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Fashion Reigns and There is Art in the Mix

Le 2 décembre 2016, 04:12 dans Humeurs 0

Fashion Reigns and There is Art in the Mix, As Well

Miami has not so slowly displaced Palm Beach – with its Worth Avenue shops (think: Hermes, Chanel, Cartier, Brioni, Gucci, and those similarly situated) and many luxury shoppers – as Florida’s shopping mecca. As the New York Times’ Ruth La Furla noted in 2013 of the budding Design District, “It seemed full of promise, heralding the rebirth of this once-blighted area, soon to be animated, if investors have their say, by an influx of diners, art and design lovers, and style-struck shoppers flocking to new luxury outposts like Hermès and Céline.”

Miami’s Design District has emerged as the newest hotbed of high fashion. The art-centric atmosphere of the Design District, which is located in Miami’s Buena Vista neighborhood, a 15-minute car ride from South Beach, has proven attractive to brands seeking a more eclectic, less mall-formatted alternative to the formerly most-coveted Bal Harbour Shops, which are also in Miami and until somewhat recently boasted nearly all of fashion’s most important brands. Many have decamped to the Design District, a promise land for brands hoping to attract younger shoppers.

As such, this area has attracted everyone from Alexander Wang (the hip young New York-based designer’s store in slated to open soon) and Maison Margiela (the Belgian-born, Paris-based brand known for its deconstructed wares and popularity in rap songs) to the most esteemed luxury brands like Hermes and Louis Vuitton. The latter moved into its current space in 2013, with the goal of reaching youthful, more trend-driven clientele, according to Valérie Chapoulaud-Floquet, the president of Louis Vuitton North America.

Also in the mix: Celine, the LVMH-owned brand which happily boasts only a few brick-and-mortar stores in the world; goth design god, Rick Owens; Saint Laurent; and Givenchy, and some 100+ art galleries, of course.

With fashion’s relatively new(ish) emphasis on Miami in mind, it is hardly a surprise that Art Basel, the tri-annual international art fair, continues to prove an attractive proposition. The 40-year old, four (official) day-long event, which first landed in Miami in 2002, aims to connect the world's premier galleries and their patrons, and serve as a meeting point for the international artworld. While it is most centrally an art event, the wield of the fashion industry in this space is becoming ever more apparent.

Fashion’s footprint in connection with the event – which descends upon Miami once a year – has expanded quite notably in recent years. Established brands like YSL, which teams up with W magazine for an opening party, and Italian design house Missoni, which is launching an art-infused series of its own, are not merely bystanders. LVMH-owned Loewe – fresh off the debut of its exhibition installed in the conservatory of the Real Jardín Botánico de Madrid – is hosting an event with creative director Jonathan Anderson and collectors Don and Mera Rubell. Marc Jacobs will once again team up with Vanity Fair for a cocktail party at the Webster. Margiela played host for an event, and Christian Dior feted its Lady Art bags.

Narciso Rodriguez’s work will be the subject of an exhibition, which will include a curated selection of the celebrated Cuban-American designer's ready-to-wear garments and accessories juxtaposed with some of the works in the permanent collection of the Frost Art Museum. And "A Queen Within: Adorned Archetypes,” which is slated to open at the Art Seen Cultural Center, will feature the works of designers, such as Alexander McQueen, Comme des Garçons, Vetements, Iris Van Herpen, and Vivienne Westwood, among others.

As noted by the Observer: “Art Basel is also a time for up-and-comers to prove they’ve earned a seat at the proverbial table. Last year, shoe designer Paul Andrew threw a dinner at Ian Schrager’s The Edition, where, ironically, his presence among art influencers established him as a true player in the New York fashion scene. And speaking of fashion, designers and front-row regulars all RSVP to developer Aby Rosen’s annual dinner at The Dutch, where Vera Wang, Tommy Hilfiger and Stacey Bendet hobnob with the likes of Derek Blasberg, China Chow and Dasha Zhukova.”

