Marc Jacobs explained how the Vuitton collection came to be. He recalled: “We had a big event – the reopening of a store in Paris – around the show, so the collection had to be fun, hot and fun. “We looked at Versace, Ferré, Krizia, a place that wasn’t there recently. We already had stilettos with many small buckles, and bags with medallions, which were definitely a tribute to Versace. ” Bags did not make an offer, but for Jacobs the feeling is still the same. “Gianni is very appreciated now. Given time, you look back and see how important he was.”
Jacobs looked at our vintage Alaïa jersey and decided, “I couldn’t touch Azzedine. His pieces never looked out of place, even 20 years later. I’d love to see a girl in it with flat shoes—not bitchin shoes. I’d do something like the Eiffel Tower Versace dress. It’s going to be glamorous, but it’s going to be girly.” attractive. But,” he warned, in a 2006 twist, “I didn’t like to see it on the right girl.
Ann-Sofie Back walked around a long Versace dress with scary 3-D chain-mail details flying off the shoulders and said, “It should be short. I would cut it off where the side slit ends and put it on with black studs and chain shoes.” The glittering Eiffel Tower dress, she said, sighing, has “too many colors. I would wear it with something that doesn’t work, like a beige trench coat.” However, Alaïa made his eyes light up. “This is it good! It is almost like jodhpur fabric. I would put it in a wide belt that is not good, something matte, brown, distressed. A white t-shirt underneath. A red lip. The hair was matted.”
Christopher Kane finished off his graduation collection with a pair of ruffled, Melanie Griffith-inspired dresses. A working girl. She placed a long Versace dress over a college studio dresser and walked out, “It’s from her last collection, 1997; I just researched it!” He thought for a moment. “It should be mid-thigh. I would tie it to the side and wear it, then put it with a cone heel and a platform. The hair is in a plain ponytail with a leather band.” She loved the Eiffel dress, too. “You can go for a pair of Prada ankle boots and royal-blue opaque tights. It would be great with a jacket made with big shoulders or a structured fabric; something masculine.” He took Alaïa and respectfully examined the seams. “Bare legs would look normal; I’d use peach-sable tights, which would peek through the stitching. And the Aran cardigan was ruched and rode to show the scoop back.”
Kane was right about the 1997 dress, as Donatella Versace confirmed. When we arrived at the palace of Versace in Milan, he made him write the style – on two boards of photos from the spring collections of Vuitton, McQueen, Balenciaga, and Marios Schwab (who is on the London radar as another restorer of the nineties), as well as references from the Versace archive. There were Vuitton bags full of awards next to Versace Medusa head bags from ’92; the hot pink wet look of ’95 and the new LV edition. McQueen’s leather dresses were set against Gianni’s famous slave collection of ’92. Balenciaga’s black and white scarf prints and gold shield belts were featured alongside Versace’s ’88 “Black fashion” collection. Marios Schwab’s curvy white bra-dress is paired with Madonna’s image in something very similar from ’95. In some cases, the loans that Donatella had skewered were almost the same size as the photographs.
#Archives #Happened #Vogue #Asked #Young #Designers #Restyle #Vintage