Know About The Style of Audrey Tautou

The first thing Audrey Tautou does is leap out of her seat and declare: "I love your glasses! I want some. Where did you get them?" At five feet three inches she is petite rather than small, slight as opposed to thin. Excruciatingly gamine, she would make the perfect Peter Pan. Her jet-black hair is cut characteristically short, brushed forward like Audrey Hepburn's in Funny Face, her lips are femme-fatale scarlet, and a white lace blouse perfectly complements old-school Levi's that hang impeccably over a pair of black 1940s-style high heels. Tautou looks immaculately stylish, which must've come in handy for her latest role as the legendary French fashion icon, Coco Chanel, in the hugely successful Gallic period piece, Coco Before Chanel, directed by Anne Fontaine.

"Once Audrey agreed to play Coco I knew I could do the film as I envisioned," said the director just a few minutes before I met Tautou. "I was struck by her will, her audacity, and the density of her gaze that goes straight through you. She has the same impertinent look, the same androgynous appeal, the same toughness and innate sense of style. She is the only person to play Coco."

Undoubtedly, Tautou pulls of the role with uncommon aplomb, delivering a subtle yet multi-layered performance that, with just the arch of a manicured eyebrow, quietly provokes all manner of questions about the icon that some might rather avoid. Did she hate men? Did she use men? Did she sleep her way to success? Did she step on any and all to rise to the top? Or was she purely a product of her environment who had to use all at her disposal to succeed?

And yet the film avoids the most controversial aspects of the pioneering designer's life. Absent is her notorious affair during the war with Hans Gunther von Dincklage, a German officer and Nazi spy, as is her subsequent arrest for war crimes and her acquittal, before trial, via the intervention of the British royal family.

Instead, the film plumps for what is arguably a better story, and deals with Chanel's origins. It begins, like a 19th-century romantic novel, as, Gabrielle "Coco" Bonheur Chanel, born in a poor house on August 19th 1883, is abandoned in the orphanage of the Roman Catholic monastery of Aubazine.

The narrative moves swiftly on to her short career as a bar singer (she took her name from a song she sang in cabaret) and covers her life as kooky concubine to the immensely rich playboy, Etienne Balsan (Benoît Poelvoorde). The film concludes in 1920 after Coco's romance with her financial backer, British millionaire Arthur "Boy" Capel (Alessandro Nivola), ends when he dies in a car crash, leaving her financially free to revolutionise the way women dressed, thought and behaved.

"Premises of projects about Coco Chanel had been submitted to me for several years," explains the bubbly Tautou, now perched on the arm of her chair. "But I did not want to do a biopic, you know – participating in some sort of saga recounting her life from birth to death. Chanel lived for 87 years! We would have fallen into the clichés that have punctuated her path. No, no, no. I was secretly hoping to get an offer to play Coco but with a particular point of view. Because it's her modernity that fascinates me, her spirit, her ambition and the position she gave women."

"Chanel had to fight against conventions then that were so very paralysing for women." continues Tautou, now standing. "So, when Anne Fontaine explained how she intended to treat the subject, I immediately agreed. She wanted to avoid the obvious truisms and some sort of mimetic interpretation of Chanel, and was determined to concern herself solely with her beginning – the period when Coco was building herself and asserting her personality – which for me is the most interesting period in her life."

Source: The Independent

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French Fashion Hermes Increased Sales

Second-quarter sales at the firm's ready-to-wear clothing and fashion accessories division were up 13%, while they rose 11% at its silk and textiles unit.

However, sales of its watches, perfumes, and tableware goods were all down.

Analyst Dennis Weber of Evolution Securities said Hermes was helped by the strength of its brand name.

"Hermes' established brand reputation works in the company's favour in the current environment, and we believe in the relatively defensive nature of the Hermes brand," he said.

The 11% fall in the sale of Hermes' watches between April and June has been echoed by watchmakers in Switzerland, industry figures have shown.

The Swiss Watch Federation said sales at the country's watch-makers, including Rolex and Tag Heuer, were down 26% in the first half of 2009.

It added that the Swiss watch industry was facing its steepest drop in global demand in about 20 years.

Source: BBC News

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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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French Designer Eric Tibusch: Shoes Into Hair Accessories

They say a picture is worth a thousand words, but these will surely leave you speechless.

