c o t o n b l a n c.     archive     ask     rss
re-index     a view on point     mail     la collectionneuse.     王菲    

January 14th     10:27 am

Givenchy Summer 2014 by Mert and Marcus featuring Asia Chow

Givenchy Summer 2014 by Mert and Marcus featuring Asia Chow

September 2nd     11:18 pm


Stephen Jones
Photography Justine Styling Geraida Kefford Make-up Nicole Jaritz Hair Fernando Torrent Model Saskia Slaaf
In a world where the most people wear on their heads is a pair of headphones, Stephen Jones is someone who has always understood the relevance of the hat. It’s a gift that’s widely appreciated. While Jones has been producing his own collections since 1980, one would be hard-pressed to come up with a designer with whom he hasn’t collaborated at some point in his career. There are the likely suspects such as John Galliano, Thierry Mugler, and the houses of Christian Dior and Givenchy, but also the completely unexpected—Comme des Garçons, say; or Jil Sander or Walter van Beirendonck’s W&LT line. Add to this his work with some of the more iconic pop stars of the last two decades (Madonna, Diana Ross, Grace Jones, Culture Club) and you’re looking at someone who has come a long way since the days when he thought he might never be able to make a living as a milliner. Jones fell into his craft after he graduated from Saint Martins in 1979. It was a time when fashion was more about personal expression than wearing the right labels. Jones himself was deeply into his Ludwig of Bavaria mode as created by Visconti. Jones had first-hand experience of the more experimental end of millinery, making hats for the Blitz nightclub habitués Boy George, Steve Strange, and Spandau Ballet, who also happened to be his roommates at the infamous Warren Street squat in London. (“We’d wake up in the morning,” Jones once said, “and the place would be surrounded by Japanese tourists.”) In 1980, he opened his first shop cum salon in the basement of PX, the boutique where the eccentric hat-wearing denizens of the aforementioned Blitz outfitted themselves. A collection for Jasper Conran in 1981 sent Jones off on one long and rollicking head trip. Before long the 80s (hats for the film Another Country, a one-man show at the New York night club The Palladium, more hats for Boy George) gave way to the 90s (a slew of fashion exhibitions worldwide, still more hats for Boy George). Jones has offered up both the sublime and the saleable  both serious couture quality and a near-surreal sense of humour—from fake zebra trilbies, feathered fedoras, and the fluttery confections that grace the ladies’ heads at Ascot and English weddings to the heady flights of fancy that come out of his numerous collaborations, including tropical palms, a black lace mantilla, and a jaunty pillbox hat made, perversely, from a rattlesnake’s skeleton.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Stephen Jones

Photography Justine Styling Geraida Kefford Make-up Nicole Jaritz Hair Fernando Torrent Model Saskia Slaaf

In a world where the most people wear on their heads is a pair of headphones, Stephen Jones is someone who has always understood the relevance of the hat. It’s a gift that’s widely appreciated. While Jones has been producing his own collections since 1980, one would be hard-pressed to come up with a designer with whom he hasn’t collaborated at some point in his career. There are the likely suspects such as John Galliano, Thierry Mugler, and the houses of Christian Dior and Givenchy, but also the completely unexpected—Comme des Garçons, say; or Jil Sander or Walter van Beirendonck’s W&LT line. Add to this his work with some of the more iconic pop stars of the last two decades (Madonna, Diana Ross, Grace Jones, Culture Club) and you’re looking at someone who has come a long way since the days when he thought he might never be able to make a living as a milliner. Jones fell into his craft after he graduated from Saint Martins in 1979. It was a time when fashion was more about personal expression than wearing the right labels. Jones himself was deeply into his Ludwig of Bavaria mode as created by Visconti. Jones had first-hand experience of the more experimental end of millinery, making hats for the Blitz nightclub habitués Boy George, Steve Strange, and Spandau Ballet, who also happened to be his roommates at the infamous Warren Street squat in London. (“We’d wake up in the morning,” Jones once said, “and the place would be surrounded by Japanese tourists.”) In 1980, he opened his first shop cum salon in the basement of PX, the boutique where the eccentric hat-wearing denizens of the aforementioned Blitz outfitted themselves. A collection for Jasper Conran in 1981 sent Jones off on one long and rollicking head trip. Before long the 80s (hats for the film Another Country, a one-man show at the New York night club The Palladium, more hats for Boy George) gave way to the 90s (a slew of fashion exhibitions worldwide, still more hats for Boy George). Jones has offered up both the sublime and the saleable  both serious couture quality and a near-surreal sense of humour—from fake zebra trilbies, feathered fedoras, and the fluttery confections that grace the ladies’ heads at Ascot and English weddings to the heady flights of fancy that come out of his numerous collaborations, including tropical palms, a black lace mantilla, and a jaunty pillbox hat made, perversely, from a rattlesnake’s skeleton.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

