“My love disappeared,along with the evidence

of her dead body.”

Publisher & Founder Editor-in-Chief & Creative Director

Corey Solomon Chestnut (Lucca)

Associate Publisher Terrichele Bradley

Associate Creative Director Corey Chestnut

Managing Editor Jennifer Cat

Fashion Editor Ander Atkins

Editor At Large Gina Jean

Editorial Asst. Chanel Secreto

Graphic Designer Corey Chestnut

Production Terrichele Bradley

Contributing Writers

Cam Muse, Jade Washington, Rebecca Hue, Jason Kam, Jamie Katz, Lia

Lang, Jerry Lee, Taylor Mitchell, Lesley Peston, Melissa Sones, Sara Poe,

Michael Cohen.

Contributing Photographers

Aslan Lee, Paul Cruz, Enzo dal, Seungsik Shung, Ilona Lieberman,Philippe

McClelland, Patrick McMullan, David Morgan, Eva Mueller, Molua Grey,

Frank Ockenfels, Matthew Rogerson, Michaela Johnson Gray Scott

Advertising Director

Luc Solomon

Director of Digital Marketing

Natasha Stevens

Stitch is published BI-monthly at 2249 Bedford Ave, Suite #3,

Brooklyn NY, 11226. All rights reserved by Stitch magazine. Stitch

assumes no responsibility for unsolicited material. For advertising

rates and distribution e-mail addepartment@stitchmagazineonline.com

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V4 NUMBER ZERO

V4 NUMBER ZERO

The Cast

It wasn’t as easy as you think to get where we are! The trade off forworking in luxury goods is learning a little bit of humility. That’s reallife, right? I’ve been steeped in high fashion, models, beautiful hotels,restaurants and fun. But, believe it or not, the issue was put togetheragainst all odds. With several computer malfunctions, we got it doneyou know how it goes. We have some of the top writers and pho-tographers capturing a life that we all strive for and some of us luckyones enjoy. But if anyone tells you that their lives are fairy tales, be-lieve you me, for all of us, the bumps in the road give us the char-acter we need to succeed.

V4 NUMBER ZERO

Lucca’s Call

New­sexualityCatherine­Malandrino

The­loft­cubeOur­spring­2013

runway­report

­Murder­in­the­7th

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pg.152

pg.134-141

pg.34-121

V4 NUMBER ZERO

The Oxchair The 1960 Oxchair design, padded and covered with oxhide, has lightyet strong chromium-plated steel legs, making it as distinctive as abull! Among the many designs close to Wegner’s heart, and withoutparentage, the Oxchair has become both an image an archetype.The Oxchair not only allows you continuous seating options, but itssleek design provides you with the ultimate in comfort.

seating arrangementspg. 37

seating­arrangments

a­chat­with­Michael­Korscroissants,­yves­saint­laurent,and­saint­laurent,­and­fabulousfabrics

hair­guru­the­shear­brilliance­of­john­barrett

cowshed­spa

pg.148

pg.128

pg.127

pg.152

It's only in love and in murder that we still remain sincere.

Pump: Valentino

Jacket, Blouse, Pant, Pump and Handbag: all Valentino

Jacket and Blouse: Valentino

Dress: Valentino Pumps: Valentino

the­victim

Blouse: Zac Posen Leather Trench: Bottega Veneta Peep Toe Shoe: Bruno Frisoni Fedora Hat: Rod Keenan Handbag: Fendi

SonnyDress: Michael Kors

Shoes: Bruno FrisoniHat: Xavier Delcour

SvetaGown: Zac Posen

Long Pearl Strand Necklace: Jewelry byDima available at Kirna Zabete, NY

Broach: Valentino

Gown: Zac Posen Long Pearl StrandNecklace: Jewelry by Dima available @Kirna Zabete NY Broach: Valentino

Dress: Michael Kors Gloves: Gilles Rosier Hat: Xavier Delcour

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the­getaway Leather Trench: Bottega Veneta Fedora Hat: Rod Keenan

so­tell­me­anna,who­wanted­your

sister­dead?

David Cord Suit, Shirt and Tie: Polo by Ralph Lauren Anna Suit: Veronique Branquinho

detective,­you­mustfind­the­person­whokilled­my­sister!

she­just­kept­sayingsomething­aboutan­asian­womanfollowing­her.

the­reporterSuit: Bottega Veneta Blouse: Celine Snakeskin Pumps: Sergio Rossi

Double Breasted Chalk Stripesuit: Jill SanderTie: Louis VuittonShirt: John VarvatosShoes: Jill Sander

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Black & White Check Box Coat: Benhaz Sarafpour Black Pumps: Veronique Branquinho

Red Cord Suit: Polo by Ralph Lauren Cesare Paciotti

DavidCord Suit, Shirt and Tie: Poloby Ralph LaurenShoe: Cesare Paciotti

SonnyCoat: Benhaz SarafpourPumps: VeroniqueBranquinhoBag: Fendi

French, she is. Catherine Malandrino — that is. Her actress-perfect diction washed over by a disarmingly charming accent,an accent so intense; you almost imagine she is faking it. Fak-ing it is not something Malandrino does, and the pin-point pre-cision of her answers to questions regarding her work is aclear sign this designer knows who she is, what she wantsand why she’s here. “I see it [designing a collection] as defin-ing a world. I imagine making a movie where character, am-bience, color texture and emotion are all in place — andthere’s a message,” she says. Raven-haired Malandrino wasborn in Grenoble; an ancient, picturesque town nestled at thefoot of the French Alps She admits she was “in a decollage,”or at odds, with children when growing up, who were lost incartoons while she, at the age of eight, had a picture of CocoChanel on her purple bedroom wall. From childhood, Malan-drino admits, “I was dressing in intense colors and designingmy own world.”

Colette and Catherine Deneuve also influenced Malandrino. “Itwas very inspiring to see women who dared to be strong, whochanged the freedom of women.” According to Malandrino,these women are, like her more recent icons Jane Birkin andVanessa Paradis, “free-spirits with no boundaries — la chicboheme.” They embody individuality and strength, traits cru-cial to Malandrino’s existence as a designer.

