Stitched Tailors Los Angeles was thrilled to work with Burberry for their Fall/Winter show at the Griffith Observatory. It was a magical night where Christopher Bailey showcased his entire runway collection exclusively to the Rodeo Dr. store.
We always love to see when a client creates more than just beautiful fashion and gorgeous photography. Chloé recently put together a great story surrounding their Spring-Summer 2014 campaign, which was shot in East Hampton, New York.
Clare Waight Keller, Creative Director at Chloé, was responsible for this comprehensive piece. Camille Bidault-Waddington served as stylist, and photography was by Inez & Vinoodh. Tailoring was by Stitched Tailors.
It’s no surprise we are fans of the Mr. Porter site. It’s cleanly designed, and full of great information about amazing fashion shoots and a wide range of other products. If you want to know about men’s style, make visiting this site a habit. In short, a very classy operation, and we’re pleased we were able to work with them.
Actor Zachary Quinto was recently featured on the Mr. Porter site, along with an impressive story by Jonathan Hey. This is an old school, magazine-quality feature, and well worth reading. One of our most-requested tailors was on the job, working with stylist Bruce Pask and photographer Robbie Fimmano. Mr. Porter has released a series of photos, some of which are presented below as tear sheets, which feature Mr. Quinto as a modern version of James Dean wandering Times Square. Quinto is, of course, more well-dressed than Dean was in his icon photo, sporting six different coats, and we can only guess if he’s pondering his new role in the revival of The Glass Menagerie.
Here’s some of the moody tear sheets we’ve seen reproduced all over the Internet. Great job to everyone on the production team!
For the December 2013 / January 2014 issue of Lucky magazine, our tailors once again worked with photographer Patrick Demarchelier and stylist Carlyne Cerf de Dudzeele to help make the Scandal star look her best in a variety of styles.
As with our Lucky shoot with Eva Mendes for their October 2013 issue, our work included both the cover and an inside spread. As always, the entire Lucky team was wonderful to work with.
Our tailors worked with photographer Robbie Fimmano and stylist Karen Kaiser to ready heavyweight actor Robert De Niro for DuJour magazine. The resulting collaboration was featured in the Fall, 2013 issue.
Unbeknownst to us, the tailor we sent to Mr. De Niro’s penthouse just happened to be a fan of Robert De Niro’s father’s paintings, several of which graced the walls of the apartment.
See the cover and tear sheet on our media page for this shoot.
DuJour also has a great app for the iPhone and iPad. It keeps intact the wonderful layout and design of their print version.
Our work included both the cover and an inside spread. As always, the entire Lucky team was wonderful to work with.
See more tearsheets on our media page.
We look forward to sharing with our readers more of the great work our tailors are delivering for our clients every day. Stay tuned for more of this new direction in content on our blog.
An unlocking of the iconic wardrobe of the Mexican artist after 60 years
Frida Khalo was one of the most memorable artists of the twentieth century, and her personal style was a deep part of her artistic identity. Her self portraits and personal mythology became an icon of inspiration for feminists, political activists, and artists to the present day.
Forgoing the slinky dresses and gelled curls of the 1930’s, Khalo instead wore traditional Mexican Tehuana costuming, which consisted of a long, full, skirt; a short, square blouse covered with necklaces; and flowered headpiece, which she usually wore over tautly parted and braided hair. The Tehuana was an indigenous, Mexican, matriarchal society, and her choice to wear their garments asserted her feminist stance. He identity was so deeply linked to her wardrobe that when she died in 1954, her husband Diego Rivera decided that all of her clothing, jewelry, corsets, and accessories were to be locked up in a closet for fifteen years. But he died three years later, and friend of the couple (who was also an art collector) named Dolores Olmedo became their estate manager, and the inaccessible closet remained a locked mystery space at Casa Azul, Khalo and Rivera’s home. According to Mexican costume and fashion curator Circe Henestrosa, a series of misunderstandings led to all of the garments to be kept under lock and key until Olmedo died in 2002 (some accounts say 2004).
