Martin Grant photos spring 2015

Discussing Fashion Weeks,celebrities and designers who design- All with Jeffrey Felner

Martin Grant photos spring 2015

Martin Grant  backstage photo spring 2015

There is something deeply ethical with Jeffrey Felner speaking the truth about a fashion crime,while other reviewers enthusiastically call it ”concept”.He is old enough to know that fashion has rules and young enough to defend them in public via his Blogspot account or his placement at New York’s Examiner.Some people have a lot to learn by carefully reading his reviews,trust me..

How do you see NYFW in relation with what was before?
Once upon a time there was such a thing as market weeks which were when stores buyers and press converged on the city in order to see shows and do their buying. The so called “couture” collections such as Beene and Blass and Oscar were part of that top tier of fashion. Collections were exactly that… collections that were emblematic of each designer and not about the latest trned or the trickiest clothes

Designers tend to employ celebrities for publicity reasons, take the Balmain/KK case. What do you think?
I remain steadfast in my belief that front rows are just a load of bull. Clothes sell in stores and not from front rows. Most people neglect to realize that so much of who sits in the front row has either been given the clothes or paid to sit through the show. Who sits in the front row doesn’t add or subtract from the horror or the beauty of a collection.

Name a few designers you feel they’ve got real talent but are underestimated.
Martin Grant, LOYD / FORD, Norman Ambrose, Michael Boris, Georgine, Massimiliano Giornetti and those just come to mind first….

Do you think that Anna Wintour has played a major role in how fashion is perceived today?
I think that AW has changed fashion in ways that might never be altered. She has turned Vogue into a freak show and nothing more than an advertising catalog for big brands. She has played and used designers and celebrities to boost HER bottom line. She has been instrumental is the hiring of ill equipped designers to helm major fashion brands and so yes she has possibly changed the complexion of fashion irreparably.



(Jeffrey Felner


Chanel:Mademoiselle Privé exhibition at the Saatchi Gallery


Mademoiselle Privé, a journey through the origins of CHANEL’s creations capturing the charismatic personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfeld.

This autumn, Karl Lagerfeld and CHANEL will present an enchanted journey through the House’s creativity. The “Mademoiselle Privé” exhibition will highlight the Haute Couture, the re-editions of the High Jewellery “Bijoux de Diamants” collection created in 1932 and CHANEL N°5. Opening the doors to reveal a dazzling experience and immersion into the origins of CHANEL’s creations, “Mademoiselle Privé” will capture the charismatic personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfeld.

For Mademoiselle Privé, Karl Lagerfeld photographed portraits of celebrities. The photo shoot gathered Kristen Stewart, Lily-Rose Depp, Vanessa Paradis, Keira Knightley, Stella Tennant and Julianne Moore, interviewed for this occasion.

Installed on all three floors of the Gallery, the enticing adventure will bring to mind the House’s essential elements: audacity, freedom and innovation whether it is the history of Gabrielle Chanel’s inspirations or Karl Lagerfeld’s inimitable take on CHANEL’s codes, symbols and icons.





~MADEMOISELLE PRIVÉ: the “BIJOUX DE DIAMANTS” collection worn by celebrities – CHANEL~


Cristobal Balenciaga -” His life,his work,his heritage.”


A true fashion innovator, Cristobal Balenciaga radically altered the fashionable silhouette of women in the mid-twentieth century. With the methodical skill of an expert tailor, he created garments of fluidity and grace. Unlike many couturiers, Balenciaga was able to drape, cut, and fit his own muslin patterns, known as toiles. He was respected throughout the fashion world for both his knowledge of technique and construction, and his unflinching perfectionism.

Balenciaga was born in the small fishing village of Guetaria in the Basque region of Spain on January 21, 1895. From his early years, he spent many hours by his mother’s side as she worked as a seamstress. In his teens, the most prominent woman of his town, the Marquesa de Casa Torres, became his patron and client, sending him to Madrid for formal training in tailoring and proudly wearing the results. Balenciaga found early success in his native country. He opened branches of his boutique Eisa in Madrid, Barcelona, and the fashionable seaside resort of San Sebastián. His designs were favored by the Spanish royal family and fashionable members of the aristocracy. When the Spanish Civil Warforced the closure of his boutiques, Balenciaga moved his operation to Paris, the acknowledged fashion capital of the world. There the talented designer joined the ranks of Coco Chanel, Elsa Schiaparelli, and Mainbocher, among other established couturiers. In August 1937, Balenciaga staged his first runway show at his Avenue George V atelier, showing a collection that was heavily influenced by the Spanish Renaissance. Balenciaga interpreted numerous historical styles throughout his career. His “Infanta” gown was inspired by the costumes of the young Spanish princesses from portraits by Diego Velázquez, while the short, heavily ornamented “jacket of light” traditionally worn by toreadors in the bullfighting ring inspired much of his evening wear.

By 1939, Balenciaga was being praised in the French press as a revolutionizing force in fashion, with buyers and customers fighting to gain access to his collection. During World War II, clients risked travel to Europe for Balenciaga’s designs, especially his celebrated square coat—in which the sleeve was cut in one piece with the yoke—and anything shown in his unique color combination of black and brown or black lace over bright pink. In the postwar years, Balenciaga’s designs became streamlined and linear. The clothing he created was different than the popular, curvy hourglass shape that Christian Dior promoted with his New Look. Balenciaga favored fluid lines that allowed him to alter the way clothing related to a woman’s body. Waistlines were dropped, then raised, independent of the wearer’s natural waistline. In 1953, he introduced the balloon jacket, an elegant sphere that encased the upper body and provided a pedestal for the wearer’s head.