“I want women, when wearing my clothes, to feel more unique,individual, precious. I want them to be and feel more seduc-tive, but at the same time respect their own personalities. I likethe idea that fashion is a way to express yourself. Dressingwomen is not about me, it’s about them; I don’t need to putmy logo everywhere to exist,” she says. After an apprentice-ship at Ungaro, where she learned about femininity, drapingand the qualities of transparency, Malandrino went to Feraudwhere she learned about intense color palettes and thenmoved to Et Vous where she touched the surface of

“the casual way of life and the masculine/feminine contrast.”Her final port was Diane Von Furstenberg, where she tastedthe glamorous life and Malandrino freely admits schoolinggave her the riches she is mining now. As a young girl, Ma-landrino saw her world through books and movies, particularly

her all-time favorites, Pierrot Le Fou and Easy Rider, the lat-ter having served as rock-solid inspiration for a memorablecollection, marking her as a designer whose rendition of“ theeternal ambiguity of the masculine/feminine” (a favorite sub-ject) was widely applauded. Malandrino weaves a tapestry oftime in her clothing designs. “I love to bring the past into thefuture. I feel free to mix Art Nouveau with the sixties, twentiesdetail with minimalist shapes; I approach fashion as a collageof ideas and I feel an exclusive freedom to be able to mixthem.” Malandrino has a clear vision when she designs themdelicately constructed pieces for Limited Edition, the self-ex-planatory collection, recently renamed Malandrino.

This is a collection of “timeless clothes made using forgottentechniques of the past to create unforgettable pieces.” True toher perfectionist vision, she has a unique setting for them, inthe shape of her new store, a stunning futuristic retro edificein the Meat Packing district of New York. Her immaculately ex-ecuted presentation during New York Fashion Week, withmodels lounging on postmodern couches with cocktailglasses, gave the impression of walking onto the set of BlakeEdwards’ iconic film The Party, which intended — the past intothe future indeed. Walking into Malandrino’s store in Soho islike preparing to invest in a piece of your personal sartorialhistory. You know this garment is going to be in your reper-toire for years. How does she do this? Malandrino says, “I de-sign clothes to avoid speaking sometimes, because clotheshave a language. I love to design clothes that whisper, thatevoke an emotion; clothes you can keep for a long time, likea treasure.”Since Malandrino speaks so eloquently about herart, it is intriguing to hear her views on the industry she findsherself in. “As much as I love fashion, I hate fashion. I feel‘fashion” is linked to consumerism and I don’t like this philos-ophy for clothes. I fight against it in my own small way by de-signing clothes that will stay around for a long time. I likeclothes that are a part of who you are, an extension of yourperson.”

So here is this highly intelligent, talented French woman de-signing to high acclaim in a city she sees as “ a laboratory ofmixed culture, a prototype of the future.” She may be uniqueamongst us; we are lucky to have her and her vision.

New­sexualityCatherine­Malandrino

d SPOT

Jade washington

While the rest of us were dreaming about becoming doctors,cops, lawyers, and even astronauts when we grew up, a 12-yearold Michael Kors was fantasizing about being in Paris, whileGrace Jones and fashion illustrator Antonio Lopez would danceon tables. Six years later he finally made it to the French capital,staying in cheap hotels but – in homage to the finer things –splurging on wallets at Hermès.

After studying fashion at New York’s Fashion Institute of Tech-nology, Kors designed and merchandised for Lothar’s, a New YorkCity boutique, until he was “discovered.” The Long Island nativethen started his own label in 1981, launching his first women’scollection at Bergdorf Goodman and Saks Fifth Avenue. Chosenas the first women’s ready-to-wear designer for Celine in 1997,Kors was soon promoted to Creative Director for the venerableFrench house. He won fashion’s most prestigious award in 1999:The Council of Fashion Designers of America (CFDA) Wom-enswear Designer of the Year. He released a men’s collectionsoon after (and won a 2003 CFDA Award for Men’s Designer ofthe Year). Kors even did a stint in Hollywood designing ReneeRusso’s Pierce-Brosnan-overshadowing ensembles in the re-make of The Thomas Crown Affair.

By remaining true to his vision of chic and sexy but unadornedAmerican sportswear, Kors has always understood that womenwant to be comfortable, and don’t need to be flashy to look sexy.Passionate about fit and tailoring, Kors points out, “You see Amer-ican women rolling their sleeves up on an expensive jacket. For-get it! Indulge yourself. Think of your fitting like going to get apedicure or a massage.” Persuasive in his conviction, he evenadvised fashion maven Lauren Ezersky to drop some cash at thetailor.

While his designs are not flamboyant, his fabrics epitomize ex-travagance: double-faced cashmere coats, velvety suedes, but-tery leathers, and even 10+ ply cashmere sweaters, snagging himlegions of loyal fans such as J.Lo, Catherine Zeta Jones, SharonStone, Madonna, Gwyneth Paltrow, and Liv Tyler.

What with showing men’s and women’s collections twice a year,designing a bridge line, fragrances, accessories, and launchinghis new MICHAEL Michael Kors in an unprecedented 350-400stores nationwide this year, we were happy to catch up with thischarming and busy whirlwind of a fashion force.

What inspired your fall collection? I was inspired by the classic Seventies paparazzi photos by RonGalella of glamorous couples like Carly Simon and James Taylor,Warren Beatty and Julie Christie, and their relaxed, eclectic ap-proach to dressing.

Do you have a muse?Modern paparazzi couples like Kate Hudson and Chris Robinsondefinitely influenced the whole mood of this collection. This col-lection is designed for the confident men and women who wearMichael Kors.

What did you aspire to be when you were young?At a young age I realized that nothing pushed my buttons likethe adventure of shopping and seeing new clothes. My fashionidol was Halston and I think his relaxed American approach toluxury is something that I have believed in since the beginningof my career, but have interpreted my way.