Given the fashion industry’s well founded connection with art – and luxury conglomerate’s increasing focus on it (think: Fondation Louis Vuitton, Fondazione Prada, etc.) – events like Art Basel often prove a stage for logical collaborations. And as indicated by the rapidly increasing roster of brands taking part in the Art Basel festivities – in some way or another – these events represent highly coveted marketing opportunities for brands, which is critical, especially now with traditional advertising being largely viewed as outdated and ineffective.

With consumers looking more for authentic brand messaging and compelling experiences, Art Basel seems an extremely apt opportunity for brands, no?

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Hawaii fashion featured at symposium

Le 30 novembre 2016, 04:35 dans Humeurs 0

 

The 3rd Hawaii Fashion Month Kauai event is scheduled Wednesday as the finale of the inaugural Kauai November Creative Industries Month.

 

The month recognizes the writing, fashion and film industries as an important segment of Kauai’s economic and workforce development sectors.

 

The Fashion Industry Symposium and Fashion Industry meet and greet is set for 3 to 7 p.m. at the Kauai Beach Resort.

 

The symposium will include:

 

“Fashion Photography and How It Can Elevate Your Business” by Keith Ketchum, Keith Ketchum Photography, owner

 

“Website design —- Taking Your Business to the Next Level” by Yacine Merzouk, CEO, Zendy Web Studio

 

“How to Get into Retailers’ Perspective” by Xochitl Garcia, owner, Shipwrecked

 

“How to Start a Business — What You Need to Know” by John Latkiewicz, director, Hawaii Small Business Development Center Network – Kauai

 

Award-winning designer and “Project Runway” alumnus, Kini’okahokuloa ‘Kini’ Zamora will be participating in the symposium highlighting his experiences on the television show “Project Runway” (2014) and “Project Runway All-Stars” (2016).

 

A graduate of the Honolulu Community College fashion program, Zamora designs “for the local woman and the local man.” His fashion clothing line includes three departments: ready-to-wear, Hawaiian collection and bridal/custom/evening/pageant.

 

The symposium will be followed by meet and greet that will provide attendees an opportunity to network with their counterparts and make new business and community contacts.

 

A $10 registration fee is charged for both events and space is limited. Registration reservations can be made on-line at Eventbrite. Hawaii Fashion Month Kauai is organized by HFM Kauai in conjunction with the HIFI Hawaii Fashion Industry.

 

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All about my mother

Le 28 novembre 2016, 08:15 dans Humeurs 0

All about my mother: growing up with Franca Sozzani, editor of Vogue Italia

Franca Sozzani’s earliest memory takes place at home. Her father is coaxing her to overcome her fear and jump from a dressing table. It is the only way she will learn to be strong, he tells her. So Sozzani jumps. That jump is real, but it’s also a metaphor, and it comes conveniently early in Franca: Chaos and Creation, a new documentary in which Sozzani’s son and only child, Francesco Carrozzini, attempts to unravel the origins of his mother’s fierce independence and her soaring magazine career as the long-time editor of Vogue Italia.

In London in the 1960s everybody was different – that was beautiful

That he doesn’t entirely solve the conundrum is no impediment to enjoying the film. Sozzani is a thoughtful, sometimes stubborn, sometimes droll subject who broke with Italian convention by annulling her first marriage after three months and running off to see the world – first to India, and then London in the late 1960s when it felt like the centre of the universe. Later still she would hitch around the US, with an itch to get out into the world that served as a catalyst for her magazine career.

“In London you really smelled the freedom, it changed my way of thinking completely,” Sozzani recalled during a recent visit to New York. We were sitting at the back of the Bowery Hotel, and the sun glinted off the mane of golden hair that rolls over her shoulders and down her back (she says she is terrified of ageing, but appears to be managing it exceptionally well). Late 1960s London left a singular imprint on Sozzani. “In London everybody was different – that was beautiful,” she says. “Nobody wanted to look alike. In a way this kind of freedom gives you even more creativity.”

