Friday, January 31, 2020

Standout Details From Ganni’s AW20 Show

In a Copenhagen skatepark colour-scaped by the Serbian-born, New York-based artist Ana Kraš, Ganni staged an autumn/winter 2020 show that outlined the Scandi brand’s vision for the 2020s. The key takeaway? Collaborative fashion with a strong focus on upcycling defines its new-era dressing. And big collars are going nowhere. Here’s everything you need to know about what Ganni girls will be wearing next season.

Fashion is better together

After Ditte Reffstrup’s 10th anniversary edit for spring/summer 2020 – which the creative director dubbed her “therapy collection” following a decade at the helm – Ganni is widening the brand’s sphere. For autumn, she invited a series of female collaborators from the fields of art, photography, design and music to help her set the tone for the next chapter. “We need to stand together and work on new solutions for the future,” Reffstrup, who feeds off the energy and inspiration of these global friends, told British Vogue during a preview. “This collaborative project demonstrates the intention of togetherness in the wild times we live in.”

Can’t wait until next season to tap into this holistic offering? The online Ganni Kiosk is currently selling quilts upcycled from past-season fabrics by textile designer Anna Clarisse Holck Wæhrens, hats woven from leftover yarn by knitting whizz Lulu Kaalund, and recycled cotton T-shirts with unique prints captured by filmmaker Emma Rosenzweig and photographer Shaniqwa Jarvis. New pieces, including glass designer Nina Nørgaard’s delectable colour-dappled tumblers made out of recycled plastic, will continue to drop as part of this year-long curatorial project. A portion of the profits will go to I:CO, the partner for Ganni’s in-store take-back schemes, too.

Are you thinking responsibly?

Coronavirus might be plaguing the thoughts of the fashion pack in Copenhagen, but far more pressing for Ditte and her husband, Ganni founder, Nicolaj Reffstrup is the global climate crisis. For autumn/winter 2020, every stage of their “responsible” creative process was approached with the term “reuse” in mind. The brand now has a four-strong sustainability team, one member dedicated to traceability, another mapping out the company’s sustainability journey via the Higg Index, and Nicolaj himself overseeing the innovation side of the studio. Ditte’s favourite piece in the autumnal edit is a coat woven from disused wool samples – a process that was inspired by “the old days of mending and making do, rather than casting aside old garments”. The duo is also really happy with the softness of the organic cotton sourced from a new supplier (a bonus of the brand’s stratospheric rise and increasing profit margins means Ganni has upped the quality of the factories and fabrications it works with, in addition to hiring skilled workers).

Prairie collars are getting a grungy reboot – yes, really

Ganni’s wide, frilly-collared shirts won the hearts of Little Women fashion fans everywhere, so it’s no surprise the brand is reworking the sell-out styles for next season. The twist? The cotton-poplin versions are out. In their place are leather and denim blousons sprouting the same micro ruffles, but with a lower neckline. Reffstrup, who wears a spearmint-striped iteration tucked into high-waisted jeans when we meet, originally souped up the neckline of her shirting to add extra oomph to plain knitwear. She admits she can’t quite look at a normal collar the same way now, so there’s no going back...

Bucket hats are out, berets are in

Cali-style headwear is reserved for tropical climes only, as Ganni models walked the runway with jaunty knitted hats sitting nonchalantly upon their crowns. “When you put these crochet berets on, they make you sit up a little straighter and walk a little taller,” says Reffstrup, miming the action of putting on a hat and then pouting. The other accessory of the season? Stomper boots, because, quite simply, “They give you the best walk,” she grins. “They make a girl look so self-assured, you know?”

Suit up, but make it slouchy

Reffstrup has always set out to “make women feel like they are capable of anything” in her designs, and her ever-expanding network of female creatives has influenced a new grown-up uniform. “I can’t say why, but I just have a good feeling about tailoring,” she muses. For autumn/winter 2020, there are slouchy separates in abundance, and prints have been phased out in favour of a darker, moodier palette. “Next season, who knows if there will be suits, but for now I like the sharpness. It’s that feeling of walking a little taller again.”

Giorgio Armani To Stage Peter Lindbergh Exhibit

Giorgio Armani will stage a photo exhibition at his Silos space dedicated to Peter Lindbergh. Called “Heimat. A Sense of Belonging,” it will be unveiled during Milan Fashion Week with a private preview on February 21st, opening to the public the following day and running until August 2nd.

The exhibit will include both published and unpublished works by the prolific photographer, whose fashion portfolio included Dior, Louis Vuitton and the Pirelli calendar, among others. Lindbergh died at the age of 74 in September. As reported, another exhibition, “Peter Lindbergh: Untold Stories,” comprising 140 works, will be unveiled in Düsseldorf, Germany, next month and run until June 1st.

In recent years, the Armani/Silos space, which opened in April 2015, has staged solo exhibitions of photographers Larry Fink and Sarah Moon and artist Paolo Ventura, as well as a collective display of images by the likes of Aldo Fallai, Kurt and Weston Markus, Tom Munro, David Sims and Richard Phibbs. Last year, it housed “The Challenge - Tadao Ando” exhibit, which was the venue’s first dedicated to architecture. 

The retrospective displayed more than 50 projects by Ando, illustrated with sketches, original blueprints, video installations, technical drawings, travel notes and photographs taken by the Japanese architect himself.

Thursday, January 30, 2020

Contemporary Muslin Fashion Exhibition

Following its successful run at the de Young Museum in San Francisco and the Museum Angewandte Kunst in Frankfurt, the Contemporary Muslim Fashions exhibition will make its way to the Cooper Hewitt, Smithsonian Design Museum in New York City. On view from February 28th to August 23rd, the exhibit will specifically focus on the Middle East, Southeast Asia, and other communities within the United States and Europe.

This ground-breaking show is the first to investigate the modest fashion industry, as well as Muslim women as arbiters of style within and beyond their communities. It will take into consideration how Muslim women not only define themselves, but how they are defined by their dress.

In addition to shedding light on the ever-growing modest fashion category, those who attend the exhibit will grasp how Muslim women's attire is overall shaped by their religious traditions and cultural customs. Social media will also play a large role in the show by relaying Muslim women's representation in conventional media.

The exhibition will showcase about 80 up-and-coming and established designer garments, and 40 photographs to contextualize the fashion through streetwear, sportswear, and couture. Susan Brown, the associate curator of textiles at Cooper Hewitt stated, “Focusing on the work of young professional Muslim designers and artists, the exhibition celebrates the vibrant global community that has arisen around modest fashion and uses contemporary art, street photography, social media and music videos to bring diverse voices into the gallery.”

