tag:blog.wmagazine.com,2008-04-24:/w/blogs/editorsblog//22 2011-02-22T18:27:49Z Movable Type Enterprise 4.32-en tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011280 2011-02-22T18:11:00Z 2011-02-22T18:27:49Z

Growing up, I spent summers on Shelter Island with a tall blonde girl with blue eyes named Emily Baker. Recently, while taking a break with W's bookings editors, I came across a model comp card from DNA for one Emily...

Carolyn Tate Angel Emily Baker. There was a striking resemblance—I thought, could it be the same girl? Unfortunately this Emily isn't my childhood friend, but it's been hard not to notice her popping up on all the runways in New York. Did she catch your eye?

Preen by Thornton Bregazzi

Proenza Schouler

Marc Jacobs

Rag & Bone

Narciso Rodriguez

Photos: Fairchild Archive]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011163 2011-02-22T17:55:00Z 2011-02-22T18:28:15Z

Alexander Wang: I love a soft, chunky knit over a beautiful satin dress. Calvin Klein Collection: A minimalist's metallic mini. Carolina Herrera: Arizona Muse in a beautifully shaped knee-length coat. Juan Carlos Obando: A romantic moment in lilac. Marc...

Karla Martinez Alexander Wang: I love a soft, chunky knit over a beautiful satin dress.

Calvin Klein Collection: A minimalist's metallic mini.

Carolina Herrera: Arizona Muse in a beautifully shaped knee-length coat.

Juan Carlos Obando: A romantic moment in lilac.

Marc Jacobs: The demure lady is introduced to latex—I love a twisted classic.

Michael Kors: Thirty years of the luxe New York woman, this show had all Kors' greatest hits.

Oscar de la Renta: Burgundy and red make a great pair.

Ports 1961: This sleek coat and matching trouser were simple and to the point.

Proenza Schouler: Jack McCollough and Lazaro Hernande presented a wonderful mix of prints and fabrics.

Ralph Lauren: So much glamour!

Tommy Hilfiger: A chunky knit over a pajama pant such a great pair.

Photos: Fairchild Archive]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011040 2011-02-22T17:00:00Z 2011-02-22T17:05:56Z

Christina Han Up until now, the application of sunscreen onto wet skin can be a slight disaster. Taking on a drippy, milky consistency the sunscreen loses it’s protection powers. Thankfully hitting drugstore shelves this week are the H2O-defying, completely waterproof sunscreens from Neutrogena and Aveeno. Appropriately named Wet Skin and Hydrosport respectively, both have the ability to break through water molecules and adhere their broad spectrum UVA and UVB protecting formulas directly onto the skin—without needing to towel off and without the streaky mess.

From left: Neutrogena Wet Skin Sunblock Spray, from $8.99; Aveeno Hydrosport Sunblock Spray, from $9.99.

Photo, top: Bruce Weber ]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011241 2011-02-22T15:00:00Z 2011-02-18T21:27:20Z

Maura M Lynch Most models in New York are currently doing the Fashion Week circuit, but not Anna de Rijk — she’s got other projects on her plate. The 22-year-old Dutch model, who has lived in Brooklyn for one and a half years now with model friends, was first discovered at 16 at a neighbor’s Christmas party in her hometown of Haarlem. By February 2009, she was chosen for a highly-coveted Prada runway exclusive, and it’s all fallen into place from there. W caught up with her to see what she’s been doing instead of walking the Fall 2011 New York runways.

From left: Donna Karan Pre-Fall 2011; Oscar de la Renta Resort 2011

Where are you right now?
I’m sitting in my apartment in Williamsburg.

Do you have a favorite spot in your neighborhood?
There’s this café called Blackbird, which is really cute and reminds me of a European or French café. They have crepes, and sometimes there’s a piano player playing music. And then there are a few restaurants . . . I’m a vegetarian, so I really like Bliss, a vegetarian place, and some other Thai and Japanese places.

How long have you been vegetarian for?
A year. I was raised [mostly] without meat — my parents mainly made pasta without meat every night, so since I didn’t really grow up with it, I didn’t really like it so much. And then a year ago, it was really strange — I was in a plane, and I got chicken, and I looked at the chicken, and I thought it just looked so gross. And then I felt like, well, I’m kind of half vegetarian [already], so I decided I’m not going to eat meat and chicken anymore, period. I eat a bit of fish because otherwise I feel really weak. I’m not vegan. I eat cheese and eggs and yogurt.

We heard you just came from Stockholm. You were shooting for H&M?
Yeah, I was shooting for H&M. This was for the catalogue, but I shot the campaign earlier this month.

