Azzedine Alaïa was nowhere to be seen at the press presentation for his first fragrance, Alaïa Paris, held this week in the legendary Marais building where he resides and crafts his iconic, shapely dresses — not to mention where countless celebrities and models have famously wined and dined.
But the nose, Marie Salamagne, was surrounded by journalists extolling the juice in a manner recalling the rapturous editors in the opening scene of William Klein's ironic film Who Are You, Polly Maggoo? For Salamagne, Alaïa Paris — made with Beaté Prestige — marks a milestone in her career, which also includes Kenzo’s now-defunct Tokyo scent.
She obviously enjoyed working the Alaïa way — long sessions ending with vodka and monthly meetings with the designer’s close collaborators, notably 10 Corso Como's Carla Sozzani and the photographer Paolo Roversi. "It was a lesson in creativity and excellence," she said at the presentation. "They are unfussy people, who say things very directly. And we laughed a lot. Mr. Alaïa loves teasing people."
Alaïa notoriously has a no-deadline mindset — he stages fashion shows as he sees fit, most of the time not at all — which was a bit hard to square with the rigid demands of the fragrance industry. But they finally wrapped the project in a year and a half, and the result is a rather conventionally feminine fragrance.
Alaïa was adamant that the scent exude a long–lasting freshness. Indeed, the starting point was childhood memories of his grandmother in Tunisia splashing water against scorching-hot walls. Salamagne tried to recreate the sensation by opening the eau de parfum (also available as a body lotion and shower gel) with pink pepper, before revealing peony and freesia heart notes, and ending with musk. The bottle, created by Martin Skezely, reproduces Alaïa’s signature cut-out pattern that first appeared on a belt in 1992, while the cap resembles a spool of golden thread.
Alaïa might be a father figure to the hallowed group of original supermodels of the early nineties, but they were a no-show in the advertising image, shot by Roversi. Instead, he brought back the wonderful Guinevere Van Seenus, an icon of the post-supermodel era.
Alaïa Paris eau de parfum, at the Azzedine Alaïa store in Paris starting June 2015, followed by select stores worldwide
Philip Treacy is lending the transformational power of his extraordinary hats to a new make-up range for MAC Cosmetics.
Launching globally on April 11, the line contains three color palettes, each inspired by a particular Treacy hat. 'Metallic' is inspired by a silver Art Deco headpiece, 'colorful' by a feathered pink headpiece, and 'gothic' by a black-lace face mask. (The three hats are also available for purchase.) The resulting products include three lipsticks, two highlighter powders, two eyeshadows, three eyeliners, and a mascara, as well as two brushes.
MAC Philip Treacy, $16-$35, available at MAC stores and online
With a blockbuster as blockbuster-y as Savage Beauty at the V&A, it stands to reason there are going to be some satellite shows, too. Why not capitalize on the public's piqued interest in all things Alexander McQueen? First came Tate Britain's display of Nick Waplington's behind-the-scenes photos of the designer's penultimate collection. Now comes Warpaint, an exhibit focusing on McQueen's fantastical make-up concepts at the London College of Fashion. After all, the clown faces, runny mascara, bleached eyebrows, and geometric prosthetic cheekbones were just as planned-out as the outfits.
Curated by Polona Dolzan, the exhibit of 22 make-up looks aims to decipher McQueen's beauty inspirations, as realized by the make-up artists in McQueen's coterie, who included Peter Philips, Val Garland, Topolino, and Sharon Dowsett. In descending order of extremeness, the exhibit's themes are: Amplified, Deviated, and Stripped. And, as we're living in the Digital Age, the college has also tapped into the technological prowess of the creative studio Holition to develop an app that lets visitors try on a few looks.
Warpaint: Alexander McQueen and Make-Up, April 30 - August 7, 2015, LCA's Fashion Space Gallery, 20 John Princes Street, London
One of an elite group, Dutch hair stylist extraordinaire Christian Houtenbos has been making tonsorial statements for four decades. His most radical creations are Grace Jones' flat top and Debbie Harry's multi-hued mop, not to mention his countless editorials and campaigns. Sort of a neo-spiritualist, he's all about freeing the hair and even gives free haircuts in Central Park most summers.
Therefore, it's only fitting that he's come up with hair perfume, in collaboration with the Swedish scent label Byredo. The new collection is available in the three classic house fragrances — Blanche, Gypsy Water, Bal d'Afrique — to create an invisible shield around the hair fiber, leaving it nourished and subtly aromatic.
