John Galliano's full hour-long interview with Charlie Rose taped yesterday, and is already up online. Rose prefaced the conversation by playing the video that cost Galliano his job at Dior and sent him into rehab — it showed the designer going on a drunken, racist and anti-Semitic tirade late at night at a Paris cafe. The interviewer noted that he was asked to do the interview (as we learned this week, it was at the request of Rose's good friend, Oscar de la Renta), before explaining his approach and condemning, in strong terms, Galliano's original remarks:
"We talk to John Galliano tonight about what made a man of his distinction, in a moment of fury, use some of the most vile, anti-Semitic, racist language one could use. How does one go from the top to the bottom by one's own actions. And what does it take to recover, personally. This conversation is not about rehabilitation or persecution, it is understanding why. It is about accountability and responsibility. It is about great creativity and troubling addiction. And it is about John Galliano, who came from Gibraltar to London to Paris to New York and he took over the world of fashion, only to fall at his own hand."
Rose pressed Galliano on the subjects of addiction, atonement and his downward spiral.
When asked if his creativity was somehow tied to mental instablity and subsequent addiction, Galliano answered in the negative:
"In the early days, I was incredibly creative and productive. I loved the research trips, I loved the creation, finding technical solutions to creative challenges. I didn't need alcohol and the pills for that."
"What changed was … I was afraid to say 'No,' that little word, N-O, because I thought it showed weakness. And with more and more success, I would just say 'Yes' and take more work on. Which took its toll."
Which is why you're sitting here today, explaining the fall.
"'Explaining the fall'… I am so grateful that I am alive, not for what happened but as a result of what happened, I have been able to spend some time on myself, understand these emotions that I couldn't express. The difference between emotions and feelings and how I could change that. Before I would be upset or angry and it would go on for four days or five days. And now I know, I can change that. …
I was emotionally, spiritually, physically, mentally bankrupt. I didn't know it, but I had a very big breakdown."
How did Galliano feel when he heard about Alexander McQueen's suicide?
"I knew Alexander. I knew Lee. I understood."
What did you understand?
"That loneliness. That pain. As addicts, we're in such a perfection, we're setting the bar impossibly high. And people are like, 'Wow, how are you going to top that?' And we're like, 'Well yeah. we're going to, don't worry.' [Unclear] I was very sad."
Towards the end of the video, Rose asked Galliano to address his remarks directly, and apologize for them:
You recognize that what you said was hateful, vile, anti-Semitic. You do?
And you apologize to everybody. For the sight of those words, for the sound of those words?
"I do. I apologize and I am trying to make amends. In the best way that I can."
Later on, Rose asks Galliano for some final words:
What do you want people to understand about you today?
"I'm not an anti-semite and I'm not a racist. I know that."
“Holy unflattering hell!” burst out mistress_f when commenting on the new Givenchy Resort 2014 collection and went on to describe it so fittingly as "a mess." She wondered, “What's with those proportions and shiny fabrics?” Indeed, what is with those proportions and the shiny fabrics and who can wear this? For the nth season in a row we get the Givenchy Pre-Collection presented in a lookbook shot against — or rather, photoshopped into – a street background, signaling exactly what this collection is about: it’s fashionista street style galore. Floral prints, lace panels, peep-toe boots… you name it. Not even the beautiful models in the lookbook can save this. Recycling prints from previous collections, Tisci has splattered them onto oddly shaped dresses and paired those with oversized pants, while also throwing romantic white dresses into the mix.
“I really hate how Riccardo [Tisci] is bringing the florals from his last collection into menswear and NOW into his resort collection… Can we not get something fresh like the old Givenchy?” asked Greenway.
“Ughhh, what a Hideous collection, Riccardo has become the biggest one trick pony in the business. And it looks like Pre-Fall,” wrote Riseup.
And more harsh criticism came from VogueDisciple93 who declared the collection as being “just awful.” He added, “And if this was shot in a studio or in front of a live volcano the clothes wouldn't look any more interesting or less vile. Riccardo, you've grown lazy and your tactics are long tired and need to be taken out back and put down.”
It seems as though tFS forum members are growing tired of Riccardo Tisci’s celebrity and street style-centric collections and I can’t blame them. White lace pants that would be more suited for a Marchesa collection and weird, brightly-colored pattern clashing is not what made us fall in love with Tisci’s Givenchy. There was the dark romanticism, the intriguing ethno-vibe, the flattering and feminine dresses. None of which has found its way into this or other recent Givenchy collections. TFSers are disappointed with what direction Tisci is going into and it is not difficult to see why. When will we next see a Givenchy collection that doesn’t rely on trendy Rottweiler and Bambi prints and lace panel maxi skirts? Pre-Fall collections are nota bene not always a good indicator for what to expect from the main collection, so here is hoping the creative genius in Tisci strikes back with the next Spring 2014 collection!
Following the release of a heartfelt interview with Vanity Fair, Camp John Galliano is ramping up their publicity efforts, under the leadership of the former Dior designer's publicist, Liz Rosenberg (famous for her work representing another polarizing figure, Madonna).
