High Fashion Eyebrows

When it comes to eyebrows, high fashion has decided there is only one way to go – and go they must. Emma Watson and Cheryl Cole may adhere to the power of the brow to frame a face, but more and more models are bleaching them to the point of invisibility. The eyebrow, it seems, has become "excess" hair. Agyness Deyn, Lily Donaldson and Linda Evangelista have all gone eyebrowless recently. In Givenchy's latest advertising campaign, eight male and female models recline in a French chateau looking curiously androgenous. Each is eyebrowless.

Perhaps the trend has been a long time coming. Three years ago, the model Lara Stone bleached her brows on the advice of Carine Roitfeld, the esteemed editor of French Vogue. This year she starred at the autumn/ winter and couture shows, appearing on catwalks for Chanel, Jean Paul Gaultier and Prada among others. And this month the popular 90s model Kristen McMenamy, now 42, appears on the cover of Italian Vogue without brows, 17 years after she and Karen Elson popularised the look during the grunge years.

Makeup artist Pat McGrath worked on the Balenciaga and Prada shows, both of which featured bleached-out brows. "The current economic troubles open people up to be more daring and willing to don cutting-edge looks," she says.

At a time when advertising is suffering, is eyebrowlessness just a more extreme way for a brand to sell its products? Or perhaps the prevalence of Botox (no frowning or eyebrow raising) means we simply have no need for them?

Aidan Jean-Marie, creative director of Premier Model Management, says he has "had a couple of girls who had their brows bleached for beauty stories in the last few weeks. I think clients like the look because it's clean, like a blank canvas, and 90s-inspired, which is a big trend. It's alien-like and quite creepy."

But before you reach for the Jolene, consider a more subtle take on the look. Lisa Oxenham, beauty and style editor at Marie Claire, advises "gently tweaking eyebrows with bleach". She says it gives the same effect as freckles on blondes. But she warns against eyebrow removal. "Brows give a face expression – when they are not there the look hardens." And "it is not advised if your face is round, long or if you're hungover".

Source: Guardian.co.uk

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Jean Paul Gaultier: Hollywood Vintage Style

Spotlights lit up the catwalk Wednesday at Jean Paul Gaultier’s haute couture show, steeped in old-fashioned Hollywood glamour and paying tribute to screen sirens like Jane Russell and Ava Gardner.

Gaultier sent out glamazon variations on his signature pieces — trench coats, second-skin dresses with sheer paneling and menswear suits.

A model in a sharp-shouldered pantsuit in black wool was channeling Katherine Hepburn between takes. A gold sequin-covered hourglass halterdress was screaming Jane Russell’s name.

Actor Mickey Rourke said it was a treat to see the kind of Hollywood glamour that “went out the door 30 years ago.”

“They’re making a different kind of movie now, unfortunately,” said Rourke, an ’80s superstar who made his comeback with “The Wrestler.”

Gaultier, the one-time enfant terrible of French fashion, gave some of the looks his signature humorous twist.

Reams of film were wrapped around one model’s shoulders like a shawl. A bodysuit looked like the offspring of a trenchcoat and a swimsuit.

And the bride — the look that traditionally closes the wildly expensive made-to-measure couture shows — was just plain bizarre. In a mini dress made from what looked like plastic bags filled with gold sequins, she wore a veil draped over a cone on top of her head. Black and white close-ups of ’50s-era movie stars were projected onto the veil.

Source: The Sentinel

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Chanel Mobile Art

High-end fashion brands are joining forces with artists to boost their image.

Luxury fashion houses have excelled for decades at creating beautiful emporiums in the hope of driving consumers through boutique doors to buy into the dream. These fashion stores can also remind consumers how powerful a brand is with no-expense-spared fit-outs. But as the bar rises and competition stiffens within the luxury industry, so too have the projects commissioned beyond the fashion realm. And it is all in the name of selling more bags, watches, pens, shoes and clothing.

Last week in Hong Kong, French fashion house Chanel officially launched its latest global power project, the ambitious Mobile Art. Commissioned by Chanel's Karl Lagerfeld, the futuristic mobile art gallery was designed by the Pritzker Prize-winning architect Zaha Hadid. Created from fibreglass panels, the 700-square-metre multimillion-dollar pavilion took six months to build and will be dismantled seven times to travel the world. For now its home will be Hong Kong's Star Ferry Car Park before it is packed into 65 containers and shipped to six more cities, ending its tour in Paris in 2010.

"The cost is not important. Chanel is about the dream," says Bruno Pavlovsky, director of Chanel's fashion division. "The project is more about building the Chanel image and what you see today is consistent with our vision for the next 10 years." The 20 commissioned artists had free reign to use any creative medium but all works had to be strictly inspired by the 2.55 quilted handbag designed by Coco Chanel in 1955.

Chanel's contemporary artists include Yoko Ono, Sophie Calle, Stephen Shaw, Wim Delvoye and Fabrice Hyber. Mobile Art curator and the editor-in-chief of the magazine Beaux-Arts Fabrice Bousteau says the initial list was "artists that I like - that's what a curator does. And all said yes, so we now have an exhibition with work by artists who have a strong personality and voice in their work."

The most controversial submission is Wim Delvoye's pigskin 2.55 bags (actually made in the Chanel workshop) and two stuffed tattooed pigs, named Jamie and Slobodan.

"We decided not to reject any project," Pavlovsky says. "Chanel herself was controversial, so to have pieces that evoke controversy is OK."