In 1957 came the creation of his high-waisted baby doll dress, the gracefully draped cocoon coat, and the balloon skirt, shown as a single pouf or doubled, one pouf on top of the other. Neither the sack dress, introduced in 1957, nor the chemise of 1958 had a discernible waist, but both were considered universally flattering and were copied by a large number of ready-to-wear manufacturers at every price range. With these design innovations, Balenciaga achieved what is considered to be his most important contribution to the world of fashion: a new silhouette for women.

Throughout the 1960s, Balenciaga continued showing collections of unparalleled technique and beauty. His innovative use of fabric—he liked bold materials, heavy cloths, and ornate embroideries—led him to work with the Swiss fabric house of Abraham. Together they developed silk gazar, a stiffer version of the pliable fabric that Balenciaga used in suits, day dresses, and evening wear. Loyal clients such as the Duchess of Windsor, Pauline de Rothschild, and Gloria Guinness continued to appreciate the discreet but important touches he provided in his clothing: collars that stood away from the collarbone to give a swanlike appearance and the shortened (seven-eighths-length) bracelet sleeve, so called because it enabled the wearer to better flaunt her jewelry. When the Balenciaga salon closed in 1968, the occasion marked the end of the career of a great artist whose influence is still being felt in the twenty-first century. The modern look that he created has been sustained by André Courrèges and Emanuel Ungaro, who both apprenticed at his atelier, and by Hubert de Givenchy, among others. Balenciaga died on March 24, 1972, at home in his beloved Spain. A longtime client offered a fitting epitaph: “Women did not have to be perfect or even beautiful to wear his clothes. His clothes made them beautiful.”

(Courtesy of Beth Duncuff Charleston,
The Costume Institute, The Metropolitan Museum of Art)


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Palais Galliera pays tribute to Jeanne Lanvin-a must see exhibition


Discover or rediscover the unrivaled story, the legacy and the name that ignites desire in the hearts of many at the new Lanvin exhibition at the Paris museum of fashion. Curated by Alber Elbaz, the retrospective in Paris will be on show from March 8 to August 23 2015, creating a narrative of the designer’s unparalleled career through more than 100 vintage pieces.

The house founded in 1889, is now the oldest in France and the spirit of its founder, Jeanne Lanvin, is still very much present today. Showing pieces renowned for their delicate embroidery, sensual translucence and precious crystals that made the house synonymous with sophistication and elegance, the exhibition gives pride of place to the most intricate, hand-crafted pieces from the legendary atelier of 22 Faubourg Saint-Honoré. Predominantly inspired by her daughter and muse, Marguerite, the partnership is so etched into the heart of the fashion house that the logo, designed in 1922 by Paul Iribe, represents the mother and daughter. From March 8 next year, Alber Elbaz, Creative Director of Lanvin since 1998, will display the charming Lanvin legacy at the Palais Galliera. From the Les Petites Filles Modèles collection to the rhinestone and sequin embroidered evening gowns and the floral dresses, the Jeanne Lanvin exhibition in Paris, will exhibit the designer’s most representative designs. More than 100 pieces blending Art Déco and 18th Century French Classicism will form a narrative of the very first moments of the oldest couture house of France.


Pink silk crepe Alcmène evening outfit with rhinestone embroidery, 1929, Palais Galliera Collection © Katerina Jebb, 2014


Colombine dress from the Lanvin Fall/Winter 1924-1925 collection, with silk taffeta silk velour patches, pearl and metallic thread embroidery and silk velour bow, Palais Galliera Collection © Katerina Jebb, 2014


Les petites filles modèles children’s dress, with Organdy and lace rosettes, 1925 Lanvin Estate © Katerina Jebb, 2014


Absinthe green silk and satin Lesbos evening dress, with sparkling pearl belts, 1925 Lanvin Estate © Katerina Jebb, 2014

The “Jeanne Lanvin” exhibition at the Palais Galliera, from March 8 to August 23 2015

Chanel RTW Spring 2016- ”Fly me to the moon”

Chanel RTW Spring 2016

Another fashion season,another review of Chanel that’s ending with that sense of wonder:how can Karl be be so extremely talented,creative and yet design clothes that sell like crazy?Chanel RTW Spring 2016 was no exception,with Karl actually creating an airport lounge with no apparel cacophonies,just stylish travelers. The diversity of clothes presented was great yet consistent with the whole fly-by theme,after all its Karl that has creativity under his sleeve.The looks and materials  were modern enough,Think that he used tweeds as embroideries on suits that,avoiding buttons-so Chanel yet so  modern.

The palette of red, white and blue was typical for an airport-related company but wasn’t only that.Karl’s inspiration produced excellent printed dresses over loose pants,sparkling pieces and cashmere sweaters over tulle skirts.It’s the shoes i didn’t like much but i suppose what else can you actually wear while waiting to be on board? Lagerfeld is teaching fashion and all the Hedis of the industry must stop and take notes. Applause.

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