Haute Couture: Elsa Schiaparelli Spring 2015

Not-so-shocking pink was the backdrop to the Elsa Schiaparelli Haute Couture collection for spring 2015. The runway color was a reminder that the famous Italian's spirit was in the house, but the label is moving forward.

There was a distinct Middle Eastern aesthetic in the styling of the fashion show with the jeweled Fez has and draped shawls. Other than that, each ensemble had its own look. Signature Schiaparelli touches were handmade, three dimensional embellishments like the top of overlapping organza stars, large jeweled embroidery that looked like it was executed in a random pattern (but probably the artisan's personal constellation). In fact, each look seemed to have a personal story from the makers or designers with outfit names like "Seamstress in Love" "Battle of Pins" or "Atelier Games". I would love to watch the behind-the-scenes video on the events that inspired that.

There were gorgeous examples of sculptured millinery which I'm sure will be a hit with the Brits. The atelier's own padlock hardware marked the handbags. Jewelry had a similar collaged look with fused metal and jewels. Tailoring was a prominent feature of this collection, but the label took great care to make it look ultra feminine.

It's lovely to see this label back on the Haute Couture runways. I would like to think Elsa Schiaparelli is looking down from her atelier in the sky and smiling.
photos provided by Schiaparelli

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Dream Fashion Mash-Up: Christian Lacroix Does Schiaparelli

One of the defining couturiers of the 1990's created a collection in tribute to one of the biggest risk-takers in fashion at Paris Fashion Week.  Christian Lacroix unveiled his homage to Elsa Schiaparelli at my French favorite, the museum of Les Arts Décoratifs.

"Lacroix Sweetie! Lacroix!" was the rallying cry of my fellow Parsons fashion design students back in the late 1990's when the BBC's "Absolutely Fabulous" reigned our television lives.  The designer's big bows, big silhouettes, bright colors and odd mixes of textures was the height of decadence against the minimalist styling of his American counterparts. 

If you saw the Metropolitan Museum of Art's exhibit last year on Elsa Schiaparelli and Prada: Impossible Conversations, you saw the surrealist influences, circus motifs and the Italian's love of shocking pink.  Having one  over the top designer create a collection as tribute to another sounded fantastic!

Unfortunately, the final effect was not as spectacular as I had hoped.  To be fair, I have not seen this exhibit yet in person.  However, the styles I have seen appear to be a diminished version of both of these fashion icons.    Lacroix referenced the vintage silhouettes of built up shoulders and sculpted waist shapes.  The signature pink was definitely there as well as embroidered appliques of elephants.  Luxurious embroideries on jackets and full coats or dresses reminiscent of Lacroix's own trademark looks were also referenced.  

The collection does look beautiful, but both designers have produced much better.  Was I expecting too much to hope to see Lacroix create something that did more than ape Schiaparelli's greatest hits in modern fabrics?  Maybe I wanted to see him challenge himself in taking his own aesthetic further by referencing her design principles, but interpreting them in a more contemporary light, rather than literal? Maybe an example of today's "media" circus? Motifs of electronic media made from high tech materials appliqued onto shocking pink skinny jeans?  Today's idea of surrealism in the form of reality show pop culture?

Maybe in the age of constant brand collaborations, certain creatives need to stand alone.  What did YOU think of this collection?

Photos by ANDREA ADRIANI/Imaxtree

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How to Dress for the Gatsby Era

No doubt, every fashion magazine and blog will tell you how to dress in flapper style with today's styles.  Prada produced some drool-worthy fashion for the film The Great Gatsby, but what designers did the Daisy Buchanans wear IN the 1920's?

Roaring 20's fashion was the decade of Coco Chanel, Elsa Schiaparelli and Jeanne Lanvin.  Erte's theater costume illustrations set the tone of sleek art deco patterns.  Flapper dresses were embroidered in Asian florals or Art Deco patterns reflecting the trends in architecture at the time.  Chanel pioneered the concept of comfortable sportswear, opposite the whimsical embellishments of her Italian rival, Schiaparelli. As a parent, Lanvin's intricate work was coveted by other mothers, leading to coordinated outfits for their children as well.

Fashionable ladies were just as enamored with shoes as we are today.  T-strap shoes and embellished heels were the coveted styles of the era.  The prestige designers then were Salvatore Ferragamo and Andre Perugia. 

The 1920's was radical in that fashionable women cut their hair short en masse for the first time in history...ever! It was quite the milestone for a socialite to march into a salon and ask for the chic bob. I love this vintage advertisement that you could bring to your stylist:

Ok, now rouge your knees, roll your stockings down and see the damn movie already!

photos from oldrags.tumblr.com/, jildorshoes.com,

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Salvador Dali and Surrealist Fashion

Fashion has always been synonymous with art.  The recent Prada and Schiaparelli exhibit at the Metropolitan Museum reminded everyone of my favorite artistic fashion movements, surrealism.  My favorite surrealist artist growing up was Salvador Dali.  I was clearly not alone as a fashion designer influenced by his unique vision. 

Elsa Schiaparelli was famous for her collaborations with Dali.  Her famous shoe hat was inspired by a photograph the artist took of slippers balanced on his wife’s head.