Now, Frida’s iconic clothing is on display at Museo Frida Khalo in Mexico City (AKA Casa Azul). In addition to the flamboyant and radical garments that she made so irrevocably hers, the intimate show also exhibits an aspect of the artist that was just as emblematic of her as the clothes: her ongoing physical pain. During her childhood, she suffered from polio, leaving her health fragile and with a small, stunted right leg. As a teenager, she also suffered a terribly violent bus accident, which led to many surgeries to correct her spine; as a married woman, she also suffered a number of miscarriages. To make matters worse, her husband, muralist Rivera, had numerous infidelities during their dramatic marriage. Khalo was in chronic pain—both physical and emotional—her whole life, giving great depth and rawness to her self-portraits.
On display along with the brightly colored, indiginous-inspired Tehuana ensembles are also the leather and plaster medical corsets that Khalo had to wear for years after the bus accident and subsequent numerous spinal surgeries, as well as prosthetics to aid with her polio-disabled leg which she had amputated a year before her death at 53. The Tehuana costumes are certainly all of what she intended as a political and feminist statement, but the loose layers of the long skirts were also a comfortable way to conceal her handicapped leg, and the boxy shirt a way to conceal her plaster corsets.
The exhibition also shows contemporary fashion inspired by Frida: including three Givenchy Haute Couture by Riccardo Tisci dresses of the Fall Winter 2010 Collection, and a corset gown by Jean Paul Gaultier. The exhibition runs through January 2014.
Australian film director Baz Luhrmann is known for his highly stylized art direction and rich, cinematic visuals. Its no surprise that the costume design and styling of his recently released Gatsby, which garnered $51.1 million during its opening weekend in May, was both lavish and successful in portraying the decadence of the period.
Luhrmann and his head costume designer, Catherine Martin, collaborated with the classic, preppy Brooks Brothers brand to custom make sharply tailored menswear for all of the male cast members, but also for the hundreds of extras as well. The director and costume designer referenced The Great Gatsby text directly to see how F. Scott Fitzgerald had dressed his characters; details such as Gatsby himself in a pink linen suit (played in the film by Leonardo DeCaprio) surfaced. Interestingly, F. Scott Fitzgerald himself regularly wore Brooks Brothers, and was in regular communication with the company, making the partnership all the more appropriate and powerful.
Brooks Brothers took these literary details, inspiration from the collaboration with Martin, and created a limited edition line of menswear: The Great Gatsby Collection. The collection includes classic 1920’s gentleman’s attire including a burgundy wool striped regatta blazer, to be worn with white linen slacks and a straw boater hat. There are also accessories available such as walking canes and black patent leather loafers. Now contemporary gentlemen of the upper echelons can party like its 1921 in the dandy styles of the decadently roaring twenties. Gatsby’s iconic pink linen suit was also available, but seems to be sold out as of the publication of this story.
But Brooks Brothers were not the only brand to add their signature look to the film: Miuccia Prada guest-designed forty women’s gowns for the lavish party scenes: extravagant encrusted silk, beading and crystals, and flamboyant headwear. In the interview below, Martin discusses how Prada’s signature style is influenced by the past, yet looks totally of the moment, which is why they asked her to create the flappers’ party dresses. Prada and Martin were able to capture the defiant and carefree attitude of the flapper through their designs.
A bit of background on the flapper should be mentioned as well. The traditional flapper’s attire reflected her disdain for the more conservative values of society, and instead embraced her love of driving cars, drinking, smoking, engaging in casual sex and “petting parties,” and wearing makeup. The flapper was not an intellectual feminist by any stretch of the imagination, and some suffragettes of the time critisized flappers for being “superficial.” The flapper’s clothing and style did pave the way, however, for new aspects of female liberation by asserting that women could enjoy the spoils of society just as men, and with as much vigor.
For Chanel’s current Spring/Summer 2013 haute couture line, designer Karl Lagerfeld envisioned something a bit different than the usual runway show. In a beautiful antique ampitheatre, Lagerfeld creates an enchanted forest for his models to circulate in, dreamily wandering together in reverie.
Black, white, and navy characterize most of the gowns, many in classic Chanel textures or with intricate beadwork. Feathers and Edwardian tones are met with architectural shoulders; layers of tulle, beaded flowers, and lace add to the romantic feel of the collection. Below are three incredible videos showing the collection, and some behind the scenes info with Lagerfeld and the couturiers.
View the whole enchanted forest runway show in HD here: