“Fairy Tales” are in Fashion at The Museum at Fashion Institute of Technology (MFIT)

The Museum at the Fashion Institute of Technology (MFIT) (Seventh Avenue at 27 Street, New York City 10001-5992) presents Fairy Tale Fashion (January 15 – April 16, 2016, Special Exhibitions Gallery) a unique and imaginative exhibition that examines fairy tales through the lens of high fashion. In versions of numerous fairy tales by authors such as Charles Perrault, the Brothers Grimm, and Hans Christian Andersen, it is evident that dress is often used to symbolize a character’s transformation, vanity, power, or privilege. The importance of Cinderella’s glass slippers is widely known, for example, yet these shoes represent only a fraction of the many references to clothing in fairy tales.

Kirsty Mitchell, The Storyteller, from the Wonderland series. Photograph © Kirsty Mitchell, www.kirstymitchellphotography.com

Kirsty Mitchell, The Storyteller, from the Wonderland series. Photograph © Kirsty Mitchell, www.kirstymitchellphotography.com 

Organized by associate curator Colleen Hill, Fairy Tale Fashion features more than 80 objects placed within dramatic, fantasy-like settings designed by architect Kim Ackert. Since fairy tales are not often set in a specific time period, Fairy Tale Fashion includes garments and accessories dating from the 18th century to the present. There is a particular emphasis on extraordinary 21st-century fashions by designers such as Thom Browne, Dolce and Gabbana, Tom Ford, Giles, Mary Katrantzou, Marchesa, Alexander McQueen, Rick Owens, Prada, Rodarte, and Walter Van Beirendonck, among others.

The exhibition’s introductory space features artwork that has played a role in shaping perceptions of a “fairy tale” aesthetic. These include illustrations by renowned early 20th-century artists such as Edmund Dulac, Arthur Rackham, and A.H. Watson. Several recent, large-scale photographs from Kirsty Mitchell’s award-winning Wonderland series are also on display. This is the first time that Mitchell’s marvelous work—for which she designs and makes all of the elaborate costumes and sets—has been shown in the United States. Connections between fashion and storytelling are further emphasized by a small selection of clothing and accessories, including a clutch bag by Charlotte Olympia that resembles a leather-bound storybook.

Cape, late 18th century, England or USA. The Museum at FIT, 2002.36.1, photograph © The Museum at FIT (illustrating “Little Red Riding Hood”)

Cape, late 18th century, England or USA. The Museum at FIT, 2002.36.1, photograph © The Museum at FIT (illustrating “Little Red Riding Hood”)

Comme des Garçons, ensemble, spring 2015, Japan. The Museum at FIT, 2015.8.1, photograph © The Museum at FIT (illustrating “Little Red Riding Hood”)

Comme des Garçons, ensemble, spring 2015, Japan. The Museum at FIT, 2015.8.1, photograph © The Museum at FIT (illustrating “Little Red Riding Hood”)

The main gallery space uses fashion to illustrate 15 classic fairy tales, arranged within four archetypal settings. Visitors first walk into the Forest, which includes the tales “Little Red Riding Hood,” “Snow White,” “The Fairies,” “Rapunzel,” and “Snow White and Rose Red.” Several variations of Little Red Riding Hood’s red cloak are shown, beginning with a fashionable woolen cloak from the late 18th century—the style that is used to illustrate innumerable versions of the story—and concluding with a fall 2014 Comme des Garçons ensemble with an enormous, peaked hood in scarlet patent leather. Inspired by the fairy tale–themed fall 2014 presentation by Alice + Olivia designer Stacey Bendet, Snow White is portrayed wearing a black organza gown encrusted with rhinestones while lying in her glass coffin. The subsection on “Rapunzel” includes a stunning dress from Alexander McQueen’s fall 2007 collection, made from deep emerald velvet embellished with copper-colored beads that create a motif of cascading hair.

Adrian, dress, circa 1942, USA. The Museum at FIT, 71.248, photograph © The Museum at FIT (illustrating The Wizard of Oz)

Adrian, dress, circa 1942, USA. The Museum at FIT, 71.248, photograph © The Museum at FIT (illustrating The Wizard of Oz)

Mary Liotta, evening dress, circa 1930, USA. The Museum at FIT, 78.237.10, photograph © The Museum at FIT (illustrating “Furrypelts”)

Mary Liotta, evening dress, circa 1930, USA. The Museum at FIT, 78.237.10, photograph © The Museum at FIT (illustrating “Furrypelts”)

The center of the gallery is dominated by a large Castle, in and around which the tales “Cinderella,” “Furrypelts,” “The Snow Queen,” “Beauty and the Beast,” and “Sleeping Beauty” are displayed. Cinderella is first shown in her rags, exemplified by a Giorgio di Sant’Angelo ensemble with a skirt made from shredded chiffon, and dating from his 1971 The Summer of Jane and Cinderella collection.

Alexander McQueen, dress, fall 2007, England. The Museum at FIT, 2013.2.1, photograph © The Museum at FIT (illustrating “Rapunzel”)

Alexander McQueen, dress, fall 2007, England. The Museum at FIT, 2013.2.1, photograph © The Museum at FIT (illustrating “Rapunzel”)

Cinderella’s spectacular glass slippers are exemplified by a pair of 2014 heel-less shoes by Noritaka Tatehana, 3D-printed in clear acrylic and faceted to reflect light. Clothing is central to a lesser-known Brothers Grimm tale titled “Furrypelts,” which calls for a cloak of many furs, in addition to magnificent dresses that look like the sun, the moon, and the stars. The latter is represented by a dazzling, early 1930s evening gown by Mary Liotta, covered in silver stars crafted from beads and sequins. In “The Snow Queen,” the beautiful villainess wears a coat and cap of pristine white fur, exemplified in Fairy Tale Fashion by an opulent hooded fur cape by J. Mendel from 2011.