August 20th     10:38 am


Fall–Winter 1998–1999, Comme des GarçonsMarch 1998, Paris

Stylists Voice: Nancy RohdeNR: Comme des Garçons has always been my most favourite. It’s always the best creations, I think. Such diverse ideas are put to making clothes, but one can always tell her clothe from others. Any designers would be fortunate if they can hold a show like hers once in their lives. But she is doing it every season, and it’s so great. As to this season, everyone was obsessed with the future in various ways. One good example is Andre Walker. Even Givenchy and Lacroix used hairstyles looked like Bladerunner. Kostas Murkudis used beautiful colours, yellow, red and gold. Martin Margiela had good clothes but his presentation was terrible. I want to see a show by him. I think that true avant garde is to surprise people by shows using models and music. 

Paris Collection Individuals, 1998–––1999––– Nakako Hayashi, Little More

Fall–Winter 1998–1999, Comme des Garçons
March 1998, Paris

Stylists Voice: Nancy Rohde
NR: Comme des Garçons has always been my most favourite. It’s always the best creations, I think. Such diverse ideas are put to making clothes, but one can always tell her clothe from others. Any designers would be fortunate if they can hold a show like hers once in their lives. But she is doing it every season, and it’s so great. As to this season, everyone was obsessed with the future in various ways. One good example is Andre Walker. Even Givenchy and Lacroix used hairstyles looked like Bladerunner. Kostas Murkudis used beautiful colours, yellow, red and gold. Martin Margiela had good clothes but his presentation was terrible. I want to see a show by him. I think that true avant garde is to surprise people by shows using models and music. 

Paris Collection Individuals, 1998–––1999––– Nakako Hayashi, Little More

February 15th     11:47 am

Alexander McQueen at GivenchyGap Press Prêt-à-Porter Collections Volume 11

Alexander McQueen at Givenchy
Gap Press Prêt-à-Porter Collections Volume 11

(Source: cotonblanc)

September 5th     10:54 am


Camelia wears choker by Givenchy, IT Magazinephotography donna trope

Fashion Images de Mode Nº4 (1999)

Camelia wears choker by Givenchy, IT Magazine
photography donna trope

Fashion Images de Mode Nº4 (1999)

July 13th     10:24 am

Givenchy, Winter 2012 Ad Campaign Video

October 20th     11:30 am

ana claudiahaute couture fall–winter 2000–2001, alexander mcqueen for givenchy
postcards from the edge of the catwalk photography iain r webb

ana claudia
haute couture fall–winter 2000–2001, alexander mcqueen for givenchy

postcards from the edge of the catwalk
photography iain r webb

October 20th     11:18 am

alexander mcqueen and teamhaute couture spring–summer 1998, alexander mcqueen for givenchy
postcards from the edge of the catwalk photography iain r webb
note: nice sandals.

alexander mcqueen and team
haute couture spring–summer 1998, alexander mcqueen for givenchy

postcards from the edge of the catwalk
photography iain r webb

note: nice sandals.

October 18th     11:23 am

esther cañadashaute couture spring–summer 1999, alexander mcqueen for givenchy
postcards from the edge of the catwalk photography iain r webb

esther cañadas
haute couture spring–summer 1999, alexander mcqueen for givenchy

postcards from the edge of the catwalk
photography iain r webb

October 13th     7:22 am

mariacarla bosconohaute couture fall–winter 2005–2006, riccardo tisci for givenchy
postcards from the edge of the catwalk photography iain r webb

mariacarla boscono
haute couture fall–winter 2005–2006, riccardo tisci for givenchy

postcards from the edge of the catwalk
photography iain r webb

October 12th     10:26 pm

finalehaute couture spring–summer 2000, alexander mcqueen for givenchy
postcards from the edge of the catwalk photography iain r webb

finale
haute couture spring–summer 2000, alexander mcqueen for givenchy

postcards from the edge of the catwalk
photography iain r webb

May 7th     9:41 am

striped jacket, spring–summer 2010, givenchyphotography giulia nonivelvet february 2010

striped jacket, spring–summer 2010, givenchy
photography giulia noni
velvet february 2010

September 25th     5:08 pm

panos yiapanis at work backstage, spring summer 2010, givenchy

panos yiapanis at work backstage, spring summer 2010, givenchy

s.t.