This spring, Issue 16 is a study in shedding the weighty debris of expectation, and forging your own identity, under whatever guise that may take. From the renunciation of labels with model Lulu Bonfils, to redefining femininity with the creators behind MoreMuhler, and reclaiming pink with musician GIRLI, we celebrate womanhood without limits. Similarly, we discover how family is at the core of the work done by 90-year-old artist Betye Saar, and those sentiments are echoed by fashion designer Molly Goddard, who we shadowed for a day. Elsewhere, Chanel’s hyper real version of beauty is played with, and Louis Vuitton’s artistic vision for SS17 is realised. Photographer Dexter Navy experiments with the perception of future super Jean Campbell, and posing greats Erin O’Connor and Guinevere Van Seenus make the lens their own again. Twin also delves into the world of all-girl skate culture and friendship, while director Crystal Moselle and BFF Danielle Levitt discuss the red-hot power of teenagers with passion. It’s a riot.
Chanel’s Huile De Jasmin is a beauty oil originally designed by Mademoiselle Coco Chanel herself in 1927, and has been re-released on the 90th anniversary of its launch this year. An indulgent and beautifully simple oil, it was created to aid facial massage and to smooth and protect the skin, but also presumably – judging by the delicate quality of the scent – meant as a sensorial indulgence and taste of accessible everyday luxury, then as much as it is now.
Unlike its modern-day skincare contemporaries, the oil is composed of almost entirely naturally derived ingredients (no synthetic additives or fillers), including a jasmine extract cultivated exclusively for Chanel in the fields of the perfume capital of the world – Grasse in France. The blend of natural actives and fine, non-greasy oils (including camellia, limnathes alba and jojoba) have a revitalizing effect on the skin, and work to bring a subtle radiance to all skin types… A unique approach to skincare, the product is synonymous with Chanel’s vision for modern femininity: refined and indulgent, but fuss-free – strikingly as in step with the forward thinking woman of today as it was in 1927.
We’re happy to admit a certain fascination with Lily-Rose Depp, the face of the new makeup campaign for Chanel’s ROUGE COCO GLOSS, following on from her N°5 L’EAU perfume campaign debut for the brand last year.
Not many can claim a pedigree such as hers; the child of actors Johnny Depp and Vanessa Paradis, Lily-Rose is a name to know now, and not just due to her illustrious parentage and remarkable beauty (though if there is such a thing as the Genetic Lottery, this girl has the winning ticket). Having won awards for her turn as dancer Isadora Duncan in Les Danseuse last year and now enjoying the much-coveted gig with Chanel, the alluring Depp lives a thoroughly charmed life it would seem… and all at the tender age of 17.
Taking the reins at Chanel from her much-celebrated maman – who’s also been a face of the iconic brand since the 90s – it’s clear that beauty is a family affair with these two: the resemblance is more than just fleeting, making Depp an inspired choice for reaching the heritage fashion house’s younger buyers, while Paradis resonates with the more established Chanel market. Depp lends Chanel Beauty something modern, insouciant and of course, quintessentially French: watch this face.
Meet Rianne Van Rompaey, the new face of Chanel Le Rogue ‘Crayon de Couleur’. The Dutch beauty has become a regular fixture on the luxury sartorial circuit, fronting campaigns for Louis Vuitton, Prada and Coach, walking for McQueen and gracing the cover and insides of a slew of international fashion publications. She was also nominated for Model of the Year in 2016 – not a bad list of accolades for a 21 year old.
The flame haired model has enjoyed a close relationship with Chanel, featuring in their catwalk shows as well as other beauty commercials. However this most recent partnership seems especially well suited, not only for the harmonious colouring of rogue and red, but also for their playful character and characteristics respectively.
At a time when beauty has never been so mesmerically unconventional, this is without a doubt the kind of campaign to fall in love with, and the kind of make-up we want now.
For Issue 15 it’s all about the pursuit of the personal, and deconstructing the concept of perfection. Photographer Thomas Giddings turns his lens on the kids of Amsterdam in homage to the Dutch Masters, while fearless artist Rachel Maclean presents the unashamed power of pink. We see Dree Hemingway cavorting with Chanel’s Cruise 2017 collection in Upstate New York, and explore the fluidity of gender in modern-day Tel Aviv. Yves Saint Laurent presents a study in beauty through the ages, artfully reworked to be the very definition of now, and we meet LA-based model-turned-musician Kacy Hill, who has recently caught the eye of Kanye West. In addition to this, Francesca Gavin takes us on a visceral MDMA trip with artist Geoffrey Farmer, and we sit down with Jane Moseley, the sex-boot wearing model who piqued Demna Gvasalia’s interest.