How did you get your first big “break?”Dawn Mello at Bergdorf Goodman noticed my clothes in thewindow at Lothar’s, a New York boutique I designed for, andexpressed interest in my work. Her support truly got the ballrolling.

What do you like about the fashion business these days,and what do you find annoying? I love that today’s customer is more knowledgeable and sophis-ticated than ever before, with more information at her fingertips.But the speed that customers have information today is some-times so swift, they aren’t able to digest new ideas in a more nat-ural way.

In your opinion, are fashion schools doing their job? Anyadvice for budding fashion types?I think it is important for the fashion schools to give students afirm foundation, but the ultimate test in the fashion industry is upto them. Think of a customer you truly can relate to and alwayskeep that client in mind when you design.

Where do you see fashion headed?Fashion is going to deal with a total breakdown of the traditionalrules of the past: What is age appropriate? What is day? What isnight? Winter vs. Summer. The lines continue to blur and I thinkthe outcome is definitely more interesting and complex.

What is the most surprising fact people don’t know aboutyou?That I made television commercials as a child.

What’s the one thing you wish they knew about you?I do like the rustic, relaxed, boho side of things – not only glam-orous optimism.

a­chat­withMichael­Korscroissants,yves­saint­laurent,and­saint­laurent,­and­fabulous­fabrics

pg.127

d SPOT

Abel Nutan

John Barrett sits on his perch over Fifth Avenue fashion house,Bergdorf Goodman. Upon entering his salon, you trade in yourjacket for a robe and over the coat checks’ shoulder you are privyto one of the most extraordinary views of Central Park. As you tiltback to have your hair washed, you look at the gilded detailing onhigh style midtown skyscrapers. When the scissors come out,though, it’s all eyes ahead.

Those lucky enough to sit in Barrett’s chair are overwhelmed bythe fact that giving that perfect cut comes so naturally to him. Infact he conducts his symphony of snips with almost a haphazardprecision, ending with an implicit ta-da at which point you giveyourself a double take, and are amazed at how perfectly behavedeach hair on your head has become. More importantly, though,you can’t believe how fresh and rejuvenated you look. When itcomes to your locks, says the hair-maestro who has coiffed count-less celebrities and is a perennial fave of New York’s socialites,“hair should play a second role. The face is the story.”

And Barrett’s face is telling and kind. He has a realness abouthim. Although his life appears to be a fairy tale, high above themost exclusive parts of the city, his childhood was much closer tothe ground. He grew up poor in Limerick, and was the fifth son often children. He worked hard and had a share and a half of the“luck of the Irish.” He ventured to London and then both US coasts

to find his place in the hairdressing world, but he could never haveguessed that his place would be at the apex.

He expertly musses my locks. “Right now,” he says, “sensualityis back in hair. You need touchable hair. I hope this doesn’t soundsexist, but men want beautiful, approachable sexy hair.”

Beauty is:“Not conventional. My favorite beauties are people like MaggieGyllenhaal and Chloe Sevigny. They have beauty with integrity.”

If you are going to have great hair:“You have to start with a good cut. A good cut is one that willevolve into something great. It’s not just about the moment.”

I bet you didn’t know:“I was petrified when I gave my first haircut. I just hoped it wouldwork out. But what I learned is that it’s all about your confidence.”“Another thing — I’m always taking make up off women. Theyoften think they need more than they do, but less is always bet-ter.”

My fortune cookie message to the world is:“Your hair is not your problem. It is not the be-all, end-all. Keep itsimple.”

hair­guruthe­shear­brilliance­ofjohn­barrett

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d SPOT

Cam Muse

the mannequin industry by capturing the essence of the era withher daring designs. “She was tired of the stilted look that man-nequins had,” explains Michael Steward, Executive Vice Presi-dent of Adel Rootstein, USA “and saw fashion changing radically,becoming more youth oriented.” With her rendition of Twiggy, andother young waiflike figures, Rootstein’s mannequins abandonedthe stiffer poses of the post-war years and sprung to lifealong side the decade’s burgeoning youth culture. “That was abig, groundbreaking thing,” remarks Mr. Doonan. “Adel was a verycreative, very groovy, wacky chick, who was inspirational.” Ms.Hale adds, “Adel Rootstein brought back a unique sense of bodyattitude.” Inspired by the Olympics, Ralph Pucci, of Ralph PucciInternational, splashed onto the scene in the 1970s, with the in-troduction of athletic mannequins. By crafting them into actionposes - diving, swimming and jogging - he effectively reinventedthe way male mannequins were displayed. These designs coin-cided with the era’s provocative Bruce Weber/Calvin Klein adcampaign. Dr. Susan Kaiser, Chair of the Division of Textiles &Clothing and Professor of Women and Gender Studies at the Uni-versity of California, Davis says, “Gay activism had reached newheights, and the ads took homoerotic imagery into the main-stream. Suddenly there was moreemphasis on men’s bodies and how they were presented.”

The Pucci company made waves in the 1980s, a time when mod-els and mannequins were still thin, with The Olympian Goddess,“a very broad shouldered, larger mannequin.” A propitious move,it turns out—the fitness craze of the ‘80s, à la “Let’s Get Physical,”and the decade’s penchant for over the top living placed a highvalue on large-breasted, well-toned “Glamazon” women. “Hour-glass figures were in,” recalls Mr. Steward, and Rootstein craftedmannequins after shapely sirens like Susanne Bartsch and Di-anne Brill. “The 80s was the age of powersuits,” says Ms. Hale,“and female mannequins displayed powerful attitudes and mus-cular, toned bodies.” Male mannequins beefed up too, becomingwhat Dr. Valerie Steele, Director of the Museum at FIT describesas, “really hunky, muscular guys with strong jaws.” Female man-nequins slimmed down in the 90s, their breasts shrinking as well,with the popularity of models like Kate Moss and a more mini-malist approach to fashion. Male mannequins lost some bulk, too,

becoming, says Dr. Steele, “more boyish, not as hyper-muscu-lar.” And times, they are a-changin’ again. At the mannequin man-ufacturer Goldsmith Inc., Creative Director Dwight Critchfield ishelping to drive that change. His collection, X & Y is a group ofhighly stylized, larger scaled mannequins, designed that way be-cause he states simply, “We are bigger.” Remarks Mr. Critchfield,