French fashion designer Eric Tibusch turns shoes into hair accessories for his Haute Couture 2009-2010 fashion collection in Paris this week. The clothing is beautiful, the makeup is beautiful, and the shoes, though oddly placed, are beautiful as well.

Are women in Paris going to take to this unusual look? Makes you wonder if we will be seeing this look in the states anytime soon. Will they stop selling shoes by the pair? Will you buy them to fit your head instead of your foot? Will stylists be learning how to incorporate a shoe into an updo in beauty school? Only time will tell.

A primary example of why fashion is fun, endless possibilities.

Source: Examiner.com

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ParisFashion Week: Great Ending

The winter 2010 haute couture shows are over! So here's a final look -- at John Paul Gaultier, Valentino and Josep Font. Jenny Barchfield of the Associated Press reports:

"Jean Paul Gaultier looked to vintage Hollywood for a solid collection that was equal parts Ava Gardner and Gaultier — the one-time enfant terrible of French fashion — himself.

"Things were looking up at Valentino. Its new design duo finally found their way out of the archive and forged a sexy new look for the mythic Italian label. Out went the ladylike day coats and tasteful A-line cocktail dresses in jewel-toned duchess silk; in came the second-skin bodice dresses in flesh-colored tulle and black lace; and up, way up, went the hemlines.

"For his fourth couture display, Spanish designer Josep Font continued to shore up his avant-garde credentials with a ravishing collection of think pieces."

At Valentino, Barchfield, writes, "the new design team aimed to seduce a younger, hipper clientele with a racy tulle and lace collection [check out the model at right] that projected the Valentino woman out of the past and into fashion’s future." She continues:

Maria Grazia Chiuri and Pier Paolo Piccioli — who last year replaced Valentino’s successor just two seasons after the maestro retired — had been stuck in the label’s archives. For their first two collections at the helm of the house, they delivered up couture and pret-a-porter collections that were "more Valentino than Valentino," full of gorgeous-but-dated coats and dresses embellished with oversized bows and roses.

This time around, however, they swapped stateliness for sexiness, delivering bustiers in nude tulle with panels of black peek-a-boo lace and thigh-skimming skirts.

As for Josep Font, Barchfield proclaimed the Spanish designer "crazy" and, possibly, "brilliant."

"Font pushes haute couture — that anything-goes laboratory of fashion — to its avant-garde extreme.

Models in his show Wednesday could barely walk — and it wasn’t on account of the vertiginous heels, as it is on many catwalks. Enveloped in a small mountain of mohair shag — a funnel-shaped coat — or swathed in endless in yards (meters) of featherlight chiffon — an embroidered tunic dress — and with pointy plastic collages balanced on their heads, the models did a strange geriatric shuffle around the catwalk."

Indeed, some of Font's creations [that's one of his at left] look like illustrations from a modern version of "Through the Looking-Glass." We could envision a slimmer version of the Red Queen mincing "about in a white cocktail dress with a single red sleeve with an enormous puff that in profile resembled an oversized Sacred Heart" (to quote Barchfield).

Source: Los Angeles Times

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Paris Fashion Week: Megan Fox

Megan Fox was the star attraction at Giorgio Armani's Paris fashion show

The 'Transformers' beauty looked stunning in an Armani asymmetrical knee-length dress, with her long dark locks tumbling over her shoulders, as she joined Cate Blancett in the front row of the designer's catwalk show at the French city's Couture Fashion Week.

While Megan wore a simple dress, the show's models showcased new designs which wore covered in dazzling beadwork and sequins.

Admitting the collection could be hard to wear, Megan said: "I don't know if I could pull it off, but I could try."

Cate Blanchett, who was dressed on an Armani pagoda-shouldered sheath dress, was also impressed by the collection.

The Oscar-winning beauty said: "It's blinding, it's beautiful, really beautiful."

Armani's winter 2010 display featured his signature look of pantsuits, complete with rhinestone-hemmed cuffs and buttons, and a series of bustier dresses, covered in crystals and sequins.

Following the show, held at the Palais de Chaillot, Armani hosted a champagne reception in the Musee de l'Homme, next door, to launch his newest fragrance, l'Idole.

Other designers to showcase their new range at Paris Fashion Week included Christian Lacroix and Givenchy.

Source: M&C

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