Around $43 at Colette
It's well within the realm of possibilities for a beauty range to presage a larger comeback. So it wouldn't be out of this world to imagine Estee Lauder's new cosmetics line with famed French designer André Courrèges — who made his name in the sixties with space-age mini-skirts, futuristic go-go boots, and the like — launching a full-scale revival of the brand.
The limited-edition collection consist of 13 pieces, ranging from lipsticks and lip glosses in Courrèges' signature coral color to white eyeliner and false eyelashes, the kind synonymous with sixties' mod. While Monsieur Courrèges and his wife Coqueline sold the house in 2011, they can still bear witness to the next generation of space chic.
In March 2015, available at Selfridges in London, Colette in Paris and 10 Corso Como in Milan
James Lavelle, London musician and co-founder of the record labels Mo’ Wax and UNKLE, has his hands full with another unexpected venture, this time in the olfactory zone. He's collaborated with the award-winning perfumer Azzi Glasser (Kylie Minogue, Bella Freud, Agent Provocateur, Johnny Depp) to create Build and Destroy. The musky eau de parfum — derived from frankincense and pimento — and cigarette-style box take after Lavelle's own vices and idiosyncrasies, a conceptual and contrary blend of post-punk electronica and street art, among other elements of self-defeatist youth culture.
300 limited-edition bottles, available at Saatchi Gallery, London (as part of a new Mo' Wax exhibit), and online at Goodhood Store (starting November 27)
You knew Jeremy Scott would create something impossibly ghoulish or impossibly adorable for his first Moschino fragrance. Which way did he go? Impossibly adorable, creating a smiling teddy bear as the bottle for the eau de toilette, which is called, simply, Toy. However, the bear's shirt makes clear, with Dada-like deadpan, that he is not just a toy.
The furry flacon is an homage to the teddy-bear dress that the house's founder, Franco Moschino, designed in the eighties, and Scott’s own infatuation with the stuffed animal. It also recalls the child-like costumes of Scott's friend Miley Cyrus. The designer says the scent is a mix of woody and techno — just the thing to go with your gold-chained Happy Meal bag.
The ad campaign was shot by Steven Meisel and shows Brazilian bombshell Isabeli Fontana goofing around in a teddy-bear dress that Scott designed as an homage to the one Moschino designed in 1988.
Moschino Toy, $110 at Moschino stores, Harrods in London, and online
Named after an odorless — and some think poisonous — flower once common across New York City (and still blooms at Central Park’s Conservancy Garden) comes a new scent from Joya, the unorthodox Brooklyn perfumery. Or 'fragrance design studio,' as they prefer to be called.
The fragrance, Foxglove, is Joya's fourth and most daring to date, a reimagining of and homage to old New York. Specifically, the perfume oil takes its cues from the Romantic Movement of the early 19th century, a time that saw the creation of America’s grandest parks as sanctuary from the Industrial Revolution and its noxious, mass-produced ways. “We sourced beautiful and extremely rare naturals and specialty raw materials," says Joya's founder Frederick Bouchardy, "to give the fragrance a real sensation of bursting stems, stamens, and leaves.” The notes in the resulting juice are a mix of salt meadow grass, hyacinth leaves, oak, cedar, and camellia.
Foxglove is sold exclusively on Net-a-Porter, a contrary situation that presents the sort of conceptual dilemma Joya seems to revels in — a fragrance based on a non-odor and sold without possibility of testing. The artful packaging, however, should help ease with the leap of faith. The full-sized version comes in a forest-green porcelain pot, custom-stained and slip-cast at the Joya studio, with an applicator wand that's been dipped in 22-karat gold. The travel size is also nicely considered with its acid-etched green glass, while the bar soap is saponified and drill-pressed by hand.
$112 (full size, 75 ml), $28 (travel size, 10 ml), $14 (bar soap) at Net-a-Porter
Lea T. — the transgender Brazilian model and muse of Givenchy's Riccardo Tisci who shot to notoriety several years ago when she posed nude for French Vogue while still, anatomically, a he — is back in the headlines. After subsequently appearing in various glossies, including Interview and Love, Lea has scored a lucrative beauty campaign. She's signed with Redken, the massive global haircare brand, to promote its Chromatics hair-color line, with print and digital campaigns set for January 2015.
The campaign will, naturally, celebrate individuality. "We're all people with our own personality, our own beauty, our own life," said Lea T. in a press statement. "I love working with Redken because they appreciate all kinds of beauty. They believe in the individuality of the person, and I think that's really important." While much of the coverage of and attention to Lea T.'s ascent as a model has focused on her gender and exploited her transition, this campaign promises to go beyond the obvious and highlight an inner beauty. Plus, come to think of it, she's always had great hair.