There’s nothing fancy about Minnie Mortimer’s MO.”I have a very strange plan, which is sort of no plan. I make whatever I feel like I want to wear,” the designer said last night at the launch of her Spring 2010 collection at Scoop in the Meatpacking District. That means men’s shirting, feminine silhouettes—a combination of ease and sexiness. “I live on the plane, I feel like, and that’s a big inspiration—everything sort of folds up and gets in your suitcase,” she explained. The L.A.-based, New York-raised designer is making clothes with bicoastal girls like herself in mind. That works for Miranda Kerr (pictured with Mortimer), who came by the store after a busy day of appointments, and brought her man, Orlando Bloom, to the dinner afterward that Scoop CEO Susan Davidson had organized for Mortimer and friends including Brian Atwood and Lorenzo Martone at the Standard Grill.Minnie Mortimer’s Chicer Take On Flying Style
“The great thing about Minnie’s collection is that you just put it straight on and you’re ready to walk out the door,” Kerr offered. Kerr hadn’t literally thrown on her black and white striped jersey number in a cab, but she assured us she could have. “I have great skills with changing. Taking clothes on and off—that’s my job, baby.”
There’s nothing fancy about Minnie Mortimer’s MO.”I have a very strange plan, which is sort of no plan. I make whatever I feel like I want to wear,” the designer said last night at the launch of her Spring 2010 collection at Scoop in the Meatpacking District. That means men’s shirting, feminine silhouettes—a combination of ease and sexiness. “I live on the plane, I feel like, and that’s a big inspiration—everything sort of folds up and gets in your suitcase,” she explained. The L.A.-based, New York-raised designer is making clothes with bicoastal girls like herself in mind. That works for Miranda Kerr (pictured with Mortimer), who came by the store after a busy day of appointments, and brought her man, Orlando Bloom, to the dinner afterward that Scoop CEO Susan Davidson had organized for Mortimer and friends including Brian Atwood and Lorenzo Martone at the Standard Grill.Minnie Mortimer’s Chicer Take On Flying Style
“The great thing about Minnie’s collection is that you just put it straight on and you’re ready to walk out the door,” Kerr offered. Kerr hadn’t literally thrown on her black and white striped jersey number in a cab, but she assured us she could have. “I have great skills with changing. Taking clothes on and off—that’s my job, baby.”
What Miuccia wants, Miuccia gets. And Miuccia wants seven days of Milan fashion week. Prada, Armani, and the biggest names in Italian fashion have agreed to space out their shows to ensure a full week next season. [Vogue U.K.]A Weeklong Week, Etam Gets Eva, And More…
Hedi Slimane x Rolls Royce x Beck. Whoa. [Dazed Digital]
Eva Herzigova is the latest model-turned-designer. The Czech siren unveiled a line (pictured) for France’s Etam (for which Natalia Vodianova also designs lingerie) this week. [WWD]
More Abu Dhabi, more bejeweled shoulder spikes: It’s the second trailer for Sex and the City 2. [YouTube]
What Miuccia wants, Miuccia gets. And Miuccia wants seven days of Milan fashion week. Prada, Armani, and the biggest names in Italian fashion have agreed to space out their shows to ensure a full week next season. [Vogue U.K.]A Weeklong Week, Etam Gets Eva, And More…
Hedi Slimane x Rolls Royce x Beck. Whoa. [Dazed Digital]
Eva Herzigova is the latest model-turned-designer. The Czech siren unveiled a line (pictured) for France’s Etam (for which Natalia Vodianova also designs lingerie) this week. [WWD]
More Abu Dhabi, more bejeweled shoulder spikes: It’s the second trailer for Sex and the City 2. [YouTube]
“He’s just the most amazing character,” Whitewall publisher Michael Klug said of his spring issue cover boy. “Totally unique.” And when the guest of honor entered, with much fanfare and flashbulbs, in his unchanging uniform of biker leathers and cap, followed by a bevy of boys in black, it was a hard claim to dispute.Peter Marino Has A Taste For Leather And Porcelain
Marino is best known as the retail design guru behind Barneys’ Madison Avenue and Beverly Hills stores, as well as the go-to architect for Chanel, Fendi, Zegna, Christian Dior, and Louis Vuitton, whose Marino-designed New Bond Street store opens next month. From his first high-profile success (designing Andy Warhol’s townhouse) to his recent fashion flagships—”hard, clean, modern” in his own words—he’s won acclaim the world over. Work has lately taken him to Beirut, Paris, London, Dresden, Dubai, and China (the last of which now accounts for 90 percent of Marino’s commissions). Standing with friends like Waris (pictured, with Marino) among Harings at the Shafrazi Gallery for a party in his honor last night, Marino was talking culture more than commerce.
