catsuit on the clearly not-pregnant Kate Moss.

THE DRINKS: Perrier-Jouet Champagne, red and white wine, Budweiser long necks.

THE FOOD: Highballs filled with gravlax, crème fraîche and baby potatoes; prosciutto-wrapped asparagus; foie gras and pain d’épices sandwiches; sugar cookies with vanilla frosting and fresh grapes.

THE MOMENTS: Jamie Hince and Olivier Zahm sharing a man-hug in the middle of the dance floor to the tune of “Let’s Dance”; Rachel Zoe scurrying out with her goodie bag and two large himbos; Carine Roitfeld and daughter Julia Restoin-Roitfeld working separate sections of the room.

Frieda Pinto, Karl Lagerfeld and Stefano Pilati
Left photo, Frieda Pinto. Right, Stefano Pilati and Karl Lagerfeld.
Tags: #ms.melanieperignon, #opuluxelifestyledesign, #chanel,#anothermagazine, #newyorktimes, #tmagazine,

Chanel Unveils The Bleu De Chanel Ad, Directed By Martin Scorsese via [stylelist]


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by Lisa Schweitzer

We’ve been anticipating Martin Scorsese‘s commercial for Chanel’s new men’s fragrance, Bleu de Chanel, for months. The short was released today, and it features all the grit and energy that the legendary director is famous for.

Following the classic Scorsese
model, a rebellious young actor played by handsome Frenchman Gaspard
Ulliel (of “Hannibal Rising”) refuses to conform to expectations, and
falls in love with a woman who fuels his work though passion and
turmoil. All that’s missing is the famous Copacabana Nightclub
sequence from “Good Fellas,” along with much of his signature violence,
though we guess that wouldn’t be that appropriate for a cologne ad.

But still, wouldn’t it be cool to see someone slashed with a broken Chanel perfume bottle?

Scorsese’s Bleu de Chanel commercial is the latest example of the
fashion world tapping famous names to direct their commercials, or
“short films” as the companies have begun calling them. Gucci recently
released a preview of the 3-D ad for their new fragrance Gucci Guilty starring Evan Rachel Wood and directed by Frank Miller of “Sin City” fame. The full “film” will make its debut at the MTV Video Music Awards on September 12th.

Discover the trailer and the fragrance at the specially set web page.

Martin Scorsese directs actor Gaspard Ulliel for the Bleu de Chanel commercial. Courtesy Photo

Louis Vuitton tapped director Zoé Cassavetes for a short called “Hide and Seek” for which she took Vuitton’s summer designs on a romp through London. And Sofia Coppola directed an ad for Dior’s fragrance Miss Dior Cherie, and is rumored to have recently shot yet another for the luxury fashion house with Natalie Portman, a company spokesmodel.

Interestingly, this isn’t Scorsese’s first short: He shot Michael
Jackson’s “Bad” video in 1987; the full length runs 16 minutes, but was
edited to a more concise segment for television.

Considering that he’s directed 17 actors to Oscar nominated
performances, a role in a Scorcese film is coveted in Hollywood, and
Ulliel feels similarly. “Martin Scorsese is a director whom I’ve
admired for a long time, he says. “I see him as one of the great
masters of contemporary filmmaking. Throughout the five days of work,
he overflowed with energy and enthusiasm and achieved something that
truly stands out from other fragrance commercials.”


The scent
is pretty nice too. Developed by Chanel’s Master Perfumer Jacques
Polge, it’s woody with notes of dry cedar, grapefruit and labdanum.

What else is Chanel up to? Khaki nail polish.

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Pedro Almodovar Fashion Shoot – Designers in Pedro Almodovar via [Harper’sBazaar and stylefrizz]


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The Mode of Almodóvar

Bazaar recasts the beloved Spanish director‘s most
memorable cinematic scenes with some of fashion‘s most famous faces.

Pedro Almodóvar officially reached an iconic
standard so high (by Hollywood value charts) that he’s honored with a Harper’s
pictorial! And not just any! The Mode of Almodovar,
featured in the magazine’s March 2010 issue (yes, the Kate
the Great one) featurs some equally iconic designers recreating
Almodovar’s movie posters.

I never imagined the
in one of Almodovar flics so I’ll keep an open spirit while
trying to get these re-edits under my skin! (the story continues right
after the jump with more images! Click here for the gallery!)