Twin’s latest edition explores beauty’s new easy, breezy mood. So Fresh, So Clean sees photographer Liz Collins capture a whirlwind series of aesthetic incarnations, created together with make-up artist Niamh Quinn, exclusively using CHANEL. The message here is clear: One look no longer fits all. Whether you play with bold colour, bravely go bare faced or opt for an all-over glow, nothing says modern beauty like being true to yourself. Take a look, here.
This dramatic short from director Trevor Undi beautifully documents the last two years of the House of Chanel. With an orchestral score composed by Gabriel Yared, the film showcases intimate behind the scenes footage with many a famous face. It revisits memorable campaigns, international events and spectacular archival footage from Karl Lagerfeld’s design house reminding us just how significant Coco’s legacy remains.
Karl Lagerfeld, fashion innovator – and psychic? In light of current events, the Chanel fashion show on Tuesday was even more on point than usual. The Boulevard Chanel, constructed down to the very last detail including puddles and panes of glass, was the elegant backdrop to a revolution. Of course, Lagerfeld actually conceived the idea for the latest show many months ago, taking France’s love for la revolution as inspiration.
Distinct parallels can be seen with the infamous manifestations of Mai 68. Back then, the smell of both personal and political freedom was in the air, which Lagerfeld translated into his clothing for his SS15 collection. The catwalk was a riot of colour and print, with 60s and 70s style separates dominating the silhouette. The collection was not tied down to a single colour, pattern nor shape, celebrating our precious liberty and independence to choose. No doubt the feminist movement of Mai 68 would approve.
KNITWEAR Chanel to Westwood celebrates the evolution of woollen garments this autumn at The Fashion and Textile Museum. With over 150 pieces on display, the exhibition features rare crocheted evening dresses, original faire isle jumpers and 1930’s swimwear, from the collection of Mark and Cleo Butterfield. Not only will you find designs from Rei Kawakubo for Comme des Garcon, Julien McDonald, Ossie Clark and Mary Quant, but you will also see the technical innovations taken place throughout the ages.
Accompanying the showcase is Visionary Knitwear, a look at contemporary fashion clothing from established and graduate designsers. Sandy Black, professor of Fashion and Textile Design and Technology at London College of Fashion pulls together bold designs from creative talents such as Mark Fast, Sister by Sibling, Lucas Nacimento and Julien Macdonald. Highlighting how knitwear is now daring, bold and has a sense of humour.
KNITWEAR Chanel to Westwood opens today and is open until 18th January 2015 at the Fashion and Textile Museum 83 Bermondsey Street, London SE1 3XF.
It seems, this season, that the world of fashion is still captivated by the roaring twenties. Chanel’s new fine jewellery collection of geometric shapes, dripping in diamonds, evokes art-deco glamour, accompanied by the romantic backstory of the legendary Gabrielle Chanel’s stratospheric social rise and her love of the ‘café society’.
Within the collection, the Symphony series, a composition of light around different diamond cuts, features a long string of jewels looking almost like bars of music. Likewise, the Charleston series’ square medallions and fringes of gemstones conjure up the elegance of days gone by.
The house of Chanel was born at a time when society was starting to rebel against puritan conventions. Arts were on the rise – the ‘cult of talent’ would create an aristocracy of taste, as poets, musicians and socialites flocked to the French Riviera to carouse in the sunshine. The decade was known for extreme extravagance – and what better way to bring it back than a collection drenched in diamonds?
Fashion’s most famous feline is being celebrating in a new book. Choupette: The Private Life of a High-Flying Fashion Cat gives us an insight into one extrodinary kitty, one used to the finer things in life. Designers such as Goyard and Vuitton have made her dinner service, her handbags, her picnic hampers and the best Parisian chefs create menus for her. Known to travel only by private jet Choupette is a muse, not just for ‘daddy’ (her sapphire blue eyes have provided the inspration for Lagerfeld’s haute couture collections for Chanel).
The book itself is full of observations and precious advice from her vet, Madame Horn, and her housekeeper and maid, Madame Françoise, who keeps her daily diary and so this is Choupette’s complete guide to the art of living. Divided into chapters on diet, beauty, healthcare, fashion tips, secret loves and pet hates, this book also lifts the lid on the jet-setting private life of Mr Karl Lagerfeld too.
