Monday, February 27, 2012

Oscars Red Carpet 2012——Elton John AIDS Foundation’s Oscar Party

Oh, and we keep forgetting to plug remind you, kittens: we’ll be on Sirius XM Radio’s “Derek & Romaine” show at 8 (on Sirius XM OutQ 108) eastern tonight  to discuss the Oscars fashions. We’re running on caffeine and hope at this point, so be sure to call in (866-305-6887), and hear us babble in response to your no-doubt thoughtful questions.
Paz Vega in Stephane Rolland Couture
Betcha she was brushing crumbs out of that thing all night and had to fight the drunks off from using it as an ashtray.

Sarah Hyland in Collette Dinnigan
 Too mature on someone so young.

Rose McGowan in Paule Ka
Bless her, she always serves it up, old school style. The dress is only so-so, but she’s working it like it’s haute couture.
Malin Akerman in Sportmax
If it didn’t have the weird cleavage guard, we’d like this a lot more.

Mena Suvari in Romona Keveza
 Chicken Lady.

Natasha Henstridge

Neal Patrick Harris and David Burtka

Nina Dobrev in J. Mendel
LOVE. Especially the cutouts at the shoulder. Hair’s a bit of a disappointment.
Anika Noni Rose
Y’know, it’s funny? The last couple of times we saw her on the red carpet, we said, “We just can’t give a ruling on this look until we know whether or not she’s wearing panties.”
That’s not a gown; it’s pasties and a bush cover with delusions of grandeur.

Anna Paquin in Emilio Pucci and Stephen Moyer
He’s still sporting the Lady Miss Clairol look, we see.  Love the dress, but they both look as warm and appealing as a couple of mannequins. Wouldn’t want to be seated at their table.

Chris Colfer
 Standard, mostly well done, needs hemming.

Colton Haynes
Also standard and well done. Oddly, the pants look a little full on him, but that could be the pose.

Gwen Stefani in Zuhair Murad Couture
LOVE IT. Not so much on the Mamie Van Doren hair, though.

Heidi Klum in Atelier Versace

Katy Perry in Blumarine
Hunh. It’s a really pretty dress; elegant, even. But it’s so toned down for her that we’re a little shocked. Don’t love the things on her shoulders, though.

Kelly Osbourne in Georges Hobeika Couture
Darlings, it was the GAYEST party that ever gay-partied! Which means “taste” was NOT a consideration! Let’s all form opinions on the outrageous tackiness on display, shall we?

Oscars Red Carpet 2012——Jessica Chastain in Alexander McQueen

Oscars Red Carpet 2012——Jessica Chastain in Alexander McQueen

Vote Now!
IN! Oh, sweetie! We KNEW you could do it!
OUT! You’re crazy! That’s too much dress for her!

But if there’s one thing the Bitter Kittens like to do, it’s to call us crazy, so we’re turning the final say over to y’all.

Voting on Michelle William’s lampshade and Rooney Mara’s corpse bride dress is still open and waiting for opinions to be loudly expressed, darlings.
We’ve been really hard on Jessica throughout awards season. We have a reason for that. It’s because she’s normally very, very bad at dressing herself.

But we gay-gasped at the sight of her last night. Admittedly, we do think the dress might be wearing her, but it’s so much better than the ill-fitting getups in colors that don’t suit her. In fact, we’re thinking a black-and-gold combo might just be the best for her coloring. She should consider making this her thing. The black works well against her skin and the gold picks up on her hair color. And for once, we have no issues with the hair and makeup. No, girl did alright for herself here. It’s not perfect, but it’s as close to it as she’s ever gotten. We say IN.
We’ve been really hard on Jessica throughout awards season. We have a reason for that. It’s because she’s normally very, very bad at dressing herself.

Oscars Red Carpet 2012——Emma Stone in Giambattista Valli

Ladies, these  colorless dresses might look great in person, but they just don’t photograph that well – especially on pale-skinned blondes. It’s a gorgeous dress and her hair and makeup look great, but we really wish there was some color to be found here.
Hit it!
Emma Stone in Giambattista Valli
Fabulous. LOVED this. One of our picks for Look of the Night.

