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ZIMMERMANN New Resort 2019 campaign with Anja Rubik

Zimmermann "Corsage" Resort 2019

YARA SHAHIDI FOR TORY BURCH FALL/WINTER 2018

ToryBurchispartneringwithAmericanactressand activist Yara Shahidi on a video for the Fall/Winter 2018 collection.
Shot in downtown Manhattan and set to Steve Lacy’s smooth single “Some,” a favorite of Yara’s, the young star explores a West Village record store—a natural setting for the avid music fan—before weaving through the cobblestoned streets of Tribeca, finally ending her tour at the invariably chic Bowery Hotel in the Lower East Side. The style star sports different pieces from the collection, such as easy floral dresses in varying shades of the season’s Happy Times print and an oversized blush-colored sweater. Each look is paired with sleek accessories from a statement leather satchel to croc-embossed, pointed-toe booties that capture the cool, but casual style of downtown.
The James saddle bag is shown in three colorways—green, brown and cream—and features modern details such as a metal “T” closure. The Seventies-inspired shoulder bag was named after Tory’s youngest son, James Sawyer.
Best known for her work on the comedy series “Black-ish” and its spin-off series “Grown- ish,” Yara has been called the voice of her generation for her political engagement and social activism. She recently launched “Eighteen x ’18,” an initiative to mobilize young people to vote in the upcoming midterm elections in the United States. Earlier this month, Tory Burch announced its partnership with “Eighteen x ’18” to drive voter registration, which includes a “VOTE” t-shirt; 100% of all net proceeds benefit Eighteen x ’18 and its upcoming summit.
The video, directed by Jen Livingston, will be featured across Tory Burch’s digital and social channels globally beginning September 25th. It continues Tory Burch’s ongoing relationship with Yara who was featured in the brand’s Mother’s Day video alongside her own mom, Keri. She also appeared in a PSA video for the Tory Burch Foundation’s Embrace Ambition global initiative and was a keynote speaker at the Tory Burch Foundation’s Embrace Ambition Summit at New York City’s Lincoln Center in April.
Shop the Fall/Winter 2018 collection at Tory Burch boutiques, toryburch.com and the brand’s global ecommerce sites, as well as select department stores and specialty stores.

Polo Ralph Lauren - Down Hill

Throughout the ‘80s, Ralph Lauren designed Fall collections that nodded to the styles of the slopes, but in a unique way technical outerwear printed in primary colors and ski-inspired graphics.
Now, even thirty years later, the graphics are as valuable as ever among collectors and are seeing new life as part of Polo’s Downhill Skier collection for Fall 2018. Steeped in Polo’s ski-inspired …

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Perfumes for the Home Louis Vuitton

A journey, at home
Imprinted in the Maison Louis Vuitton’s heart since its beginnings, travel consistently informs the house’s olfactory creations. It’s a state of mind that’s ever poised to venture out and conquer the world, with an insatiable curiosity, and a lightness of being, that embraces discovery — and it serves as a continuous inspiration for Master Perfumer Jacques Cavallier Belletrud. After creating a first collection of women’s fragrances in 2016, which was followed by a range of men’s fragrances in 2018, the perfumer has mastered a new journey: four scented candles that transforms the home into another ambiance

Ceramics with a nomadic spirit
As a source of inspiration, movement is the Maison’s common thread from their very first trunks, through to their ready-to-wear and fragrances. With this in mind, Marc Newson aspired to contribute to Louis Vuitton’s first scented candles. Cast in handmade ceramic, these containers have a unique form. Created with portable convenience in mind, these candles are made with a natural leather handle, the Maison’s emblematic material. The hand-sewn handle is secured to the ceramic with metal rivets. To embark on an olfactory journey, one can remove the gold-finished metal lid and place it underneath the candle, as a base. Discovering the fragrant wax poured in Grasse, France, with a colorful detail: a wick coated in a subtle touch of vibrant pigment, also hand painted in Grasse. The wax’s pure, matte white finish contrasts with the gleam of the gold base, while the sensuality of the natural leather handle complements the candle’s promise of warmth. Like foreign souvenirs as an eternal memento of a journey, Louis Vuitton ceramic candles are designed to have a place in the home.