Contemporary Muslim Fashion will be on view at Cooper Hewitt, Smithsonian Design Museum from February 28th, 2020 to August 23rd, 2020.

Charlotte Rampling Slaps Mark Jacobs

A surprising pair appear in the three black-and-white teaser videos that Givenchy dropped for its Spring/Summer 2020 campaign, which will be revealed on January 29th. The clips, posted on the fashion house's Instagram page, star the rather unforeseen duo of designer Marc Jacobs and British actress Charlotte Rampling.

Jacobs, with slicked back hair, comes eye-to-eye with Rampling, both wearing floral pieces from Givenchy's Spring/Summer 2020 collection. One video shares the pair engaging in a fun round of tongue twisters, while another displays an annoyed Rampling striking Jacobs across the face after he continuously repeats “I am Charlotte Rampling.”

While it may seem unexpected for Givenchy to feature another designer for its advertising campaign, this is not the first time this strategy has been used. Donatella Versace actually appeared in another a black-and-white Givenchy campaign for Fall/Winter 2015. And as for this season's talent, the booking marks the second time Rampling and Jacobs have joined forces. The actress was featured in Marc Jacobs' Spring/Summer 2004 campaign, lying in an embrace with photographer Jeurgen Teller.

Naomi Campbell Makes Her Vivienne Westwood Campaign Debut

Set in the backstreets of Paris, Naomi Campbell, Vivienne Westwood, and Andreas Kronthaler star in Westwood's latest campaign, unveiled today. It marks Campbell's first campaign with the British designer.

The atmospheric images and video were shot by esteemed fashion photographer and Westwood collaborator Juergen Teller in the 18th arrondissement of the fashion capital, where the Andreas Kronthaler for Vivienne Westwood Spring/Summer 2020 show took place last September. Model Kanidoura Fissourou, who walked that runway, is also featured in the campaign.

The campaign highlights the eccentricity of Westwood's designs and the unique qualities of the garments, each of which have a story embedded in their creation. “When I design clothes, they always have to have a story and when somebody shoots me in our clothes, I always have to have that story in my mind," says Westwood on her most recent collection and the campaign. "I’ve been reading mythology. For this, it was like we were on our way to paradise and we were all going to change from fish into birds."

Campbell, who has waited patiently for her moment with Westwood, says: “I believe things in life come along when they are meant to. It’s taken 33 years to do a Westwood campaign and I’m so happy to be doing it in my 49th year. It’s meant to be when it's meant to be.”

Hermès Sets New Prize At Hyères Fashion Festival

Jean-Pierre Blanc, founder of Hyères International Festival of Fashion and Photography, gathered friends and collaborators on Wednesday night to officially unveil the jury of the 35th edition of the festival, to be held from April 23 to 27, as well as announce the 10 finalists in each category. But before the grand announcement, Blanc had a couple of important pieces of news to share.

“I am proud to say the French government has given its high patronage to the 35th edition of the Hyères festival, which particularly moves me as it’s the first time in the history of the festival that this request has been accepted,” said the founder, who in 2018 had called for more funding to help the festival survive.

Hosting a flower-filled cocktail party at the Beaux Arts, Blanc also unveiled a new prize for the 2020 edition of Hyères: Hermès has created a new accessories prize delivering an endowment of 20,000 euros, or $22,000, for the best collaboration between a Hyères finalist and the Hermès ateliers for a leather-based piece of jewelry.

“It’s kind of amazing to think that in a couple of weeks, these 10 young fashion school graduates will be able to go work in the Hermès ateliers,” Blanc said. He then went on to announce the three jury presidents: Jonathan Anderson will head the fashion jury; Paolo Roversi will lead the photography jury, and Hubert Barrère, artistic director of Chanel Métiers d’Art house Maison Lesage, will take the lead for the accessories prize.

The 10 finalists of the fashion prize, chosen by Anderson’s jury that day, are Aline Boubert, Xavier Brisoux, Marvin M’Toumo, Céline Shen and Emma Bruschi from France; Katarzyna Cichy from Poland; Timour Desdemoustier and Tom Van Der Borght from Belgium; Andrea Grossi from Italy, and Maximilian Rittler from Austria.

The winner of the fashion prize, named Grand Prix Première Vision, will take home a 40,000 euros endowment, one half sponsored by Première Vision and the other from Chanel. There are two other fashion prizes to be won: the Chloé prize and the 19M Chanel Métiers d’Art prize, launched in 2019, both worth 20,000 euros each. Both the photography and the accessories prizes are worth 20,000 euros, provided by Chanel.

Founded and headed by Blanc, the festival has been a launchpad for many fashion designers, including Paco Rabanne’s Julien Dossena, Viktor & Rolf, Anthony Vaccarello and most recently Rushemy Botter and Lisi Herrebrugh, who were named creative directors of Nina Ricci mere months after winning Hyères and reaching the final stage of the LVMH Prize.

Paris Haute Couture Spring Summer 2020

A womb-inspired runway show, a set based on Coco Chanel's orphanage, the first showing from a Sub-Saharan African designer, and Jean Paul Gaultier's farewell to fashion - there was no shortage of memorable moments at the Spring-Summer 2020 edition of Haute Couture Week, where top labels present elaborate custom garments to selected audiences in Paris.

As fashion's biggest names descended on the French capital for a packed week of shows, it emerged that some had, somewhat unusually for haute couture, put comfort front and center. 

Schiaparelli, for instance, opted for slouchy daytime creations alongside extravagant eveningwear. Stand-out pieces included a pitch-black tailored, yet accommodating, silk-satin trouser suit embellished with surrealist motifs, from padlocks to winking evil eyes.

Similarly memorable was the Italian label's asymmetric royal blue double-puff ball dress with bejeweled charms, which were also glued to models' faces and bodies, and a seductive Oscar-worthy gown with a shocking pink gravity-defying silk skirt.

"Being an American, I am coming at couture from a different perspective," said Schiaparelli's creative director, Daniel Roseberry, after the show. "Celebrating that feels good. I wanted the real pieces to feel more real, and the fantasy pieces to feel so much more unreal."

For Dior's show, artist and feminist icon Judy Chicago created a monumental womb-like space at the Rodin Museum. The elaborate set featured 21 embroidered metallic banners posing questions including "What if women ruled the world?"

"We are in the body of the goddess, in a female space," Chicago said, explaining her design during last Monday's show. "As we are in the Rodin Museum, I was acutely aware of how masculine (sculptor Auguste Rodin's) work is, so I thought, fine, masculine there and feminine here! If the world was like this, it would be a lot better. 

"It's about empowering women through clothes," she added.