Glenn Close in Zac Posen
Everything’s fine until you get to the bottom. The color is unusual and looks gorgeous on her and we love the idea of a tuxedo jacket with a gown, but as is usually the case with Zac Posen, way too much shit was thrown at this dress. If you took all that crap off the skirt, the look would improve dramatically.

Jane Seymour
Can’t really argue with that.
Except the matchy purse. We can argue with that.

Julia Ormond in David Meister
Dear GOD. Forget the dress; Sweetie: THAT IS NOT YOUR HAIR.

Kate Mara in Jack Guisso Couture
Pretty dress, but there’s something a little creepily doll-like with the hair and makeup.

Kristen Wiig in J. Mendel
Hair’s too casual, dress is the color of old bras. She’s so cool but she never quite gets it right.

Louise Roe
We thought this made a chic and sharp alternative to the more frivolous gowns on the RC, setting her apart as someone who’s there to do work rather than just get her picture taken. If there’s such a thing as a business-like gown, this is it. Don’t love the pseudo-Leia hair, though.

Natalie Porman in Vintage Christian Dior

Nina Garcia in Jean Paul Gaultier Couture
Spectacular. Nina chica, have you been working out? And by “working out” we mean that in the fashion editor sense of not eating.

Penelope Cruz in Armani Privé
Serving up Spanish Grace Kelly. Absolutely gorgeous color on her.

Berenice Bejo in Elie Saab
A very pretty color, but the proportions are off. The sleeves look heavy and make her arms look thicker and the waist sits too high. Also, the hair was bad.

Busy Philipps in Dolce & Gabbana
An okay dress let down by some poor hairstyling and shitty shoes.

Ellie Kemper in Armani Privé
Very pretty. The color looks great on her. Her booms are way too large. “Booms” are what we call oversized bangs. The ginger behind her is cute.

Sandra Bullock in Marchesa
We wanted to like this, but no. The silhouette is odd and the embellishments feel oddly placed. It looks like a t-shirt over a gown with some frippery hot-glued on to it.

Tina Fey in Carolina Herrera
Fantastic dress. It would have been nice if it was in a color because Tina defaults to the blacks and navys a little too much. It’s the hair we can’t get behind. She’s small and quirky-pretty. Grandiose hair doesn’t suit her any more than grandiose makeup would.

Wendi McLendon-Covey

Darlings, we tweeted for SIX STRAIGHT HOURS last night! And can we just say? If you tweet for 6 straight hours, your sleep cycle gets very staccato and you wind up waking up over and over again. We’re pretty sure that’s because our dreams were all only 140 characters long.

Thursday, February 23, 2012

The trend that started with the Cambridge Satchel Company’s release of four shades of nearly fluorescent bags has not slowed down for a minute

For most, a flash of neon is the quickest way to ease into the trend: Styling with a neutral basic is an elegant option for brightening up any outfit without overwhelming a room. Try pairing, say, gray Stella McCartney pants and a lemon yellow crewneck from Girl by Band of Outsiders to strike the perfect balance. After all, everything is better in moderation.
The trend that started with the Cambridge Satchel Company’s release of four shades of nearly fluorescent bags has not slowed down for a minute. Since these eye-catching bags made their first widespread display during New York Fashion Week— where they graced the arms of nearly every editor and stylist seated in the front row—wearing the ultrabright hues has become a warm-weather must.
And although neons aren’t the easiest colors to work with, that didn’t stop such designers as Peter Som and Rag & Bone from incorporating the fluorescent hues from head to toe.