How long were you in Stockholm for?
Two days. It was really nice because I had some spare time, and I went swimming and to the sauna and dinner and drinks with the other model [Clement Chabernaud]. It was a really relaxing time. The sauna, I never realized how good it makes you feel. You’re glowing after.

From left: Jason Wu Resort 2011; Chanel Fall 2010 RTW

Any other recent travel?
I traveled to the Bahamas for the H&M campaign, which was super nice. It was so crazy, because I’d never been there — we were flying in this plane which only had two chairs next to each other, and it made this stop in between. It was like taking the bus but through the air. And when you fly above it, the sea has such crazy colors, you can see all these turquoise and baby blue colors. It was really beautiful actually.

]]> And the H&M campaign is not out yet, right?
No, no, no. It’s for the summer.

Do you have any other fun shoots coming out that people don’t know about?
Well, I’m not allowed to say everything about shoots that are coming up, but you never know . . .

Dior spring 2011 campaign

Do you prefer doing runway or photoshoots?
Shooting, I really prefer shooting. I do really appreciate seeing how people make clothes, but it’s more like observing. For me [as a model], the only thing I contribute to that is walking over the catwalk. And I prefer to be part of creating an image. It’s more relaxing, there’s more time with the team when you’re shooting. You really work together with the photographer, and I feel like it’s much cooler to take pictures. I prefer to be part of something creative.

Is there anyone you really like to work with?
I really like Inez and Vinoodh, and Vivienne Sato, she’s an art photographer. And I like the stylist Marie Chaix.

When you shoot with [Inez & Vinoodh], they give you freedom to do what you want. I feel an appreciation for each other’s work, and they have a good eye for what they want to achieve, with very strong opinions. And they also know how to get something real out of you. They don’t try to make you something you’re not.

What about anyone you’d like to work with?
I would love to work with the photographer who makes really untouched pictures, Peter Lindbergh. I worked once with Paolo Roversi and would love to work with him again. And then I would love to do something for Alexander McQueen, because I love their collection.

Do you plan to do all four major fashion weeks?
I’m not going to do New York Fashion Week for now — I’m shooting at the studio. I missed [New York] castings because of H&M, and I think it’s better just to leave it. So I’m skipping New York. But I might do Paris or Milan, I’m not sure yet.

What are your Fashion Week essentials?
I always carry a book with me to read, because we have to wait and wait [backstage]. And also a writing book — I like to take notes, and write about what I see, maybe draw a little bit. I like drawing a lot.

What are you reading right now? And what are your favorite books?
I just started The Diary of Anais Nin, it’s really chaotic. I really like The Fountainhead by Ayn Rand, it made a big impression on me. And I had an absolute Harry Potter addiction when I was younger. I’m so excited when the movies come out.

Vera Wang spring 2010 campaign; Chanel beauty fall 2010 campaign

Anything new in your wardrobe you’re excited to wear during fashion week?
I bought some new shoes — black leather Alexander Wang shoes. I really love these shoes, they’re flat and a bit manly but very structured. And I got these high heeled black Ann Demeulemeester ankle boots. I just think they look very cool.

First thing you plan to do after it’s all over, post-Paris Fashion Week?
Celebrate my birthday, which is the 27th of February. If I can, I might go home to my parents’ because I didn’t go home for Christmas or New Year’s. I haven’t been home for a long time — since last summer. So I would like to go to Holland and chill and celebrate my birthday with them . . . and my mom’s birthday is the 2nd of March, so we’re going to get a very small party for the family together.

Did you have a job over the holidays that kept you from home?
No, I had this really strange urge to go and travel by myself. I really felt I had to experience and learn, so I went by myself to China for two weeks, to do volunteer work with elephants in the north. And I was in the jungle for a bit.

What’s your favorite moment in your career so far?
That’s a hard one. I really enjoyed opening Burberry actually, because I was really nervous and I didn’t expect it at all, and I hadn’t really opened shows before. Oh! And when I heard that I was doing the Prada campaign, that was quite a big thing.

Any aspirations outside of modeling?
I’m very into art and reading and I’m also doing acting classes — I started last Spring, in May or something. I can’t do it super regularly, but I try to do it when I can.

What are your guilty pleasures?
Chocolate, for sure. Dutch chocolate. I really like healthy desserts, but when you eat in a vegan restaurant, the dessert is so good that you have to eat the dessert.

Who are your closest model friends?
Dorothea Barth Jorgensen, Sara Blomqvist, Saskia de Brauw — she stayed with me in my apartment recently — and Iekeliene Stange. Dorothea’s my roommate. We’ve been living together for a year and a half. Before, her, me, and Sara Blomqvist each shared one apartment, and then Sara, she moved to London to live with her boyfriend, so then Dorothea and I looked for another apartment in the same neighborhood in Williamsburg, and we found a really cool one.