J. Mendel, ensemble, 2011 (cape) and spring 2008 (dress). Lent by J. Mendel, photograph © The Museum at FIT (illustrating “The Snow Queen”)

J. Mendel, ensemble, 2011 (cape) and spring 2008 (dress). Lent by J. Mendel, photograph © The Museum at FIT (illustrating “The Snow Queen”)

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Spring/Summer 2015 Fashion Week Preview: The Swarovski Group Unveils The 2016 Finalists for The Prestigious Swarovski Collective Program

Just ahead of the New York Fashion Week-Spring/Summer 2016 Shows (which starts this Thursday) and the hard long slough that is the international Fashion Month (New York, London, Milan and Paris Fashion Weeks in quick, overlapping succession), Swarovski has announced the 15 designers who will form the year-long Swarovski Collective 2016. This group of exceptional design talents, which includes both new and established (and returning) names, will work in creative partnership with Swarovski for their Spring/Summer 2016 and Autumn 2016/Winter 2017 collections.

Founded in 1999 following Nadja Swarovski‘s collaboration with a young Alexander McQueen and Isabella Blow, the Swarovski Collective encourages emerging and established designers to explore the creative boundaries of crystal use and craftsmanship.

Over the past 16 years, the Swarovski Collective has supported over 150 designers. Previous participants include Alexander McQueen, (Joseph) Altuzarra, Proenza Schouler, Jason Wu, Wes Gordon, Rodarte, Alexander Wang, Hussein Chalayan, Viktor&Rolf, Christopher Kane, Erdem, Giles, Mary Katrantzou and Anthony Vaccarello.
The latest edition of the coveted Swarovski Collective program will span New York, London and Paris fashion weeks, offering the designers year-long financial and crystal product support, plus the chance to win the annual EUR25,000 Swarovski Collective Prize, the winner of which will be announced in May 2016.

Swarovski Collective-Tanya Taylor: Swarovski announces the 15 designers who form the year-long Swarovski Collective 2016 and will receive financial and crystal product support.  Tanya Taylor, a new partner to Swarovski, will show her collection during New York Fashion Week, including this look featuring Swarovski crystal.  Tanya Taylor's SS16 collection was inspired by a photograph she took in Kenya.  She was moved by the vibrant pigments, rich textures, and ornate architectural motifs which will be translated in Swarovski crystals among other methods. (PRNewsFoto/Swarovski North America)

Swarovski Collective-Tanya Taylor: Swarovski announces the 15 designers who form the year-long Swarovski Collective 2016 and will receive financial and crystal product support. Tanya Taylor, a new partner to Swarovski, will show her collection during New York Fashion Week, including this look featuring Swarovski crystal. Tanya Taylor’s SS16 collection was inspired by a photograph she took in Kenya. She was moved by the vibrant pigments, rich textures, and ornate architectural motifs which will be translated in Swarovski crystals among other methods. (PRNewsFoto/Swarovski North America)

The Swarovski Collective members for Spring/Summer 2016 and Autumn 2016/Winter 2017 are: Alexander Lewis, Christian Wijnants, Creatures of the Wind, David Koma, Emilia Wickstead, Esteban Cortazar, Haizhen Wang, Iris Van Herpen, Peter Pilotto, Rosie Assoulin, Tanya Taylor, Thomas Tait, Tim Coppens, Tome and Vivienne Huand will see debut collections for Rosie Assoulin, Thomas Tait, Tanya Taylor, Tome, Alexander Lewis, David Koma, Haizhen Wang and Vivienne Hu.

The Swarovski Collective designers will show their Spring/Summer 2016 collections during New York, London and Paris Fashion Weeks, which take place between September 10 and October 7, 2015. Swarovski will also support Collective members on promotional activities and creative projects throughout the year.


Nadja Swarovski, Member of the Swarovski Executive Board, commented: “It is a pleasure to build on the success of the Swarovski Collective with this new line-up of creatives, and our ongoing commitment to emerging talent with the Swarovski Collective Prize. This is an exceptional group of designers, and we look forward to seeing them innovate with crystal looks over the coming year.

Emilia Wickstead, a returning Collective designer commented: “It is such an honor to be a part of the Collective. Swarovski crystals add excitement and innovation while creating a point of difference.”

Rosie Assoulin commented: “We are so honored to be working with Swarovski and to have the opportunity to really dive into their treasure trove of materials and techniques, especially after the CFDAs.”

Thomas Tait, said: “I’m excited to be part of the Swarovski Collective and to be using crystals as a creative ingredient for the first time to add a new dimension to my collection.

Swarovski delivers a diverse portfolio of unmatched quality, craftsmanship, and creativity. Founded in 1895 in Austria, Swarovski designs, manufactures and markets high-quality crystals, genuine gemstones and created stones as well as finished products such as jewelry, accessories and lighting. Now celebrating its 120th anniversary and run by the fifth generation of family members, Swarovski Crystal Business has a global reach with approximately 2,560 stores in around 170 countries, more than 25,000 employees, and revenue of about 2.33 billion euros in 2014. Together with its sister companies Swarovski Optik (optical devices) and Tyrolit (abrasives), Swarovski Crystal Business forms the Swarovski Group. In 2014, the Group generated revenue of about 3.05 billion euros and employed more than 30,000 people. The Swarovski Foundation was set up in 2012 to honor the philanthropic spirit of founder Daniel Swarovski, with a mission is to support creativity and culture, promote wellbeing, and conserve natural resources.

