In December, following previous extravaganzas in Mumbai, Edinburgh, and Dallas, Karl Lagerfeld and the Chanel team will descend on Salzburg, Austria, for the house's next Métiers d'Art collection. Specifically, the Schloss Leopoldskron, an 18th-century palace of the late Baroque style that sits in the shadow of the medieval Hohensalzburg Castle.
The yearly collection celebrates the artisanal craftsmanship of Chanel's ateliers — i.e. embroidery house Maison Lesage, feather-dressers Lemarié, costume jeweler Desrues. In the alpine city, there's certainly no shortage of history with which to flex the maison's savoir faire. Most notably, shortly after the palace's construction in 1736, Wolfgang Amadeus Mozart was born in Salzburg, where he lived until the age of 25, when he left for Vienna. He and Marie Antoinette reportedly met as children, when she was Archduchess of Austria, a mere decade before becoming Queen of France. If Lagerfeld were to play with an opulent Classical theme, it doesn't get much more opulent than that.
Salzburg is also synonymous with The Sound of Music and, while the palace does not feature in the musical, many scenes take place in its surroundings, including the lake the von Trapp children fall into when they're little boat capsizes. Paralleling the events of the film, the palace was seized by the Nazis during Germany's annexation of Austria in 1938. Upon his death three decades after the war, Coco Chanel's lover Baron Hans Gunther von Dincklage, an SS Officer, was cremated in Salzburg.
Back in September it was learned that Barneys New York would be partnering with the filmmaker Baz Luhrmann and his Oscar-winning wife, costume designer Catherine Martin, on its big holiday-themed collaboration. Baz Dazzled, as it's called, will see the store windows transformed into a "magical world filled with fantastical characters, woodland creatures, ice skaters, snow owls, and candy canes."
Now comes word that the collaboration will kick off on November 13 with a star-studded bash in the Central Park Zoo. It's unclear why the zoo was chosen as the venue, except it's where animals can be found and a skating rink is in the vicinity. But the idea for the fete itself was surely dreamed up on the strength of the duo's 2013 blockbuster The Great Gatsby, with its merry outdoor party scenes and Prada-designed costumes. (Luhrmann also created the short videos for the 2012 fashion exhibit at the Met's Costume Institute, Impossible Conversations between Miuccia Prada and Elsa Schiaparelli, played by actress Judy Davis.)
Barneys could really use a holiday hit, following its canceled event with Jay Z last year due to a racial-profiling scandal, as well as its controversial Disney edition of 2012, and its lackluster collaboration with Lady Gaga.
Pharrell Williams is not only happy, but busy. His many recent collabs — with adidas, Comme des Garçons, Timberland, Uniqlo, G-Star Raw — now include bags for Moynat. According to the heritage maker of leather goods, during the rapper's visit to the Paris atelier a year ago, he was taken with a collection of vintage trunks and discovered an old Moynat label with the image of a train. He said it reminded him of the 1940s musical The Harvey Girls, a tribute to the working women of New England who helped settle the West. Coincidentally, Moynat's artistic director had been listening to Jimi Hendrix’s Hear My Train A Comin’. Thus a train theme was born. The Moynat x Pharrell Williams collection consists of four bags: a minaudière in hand-tooled plastic resin, a clutch in hand-sculpted ebony, and two pochettes, one featuring a toy train in leather marquetry and the other printed with Constructivist-style graphics.
At Colette in Paris starting October 13, Moynat boutiques starting October 20, and Isetan Shinjuku in Tokyo and Dover Street Market in New York later in 2014
After weeks of speculation, followed by denials and still more speculation, the most dramatic and flamboyant of designers has joined the most reclusive and anonymous of labels. Announced today, John Galliano has been named creative director of Maison Martin Margiela.
And yet the placement is among the more logical for Galliano since his ouster from Dior and his namesake label after those public displays of affliction some years ago. He was never going to be brought back by Dior or hired by any other LVMH brand. Despite recent overtures to LVMH chief Bernard Arnault, nor could he rejoin his own company — it seems LVMH would rather see it stagnate than returned to Galliano's hands. That other great French conglomerate, Kering (formerly PPR), seems just as unwilling to take the risk. Starting a line from scratch would require an enormous amount of good will from the public, and that's just not in plentiful supply at the moment.
So that gives an outlier the opportunity to buy into Galliano's remaining cachet. And that's exactly what happened with the news that Margiela's parent company, Only the Brave, and its president Renzo Rosso had appointed Galliano as MMM's creative director, a stark turnaround for the Belgian label known for its strict adherence to anonymity and unattributed works. But the Belgian label is managed by Italians (in addition to Margiela, Only the Brave controls Diesel, Viktor & Rolf, and Marni), and it's always been more likely that an Italian or American group would invest in Galliano's comeback. As that residency at Oscar de la Renta didn't lead to a permanent position (presumably due to staffing differences), that left Rosso wide open.
Margiela had already been moving in a more commercial direction of late. The goal seems to be more reaching that holy grail, Hollywood, and its lucrative red carpet, an area Galliano knows well as Dior's couturier for 15 years. While details on the deal are still scant, it's expected he'll take charge of all of Margiela's various lines — men's, women's, couture (called Artisanal by the label) — starting with couture in January. Awards season may be awash in Margiela gowns by Galliano.
Advertising photographer Sandro Miller, whose clients include American Express, Coca-Cola, and BMW, knows his way around flawless lighting and a meticulous set. In tribute to photographic greats, Miller enlisted friend and collaborator John Malkovich to recreate some of the world's most famous images.
