ELSA SCHIAPARELLI: No Bones About It

Lindsay Lohan is expanding her formerly leggings-only label 6126 into a full force line of contemporary apparel come Fall 2010.

Happy as I may be for 'ol LiLo, this got me thinking about the downfall of artistic development in the fashion industry. With celebrities launching clothing and accessories lines left and right, the concept of fashion design seems to be withering away. 

Still in reflection mode ahead of New Year's Eve, my mind is focused today on the positive: one of the most artistically inclined designers in history, Signora Elsa Schiaparelli.

Schiaparelli was a fabric architect; a true creator of style. And, more so than most designers can claim today, she was in touch with a world of talented artists, and brought their work to the forefront as a result of her own success.

Taking cues from Pablo Picasso and George Braque, as well as collaborating with the likes of Salvador Dali, Jean Cocteau, Leonor Fini and Alberto Giacometti, she pushed boundaries, forced a reconsideration of lines and proportions and pioneered the concept of wearable art.

Here's a look at my favorite piece from Schiap, the Skeleton Dress she created with Dali as part of the Circus Collection in 1938, once again blurring the definition of 'beauty'.

Photo credit: Victoria & Albert Museum, Textiles & Fashion Collection, from the exhibition: "Fashion: An Anthology by Cecil Beaton."

Follow my blog with bloglovin

GRUNGE REVISITED: Marc Jacobs Eat Your Heart Out

With the new year in sight, the most natural reaction (and easiest blog post) is to reflect on times past.

Fashionably speaking, reviewing the last year is like watching an episode of "My So-Called Life."

To the dismay of many, this tribute has nothing to do with Claire Danes and Jared Leto, but rather the re-invasion of Kurt Cobain-inspired haircuts (or lack thereof); beard growth to rival ZZ Top; and enough threadbare flannel to outfit an army of lumberjacks in Southwest Oregon.

Today, I'm honoring my favorite symbols of 90's grunge; the poster children that Marc Jacobs for after his 1992 collection for Perry Ellis: Kate Moss & Johnny Depp.

Enjoy...

TALK IS CHEAP: Designer Diffusion, Part III

An important message to designers: Stop making cheap clothes.

Allow me to clarify. I am not, nor have I ever been against the production of moderately priced high-fashion. I can appreciate the novelty of Manolo for Payless as much as the next girl, and yes, I'd line up 'round the block at 4 a.m. to get a first look, too. But honestly, I'm not buying that crap.

With names like Jean-Paul Gaultier and Jimmy Choo diving into mass market design, I have to ask: Where does it stop?

I know times are tough and Bergdorf's isn't buying the same way they used to, but can some of these design houses please hold out and hold on to their brand image? Make a few bucks at a discount retailer this year, and next year top tier clients at Sak's and Neiman's aren't going to look twice. Know why? Because the stuff at Target and H&M is shite.

Yes, it's exciting to have bought a new Luella Bartley jacket, but if it costs $30, chances are, it's falling apart in two months. The point of high fashion is quality, and in a recession like the one we're sinking deeper into, it would seem to me that focusing on durability in both manufacturing and style would get the job done much more effectively than selling hoards of mass produced $20 t-shirts in a store where I can also purchase tampons and cereal.

Sonia Rykiel, Zac Posen, Anna Sui...you've hurt me enough. But now the Mulleavy sisters - whose work I've loved since they hit the scene with a collection of just 10 pieces in 2005 - are also hitting up the big red bull's eye this Sunday.

Alas...I guess I'll have to see what all the fuss is about.

Photo credit: Rodarte's first advertisement; Spring 2009.

PUSHING PRADA: If the Devil Reads It, Then I Do, Too.

When the Devil wore Prada, heads turned, books sold and movies were made. Just ask Anne Hathaway how influential Miuccia has been to the world.