Dior's models glided along the purple carpet in various golden gowns, which were paired with veils by master milliner Stephen Jones. Some appeared in long, glittering fringed dresses, while others floated down the runway in more delicate, translucent creations with flowing silk tulle capes.

The duo behind Ralph & Russo dedicated the label's show to their Australian homeland, asking attendees to donate to a fundraiser to help fight the country's bushfire crisis. Celerating their 10th year of couture, the creations combined sumptuous fabrics and glamorous proportions, from a black silk organza crystal mesh suit embellished with graduating metallic crystals, to a ravishing off-the-shoulder chartreuse taffeta ballgown.

Elsewhere on the schedule, Chanel's creative director Virginie Viard turned to the brand founder, Coco Chanel, for inspiration. Her showspace recreated the cloister garden - complete with lavender, cabbages and vine tomatoes at the French Abbey orphanage where a 12-year-old Chanel grew up after her mother's death.

The accompanying collection was light and airy, featuring the brand's classic black-and-white checked suits and Gigi Hadid in a fitted button-down shirt-waister with white Peter Pan collar and cuffs. Then came a timeless all-black outfit: A round-neck Chantilly lace top with a bib and winged caped sleeve on top of a long georgette skirt.

Over at French designer Alexis Mabille's show, held at Sotheby's auction house, Dita Von Teese introduced his creations in a black sequined smoking jacket and pants. "This season, the craftsmanship expresses shades of white, a pallet free of color to better reveal the women's power," she said onstage before joining the audience.

Models walked dressed in mostly all-white ensembles, including a simple shirtdress worn with an overskirt knotted at the side and held in place by a crystallized belt. Some of them took champagne flute-shaped bags down the runway.

"I wanted to be free of color connections," Mabille explained backstage. "It's not summer, it's not winter; it's super elegant, super feminine. It's a realistic collection, and easy to wear." 

On Tuesday evening, Ronald van der Kemp once again demonstrated the possibilities of up-cycled haute couture. His collection was also filled with nostalgia, transporting his audience to Le Palace, a theater today but Paris' equivalent of Studio 54 in the 1980´s.

His brand RVDK's sharp lines referenced the images of photographer Helmut Newton, who the Dutch couturier has credited as a major influence, while the core message seemed focused on reducing waste and overconsumption.

The outfits on display included a mock fur coat (or as the show notes described it, a "Boucherouite guilt-free fur trash coat") and another alluring jacket made from a profusion of hand-painted flowers and a gathered matt-black ball skirt adorned with rose cloqué that had been up-cycled from a previous season.

Elsewhere, Viktor & Rolf created voluminous shapes made from flower prints. Backstage, co-founder Rolf Snoeren said that these were the only new fabrics used for the avant-garde Dutch duo's collection. "All the rest, all the patchwork, is archive fabric swatches that manufacturers have sent to us over the years."

The pretty florals were offset with temporary body tattoos by make-up artist Peter Philips, and accessories by Brazilian brand Melissa, from a limited-edition line of vegan plastic flat shoes and bags.

Valentino's runway show was one of the most anticipated of the season. The label's breathtaking display didn't disappoint, with creative director Paolo Piccioli's mastery of color and craft demonstrated through a series of backless dresses.

British model Stella Tennant wore a diaphanous powder-rose organza blouse, tied with an extravagant fluttering bow, along with a long black fishtail skirt and red leather gloves. A timeless column dress, complete with duchess satin cuff, collar and train, was pure Valentino, as was a long red high-neck dress worn by Australian model Agi Akur, accompanied by long graduated diamond earrings with red flat glossy feathers at the ends.

A native to Cameroon where he made his first dresses (including for his mother, who was Miss Cameroon in 1960), Imane Ayissi is the first Sub-Saharan African designer to show at Haute Couture Week. The 51-year-old created a sophisticated collection using organic cottons, also transforming tree bark into decorative flowers. The designer uses African materials and techniques in his collection, and works with cooperatives to ethically source organic materials.

Last but not least, "L'Enfant Terrible" of French fashion, Jean Paul Gaultier, marked his retirement after a 50-year career that has earned him international renown for his provocative designs and extravagant shows.

He sent out nearly 200 looks for his final couture catwalk, attracting fashion A-listers including Carla Bruni, Eva Herzigová, Christian Lacroix and Simon Le Bon, whose wife Yasmin starred on the runway.

The catwalk offered a number of surprise cameos, including Dita Von Teese in a shimmering pink belted minidress, and Karlie Kloss in a up-cycled plastic bodice with massive bubble-wrap skirt. French singer and television presenter Amanda Lear was carried in by two men wearing crystal T-shirts and heels, while Canadian model Coco Rocha showed off a high-kicking Irish jig.

Boy George closed proceedings with a performance of Culture Club's 1983 hit, "Church of the Poison Mind," which saw attendees jumped up to dance and clap along. Gaultier was held aloft in the middle of the stage, as if at a festival, and was clearly loving the moment.

"I love fashion," Gaultier said backstage. "And I will continue with a new approach, taking a backseat."

Review Of Paris Fashion Week - Men’s Fall/Winter 2020

Paris Fashion Week Men’s wasn’t always an exciting affair. Until the latter half of the last decade, menswear shows in general were something of an afterthought, showcasing traditional tailoring and conventional staples. Even the men’s shows in Paris were meant to be a prelude to the haute couture presentations that followed and often overshadowed them.

Streetwear and star designers have since changed all that, of course. Now, menswear shows boast all the glitzy elements that its women’s counterpart has long enjoyed: supermodels, celebrity appearances and even scandals.

Paris Fashion Week Men’s certainly checked off all those boxes for the Fall/Winter 2020 season. Below, we round up some of the highlights of the week from Dior, Louis Vuitton and more.

Dior celebrates Judy Blame

For his latest Dior Men outing, Kim Jones staged a tribute to the late London stylist and punk icon, Judy Blame. Models stomped down the runway in berets, top coats, opera gloves and monogrammed chelsea boots, echoing Blame’s irreverent style. The collection also referenced Blame’s DIY aesthetic, heavily featuring metallic embellishments and accessories like safety pins, chains and metal zippers. The highlight? A shimmering car coat, which took took 940 hours of hand-embroidery to make.

Louis Vuitton goes to heaven

Virgil Abloh brought “Heaven on Earth” with his menswear show for Louis Vuitton. The set featured dreamy blue skies and clouds, complete with a surreal touch in the form of gigantic props of craft tools like scissors, a thread spindle and a pencil. Despite the playfulness of the setting, Abloh’s collection was a little more grown-up. Straying even further from his streetwear roots, the designer reinterpreted the classic suit with ruffles, cloud prints and laser cuts in the shape of the Louis Vuitton monogram.