Coming Soon to The Museum at FIT: Fashion Underground: The World of Susanne Bartsch

Susanne Bartsch with Gage of the Boone, 2013. Photo © Wilsonmodels.

Susanne Bartsch with Gage of the Boone, 2013. Photo © Wilsonmodels.

Susanne wearing a dress by Rachel Auburn, Liberty Theatre in Times Square, 2014. Photo by Robin Souma.

Susanne wearing a dress by Rachel Auburn, Liberty Theatre in Times Square, 2014. Photo by Robin Souma.

The Museum at FIT presents Fashion Underground: The World of Susanne Bartsch (Special Exhibitions Gallery, September 18 – December 5, 2015), featuring approximately 80 looks from the underground fashion impresario’s personal collection of clothing and accessories, including designs by Rachel Auburn, The Blonds, Leigh Bowery, John Galliano, Jean Paul Gaultier, Pam Hogg, Stephen Jones, Alexander McQueen, Thierry Mugler, Rick Owens, Vivienne Westwood, and Zaldy, thanks to the generosity of the Couture Council and MAC Cosmetics.

Susanne and François Sagat in Switzerland hosting an AIDS benefit. Dress by Mathu and Zaldy, 2011. © Patrick MettRaux and Lukas Beyeler.

Susanne and François Sagat in Switzerland hosting an AIDS benefit. Dress by Mathu and Zaldy, 2011. © Patrick MettRaux and Lukas Beyeler.

Born in Switzerland, Susanne Bartsch moved to London as a teenager, living there for a decade. “We called her the Swiss Miss,” say old friends from London, where Bartsch was a key figure among the New Romantics. Arriving in New York on Valentine’s Day 1981, Bartsch opened a boutique in Soho while still on a tourist visa. An enthusiastic proponent of 1980s English fashion, she was one of the first New York retailers to import Vivienne Westwood. She also organized fashion shows, such as New London in New York and London Goes to Tokyo, that showcased designers Leigh Bowery, Body Map, and Stephen Jones. But life in 1980s New York was not just a party; AIDS was devastating the community. As her friends began dying, Bartsch notes that she “survived this period by becoming a fundraiser.” In 1989, she organized the Love Ball, one of the first and most important AIDS benefits. Over the next few years, she raised a total of $2.5 million for AIDS research and advocacy.

The catwalk crew at Marquee, 2013. Photo by Jason Akira Somma.

The catwalk crew at Marquee, 2013. Photo by Jason Akira Somma.

Susanne Bartsch has also been the longtime reigning queen of New York City nightlife since the 1980s when she became renowned for creating spectacular parties where she and a diverse mix of individuals—uptown, downtown, gay, straight, multiracial—dressed up in their own versions of high fashion, street style, drag, and Mardi Gras extravaganza. Her first party took place in 1986 at a club near The Chelsea Hotel, where she has lived for many years. “It was about seeing and being seen,” says Bartsch.

Bartsch and her friends have long constituted a fashion underground of creative individuals who take dressing up to the level of performance art. “Style is about expressing yourself,adds Bartsch. “You can be whatever you want to be—a silver-screen star, a Marie Antoinette baroque creature, a Victorian punk. I love that about fashion and makeup.” A muse for fashion designers and makeup artists, Bartsch has also been a catalyst for the cross-fertilization of ideas between creative people in a range of fields. Today, she is increasingly creating events that explicitly link fashion and art.

Photo by Robin Souma

Photo by Robin Souma

Fashion Underground: The World of Susanne Bartsch opens with a small introductory gallery of images and videos about Bartsch and her world. In the main exhibition gallery, the first section focuses on the 1980s English fashions that Bartsch introduced to New York displayed in a tableau evoking her surreally styled boutiques. The second and largest section features a variety of the creations that Bartsch and her friends have worn at her famous club nights at Savage, Copacabana, and Le Bains, with a special section devoted to the AIDS balls. The final section evokes her apartment at the Chelsea Hotel, the center of her creative world. Videos and projected photographs throughout the exhibition document Bartsch’s 30 years of sartorial self-expression and its influence on the global fashion scene.

Susanne at a Swiss dance event at the Tribeca Grand Hotel, January 2015. Photo by Robin Souma

Susanne at a Swiss dance event at the Tribeca Grand Hotel, January 2015. Photo by Robin Souma

Susanne Bartsch, 1990s. Photograph by Andrea Barbiroli.

Susanne Bartsch, 1990s. Photograph by Andrea Barbiroli.

The exhibition, curated by Valerie Steele and Susanne Bartsch and designed by Kim Ackert after a concept by Thierry Loriot, will be accompanied by a book by Steele and Melissa Marra. A two-day symposium will feature a range of designers, performers, and scholars speaking on fashion, creativity, nightlife, and performance art.

The Museum at FIT, which is accredited by the American Alliance of Museums, is the only museum in New York City dedicated solely to the art of fashion. Best known for its innovative and award-winning exhibitions, the museum has a collection of more than 50,000 garments and accessories dating from the 18th century to the present. Like other fashion museums, such as the Musée de la Mode, the Mode Museum, and the Museo de la Moda, The Museum at FIT collects, conserves, documents, exhibits, and interprets fashion, with a mission is to advance knowledge of fashion through exhibitions, publications, and public programs.

The museum is part of the Fashion Institute of Technology (FIT), a State University of New York (SUNY) college of art, design, business, and technology that has been at the crossroads of commerce and creativity for 70 years. With programs that blend hands-on practice, a strong grounding in theory, and a broad-based liberal arts foundation, FIT offers career education in nearly 50 areas, and grants associate, bachelor’s, and master’s degrees. FIT provides students with a complete college experience at an affordable cost, a vibrant campus life in New York City, and industry-relevant preparation for rewarding careers. Visit fitnyc.edu.