The Prada book – 708 glossy pages stuffed with 3,885 thumbnail images of runway looks; ad campaigns spanning more than 20 years; each and every store and every design made by Ms. Prada since 1988; plus collection design details, including background on concept, production and materials – looks like a thick piece of heaven.

Just in time to not save money this Black Friday, I think heading to the Prada store in SoHo to purchase this $125 confection seems like a worthy cause. The two other monstrous coffee table tomes due out this year, from Louis Vuitton and Maison Martin Margiela, just don’t have the same cache for me.

Photo credit: Prada promotional material.

CAPPING THE LENS: Irving Penn Dies

Yesterday, Irving Penn died.

He was 92 years old, and had been working in fashion since the summer of 1937, when he began as an unpaid design assistant for Alexey Brodovitch at Harper’s Bazaar. Only three years later, Penn inherited Brodovitch’s position as director of advertising design for Saks Fifth Avenue.

Of course, we know Penn best through his work with Vogue – spanning some 66 years – as well as through the cumulative star power generated by his 42-year marriage to Lisa Fonssagrives, the Swedish-born model with whom he sculpted the world of fashion photography in the 1940s and 50s. Fonssagrives died in New York at age 80, in 1992.

About fifty years prior, in 1943, Penn met the man who would one day herald the young photographer as his protégé – then editorial director of Conde Nast Publications, Alexander Liberman.

Liberman helped cultivate the style for which Penn became famous. It was the starkly lit, glowingly austere prints and renowned technical skill that earned him recognition as one of the most artistic photographers of his time. Penn’s work “bridged the gap between commercial photography and fine art…he revolutionized the way fashion was presented to a mass audience,” writes Women’s Wear Daily.

Following the death of his longtime contemporary, Richard Avedon, in 2004, the death of Irving Penn is decidedly sad. It marks the end of an era, and pushes to the forefront a greater need for current photographers – think Annie Leibovitz, Mario Testino, Helmut Newton, Corinne Day and David LaChapelle – to mold their images for the world; not just for fashion, but for humanity, the way both Penn and Avedon sought to do. As the saying goes…a picture is worth 1,000 words.

Photo credit: Entitled "Café in Lima," Irving Penn photographs Jean Patchett for Vogue, February 15, 1949.

COLD SHOULDER: Deciphering the Pad

If a rise in hemlines indicates the recession’s end, then how do we decode the return of the shoulder pad?

To the chagrin of some and the joy of many, our necks will be in good company this year if the blazers shown for spring 2009 get any play. It seems that, following the resurgence of strong shoulders last year and popularized by Christophe Decarnin for Balmain, this once-feared bastion of the 1980’s will be a seasonal mainstay once again.

Theorizing the sociological implication of strong shoulders (so what if I’m pretentious about fashion?), Ann Marie Hourihane of the Irish Times writes: “…sad to say, the shoulder pad has frequently been accessorized by the dole queue. The shoulder pad is a symptom of a culture’s willingness to work when work is scarce. The shoulder pad, when worn by women, signals fortitude in times of distress.”

Ms. Hourihane’s UK neighbor, Janice Turner of the London Times, takes it a step further: “Perhaps women clinging to their jobs are striving harder than ever to assert their power — shoulder pads too are back in town.”

So then, are reports calling an end to the recession completely moot? Skirts are getting shorter and shoulders are rising higher; but the translation of those observations into economic-speak presents a complete contradiction. Maybe the reemergence of shoulder pads is a mere indication that women are wising up to the fantastic contributions prominent shoulders can make to the female shape.

Betsey Johnson told Emili Vesilind of the LA Times that fashion's '80s redux makes perfect sense because "when times are threatening, they always inspire creativity." And in her estimation, "It's actually the first time anything creative [in fashion] has happened since the '80s. It feels the same now as it did then."

Betsey might be on to something. Let’s just hope creativity can pull us out of this slump and keep the pads, puffs and pagoda sleeves a comin’.

Photo credit: Harper's Bazaar UK, February 2009; Model Zuzana Gregorova.