I have to say that I had a much harder time than I expected trying to narrow the field for Menswear Spring 2011, but my first impulse is to run with what really works. This is how I would have sent David de Rothchild packing for his latest eco-crusade expedition aboard Plaskti, in search of Eastern Garbage Patch, an island of trash twice the size of Texas located in the Pacific Ocean. From creative director Alessandro Sartori of Z Zenga, the fashion forward branch of the 100 year Ermenegildo Zegna family empire, this ultra light, multo functional outwear is just the thing for our fearless adventure ecologist. I think Mr. de Rothchild would also feel comfortable wearing material produced by a company such as Zenga, whose commitment to social responsibility can be explored here at Oasi Zenga Project. You can follow David de Rothchild’s voyage at adventureecology.com

Outerwear seems to be favored over the traditional jacket for most shows. Trenches are everywhere, but let’s start at Lavin where Alber Elbaz, along with Lucas Ossendrijver, cooked up some amazing classics. The twist of turning a bomber jacket into a duster is absolute genius. Hooded or not, in suede or something more practical, these coats are an essential piece for spring. While more popular figures of fantasy use their coattails to traverse the realms of the undead, again my mind lights on the nautical, seeing Melville’s Ahab as the character of choice to wear the all noir enselmble on the left. I can imagine him updated, replete with whale bone jewelry, austere and fierce as he skippers the Pequod onward in his monomaniacal search for the “thick-lipped Leviathan” that was the elusive Moby Dick.

Rick Owens men look like they are survivors of some teutonic Wagnerian theme park ride. The short sleeves work particularly well with the long under tee…but, as always, Owens has just killer boots— industrial strength, half dock loader, half God stompers.

Keeping with the full length profile, but striking a far more relaxed pose are hybrid coat/robes at Dior Homme. House designer Kris Van Assche serves up one the finest white trenches of the season. He then moves on to more esoteric shapes. I do like the way the middle coat morphs from lapel jacket tailoring on one side into fabulous Morrocan robe on the other. And I have clear vision of a most refined Japanese gentleman on a hot summer evening, sleeveless, seated on tatami, practicing his kanji calligraphy.

For color this year you just had to go for the cacophony of brights by Raf Simons for Jill Sander. The show’s evening setting at the spectacular gardens of Renaissance-era Tuscan Villa Gamberaia provided the perfect backdrop for these rare birds to take flight. And in contrast to previously discussed silhouettes these slim honed trousers and suits are incisive and exciting.

And finally John Galliano’s men are part Buster Keaton, part Harold Lloyd, but all Proust. The look is light and ready for action whether it be a summer picnic, boat ride or generally just hanging off a clock. These are the finest of duds, most beautifully collared, tied and cuffed, complete in concept like no other than Galliano can do.

Putting principles into practice for any organization is challenging and in the world of fashion this is no exception. But for the people of the Nau it’s all in a days work. Theirs is a green goal, a complete commitment from cradle to grave to sustainable business practices, materials and style. Every garment, every accessory is designed, manufactured and distributed looking at the big picture.

Their enthusiasm and eco spirit is infectious. I make a personal commitment to update my wardrobe at least once a year with a piece from Nau and become a bit evangelistic, particularly when I hear of a friend or relative who might be traveling abroad by insisting they consider packing a garment, scarf or satchel on their sojourn. It is one of best ways I can think of to represent what’s great about Americans.

Nau strips theatricality out of their style. Frills and thrills give way to a smart, clean, comfortable wearing. I think Jil Sander would be very happy sporting an Asylum Jacket, Helmut Lang would applaud the Men’s Riding Jacket and I can see Issaye Miyake giving his full support to the multi-use, multi-configurable Chrysalis Dress. Siting inspirations Peter Zumthor, Gerhard Richter, Claudy Jongstra and Copenhagen Cycle Chic, it is no wonder that the aesthetics of Nau run cool.

The company, founded in 2005 by former Nike, Patagonia and Adidas executives, is purposed to create a new model for retailing and manufacturing. Fabrics, trim and hardware are chosen for their sustainable, recycled or organic merit. Where high performance man made fabrics are required Nau seeks to offset the negative aspects of the material by reducing its carbon footprint or shortening the supply chain. Their credo reads Sustainability: Balancing the triple bottom line of people, planet, and profit.

Nau’s initial entry in retailing also reflected it’s out of the box thinking. Each outlet carried the full line for customer hands on look and feel, but when it came to the check out counter they were redirected to the Nau website where an order was placed for home delivery. This practice thwarted the consumer’s need for instant gratification, but cut down on carbon emissions from trucking goods from distribution centers to stores. In 2008 Nau attracted national attention, thanks, in part, to a documentary about the company that aired on the Sundance Channel. Unfortunately it was not enough to stave off it’s impending demise. Up went it’s glorious “Goodbye for Nau” home page.