The Couture Council is a philanthropic membership group that helps support the exhibitions and programs of The Museum at FIT. The Couture Council Award for Artistry of Fashion is given to a selected designer at a benefit luncheon held every September.

China: Through the Looking Glass Exhibition Extended through September 7 at The Metropolitan Museum of Art

Gallery View Anna Wintour Costume Center, Imperial China Photo: © The Metropolitan Museum of Art

Gallery View: Anna Wintour Costume Center, Imperial China
Photo: © The Metropolitan Museum of Art

Gallery View Chinese Galleries, Astor Forecourt, Anna May Wong Evening dress, John Galliano (British, born Gibraltar, 1960) for House of Dior (French, founded 1947), autumn/winter 1998–99 haute couture; Courtesy of Christian Dior Couture Photo: © The Metropolitan Museum of Art

Gallery View:  Chinese Galleries, Astor Forecourt, Anna May Wong
Evening dress, John Galliano (British, born Gibraltar, 1960) for House of Dior
(French, founded 1947), autumn/winter 1998–99 haute couture; Courtesy of
Christian Dior Couture
Photo: © The Metropolitan Museum of Art

China: Through the Looking Glass at The Metropolitan Museum of Art has been extended by three weeks through Labor Day, September 7. The exhibition, organized by The Costume Institute in collaboration with the Department of Asian Art, opened to the public on May 7, and has drawn more than 350,000 visitors in its first eight weeks.  To date, the exhibition’s attendance is pacing close to that of Alexander McQueen: Savage Beauty (2011), which was the most visited Costume Institute exhibition ever, as well as the Met’s eighth most popular.

Chinese Galleries, Astor Forecourt, Anna May Wong Ensemble, Paul Smith (British, born 1946), autumn/winter 2011-12; Courtesy of Paul Smith Photo: © The Metropolitan Museum of Art

Chinese Galleries, Astor Forecourt, Anna May Wong
Ensemble, Paul Smith (British, born 1946), autumn/winter 2011-12; Courtesy of
Paul Smith
Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Export Silk Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Export Silk
Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Chinoiserie Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Chinoiserie
Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Chinoiserie Dress, 18th century; The Metropolitan Museum of Art, Gift of Fédération de la Soirie, 1950 (50.168.2a,b) Photo: © The Metropolitan Museum of Art

Chinese Galleries, Douglas Dillon Galleries, Chinoiserie
Dress, 18th century; The Metropolitan Museum of Art, Gift of Fédération de la
Soirie, 1950 (50.168.2a,b)
Photo: © The Metropolitan Museum of Art

Chinese Galleries, Charlotte C. Weber Galleries, Ancient China Dress, House of Givenchy (French, founded 1952), autumn/winter 1997-98 haute couture; Courtesy of Givenchy Photo: © The Metropolitan Museum of Art

Chinese Galleries, Charlotte C. Weber Galleries, Ancient China
Dress, House of Givenchy (French, founded 1952), autumn/winter 1997-98 haute
couture; Courtesy of Givenchy
Photo: © The Metropolitan Museum of Art

The exhibition, made possible by Yahoo, explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. High fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery. The exhibition, which was originally set to close on August 16, is curated by Andrew Bolton. Wong Kar Wai is artistic director and Nathan Crowley served as production designer.

This is The Costume Institute’s first collaboration with another curatorial department since AngloMania: Tradition and Transgression in British Fashion in 2006, a partnership with the Department of European Sculpture and Decorative Arts. China: Through the Looking Glass features more than 140 examples of haute couture and avant-garde ready-to- wear alongside masterpieces of Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are shaped by narratives that draw upon popular culture, and to recognize the importance of cinema as a medium through which we understand the richness of Chinese history.

Jar with Dragon (Chinese), early 15th-century; The Metropolitan Museum of Art, Gift of Robert E. Tod, 1937 (37.191.1) Photo: Courtesy of The Metropolitan Museum of Art, Photography © Plato

Jar with Dragon (Chinese), early 15th-century; The Metropolitan Museum of
Art, Gift of Robert E. Tod, 1937 (37.191.1)
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Plato

Festival robe worn by Emperor Qianlong, second half of 18th-century; The Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1935 (35.84.8) Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Festival robe worn by Emperor Qianlong, second half of 18th-century; The
Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1935 (35.84.8)
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Evening dress, Ralph Lauren (American, born 1939), autumn/winter 2011–12; Courtesy of Ralph Lauren Collection Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Evening dress, Ralph Lauren (American, born 1939), autumn/winter 2011–12;
Courtesy of Ralph Lauren Collection
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Evening dress, Jean Paul Gaultier (French, born 1952), autumn/winter 2001-2 haute couture; Courtesy of Jean Paul Gaultier Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Evening dress, Jean Paul Gaultier (French, born 1952), autumn/winter 2001-2
haute couture; Courtesy of Jean Paul Gaultier
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

13."Quiproquo" cocktail dress, Christian Dior (French, 1905–1957) for House of Dior (French, founded 1947), 1951; The Metropolitan Museum of Art, Gift of Mrs. Byron C. Foy, 1953 (C.I.53.40.38a-d) Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon 14.Film Still from In the Mood for Love, 2000; Courtesy of Block 2 Pictures Inc. Photo: Courtesy

13.”Quiproquo” cocktail dress, Christian Dior (French, 1905–1957) for House of
Dior (French, founded 1947), 1951; The Metropolitan Museum of Art, Gift of
Mrs. Byron C. Foy, 1953 (C.I.53.40.38a-d)
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon
14.Film Still from In the Mood for Love, 2000; Courtesy of Block 2 Pictures Inc.
Photo: Courtesy

Dress, John Galliano (British, born Gibraltar, 1960) for House of Dior (French, founded 1947), spring/summer 2003 haute couture; Courtesy of Christian Dior Couture Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Dress, John Galliano (British, born Gibraltar, 1960) for House of Dior (French,
founded 1947), spring/summer 2003 haute couture; Courtesy of Christian Dior
Couture
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Encompassing approximately 30,000 square feet in 16 separate galleries in the Museum’s Chinese and Egyptian Galleries and Anna Wintour Costume Center, it is The Costume Institute’s largest special exhibition ever, and also one of the Museum’s largest. With gallery space three times the size of a typical Costume Institute major spring show, China has accommodated large numbers of visitors without lines.