“It’s time that we, as a visual industry make a more realistic bodytype.” He discovered that the average woman is 5’5”, size 12-14,quite different from the often six foot, size 4 and 6 figures built tomodel her clothes. Rather than using professional models, Mr.Critchfield designs his mannequins after people he meets, liter-ally, on the street. His collection, Variations, is a set of seven malemannequins ranging from 5’8”-6’3” and 36 long-32 regular. “Whenyou see it,” he says, “it looks like a group of guys standing to-gether on the street.” Sex, a collection designed for jeans display,features seductive female figures, their bodacious bottoms show-ing off low-riding hip huggers. Referring to the mannequins’ gen-erous behinds, Mr. Critchfield remarks, “That seems to be a new,more accepted body style.” Indeed, Dr. Kaiser asserts that,“Curves are back in. The new figure is more rounded.”

Several years ago, Pucci International introduced a line of plussize and petite mannequins designed by Ruben Toledo calledShapes. The pièce de résistance of the collection was “Birdie,”the “high-end, large size (size 16) mannequin,” who was un-abashedly sexy and hip. “We made sure Birdie was visible,” re-veals Mr. Pucci, and by dressing her as they would one of Birdie’smore slender sisters, they “accentuated her body. She’s a biggirl,” he adds, “and she’s comfortable with who she is.” But it’snot just mannequin size that’s changing; mannequin identity is intransition, too. According to Dr. Kaiser, “There is a global beautytrend emerging.” We are intrigued, she says, “by looks that arevaguely ethnic. We’re more aware of our demographic diversity,and our beauty ideals are being shaped by our multicultural soci-ety.” Back in the 60s and 70s Adel Rootstein fashioned man-nequins after stunning women of color, like Donyale Luna and PatCleveland, and Japanese beauty, Sayoko. Dr. Steele points outthat the prevalence of ethnic mannequins today suggests that weacknowledge our multicultural society. In collaboration with Ruben

figuring­beautytrends­in­mannequin­design

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d SPOT

Cam Muse

Toledo, the Pucci company introduced the aptly named collec-tion, Global Beauty. With body tones ranging from “moonglow” to“plum,” Mr. Toledo’s beauties are meant to correspond to a widerange of ethnic backgrounds. Says Mr. Pucci, “We felt that it wastime to bring skin tones and colorations into the stores.” Pucci In-ternational’s collection Cityscape, designed byRobert Clyde An-derson, is a continuation of the multicultural concept with an edgydowntown feel.Representing an assortment of ethnicities, thistrendy group could blend easily into any hipster hotspot. Not to beoverlooked are abstract mannequins, a trend that has appearedconsistently through the years. From headless to spike-heads,these often highly stylized designs can be quite dramatic. Sincetheir introduction in the 1920s, there’s been what Dr. Steele calls,“a pendulum effect going back and forth between realistic and ab-stract designs.” One reason for their popularity is, she explains,“because there are no facial features, abstract mannequins don’tgo out of date so quickly.” Mr. Doonan attributes “a prepon der-ance of abstract mannequins” to the fact that they’re not specificand that “the current fashion landscape is incredibly compli-cated.”

“Mannequins should reflect the times we live in,” asserts Mr.Pucci, “they should be relevant.” Indeed, our diet/exercise-ob-sessed culture is apparent in the changing form of our fiberglassfriends. From the well-toned forms of the spandex sporting ‘80s,mannequins evolved into figures like the Pucci company’s lotus-posed Christy Turlington, which, Mr. Pucci says, “was created in

the spirit of the yoga movement. People are trying to be healthyin body, spirit and mind.” But despite fleeting fitness and diet fads,we are still getting larger. Yet, he says,

“People are feeling comfortable with who they are and so somemannequins are now a little fuller.” Mr. Doonan remarks that to acertain extent, “the customers expect to see themselves in thewindow and not in some intimidating representation of fashion.”Nevertheless, many mannequins still inhabit the nether reachesof body form, modeled after the lean and leggy and the buff andbrawny. But while the chasm between our ideals and our realityis still great, with diverse images of beauty permeating our col-lective consciousness, we may be slowly narrowing the gap. “Al-though,” Mr. Critchfield explains, “our industry is about projectingwhat we would like to be,” he acknowledges that beauty idealsare not usually reasonable representations of real people. Andwhile mannequins with more diverse body types may not beeveryone’s ideal, they may signify a growing awareness of differ-ent kinds of beauty; an acceptance of not just our glamorizedselves, but also our real selves.

Certainly, changing demographics are playing a role in how wesee ourselves and how that view is being translated into fiber-glass form. “I see there being a continuation of the multiculturalmovement,” says Dr. Steele, after all, “there is so much room toshow the variation of humanity.” And in the end, isn’t that whatbeauty is really all about?

Mr. Doonan remarks that to a certain extent, “the customers ex-pect to see themselves in the window and not some intimidatingrepresentation of fashion.”

PARISBy Dexter Solomon

All the talk this season is about the rivalry heating up betweenthe new guys at Dior and YSL, Raf Simons and Hedi Slimane.But don't count Nicolas Ghesquière out. This is a man who, if hedidn't invent the heritage brand reinvention, has certainly mas-tered the art. And his fantastic new Balenciaga collection was acase study in how he's done it season in and season out for thelast decade, by putting an utterly modern gloss on intense studyof the house's archives.