Recreations include Annie Leibovitz’s iconic image of a naked John Lennon wrapped around Yoko Ono (1980), Victor Skrebneski's smoking Bette Davis (1971), Bert Stern’s Marilyn Monroe with flowers (1962), Pierre et Gilles' Jean Paul Gaultier in a marinière (1990), Irving Penn’s Truman Capote in a corner (1948), Robert Mapplethorpe’s self-portrait with a gun (1982), and Richard Avedon’s beekeeper (1981).
Malkovich, Malkovich, Malkovich, Nov 7 - Jan 31, 2015, Catherine Edelman Gallery, Chicago
Here's how the phenomenal carpet on Dries Van Noten's spring runway was created by Argentinean artist Alexandra Kehayoglou, woven and tufted entirely by hand in four weeks and shipped to Paris just in time for the show...
Bindle & Keep sounds like one of those made-to-measure old-school tailors on Savile Row. And in a way, it is, although for a different sort of gentleman. The Brooklyn-based suit-makers specializing in bespoke suits for men, women, and in-between clients of all identifying kinds recently got a major boost with a feature in the New York Times. Now it's getting an HBO documentary produced by Lena Dunham and her production company, A Casual Romance Productions, along with her Girls co-producer Jenni Konner.
Called Three Suits, the doc will explore the relatively unexplored terrain of transitioning formal attire. It will follow several transgender clients as they have custom suits made by Bindle & Keep, through the fittings and unique situations posed by unique circumstances. It will likely be every bit as charmingly awkward and gratingly heart-warming as Girls. Or as Dunham tweeted yesterday, "Breaking down binaries."
Everyone knows about Rihanna's boobie blunder on Instagram, and fashion folks are familiar with Grace Coddington's own titillating transgression on the Facebook-owned app. Even The New Yorker famously ran afoul of Facebook's censors by showing cartoon cans on a post-coital Eve in the Garden of Eden (Adam's own cartoon nipples were, of course, totally fine).
Now Facebook has targeted yours truly, temporarily blocking our page. No reason has been given, but there's been a lot of waving around of their Community Standards, that end-of-discussion smokescreen that couldn't be more vague. A while back, however, Gawker got its hands on a document with a list of procedures that Facebook expects its 'monitors' to follow (we use fauxtation marks because these monitors are not full-time employees working out of FB's California HQ, but people working from home in developing countries and earning $1 an hour). Hilariously, the document says monitors must confirm an offense (meaning they must remove it) if it meets criteria like "naked 'private parts' including female nipple bulges and naked butt cracks." So that would explain two previous photo scrubs from our page: Steven Klein's underwear campaign for Dsquared and a Juergen Teller self-portrait with Charlotte Rampling, in which a small pube tuft can be seen peeking out from between his legs — although you might need a magnifying glass. Seriously, Facebook removed those from our Page.
Even more hilarious are instructions to remove "blatant depictions of camel toes and moose knuckles." Oh, god! Did we accidentally upload an image of those most unholy of crimes against decency?! We raced through recent posts and found...none. Hmmm, what other egregious displays of nudity had we inadvertently let slip through the modesty stars we've been putting over private parts for many months? We checked...still nothing.
Obviously something was up. You hear about hordes of self-righteous trolls who spend their days 'reporting' any page, any post, any pic for any reason. What could they possibly be latching onto, so sure in their belief that they know best what everyone should be exposed to? We started to wonder if our infraction stemmed from that reliable old wedge issue, eating disorders. If that were the case, could one of these pics from Tom Ford's and Calvin Klein's spring collections be the culprit, both of which garnered robust user commentary?
We simply don't know what our villainy was because Facebook won't tell us (although we've managed to achieve one small miracle —getting in touch with an actual person, but that person will only confirm the existence of the issue). If we only knew the evil we've wrought, we could change our horrid ways and get back into Facebook's good graces. Our minds wandered and wandered. Maybe it was one of our occasional anti-war views that sent a far-right nutcase into a reporting frenzy, or a pro-transgender sentiment that did the same. Digging deeper still, we found a recent post that featured the work of animation artist Jeff Hong, who portrays Disney characters in unhappy real-life scenarios. But the art cautions against climate change, against deforestation, against animal testing, against racism. Clearly there were more thought-provoking and satirical than socially delinquent and actionable.
Maybe the issue isn't complicated at all. Maybe it's as simple as someone out there finding Miley Cyrus's art for Jeremy Scott's show a sad statement on modern celebrity — in which case, join the club, buddy, don't report the messenger.
We didn't want to believe people when they dismissed Facebook as a dumping ground for quizzes, cat videos, and ice-bucket challenges. Anything with a whiff of controversy, they sneered, is better left to other social media. After this debacle, we'd have to agree. Add to that FB's ever-present algorithm that rewards G-rated posts, its ghastly anti-privacy practices, its sadistic "real name" policy that's driving performers with aliases (i.e. drag queens, who we should all cherish!) to the brink, its large donation to a virulently anti-gay politician in Utah, and you start to see a disturbing pattern of abuse — Facebook's abuse.
We'd love to know why we — a mere fashion site — were arbitrarily singled out. Because, Facebook, it isn't just us you think you're punishing. You're also punishing the designers, big and small, who kindly asked us for a FB post to help promote their spring collection, as well as the fashion school that requested, through FB, our help in showing their students' graduate work. Not to mention all the unknown, unsung names we support on a daily basis. So won't you tell us what's up, Facebook? What gives? Don't you like us anymore?
UPDATE 10/24/2014: After several back-channel emails, Facebook has restored our page. Initial reasons given for the ban included "abuse" and "hate." The exact posts and/or language, however, were not specified. The last reason given was "error."