Anna Wintour Costume Center, Imperial China Photo: © The Metropolitan Museum of Art

Anna Wintour Costume Center, Imperial China
Photo: © The Metropolitan Museum of Art

Evening dress, Tom Ford (American, born 1961) for Yves Saint Laurent, Paris (French, founded 1961), autumn/winter 2004–5; The Metropolitan Museum of Art, Gift of Yves Saint Laurent, 2005 (2005.325.1) Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

Evening dress, Tom Ford (American, born 1961) for Yves Saint Laurent, Paris
(French, founded 1961), autumn/winter 2004–5; The Metropolitan Museum
of Art, Gift of Yves Saint Laurent, 2005 (2005.325.1)
Photo: Courtesy of The Metropolitan Museum of Art, Photography © Platon

The Anna Wintour Costume Center’s Lizzie and Jonathan Tisch Gallery presents a series of “mirrored reflections” focusing on Imperial China; the Republic of China, especially Shanghai in the 1920s, 1930s and 1940s; and the People’s Republic of China. These reflections, as well as others in the exhibition, are illustrated with scenes from films by such groundbreaking Chinese directors as Zhang Yimou, Chen Kaige, Ang Lee, and Wong Kar Wai. Distinct vignettes are devoted to “women of style,” including Hu Die (known as Butterfly Wu), Oei Huilan (the former Madame Wellington Koo), and Soong Mei-Ling (Madame Chiang Kai-shek).

Directly above the Anna Wintour Costume Center, the Chinese Galleries on the second floor showcase fashion from the 1700s to the present, juxtaposed with decorative arts from Imperial China, including jade, bronze, lacquer, and blue-and-white porcelain, mostly drawn from the Met’s collection. The Astor Court features a thematic vignette dedicated to Chinese opera, focusing on John Galliano’s Spring 2003 Christian Dior Haute Couture Collection.

Designers in the exhibition include Cristobal Balenciaga, Travis Banton, Bulgari, Sarah Burton for Alexander McQueen, Callot Soeurs, Cartier, Roberto Cavalli, Coco Chanel, Christian Dior, Tom Ford for Yves Saint Laurent, John Galliano for Christian Dior, Jean Paul Gaultier, Valentino Garavani, Maria Grazia Chiuri and Pierpaolo Picciolo for Valentino, Craig Green, Guo Pei, Marc Jacobs for Louis Vuitton, Karl Lagerfeld for Chanel, Jeanne Lanvin, Ralph Lauren, Christian Louboutin, Martin Margiela, Alexander McQueen, Alexander McQueen for Givenchy, Edward Molyneux, Kate and Laura Mulleavy, Dries van Noten, Jean Patou, Paul Poiret, Yves Saint Laurent, Paul Smith, Van Cleef & Arpels, Vivienne Tam, Giambattista Valli, Vivienne Westwood, Jason Wu, and Laurence Xu.

This exhibition is one of the most ambitious ever mounted by the Met, and I want as many people as possible to be able see it,” said Thomas P. Campbell, Director and CEO of the Met. “It is a show that represents an extraordinary collaboration across the Museum, resulting in a fantastic exploration of China’s impact on creativity over centuries.”

Museum Members will have early morning private access to the galleries from Wednesday, July 22, to Sunday, July 26, from 9:00 a.m. to 10:00 a.m., before the Museum opens to the public.

The Museum at FIT Explores “Global Fashion Capitals”

Fashion & Textile History Gallery, June 2 – November 14, 2015
All photographs © The Museum at FIT
The globalization of fashion has given rise to new fashion cities that now annually host hundreds of fashion weeks around the world. Each city’s cultural identity and particular economic, political, and social circumstances combine to elevate its designers to international attention. Global Fashion Capitals explores the history of the established fashion capitals, Paris, New York, Milan, and London, and the emergence of 16 new fashion cities (including Tokyo, Antwerp, Stockholm, Berlin, St. Petersburg/Moscow, Madrid, Sydney/Melbourne, Mexico City, Sao Paolo, Istanbul and Mumbai).
A fashion capital is a city which has a major influence on international fashion trends and in which the design, production and retailing of fashion products – plus events such as fashion weeks, awards and trade fairs – generate significant economic output. The cities considered the Big Four fashion capitals of the world are: London, Paris, Milan and New York.
Fashion capitals usually have a broad mix of business, financial, entertainment, cultural and leisure activities and are internationally recognised for having a unique and strong identity. It has also been noted that the status of a fashion capital has become increasingly linked to a city’s domestic and international profile. Fashion capitals are also likely be part of a wider design scene, with design schools, fashion magazines and a local market of affluent consumers.
The exhibition (at The Museum at the Fashion Institute of Technology, Seventh Avenue at 27 Street, New York City 10001-5992) opens with a digital style map that geographically locates the fashion capitals and showcases their latest runway and street style photographs. Global Fashion Capitals continues city-by-city, starting with Paris, the birthplace of haute couture, represented by designs from Charles Frederick Worth, Gabrielle Chanel, Christian Dior, and the emerging couturier, Bouchra Jarrar.