Skin was the big news here, and with it more than a whiff of sex.Sometimes a Balenciaga show can be head-scratchingly toughto parse; this one was thrilling in the way it just left you hot. Be-forehand, Ghesquière said, "It's the most sensual collection I'veever done," then proceeded to rattle off a string of referencesthat prove it was every inch as thoroughly researched as hismore conceptual outings: the mythology of antiquity, stiff rufflesfrom a Cristobal dress circa 1968, a nymph and faun windowdisplay Janine Janet made for the store's windows in '57. Thefabrics were as bleeding edge as ever, too: tweeds that weren'ttweeds but dense embroideries, delicate lace fused to moldedsynthetics, and T-shirt knits dipped in glue for stiffness.

Still, what gripped you was the cut—the way Ghesquièremerged things that were quite graphic with movement. He setthe provocative tone with the first model's midriff-baring moldedbra and high-waisted pants. And from there, he came out swing-ing, slitting long black skirts almost to the hipbone and edgingthem with deep ruffles, the undersides of which were white. Theruffles nearly pulsed as the models strutted down the narrowaisles, in sharp contrast to the crisp cropped cape tops and T-shirts. Asymmetric, almost togalike skirts, so abbreviated theyrequired shorts underneath, pushed the leggy theme further,and even Ghesquière's sensible pantsuits (more office-appro-priate than anything in last season's office collection, ironically)were paired with those daring bra tops.

As the show continued, Ghesquiere's preoccupations shiftedfrom the macro to the micro. To close, he sent out a series of lit-tle dresses in coated guipure lace that coded sweet as much assexy. They had his front-row guest Kristen Stewart's name writ-ten all over them.

Simons debuts his Dior ready-to-wear tomorrow and Slimanehis for Saint Laurent next week. What Ghesquière did today wasa reminder to us all that Paris fashion isn't a two-man game.

yslspring­2013runway­report

runway

MILANBy Terry Jacsei

Paging Marella Agnelli and Marisa Berenson. At Gucci today,Frida Giannini conjured their glory days (and those of early Ital-ian ready-to-wear), as seen through the lenses of photogra-phers like Richard Avedon and Gian Paolo Barbieri. Asnight-and-day different from her brooding Fall outing as couldbe, the show opened up-up-upbeat, with a narrow tunic beltedover full trousers in azalea pink. It set a late-sixties/early-sev-enties vibe and a feel-good mood that the designer called "aris-tographic." Aristo Charlotte Casiraghi took it all in from the frontrow.

"I love to play with color for Spring," Giannini said backstage,and play she did. In addition to that bright pink, there wascobalt, citrus yellow, coral, and turquoise, each one as vibrantas the next and worn head-to-quite-literally-toe with sun-glasses, bags, and shoes matched to outfits. It wasn't subtle,but subtlety, at least in terms of palette, wasn't the designer'sgame this season. Plastic necklaces and earrings were de-signed to look, as she put it, "like fake Liz Taylor."

Still, color was only part of the message. Silhouette was a bigstory. Tunic and trouser combinations have been getting majorplay lately, and Giannini is positioning herself as a serious pro-ponent for Spring. She believes in ruffles—tracing the singlesleeve of a column dress, arcing around the shoulders anddown the back of another, adding major drama to an otherwisequite minimal V-neck gown. Cutouts also played a starring role,upping the provocation factor and giving these polished clothesa modern update. Giannini looked east for the collection's printsbut not in any obvious way. A karung motif was stamped on acrisp Japanese paper fabric and the floral was inspired byJapanese wallpaper.

For evening, the designer opted to show only black and white.It made for a strong endnote, especially in the cases of a stun-ning long white dress with coral jewels embroidering the neck-line and another in black with ruffles outlining a completely bareback. The international jet set looks different now than it did inAgnelli and Berenson's heyday. As Europe continues to strug-gle, new economies flourish—witness the top clients Gucci flewin from around the globe for this runway show. Still, sophisti-cated looks like those two dresses cross all borders. Perhapsnow more than ever, we all yearn for a slice of the good life,don't we?

gucci

runway

PARISBy Terry Jacsei

The Fendi show today began and ended with a big bang: the first a hugeballoon popping to allow the models onto the catwalk; the last an ex-plosive print that dissolved into an infinity of starlike sparkles. In be-tween came a meditation on modernism courtesy of Karl Lagerfeld andSilvia Venturini Fendi, who never stop putting futuristic spins on the 87-year-old house's traditions. Here, for instance, the duo were "doingmodern our way, with our techniques" according to Fendi. "There are nomachines; it's all by hand." This rare feat was obvious in coats com-posed of a marquetry of fur or fabric. Almost as impressive, though notas showy, was the fact that the collection was seamless, using sal-datura, or some kind of electrical welding, instead of stitching. It guar-anteed that the leathers and fantastic crocodile napas lookedfeather-light. The iconic Baguette had also been transformed, some-how stripped of all its metal parts and turned into a testament, saidFendi, "to the power of perfect proportion."

The designer mentioned the perspective of the frescoes in the SistineChapel as a reference point for the way that dresses were multiplelengths—or shorts had pannierlike pockets— so that your eye wasdrawn into them. Same effect with the black and colored borders that"framed" the clothes. The idea was apparently three-dimensionality.That's why the referencing of Anish Kapoor made a little more sense,given that there was something more sculptural than painterly about thesilhouettes. And if all of that sounds a bit much for a fashion show on aSaturday morning in Milan, you should also know that the clothes in thisparticular Fendi show were a lot of fun. Lagerfeld's crepe silk Big Bangshift was Milan's best cocktail dress; the leather coat with the upside-down F for Fendi was the cleverest piece of Russian Constructivistbranding we'll see all season; and the bags and shoes should keep kidsentertained for hours. One pair, for instance, arrives with a set of uppersthat will allow you to compose your footwear at will, Lego-like. And byhand, of course.

fendi

runway

PARISBy Terry Jacsei

From icebergs to apocalypse, Chanel's stage sets have estab-lished the goalposts for Napoleonic excess in fashion. Today'sbackdrop featured a wind farm and solar panels. The reason?"The wind and sun are free," Karl Lagerfeld said disingenuously.They would have been the only things that were, in a presenta-tion that was so overwhelming in its scale it was no easy task forthe sweet clothes to make an impression. Still, there were clearmessages. The silhouette was dominated by an A-line or abolero. Lagerfeld loved the skirt dress—pulled up in a bustierstyle—as opposed to the shirtdress. (In chambray, it said all youneed to know about the ever-younger spirit of Karl's Chanel, withits supporting cast of new muses.) The graphic quality felt new,in keeping with the stripey shirt and tie the designer himself wore.He claimed his three-dimensional cutouts in chiffon dresses weredesigned to introduce airiness to volume. "Normally they don'tgo together," Lagerfeld offered. Maybe it was that desire for light-ness—in what has been an often dark season—that also sawhim shelve the braid, the buttons, and the chains in favor of a lib-eral scattering of pearls.