The emotion of the outside world, inside
Wishing to capture the scent that wafts through natural settings and to transport it indoors, Master Perfumer Jacques Cavallier Belletrud imagined each of his first four Louis Vuitton candles like a house with windows open to the world — or a poetic breeze that comes from outside and settles indoors. This season, each of the perfumer’s creations draws on landscapes discovered while traveling, as well as the homes where the candle’s fragrance alights. The interaction between the uplifting great outdoors alongside the need for home comforts is a constant duality. The first rosebuds from the garden to infuse the house, the warm island sun steeped in a veil of white cotton, scorched underbrush that permeates clothes during a walk in the woods, the magic of snowflakes as they fall, observed from the window with a fire blazing in the background: these four fragrances have been composed like snapshots of moments suspended in time, which can be relived when the candle is lighted anew. An emotional whirlwind, created from the most beautiful raw materials in the perfumer’s palette.

NET-A-PORTER LAUNCHES EXCLUSIVE HALPERN STUDIO CAPSULE FOR HOLIDAY 2018

8th October, 2018 - This holiday season, NET-A-PORTER announces the launch of an exclusive partywear capsule from cult London-based label, HALPERN STUDIO. Inspired by the photographer, Hasse Persson, the collection centers on glamor as a female frame of mind.
HALPERN STUDIO’s distinctive sequined designs take center stage within the exclusive capsule, embodying high octane glamor and capturing …

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LOUIS VUITTON X GRACE CODDINGTON COLLECTION

Louis Vuitton has a renowned history of collaboration and, in recent years, celebrated artists from Jeff Koons to Stephen Sprouse and Yayoi Kusama have stamped their mark upon its Monogram canvas. Now, the emblematic Grace Coddington has applied her idiosyncratic eye to a capsule collection of leather goods, accessories, shoes and ready-to-wear, designed alongside Nicolas Ghesquière and directly …

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JIL SANDER DEBUTS NEW STORE CONCEPT AND OPENS A NEW FLAGSHIP IN TOKYO’S OMOTESANDO DISTRICT

Honest : pure, raw, simple, soulful and warm, in design and perception. The climate Lucie and Luke Meier want to set with their Jil Sander stores is clear : “Through layers of subtelty, we want to create spaces where people feel good”.

To achieve their vision, they engaged John Pawson, the esteemed British architect known for his rigorously simple yet sensitive approach. Their first collaboration, the new Jil Sander flagship store in Tokyo, 286 sqm. in the Omotesando district, is a reflection, a translation, an inventory of their shared vision, of a considered simplicity.

“My vision for the store was always of a place charged with a sense of quiet depth and permanence, where the first thing you register is the atmosphere, rather than the architecture : simple, meticulously pared back spaces where people feel comfortable and where the focus falls naturally on the clothes”, says Mr. Pawson. “From our first conversation it was clear that Lucie and Luke Meier not only shared my vision, they also brought fresh perspectives to the creative process that have profoundly enriched what we have been able to achieve together”.

The facade, at street level, is a long window that rather than displaying the collections serves the purpose of giving an immediate overview of the interior, of its volumes, proportions, structure and mood. It is a transparent threshold onto a fluid space drenched in daylight. The store and its content are the display. The crown of a large evergreen banyan tree makes the presence of the lower ground floor clear. The barriers between interior and exterior vanish : the outside mirrors the inside, and the inside the out.

Upon entry, a few steps lead to the ground floor : the distribution of the space is visible at first glance, until the end of the lower floor. There is a feeling of being able to move around at your own leisure and pace. An effortless choreography.

One of the key words of the project is ‘proximity’. All materials are in their natural colour. What seems solid, at a closer look reveals itself to be textured and tactile. The soft red-yellow hue of the light is a reflection of the limestone used for the flooring throughout, and the cherry wood and lime plaster covering the walls. A white Lasa marble appears sparingly, as an accent, lining the display timber shelves. The vitrines are in glass framed by cherry wood. The display plinths are made of large pieces of limestone. Linen is used very sparingly for seating. The handrails, in cherry wood, are ergonomically shaped to fit softly in your hand. No paint was used for the walls.

The completion of the project relied upon the simplicity of gestures and on available local craftsmanship, as well as on an idea of utility, of something familiar : intimate, reassuring and calm. On the nobility of performing a function. And to last.

“The result reflects the way the work was done : the way it looks is how it happened”, say Lucie and Luke Meier. “The dialogue with Mr. Pawson is easy and freeflowing. It is a pleasure to work with him”.

