“A dream of extreme romanticism… The idea of eighteenth-century painting, with video games. A romanticism between past and future.” is how Miuccia Prada described her Fall/Winter 2004 collection inspired by paintings of German artist Caspar David Friedrich and technology. For me, it was all about details…
The scrumptious prints and moody tweeds, sparkling drops of crystals on waist-cinching grosgrain ribbon belts and brooches, puffy skirts, chiffon dresses, soft fox fur scarves tucked into a simple t-shirt, and delicate cardigans for extra warmth… And there were the robots and ribbons, velvet and fur, leather and metal all mixed up in a way only Prada (and later on, Van Noten perhaps) could do.
Something from ten years ago that can be loved and worn today is the reason why I adore Miuccia so much – for being a rule-breaker and an explorer capable of designing thoughtful, beautiful and absolutely fascinating collections that capture imagination and give us something to adore forever.
The beautiful and mysterious campaign that accompanied the season featured Raquel Zimmermann, Karen Elson, Gemma Ward and Elise Crombez was photographed by Steven Meisel. Oh, those details… I can’t stop looking at them. It’s just like art, it moves me.
Photo source: Prada Fall/Winter 2004 collection and campaign (photography: Steven Meisel), RTW images via stylebistro.com
This is most likely the only way for me to experience the snow this winter – by looking at gorgeous Hermes Fall/Winter 2013-2014 campaign featuring Iselin Steiro photographed by Nathaniel Goldberg and styled by Clare Richardson.
As always, every image is an essence of beauty and bliss and a wonderful way to preserve all the things I adore about winter – the sparkling ice, the fluffy weightless snowflakes and the wonderful calmness and peace the season always brings. The endlessness and eternity of the world and the timelessness of all things Hermes… So very perfect.
Spring 2003 collection was pure, sensual, ethereal and breathtaking. The fluidity of it, the combination of softly glowing silk, powdery suede and creamy leathers, the semi-transparency were not just beautiful – they were simply timeless and without a doubt worthy of a separate post seamlessly fitting into my Timeless Chic series.
It was the very last collection Calvin Klein designed for the brand before the company was sold to Phillips-Van Heusen for $400 million with additional $30 million in shares and future revenue royalties for both Klein and Schwartz. Francisco Costa became the new creative director while Klein assumed a consulting role.
Natalia Vodianova who opened the show and appeared in the Spring/Summer 2003 campaign became the highest ever paid face of the brand.
Photo source: stylebistro.com, Natalia Vodianova photographed by Mario Sorrenti for Calvin Klein Spring/Summer 2003 campaign
In 1976 a TV commercial featuring Gloria Vanderbilt wearing blue jeans that she and her business partner, Warren Hirsh, recently put into production, appeared on air during the Academy Awards presentation. Until that moment nobody really thought of jeans as a designer item – they were the workers uniform that originated in Nimes and introduced by Levi Strauss to the American market in 1850s. Even the trendiest bell-bottomed pairs manufactured by Faded Glory and Jordache were hardly in demand among the stylish crowd.
Vanderbilt denims changed it all. Suddenly every woman wanted a pair of jeans with an elegant designer logo on a back pocket. For the fashion industry it felt like an explosion and every designer including Anne Klein, Geoffrey Beene and Bill Blass wanted to have their own line.
Klein toyed with an idea for a while struggling to make the final decision until he was approached by Puritan Fashion, a giant dress company run by Carl Rosen, one of “the kings” in the garment industry who was looking for a designer to license a collection of denim “for the public”.
The deal was signed on 29 June 1977. Calvin Klein and Barry Schwartz were offered one million dollars in cash advantage and guaranteed minimum of one million every year for the life of the contract in addition to the royalties for every pair sold.
Designing the first pair didn’t take long for Klein knew exactly what he wanted - indigo-dyed, 100% cotton, straight legged with a shorter rise to accentuate the shape of the bottom and give the jeans an instant sex appeal.
The very first advertising campaign featured Patti Hansen photographed by Charles Tracy. The image of a beautiful blond showcasing her bottom in a seductive pose caused a real scandal among women’s groups and brought $80 million in sales in the first year.
And then came Brooke and her Calvins.
She was 15 when Sheilds got approached by Calvin Klein with an offer to star in his jeans campaign. Brooke was directed by Richard Avedon to play different roles: “a liberated woman, an actress, a teenager, a vamp”… Kleins idea was to advertise the product without actually focusing on it, but rather sending hidden messages to play with people’s imagination.
It worked. In the first week the company sold 400000 pairs of jeans reaching an astonishing number of 2 million sales in a months and bringing £12.5 million in annual royalties. More over, sensual, provoking, beautiful and clever, those adverts caused both demand and controversy, shaping the image of Calvin Klein as a brand and making the clothes even more desirable.
Brooke Shields herself became somewhat of a celebrity and a star. Her image was associated with jeans so strongly that a few years later she came up with the own line of jeans called “Brookes”.
Bottega Veneta is my endless love story. And though I may never be able to wear every Bottega dress that I have fallen in love with, I will always enjoy collecting the photos from numerous editorials, re-living my dreams and savouring every detail.
From the research point of view – so curious to see how different countries and magazines make their choices. While the first dress was on demand in Italy, the floral numbers travelled all over the world, from Europe to the States, Mexico, Thailand and Japan reuniting in Russia half way through.
And Edie Campbell got to wear hers twice! I guess it’s a bit like meeting an old friend or colleague you’ve already done a shoot with. Only, unlike the dress that, for obvious reasons, cannot speak, the friend would definitely comment on Edie’s hair.
To be continued…
Photo source: elle.com, Bottega Veneta Spring 2013 campaign, Vogue Turkey March 2013, W March 2013, Marie Claire Italy May 2013, Numero France April 2013, Elle Italy April 2013, AnOther March 2013, Grazia Italy April 2013, Elle Italy February 2013, Marie Claire UK March 2013, Bottega Veneta Spring 2013 campaign, Vogue UK February 2013, Vogue US March 2013, Vogue Thailand February 2013, Flare Canada April 2013, Vogue Russia March 2013, Elle Denmark April 2013, Vogue Japan May 2013, Vogue Germany February 2013, Elle Mexico March 2013, Elle UK January 2013, Numero France May 2013, Vogue Russia May 2013, Marie Claire Italy May 2013.