FKA Twigs graces the Valentino show

Speaking of heavenly, FKA Twigs made a surprise appearance at the Valentino menswear show. The English musician blessed showgoers with an otherworldly performance of her songs while clad in an ethereal embroidered lace gown by the French haute couture brand. Models streamed past her in an array of loose, oversized shirts and coats, featuring romantic blown-up floral prints.

Fake supermodels at Vetements

Vetements continues to blur the lines between fashion label and social experiment with its latest stunt: supermodel doppelgängers. Its menswear show featured models that closely resembled Kate Moss and Naomi Campell, as well as celebrities like Angelina Jolie, Snoop Dogg and Mike Tyson. The reason for the lookalikes? The fashion brand couldn’t afford the real ones, according to Vetements co-founder Guram Gvasalia. The show was otherwise a standard Vetements affair, featuring belted coats, padded jackets, hoodies and tees, save the fact that there was hardly a slogan in sight. Perhaps the brand is taking itself more seriously after Demna Gvasalia’s departure?

And real ones at Jacquemus

Simon Porte Jacquemus brought out an all-star cast at his Paris presentation, which showcased both his Pre-Fall 2020 women’s collection and Fall/Winter 2020 men’s collection. The roster included models of the moment such as Vittoria Ceretti, Adut Akech, Bella and Gigi Hadid, as well as industry veterans Doutzen Kroes and Joan Smalls. The show also marked the return of ’90s French supermodel Laetitia Casta after 10 years’ of absence. The collection offered all of Jacquemus’ signatures, including slinky dresses, neutral-toned separates and the cult-favourite Le Chiquito bag, this time with micro Le Chiquito jewelry to match.

Cornrows controversy at Comme des Garcons

It may be 2020, but fashion has not yet purged itself of its cultural appropriating ways. The latest offender is Comme des Garçons, who sent white models down the runway in cornrow wigs. The show caused a storm on social media, with many criticizing the Japanese label for its tasteless decision to use braids, which are historically worn by black people. Others suggested it was a publicity stunt. The show’s hairstylist Julien d’Ys has taken to Instagram to apologize and clarify that the headpieces he designed were an homage to Egyptian princes instead. Homage or not, the wigs certainly drew attention away from Comme des Garçon’s colourful collection, which is more than we can say about the show’s casting.

Top Looks From Paris Fashion Week Men´s Collections A/W´20

Paris is home to some of the biggest names luxury fashion; Dior, Louis Vuitton, Dries Van Noten all show here and have done forever. The weight of those brands means Paris Fashion Week has a rep for being a serious affair with lots of serious ceremony surrounding it, but this season we saw a few surprises and plenty of looks to take from the runway.

Rick Owens

"A Rick Owens show is a startling affair. Impossibly tall models strut the runway in stack heeled boots and waist length hair kicking up clouds of dry ice – a menacing and uncompromising silhouette.

"This season, Owens was partly inspired by Bowie’s famous knitted Ziggy Stardust one-piece jumpsuit by Kansai Yamamoto from the early Seventies. Look 22 – my spirit animal with his long grey locks – stopped me in my tracks at the Palais de Tokyo in Paris. A glimpse of flesh, a hint of leather and all thrown together with that razor sharp, pagoda-shouldered coat."

Acne Studios

"For his latest collection, Acne’s Jonny Johansson had a future-facing trick up his sweatshirt sleeve, collaborating with Robbie Barrat, a “generative artist”, who rose to internet fame by creating a “rapping AI” that uses Kanye West’s discography to write its own songs (terrifying and brilliant).

"The clothes that appeared in a big white room were led by Barrat’s algorithmic black magic. Thousands of former Acne looks were fed into his software, resulting in a sexy, surreal, tailoring runway. While I’m not quite ready (or lithe) enough for the leather suit, the oversized Klein blue mountain parka is a perfectly realised piece of outerwear. It also fits into one of my favourite proportion playing combinations: tailoring under proper outdoor jackets. Thank you Acne. Thank you new fashion robot overlords."


"There's little to compare to Casablanca: a streetwear-cum-tailoring-cum-terry towelling tribute from French-Moroccan designer Charaf Tajer. The latest collection, a military marchin Dalmatian prints and pastels, was no different. The surprise, though, came in the resort-wear focus.

"Yes, yet another murky phrase within the fashion lexicon. But Casablanca took resort-wear literally. There was skiwear for a lodge in a yet-to-be-made Wes Anderson film. There were silken suits for drinks on the balcony of Liberace's middle eastern holiday home. And also this: a boxy, double-breasted silver suit, that you might wear for a wedding in a Vegas casino in the Seventies. Or just every single event I've got planned in 2020."


Following on from an Insta-friendly show in Provence (Jacquemus won 1.8 million new followers following last season's walk through a field of lavender), founder Simon Porte Jacquemus was keen to prove his brand wasn’t just a social media phenomenon. A fabric inspired by the first garment he ever made for his mum was the linen spine of he entire show.

"Overall, this wasn’t as energetic as his S/S '20, with an overarching palette of tan or sage. The men's looks were styled clean and uncomplicated: camp collar shirts, loose casual suiting and the odd double-trouser (open fly) layering. But it was wearable: a point Porte stressed before the collection's release. Look 19's Gallic flip-flop, camp collar party piece is very 'me going to the boulangerie before work'."

Copenhagen Fashion Week Unveils Its “Radical” Plan To Become More Planet-Conscious

Fashion is finally beginning to recognise its impact on the planet, but Copenhagen Fashion Week is really leading the charge in taking responsibility. As part of an ambitious three-year action plan, Copenhagen has become the first major fashion week to ensure its brands are taking sustainability seriously. “We are in the middle of a climate crisis, so we have to act now and act urgently,” Cecilie Thorsmark, CEO of Copenhagen Fashion Week, tells Vogue.

Step one is reducing the environmental impact of the fashion week itself. Single-use plastic bottles are already banned and all operational carbon emissions are offset, but the ultimate goal is to be zero waste by 2023.

The second (and more ambitious) part of the strategy is getting all brands to adopt rigorous sustainability policies. By 2023, Copenhagen Fashion Week will ensure all its designers comply with 17 minimum standards, which includes using at least 50 per cent certified organic, upcycled or recycled textiles in all collections and using only sustainable packaging and zero-waste set designs for shows.

“It’s looking at how we, as a fashion week, can use our platform to actively engage with the industry and drive change,” Thorsmark explains. “The most important part is looking at how we can accelerate the sustainable transition of brands.”