Stars tend to play it safe and classic on the red carpet

The Romantic: This look was influenced by the spring 2012 runways and has been one of the biggest red-carpet hits so far. Romantic color schemes include dusty roses, pale pinks and creamy browns. Hair is whimsical, in a soft updo or worn down and lightly textured. Examples include Dianna Agron’s updo at the SAG awards, and Jessica Biel and Charlize Theron at the Golden Globes.
The Bombshell: This consists of a smoky eye and a nude (or any range of berry) lip. Hair can be worn down, usually with volume or curls, or in a modern updo or sleek ponytail. Sofia Vergara embodies this look: She’s been seen in all of her bombshell glory at the Producers Guild, Golden Globe and Screen Actors Guild awards. Others who favored the trend include Angelina Jolie and Zoë Saldana at the SAGs, and Salma Hayek at the Golden Globes.
The Classic: Here is is the most glamorous Oscar look. Think Old Hollywood—red lips, thick liner and a bevy of lashes (real, fake or both). Hair is either in a simple updo or a deep part and loose curls à la the screen siren era. Among those who opted for the Classic were Jessica Chastain, who modernized it with a nude lip at the SAG awards; Angelina Jolie at the Golden Globes; and Anne Hathaway at last year’s Oscars. While we haven’t seen the Classic in abundance this awards season, there is no doubt it will have its place on Oscar night.
This year’s awards season has seen its fair share of braids, bold lips and even a brief homage to ’60s hair. But on Oscar night, as hair guru Harry Josh puts it, “stars tend to play it safe and classic on the red carpet.” Keeping that in mind, these looks are bound to dominate this Sunday.

Politically Correct Couture in ChinaFile

Guo is not a very high-profile designer. When I inquired about her style, she told me that, instead of a famous name, what makes her stand out is that she can execute the most complicated designs right in her studio. “Designers in China now do not know manufacturing,” she pointed out, “they all want to be famous. But I am old school, I learned design when there was no design school in China.” Indeed, Guo studied garment design and manufacturing in the early Eighties, when educating designers was all about patternmaking and manufacturing. After graduation, Guo worked for a local manufacturer for 10 years before starting her own business.

“I knew all about manufacturing,” she said, “and my husband taught me about fabrics.” Guo’s husband is a Taiwanese businessman who runs a family textiles business. “When we got engaged,” Guo said, smiling, “he asked me whether I wanted a rock on my finger or 50,000 yards of free fabric. I took the fabric.”

Guo does not have regular fashion shows. “I do fashion shows for myself and the people who work in the studio,” she explained. “My shows might happen once a year or twice in three years. It’s not about seasons.” Her show pieces are Chinese embroidery on steroids; they are so heavy that models probably need to lift weights before trying to carry them down the runway. They are total fantasy, extraordinary in their own way.

Guo’s studio has its own embroidery workshop with more than 300 workers. On top of her office is a huge atelier not only for clothes, but also shoes and headpieces as well as buttons. Rose Studio has a showroom in the fashionable 798 art district and Guo is getting ready to open a bridal shop on the Bund in Shanghai.

“Do you have a dream of dressing China’s first lady one day?” I asked. She smiled but wouldn’t answer directly. “Do you dress her already?” I asked. The answer is the same demure smile that Chinese woman are known for.

“Really, like the way Michelle Obama has put Jason Wu on the radar screen as one of the hottest designers, a Chinese first lady client will do the same for you,” I prodded.

“It’s wrong to think that way,” Guo finally said. “We must think of ourselves as service people; it’s wrong to use the first lady of China to promote myself. It’s not something that’s done here, not in China.”

I was shocked at her political sensibility. She must have dressed quite a number of officials and officials’ wives to develop such a politically correct attitude.

“What happened to Jason Wu only happens in the West. Can you imagine if the Chinese press talked more about a dress than the leader himself?” she mused. “The political clients I have all request that I make something very subdued and not eye-catching. The last thing they want is to outshine their husbands.”

“Is that your secret to success as a couturier?” I asked.

“In a way, “ she said. “I very often have to tell myself, I am just a service person, a seamstress. I don’t think of myself as a designer for some of my clients. I just do what they want and you would be surprised at how much politics there is in a dress.”