“This is my museum year,” he said. The enormous retrospective of les Lalanne he designed opened in March at Paris’ Les Arts Décoratifs, and his redesign of the porcelain galleries of the Staatliche Kunstsammlungen in Dresden opened last week. Next up: an exhibition of sixteenth to eighteenth-century bronzes from his personal collection at the Wallace in London, opening later this month. “Two years ago, when the home market and everything crashed, I said yes to the France thing and yes to the Dresden thing,” he said with typical brio. “I figured, fuck it, if we’re not gonna make money, we might as well make culture.”
“He’s just the most amazing character,” Whitewall publisher Michael Klug said of his spring issue cover boy. “Totally unique.” And when the guest of honor entered, with much fanfare and flashbulbs, in his unchanging uniform of biker leathers and cap, followed by a bevy of boys in black, it was a hard claim to dispute.Peter Marino Has A Taste For Leather And Porcelain
Marino is best known as the retail design guru behind Barneys’ Madison Avenue and Beverly Hills stores, as well as the go-to architect for Chanel, Fendi, Zegna, Christian Dior, and Louis Vuitton, whose Marino-designed New Bond Street store opens next month. From his first high-profile success (designing Andy Warhol’s townhouse) to his recent fashion flagships—”hard, clean, modern” in his own words—he’s won acclaim the world over. Work has lately taken him to Beirut, Paris, London, Dresden, Dubai, and China (the last of which now accounts for 90 percent of Marino’s commissions). Standing with friends like Waris (pictured, with Marino) among Harings at the Shafrazi Gallery for a party in his honor last night, Marino was talking culture more than commerce.
“This is my museum year,” he said. The enormous retrospective of les Lalanne he designed opened in March at Paris’ Les Arts Décoratifs, and his redesign of the porcelain galleries of the Staatliche Kunstsammlungen in Dresden opened last week. Next up: an exhibition of sixteenth to eighteenth-century bronzes from his personal collection at the Wallace in London, opening later this month. “Two years ago, when the home market and everything crashed, I said yes to the France thing and yes to the Dresden thing,” he said with typical brio. “I figured, fuck it, if we’re not gonna make money, we might as well make culture.”
The soundtrack that Malcolm McLaren provided for Dries Van Noten’s show in March jammed together Bernard Herrmann’s elegant music for Hitchcock’sVertigo and a particularly bolshie bit of punk provocation from the Mekons. Herrmann’s romantically surging strings were continually interrupted by a drunken shouty man, and the audio tug ‘o’ war between the two had people shifting uncomfortably in their seats. In other words, a quintessential McLaren moment. Unfortunately, he wasn’t feeling well enough to relish it in person.Malcolm McLaren, R.I.P.
McLaren’s death on Thursday—from mesothelioma, a rare form of cancer—means there won’t be any more moments like that. Or, for that matter, any more of his riveting free-associative raids on popular culture. He was a silver-tongued devil, expert at making random connections to create a really big picture, the kind that gets the medieval and the postmodern in the same frame. Even when it made no sense, it was enlightening. Refreshingly perverse—that was Malcolm.