Danish brand Carcel - which uses natural materials and employs women prisoners in Peru and Thailand to manufacture its garments, used its debut appearance at Copenhagen Fashion Week to accelerate this conversation. Rejecting the traditional catwalk format, the label didn’t show any clothes, instead opting for a video installation to highlight key issues within the industry. At the end of the show, guests were invited onto the catwalk to underline the role they have to play in enacting real change.

“We need a new conversation in fashion; the conversation that's going on right now is not radical enough,” Carcel founder Verónica D’Souza, a member of the Copenhagen Fashion Week advisory board, says of her decision to experiment with a new format. “What should fashion weeks be about in the future? Should it always be products? I think it should also be about the process. We share images from our production inside of women's prisons; it’s a platform that communicates our brand [ethos].”

While there are few brands that aren’t speaking about sustainability right now, it’s important for Copenhagen Fashion Week that brands take a 360-degree approach. “There are brands out there who claim to be sustainable; maybe it's because they use some sustainable fabrics,” Thorsmark says. “In our world, you have to look at sustainability holistically. I don't think you can call yourself a sustainable brand if you're not actively working throughout your entire value chain.” 

Baum und Pferdgarten is a brand that has already set out its sustainability policies in detail, in alignment with the UN Sustainable Development Goals. 50 per cent of the pieces in its collection this season are sustainably sourced, with the aim to reach at least 65 per cent by 2024. “We want the public to know where we produce, how we produce and what fabrics [we use],” Rikke Baumgarten, the brand’s co-founder, explains. “It's not easy but it is possible to make [the] industry more green. Everybody knows it's just not possible anymore to continue like we did before.” 

Meanwhile, Ganni, which has commissioned women creatives to craft upcycled and reworked pieces as part of its pop-up this season - is also ensuring it takes an overall approach. Around 70 per cent of the collection will be made from certified responsible and/or recycled materials, once order volumes are taken into account. “In all areas of the business, we're committed to making more responsible choices every day, whether that's exploring new materials or mapping our supply chain to the widest extent possible,” Nicolaj Reffstrup, Ganni founder, chief executive, and member of the Copenhagen Fashion Week advisory board, comments.

Ultimately, Copenhagen Fashion Week hopes that other fashion weeks will follow its lead in ensuring the industry is taking sustainability seriously. “Fashion weeks are extremely important because that's where the entire industry meets,” D’Souza says. “But I think we need to redefine what they're about. We need to take responsibility and start talking about new business models and some of the issues that we have [as an industry]. More than ever, we need to use this platform to share new ideas and visions for where we want to go next.”

“Every fashion week around, big and small, should be requiring a minimum level of sustainability from their participating brands,” Thorsmark adds. “If we want to have a real impact globally, then it's not just Copenhagen Fashion Week that should be doing it.”

Marc Jacobs Joins Charlotte Rampling In Front Of The Camera

Marc Jacobs has established himself as one of fashion’s biggest fans. Between his all-embracing wardrobe and his frequent Instagram shout-outs, the designer has proven to be as much a supporter of fellow brands as he is the creative force behind his own. The designer has a penchant for Celine tiger-prints, Gucci florals and Balenciaga outerwear, and recently paired his favourite Rick Owens boots with a fresh-from-the-catwalk Prada coat.

Further evidence of his role as the industry’s ultimate team player comes in the shape of the new Givenchy campaign, in which he joins actor Charlotte Rampling to make up the “iconic Givenchy couple”. Jacobs will front the spring/summer 2020 campaign, which Givenchy first teased in a series of Instagram videos.

Jacobs and Rampling face off in the tongue-in-cheek clip, in which the actor dramatically slaps the designer across the cheek as he repeats, “You’re Charlotte Rampling.” Not that he minded being on the receiving end of a cuff from an arthouse icon. Jacobs said on Instagram he was honoured to have been chosen by Givenchy’s artistic director Clare Waight Keller, and added that he would “get slapped by [Rampling] anytime”.

Waight Keller was equally effusive in her praise for her campaign stars, whom she described as “true icons”. “How can I describe my feelings about seeing these extraordinary legendary figures in the Givenchy campaign, both of whom I admire so very much,” the British designer wrote on Instagram. “Firstly for their undoubted originality and talent in fashion and film, amazing passion in everything they do, a fantastic sense of humour and intelligence... I am honoured and thrilled they have become part of my journey at this beautiful Maison”.

This is the first professional collaboration for Jacobs and Waight Keller, but it’s likely their paths crossed in the ’90s, when Waight Keller was working at Calvin Klein in New York as Jacobs established his eponymous brand. Perhaps it was then that what Waight Keller describes as their #FashionFriendshipForever was established.

Givenchy and Jacobs’s namesake brand also share a parent company in French conglomerate LVMH, and this isn’t the first time that a designer has lent their face to a “rival” house. In 2015, Donatella Versace pivoted to front a Givenchy campaign during Riccardo Tisci’s tenure.

Monday, January 27, 2020

Jean Paul Gaultier x Supreme: A Perfect Union

Legendary French designer Jean Paul Gaultier hasn’t produced a ready-to-wear collection since 2014, which makes his newly-announced Supreme collaboration particularly surprising. Not only is it a seemingly unexpected choice by Supreme, but Gaultier’s recent reticence towards conventional clothing makes him an unlikely streetwear partner. However, the cacophonous creations of “French fashion’s enfant terrible” have shocked the fashion elite since the early ‘80s, reflecting a rebellious streak that mirrors the anti-establishment ethos of Supreme’s previous collaborators, Gilbert & George.

Gaultier’s career was kicked off by a fascination with streetwear. “I was super influenced by streetwear [in the early years,]” Gaultier told us last year. “I think it’s great. But it has to be at the price of streetwear. I don’t like when it’s kind of a plagiat [plagiarism] of streetwear.”

Though this collaboration may revive Gaultier’s relevancy, the designer has never really left the industry; he continues to introduce new fragrances and design couture. Haute couture has been speciality of the Gaultier brand since its inception, serving as a true expression of Gaultier’s unmatched ingenuity. He’s more than earned his place in fashion history; New York’s Madame Tussauds wax museum even has a figure of Gaultier on display.

At the tender age of 24, Gaultier hosted his first runway show in Paris after working for French idiosyncratic Pierre Cardin, garnering attention from editors at major fashion magazines for his sharp eye for detail and whimsical, opulent clothing. These included delicately layered tulle dresses, a brief array of trim tailoring and graphic shirting, a rarity at cultured French fashion events. Around the same time that COMME des GARÇONS and Yohji Yamamoto were shocking French buyers and journalists with their all-black, heavily-deconstructed collections, Gaultier was providing a different kind of high-low asynchronicity. “What is masculine and what is feminine, anyway,” Gaultier asked Out. “Why should men not show that they can be fragile or seductive? I am only happy when there is no discrimination.”