Choupette: The Private Life of a High-Flying Fashion Cat is released in September 2014.
When the news broke last December that Kristen Stewart would be the new face of Chanel, some thought it was an odd choice from Karl Lagerfeld. However, this behind the scene video shows the 24-year-old actress is a perfect fit for his ‘Romantic Western’ collection. Shot by Lagerfeld himself, the ad campaign sees Stewart in pieces from the Texas-inspired 2013/14 Chanel’s Métiers d’Art collection that debuted in Dallas. Watch the video below.
Over the last few weeks images of Karl Lagerfeld have been surfacing where we find the designer sporting some very cool headgear. It has now been confirmed that the collaboration between Chanel and Monster is going ahead and the first images have been released. The headphones are in keeping with the iconic Chanel aesthetic – quilted leather, double ‘C’ monogram and matching case. We are yet to know a release date, stockists or price, but hopefully we won’t be kept waiting too long.
The S/S 13 season was eventful to say the least: Twitter feuds between Hedi Slimane and NY Times fashion critic Cathy Horn, Ready To Wear debuts at the houses of Saint Laurent and Dior, and between it all, some wonderfully accomplished collections.
Twin looks back at which collections made us say je l’adore.
Presented in a setting of solar panels and wind farms instead of a crystal landscape, Karl Lagerfeld went a bit more down to earth this S/S 13 season. A-lines, bolero jackets and rounded silhouettes with floral embroidery in every colour under the sun were topped off with oversized pearl necklaces. Like its staging, the collection was the perfect mix of technological linearity and natural materials and forms.
Raf Simons may have already shown us his haute couture offerings for the house of Dior, but nonetheless there was still a great anticipation for what the Belgian designer would bring to the Ready To Wear table. The answer? Expert tailoring mixed with modern femininity. Pleated office attire was given metallic panels, sequined evening gowns a sheer overlay and nude shift dresses an exposed neon lining. With so much love for detail, it’s hard not to give Simons a congratulatory thumbs up for his efforts.
Comme des Garcons
In fabrics of toile and velvet, Rei Kawakubo crushed, sculpted and draped an intriguingly beautiful collection. Save for a flash of royal purple or fire red, the collection kept mostly to CDG signature colours of black and white. While the surrealist-style crowns designed in collaboration with artist Graham Hudson and linear white make-up may have given the models an otherworldly look, there was still something beautifully fragile about the body — and person — in these clothes. As with all things Kawakubo, this collection is definitely worth a second look.
With attitude by the bucketful and insanely catchy songs like 212, Azealia Banks has undoubtedly left her mark on the music industry. It looks like she is no less short of conquering the world of fashion as well.
Already counting the likes of Karl Lagerfeld as fan and having performed at Chanel’s pop up store party in Tokyo, the rap star can now include the house of Alexander Wang on her list of fashion collaborations. For the new Fall 2012 T by Alexander Wang campaign video directed by Daniel Jackson and styled by Alastair McKimm, the 21-year-old performs her latest song Van Vogue whilst decked out in the brand’s casually cool threads.
It seems that the world can’t get enough of Azealia Banks right now and with projects and tunes like this, it’s easy to see why.
This year’s Autumn/Winter 2012 haute couture shows were another testament to signature style. Be it the modern romance of Valentino’s Maria Grazia Chiuri and Pier Paolo Piccioli or Giambattista Valli’s ever-enticing plays on volume and silhouettes, the one unifying factor throughout every collection was a representation of each brand’s true essence, underlined by highly-refined tailoring and draping.
Twin selects our favourite personal visions of the season…
Couture cool is Jarrar’s calling card and although those expecting overtly dramatic ball gowns or extravagant embellishments from couture may be disappointed, her softly draped tunic dresses and forties-esque trench coat top and A-line, knife-pleated skirt combinations add a modern yet elegant touch to the couture circuit. As they say, sometimes less is more.
This season Karl Lagerfeld saw it as his mission to put a new spin on vintage. While the collection managed to revamp classics such as the tweed suit, tea dresses and peter pan collars in a colour palette that included soft shades such as petal rose and cream, its true appeal was in the unmatchable craftsmanship of the house of Chanel. Hundred upon hundreds of hand-sewn sequins and a breathtaking feather, lace and tulle finale dress were just two examples that further solidified the label’s spot at the top of couture pyramid.