What do you see for yourself in the year ahead? Any resolutions?
As a model, I meet so many great people, I’m doing nice jobs, I can see countries and do so much fun stuff, and I have some spare time. I really want to return some of that energy; I want to do something good for friends and family or an organization. I feel like I should make myself useful in some way. My parents really want to come to New York, so I got them tickets to come in May and stay with me. And there’s this really cool organization called Clean Clothes [Campaign], which is trying to improve the lives of people that make clothes around the world, who hardly have money to eat. Being in fashion, I’d really like to do something with them.

And what are you up to tonight?
I’m going to be very relaxing and do bikram yoga and then watch a movie with Dorothea, I think. We just got Requiem for a Dream in the mailbox. I hear it’s super intense. We’re probably going to watch it, because we both saw Black Swan, which I’m really really obsessed with, and [Requiem is by] the same director, so I have to see it. ]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000010340 2011-02-22T15:00:00Z 2011-02-01T20:58:15Z

Cator Sparks When you are traveling the world covering trends from Milan to Miami you may start wondering what is missing from your wardrobe. That’s exactly what happened to journalist turned designer Anna Laub. In 2009 after years of fashion show and event coverage she decided to launch her own line of eyewear. It didn’t take long for everyone from Dover Street Market to Barney’s and Opening Ceremony to start placing orders and selling out at lightening speed. The styles, colors, quality and the amazing Lucite case were an easy sell. And being a former model, Ms. Laub isn’t exactly a bad looking walking advert for her own line. For spring 2011 La Laub is expanding by launching sunglasses and swimwear. We caught up with Anna between trips to hear how it all began and how to avoid getting a zebra striped tan.

How did Prism start?
I was looking for glasses and just couldn't find any I wanted. I realized that they are as important an accessory as any other, and it’s crazy the amount of time we spend choosing shoes or a bag - except these are more important as you wear them on your face! It's the first thing you see on someone... I was working as a trends journalist traveling the world - going to the shows and looking at street style in places from Rio to Paris and was inspired by vintage styles people were wearing and I was finding in markets but you couldn't buy in a consistent way, as a high-quality product.

Why did you wait to launch sunglasses?
For me it was really about the fact that there were no optical glasses on the market. I had some of my optical frames made into sunglasses samples just for myself to wear - and lots of friends and customers started asking for them so I thought if I want them and they want them...

What inspired you to do swimwear?
I was always in search of the perfect bikini top and the perfect bottoms and I always mix and match tops and bottoms that I find all over the world. I only started wearing glasses in the last five years or so as my eyes got worse - so designing glasses was actually more of a wildcard to people that know me, whereas swimwear is always something I've been into. So when I launched the sunglasses – I felt it made sense to do it as a package – sunglasses and swimwear together. For me it's all about the outfit together. The sunglasses I designed for this season go with the swimwear; it's all part and parcel of the same look.

Tell us a bit about the suits.
I wanted to make swimwear that was mini malist, not fussy and high-quality but also sexy – something women were excited about wearing without it being too over the top. Something that makes women look and feel as good as they possibly can when they are wearing so little. It's really all about the detail. I took inspiration from underwear - but mainly in the fit - so that there is support there when you need it or push up padding to make your boobs look amazing. It’s also really about flattering, clean lines and quite fashion-forward shapes and color palette. The minute details were essential too, such as all of the suits being double-lined so that they pull you in, and aren't at all see-through. And everything has detachable straps so that you don't get strange tan lines.

Are there certain trends in swimwear we should be aware of?
I think that swimwear moves in a parallel to fashion trends – and I think it’s great to take ideas from the fashion at the moment, colors for example or fits. But I'm not so into the idea of wearing a super over-the-top swimsuit on the beach – for example a multi-strap cut-out swimsuit may look amazing in a shoot - but I feel like on the beach you want to look sexy but don’t want it to look too much. You also don’t want something where you’re going to end up with zebra-stripe tan-lines!

This winter is driving us nuts. Where would you be poolside if you weren't stuck in frosty London?
Oooh well, I named all the suits after amazing places where I imagined wearing each one. Positano is the name of one of favorite bikini top styles, named after my favorite place in Italy – it’s a bit cold there this time of year though. Puerto Viejo, in Costa Rica, (which I named the u-shaped bandeau bikini top after) or Uluwatu – the southern tip of Bali, one the best surf spots – (I named the mini-shirt bottoms after this spot) - either of those destinations would do me just fine at this time of year...