There is always so much on a Chanel catwalk that a slightlyschizophrenic quality inevitably begins to insinuate itself. Did acobalt blue smock top truly come from the same creative sourceas sheer, tatter-trimmed hostess pajamas? But in the end, thepath of excess did lead to the palace of wisdom, or at least theclarity of dressy white pieces appliquéd with flowers that lookedlike candy wrappers. Sweetness prevailed.

Back to that set: Lagerfeld was in love with the architectural mod-ernism of the wind turbines, but the message of sustainable en-ergy seemed particularly pertinent to a designer who possessesthe resilience of a man a quarter his age. "Energy is the mostimportant thing in life" were Lagerfeld's words from the wise. "Therest comes later."

chanel

runway

"There's a slight sixties silhouette, but she didn't want themakeup to look sixties," Diane Kendal said of ClaireWaight Keller's Spring collection for Chloé. So Kendalborrowed the idea of a retro cat-eye and tweaked it forthe here and now with a rectangular shape and an un-usual hue: copper.

"[Waight Keller] wanted to use color on the face and thisis just the color I liked," the makeup artist said of theSmoked Paprika cream eye shadow from MAC's FallTrend Palette that she slicked across lids, squaring it offtoward the inner and outer corners of the eye and top-ping it with MAC Pigment in Copper Sparkle.

Skipping the mascara, as has become her signature forSpring, Kendal drew a fine black cream line onto theupper lash line, resisting her usual urge to brush on con-tours and settling instead for a hint of MAC Blush inSomething Special.

"Sort of Twiggy" is how Guido Palau described the deepside parts that were prepped with Redken Wax Blast 10High-Impact Finishing Spray and its Powder Refresh dryshampoo for a flat, matte texture. "It's got the ease of ahalf-up, half-down," Palau said of lengths that were pulledinto a loose elastic for a style what was neither a knot nora bun, he insisted, just an effortless, swept-up look. "Thisseason, it's been more about nuance, rather than bigstatements."

Chloé pg.143

From the beauty desk: The excitement level back-stage at Burberry kicked up a few notches whenWendy Rowe picked up a bullet of red lipstick. It wasas though time stopped, except for the singular, slow-motion movement of the makeup artist grabbingBurberry's Lipstick in Siren, moving it ever closer toConstance Jablonski's mouth. After many years ofloyalty to an all-natural, earth-tone-only makeuppalette, it appeared as though Christopher Bailey haddecided to make a bold beauty move. "We're doing aNorman Parkinson woman," Rowe revealed. "She'sretro but also modern and has a definite forties lookabout her."

The crimson pout was the focal point of the look, andRowe ensured it wasn't too done. "It needs to looksassy and sexy," she insisted, applying the creamyscarlet pigment with a brush and blotting it as shewent. "[The Burberry woman] is a bit cheeky and flirtythis season," Rowe continued, blending in the brand'snew-for-spring Fresh Glow Foundation, which shedotted with its forthcoming Illuminator.

"Natural and definitely not too glamorous" were thehouse codes that Neil Moodie abided by when itcame to the hair, which he prepped with Bumble andBumble Does It All Styling Spray and gave an off-kil-ter center part. Running a few sections through a curl-ing iron to create movement through the lengths,Moodie finished things off with a touch of Bumble andBumble Brilliantine on the ends of the hair for the ap-pearance of a healthy, moisturized mane—wear andtear from almost two weeks of back-to-back showsnot withstanding.—Skye Delap

Burberry­Prorsum

spring beauty trends

PucciThe Asian influence in Peter Dundas' Spring Pucci collection was ev-ident long before models got into their first looks, following a casualround of Champagne drinking and conversation. "It's Indochine in amodern way," Luigi Murenu said of the ivory hair pins carved with elab-orate dragon motifs that he slipped through long, center-parted half-up,half-downs. "We have to keep it quite Pucci, though," he added, point-ing out that the reference couldn't be too literal as to abide by thehouse's DNA, which necessitates a girl that "has an easy approach tohair but is stylish."

Prepping elongated strands with Phyto Professional Intense Mousse,Murenu created a painstakingly straight texture with a slick of JohnFrieda Frizz Ease before cutting short wispy pieces around the face for"modernity and coolness." As the coiffing star finished his last girl, Dun-

das made a surprise guest appearance in his chair to get a touch-upbefore the show. Setting him up with a makeshift barbershop gown,Murenu treated the designer's signature curls to a few scrunches ofKérastase Nutritive Oleo-Relax Serum.

Lisa Butler kept her nods to Dundas' Eastern influences duly light-handed. "It's a concept, not really a reference," the face painter said ofthe makeup's "Zen simplicity." Rimming lids with MAC Eye Kohl inSmoulder before deliberately removing the black pigment to leave be-hind just a trace of sultriness, Butler placed a "blob" of its Chromalinegel eyeliner in White above the center of the upper lash line andblended it for "dimension." Before models hit the runway, Butler addeda slick of gloss to lids and a dusting of powder through the T-zone sogirls looked a "bit more done."

pg.144

After putting on a veritable makeup clinic here for Fall that in-

cluded a lesson on tricolored eyes with splashes of orange, pur-

ple, and black, Pat McGrath shifted her attention due south of

models' lids for Miuccia Prada's Spring show. "It's a bold, bold,

bold red lip," she said of the matte crimson color she traced

around mouths. "It's all about a passionate woman [this season]

and you can't get more passionate than red."