It’s going to be all “Sex Pistols svengali” and “punk impresario” and—God forbid—”Vivienne Westwood’s plus one” for a few weeks, but more than three decades has passed since ‘76/’77 and McLaren’s wide-open mind roamed far and wide, teasing, poking, finding gems in dark corners. His ongoing fascination with street culture surely introduced a wider audience to double dutch, hip-hop, sampling, and voguing (a whole year before Madonna). He probably did the same thing for opera with his album Fans. Even the nutty moment when he lived in L.A. (un)developing projects for Columbia (the most mythic, Surf Nazis Must Die, got a big spread in Vanity Fair, which must count as one of McLaren’s minor masterpieces of media manipulation) had a kind of boundary-pushing edge to it. Digitalia, erotica, Japanese girl bands, country music, video art…add them, and so much more, to the list of all the projects that came to fruition—and all those that didn’t—and you’ve got yourself an unsung Renaissance man.
It was much more likely you’d hear him called a charlatan. That was the kind of reaction McLaren seemed to gleefully court. Still, I noticed that he’d been talking about authenticity a lot more. ”Intelligence is definitely creating a new insurgency tactic…Gathering real knowledge has finally become a quest,” he wrote in one e-mail a few years back. ”A new insurgency tactic”? The never-ending promise of provocation suggested there’d be no mellowing for Malcolm.
Isabel Marant told us she was planning her first New York store way back in March of last year at her Fall 2009 show, and local fans of the French designer’s casual-cool sensibility have been waiting with credit cards at the ready ever since. We couldn’t get an official count on just how many pairs of her fringed and cuffed pirate boots will be waiting when the charming Mr. Hatman window signs (see below) disguising the construction site within come down and the doors finally open at 469 Broome Street this weekend. But on a transatlantic phone call, Marant did tell us that she’s planning to stock the label’s strongest pieces. No doubt her followers will like the sound of that. Will you stock the same merchandise here as in your Paris shops?Isabel Marant Hits New York At Last
Who did you work with on the project?
A French architect named Nicolas Andre. He did my three shops in Paris; it’s been quite a long time that we’ve been working together.
Will the new shop feel like the stores in Paris?
No, not at all. I quite hate doing the same store over and over again. I like to work around the space I’ve found, and generally I choose a space because it has a soul that I like. In Soho, I fell in love with this building on the corner of Broome and Greene; it represents what I had in my head about New York, the huge spaces. We have columns and a really great ceiling with embossed metal panels. As the space was really big, we constructed a kind of wooden cabin. It’s quite hard to explain, but it’s between a sculpture and a tree house. It’s a space within a space.
That sounds similar to what your husband, Jérôme [Dreyfuss, the bag designer], did in his store next door.
No, it’s very different. Of course, we love the same things and we have the same inspirations, living together for 15 years now. Of course there are similarities between us. But we never speak together about what we’re doing [at work] because we have really separate [design] universes. Neither of us was quite used to having such huge spaces, because in Paris it’s very rare to have this kind of space. We both had the same idea of reducing the space, having a smaller space within a big space. Yes, we share the same architect, but we really worked separately with Nicolas.
Seeing so many American girls in my Paris shops, I can more or less figure out that what they buy is almost the same as what we sell in Paris, so I think it will be the same merchandise. Until now, my collection in New York City was bought [by department stores and boutiques] in a quite conservative way. I think American women are looking for the strongest pieces, so I will put more strong pieces in the store. It will really represent the essence of the Isabel Marant collection.
Do you anticipate New York influencing the way you design at all?
I don’t think so; I always work very spontaneously. I hate working with records because I always say if the record was good, they already have it and they don’t need it another time. You don’t need to redo something that’s already a success.
What has Jérôme told you about the first few weeks his store has been open for business?
He was quite surprised that he sold a lot of python bags, which are the most expensive bags he does, so he was super-happy.