Prism is available at Opening Ceremony and prismlondon.com

Photo: Danielle Levitt ]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011221 2011-02-22T14:45:04Z 2011-02-22T18:28:31Z

Jamie Leilani Pelayo The Oscar nominated documentary, Waste Land, follows Brooklyn-based artist Vik Muniz on his journey home to Brazil to raise awareness for a lost society of garbage pickers in the world’s largest trash heap. He arrived hoping to paint the “catadores” or garbabe pickers at Jardim Gramacho outside of Rio de Janeiro but ended up collaborating with them in a series of photographic portraits built literally from trash. Lucy Walker, the director, talks with W about the process.

What appeals to you most about documentary filmmaking?
I love fiction as well and will probably move into this format as some point. For now, I just think that there is a great deal of excitement about telling real stories through the documentary filmmaking techniques. You get to give the audience a peak into these closed or far away worlds, just like going to Tibet and climbing Everest with the blind (Blindsight), or seeing inside the Amish community (Devil’s Playground) and what it’s like in the world’s largest garbage dump (Waste Land).

What challenges are specific to being a female director?
Directing is a very challenging job in the first place. Being a female director, takes a big leap of confidence, ambition and self proclaim. It’s a high stakes game- financially. It can also be a very physically challenging job. And, it includes a lot of technological aspects of the job that just haven’t been very female friendly, traditionally speaking. That being said, it’s wonderful to be representing an under represented voice in the film community. I really enjoy as a women to bring a different perspective and different type of story to life. It’s a reward and a challenge.

How did the documentary Waste Land come about?
I was really interested in Vik Muniz’s artwork and meeting him. I thought it may be interesting to do a film about him, but I wasn’t sure what the story was and I didn’t see how I could make a really good profile of an artist. After we met, we had these conversations that were really organic to us. The conversations were full of respect and excitement about each other’s work. We discovered that we shared a mutual obsession with garbage. And since Vik was very involved with social projects and collaborating with non-artists in these ways, we decided to focus on merging these two things. I had heard of the catadores, or garbage pickers as they are known, in Brazil. I knew that Vik had grown up poor in Brazil and that he was a bit haunted in his middle age by the success he had achieved. He was looking for meaning. So the idea of taking him back to his homeland to see people who came out of a similar situation, but with a very different outcome… and to be able to help these people was very appealing for him as well as the storyline.

Why do you think it was so important to tell the story of the catadores?
These people are the most disregarded, and discarded, people in the world. To a lot of people they register as human garbage or human waste. They were so ostracized by the Brazilian culture. It’s a shame, because these people really turned out to be the opposite of the expectation. It is such a radical challenge to prejudice.. We discovered that they were so resourceful and so inspiring, each and everyone one of them. They hadn’t been very lucky in life, but they had taken that luck to live lives of dignity, courage and positivity … it is really fascinating to watch.

After the movie ended, how did this project continue to change the lives the people involved?
In many ways it’s been a real life fairy tale. All of the proceeds from the art project and a percentage of film profits are going back to the catadores, providing them the resources to better their community. Recycling laws are changing in Brazil due to the attention that was received. Pickers will never be ostracized in the same way in Brazil.

Do you feel that your perspective on a subject matter changes from the beginning of the project to the end?
Are your suspicions, thoughts and ideals typically confirmed? I’m a human being as prejudiced as anyone else. As I filmmaker I’ve begun to be able to anticipate a lot of what people are going to say and what will happen. The big surprise for me in this film was that the situation wasn’t anything like the things we had worried about the most. We were worried that all the inhabitants of Jardim Gramacho would be convicts with mental health issues, criminal records and overall very dangerous. I was surprised by how incredibly brilliant these people were. It makes you think a lot about society. It’s really a fascinating way of reflecting on our lives, in a rich way.

I think it’s the best work I’ve ever done. It was like finding human treasures in the trash. It’s so warming to know that human beings can respond to challenges in such beautiful ways.

This film is nominated in this year’s Academy Awards for Best Documentary Feature. How does it feel to have your work acknowledged by the Academy?
It’s a real privilege for this movie to be embraced and my directing to be honored. I am so humbled and honored to have this nomination.

http://www.wastelandmovie.com/]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011200 2011-02-21T15:00:00Z 2011-02-18T19:16:22Z

Kelley Hoffman In Karlheinz Weinberger’s new monograph, Rebel Youth, the self-taught photographer captures Swiss teens from the ‘60s with aggressive rockabilly style. Weinberger—who passed away in 2006—was an outsider all his life and gravitated towards the James Dean dreams of his working-class subjects in Zurich. Mixing American pop culture fashion with their own over-the-top accents, the “Halbstarke” youth made giant belt buckles and DIY denim look good, in a way only charming delinquents can (imagine Elvis meets Brokeback Mountain, with an eccentric Euro edge). W chatted with Rebel Youth editors Bruce Hacknew, Martynka Wawrzyniak and Patrik Schedler about Weinberger and his stylish rebel rousers.