Building a flawless complexion with a slight highlight on the high

planes of the face, McGrath groomed brows, adding a brown pig-

ment through the eye socket and tracing the upper lash line with

a stroke of shimmering white shadow. Then she focused on

pouts, which were rimmed with CoverGirl LipPerfection Lipliner

in Hot and filled in with its LipPerfection Lipcolor in the same

shade. "It's all about oversized," she elaborated, keeping the color

slightly outside of the lip line and drawing a white, "illustrationlike"

curve along the cupid's bow. "[It] makes them appear bigger," a

well-educated Jessica Stam pointed out of the animated ele-

ment's effect on her own lips, showing off some impressive know-

how gleaned, no doubt, from years of enrollment at McGrath's

backstage beauty school. Lashes were simply curled and left

sans mascara, while toes got two coats of CoverGirl's Outlast

Stay Brilliant Nail Gloss in Ever Red-dy and Reliably Red, which

peeked out of the rare pair of flat or platform sandals that came

down the runway without a set of socks (only Miuccia Prada can

make sandals and socks look cool).

Guido Palau injected a touch of "tomboyishness" with a series of

classic French twists that he deliberately made more "broken."

Busying his team with the task of blow-drying models' hair straight

with Redken Thickening Lotion 06 Body Builder to create a base

level of texture, Palau himself took on the task of twisting individ-

ual updos on individual models like Guinevere Van Seenus,

whose strands he gathered straight back, spritzed with Redken

Quick Tease 15 Backcombing Finishing Spray, and then pinned

up, letting the ends hang over her forehead like makeshift bangs.

"Designers always want fringe, but they don't want to use fake

fringes," he explained of the deceptive technique. "[They] want a

girl with character," he elaborated of Miuccia Prada specifically,

pointing out that no matter the sartorial order—"there was a

Japanese stroke," Palau acquiesced of today's collection—"it's

always Prada."

Prada pg.145

spring beauty trends

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seating arrangements

Clou – the module and sofa programme feature a multitude of possibilities and aclear simplicity of system. Single armchair variants, reading furniture, communica-tion groups and, of course, the classical two-seater or multiple seaters provide a fullspectrum in creative interior design. The basic element is a cube-shaped stool (twocubes create a bench, three form a sofa, and four make an element group).

Clou makes seat planning simple, whether using the bench as a two, three or four-seater. It also allows for corresponding backrest elements which easily attach withone bracket per backrest.

Applied as a module programme with individual cubes, or as a sofa programmewith complete bench seats and backrest elements, Clou is always (re-)combinableand surprisingly new. The range is completed by occasional tables and tabletops,which can be attached to the furniture. www.cor.de

Conseta - Medium-backed chairs round off the Conseta range, while backrestsallow for smooth adjustment. What’s more, you can choose between a mechani-cal or electromotive adjuster. As is custom at Conseta, the mechanical models areaccompanied by a varied selection of armrest designs and seat cushions.Although appearing to be a simple easy chair, concealed under its seat is a motorsilently allowing you to control the exact back slope and independently glide thefootrest.

When sitting, one touch of the remote allows you to easily stretch out or lay downcomfortably. For added comfort and mobility, there is an adjustable head cushionand front armrest edges with incorporated rollers. www.cor.de

Clou sofa

sit please pg. 34

seating arrangements

Conseta armchria

150

Bico - is an outstanding combination of pleasingdesign and practical comfort. Its graceful appear-ance and slender proportions belie the fact thatthere’s more to this chair than meets the eye. Agentle backwards push and the footrest is extend-ed, while backrests glide independently into a hori-zontal lying position. For additional comfort, there’sthe option of a headrest that can be swivelled andadjusted for height. A simple touch of a button isall that’s required to adjust Bico to your desiredposition. Available with solid one-piece armrests instylish chrome or lacquer finish, Bico is truly the ulti-mate in relaxation. www.cor.de

The Corona chairThe Corona swivel chair,designed by Poul Volther forErik Jørgensen Furniture. TheCorona chair has an uphol-stered chromed steel frameand is available in a choice offabrics and leathers.

seating arrangementspg. 36

The Oxchair The 1960 Oxchair design, padded and covered with oxhide, has lightyet strong chromium-plated steel legs, making it as distinctive as abull! Among the many designs close to Wegner’s heart, and withoutparentage, the Oxchair has become both an image an archetype.The Oxchair not only allows you continuous seating options, but itssleek design provides you with the ultimate in comfort.

seating arrangementspg. 37

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If necessity is the mother of invention, does anyone know whoinnovation’s parent is? Because when someone pitches the ideaone could possibly live very comfortably and stylishly in a mobilehome atop the roof of a ten-story walk-up, it sure doesn’t soundlike something anyone really needs to do. But the idea of it—thehalf-practical, half-silly nature of the proposal being its most at-tractive quality—is enough to make the case that German de-signer Werner Aisslinger may just be innovation’s dad.

Inspired by the dropout communes that carved their ways intoU.S. western towns in the late 1960s, Aisslinger took the corespirit,of that movement, coupled it with a modern, minimalist ap-proach, then tucked in between it what can only be described asa European influence to create the Loftcube—a 6.60 m x 6.60 mx 3.00 m (in feet: 22 x 22 x 10) apartment-tent hybrid aimed totake advantage of some of the world’s most unoccupied space:building rooftops.

The idea is to cater to the cross-section of the world’s populationwho Aisslinger describes as “business people who work in chang-ing locations,” or “young mobile professionals, who appreciatemetropolitan life and seek new ways of living.” Inside the Loftcubeis a sleek, modern and refreshing design layout, featuring a sep-arate bathroom and kitchen. The interior provides for a surprisingamount of room, able to fit roughly the same amount of furnitureas a typical New York City studio apartment. The only differenceis that if you can’t stand your noisy downstairs neighbor, you canpick up and move to the rooftop next door.