Fashion has always existed at the crossroads of art and consumerism and never more so than in today’s society. The way we perceive our desires, bodies, and eras shapes fashion every season, as it shapes us. Paris fashion is at the center of it all. The French were the first to make an industry out of fashion, not just dress-making, and they have been exporting their style since the 17th century which is frankly before most of the world had even realized what fashion was. It all kicked off in the 17th century when the association of France with fashion and style was initiated by, surprise surprise, Louis XIV’s court.

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The Sun King made it his business to be at the center of all that was beautiful in the world so the luxury goods industry in France became a royal commodity. The creation of the fashion press in the 1670s catapulted French fashion into the spotlight and the notions of different fashion “seasons” and the changing of styles became available to a bigger audience. Louis XIV himself was responsible for starting the trend for outrageous wigs of curled hair. The king was going bald so he over-compensated and the rest of the court followed suit.

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01 Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01
Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

In fact, he moved the needle towards extravagant fashion even more so because of his wigs. The French Royal court turned into a farcical game of one-upmanship where fashion was concerned – Whose wig is the tallest? Whose skirt is the widest and most covered in tiny bows? In Paris fashion big was the rage. This was most evident in the french movie, Ridicule, the 1996 French film set in the 18th century at the decadent court of Versailles, where social status can rise and fall based on one’s ability to mete out witty insults and avoid ridicule oneself, as well as one’s ability to be the most preening peacock in the room. The story also examines the social injustices of late 18th century France, in showing the corruption and callousness of the aristocrats.

The rebels were, of course, very quick to change all this and went very fast towards the opposite direction — what before had been of a baroque, almost decadent, excess, now everything was simple — as per the ideas of the era and also because hygiene had improved wonders by now and people had to buy more fabric to have at least one piece of clothing to wear while they cleaned the other one. And then the 1800s came and department stores were opened, giving a boost to Paris fashion. Instead of courtiers, France now had the bourgeoisie and, as the driving force that made the economy move from hand to hand (as in, they could actually move money around), French fashion found its way into society.

It wasn’t long until the couturier (designer) was born. It is, of course, as usually with designers, a controversial statement, but a man from England named Charles Frederick Worth is more or less accepted into the popular vernacular as the man who totally dominated the industry. He was the first to be considered a designer and not just a dressmaker – he invented the fashion show and the fashion label as a status symbol. He went on to become so successful and respected, in fact, that he earned the final say on whatever their customers were going to wear, regardless of their opinion. He also came up with the idea of actually sketching the design before producing an expensive sample garment. He was hailed as a genius for that.

In the late 19th and early 20th century, the French fashion industry exploded (Vogue was founded in 1892) and Jacques Doucet and Madeline Vionnet founded fashion houses. They were influenced by Art Nouveau and Orientalist trends and so finally women were “liberated” from corsets and heavy petticoats and instead wore their whimsical designs with flowing bias-cut dresses. In 1925 a little known designer called Coco Chanel first came into prominence and revolutionized Paris fashion and then the world’s.

In 1947, the world’s attention was on Paris once more as Christian Dior unveiled his “New Look” – the clinched in waists contrasted with majestic busts and full skirts delighted the post-war clientele in its femininity. Hubert de Givenchy and Pierre Balmain both opened fashion houses soon after and Paris was the center of the world again.

The 1960s saw the Parisian youth becoming disillusioned with French fashion, (apparently too elegant and elaborate) favoring instead the casual style seen in London. In 1966, Yves Saint Laurent put Paris in the spotlight again with his a prêt-à-porter (“ready to wear”) line which made fashion accessible to the masses. In fact, even though Paco Rabanne and Pierre Cardin pushed fashion towards the future, creating bold shapes they always had to stay under YSL’s shadow. He was undoubtedly king of the latter part of the century. He pioneered the tuxedo suit for women, seducing everyone with his androgynous style and Left Bank beatnik chic.***

The New York section begins with a circa 1938 iridescent evening gown by Nettie Rosenstein and ends with Alexander Wang’s sporty spring/summer 2015 neon orange dress. New York also includes styles by Claire McCardell, Halston, and Ralph Lauren.
Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01 Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01
Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Milan claimed its place as Italy’s fashion capital during the 1970s. Milan has established a long history within the fields of fashion, textiles and design in general. Throughout the late 19th century, the Lombard capital was a major production centre, benefitting from its status as one of the country’s salient economic and industrial powerhouses. Milanese fashion, despite taking inspiration from the leading Parisian couture of the time, developed its own approach, which was by nature devoted to sobriety, simplicity and the quality of the fabric. Throughout the 20th century, the city expanded its role as a fashion centre, with a number of rising designers contributing to Milan’s image as a stylistic capital. Following this development, Milan emerged in the 1970s and 1980s as one of the world’s pre-eminent trendsetters, maintaining this stint well into the 1990s and 2000s and culminating with its entrenchment as one of the “big four” global fashion capitals. As of today, Milan is especially renowned for its role within the prêt-à-porter category of fashion.

Milan’s fashion history has evolved greatly throughout the years. Milan began as a center of fashion in the Middle Ages and Renaissance, as in Venice and Florence, the making of luxury goods was an industry of such importance that in the 16th century the city gave its name to the English word “milaner” or “millaner”, meaning fine wares like jewellery, cloth, hats and luxury apparel. By the 19th century, a later variant, “millinery”, had come to mean one who made or sold hats.

In the mid-19th century cheaper silk began to be imported from Asia and the pest phylloxera damaged silk and wine production. More land was subsequently given over to industrialisation. Textile production was followed by metal and mechanical and furniture manufacture. In 1865, the first major department store in the country opened in Milan by the Bocconi brothers (which was called Alle Città d’Italia and later in 1921 became La Rinascente). This was regarded as a novelty at the time with regards to retailing in Italy. Though, traditionally, artisans would sell the items they made directly or to small stores, the opening of these new department stores modernized the distributions of clothes in the city.