Not more than a month or so later, the Santa Barbara based lifestyle-apparel company Horny Toad saw a good thing and stepped up to purchase the defunct business. Gone are the stand alone retail stores, but on October 21, 2008 the official relaunch of Nau commenced and has been going strong since.

What initiated my need to engage on the topic of Nau was not it’s staunch environmental policies but it’s unwavering commitment to being a social progressive force. To start with Nau uses the labor watch dog Verite to monitor all of their overseas factories. Each of their manufactures must comply with a Code of Conduct that addresses issues of child labor, voluntary employment, freedom of association fair and equal treatment, nondiscrimination, compensation, hours of work, overtime, and health and safety. For each Nau purchase 2% is automatically donated to one of their “Partners for Change” philanthropic charities. You can choose between such organizations like Kiva, “Loans that Change Lives”, Breakthrough Institute,” Making Clean Energy Cheap” or Mercy Corps “Unleashing the Potential of People.” At certain times of year that 2% increases to 10% to further invigorate the real relationship between corporate responsibilities and social solutions. Finally (but is anything final for phoenix Nau?) Nau’s 2nd annual $10,000 Grant for Change is awarded to those who “instigate lasting, positive change in their communities.” Nominations are open from May 10th ’til June 11th.

Grant For Change from Alex Hamlin on Vimeo.

I encourage all to take a tour of the Nau website to explore their innovative business model. Check out the “Thought Kitchen” where ideas brew and take shape, “The Collective” where the Nau community of artists, activists and athletes share their stories via video and most importantly, found under “About”, is “The Things We Think About.” Here is a quick glossary of terms you will become acquainted with:

Restricted Substance List (RSL) – We independently test our products against a Restricted Substance List (RSL) of chemicals that, while inexpensive, are environmentally toxic.

Beginning of Life and End of Life (BOL/EOL) strategy. – We look at the energy and resources used to create a fabric, and the opportunities and systems to deal with a product at the end of its useful life. We also distinguish between the life cycle of the garment and the initial and end considerations of its fiber.

True Cost – Cheap, disposable goods accelerate the consumption of resources, as they are bought, broken and pitched in a landfill. And while consumers may get a good deal at the register, the repeated costs of replacing low-quality disposable goods quickly adds up. As individuals we may pay less up front, but in the end we all end up paying environmental and social costs for these lower prices.

Traceability - We seek to implement and use systems that allow us to know where our fibers and fabrics are created and what paths they follow to get to us. By creating relationships with different partners (including Organic Exchange, GOTS, Zque and Asure), we are able to ensure that the standards we have for our materials and products are met by the vendors we work with.

Aesthetic Sustainability – Styles and product details that are considered, timeless, and able to move seamlessly through the day and all its unpredictabilities. Products that look as good on city streets as they perform well in the outdoors

If all of this sounds too virtuous, let me reassure you that you will be oh so happy when you actually wear their softest cashmere or breeze easily from day to night in one of their tough, but tony jackets. The fit is tailored and runs true to size. Nau is now sold in select stores throughout the country, so if you need to go beyond the digital realm use the store locator and get some irreproachable retail therapy!

In a season filled with respectable, rational, dressed offerings, some of which I cannot resist myself (there is a white coat at Gucci that is formidable!), the show that I still return to with relish is Missoni. It was a passionate display of pattern, texture, color, and family fun. Prepped by the ad campaign that featured three generations of Missonis, bathed in zigzags, delighting in one another and mugging for photographer Jurgen Teller, one could not help but succumb to the ebullient clan atmosphere of the collection. The throw pieces pinned at various points of the body come down the runway with a defiant spirit as if to say “clean cut camel…not interested!” Those familiar with the Missoni brand color palettes will not be disappointed. The shades of pink, turquoise and green were all there and accounted for, but the surprising surplus of black was new. Intricate noir crocheted creations walked with ease and sex appeal. Fur, this years de rigueur medium, made a scant appearance, mostly as collars that balanced nicely with the blanketed knitwear. Another odd, but effective paring was the addition of shiny accessories, cuffs, sunglasses and neck pieces that supplied a thought provoking contrast to all that thread.

Meet the Missonis. Founding partners Rosita and Ottavio (called Tai) started the Missoni empire in 1953 opening a small knitwear workshop in Gallarate, Italy. Daughter Angela became principal designer 1996, her older brother Vittorio is the company’s marketing director, and Luca is the creative director of the menswear collections and Missoni Sport. Third generation Missonis include Francesco, Margherita (who debuted this year as designer of her first accessories line), Teresa and Marco all whom were on hand for the Fall 2010 Milan show. Each member of this handsome and enchanting family is enough to make one relinquish one’s own heritage to grab a chance to become Made in Italy. It is worth spending some time with the “history” section of the Missoni site to get acquainted with the vast accomplishments of this multi-talented family.