As much as this submissive attitude has won Rose Studio A-list clientele, it also nearly ruined the business in 2009. That year, Guo designed quite a few pieces for TV hostesses for the televised New Year Gala. After the show, a wave of Internet postings accused Guo of copying designs by famous fashion houses in Paris. When I asked Guo about this, she sighed and said, “My clients come in with photos and say, ‘Can you make this for me?’ Since then, I have learned from my mistakes.” Guo said despite the public belief that she made a fortune on the gowns, in fact, she has lost money working for CCTV. “They have no budget for costume,” she said. “They just rely on the fact that these hostesses want to look their best and would spend their own money for the gowns. So I cannot charge that much.”

Guo’s prices are below those of the Paris couture. An evening gown is anywhere from 80,000 yuan, or $12,000, upwards. She also makes suits and dresses for female executives. These costs anywhere between 20,000 and 150,000 yuan, or $3,800 to $28,000.

“These are my favorite clients,” Guo said. “They cannot find their sizes in branded stores, so they come to me and I can make them feel beautiful.”

“Why did you choose this place as your office,” I asked. “It’s really hard to find.”

“It’s good to be inconspicuous,” she said. “Who would think that one is ordering a gown worth over 100,000 yuan on the fifth ring road?”

 It’s all geopolitics, I guess.

 If there is Haute Couture in China, it would have to be in the Rose Studio by Guo Pei. But it is nothing like any atelier you have seen in the West.

To start with, Rose Studio does not have a fancy address like Avenue Montaigne. It’s located on the northern outskirts of Beijing in a nondescript three-story office building. There is construction all around — instead of being surrounded by fashionable shops, it’s enveloped by construction cranes and bulldozers. The neighborhood is more like Hoboken, N.J.

Yet, Rose Studio boasts an annual turnover of 50 million yuan, or $8 million, and has a stellar client list of over 500, which is comprised of a Who’s Who of A-list China.

Wednesday, February 22, 2012

Sonam Kapoor of the Burberry Prorsum show on Monday

Mosshart, the lead vocalist for The Kills, has other job-related issues. She said she liked the earsplitting runway soundtrack — a mix of Joan Armatrading, Rae Morris, Marina & the Diamonds and The Cinematic Orchestra. “Nothing’s too loud for me, because I’m totally deaf from constantly being right next to enormous speakers.”
 Bosworth, meanwhile, was cooing over her new sweater: “I was lucky to get this little owl to wear today. Christopher decided it would be perfect for me, and I love the way it peeks out. It’s cheeky,” she said of her long-sleeved crewneck with a blue-eyed owl embroidered on the front.

Meanwhile, Redmayne reflected on his supersized images for the most recent Burberry ad campaign. “I do find it very disconcerting to see myself stretched out on enormous horizontal billboards all over the city. Not that I mind that much, I’m with Cara Delevingne in them, so it’s not all bad.”
ANIMAL ATTRACTION: “It was wistful and classic and I loved all the animals,” said Sonam Kapoor of the Burberry Prorsum show on Monday, where she sat in the front row alongside Kate Bosworth, Alexa Chung, Eddie Redmayne, Jessica Brown Findlay, Clémence Poésy, Jeremy Irvine and Alison Mosshart.

Legendary milliner Stephen Jones tells photographer Graham Smith in new style tome We Can be Heroes

The book's prints will be on display at The Society Club, 12 Ingestre Place, until December 23 2011 - and the book is on sale now priced from £30.
From Billy's and The Blitz, via le Beat Route and Mud Club, to the Dirt Box and the Wag, We Can Be Heroes captures the decades' most creative figures in their "natural habitats" - London's legendary nightclubs.

Smith became well known in the scene and grew close to many of the era's key protagonists - from Boy George, Spandau Ballet and Sade, to Steve Strange and Robert Elms - even creating record sleeves for them.

The book - subtitled Punks, Poseurs, Peacocks and People of a Particular Persuasion London Clubland 1976-84 - chronicles the rise of London's club scene, from punk in the late Seventies to the New Romantics in the Eighties, as seen from an insider's point of view.