Have you spent a lot of time in New York? Any favorite places?
I was there the first time 20 years ago, but only for two days. After that, I went back 10 years ago, and hadn’t been there again until I started looking for a space for my store. But I did spend five days there last month for Jérôme’s opening. It was the end of the shows, and I wanted to check and see how my shop was doing. I came incognito; I had no schedule at all. I could take some time for me and visit all the museums, and most of all, the art galleries in Chelsea. I love this area, all the modern art you have in the galleries. It’s really amazing.
The soundtrack that Malcolm McLaren provided for Dries Van Noten’s show in March jammed together Bernard Herrmann’s elegant music for Hitchcock’sVertigo and a particularly bolshie bit of punk provocation from the Mekons. Herrmann’s romantically surging strings were continually interrupted by a drunken shouty man, and the audio tug ‘o’ war between the two had people shifting uncomfortably in their seats. In other words, a quintessential McLaren moment. Unfortunately, he wasn’t feeling well enough to relish it in person.Malcolm McLaren, R.I.P.
McLaren’s death on Thursday—from mesothelioma, a rare form of cancer—means there won’t be any more moments like that. Or, for that matter, any more of his riveting free-associative raids on popular culture. He was a silver-tongued devil, expert at making random connections to create a really big picture, the kind that gets the medieval and the postmodern in the same frame. Even when it made no sense, it was enlightening. Refreshingly perverse—that was Malcolm.
It’s going to be all “Sex Pistols svengali” and “punk impresario” and—God forbid—”Vivienne Westwood’s plus one” for a few weeks, but more than three decades has passed since ‘76/’77 and McLaren’s wide-open mind roamed far and wide, teasing, poking, finding gems in dark corners. His ongoing fascination with street culture surely introduced a wider audience to double dutch, hip-hop, sampling, and voguing (a whole year before Madonna). He probably did the same thing for opera with his album Fans. Even the nutty moment when he lived in L.A. (un)developing projects for Columbia (the most mythic, Surf Nazis Must Die, got a big spread in Vanity Fair, which must count as one of McLaren’s minor masterpieces of media manipulation) had a kind of boundary-pushing edge to it. Digitalia, erotica, Japanese girl bands, country music, video art…add them, and so much more, to the list of all the projects that came to fruition—and all those that didn’t—and you’ve got yourself an unsung Renaissance man.
It was much more likely you’d hear him called a charlatan. That was the kind of reaction McLaren seemed to gleefully court. Still, I noticed that he’d been talking about authenticity a lot more. ”Intelligence is definitely creating a new insurgency tactic…Gathering real knowledge has finally become a quest,” he wrote in one e-mail a few years back. ”A new insurgency tactic”? The never-ending promise of provocation suggested there’d be no mellowing for Malcolm.
Isabel Marant told us she was planning her first New York store way back in March of last year at her Fall 2009 show, and local fans of the French designer’s casual-cool sensibility have been waiting with credit cards at the ready ever since. We couldn’t get an official count on just how many pairs of her fringed and cuffed pirate boots will be waiting when the charming Mr. Hatman window signs (see below) disguising the construction site within come down and the doors finally open at 469 Broome Street this weekend. But on a transatlantic phone call, Marant did tell us that she’s planning to stock the label’s strongest pieces. No doubt her followers will like the sound of that. Will you stock the same merchandise here as in your Paris shops?Isabel Marant Hits New York At Last
Who did you work with on the project?
A French architect named Nicolas Andre. He did my three shops in Paris; it’s been quite a long time that we’ve been working together.
Will the new shop feel like the stores in Paris?
No, not at all. I quite hate doing the same store over and over again. I like to work around the space I’ve found, and generally I choose a space because it has a soul that I like. In Soho, I fell in love with this building on the corner of Broome and Greene; it represents what I had in my head about New York, the huge spaces. We have columns and a really great ceiling with embossed metal panels. As the space was really big, we constructed a kind of wooden cabin. It’s quite hard to explain, but it’s between a sculpture and a tree house. It’s a space within a space.