All of this brand madness led me to traipse on over to the newly opened 7,500 sq. ft. Missoni boutique in Beverly Hills. Angela Missoni teamed with architects Patrick Kinmonth and Antonio Monfreda to create a pristine, whitewashed environment to call home. This was the first complete building project for the architects whose previous achievements include Valentino’s retrospective in Rome at ARA PACIS. The building is sheathed with woven slats of white powder coated steel that echo the famous brand’s own knits. Each dress, bikini, men’s sweater, bag and pillow get a chance to be seen in its own right. So much of their work is suited for California casual luxe chic. When a sales associate unfurled a scarf/sarong for me to view, it was an intoxicating close brush with an impulse buy.

It is awards season here in Los Angeles and along with the traffic we seem to be stuck in a glamour glut. Is it the handlers, stylists or just me: it’s so boring out there! The constant parade of Elie Saab, Marchesa, L’Wren Scott and J. Mendel blurs from one podium to the next. The two exceptions, off the top of my head, would be Sandra Bullock’s SAG Awards knockout Alexander McQueen and the ever fashionista Chloe Sevigny at the Golden Globes in Valentino…que bella!

So I did some scouting about and came up with a few alternatives. To keep focused on getting fancy was actually tiring, giving me new found respect for Rachel Zoe, whose taste drives me sideways, but who can really anticipate what the viewing public wants from their celebrities (see the spread in C Magazine September 2009 with Jennifer Garner). And just as I was becoming totally discouraged I fell in head over heels in with love the Givenchy Riccardo Tisci’s Spring 2010 collection. While I understand that full length gowns are the expected I want you to consider the impact of these lush, polished short frocks and pant alternatives.

These first set of six are all Riccardo Tisci. 1-3 are from the Spring 2010 Ready to Wear Collection, while 3-6 are from Spring 2010 Haute Couture. To really appreciate the Haute Couture you must visit the Givenchy site and see these garments from the rear. Spectacular.

RED. Enough said. From the team of Maria Grazia Chiuri and Pier Paolo Piccioli at Valentino.

Rick Owens other worldly designs take on a softer note here. So much more to say about our local Angeleno gone stellar, but for now suffice it to say that the chic of these pieces would be a welcome site on any red carpet.

From Jil Sander’s Raf Simon. Pretty slinky for a guy who started in industrial design.

And finally I would love to see these three from Nina Ricci’s Peter Copping. Fresh, Fem and wouldn’t you love to see a splash of fur on the shoes as well.

]]> http://www.timesquotidian.com/2010/02/05/fancy-stuff/feed/ 0 http://www.timesquotidian.com/2009/10/03/last-year-at-marienbad-chanel-take-one/ http://www.timesquotidian.com/2009/10/03/last-year-at-marienbad-chanel-take-one/#comments Sat, 03 Oct 2009 16:15:06 +0000 Nancy Cantwell http://www.timesquotidian.com/?p=6067 Chanel Redressed
Last Year at Marienbad, Alain Resnais France 1961 94 minutes Black and White 2.35:1
by Nancy Cantwell

Much has been said about Last Year at Marienbad and so little of it has to do with the sensational costume designs of Coco Chanel. Has no one noticed just how well paired Chanel and Resnais, were or more to the point, what a dramatic backdrop Marienbad provides for Chanel couture? Chanel was no stranger to the film industry, but it had 22 years since her last employ at costume design and Marienbad. In 1931, as the behest of Samuel Goldwyn, Chanel came to Hollywood twice a year to design for the actresses Goldwyn had on contract with his studio, he would pay her one million dollars per year. She created the costumes for a forgettable Jean Harlow film called Palmy Days and for a Gloria Swanson box office disaster called Tonight or Never. The third film which featured her costumes was called The Greeks Had a Word for It, directed by Lowell Sherman, 1932, which was a huge success starring Ina Claire, Joan Blondell, and Madge Evans.* While these last two films were still in post-production Chanel, disillusioned with Hollywood, returns to Paris to tend her couture business flailing in the midst of The Depression. In 1937 she collaborates with long time friend Jean Cocteau for his plays Les Chevaliers de la Table Ronde and Oedipus Rex and continues with theatrical costume designs in early French cinema classics including Port of Shadows, directed by Marcel Carne, 1938, and Jean Renoir’s masterpiece La Règle du jeu, 1939.

With the onset of World War II Coco Chanel closed her shop and had taken up with Hans Gunther von Dincklage, a German officer 13 years her junior to ride out the war. There are several accounts of her complicity with the Third Reich, but the one I found the best researched is by weekly columnist for the Times (London) Kate Muir and can be found here. Needless to say she was persona non grata in Paris. But time permitted her return and in 1954 she reopened business as usual. Although not a success in France, sales of what became the quintessential Chanel suit sold extremely well in the US and England.