The Mode of Almodovar Gaultier

The minor changes you’re picking on are not going to change one pleat
of the general idea: Almodovar the Great, Kate
the Great (Cindy the Great)
. This is one great issue for Harper’s Bazaar.
Some they nail, some they don’t. Almodovar is a go, for sure! Not to
mention it’s always a pleasure (at least in my calendar) when fashion designers step out into the light and do some honest
modelling! Who’s your favorite? (photos via)

The Mode of Almodovar Lagerfeld

The Mode <br/>of Almodovar

The  <br/>Mode of Almodovar 3

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Peter Marino: Fashion’s Most Connected Man via [Harper’s Bazaar]

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Peter Marino: Fashion’s Most Connected Man

The industry’s hot-shot architect might just be his own greatest

Inducing sartorial insecurity in the big guns of Paris fashion —
particularly Karl Lagerfeld and John Galliano, with their iconic visual
status — is no mean feat. But their good friend Peter Marino managed it
at the unveiling of his renovation of the flagship Christian Dior
boutique in Paris in 2007.

“Karl Lagerfeld and John Galliano came,” starts Marino, sitting in
his expansive office, Steven Meisel photographs on the wall, a huge
David LaChapelle image of him on a Harley-Davidson in the corridor.
“John, as you know, dresses quite out there, and he came wearing a
leopard vest and a leopard hat. Karl came all in black, a shirt with a
very tall collar. And I came in a sleeveless leather shirt, leather
trousers, and my leather cap. John turned to Karl and said, ‘I don’t
know, baby. We’re going to have to get a bit further out there. Peter
has really gone a stretch.'”

Galliano couldn’t have said it better. In the past decade or so,
Marino has gone a stretch and then some. He’s become the fashion world’s
architectural adventurer, transforming our notions of luxury retail
with his work for Louis Vuitton, Chanel, Dior, and Fendi. His take on
flagship stores, like Chanel’s 10-story tower in Tokyo’s Ginza district,
with its high-tech glass facade, has turned boutiques into artistic
objects as well as priceless marketing tools, and he was doing it long
before the likes of Rem Koolhaas and Herzog & de Meuron deigned to
be commercial.

Simultaneously, he has renovated his own physical form as a Tom of
Finland drawing made flesh. Along with Marino’s extensive wardrobe of
S&M-tinged leathers, exclusively in black, there are his bulging
muscles — the result of five weekly gym visits — and some rather
wonderful tattoos: a vivid Chinese dragon that goes over his shoulder
and a sleek Japanese panther on his left forearm. It’s a stark contrast
to the button-down shirt and occasional tie he wore 35 years ago to his
first solo job: the renovation of Andy Warhol‘s townhouse. (He went on
to design the third Factory in New York at 860 Broadway and interiors
for such luminaries as Yves Saint Laurent and the Agnellis. In 1986, he
created the template for luxury department stores at the original
Barneys New York.)

peter marino

Today, he’s in full-on biker-boy gear. We’re meant to be chatting
about the collection of 16th-, 17th-, and 18th-century French and
Italian bronze sculptures he has amassed over two decades. Marino is an
obsessive collector of everything from Depression-era cookie jars —
something he began buying on fiea-market trips with Warhol — to Roman
antiquities. Thirty of Marino’s bronzes will be installed this spring at
the Wallace Collection in London for the show “Beauty and Power:
Renaissance and Baroque Bronzes from the Collection of Peter Marino.” On
display will be Samson and the Philistine, attributed to
Baccio Bandinelli, Antonio Montauti’s seductive Diana, a pair
of rare and beautiful high-baroque vases, and Bacchus and Ariadne
by Corneille Van Clève.

Marino is a bona fide lover of art. For his stores, he has flown in
artists like Michal Rovner, Jean-Michel Othoniel, Paola Pivi, and the
late François-Xavier Lalanne to do site-specific installations. “Other
firms bring in art; I bring in artists.”

Now, however, he starts cataloging the contents of his array of
leather fashions, which he has built up since rediscovering his love of
motorbikes. There are black leather straps to hold up his trousers,
straps to hold his wrists straight when he’s on one of his many bikes
(Harley-Davidsons, a Ducati, and his beloved Triumph), and arm straps of
which he jokes, “Because they help my veins come out when I need to
find them.” There are also Red Wing motorcycle boots, leather
neckerchiefs to block the wind from his chest (“I kind of invented it”),
skullcaps, and New Jersey patrolman hats.