How were you first exposed to Karlheinz Weinberger's work, and what led you to editing Rebel Youth?
Martynka Wawrzyniak: Around 10 years ago Jack Pierson showed me a copy of Weinberger's first [self titled] monograph. At the time I was the co-editor in chief of Issue Magazine and we featured some of Weinberger's work. In late 2008 I saw the Karlheinz Weinberger: Vintage Prints, Belt, Jackets, Couples, etc., show at Anna Kustera and was instantly reminded of how much I loved this work. Anna mentioned that Weinberger had passed away and that his previous monograph was selling for over $900—I was determined to edit his next book!

Bruce Hackney: Back in 2002, when I was the director of Nicole Klagsbrun Gallery, a co-worker showed me this booklet published by The Photographer's Gallery in London. On the cover was an arresting image of this grungy biker sporting a jacked up wardrobe topped off with a swastika pendant. After devouring the images in that booklet, I decided I had to find a way to show the work in New York. I got in touch with Weinberger's Zurich gallerist and proceeded to put together a mini survey of his oeuvre; from his beginnings as a "beefcake" photographer for a ground breaking homophile journal, through the "Halbstarke," to his images of hard core biker gangs. Because of his age and health at that time, Karlheinz wasn't able to come over for the show so I never got a chance to meet him in person; something I've always regretted.

How did you select the photographs and the order?
MW: I went to the Weinberger Estate headquarters in the tiny Swiss village of Warth (outside of Zurich) and edited from a vast archive of vintage prints, color slides and negatives. Obviously I have many favorite images, but I am particularly drawn to some of the reportage-like, candid moments of kids lounging around on the grass outside, boys wrestling, piles of denim clad legs—you can almost smell the summer air! The cover image jumped out immediately, it just seemed like a perfect representation of the contents of the book, plus the fashion feels quite contemporary. We specifically wanted to use a color image on the cover as the book includes a lot of never before published photos in color.

In his forward John Waters refers to the youth as the “Verlaustan” (lice-infected ones) while Guy Trebay calls them the “Halbstarke” (half-strong). Can you explain the difference between these two terms for the same group?
Patrik Schedler (Heads the Estate of KHW in Warth Switzerland): The word “die Halbstarken” represents the group of those young guys (mostly men), it is more ironic (because they saw themselves as really strong!), meanwhile the word “die Verlausten” is very disrespectful, because it calls them kind of dirty, unwashed, stinky... as sick as untended animals are. The adjective “verlaust” means: full of lice, lousy. You can compare it a little with “gay” and “queer.” The young rebels began to name themselves as “Halbstarke,” but they never used the word “verlaust” for describing themselves.

The oversized belts are really something else. How do you view the significance of fashion in the portraits?
BH: I've always understood the Halbstarke "fashion" as completely intuitive element: these kids just wanted to wear anything that made them stand out, let them feature their "rebel" idols around their necks or around their waists, and thumb their noses at the Swiss bourgeois.

Can you tell me a little bit about the differences between the photos taken of the kids’ in their natural settings verses in his studio?
BH: I think the differences are mostly practical and somewhat cultural. The Swiss have a deep affinity for their landscape and their agrarian roots hence Karlheinz shot a lot of these pictures at local festivals and the State circus, the Knie. Some of the other locales—St. Petersinsel, Bad Ragaz—were camping spots for rival gangs to hold a sort of rebel retreat—a Halbstarke summit meeting of sorts. They'd drink, dance, etc. in these bucolic settings. The "studio" was actually his apartment and his attic. Not only did he photograph there, his home was also a de facto clubhouse. He'd invite them over, play rock and roll music and put on a slide show of the images he shot.

Rebel Youth (Rizzioli, 2011) is available now at amazon.com

All images ©The Estate of Karlheinz Weinberger, from Rebel Youth, Rizzoli New York, 2011. ]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011080 2011-02-21T15:00:00Z 2011-02-18T22:52:15Z

Vivianne Lapointe Kristin Lee & Brady Cunningham, the owners of cult Hollywood boutique TenOverSix, are first and foremost designers so it's no surprise the pair will be launching their very first full ready-to-wear collection under the store's name for Fall 2011. W met up with the duo in Los Angeles for an exclusive look at the new lineup:

Brady just had a beautiful baby girl, and you’ve just given birth to your first boy. How curious is it that you both got pregnant at the same time? Was it planned?
Kristen Lee: Was certainly not "planned" but we were both ready, and I finally convinced my man this past spring! It did all happen very close, which is great, because it's been fun to go through it together.