That sounds similar to what your husband, Jérôme [Dreyfuss, the bag designer], did in his store next door.
No, it’s very different. Of course, we love the same things and we have the same inspirations, living together for 15 years now. Of course there are similarities between us. But we never speak together about what we’re doing [at work] because we have really separate [design] universes. Neither of us was quite used to having such huge spaces, because in Paris it’s very rare to have this kind of space. We both had the same idea of reducing the space, having a smaller space within a big space. Yes, we share the same architect, but we really worked separately with Nicolas.
Seeing so many American girls in my Paris shops, I can more or less figure out that what they buy is almost the same as what we sell in Paris, so I think it will be the same merchandise. Until now, my collection in New York City was bought [by department stores and boutiques] in a quite conservative way. I think American women are looking for the strongest pieces, so I will put more strong pieces in the store. It will really represent the essence of the Isabel Marant collection.
Do you anticipate New York influencing the way you design at all?
I don’t think so; I always work very spontaneously. I hate working with records because I always say if the record was good, they already have it and they don’t need it another time. You don’t need to redo something that’s already a success.
What has Jérôme told you about the first few weeks his store has been open for business?
He was quite surprised that he sold a lot of python bags, which are the most expensive bags he does, so he was super-happy.
Have you spent a lot of time in New York? Any favorite places?
I was there the first time 20 years ago, but only for two days. After that, I went back 10 years ago, and hadn’t been there again until I started looking for a space for my store. But I did spend five days there last month for Jérôme’s opening. It was the end of the shows, and I wanted to check and see how my shop was doing. I came incognito; I had no schedule at all. I could take some time for me and visit all the museums, and most of all, the art galleries in Chelsea. I love this area, all the modern art you have in the galleries. It’s really amazing.
Not-So-Subliminal Messaging At Apple’s IPhone OS 4.0 Presentation Today
The apps work better than ever on Apple’s new operating system, and—not that we wouldever blow our own trumpet—we couldn’t help but notice one in particular during Steve Jobs’ presentation this afternoon. (No, we didn’t pay for the placement.) Still don’t have the Style.com iPhone app?
Was Sarah Jessica Parker inspired by yesterday’s Alexander McQueen sale on Gilt Groupe? The star of Sex and the City 2 displayed her quirky sartorial sensibility (and enviably toned physique) on the streets of New York today, stepping out to walk her son to school in a McQueen tank top, printed scarf, VBH purse, and gray denim boot-cuts. Wherever she takes style cues from, we think the actress remains one of the true originals in Hollywood. What do you think? Are you excited to see the many looks she will be debuting for the SATC press tour, or do you think she’s become too much of a real-life Carrie Bradshaw?Yea, Nay, Or Eh? SJP Gets In The Mix
Not-So-Subliminal Messaging At Apple’s IPhone OS 4.0 Presentation Today
The apps work better than ever on Apple’s new operating system, and—not that we wouldever blow our own trumpet—we couldn’t help but notice one in particular during Steve Jobs’ presentation this afternoon. (No, we didn’t pay for the placement.) Still don’t have the Style.com iPhone app?