In the 1880s and late 19th century, the Milanese style was partially inspired by French fashion, which at the time was still dominant in terms of influence, yet adapted according to local tastes; this included a generally somber and simple style, which was moderate in terms of decoration and ornamentation, and put an emphasis on the quality of tailoring and the different fabrics and textiles. The general Milanese interest in styling was reflected in the number of fashion magazines which circulated in the city at the time, as well as the fact that the people were ready to follow trends; nevertheless, the Milanese style was relatively traditional. The city had several tailors and seamstresses which in 1881 amounted to 249 and in 1886 to 383 (which were listed in guides).

In this period, the city was one of the biggest industrial powerhouses in Italy, and had a diversified fashion and clothing economy which was mainly based on small workshops rather than large companies (highlighted in an 1881 census). The importance of this industry continued in the city into the early 20th century, where 42,711 out of 175,871 workers were in the clothing sector in 1911.
However, in the 1970s, Milan’s fashion image became more glamorous, and as Florentine designs were deemed to be “very formal and expensive”, the city became a more popular shopping destination, with numerous boutiques which sold both elegant and everyday clothes. Milanese designs were known for their practicality and simple elegance, and became more popular and affordable than Florentine and Parisian designs. The city became one of the main capitals for ready-to-wear female and male fashion in the 1970s.  Milan started to become an internationally successful and famous fashion capital towards the late-1980s and early 1990s.
Milan has been home to numerous fashion designers, including Giorgio Armani, Valentino Garavani, Gianni Versace, Gianfranco Ferrè,Domenico Dolce, Stefano Gabbana, Miuccia Prada, Mariuccia Mandelli alias Krizia, Antonio Marras, Alessandro Dell’Acqua, Franco Moschino, Gimmo Etro, Mila Schön, Nicola Trussardi, Ottavio Missoni, Donatella Versace, Maria Grazia Chiuri, Pierpaolo Piccioli and Giuseppe Zanotti in addition to Fausto Puglisi, Francesco Scognamiglio, Alessandra Facchinetti, Gabriele Colangelo, Simonetta Ravizza, Stella Jean and Marco De Vincenzo, just to name a few younger designers.
Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1 Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1
Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Most of the major Italian fashion houses and labels are based in Milan, even though many of them were founded in other cities. They include: Armani, Bottega Veneta, Canali, Costume National, Dolce & Gabbana, Dsquared2, Etro, Iceberg, Les Copains, Marni, Missoni, Miu Miu, Moncler, Frankie Morello, Moschino, MSGM, N°21, Prada, Fausto Puglisi, Tod’s, Trussardi, Valentino, Versace, Giuseppe Zanotti, Zagliani, Ermenegildo Zegna, and the eyewear company Luxottica.
Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

London captured international attention with “youthquake” fashions during the 1960s. Provocative designers such as Vivienne Westwood, John Galliano, and Alexander McQueen established London as a creative fashion hub during the decades since.

 

When selecting which emerging fashion capitals to include in the exhibition, the curators considered a number of indicators to show that a city’s fashion scene is growing. All the featured cities are home to forward-thinking designers who have achieved domestic success and attracted international interest. They also hold fashion weeks attended by international press and fashion buyers.

 

 

Several factors drive the development of a city’s fashion scene—politics, economics, and government support among them. For example, Johannesburg fashion blossomed during the post-apartheid era, led by designers such as Nkhensani Nkosi of Stoned Cherrie. Current events in Ukraine have ignited the creativity of designers such as Anton Belinskiy, who staged a photoshoot amid Kiev’s street protests.
China’s economic growth over the last decade created consumer demand for international fashion, developing into support for successful domestic designers, such as Shanghai’s Masha Ma. Nigeria’s economy, the largest in Africa, supports Lagos’ developing fashion industry and the growing international reach of brands like Maki Oh and Lisa Folwaiyo. The governments of Copenhagen and Seoul actively fund and promote their fashion industries.
On October 13, 2015, The Museum at FIT, in conjunction with CUNY Graduate Center, will host a one day symposium on the topic of global fashion capitals. The morning session will take place on the FIT campus and will consist of a student fair, where visitors can interact with members of the international fashion community. The morning will also include a fashion show featuring five designers from emerging fashion capitals and a panel discussion moderated by MFIT curators Ariele Elia and Elizabeth Way. The afternoon session will take place at the CUNY Graduate Center, details to follow.
Global Fashion Capitals is organized by Ariele Elia, assistant curator of costume and textiles, and Elizabeth Way, curatorial assistant, The Museum at FIT.

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Neiman Marcus Announces Stella Tennant as the Face of The Spring 2015 Art of Fashion Campaign Photographed by Luigi & Iango

Neiman Marcus announces the Spring 2015 Art of Fashion Campaign with photographers Luigi Murenu and iango Henzi. Luigi & iango capture the Scottish model Stella Tennant in 28 of spring’s boldest looks. The simplicity of the set lets the dramatic clothes, the sinuous Tennant, and the lensmen’s superb lighting—a single giant lamp typically reserved for film sets—work their magic.

Stella Tennant In Tom Ford

Stella Tennant In Tom Ford

AOF_SP15_LAUR_LI_122_V2B_COMP

Alexander McQueen

Alexander McQueen

The lights are strong and continuous. Brutal,” attests Murenu, one half of the New York–based team. “But Stella is very artistic, her body expressive.” Over the three-day shoot, Murenu and Henzi switch roles organically, pivoting between art-directing compositions and stepping behind the camera. “We’re completely integrated to one idea even if it has two voices,” Murenu explains.