Has maternity affected your sense of style?
KL: Not really, although we are both looking forward to being able to wear high-waisted jeans again! We love shapeless, voluminous, oversized ready-to-wear right now. Luckily, we were both already feeling that shift in shape before we were pregnant, so the transition was not that crazy. I didn't buy a single piece of "maternity" clothing. Everything I've worn comes from the designers I always wear, with a slight adjustment on how I wear them (i.e. no waist belts). Great accessories provide a style lifeline through pregnancy, as no matter how big your belly grows, a bold necklace or beautiful shoe always fits.

Top: TenOverSix in Los Angeles; From left: Tommy coat in honey wool with Viva Q. ankle booties in black kid suede; Carey dress in rose sand silk with butler woven clutch and Kat pumps in red kid suede.

Describe the concept behind the third birth this year, the first TenOverSix Private Label collection.
KL: We both were designers before opening TenOverSix, so a private label has always been part of the plan. We've only designed for the store, and in pieces up until this point, but were finally ready this year to take it to the next level. We know our customer very well, the market, and we’ve fine-tuned the concept of what we want to bring to the world: chic uniform dressing. A uniform that consists of non-trendy, practical yet stylish coats, dresses, handbags & shoes that are meant to be worn over and over again. For us they have become our uniforms, and we hope other women will use them the same way.

Tell me more about Gee's Bend and the Alabama inspiration. How did it come about, and why has it made the title of your very first RTW collection?
KL: Brady is from Alabama, and my mother is from New Orleans, so the South is close to both of our hearts. Brady has been obsessed with these quilts for some time now, and it just seemed the right starting point of our inspiration for this collection. There's such history in the quilts, and yet their graphic nature and color stories are so modern. We were both gravitating to the quality and time put into handmade/ homemade pieces at the start of the design process, the lasting nature of such pieces, and the tragic BP Oil Spill reset our focus on the Gulf region last year. It just seems to sum up the spirit of the collection.

What’s your overall favorite thing about this collection?
KL: It's not overly complicated or gimmicky, but still special. The pieces are so easy to wear.
Brady Cunningham: Coats are a big part of fall, which is a category we adore.

TenOverSix Inpiration

Where do you source most of your inspiration?
KL: Everywhere. The usual suspects: life, environment, travel, art, books, music, history, vintage, color.
BC: Overall, I think we just design for ourselves, for what we want to be wearing everyday.

After successfully designing as a team, would it be frightening to go back to working on your own?
KL: I wouldn't say frightening, but we certainly love the collaboration & support. We work together, but also independently. We come up with the concept together, color story, and mood - then break off - Brady designs the ready-to-wear (jackets, coats & dresses) and I design the accessories (shoes & bags). We are able to do the detail work independently, but always bounce things off of each other, which is great.

What makes you most excited about getting dressed in the morning?
KL: Putting on heels.

TenOverSix's Kat Wooden Wedge ("loving everything carved and wooden")

Do you ever miss the New York groove?
KL: Of course. Luckily, we both still spend a lot of time there. I went back ten times last year, and Brady sometimes goes back for a few months at a time.

What do you love most about living in Los Angeles?
KL: The weather.

That was easy! Which other city would you be willing to make a move to?
BC: Paris.
KL: Back to Brooklyn, a Rockies mountain ski town, Paris.

If you could do one thing all over again, what would it be?
KL: To have kept a journal.]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011180 2011-02-21T13:00:00Z 2011-02-18T20:29:38Z

Injecting high-octane glamour into her collections each season, something that many London designers shy away from, Roksanda Ilincic (above) has carved out a niche for luxury eveningwear that, while somewhat conventional, maintains a little London edge. Ilincic gives W a...

Indigo Clarke Injecting high-octane glamour into her collections each season, something that many London designers shy away from, Roksanda Ilincic (above) has carved out a niche for luxury eveningwear that, while somewhat conventional, maintains a little London edge. Ilincic gives W a sneak peek of what to expect for Fall 2011:

Can you give us any hints about the new collection?
For me the designs have certainly evolved from Spring. This season is very much a continuation of what I was exploring in the pre-collection: relaxed luxury dressing in fresh new colors and fabric combinations. Draping as always will play an important role, complemented this season by softly structured tailoring.