Menswear in the early ‘80´s was all about appealing to conventionality with sophisticated styling and relaxed power suiting. Gaultier refuted the norm sending street-cast models down the runway wearing skirts and kilts. The designer suited up his inclusive, multi-racial cast with faux tribal tattoos, bridal veils and nose piercings, drawing influence from oblique sources like pirates, Buddhist monks and Hasidic Judaism (Fall/Winter 1993, “Chic Rabbis,” made a fan of Kurt Cobain). All the while, Gaultier proved his acumen with exquisite craft and subtle nods to his forebears, delivering smoking jackets indebted to Yves Saint Laurent and short dresses inspired by Cristóbal Balenciaga.

His divisive work on the runway won Gaultier plenty of critics, but he also drew celebrity admirers like Madonna, who walked his runway and wore his iconic pointy bra on her Blond Ambition World Tour in 1990. This initiated several requests to create movie wardrobes, including The Fifth Element and a series of Pedro Almodóvar films. Marilyn Manson wore several Gaultier creations in 2003, the same year that Gaultier became the creative director of Hermès, where he remained until 2010.

Currently, Gaultier continues to design haute couture collections, demonstrating his boundless sense of creativity, though recent shows have been reigned-in compared to his earlier wanton presentations. Even though he no longer designs ready-to-wear, the designer’s influence can be found across the industry; Gaultier mentored a young Martin Margiela in the mid-’80´s, in reaction to Gaultier’s debut 1976 presentation, Margiela told Vogue, “I was seized by an excitement I had never felt before.” John Galliano’s lavish ‘90s presentations are almost a direct ode to Gaultier. Gaultier also broke down barriers in casting, representing men and women of all ages and body types in his earlier presentations just to further thumb his nose at the fashion establishment.

Though his name lacks the street cred of, say, Gucci and Fendi, Gaultier’s ‘90s-era glasses and belts found early supporters in musicians like Kurt Cobain and still have an audience with fashion-conscious rappers like Big Sean and Wiz Khalifa. The archival movement has latched onto his irreverent designs, including mesh shirts and heavy metal-inspired handbags, while his signature sailor pants, fur coats and all-over-printed T-shirts remain relevant to a core group of devotees.

One could argue that the radically anachronistic designer has never been more relevant to the industry. “I think there is too much of everything, not only designers. I think it’s like, concentration, there is too much clothes, and not a ton of people to buy it,” Gaultier said. “But, I think it’s a moment of big change. There is something social that happened, now it’s like a mutation, social also with the internet… Every time, even on the clothes, it’s only reflective of what’s happening in society.”

Gaultier has proven himself to not only be prescient, but progressive, constantly taking steps that push the fashion dialogue forward. The Supreme collaboration is less about the skate brand smartly selecting key influences or paying homage. Instead, it’s about acknowledging Gaultier’s undeniable influence on fashion designers that dare to go against the grain. Much like Supreme itself, Gaultier’s sterling legacy as a disruptor has already been cemented, the collaboration is simply an opportunity for a new generation to discover it for themselves. Jean Paul Gaultier x Supreme launches on April 11th.

Remember When Tom Ford Saved Public Hair Into The Gucci Logo

To sell sex or not to sell sex? That's a question Tom Ford (whose 57th birthday was earlier this week) never has had to wrestle with, especially when it came to concepting brand campaign imagery (his own or otherwise). Though his proclivity to lean toward uncensored NSFW graphics wasn't always realized. When the boundary-pushing designer held court at the helm of Gucci starting in 1990, his direction was still relatively tame.

In 1995, he cast a fully clothed Amber Valletta to front a campaign, outfitting her in a satiny teal blue shirt (immodestly unbuttoned down to her chest, but modest nonetheless), a matching wool coat, and a logo belt. But in the years since, he dialed up the explicit nature of his vision with each passing season. There was the Fall/Winter 1997 ad with Carolyn Murphy and Angela Lindvall embracing one another in matching patent bondage-like dresses, and another with the two models and Gavin Matthews engaging in a ménage à trois.

It came to a head in 2003 when the luxury brand unveiled its most controversial campaign to date: A provocative spread shot by Mario Testino, styled by Carine, and directed by Doug Lloyd, featuring model Carmen Kass with pulled-down briefs that exposed her pubic hair neatly shaped into Gucci's G logo. "He understood more than anyone else that sex sells," Fern Mallis once said about Ford.

The public response was swift. The Advertising Standards Authority, the U.K.-based self-regulatory organization of the advertising industry, received countless complaints. Consumers deemed it "deeply offensive" and "extremely harmful," and campaigned to ban it. And John Beyer, director of Mediawatch UK, was quoted saying that it was damaging to society: "Imagery showing young women in this way is extremely harmful to society and should not be appearing in mainstream magazines."

But the industry recognized how inventive it was. "Advertising campaigns became more exciting than editorial," Testino previously said. "When I started doing Gucci with Tom Ford he pushed me to new heights." And if the intention was to harness the power of campaigns, to grab attention, to disrupt the status quo, and to spark conversation (even a controversial one), then it worked.

Dior To Hold Cruise Show In Italy, Moves Forward Date

Maria Grazia Chiuri has chosen Puglia, the region where her family is originally from, for Dior’s next cruise collection. The display will be held in Lecce, in the heel of Italy’s boot, and its date has been moved forward to May 9th.

The French fashion house had originally set the show date for May 27th, and did not provide a reason for the switch. Chanel will kick off the cruise calendar on May 7th in Capri. Gucci will show somewhere in the U.S . on May 18th, Prada in Japan on May 21st, and Max Mara in St. Petersburg, Russia, on May 25th.

Since arriving at Dior in 2016 as artistic director of women’s haute couture, ready-to-wear and accessory collections, Chiuri has paraded her cruise collections in Los Angeles, Chantilly and Marrakech, Morocco.

Frank Ocean Fills In The Blanks For Prada

While Frank Ocean is famously mysterious, from random music releases to a surprise nightclub pop-up; his relationship with Prada is something of a budding romance. He chose to wear the Italian fashion house to this year's Met Ball and even traveled half way across the world to attend Prada's men's show last season in Shanghai. Now, in a not-so-surprising but still pretty surprising move, the enigmatic musician fronts the brand's Spring/Summer 2020 campaign by David Sims.