"MEETING people like George O'Dowd and Judith Frankland who lived their fashion, I learned more in one year at the Blitz than my three years at Saint Martins," legendary milliner Stephen Jones tells photographer Graham Smith in new style tome We Can be Heroes.

milliner Stephen Jones was diving head first

"You can do something like this but it has to be made in the most perfect way," he summed up.
"New York was really busy this season. I did the hats for Victoria Beckham for the second season and then for Marc Jacobs," said Jones sporting a fantastic flat cap of his own design.

For the Jacobs show, where models took to the catwalk in 60 mushroom-style floppy hats, the work began back in November.


Now back in London and Jones continues to work his magic - doing the hats for Issa London, Giles and Kinder Aggugini, as well as presenting the country's new best millinery talent with Headonism.

"It's [millinery] really exciting. It's the most exciting it's been certainly in my lifetime - people are coming in from all different angles," he said, pointing out the work of William Chambers - currently on show in the Headonism exhibition space at Somerset House - who had used straws to create a  fascinator delight.


"Marc had this idea about the face being surrounded by volume and about beauty. We researched Edwardian shapes and Veronica Lake shapes," explained Jones of how the concept came to life - adding that there was a touch of Jamiroquai's Jay Kay in there also; he in fact designed the singer's hats too.

Meanwhile, for Beckham, the inspiration came from a little closer to home.

"I've known Victoria for a long time and she's great to work with. With the hats for her show, there's a reality to them. We said let's do one like David's hats and we borrowed one of his and then put a peak on it," he told us.
JUST back from New York last Wednesday, and milliner Stephen Jones was diving head first - if you'll pardon the pun - into London Fashion Week to launch Headonism, the British Fashion Council initiative he curated to support and showcase new millinery talent.

Monday, February 20, 2012

Mulberry's takeover gave the likes of Michelle Williams and Elizabeth Olsen a reason to party at a place where the fairer sex is only allowed in after six

The opposite was the case over at Vivienne Westwood's after-party at The Box, where you couldn't make out anything Damien Hirst was saying to his host, Francesca Hammerstein, even if the two of them were sitting right next to you. Florence Welch cheered exuberantly for the club's hopped-up burlesque—a slightly more conservative version, it should be noted, than in New York—from her table near the stage. In the back, meanwhile, Westwood shook her head in disbelief as two young gentlemen performed extraordinary feats of strength and balance in their underwear. Wild things, indeed.
Mulberry's takeover gave the likes of Michelle Williams and Elizabeth Olsen a reason to party at a place where the fairer sex is only allowed in after six. During her team's initial walk-through, Hill recalled, "we were probably the youngest people by about 40 years." (One member interpreted Hill's workaday outfit of tights and denim to mean she was a gymnast.) Then again, this is the first time the brand has put its show on the official London fashion week calendar—maybe, in a way, Mulberry is ready to join the establishment.
There were beauties and beasts at Mulberry yesterday, not to mention some very clever party planning. Having organized their post-show soirée at the Savile Club just a few doors down from Claridge's, site of the label's runway show, creative director Emma Hill and co. cannily repurposed the morning's stage dressings, placing bunches of padlock-shaped gold balloons in various nooks and throwing hairy goatskins (a nod to the Fall collection's Where the Wild Things Are vibe) over leather couches.
Alexa Chung lingered at the raw bar downstairs as guests were summoned up to dinner, declaring the oyster shucker's chain-mail glove "a good look." Michelle Dockery, somehow looking even more luminous than she does on Downton Abbey, stumbled on the grand staircase as a photographer's flash went off. "Delete that," she half-joked. Happily, Lana Del Rey made no missteps during her after-dinner concert. Hill, recalling the time the trending songstress (and namesake of Mulberry's latest bag) performed for the brand in Los Angeles, enumerated what might be Del Rey's most impressive trait: "the ability to silence 40 editors." This time, too, you could have heard a pin drop the moment she took the stage.