What has inspired these new designs?
I have been drawn to the fascinating feather markings and colors of birds of prey. The combination of natural, neutral tones against vivid, statement colors—design to be noticed—have provided the perfect reference for my collection. The inspiration takes forms as abstract as a gentle gradation of grays on a day dress and as literal as a feathered, and Swarovski Elements bejeweled coat sleeve.

Ilincic's inspiration board

What distinguishes London Fashion Week from the other fashion weeks?
London is home to a confident and adventurous group of designers. What I think sets us apart now from the traditional idea of London being purely creative, is that our businesses are now equally respected for their commercial viability as their creative appeal. In New York I have no doubt that there is an equal depth of talent. New York Fashion Week has perhaps been one step ahead of us in recognizing how crucial that business side of the industry is—we're catching up fast though!

More inspiration

There seems to be optimism in the air for 2011. How will that impact your collection?
There is a very positive atmosphere at the moment. For me in particular it has been an uplifting and exciting year so far and I certainly hope that it follows through to the catwalk. So much has happened already and it is only February! I am looking forward to seeing how everyone else is going to be expressing this new mood.]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011181 2011-02-18T21:00:00Z 2011-02-18T21:13:37Z

Emilio de la Morena, known for complex folded, paneled and pleated wares inspired by 20th Century artists, will take a subtly different track this season. The Spanish-born, London-based designer says he is expressing "the emotional lives" of artists he admires...

Indigo Clarke W insight into his designs for the upcoming season:

In the studio

How is your collection for fall coming along?
I started working on the concept for the collection after we had finished with our sales campaign in Paris last season, and the process has been quite introspective - so the collection feels very personal. It has been a challenging and very interesting process for me.

What has inspired your designs this season?
The past few collections have been heavily influenced by the work of artists that I really love and admire. This season I have taken a different angle, looking at the lives of some of those artists and the tragedy some of them lived through. I have looked at the emotional lives of these artists, and tried to express how they lived through my collection.

De la Morena's inspiration board

Can you give us any hints?
There is a strong "Emilio" aesthetic to the collection this season. My aesthetic seems to be getting more and more focused and clear as I develop. The clothes are much more evolved this season, and have surprised me—but you will have to see them for yourself to see if they surprise you!

What do you think distinguishes London Fashion Week from the other fashion weeks?
It is often said of London that it is the home of creativity, and I think this is really true. It is a great place for a young designer to start up—there are so many formal and informal support systems that enable you to really make a go of it. London itself is so eclectic and full of cultures from all over the world, which I guess is not so different from New York. One of the aspects that we could learn from New York though, is to make our businesses into commercial successes. I feel that this is the key thing that differentiates London from New York.

]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011220 2011-02-18T19:37:00Z 2011-02-18T20:20:50Z

Garrett Munce
From left: Elie Tahari, Calvin Klein

From left: Marc Jacobs, Marc by Marc

From left: Tommy Hilfiger, Richard Chai

DKNY, Carlos Campos

Ports 1961, Simon Spurr

Photos: Hilfiger, Getty Images: Spurr: Thomas Kletecka; others: Fairchild Archive]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011161 2011-02-18T15:00:00Z 2011-02-18T16:15:49Z

Describing her own audacious wares as, "Surreal feats of imagination, engineered around the female figure and realized with hyper-real clarity," London-based fashion designer Mary Katrantzou has understandably made a name for herself. Renowned for her trademark show-stopping trompe l'oeil...

Indigo Clarke Describing her own audacious wares as, "Surreal feats of imagination, engineered around the female figure and realized with hyper-real clarity," London-based fashion designer Mary Katrantzou has understandably made a name for herself. Renowned for her trademark show-stopping trompe l'oeil prints, this season Katrantzou is trying her hand at something new—creating her first 'fashion-focused' collection. She gives W a hint as to what to expect for FW11/12.

How has your collection for Fall 2011 come along—arduous or coming together easily?
"Arduous" would be a good word for it! This is undoubtedly the most sophisticated and complicated collection I've ever designed. I've had this idea in some form or another for a while but this season seemed to be the right time to push myself to develop it. We started researching in October, but Autumn/Winter is always a difficult season because it's so short! This is my favorite point of the design process, when you start to see everything coming together and visualized with the prints.

What inspired your designs this season?
Objets d'art, Babe Paley and the creative collaborations of high art and haute couture during the Inter-war period.

From Katrantzou's inspiration board

Have your designs followed on from your last collection, or will we see something quite different?
This collection started off as an evolution from SS11, it journeyed into the rooms I depicted and allowed me to imagine the precious objects people surrounded themselves with in those homes. I started to think about the women that lived there and the way they dressed, and how their clothes related to those interiors. This is much more of a fashion-focused collection than I have ever done before. It's still quite surreal, but there is more of a play with the silhouette and tailoring, combined with overwhelming, outrageous print. We've also really pushed ourselves to offer a full wardrobe for our woman—separates, knitwear, leather, the whole lot.