Beside actor Austin Butler and filmmaker Nicolas Winding Refn, Ocean appears captured in a dramatic moment of suspension. The theme of the series is "Optimist Rhythm," and each vignette shows its star as a real-life "hangman" of dualities. The brand's logo itself is deconstructed into an acronym, and the newly-added words create different but similar definitions for a name universally known.

All in all, it's an overwhelmingly intellectual series as per usual for Prada. This marks the third fashion campaign for Ocean, who has previously fronted ads for Calvin Klein and Band of Outsiders.

Jonathan Anderson To Head Fashion Jury at Hyères Festival

Jonathan Anderson, creative director of both Loewe and his own brand JW Anderson, is to preside over the fashion jury of the 35th edition of the Hyères International Festival of Fashion and Photography, set to take place from April 23rd to 27th. It’s the first time an Irish designer is chosen for the position. “I hadn’t really thought about that, but that does make it exciting,” laughed Anderson, who will be attending the Hyères festival, which is located in the South of France, for the first time.

“I’ve been following what has been going on at Hyères over the years,” he told WWD. “It has really become an iconic festival for young talent, and it’s fun to get involved and see how I can help. Also, everybody always seems to have a great time there, the landscape and setting are so beautiful.” Anderson is no stranger to talent competitions. The designer, who created his own brand in 2008 and joined Loewe in 2013, created the Loewe Craft Prize in 2016 and is one of the jury members of the LVMH Prize for Young Fashion Designers, which has helped spotlight talent such as Marine Serre and Grace Wales Bonner.

“It’s a big honor to have been chosen for Hyères, but also a responsibility as part of the industry; we have to look out for the next generation,” he said. “New talent must come up continually in order for fashion to survive.” To pick his jury, the 35-year-old fashion designer asked himself a simple question: “Whose opinion do I trust? The people I’ve chosen for Hyères are people I have worked with for various projects and who I deeply trust, like a fashion family.”

It includes Amanda Harlech; model Kaia Gerber; photographer Tyler Mitchell; sound designer Michel Gaubert; actor Arnaud Valois of “120BPM” fame; stylist and creative consultant Benjamin Bruno, who works on Loewe campaigns with Anderson, including the brand’s latest one featuring Megan Rapinoe; creative director Ronnie Cooke Newhouse; journalists Tim Blanks and Derek Blasberg; editor in chief of Vogue Hommes International Olivier Lalanne, and fashion designer Christoph Rumpf, who won last year’s Grand Prize at Hyères.

“These are all people I go to for advice,” Anderson said of his jury. “For example, Amanda and I have been friends for a very long time, she has supported me from my very first collections. She’s always there at the frontline of all of my shows.” The names of the 10 fashion finalists will be unveiled on Wednesday evening during a cocktail held in Paris to celebrate the fashion festival’s 35th edition, where the finalists for the festival’s photography and accessories prize will also be announced.

“It was interesting for me to go through the finalists with the jury, because it really gave me an idea of what the industry as a whole is looking for,” said Anderson, who said he was on the lookout for “people with a distinct, defined viewpoint.” The fashion designer will also be organizing an exhibition at the Villa Noailles, where the festival is held, focusing on his work both at Loewe and JW Anderson. “It will be a look back at the work I have done for both houses, men’s and women’s, in the last 12 years,” he said.

Founded and headed by Jean-Pierre Blanc, the festival has been a launchpad for many fashion designers, including Paco Rabanne’s Julien Dossena, Viktor & Rolf, Anthony Vaccarello and most recently Rushemy Botter and Lisi Herrebrugh, who were named creative directors of Nina Ricci mere months after winning Hyères and reaching the final stage of the LVMH Prize. Photographer Paolo Roversi will head the jury for the festival’s photography prize, while Hubert Barrère, artistic director of Chanel Métiers d’Art house Maison Lesage, will take the lead for the accessories prize, sponsored by Swarovski and now in its fourth year.

The accessories jury will include actors Nicolas Maury (“Call My Agent”) and Joana Preiss; gallery owner Magda Danysz; Vogue Paris journalist Eugénie Trochu; accessories designer Yaz Bukey; creative director of M Le Monde magazine Jean-Baptiste Talbourdet; dancer and choreographer Blanca Li; influencer Monica Ainley, and last year’s winner Noélia Morales. For the photography prize, Roversi tapped Adrian Joffe, president of Comme des Garçons International and ceo of Dover Street Market; retailer Carla Sozzani; Priscilla Royer, art director of Maison Michel; Jérôme Gautier, director of publishing for Christian Dior; Simon Bainbridge, editorial director of the British Journal of Photography; Chiara Bardelli Nonino, photo editor for Vogue Italia and L’Uomo Vogue; philosopher Emanuele Coccia; stylist Ibrahim Kamara; photographer Petra Sedlaczek, and last year’s winner Alice Mann.

Why The Alaïa And Balenciaga Exhibition In Paris Is A Must-See

The Balenciaga - Alaïa joint exhibition is now open in Paris and we highly recommend it. Balenciaga and Alaïa in dialogue. On one side, a little black dress with a low crew neck, whose pleats start right on the hips. On the other, a long strapless dress, fitted down to the thighs and flared to the ground in a perfect flare. The first is made by Cristóbal Balenciaga and dates from 1954; the other is a haute couture piece by Azzedine Alaïa, dated 2003. What they have in common is an extraordinary mastery of form and a study of the lines of the body, which are highlighted by the finest stitching and the most subtle folds. The term "architect" has often been used to describe the work of Balenciaga and Alaïa, whose creations are demonstrations of craftsmanship and technique. It is not surprising that the latter was passionate about the work of the former and that of his elders, Madame Grès, Elsa Schiaparelli or Madeleine Vionnet, outstanding couturiers whose legacy he continued.

It was almost by chance that he started collecting their clothes. Shortly after Cristóbal Balenciaga decided to close his fashion house in 1968, Azzedine Alaïa was contacted by Miss Renée, deputy director of the Balenciaga fashion house. Concerned about what would become of the stocks of fabrics and dresses stored in the workshop that had recently closed down, she suggested to a young Alaïa that he dispose of them as he wished and take the liberty of cutting new models from the dresses. Fascinated by the technical and creative work used on the clothes, Alaïa chose to keep them intact, and to build up an archive that would mark the beginning of a great collection that he would never stop enriching throughout his life. The new exhibition at the Azzedine Alaïa Gallery brings several dozen of his models into dialogue with those of Cristóbal Balenciaga, an astonishing face-to-face encounter between two great masters of style and volume.