His painting, The Dream Places A Hand on a Man's Shoulder and Three Young Surrealist Women Holding in Their Arms the Skins of an Orchestra depicts female figures, much like fashion mannequins adorned with rips and tears.  A trompe l’oeil print of tears is combined with actual torn fabric in the artist’s collaboration with Schiaparelli for a dress that imitates art in 1938.

 Designer Agatha Ruiz de la Prada has staged some truly surrealist fashion shows.  This dress of drawers from her Fall 2009 show clearly has its roots in Salvador Dali’s The Burning Giraffe.

Diane Von Furstenburg is the go-to label for many chic women.  Much of the appeal is that it flatters most people and practical for most demographics. Yet, Von Furstenburg’s spring advertising campaign pays homage to one of Salvador Dali’s most bizarre paintings, the Atavistic Vestiges after the Rain.  The surrealist backdrop complements the graphic print of the model’s outfit while creating a striking image.  This campaign proves how fashion designers can take inspiration from the most wild of sources and succeed in making it commercial. 

Now I would love to challenge designers to step it up and see if they work with Dali in a new way… Melting watches off a model’s arm?  Waxed moustache makeover? Some surrealist images start to make sense after a few Stoli cocktails, let’s see what they do on a catwalk…

“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.” 
― Salvador Dalí

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Museum photo by Mariana Leung, Agatha Ruiz de la Prada FW09 from awwwards, Dali images from the museum , DVF advertising from DVF

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Schiaparelli and Prada: Impossible Conversations

One of my biggest pleasures as a fashion reporter is the privilege of being able to preview the retrospectives of my fashion heroes.  In this case, it was the gorgeous exhibit of Elsa Schiaparelli and Miuccia Prada. 

The Metropolitan Museum show is a celebration of two powerhouse women.  Baz Luhrman and Catherine Martin (the team behind movies like Priscilla, Queen of the Desert, Moulin Rouge) put together a series of stylish interviews imagining conversations between the fashion pioneers.  Throughout the exhibit, you can watch the designers discuss their experiences, their muse and the world around them throughout their career. 

Much like the MOMA’s exhibit of Picasso and Matisse a few years back, the show her presents both designer’s work side by side to show how similar influences were translated into clothing, or how Schiaparelli might have influenced Prada. 

At the same time, the exhibit also compares how the different eras influenced the designers differently.  For Elsa, her time period was all about focusing excitement from the waist up.  Her most noteworthy accessories included hats and wigs, elaborate fur/feather collars, jackets with heavy embellishment on the chest.  For Miuccia, she focused from the waist down, with graphic prints on skirts and amazing footwear.

Elsa Schiaparelli was an artist’s designer.  She was known for bringing surrealism into her work.  She was famous for her “shocking pink”, fanciful circus motifs and trompe l’oeil effects like printed rips.  Salvador Dali and Jean Cocteau were an influence.  Cocteau’s lip illustration became embroidery on a Schiaparelli gown, and a pocket detail on another.  The lips motif also inspired Miuccia Prada’s collection in silk prints. 

This is a show not to be missed!

The exhibit will run from May 10, 2012 - August 19th, 2012 at the Metropolitan Museum of Art 

Photos by Mariana Leung

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Marisa Berenson, Fashion Muse

In my teens, a friend insisted that I had to see the movie Cabaret.  As we were both dancers, she believed the Bob Fosse choreography was crucial to our dance education.  I was already a film buff, so it was kind of a no brainer.  I also was a big Judy Garland fan and was curious to see her daughter perform.  We rented the video and I watched Cabaret for the first time, transforming me into a fan of the film, Liza Minelli, Michael York and of course Bob Fosse.

But the biggest revelation for me in the film was Marisa Berenson.  I was quite taken with her beauty and her acting, thus sparking in me an interest to find out more about her.  I did my research, discovered her fascinating career as a model and became a life long fan.  Not only was I captivated by her beauty, but a radiance that came across in her photos and films, leaving me wanting more.

Years later as I was at Parsons studying Fashion Design, I finally made the connection that Marisa Berenson was the granddaughter of famed Couturière Elsa Schiaparelli.  I had been in awe of Schiaparelli for years, but somehow I had never made the connection between the two of them.  This of course added another dimension to Marisa Berenson that would keep me enthralled.

When Fashion’s Night Out came upon us this last September and I was flipping through numerous invites, trying to decide where to go, I received an email that set my course.  A PR person I highly respect, Deborah Hughes, invited me to Donna Karan’s Boutique for the launch of Marisa Berenson’s new book,  Needless to say I was ecstatic!  The chance to meet someone I had been so long a fan of was an opportunity I couldn’t turn down.

I am happy to report that Ms. Berenson is as beautiful, radiant and charming in person as one might imagine that she would be.  Meeting her was the high point of Fashion Week for me and getting a signed copy of her book was a thrill.  The book, Marisa Berenson: A Life in Pictures , sits on the side table next to the big comfy chair in my CA bedroom and I have spent many an evening perusing the gorgeous photos within.

As for Donna Karan, the hostess of the event, she was vibrant full of energy and engaging as always.  I did manage to get a few moments of her precious time, but I am saving it for a video I am working on about her Los Angeles Urban Zen Foundation store.  Stay tuned for when that video will air shortly.

-By Mdivani Monroe, Ladies Who Lunch Travel, Video Photography by Nicholas Waickman

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