Magic, Models, And More Eveningwear At Stella McCartney's London Presentation

“Something big” it was, indeed. And thrilling and surprising. Even Simon Le Bon had no idea what his wife was about to do. It was all a remarkable testament to timing, pluck—and the remarkably pliable properties of Stella’s eveningwear.
Suddenly, there was an almighty shriek from a nearby table, where it seemed like a scrap had broken out between a guest and a waiter. Then Led Zeppelin’s “Immigrant Song” came walloping over the sound system, and all hell broke loose. Models, waiters, and Shailene Woodley flew hither and yon in a breathtakingly tight dance routine choreographed (in 24 hours, apparently) by Blanca Li, a fierce-looking but funny Spanish woman who was sitting at my table quietly chatting with Pedro Almodóvar’s costume designer Paco Delgado one minute and whirling through space like a dervish the next. But in amidst the physical frenzy, there was the elegantly precarious image of Shalom, Amber, and Yasmin parading around the room on catwalks improvised from chairs placed under each foot as they took a step.

After guests chomped through a veg feast of five small but perfectly formed courses, Dutch illusionist Hans Klok, World’s Fastest Magician, took to the stage. He laid a hypnotized Alexa Chung across three huge scimitars and left her essentially floating in mid-air, balanced on the sword on which her head rested. Trance state or not, she claimed she could still feel the point of the blade an hour later. Childlike glee is always my default position with magic tricks, but surely this was not the “something big.”

The crowd—including Rihanna, Kate Moss and Jamie Hince, Mario Testino, Juergen Teller, the Le Bons, the Driver sisters, Stella Tennant, Bianca Jagger, and belle of the ball, Shailene Woodley—was well seeded with models in Stella dresses. Not, they insisted, the clothes we had come to see. “We’re just guests,” said Kinga Rajzak, dazzling in a black sheath with a white contoured effect. She was one of the new guard of girls on hand. Shalom Harlow, Amber Valletta, Yasmin Le Bon, and Anouck Lepère were also wearing Stella gowns, ranging from variants on the contouring to marble-printed bubble dresses to confections spun from vibrant orange or electric blue lace. Lucie de la Falaise brought daughter Ella on her first big fashion night out. Appropriate, then, that they’d be staying over at godmother Moss’ London pad.

“I wanted to show English humor and irreverence,” said Stella McCartney, so demure that butter wouldn’t melt in her mouth, even though, minutes before, she’d proved that unleashing mass hysteria in an audience is a talent that clearly runs in the family. To launch her exclusive London Evening collection for Fall 2012 (slideshow here), McCartney threw a black-tie bash at One Mayfair, a soaring neoclassical space that used to be the church where Led Zeppelin played its first London gig in 1968. At the beginning of the evening, when show producer Sam Gainsbury cryptically promised “something big,” there was a millisecond or so when I imagined a Led Zep reformation. One could but dream. Father Paul in a reprise of his Grammy performance? That, at least, would be easier to swing.

A Discussion With Coiffure’s Reigning Fine Artist, Bob Recine -“The Alchemy Of Beauty”

Where do you derive most of your influence?

My biggest influences are really being able to combine cultures—not only cultures, but science. I’m really fascinated by building. When we talk about hair, we constrain ourselves. We say we use hair spray, we use gel, but I think you need to look outwards to make the inward advance. When people ask me what inspires me, I really can’t think of anything that doesn’t . A little girl and the way she wears her pigtails, a bum on the street and the way he wears his hat—it’s an anthropological equation.

I’ve always been fascinated by the way that you’re able to slip in and out of red-carpet hair and more avant-garde editorial looks. Are you more satisfied by one versus the other?

I can’t really differentiate between the two and that really is the crux of my book. When I told people a few years ago that I was doing a book, they said, “Oh, is it going to be celebrities?” But I’ve never been typical in my field and I relish in that a little bit. I don’t really have different hats—it’s all the same thing for me. I don’t take my cues from old books, or old references. I prefer to be alive at the zenith of the moment of now—I’m a modern builder in that sense. A creator, a hairdresser—it’s all the same thing.