To celebrate the opening of the store, Jil Sander created a limited edition of the signature Tangle Bag in white leather with contrasting black logo, exclusively available in the new flagship.

LOUISE TROTTER NAMED CREATIVE DIRECTOR FOR LACOSTE

Lacoste announces today the arrival of Louise Trotter as Creative Director.
The very first female to lead the creative direction of the brand with the Crocodile, the British designer will present her first collection during the next fashion week in Paris.
Louise Trotter is an experienced designer known for her talent to define precise silhouettes both elegant and relaxed.
“We are very happy …

Prada Made To Order Shoes

Prada presents a new range of options for the Made to Order Women’s Shoe collection, a project dedicated to giving customers the opportunity to create a unique, custom-made shoe.
Eighteen models of pumps, slingbacks, ballet flats, boots and sandals with or without platforms and with eight different heel heights are available in a wide range of materials and shades.
The range of iconic Prada …

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CHANEL and Dance

Dance as movement and a metaphor of freedom, dance as a language and an expression of beauty: the few dance lessons that Gabrielle Chanel took with Isadora Duncan and then Caryathis reveal her natural inclination towards precision and movement. But her fruitful collaborations with the greatest artists and choreographers of her time were less about the practice of dance, and more about elective affinities. In 1913, with Boy Capel, the love of her life, she saw, quite by chance, a performance of Stravinsky’s The Rite of Spring, choreographed by Nijinsky, the principal dancer in Sergei Diaghilev’s Ballets Russes. This piece of avant-garde theatre would play a decisive role in her life. Misunderstood by a conservative public, the show provoked a veritable scandal. But for the designer, it was like an aesthetic electric shock: she was captivated by this visionary œuvre.

It was her introduction, in 1917, to the liberated and visionary Misia Sert, a Polish socialite, pianist, muse and patron of the arts, married to the painter and muralist Jose-Maria Sert, that really propelled her into this world. Thanks to Misia, who remained her dear friend for more than 30 years, Gabrielle Chanel would meet avant-garde artists who would also become her friends. Among them was Sergei Diaghilev who founded the Ballets Russes company and revolutionised the art of dance. A far cry from the outdated conventions of classical dance, the dazzling aesthetics of the Ballet Russes, where music, dance and the visual arts came together, rendered ballet a complete art. Diaghilev invited the greatest musicians, choreographers and painters of the day to take part in his pieces: from Mussorgsky to Prokofiev, Rimsky-Korsakov to Debussy, from Satie to Ravel, Braque to de Chirico, Matisse to Picasso, Utrillo to Cocteau, to name but a few.

Gabrielle Chanel first met Sergei Diaghilev during a lunch with the Serts in Venice. She learnt that he wished to put The Rite of Spring back on but was struggling to find financial backing. She decided to help him, and thus embarked on her first act of patronage, with one condition, that no one would know of her involvement.... It was Boris Kochno, Diaghilev’s secretary, who disclosed the affair. The Rite of Spring resumed in Paris on December 15th 1920.

In 1924, Gabrielle Chanel, who always focused on comfort and freedom of movement in her creations, put her daring and her vision to the service of dance with the costumes for Le Train bleu, produced by the Ballets Russes. The libretto was signed by Jean Cocteau, the music by Darius Milhaud, the grand drape and the program by Pablo Picasso. Le Train bleu takes its name from the luxurious train that linked England and Paris with the Côte d’Azur, and which, a few years later, Chanel would often take herself to stay at La Pausa, her villa in Roquebrune-Cap Martin. It was a ballet about the idle rich, having fun on a beach, bathing in the sea: a metaphor for 1920s society, and for which Gabrielle Chanel created the most contemporary costumes, which could have been worn in real life. In the formal world of ballet, her silhouettes for bathers, golfers and tennis players were nothing short of a revolution. Two of the costumes are preserved today at the Victoria & Albert Museum in London, and in 1992 the Le Train bleu entered the ballet repertoire at the de Opéra de Paris.