The History Of The Chanel Tweed Suit

Not many fashion items have withstood the test of time quite like a Chanel suit. The iconic two-piece set, originally introduced to the brand by French designer Gabrielle "Coco" Chanel in the 1920´s and sustained by Karl Lagerfeld until his recent death in 2019, would not only live on to become a symbol of fashion, but a representation of the liberated woman. Worn by international fashion figures including Jackie Kennedy, Princess Diana, Brigitte Bardot, and Barbara Walters, the Chanel suit has become a representation of sophistication and an permanent staple for the storied brand.

In 1925, Chanel introduced the original idea for the suit at a small show in her salon on Rue de Cambon in Paris. Known for mixing traditional ideas of masculinity and femininity, Chanel took inspiration from the sportswear and menswear that her then-boyfriend, the Duke of Westminster, would wear. Chanel herself would even reportedly wear her lovers' clothes, because she believed menswear to be more comfortable than pre-war women’s fashion of the time.

Chanel wished to find a way to free women from the restrictive corsets and long skirts popular during the Belle Époch (defined as the period from 1871 up until the First World War in 1914.) Chanel wanted women to exude elegance while allowing them to move freely. In 1947, newcomer Christian Dior introduced the famed "New Look" to the fashion world with cinched waists and full-skirts that celebrated ultra-femininity and rivaled Chanel's message to women. In response, Chanel was quoted saying, "Dior doesn't dress women, he upholsters them."

Inspired by sportswear, the iconic course tweed fabric used in the detailed crafting of Chanel suits was initially not considered a glamorous textile. Tweed was primarily manufactured in Scottish twill mills, where Chanel discovered the true diversity of the fabric. Chanel’s passion for feminizing tweed by implementing new colors, materials, and textures to the then-underutilized fabric took the fashion world by storm, inspiring other French couturiers to employ her methods. The slim skirt and collarless jacket dubbed “Chanel’s uniform” became widely known with the help of press coverage, specifically a magazine image of actress Ina Claire dressed in a Chanel suit printed in 1924.

While Chanel's classic suit catered to the principles of First Wave Feminists during the early 20th century, Algerian-born Yves Saint Laurent stepped onto the fashion scene in 1966 with the creation of the "Le Smoking" tuxedo, a style inherent to the brand's aesthetic to today. The jacket aligned itself with the ideas of sexual liberation for the Second Wave Feminism movement, which arose during the '60´s. Few public establishments even allowed women to wear trousers inside, seeing it about as acceptable as wearing a bathing suit to dinner. Saint Laurent embraced the idea of female androgyny, which Chanel initially introduced into her works, but combined it with a cutting-edge sense of provocative sexuality for women that was absent from Chanel's vision.

The Chanel suit soon after caught the attention of some of the most influential women of all time. One of the most notable admirers of the suit, First Lady Jackie Kennedy, historically wore a pink Chanel suit on the day her husband United States President John F. Kennedy was assassinated in Texas in 1963. The strawberry pink double-breasted suit was from the Chanel Haute Couture Fall/Winter 1961 collection and was completed with a pillbox hat in typical Jackie O fashion. An oft-debated topic was the authenticity of the set, as many argued the suit was originally produced by Chez Ninon in 1961. It was later revealed that the suit was part of Chanel’s “line-for-line” system, with Chanel providing the supplies for Ninon. This method was for the purpose of appearing more patriotic by having the garment made on American soil rather than in France. This particular suit worn by the former first lady quickly became ingrained in U.S. history, as highly televised event of President Kennedy’s death led to nationwide recognition of the suit. In 2003, nine years after her mother’s death, Caroline Kennedy gifted the suit to the U.S., where it currently resides in the National Archives. It won’t be put on display until 2103 in order to avoid sensationalizing the horrific act.

A formal reproduction for the suit was later created in 2016 for Natalie Portman’s portrayal of Kennedy in the film Jackie. Reproduced by costume designer Madeline Fontaine, the Chanel team aided in the reproduction of the suit by providing some of the materials, including buttons and chains, and allowing the film to credit the label.

Following Gabrielle Chanel’s death in 1971, several assistants directed the designer’s couture and ready-to-wear lines until German-born Lagerfeld was appointed creative director in 1983, while sustaining his prior job at Fendi. Lagerfeld assumed the role with respect for the traditions of the house, retaining several items and methods intrinsic to the brand’s identity. His vision aligned with Chanel’s original wishes to propel the brand towards avant-garde fashion. Lagerfeld wished to move Chanel away from the pastel-colored boxy suits of the ‘50´s and drive Chanel into the ‘80´s.

Lagerfeld gradually began making slight changes to the timeless piece, all the while keeping in mind the power and popularity of Chanel’s original idea. As the result of a high price tag, Lagerfeld understood the mature appeal towards the suited style and aspired to rejuvenate the idea of the iconic item. He created suits from denim, punk-style tweed, and bright neon wool, paired with tweed bralettes and even some Chanel alpine skis. He did it little-by-little, noting at the time that, “Even if she never did it this way, it’s very Chanel, no?” Lagerfeld was an innovator, he tapped muses and '90´s supermodels including Claudia Schiffer, Christy Turlington, Vanessa Paradis, and Linda Evangelista for campaigns and fashion shows, challenging the more conservative past of Chanel.

In more recent years, the Chanel suit still inspires modern-era fashion designers. Notorious for his kitschy-chic designs, Jeremy Scott exhibited his debut show as creative director for Moschino for Fall/Winter 2014, which drew more than a few sartorial inspirations from the iconic French house.

The show referenced a hybrid of what appeared to be Lagerfeld-era Chanel suits, cross-bred with McDonalds. The satirical collection sent the fashion world into an uproar with suits that were virtually indistinguishable copies from the Chanel's classic designs (besides a Moschino logo, of course,) calling into question of inspiration versus imitation of heritage brands.

The Lagerfeld-era of Chanel advertisements and campaigns, many of which Lagerfeld himself photographed, preserved the brand’s identity of the opulent, empowered woman while introducing a younger, sexier side to the French brand. Lagerfeld is credited with promoting the logo branding of Chanel that has recently regained popularity. His use of the the iconic interlocking “CC” monograph on items from handbag locks to garments led to worldwide recognition of the insignia. Soon after, Chanel became an it-brand by maintaining their mature clientele, as well as ingratiating itself to new generations of young women.

Today, the Chanel suit remains a symbol of the historical fashion house and is repurposed in new ways every season. The cult classic is remembered as a fusion of comfort, luxury, and elegance, maintaining the same design ethos introduced by Coco over 90 years ago. With Lagerfeld altering the style and audience of the iconic piece, the suit has preserved its role as a true emblem in fashion history.