Was Sarah Jessica Parker inspired by yesterday’s Alexander McQueen sale on Gilt Groupe? The star of Sex and the City 2 displayed her quirky sartorial sensibility (and enviably toned physique) on the streets of New York today, stepping out to walk her son to school in a McQueen tank top, printed scarf, VBH purse, and gray denim boot-cuts. Wherever she takes style cues from, we think the actress remains one of the true originals in Hollywood. What do you think? Are you excited to see the many looks she will be debuting for the SATC press tour, or do you think she’s become too much of a real-life Carrie Bradshaw?Yea, Nay, Or Eh? SJP Gets In The Mix
There’s luxe and there’s luxe and then there’s Nomenus Quarterly, Erik Madigan Heck’s $6,500 seasonal journal—arguably the most expensive magazine-cum-art piece there is. That more-is-more sensibility has endeared Heck to the high-fashion brands of the world, many of which have turned up in Nomenus‘ pages. Tonight at the Chelsea Art Museum, Heck’s photos featuring the work of Demeulemeester, Lacroix, and Rodarte from quarterlies past go on display, alongside a new video piece Heck created featuring the designs of the Belgian duo A.F. Vandevorst. “I had filmed A.F.’s show in Paris with my Super 8 mm camera and wanted to extend their collection into a performance piece,” Heck explains. “I arranged for a performance of Fratres [by the contemporary Estonian composer Arvo Pärt], to be played by four celloists in New York and in Rome, who were all wearing A.F.’s collection. I felt that their collection was best represented by this piece of music.” A.F. Vandevorst have used cellos before—their Fall 2000 show was scored by a live cellist, Filip Arickx reminded us—but the moody collaboration is certainly something new. At the very least, it marks the first juxtaposition of the designers’ work and merry-go-rounds. Have a look, below.A.F. Vandevorst: The Music Video
There’s luxe and there’s luxe and then there’s Nomenus Quarterly, Erik Madigan Heck’s $6,500 seasonal journal—arguably the most expensive magazine-cum-art piece there is. That more-is-more sensibility has endeared Heck to the high-fashion brands of the world, many of which have turned up in Nomenus‘ pages. Tonight at the Chelsea Art Museum, Heck’s photos featuring the work of Demeulemeester, Lacroix, and Rodarte from quarterlies past go on display, alongside a new video piece Heck created featuring the designs of the Belgian duo A.F. Vandevorst. “I had filmed A.F.’s show in Paris with my Super 8 mm camera and wanted to extend their collection into a performance piece,” Heck explains. “I arranged for a performance of Fratres [by the contemporary Estonian composer Arvo Pärt], to be played by four celloists in New York and in Rome, who were all wearing A.F.’s collection. I felt that their collection was best represented by this piece of music.” A.F. Vandevorst have used cellos before—their Fall 2000 show was scored by a live cellist, Filip Arickx reminded us—but the moody collaboration is certainly something new. At the very least, it marks the first juxtaposition of the designers’ work and merry-go-rounds. Have a look, below.A.F. Vandevorst: The Music Video
With the Tribeca Film Festival still two weeks away, the Gen Art Film Festival (which kicked off last night) arrived as a sort of youth-oriented preamble. One notable thing about this year’s edition is the number of familiar names turning up in the same unfamiliar place: behind the camera. Consider it a spring coming-out party for directorial debuts. Among the debutantes: Tatiana von Furstenberg, fashion photographer Patrick Hoelck, and Adrian Grenier, whose documentary Teenage Paparazzo explores America’s obsession with celebrities.Young Hollywood Takes A New Spot: Behind The Camera
The main event last night, which had Malin Akerman and Richie Rich walking the carpet at the Ziegfeld, wasHappythankyoumoreplease. Written and directed by first-time filmmaker Josh Radnor (pictured), star of the popular sitcom How I Met Your Mother, it’s a Manhattan ensemble dramedy starring, among others, Akerman, Kate Mara, and Zoe Kazan, who made time for last night’s premiere between performances of A Behanding in Spokane, the play she’s in alongside Christopher Walken and Sam Rockwell. “Josh is really writing from an honest place. He put a lot of true stories—his stories, other people’s stories—into the background of the movie,” she explained. “It was very easy to act, because so many of those conversations I’ve actually had.” The coming week will give Radnor’s fellow first-timers a chance to show the world (or, at least, New York) whether their efforts ring as true.