Another powerful fashion figure is now publicly backing Galliano and his career recovery efforts. Jonathan Newhouse, chairman and CEO of Conde Nast International (publisher of titles like Vogue Paris), conducted a short and sweet interview with Vogue UK, declaring his support for the designer. (The interview is titled "Friends in High Places," a ballsy way of packaging a post about your boss.)
The publisher recounts how his "relationship [with Galliano] deepened and became a friendship" following the scandal which cost the designer his job and pushed him into rehab.
"I gave him books about the Holocaust and Jewish history and opened some doors to the Jewish community. I introduced him to Jewish leaders and a rabbi, Rabbi Barry Marcus from Central Synagogue, with whom he established a dialogue. We even attended synagogue together. I have tried to be a kind of guide and a source of support. I believe in John.
He is an enormous talent who lives to create, and the best thing would be for him to start making fashion again. I would love to see him come back."
Following yesterday's news that Isabel Marant, a perennial victim of high street copying, is creating a capsule collection for H&M, here's another jarring fashion collaboration: The Paris Review, the beloved New York literary journal, is commemorating its 60th anniversary by partnering with Orlebar Brown on a limited-edition range of swimming trunks available exclusively at Barneys. (The British swimwear label has previously collaborated with Monocle, the globetrotting lifestyle magazine.)
The swim trunks (pictured right) feature iconic Paris Review cover illustrations and retail for $320, eight times the price of a one-year subscription to the quarterly publication.
With a circulation of just 16,000 (as of 2010), it's not surprising that The Paris Review would want to subsidize its operations and promote the magazine to a much sought-after market (boys with a $320 look-literary-at-the-beach budget), but still. I'm not sure that The Paris Review can be both one of the last remaining bastions of a once-vibrant American literary culture and a heritage brand.
Casting a seemingly random bunch of actors, young and old, rising stars and legends, has been the successful formula for the last two Prada Menswear campaigns shot by David Sims. And why change the winning formula when there are so many awesome actors that have yet to get their spot in a Prada campaign? Miucca Prada seems to agree that there is no need to throw over that concept and chose yet another group of edgy actors to represent the brand in the new Fall 2013 campaign, described on the Prada Facebook page as being “inspired by the irreverent world of 60s New Wave cinema" and starring Christoph Waltz, Ben Whishaw and Ezra Miller. The campaign was met with praise and a plethora of superlatives on the tFS forums.
“OH MY GOD IT IS PERFECT IN EVERY WAY I AM SCREAMING! The flawless cast, the perfect mood, the amazing styling, the great photography… I AM SO HAPPY WITH THIS! Cannot wait to see Ben's shots in print! Ah, it's making my day!,” exclaimed an excited Thefrenchy.
kokobombon agreed, “[In my opinion] there´s not a single thing out of place here. Great cast and styling, beautiful color palette and set, everything is perfect!”
“I admire the simplicity and understated faces, which is always very Prada,” wrote vogue28.
And HeatherAnne added, “Love how all of these guys have such different appeals, and come together so harmoniously. Hits all their target markets too, so great job by Prada. It really is perfect, and timeless.”
LoveKatFashion called it “one of her favorite Prada campaigns ever” and emilylin went as far as saying it was “the best menswear ad ever!!”
Even without being familiar with the two younger actors in this campaign I have to admit that the cast for this campaign is sublime. You look at the images and don’t even question why these guys are in a Prada campaign, they seem like a natural fit for the Prada menswear aesthetic. But is it really the best Prada menswear campaign? Let us not forgot the hauntingly beautiful Prada menswear campaigns from the late 90s, shot by Glen Luchford. Or the moody campaigns from the mid-00s that were lensed by Hedi Slimane. Regardless of whether it really is the best Prada menswear campaign yet or whether it is just one more chapter being added to Prada’s history of stunning menswear campaigns, this is definitely another hit for Prada!
The Council of Fashion Designers of America is aimed at promoting the work of our industry friends in, as the name suggests, America. But the CFDA’s annual glossy is repping two bright young Aussies hard.
Each year the CFDA produces a print mag called the CFDA journal to showcase the work of all the award nominees. Trey Laird has art directed it for the last six years and has always wanted to create it with photographer Peter Lindbergh. So this year he did as creatives do and made it happen: And when that happened 150 pages of magic happened, with Julia Nobis and Ruby Jean Wilson helming a good many of them. With names like Erin Wasson, Sasha Pivovarova and Kristen McMenamy in tow, they’re in pretty enviable company too.
The black and white photographs were presented in New York last week. “Peter and I wanted it to be like a running impression, almost like sketches, to show the mood and the feeling of each designer’s collection that they’re nominated for,” Laird told The Cut.
He also specifically paired models and designers based on their working relationships, which is a testament to the massive US pulling power of Nobis and Wilson. Not that anyone was in doubt that they already had it: Ruby has long been Marc Jacobs’ girl, and Julia and Proenza go waaaay back. Dad should be proud.