There seems to be optimism in the air for 2011...
I hope so! I think it's important to start the new decade with optimism, I think my prints have always allowed for this.

How would you describe your signature look?
Surreal feats of imagination engineered around the female figure and realized with hyper-real clarity.

What distinguishes London Fashion Week from the other fashion weeks?
London has been a great platform for me to grow as a designer and build my business. There are so many incredibly talented designers showing here. There's a creative energy and great support system in London that allows you to flourish.]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011182 2011-02-17T22:08:00Z 2011-02-17T22:57:40Z

As the W editor in charge of the millinery market, I am always on the lookout for great hats on the runway. New York's F/W 2011 collections did not disappoint in the hat department, serving up a range of inspired...

William Kahn W editor in charge of the millinery market, I am always on the lookout for great hats on the runway. New York's F/W 2011 collections did not disappoint in the hat department, serving up a range of inspired styles. From 70s wide brims at Tommy Hilfiger to Spanish boleros at DVF and miniature berets at Marc Jacobs, here are my top ten hat looks.

Chris Benz

DKNY

DVF

Jason Wu

Kate Spade

Marc by Marc

Marc Jacobs

Oscar de la Renta

The Row

Tommy Hilfiger

Photos: Fairchild Archive]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011160 2011-02-17T19:13:00Z 2011-02-17T20:50:28Z

Richard Nicoll's signature understated, pristine and optimistic vision is always refreshing - and this season, expect no less. The sanguine designer renowned for his deft tailoring and conceptual approach says he is, "feeling ready to embrace the new and unknown......

Indigo Clarke W a peek inside his studio leading up to London Fashion Week.

How is your collection coming along—what was the process like?
We started work on Fall 2011 in mid-November. The process is generally painful to a point and then, once the fittings begin, the message becomes clearer and we start the process of dilution and adding missing elements—it's a bit like cooking.

What has inspired your designs this season?
This season is about comfort, ease and freedom. I didn't want anything to have waist emphasis so [I] looked at the 20's to reference the drop-waisted silhouettes in a sporty way. Also there is a cocoon and moth motif that reflects the comfort and freedom of the mood.


We're excited to see your new collection! Can you give us a hint as to what to expect?
Last season for me was about minimal but high-octane glamour, and this season is more relaxed and louche. This season's woman is effortlessly confident and cool, the kind of girl that might wear luxury jogging bottoms and a tracksuit jacket with her heels and clutch to an evening event. She makes the least effort for the most reaction and attention.


What do you think distinguishes London Fashion Week from the other fashion weeks?
London celebrates individuality and idiosyncrasy more than New York. The work produced here feels more personal to the designer and because we are in Europe, there is an understanding, but also a rejection of, high-end Parisian fashion codes. Saying that, I love designers like Proenza Schouler and Marc Jacobs. Designers in London are generally quite close with one another; some of my best friends are fellow designers.

There seems to be optimism in the air for 2011... Do you think this will follow through to the runway?
I agree that there seems to be something of a feeling of significant change in the air, there certainly is for me anyway. I have made some personal changes to my life and I'm feeling ready to embrace the new and unknown. I feel as though I am leaving the cocoon of stability and routine, you could say, and I think this is reflected in my collection.]]> tag:blog.wmagazine.com,2011:/w/blogs/editorsblog//22.1100000000011141 2011-02-17T17:17:00Z 2011-02-17T19:24:35Z

Karin Nelson Delvaux’s Le Pin satchel, which was big in the Eighties with über chic Euros (check out Princess Stéphanie of Monaco sporting a red one in her 1986 music video “Comme Un Ouragan”), had rather humble beginnings as a horse feed bag. Solange Schwennicke, the owner and former CEO of the nearly 200-year-old Belgian leather goods brand, was vacationing in Tunisia when she saw the canvas pouches, strapped around the animals’ necks and bearing tiny perforations so that the dust within the oats could pass through. Inspired by them, she introduced a leather variation in 1972, and this spring the family-owned house is reissuing it in supple calfskin (complete with punched holes at the bottom of the bag) and in a range of neutral shades. “When it is authentic, a creation is eternal,” says Schwennicke (available exclusively at Barneys New York; $1,690).

Princess Stéphanie of Monaco wears a red Le Pin satchel in her1986 music video “Comme Un Ouragan”

Photo courtesy of the designers.]]>