An advocate of comfort, fascinated by movement, Chanel noticed, during the final rehearsals, that while soft and comfortable, her costumes were restricting movement. The couturier reworked her designs directly on the dancers. "Always remove, always take away. Never add anything... Nothing is more beautiful than the freedom of the body (...)" This ballet was a unique experience for Chanel, allowing her to offer the very quintessence of her art. The costumes for the original ballet, with their incredible modernity, later inspired Karl Lagerfeld for the swimwear in the Spring-Summer 1998 Ready-to-Wear collection.
Gabrielle Chanel worked on another of Diaghilev’s creations in April 1929: Apollon Musagète, composed by Stravinsky, with choreography by Balanchine. She created astonishingly modern togas with pleats held by tie silk. Once again, the performance was met with a standing ovation by le Tout-Paris, and the opening night was followed by a memorable ball hosted by Chanel.

The death of Sergei Diaghilev in August 1929 brought the Ballets Russes adventure to an end: Misia and Gabrielle organised the funeral of their friend at the San Michele cemetery in Venice, dressed in white, as was his wish. In 1939, Serge Lifar organised an exhibition at the Musée des Arts Décoratifs in Paris, entitled Diaghilev’s Ballets Russes –1909 to 1929. For the event, Mademoiselle Chanel lent Stravinsky’s handwritten music score to The Rite of Spring 1911-1913, today regarded as the manifesto of modern music. An example remains preserved in CHANEL’s Patrimony collection.
The same year, Salvador Dalí and Chanel combined their talents to create costumes for the Bacchanale ballet, by the Ballet Russes de Monte Carlo in New York. On the subject of Gabrielle Chanel’s creations, Dalí wrote, "Chanel will design the most sumptuous and the most marvellous costumes with a crazy profusion of ermine and jewellery". Sadly, the war prevented the costumes making it across the Atlantic. The ballet was performed on November 9th 1939 with a different set of costumes.
Passionate about all the arts, Karl Lagerfeld is familiar with the world of dance and has collaborated on numerous occasions with choreographers. In 1986 and 1987, he designed the costumes for two ballets by the German choreographer Uwe Scholz. In 2009, for CHANEL, he created Elena Glurdjidze’s outfit for The Dying Swan. It took more than 100 hours of work in the Lemarié ateliers to create the tutu made of more than 2500 feathers. And in 2016, at the request of Benjamin Millepied, he created the sets and the costumes for the Brahms-Schönberg Quartet ballet with a choreography by Balanchine. "Classical ballet accepts only perfection," explains Karl Lagerfeld, "I have made ballet costumes for the Monte Carlo Opera, for La Scala in Milan, for the Opéra de Paris and others... My best memory of classical dance is Plisetskaya, the great Russian ballet dancer of the 1960s, she was incredible. This is an art that does not tolerate mediocrity!"
Continuing the patronage work of its founder, the House of CHANEL has also been the official partner of the Nijinsky Awards Ceremony in Monaco, since the year 2000.
Ever since fashion and dance were so majestically brought together by Diaghilev in his Ballets Russes, these two arts, based on the ephemeral and on movement, have been inseparable for the House of CHANEL. It thus makes perfect sense that CHANEL should be patron for the Opening Gala night of the Opéra de Paris’ new dance season, to be held on September 27th 2018. After the presentation the Ballet Corps, an important tradition at the Opéra de Paris, established by Serge Lifar, a friend of Gabrielle Chanel’s, where the Opera dancers will parade to La Marche des Troyens by Berlioz, Ohad Naharin’s Decadance will enter the repertoire. Festive and colourful, the piece captures the quintessence of the spirit of the Israeli choreographer and director of the Batsheva Dance Company, through extracts of his emblematic creations, most notably Bolero. Aurélie Dupont, director of the Opéra National de Paris since 2016, and long-time supporter of the choreographer, and Diana Vishneva, prima ballerina of the Mariisnky Ballet, will perform the pas de deux of Bolero, wearing costumes created especially by Karl Lagerfeld for CHANEL. "Ravel’s Bolero has always been one of my most favourite pieces of music in the world," says the designer, "It was the first classical record I bought when I was 16-years old." "The costume is the finishing touch that allows you to become the character," adds Aurélie Dupont. "After weeks of rehearsing for a show, where we work on the positions and reflect on the role, putting on the costume allows us to completely metamorphose, to embody a role. Just like the Opéra de Paris, the House of CHANEL is an institution that is both classical and contemporary: it has an incredible heritage, but also a strength, a modernity and an open mind. For me, this partnership with the House of CHANEL for the Opening Gala of the dance season is so right.
Because when you love CHANEL and CHANEL loves you..."

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