With the Tribeca Film Festival still two weeks away, the Gen Art Film Festival (which kicked off last night) arrived as a sort of youth-oriented preamble. One notable thing about this year’s edition is the number of familiar names turning up in the same unfamiliar place: behind the camera. Consider it a spring coming-out party for directorial debuts. Among the debutantes: Tatiana von Furstenberg, fashion photographer Patrick Hoelck, and Adrian Grenier, whose documentary Teenage Paparazzo explores America’s obsession with celebrities.Young Hollywood Takes A New Spot: Behind The Camera
The main event last night, which had Malin Akerman and Richie Rich walking the carpet at the Ziegfeld, wasHappythankyoumoreplease. Written and directed by first-time filmmaker Josh Radnor (pictured), star of the popular sitcom How I Met Your Mother, it’s a Manhattan ensemble dramedy starring, among others, Akerman, Kate Mara, and Zoe Kazan, who made time for last night’s premiere between performances of A Behanding in Spokane, the play she’s in alongside Christopher Walken and Sam Rockwell. “Josh is really writing from an honest place. He put a lot of true stories—his stories, other people’s stories—into the background of the movie,” she explained. “It was very easy to act, because so many of those conversations I’ve actually had.” The coming week will give Radnor’s fellow first-timers a chance to show the world (or, at least, New York) whether their efforts ring as true.
Pour a little out for French denim label April77. The Paris-based line (and record label, incidentally) announced it is shuttering operations, effective immediately. [WWD]April77 No More, Browne’s Baccarat, Karlie Kontinues, And More…
iPad mania is the Apple craze of the moment, but Diane von Furstenberg hasn’t forgotten the iPhone. She’s just released her own hot-pink iPhone/iPod Touch case, available at her stores and emblazoned with her trademark lips. [NY Mag]
The reign of Karlie continues: Kloss (pictured, opening the Fall 2010 Dior ready-to-wear show) has been re-signed as the face of Dior for Fall 2010. [Fashionologie]
WWD sits down with Thom Browne for a chat on moving his show to Paris. Most intriguing: He lets slip that he’s working on a collection of limited-edition Champagne coupes with Baccarat. “It’s just a nice little project I wanted to do, even just for myself, because when I travel I always look for vintage Champagne coupes. It’s similar to how my [signature] suit came about. I decided to produce it instead of looking for it in an antique store,” Browne told the paper. For the man who has everything (except vintage Champagne coupes)! [WWD]
And the Times takes a moment to check in with Paper magazine editor in chief (and 2010 CFDA Eugenia Sheppard Award honoree) Kim Hastreiter as she hobnobs with Madonna and enthuses about all things fashion/art/culture/cool. [NYT]
Pour a little out for French denim label April77. The Paris-based line (and record label, incidentally) announced it is shuttering operations, effective immediately. [WWD]April77 No More, Browne’s Baccarat, Karlie Kontinues, And More…
iPad mania is the Apple craze of the moment, but Diane von Furstenberg hasn’t forgotten the iPhone. She’s just released her own hot-pink iPhone/iPod Touch case, available at her stores and emblazoned with her trademark lips. [NY Mag]
The reign of Karlie continues: Kloss (pictured, opening the Fall 2010 Dior ready-to-wear show) has been re-signed as the face of Dior for Fall 2010. [Fashionologie]
WWD sits down with Thom Browne for a chat on moving his show to Paris. Most intriguing: He lets slip that he’s working on a collection of limited-edition Champagne coupes with Baccarat. “It’s just a nice little project I wanted to do, even just for myself, because when I travel I always look for vintage Champagne coupes. It’s similar to how my [signature] suit came about. I decided to produce it instead of looking for it in an antique store,” Browne told the paper. For the man who has everything (except vintage Champagne coupes)! [WWD]
And the Times takes a moment to check in with Paper magazine editor in chief (and 2010 CFDA Eugenia Sheppard Award honoree) Kim Hastreiter as she hobnobs with Madonna and enthuses about all things fashion/art/culture/cool. [NYT]