Couture week undoubtedly belonged to Raf Simons. Although he might have not been the most obvious successor to Galliano’s theatrical showings, the Belgian designer’s minimalist aesthetic has proved the perfect partner to Christian Dior’s original elegant and strongly feminine designs. Peplum waist tops and dresses paired with straight cut trousers, not to mention the two-sided evening gowns with crystal embellishments put a refreshingly modern spin on New Look-esque silhouettes.
Nymph creatures and a fairytale narrative were woven into every fibre of Valli’s designs. Rich emerald greens and ruby garnet florals were printed on high-necked ruffled cocktail dresses and evening gowns cinched in at the waist with gold ivy belts. With a beautiful play of volume and colour, the collection was an all-round dream.
Riccardo Tisci’s tribal warrior was equipped with face-obscuring sunglasses and menacing dogs, but that didn’t keep the collection from being feminine and alluring, thanks to halter necklines and iridescent ombre fringing. In short, it was a well-balanced mixture of elegance, urbanism and the beauty of nature.
Maison Martin Margiela
In the light of the brand’s upcoming collaboration with high street retailer H&M, some fear that the house of Margiela will succumb to commercialism. However this collection was a piece of avant-garde artistry. From the crystal face masks to the dynamic collages of fabric and textures. Refreshing and original, it proved why Maison Martin Margiela more than deserves a permanent spot on the haute couture schedule.
Midnight blue dresses, fully-sequined, brocade printed and embroidered cocktail pieces, as well as floor-length pleated chiffon gowns made this collection one of typical Valentino glamour, whilst canary yellow, magenta and blood red added rich pops of colour. In our eyes, Chiuri and Piccioli can do no wrong.
One jacket, a multitude of stars. That’s the premise behind Chanel’s new Little Black Jacket exhibition at Toyko’s G-building in Aoyama. Featuring over a hundred beautiful and talented faces from the fashion jet set, styling out one timeless Chanel tweed jacket in their individual way, this is about icons wearing an icon.
The exhibition is an exciting preview for Chanel’s new book The Little Black Jacket: Chanel’s Classic Revisited by Karl Lagerfeld and Carine Roitfeld which hits bookstores this autumn. While the images are chic in the Chanel way its adoring public demands, the project is a testament to the star pulling power of the fashion house and the endurance of great fashion design.
Featuring Chanel perennials like Laetitia Casta to striking characters such as jeweller and actor Waris Ahluwalia this is more than just an ode to feminine elegance, it’s a document of modern style culture right now.
Little Black Jacket is at G-building, Tokyo until 15 April 2012 chanel.com
To many, Paris is the city of love. More importantly however, it is the city of fashion, which could not have been made more clear than through the variety of awe-inspiring runway shows this A/W 12 season. Twin recounts our favourite collections of Paris Fashion Week….
Oversized visor/sunglass hybrids, shaggy fur trimming and heeless, leather strap boots were just the tip of the iceberg when it came to Sarah Burton’s extraordinary A/W 12 collection for Alexander McQueen. As always, there was no shortage of craftsmanship and detailing. Victorian ruffle collars, rolled pleating, laser leather cutouts and delicate floral appliques and embroidery heightened the luxury of the alpine white, pale pink, rose lavender and fuchsia pieces.
Despite the collection’s at times very voluminous silhouettes, silver waist-cinching belts and shorter hemlines still let the sensual side of the McQueen woman shine through. With gravity-defying silk chiffon standing away from the body like a sea anemone, intricately reworked velvet bearing floral shapes and marabou feather hems, Burton even managed to add a touch of earth to an otherwordly collection.
Phoebe Philo’s vision of the Celine woman has always been a modern and streamlined one. This season, she added a dash of athleticism and bold colours to that equation.
The designer’s signature colour palette of black and white was amped up through the addition of azure blue, fuchsia, rose pink, aubergine and vermilion red, while oversized wool coats, double piping on front-pleated trousers and striped crew neck jumpers gave the collection a more casual feel. But in fabrics such as supple leather and fur, each piece still had that unmistakable touch of Celine luxury.
In this collection, intricate prints resembled the hasty stroke of a painter’s brush, and paint Hussein Chalayan did with colours including crimson, teal, camel, tenné, emerald, fluorescent orange and green.
The silhouettes were streamlined in the form of oversized single-button coats, tunics and shift dresses, but always good for the unexpected detail, he added large cutouts, as well as rectangular bands in contrast collars to cinch in pieces at the waist and bust, not to mention reflective silver lamé panelling, trousers and brogues. Whether artistic or futuristic, every piece bore the Chalayan signature.