“I started off with all Harley-Davidson clothes: leather jacket,
leather vest, leather trousers,” Marino explains in a lisping, almost
cut-glass English accent, though he hails from Queens. “And then,
because I’m in the fashion world, I had some gear made for me by Hedi
Slimane when he was still at Christian Dior. Really good gear: jackets
and coats. I still wear them. I can’t tell the other bikers that I got
them made by Hedi. It sounds so gay. I just say, ‘I got it from some old
catalog.’ I can’t say, ‘Oh, I got it custom-made in Paris by Dior.’ It
is beyond gay.” He chortles.

Marino also has Dior summer and autumn jackets with extended cuffs
and zippers. “I love zippers,” he says. “And Hedi’s summer pants are
paper thin. They are like wearing nothing. So I have change-of-season
leathers. Not many bikers have that; I’m a biker who is into fashion.”
All in all, Marino has about 25 pairs of leather trousers. “I have a
house in Aspen and a house in Southampton, so I keep a few pairs in each
of those.”

It turns out the architect even has his own leather tailor, found
once he started going to police and military shops in New York and
needed alterations. “They called me Policeman Pete in the office,” he
says. “I also got Amsterdam cop and Berlin cop uniforms.” Of course,
law-enforcement suppliers, even of the European variety, aren’t exactly
Hedi Slimane. Marino’s tailor made the pants tighter and added zippers
at the bottom and a stripe down the side. “That has become my signature
look,” he says. His wife, Jane Trapnell Marino, is a costume designer
and, according to Marino, “a big help.”

The leather-daddy look is one he gradually started adopting 12 years
ago, when he revisited his adolescent fascination with motorcycles
around the time his parents passed away. “No reason not to do what you
want to do anymore,” he says. “My wife was cool about it. She’s Scottish
— tough as nails.” At first, Marino would wear leathers to ride to work
and then change into a shirt and pants, which soon became a bother. “I
said, ‘I’m tired of changing into office clothes’ and started leaving my
leathers on. That was all. If I’m covered in mud now, we have some
hoses out there,” he says, winking. “And then, of course, I became
identified with leathers and I thought, why not?”

Others have not reacted as well as his spouse has to the newish
improved Marino. On a recent foray out in Paris with Marc Jacobs, he was
met with stunned silence. But Marino clearly delights in telling the
tale. “Marc and I went to a dinner about six months ago at a bourgeois
restaurant called Le Duc. The dinner was for the artist Andreas Gursky,
and both Marc and I collect him,” he says. “I walk in, ooh, in urban
drag, and Marc came in on my arm wearing a plaid miniskirt and boots.
The cutlery just dropped. Marc is like, ‘I don’t know, dear, we’ll just
have to get to the seat over there. No, we better go out now for a
smoke.’ I said, ‘We can’t go outside. We just walked in!’ It was a
horror, even though it was quite funny. Gursky, he’s German, so he
didn’t find us amusing. I was talking about photography. Stone silence.
It was hilarious.”

The parents and teachers at his daughter’s private school in
Manhattan weren’t much more receptive. “I wasn’t really a big hit with
the administration at the school,” Marino says. “Every time something
happened with my daughter, it was ‘What do you expect? Look at you.’ I’d
say, ‘What do you mean? I don’t understand.’ I let my wife take care of
the education after that.” There was little love from the school’s
mothers either, even though he designs the luxury stores many of them
shop with gusto. “Put it this way,” he says. “None of them ever talked
to me. New York is completely tribal. It is much more provincial than
people think, particularly in that world of private schools.”

Still, his leathers finally came in handy just as his daughter, now
18, was about to graduate, at her post-prom party. “I appeared in full
policeman’s drag with a very large baton. And I went like this,” he
says, making a light whacking gesture, “on the backs of [kids’] legs
when I saw any of the naughty kids drinking or doing something.” He
continues, “They have the rep for not behaving, because they just want
to get drunk. So I was Patrolman Pete in drag. I whacked a few backs of
thighs.” Of his daughter, Marino says, “She’s a bit of a rebel herself.
She is a chip off the old block. She looked like this at 16,” says
Marino as he shows me a Steven Meisel portrait of her. “She was a very
fast kid. Very fast. Who at 16 gets her photo taken by Steven Meisel as a
birthday gift? She was going to Paris couture shows at four years old.
That is not a normal upbringing.”