All this being said, it does seem a bit odd that Resnais, one of the first directors to capture the horrors of the holocaust in his 1955 powerful documentary short Night and Fog, would employ a blatant sympathizer. My speculation runs that, regardless of political affiliation, no one could define the culture of the characters of Last Year at Marienbad with as much exactitude as Coco Chanel. Her sensibilities for perfection in workmanship and design were akin to Resnais’s passion and rigor for the art of film making.

But lets get more to the point of this pairing or trining as it were. For the complicity between Resnais and Robbe-Grillet cannot be undone, theirs is an extraordinary partnership. Here is what Robbe Grillet’s script calls for as to people and place in Marienbad. “This takes place in an enormous hotel, a kind of international palace, huge, baroque, opulent but icy: a univere of statues, motionless servants. Here the anonymous, polite, certainly rich and idle guests observe—seriously though without passion—the strict rules of their games (cards, dominoes…), Their ballroom dances, their empty chatter, or their marksmanship contests. In this sealed, stifling world, men and things alike seem victims of some spell, as in the kind of dreams where one feels guided by some fatal inevitability, where it would be futile to try to change the slightest detail as to run away.” Resnais delivers the mise en scène explicitly, and Chanel conjures through her sartorial discernment just the precise expression of the bored upper class which this film so well portrays.

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Note: *Madsen, Axel. Chanel: A Woman of Her Own (Henry Holt and Company, New York, 1990)

The fabrics at the Francisco Costa for Calvin Klein gave the collection an immediate appeal. The big time minimalist line felt positively embellished with the addition of expressive ruched crunched “needle punching” fabrics. I particularly like the way he experimented with the shape of the sleeve, whether it be an extended cap which turned a would be nurses’ outfit into something naughty, or an extra long knuckle skimming sleeve that really toys with the proportion of the jacket and dress. While neutrals dominated the color palette, when a lemon dress with the most perfect pushed up over the elbow sleeve did appear it was so welcomed that you wanted to grab the dress right off the model and wear it now.

The Donna Karan collection was an exciting mix of lean sophisticated city strut and ocean urchin. Lots of action at the waistline where the draping sometimes feigned oyster shells that hover over slim pencil skirts or simple ties that give focus to breezy leggy dresses. One particular ensemble was crafted out the the most brilliant modern red that, in this vampire crazed entertainment frenzy, it just might be the ticket. And while I don’t pay a whole lot of attention to makeup at these shows, Pat McGrath’s eye treatment set off the look so successfully that I’m tempted to run out and try some white liner myself.

And one last collection that still lingers and gives me cause to shop. Here are a few from Zero +Maria Cornejo. I just love what happens when the black strap slashes through this silk and the ying yang sandals.

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For further reading entertainment here is the Style.com Q&A with Matt Tyrnauer upon the Valentino: The Last Emperor initial release in March 2009.

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© Rita Valencia

Next is Colbert’s charming evening dress for the country. The sleeves play a part all on their own. They frame and lift, a delightful choice for the dance. These sleeves always maintain their lighter-than-air loft and like Colbert herself, never appear crushed nor deflated.

After the ball, one needs to face the day with a crisp breakfast dress, neatly belted and smartly cuffed. Take note of the way she accessorizes by tucking her sunglasses into the belt of the dress. No one here is hefting their designer bags to dine.

A sad, but very Hollywood annotation: The designer responsible for all these amazing costumes was Irene Lentz. On November 15, 1962, three weeks short of her sixty-second birthday, Lentz took a room at the Knickerbocker Hotel, checking in under an assumed name. She cut her wrists but when this did not prove to be immediately fatal, she jumped to her death from her bathroom window at about 3 p.m., landing on the extended roof of the lobby, where she was discovered later that same night. She had left caring notes for friends and family, for her ailing husband, and for the hotel residents, apologizing for any inconvenience her death might cause. As per her wishes, she was interred next to her first husband, F. Richard Jones, in the Forest Lawn Memorial Park Cemetery in Glendale, California.

In 2005, Irene Lentz was inducted into the Costume Designers Guild’s Anne Cole Hall of Fame.

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Simone, played by Elaine Barry is the great facilitator of Midnight. Without Simone there would be no hats to buy, advice follow, nor party guests. Her brooch is the  most dauntless and bold of all brooches (see slide 6). This simple centipede seems to infect her like an assassin out of a 007 film. She is formidable and as such delivers one of the finest lines in Midnight:

“It always rains when Stephanie gives one of her dull parties; even Nature weeps.”

Please follow the highlights, commentary on a slide by slide basis when you launch the slideshow.

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