Where did your initial interest in beauty come from?

All I can tell you is that ever since I was a child, I was completely fascinated with beauty in all its forms. That was my attraction to becoming a hairdresser, to fashion—being fascinated by the creative act of adornment. You know, through history people have always adorned themselves, and I’ve always been into the sorcery and power of what that means. For a person who they say is a “beauty expert,” I see it differently in a way. I have to tell you that [beauty] comes in many forms and its importance is how it’s utilized in the moment. That’s my perception and infatuation with beauty.

How did you and Gaga wind up as collaborators and friends?

At this stage in my career, I feel like people are looking in a weird way to collaborate. I think Gaga’s interest in me is that I’m inventive—I’m not afraid to take chances. When I go to work with her, it’s like, “Show me what you’ve you got. What have you brought for me.” It’s more of a learning process. She brings ideas too. When it comes down to it, I have to come up with an idea about what we’re about to empower.

Do you have a room or a storage space dedicated to saving some of the more elaborate hair sculptures you’ve created?

A warehouse is more like it! There are a lot of things I try to hang on to—the most important things.

Like what?

I made this amazing headdress that works with hooks. It was basically my concept of plastic surgery. Mario Sorrenti was dying to shoot it for some publication. It ran in French Vogue. Those kinds of things I like to hang on to because they have a lot more meaning. And the safety pin headdresses that I’ve made are important enough for me to hang on to for a bit. And they take an enormous amount of work. The main piece of the show [at the Hole gallery]—which is a lifesize model of a woman made out of safety pins—took about eight months to make.

Have you done anything recently that is worthy of the “Warehouse”?

Did you see my windows that I did for Barneys?! They stole the show form Gaga—and she knew it. It was really something to behold to stand in front of them. Gaga was like, “You know what Bob, your thing was hands down the most incredible thing here.” One of the best compliments I got was from [the hairdresser] Christiaan. He sent me a text that said, “Bob, I’m standing in front of your fucking window at Barneys and it’s one of the most amazing things I’ve ever seen.” I wrote him back immediately and said, “Coming from you, that’s a huge compliment.”
Bob Recine is a beauty visionary if ever there was one. A well-established hairdresser who is equally comfortable crafting demure runway looks backstage at Jill Stuart and prepping Gwyneth Paltrow and Charlize Theron for the red carpet as he is constructing elaborate headpieces for Lady Gaga, Recine is a master of many mediums—all of which he frequently brings into his unique approach to coiffure. “I see it differently,” Recine says of the generally held views of hairdressing, which tend to have a small vocabulary as far as creative experimentation is concerned. A talented illustrator, sculptor, and occasional shutterbug, Recine refuses to be confined to scissors and combs—a fact that can readily be seen in his vast body of work that has, for the first time, been collected into a new book. Bob Recine: The Alchemy of Beauty (Freedman/Damiani; 2011) hits shelves next month and features a selection of Recine’s favorite editorial collaborations with photographer Mario Sorrenti as well as choice Polaroids, paintings, and construction projects that he has undertaken over the years. “I’ve never been typical in my field and I relish in that a little bit,” he says.

Tonight, New York’s The Hole gallery will premiere a three-day beauty pop-up exhibition dedicated to Recine’s new tome and curated by Jacqueline Miro, and we’ve got an exclusive sneak peak of some of the works that will be on display right here. Below, Recine—a self-proclaimed “modern builder”—reflects on his illustrious career, which hit a high note a few months ago when he had a chance to “[steal] the show” from Lady Gaga.
—Celia Ellenberg

Sunday, February 19, 2012

BEATLES Comme des Garcons apple shirts

Japanese designer sichuan long the ling (COMME des GARCONS), 2011 and music history great orchestra Beatles cooperation, put out a series of work, the more recent release this commodity: apple shirt, will represent the Beatles apple design, clever design into shirt decorative pattern, collocation when GongGe grain printing building and into, can now store in the UK compound Dover Street Market purchase.