It sounds a bit like the pot calling the kettle black. Marino was
gallivanting around New York’s club scene and the Factory while barely
out of his teens. He has a reputation for living life at full throttle —
excuse the pun. As his dear friend John Galliano puts it, “Sometimes
when I go out onto the runway at the end of my shows, people debate
about my look. But it’s a show look to reflect the mood and the moment.
Peter is his own greatest creation, and it’s not limited just to
finales. When you go to an event with Peter, he pushes ‘total look’ to a
new extreme. I thought the fashion designers pushed the boundaries, but
when it comes to dress codes, Peter goes that whole extra mile! He is
great fun and a law unto himself. He makes you want to push yourself to
extremes, in your mind as much as with your own styling.” Galliano adds,
“With him, anything goes as long as it inspires him.”

Which brings us back to our original subject: Marino’s art
collection. “I’m obsessive about everything. It is just the way I am,
dude. I don’t know why,” he says, immune to the irony of using the word dude
while discussing a multimillion-dollar cache of works. “I collect
antiquities, I collect photography, I collect antique party books [from
the] 17th century.” Antique party books? “If Louis XIV visited
Strasbourg, the town would make a book with prints and [lists of] all
the party arrangements of each meal and everybody who went,” he
explains. “I have as many of those as I can get. I have the party book
of when William and Mary arrived in London. [It has] everybody who was
in their party and everybody who met them and what they were wearing
every day and at every meal. These are amazing. I really like them. I
used to be a party boy.”

And of course there are the 30 bronzes headed for the Wallace
Collection, which Marino describes as “magic.” French furniture expert
Thierry Millerand tells me later of Marino’s pieces, “There is a nice
diversity in this collection. You have small bronzes, you have big ones.
You have pairs, you have single ones. There are major masterpieces. It
is a great survey. The most important is by French sculptor Corneille
Van Clève: Bacchus and Ariadne. It is a major, major piece. The
size and the composition, the sculpture. Whichever angle you look at it
from, you find no mistake. The patina is another important element in
the appreciation of bronzes. And this is a beautiful, beautiful thing.”

Says Marino of his prized pieces, “It’s everything I love: great
artistry combined with great technical prowess. I love the depth and the
patina that gets better with age. You are supposed to touch bronze; it
is very sensual. The more you touch them, the better they are. I really
like the finishes, most of which are black. Someone once asked me what
my favorite color was. I said you have got to be joking.”


Beam Me UP to the House of Chanel Mother Ship via [Dezeen and cpluv]


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Chanel Contemporary Art Container

Chosen by Karl Lagerfeld to create the Mobile Art CHANEL Contemporary
Art Container by Zaha Hadid, Zaha Hadid is one of the most talented
architects of our time, awarded the Pritzker Prize, considered to be the
Nobel Prize of architecture, in 2004. Each of her dynamic and
innovative projects builds on more than thirty years of revolutionary
experimentation and research.

The Mobile Art Pavilion for Chanel, initially inspired by Chanel’s
signature quilted bag and conceived through a system of natural
organization, is also shaped by the functional considerations of the

Mobile Art

Chanel Contemporary Art Container, a
travelling art space designed by Zaha Hadid Architects, opened
in its first destination, Hong Kong.

The pavilion, commissioned by Chanel head designer Karl Lagerfeld,
hosts an exhibition of artworks inspired by Chanel bags by 20 artists
and called Mobile Art.

The project was unveiled at the Venice art biennale last year – more
details and renderings in our story on the Design Museum’s
Zaha Hadid Blog

The following information is from Zaha Hadid Architects:

The Mobile Art Pavilion for Chanel by Zaha Hadid Architects has been
inspired by one of Chanel’s signature creations, the quilted bag. Chanel
is renowned for its layering of the finest textiles and exquisite
detailing to create the most elegant and cohesive pieces for each
collection. In her quest for complex, dynamic and fluid spaces the work
of Zaha Hadid has developed over the past thirty years through a
rigorous integration of natural and human-made systems and
experimentation with cutting-edge technologies.

Hadid’s architecture transforms our vision of the future with new
spatial concepts and bold, visionary forms.“I think through our
architecture, we can give people a glimpse of another world, and enthuse
them, make them excited about ideas. Our architecture is intuitive,
radical, international and dynamic. We are concerned with constructing
buildings that evoke original experiences, a kind of strangeness and
newness that is comparable to the experience of going to a new country.
The Mobile Art Pavilion for Chanel follows these principles of
inspiration,” states Zaha Hadid.

Continuing to arouse one’s curiosity is a constant theme in the work
of Zaha Hadid. The Mobile Art Pavilion for Chanel is the very latest
evolution of Hadid’s architectural language that generates a sculptural
sensuality with a coherent formal logic.