Considering the high value that Karl Lagerfeld has in the fashion industry, it was only a matter of time before he produced a collection inspired by precious stones. If the set design of oversize crystals jutting out of the ground wasn’t hint enough, this season’s Chanel colour palette was all about the emerald greens, amethyst purples, ruby reds, golds, antique silvers and sapphire blues.
Whether interwoven with the house’s signature tweed or sewn into the sleeves, pockets and breast of a flared wool coat dress, Lagerfeld’s chromatic approach this season only heightened the luxury of the gemstone, feather and lace-crafted pieces. Their point of inspiration may date back to the beginning of time, but thanks to a mixture of architecturally sculpted and relaxed silhouettes, every look was pure modernity. Topped off with crystal eyebrows and Perspex-heeled pumps, this collection proved (once again) why Coco and Karl are the perfect match.
If anyone still associated the name Stella McCartney with The Beatles before, then this collection broke that bond once and for all. Working with colours of black, cyan, hot pink, charcoal, dark brown and white, it was a milestone in her journey from famous daughter to design star in her own right.
McCartney’s time at Saville Row made its mark in the tailoring of padded hips, oversized, rectangular cuts, and rounded shoulders, giving every piece a strong sense of structuring while offsetting the more feminine elements such as foliage embroidery and curve-tracing colour blocking. Her tribute to English style didn’t stop there: cozy waffle knit cardigans and dresses worn over Oxford button-downs, as well as A-line skirts in fabrics such as tweed, wool, mohair, crepe paid tribute to McCartney’s heritage. Balance being one of her strong suits, hip-slung, wide-legged trousers, streamlined clutchs, and contrast-coloured pumps and ankle boots gave everything an urban twist.
Yesterday marked the end of the Spring/Summer 2012 couture shows. The proverbial creme de la creme of fashion, only allowed to show during this three-day short Fashion Week through a Chambre Syndicale De La Haute Couture membership – haute couture doesn’t mean high dressmaking in French for nothing – showed a degree of craftsmanship and attention to detail all across the fashion spectrum.
Twin recounts our haute couture highlights from Paris…
Proving that haute couture doesn’t have to keep to a demure palette, Mabille punched up the colour factor with his neon designs. Inspired by photographs of Lisa Fonssagrives and Christy Turlington, the creations in fabrics ranging from metallic lame to guipure lace proved that even when it comes to couture, girls just want to have fun.
Working with crepe de soie, fur collars and wide-legged tailored trousers, Jarrar’s collection was a take on casual luxe. A bit of tomboy and a dash of urban sophisticate resulted in a whole lot of effortless cool.
No couture week is complete without Karl Lagerfeld’s latest mind musings. Taking the double Cs to a more ethereal place this time around (airplane runway, anyone?) resulted in a collection of beautifully hand-embellished pieces in icy blues, ivories and midnight blacks.
Elie Saab is the go-to designer for anything feminine and delicate, and this season was no exception. Lace and crystal embroidery on nude, pastel pink and pale lemon high-waisted dresses and A-line skirts made being a woman that bit more enticing.
It may only be Valli’s second showing on the haute couture circuit, but the Italian designer proves that he can hold his own among fashion’s heavyweights. With a plethora of expertly tailored feather, lace and embroidered pieces, he’s as couture as they come.
Jean Paul Gaultier
In a beehive and winged eyeliner tribute to Amy Winehouse, Gaultier sent out a collection that was every bit as eccentric and nonchalant as the late singer herself. Encompassing pieces such as back to black shirt-tail hem skirts, leather varsity jackets and silk kimono coats tied at the waist, Winehouse probably wouldn’t have wanted her couture any other way.
Maison Martin Margiela Artisanal
Leave it to the house of Margiela to put an unconventional spin on couture. Rope, braided bracelets and hundreds of pearlescent buttons were turned into knee-length trench coats, colourful micro dresses, and slouchy blazer and pegged trouser combos, proving that recycled fashion doesn’t have to be drab.
It has only taken a few seasons for Pier Paolo Piccioli and Maria Grazia Chiuri to fully establish their trademark of girlish and graceful designs at Valentino. Marking a sweet end to haute couture fashion week, this collection of chiffon, lace and tulle in fine floral prints had a glamourised Charlotte Brontë/Jane Austen novel feel to it. Piccioli and Chiuri clearly have a talent for capturing fashion daydreams.