The Swiss-born Henzi brings the precision of fine art, while Murenu, raised in Sardinia, radiates with the excitement of fashion. Together, they create images that compel—and endure—with a streetwise elegance.

MAR15-001-1_lr

The Spring 2015 Art of Fashion campaign is about classic, iconic fashion photography and bringing together three amazing creative forces: Luigi, iango and Stella Tennant,” said Georgia Christensen, Neiman Marcus Executive Creative Director. “It was wonderful to see Luigi and iango work together and experience their creative process. Two minds. Two points of view that came together seamlessly into one portfolio of images. A true collaboration of passionate artists devoted to the industry. Stella is a dream, I often found myself mesmerized by her on set. The result is extraordinary imagery.”

Designer merchandise featured in the Spring 2015 campaign includes: Akris, Alexander McQueen, Balenciaga, Burberry Prorsum, Carolina Herrera, Chanel, Chloe, Christian Louboutin, Cucinelli, Derek Lam, Dior, Dolce & Gabbana, Emilio Pucci, Erdem, Gucci, Lanvin, Michael Kors, Oscar de la Renta, Roger Vivier, Saint Laurent, Stella McCartney, The Row, Tom Ford, and Valentino.

Since 1994, each spring and fall, the world’s most visionary photographers have carried the torch and given The Art of Fashion their own signature. Past photographers have included: Richard Avedon, Geof Kern, Peggy Sirota, Ruven Afandador, Diego Uchitel, Peter Lindbergh, Arthur Elgort, Camilla Akrans, Raymond Meier, Erik Madigan Heck, and Walter Chin. The campaign will be featured in our publication “the Book” as well as Harper’s Bazaar, Vogue and Vanity Fair.

amfAR’s CINEMA AGAINST AIDS GALA RAISES A RECORD BREAKING $35 MILLION FOR RESEARCH TO FIGHT HIV/AIDS AND TO HELP FIND A CURE

EVENT SPONSORED BY WORLDVIEW ENTERTAINMENT, BOLD FILMS, BVLGARI, MERCEDES-BENZ and THE WEINSTEIN COMPANY

The 21st annual Cinema Against AIDS raised a record $35 million last night, helping amfAR in its continued fight against HIV/AIDS. The star-studded black-tie event was held at the Hotel du Cap Eden Roc and was presented by Worldview Entertainment, Bold Films, and BVLGARI.
CAP D'ANTIBES, FRANCE - MAY 22:  Harvey Weinstein and Heidi Klum speak onstage during amfAR's 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d'Antibes, France.  (Photo by Tim P. Whitby/Getty Images for amfAR)

CAP D’ANTIBES, FRANCE – MAY 22: Harvey Weinstein and Heidi Klum speak onstage during amfAR’s 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d’Antibes, France. (Photo by Tim P. Whitby/Getty Images for amfAR)

CAP D'ANTIBES, FRANCE - MAY 22:  Dean Caten, Sharon Stone and Dan Caten attend amfAR's 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d'Antibes, France.  (Photo by Pascal Le Segretain/amfAR14/WireImage)

CAP D’ANTIBES, FRANCE – MAY 22: Dean Caten, Sharon Stone and Dan Caten attend amfAR’s 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d’Antibes, France. (Photo by Pascal Le Segretain/amfAR14/WireImage)

Since amfAR’s late Founding International Chairman Dame Elizabeth Taylor hosted the first Cinema Against AIDS in 1993, the event has become the most coveted ticket in Cannes. Past events have been chaired by amfAR Global Fundraising Chairman Sharon Stone, President Bill Clinton, Demi Moore, Sir Elton John, and Madonna, among many others.
Like the epidemic itself, AIDS research knows no borders. amfAR’s programs have had a global reach since 1986, when the Foundation began awarding international grants. Today, amfAR continues to fund HIV/AIDS researchers worldwide and works to translate their research into effective policy, prevention, and treatment programs around the globe.
CAP D'ANTIBES, FRANCE - MAY 22:  (L-R) Eva Herzigova and Sharon Stone speak onstage during amfAR's 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d'Antibes, France.  (Photo by Dominique Charriau/WireImage)

CAP D’ANTIBES, FRANCE – MAY 22: (L-R) Eva Herzigova and Sharon Stone speak onstage during amfAR’s 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d’Antibes, France. (Photo by Dominique Charriau/WireImage)

CAP D'ANTIBES, FRANCE - MAY 22:  Kellan Lutz attends amfAR's 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d'Antibes, France.  (Photo by Andreas Rentz/amfAR14/WireImage)

CAP D’ANTIBES, FRANCE – MAY 22: Kellan Lutz attends amfAR’s 21st Cinema Against AIDS Gala Presented By WORLDVIEW, BOLD FILMS, And BVLGARI at Hotel du Cap-Eden-Roc on May 22, 2014 in Cap d’Antibes, France. (Photo by Andreas Rentz/amfAR14/WireImage)

Sharon Stone was once again a Chair of the event, along with Harvey Weinstein, amfAR ambassador Milla Jovovich, Heidi Klum, BVLGARI Ambassador Carla Bruni-Sarkozy, John Travolta, Kelly Preston, Aishwarya Rai Bachchan and Abhishek Bachchan, Carine Roitfeld, amfAR Chairman Kenneth Cole, Bulgari Group Chief Executive Officer Jean-Christophe Babin, amfAR Global Fundraising Ambassador Milutin Gatsby, Michel Litvak, Vincent Roberti, Remo Ruffini, Worldview Entertainment chairman and CEO Christopher Woodrow, and Worldview Entertainment COO Molly Conners.

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