This new architecture flourishes via the new digital modelling tools
that augment the design process with techniques of continuous fluidity.
Zaha Hadid explains this process, “The complexity and technological
advances in digital imaging software and construction
techniques have
made the architecture of the Mobile Art Pavilion possible. It is an
architectural language of fluidity and nature, driven by new digital
design and manufacturing processes which have enabled us to create the
Pavilion’s totally organic forms – instead of the serial order of
repetition that marks the architecture of the industrial 20th century.”

Hadid’s innovative architecture is the reason Karl Lagerfeld invited
her to create the Mobile Art Pavilion. “She is the first architect to
find a way to part with the all-dominating post-Bauhaus aesthetic. The
value of her designs is similar to that of great poetry. The potential
of her imagination is enormous,” Karl Lagerfeld explained during the
launch of the Mobile Art Pavilion at the 2007 Venice Art Biennale.

Zaha Hadid Architects’ recent explorations of natural organizational
systems have generated the fluidity evident in the Pavilion for Chanel.
The Mobile Art Pavilion’s organic form has evolved from the spiralling
shapes found in nature. This system of organisation and growth is among
the most frequent in nature and offers an appropriate expansion towards
its circumference, giving the Pavilion generous public areas at its
entrance with a 128m2 terrace.

The Pavilion follows the parametric distortion of a torus. In its
purest geometric shape, the circular torus is the most fundamental
diagram of an exhibition space. The distortion evident in the Pavilion
creates a constant variety of exhibition spaces around its
circumference, whilst at its centre, a large 65m2 courtyard with natural
lighting provides an area for visitors to meet and reflect on the

This arrangement also allows visitors to see each other moving
through the space and interacting with the exhibition. In this way, the
architecture facilitates the viewing of art as a collective experience.
The central courtyard will also host evening events during the
exhibition in each host city. The organic shell of the Mobile Art
Pavilion is created with a succession of reducing arched segments. As
the Pavilion will travel over three continents, this segmentation also
gives an appropriate system of partitioning – allowing the Pavilion to
be easily transported in separate, manageable elements. Each structural
element will be no wider than 2.25 m. The partitioning seams become a
strong formal feature of the exterior façade cladding, whilst these
seams also create a spatial rhythm of perspective views within the
interior exhibition spaces.


The Mobile Art Pavilion for Chanel, initially inspired by Chanel’s
signature quilted bag and conceived through a system of natural
organisation, is also shaped by the functional considerations of the
exhibition. However, these further determinations remain secondary and
precariously dependent on the overriding formal language of the
Pavilion. An enigmatic strangeness has evolved between the Pavilion’s
organic system of logic and these functional adaptations – arousing the
visitor’s curiosity even further.

In creating the Mobile Art Pavilion for Chanel, Zaha Hadid has
developed the fluid geometries of natural systems into a continuum of
fluent and dynamic space – where oppositions between exterior and
interior, light and dark, natural and artificial landscapes are
synthesised. Lines of energy converge within the Pavilion, constantly
redefining the quality of each exhibition space whilst guiding movement
through the exhibition. The work of selected artists has been
commissioned for the exhibition. Hadid created an entire landscape for
their work, rather than just an exhibition space. Visitors will be
guided through the space using the latest digital technology developed
in collaboration with the artists.

“The fascination of the Mobile Art Pavilion is the challenge of
translating the intellectual and physical into the sensual –
experimenting with completely unexpected and totally immersive
environments for this global celebration of the iconic work of Chanel. I
see the Pavilion as a kind of a total artwork that continually
reinvents itself as it moves from Asia, to the USA and Europe,” states
Zaha Hadid.


Iris Strubegger Does a Fashion Double Take in Harper’s Bazaar via [FashionTribes.com, and Absinthrill.Blogspot]

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Iris Strubegger Does a Fashion Double Take in
Harper’s Bazaar

Celeb double take iris strubegger

In this fun spread in the March issue, Karl Lagerfeld captures the spirit –
personality, signature look & trademark pose – of some of his most
fabulous competitors with photographs of the androgynous “it” model
posing variously as Donatella Versace,
Vivienne Westwood, John Galliano, Carolina Herrera, Sonia Rykiel, Rei
Kawakubo, and even Kaiser Karl himself.

Harpers Bazaar Cover Kate Moss For more fab fash double
takes, check out HarpersBazaar.com.

Lesley Scott

designer double take: iris
strubegger in us harper’s bazaar, march 2010

posted by CHINCHILLA

model: iris strubegger

photographed by karl lagerfeld
fashion editor: jacob k
scans: absinthrill.blogspot.com

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