After the French artist Sophie Calle had accepted Chanel's commission, a work conflict led her to advertise in a Japanese magazine seeking an artist to carry out her project. Her vision was to stop passers-by, tell them to empty their bags and offer to buy both contents and the bag they were carrying. Soju Tao won the job with a bag budget of EUR11,000 ($17,794). Tao convinced several Chanel-toting strangers to hand over their bags with one 2.55 in the exhibition containing cash, house keys, a camera, mobile phone, an address book and Shirley MacLaine's book Out On A Limb.

Chanel is not the only luxury brand in recent times to collaborate with artists. Cartier's exhibition space in Paris is at its Foundation Cartier and features the work of contemporary artists and photographers. In 2004, Cartier gave the space to designer Jean-Paul Gaultier, who filled the room with intricate designer dresses made using bread. Hermes has exhibition spaces in its Ginza and Singapore boutiques, and currently has its Hbox mobile video theatre screening work by leading video artists at Paris Pompidou Centre.

In 2006, Louis Vuitton opened its permanent Espace Louis Vuitton gallery on the top floor of the luxury brand's Paris flagship store on the Champs-Elysees. The gallery opened with an exhibition called Alphabet Concept, by New York performance artist and photographer Vanessa Beecroft. Her 13 pictures portrayed nude women wearing clown wigs and with their bodies entwined to shape "LV". Also in 2006, nine artists, designers and architects, including Hadid, were commissioned to create bags for the exhibition space. The seventh and current exhibition, Orients Sans Frontiers, is inspired by the adventures of the automobile from Beirut to Beijing.

Currently running in Melbourne is High Art, a multi-venue exhibition which is part of L'Oreal Melbourne Fashion Festival. Taking place on shopping strip High Street, Armadale, Australian designers Scanlan & Theodore, Kirrily Johnston, Lisa Ho, Arabella Ramsay, ksubi, Lee Matthews and Herringbone have collaborated with artists to create installations inside their stores.

Next week Montblanc will take over Sydney's Martin Place with its own "art" installation. Famous for its pens, Montblanc commissioned six contemporary artists and photographers, including David LaChapelle, Jean-Marc Bustamante, Sam Taylor-Wood, Sylvie Fleury, Gary Hume, and Anne and Patrick Poirier to create six shopping bag sculptures. Standing three metres high, the bags have been exhibited on the Champs-Elysees and the Rockefeller Centre.

Designer exhibition spaces have been criticised by the art world, which claims there can be no creative independence when artists are commissioned by a commercial patron.

Yves Carcelle, chairman and CEO of Louis Vuitton Malletier, told the BBC at the opening of Espace: "The artists were free in their work. The main difference between art and creativity in fashion is that in fashion you need to sell the product. Art works only if you give it total freedom." When asked if Espace was designed to sell more handbags to tourists, especially the Japanese, who flock to the store to worship the logo-decorated luggage, the answer was: "Sell more handbags? Yes, that's my dream."

Chanel's Pavlovsky is also honest in what Mobile Art hopes to achieve: to sell more bags. "We hope the exhibition will create a strong image for the 2.55. Chanel No. 5 and the fashion already have its own iconic status."

Source: WA Today

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Superb Fashion Is Not A Dream

The famous French diss was on the tip of everyone's tongue at the haute couture fashion shows that started in Paris.

While economies around the world crumble, the small band of couture designers snubbed such cold realities and asked their audience to suspend disbelief – to dream.

Christian Lacroix's bride combined full tulle skirts with gleaming embroidered matador jacket. For Chanel, Karl Lagerfeld explored the contradictory elements of floral overstatement and clean modern minimalism all in white. Jean Paul Gaultier's Spanish collection riffed on the sultry flamenco dancer and Picasso's sculptural cubism.

Unlike ready-to-wear collections that are shown in fashion capitals six months ahead of their season, couture shows are mounted just weeks before the time the designs are meant to be worn.

The spring/summer shows, narrowed down to just three days this season, are composed of one-of-a-kind spectacles intended only for the extremely rich. Though the market for such confections may be dwindling, they continue to pitch glamour against the economic odds.

And despite a downturn in the global economy, chances are slim that these luxurious suits and dresses will ever be discounted.

Still, they attract an audience – burlesque star Dita Von Teese, actress Mischa Barton and rapper Kanye West.

For Dior, British designer John Galliano referenced the early days of Christian Dior as well as paintings by 17th-century Dutch masters. Consider a magical mix of billowy puff sleeves, fitted torsos and magnificently giant loopy skirts.

It might seem insensitive to flaunt such excess. But it ain't called haute for nothin'.

As an institution, haute couture is in palliative care. Yet it won't lie down.

And as sure as each passing season it becomes more of an anachronism, its defenders leap to justify its existence.

They wax on about its magical, fantastical nature – how important it is to experiment with the limits of fabric and cut and drape, how important it is to escape the realities of a sometimes hard-knock world.

"Something to make people dream," said Bernard Arnault, chair and chief executive of LVMH Group and Christian Dior, after Monday's show.

While he predicted things wouldn't get better until the end of 2010, many fashion watchers lament that haute couture has been on a long, steady march toward irrelevancy for decades.

John Galliano told reporters: "There is a credit crunch, not a creative crunch. Of course, everyone is being more careful with their discretionary purchases. I am. But it's our job to make people dream, and to provide the value in quality, cut and imagination."

Source: TheStar.com

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