As she talks, Sozzani’s son, and the director of this curate’s egg of a documentary, offers small murmurs of assent or dissent depending on the subject. At other times he is absorbed by his mobile phone. Although he was spurred to make the movie by the death of his father, who he barely knew, Franca: Chaos and Creation belongs wholly to Carrozzini’s mother and her relentless drive to succeed. “I always thought my life was predetermined to be a normal life – house, children, golf,” Sozzani says in the movie. “And then I decided that this was not the life I wanted to have. I couldn’t stay home with the kids and make spaghetti.” The fact that she is recounting this to her only child is part of the movie’s central conflict. Carrozzini grew up in a single-parent household in which the single parent was frequently away. Even as he insists that she’s a terrible cook, you get the feeling he would have liked the odd bowl of spaghetti.

I decided that this was not the life I wanted to have. I couldn’t stay home with the kids and make spaghetti

Many people are driven to succeed, but for a mother to prioritise career over family in 1970s Italy was an anomaly that marked out Carrozzini from his schoolfriends. Several decades later, in 1992, Hillary Clinton would deploy similar language to defend herself as First Lady-in-waiting (“I suppose I could have stayed home, baked cookies and had teas, but what I decided to do was fulfil my profession”), and the fact that we’re still arguing about whether and how mothers can find a work-life balance is a big part of what makes Sozzani so refreshing. For her, work is life.

In the documentary we see mother and son watching old home movies. “You never took me to the park like other kids,” Carrozzini says, more curious than accusing. “I never took you to the park, period,” she replies. “Not even with a stroller. I even missed your school’s elementary graduation because I got back home the day after.” If there is regret, it registers as barely more than a flicker. Where Carrozzini is frequently sentimental, Sozzani is decidedly not. “She’s very much about the future, and I’m a huge nostalgic,” he says. “This is literally the thing that differentiates us the most.” It’s also, perhaps, the animating principle behind Sozzani’s editorial instincts. “It’s not that I don’t think of the past, but it’s a waste of time,” she says. “If you’re stuck in the past, beholden to it, then your creativity is stuck there, too, because you don’t give yourself a chance to evolve.”

It’s been just over 50 years since Vogue Italia was first published, and Franca Sozzani has been the magazine’s editor-in-chief for more than half that time. She arrived in 1988, the year – the same month in fact – that Anna Wintour became editor-in-chief of American Vogue. Since then, each woman has spawned a cult following, while pursuing very different paths. You could say that Wintour’s Vogue is the magazine no fashion house can afford to ignore, while Sozzani’s is the magazine that no fashion house wants to ignore. One is insistently commercial, the other ceaselessly creative.

There are 21 international editions of Vogue, and most cleave more or less to the formula that Wintour has established. “I don’t think you can say anyone else has more power than Anna,” says Sozzani. “She represents America, and she represents the biggest power you can have as an editor. At the same time my choice was about creativity, so we really made separate choices but with total respect for each other.” The two women are now friends, but Sozzani says it took some years to get to that point. “We are both very determined and relentless,” she says. “We have a great sense of family in terms of our children – and she’s British, so she also has a sense of humour.”

‘We have a great sense of family in terms of our children’: Francesco Carrozzini as a baby.

As a rule, Sozzani says, she gets on better with men. “I like things to be clear, and with men that’s usually easier. The women I’m closer to, like Anna, are women who are very straight.” She feels the same way about Donatella Versace. “She always fights, and she pays for her mistakes, but she’s willing to take risks. Gianni [Versace] was the opposite in many ways, very temperamental. One day he could say something and after five minutes change his mind completely. Donatella is very reliable, and much more focused.”

Every magazine editor knows you cannot please all the people all the time, but few have appeared quite as sanguine as Sozzani about pissing off so many people so much of the time. If she sees a fire, her instinct is to run to it. War, violence, terrorism, drug abuse, environmental catastrophe – all are grist for Sozzani’s fashion mill, an oil-and- water mix that frequently gets her into trouble.

Jonathan Newhouse, the chairman of Condé Nast International, admits she initially pushed the magazine too far out of the company’s comfort zone. “I said if you keep going in this direction, I might have to fire you.” Sozzani persuaded him to give the transition time even as the magazine’s older advertisers fell away. Meanwhile, she was granting photographers greater and greater latitude to do as they pleased. At one point in the film the philosopher Bernard-Henri Lévy pops up, randomly, to say that Condé Nast believed they were hiring a businesswoman with a plan, before adding with a smirk, “But she’s crazy!”

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