According to Manuel Vital of Studio Aisslinger, Loftcube assemblywould require a “four-man team working for three days, provided

that the roof has been prepared.” Given that the Loftcube weighsin at 2.5 metric tons, it begs thequestion of how both building own-ers and superintendents have opened up to the idea of “prepar-ing” to have one perched upon their rooftops.

“We’ve set up partnerships with real estate companies in Ger-many who will prepare several rooftops for Loftcube living,” saysVital. The partnerships offer to provide tenants with essentials likeutility line connections, and also scouting services for those whowant to go Loftcube-first, place-to-put-it later.

Investors have also opened up to Aisslinger’s idea. “We haveenormous interest worldwide and many people want to becomeLoftcube distributors in their areas,” says Vital. “We are workingwith several business partners and hope to see the first mass-produced Loftcubes in early 2005.” The studio remains dedicatedto the core spark of the project—accessibility and utility—andplans to align itself with distributors interested in making this an af-fordable option (if $66,000 for a rooftop efficiency is affordable toyou).

Still, Aisslinger’s idealism remains the star of this project. TheLoftcube has found a way to co-opt the evolution of the dropout’srole in modern-day society, washing away critics’ proclamationthat the hippie culture is dead. And he’s done so with a uniqueand useful way to keep the heart of the movement, while bringingit to a new, almost socially-acceptable level—one with a grandioseambitiousness that’s hopefully a sign of things to come. For moreabout the Loftcube or Studio Aisslinger’s designs.

visit aisslinger.de.

the­loft­cubeBy Mike Scalise

pg.152

155

Moo-ve over pampering pros, Thank goodness the Cowshed Spais way too cool for bovine puns and blatant cattle references. Imean, it’s in the Soho House for one thing – and if that doesn’tring a bell, turn the page.

Think A Simple Life’s Paris Hilton milking a cow. Now get rid of thecow and add chic Italian modern lamps with muted cow printlampshades, a few 20th century modern lounge chairs in milkywhite, and rustic wood barrels containing the trendiest beautyproducts on the market, only available in the U.S. in-spa, at Bar-neys New York, Barneys COOP, and Fred Segal.

Open to club members and those staying at the hotel only, theCowshed spa is a tasteful oasis for relaxation in a city where abarnyard is to a Manhattanite as a velvet rope is to Farmer Boband friends. Cowshed offers the full range of essential oil-basedservices including the “Cowgirl” facial, “Hooves” pedicure,“Pampered Cow” massage, “Stoned Cow” hot stone therapy,“Brown Cow” bronzing, and “Honey Moo” massages for couples.Cowshed products are made by hand in Somerset, England outof a converted dairy shed.

The herbal essences infused into the products are derived fromthe walled garden at Babington House, Soho House’s Englishmother-club. The products serve as ambassadors to the outsideworld as the only way non-members and non-guests can grazethe “Cowshed experience.”

The Soho House also has a roof deck that is kind of like St. Barthsin the City, where spa goers can order their beauty services whilesurveying the NYC skyline.

Soho House offers a type of club culture that stands alone in Man-hattan. Only a little over a year old, Soho House already has anextensive waiting list of hopefuls eager to join the ranks of the firstcity fraternity of cool. With a private movie house inside repletewith built-in wine/champagne caddies between plush leatherseats, a restaurant with an Ameri-Euro menu, game rooms, aspectacular roof deck, and certainly - not least of all - the afore-mentioned full range of well-equipped spa specialties, it’s no won-der there are so many clamoring to be part of this new U.S.phenomenon. Certainly, there is no more exclusive address forthis above-the-city pastoral retreat.

cowshed­spa

pg.154

Cam Muse

157

Unparalleled buzz surrounded the long-awaited opening of NewYork’s newest luxury spa back in December 2003 – The Spa atMandarin Oriental. As I walked into the intimate spa lobby on the35th floor of the Time Warner building in Columbus Circle I won-dered if the hype was justified. Laying my shoes on a Japanesebamboo tray and sporting my amethyst energy bracelet with mylocker number on it, I began to sense a unique experienceawaited me.

An Asian style tearoom with jaw-dropping views of Midtowngreets guests once inside the spa. I instantly felt transported toan urban tree house, an adult playground high above the NewYork City chaos. Bamboo floors lead guests to an elegant chang-ing area, where pressed wood and glass sinks, stone walls andBirch lockers give the space a tranquil, almost fluid atmosphere.

As recommended, I arrived 45 minutes before my two-hour treat-ment (minimum required for non-hotel guests) to take advantageof the spa’s oasis of heat and water. Once I changed into myrobe I headed straight for the “Heat Experience” and was pleas-antly surprised to find I had the vitality pool and amethyst steamroom all to myself. My mind and body relaxed as ethereal flutemusic bounced off the iridescent mosaic tiles of the round steamroom. A sparkling 2-foot amethyst crystal mesmerized me as I

surrendered to a rare commodity… stillness. After a cool tropicalrain and fog shower, lounging in a 104 degree bed of bubblesand snoozing on a terry covered teak chaise it was time for meto retreat to the tea room which doubles as the waiting room.

My therapist ushered me into the VIP suite, usually reserved fortwo but also used as an individual treatment room. This spec-tacular 650-square-foot suite features a fireplace, dual massagebeds, a private bath and steam shower, and an ornate Chinesewedding bed used for shiatsu and Thai massage. During a wel-coming foot ritual and cup of a tea, my therapist clarified how the“time ritual” is simply a block of time, two hours in my case, andnot a treatment. As she massaged my feet she explained this al-lows clients to pick and choose among an extensive list of serv-ices and tailor their time to their specific needs. I chose a 50-minute body wrap and a 50-minute massage. Both were sheerluxury.

It’s no wonder why The Spa at Mandarin Oriental has taken thecity by storm and has been called the “best spa in New YorkCity.” It simply may be. The Spa at Mandarin Oriental – NewYork; 80 Columbus Circle at 60th Street, New York, NY 10023;212.805.8880

the­spa­at­mandarin­oriental­new­york

pg.156

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