Innholdsfortegnelse for Fall 2020 i L'OFFICIEL USA

Cass BIRD PHOTOGRAPHER “A NEW ENERGY/A NEW WORLD” “Global style is when you put your heart into it.” Axle JOZEPH PHOTOGRAPHER “DREAMING IN COUTURE” “In a global world we share this sense of uniqueness. Irreverence is our tradition.” Pamela GOLBIN WRITER “PIERRE & SIMON” “In these uncertain times, Pierre Cardin’s conversation with Simon Porte Jacquemus was a moment that linked the golden age of couture with the flickering torch of the future.” Julie de LIBRAN STYLIST “TINA BY JULIE” “It is more important now than ever to make things that are timeless and crafted more responsibly. I have always liked classic style with a twist.” Trey LAIRD CREATIVE DIRECTOR “It was exciting to think about this issue as a new beginning. With so many challenges in the world, being able…

Very few artworks touch the emotional register that Nan Goldin’s seminal slideshow and book, The Ballad of Sexual Dependency (1986), hits. A tour de force, Ballad is a visual memoir that documents both the grizzly and glamorous truths about being in love and falling out of it. The scenes that compromise the volume are extreme in their intimacy. In them, we see the photographer in bed with friends and her lover; we also see her before the mirror taking account of the bruises he leaves on her face. I could barely look at some of them, and yet these impossible fractions added together form what I consider to be one of the most important double portraits of the era. A pioneer of this kind of explicit self-exploration, Goldin’s The Ballad…

LISA IMMORDINO VREELAND: Where does the name of your company, Atlein, come from? ANTONIN TRON: It’s an homage to the Atlantic Ocean. I spend as much time there as I can. I love surfing; it’s my favorite thing in life. LIV: When did the subject of sustainability become so important to you? How have you applied it to your collection? AT: The concept of sustainability has always been in my life, thanks to my parents. When we would drive the car in the summer, my mom wouldn’t put the air conditioner on because said we needed to save the oil for our future. It’s something that I grew up with, but I also think—same as everybody—I’ve become aware of this very unsustainable lifestyle we are all living. We are in…

For a full century, this magazine has served as an official voice of fashion, beginning as the house organ of French Couture in Paris and evolving into a collection of international publications. The very first issue, in Fall 1921, was already in 3 languages—French, English, and Spanish, and today, L’Officiel exists in more than 20 countries. With a specific focus on the way we dress and on what fashion creates, L’Officiel has survived multiple revolutions and one World War, never ceasing publication during global turmoil or crises. Deploying the technology of the moment—from illustration to photography, film to Instagram and video—its mission has always been to reflect on the culture of fashion with an eye to the past, and a vision for the future. In our fast-changing world, we want…

We find ourselves in Provence, comfortably seated at the Café de Sade, in the company of Pierre Cardin, 98 years old, owner of the property and still the active doyen of French fashion, and next to him, Simon Porte Jacquemus, 30 years old, young and at the top of the class, eagerly reclaiming the master’s influence. What brings them together, today and over time, is a willingness to create while living in worlds apart, with a rebellious ability to emancipate themselves by bypassing paths previously traced. Worlds apart, both men are much like the high-perched Lacoste castle: A chiseled stone punctuation erected by the legendary Marquis de Sade, both a refuge and an eagle’s nest over the vast domain, dominating the scenery with breathtaking views of the Lubéron massif. Cardin…

Last fall, Maisie Williams turned heads during Paris fashion week, wearing matching outfits (and makeup) with her boyfriend, Reuben Selby, while sitting front row at Thom Browne. This year, the actor spent her summer in Paris, building partnerships with brands such as Cartier, Jacquemus, Courrèges, and awaiting her next chapter: “As an actress, the best advice I received was to put my personality aside in order to find one that matches each role. In fashion, it’s different—you have to understand exactly who you are to be able to represent the brand and the look.” It’s nearly impossible to forget Arya Stark’s personality. The ruthless warrior Williams played on Game of Thrones for 8 seasons, from ages 13 to 21, was beloved among a cast of distinct, oversized personalities. Arya begins…

‘90s Grunge Lives On The ‘90s were about expressing individuality and rebelling against the status quo. Grunge went mainstream even while adopting an anti-mainstream philosophy. For beauty, this meant the heavy, haphazard use of kohl pencil and dark lipstick: combined, they created a goth-punk look that was edgy and effortless. Today’s grunge looks focus a bit more on technique: black eyeshadow was excessively blended and smudged on the lips at Marc Jacobs and Max Mara to pull off a more polished take on the smoky eye. Emilio Pucci and Rodarte cranked up the drama by giving us the most wearable interpretation of grunge: vampy pouts. ‘80s Now and Forever A decade of extremes, the ‘80s defined “More is More.” It was a time of bold self-expression through experimental, impactful statements,…

L’OFFICIEL: Was Haute Couture a passion for you when you were young? NICOLAS LECOURT MANSION: My father worked in men’s retail, and I would look at fashion magazines in his office. I would try to draw Christain Lacroix’s and John Galliano’s wedding gowns. My favorite designer will always be Azzedine Alaïa. He knew how to listen to women. L’O: You’ve worked with Rita Ora and Nicki Minaj during their tours. How does show business influence your designs? NLM: Clothes must allow an artist to move freely. For Nicki and Rita, I was their personal tailor. L’O: Why so much glitter? NLM: I’m obsessed with brilliance, light, reflection—that’s why I enjoy designing stage costumes. For Andam, I worked with Swarovski. That collaboration gave me the opportunity to with work with some…

LISA IMMORDINO VREELAND: When you are creating a collection, what are some of the most important elements that you keep in mind? ANGEL CHEN: When I’m creating a collection, the first element I keep in mind is color. I want to make sure the collection is full of color, because my family background is in painting and my dad is kind of a color engineer, and he has been sitting in a lab and discovering color his whole life, so I want to keep the color DNA in my collection. The second is having a mix between Eastern and Western culture. I always want to bring traditional Chinese elements to a more contemporary aesthetic. The third is creating a collection that is somewhat genderless and more contemporary in that way,…

It’s a mystery. French style can’t be properly explained, written about, or analyzed. Coco Chanel once said: “Fashion changes, but style endures,” and Yves Saint Laurent adapted her quote in his own words: “Fashions fade, style is eternal.” These legends of French fashion agreed on one existential element: style. Complex, different, and hard to find, style is a modern grail. To approach this ideal, we asked three remarkable women to portray the French style in three fashion stories. Julie de Libran imagined for model Tina Kunakey Cassel a glamorous, sexy, modern look. De Libran grew up in Aix-en-Provence and San Diego, and studied and worked in Milan with Gianfranco Ferré, Gianni Versace, and Muccia Prada before moving back to Paris to become Sonia Rykiel’s artistic director. Her French eye was…

L’OFFICIEL: Can you tell us about when you first arrived in Paris? FARIDA KHELFA: I didn’t know where to go. I wandered everywhere, but I soon met Le Palace’s crew in Les Halles. It was the trendiest neighborhood, with ‘50s vintage shops… it was where everything happened. L’O: You talk about Le Palace as a place of initiation for you. What did you discover there? FK: Homosexuality. I had a lot of gay friends when I was very young but it was taboo; nobody would say anything. At Le Palace no one hid. Everybody was so nice to me and I felt safe with them. They welcomed me with open arms. Fabrice Emaer let us in even though we had no money. We weren’t there for that! He understood that…

Lanvin’s Creative Director since 2019, 32-year-old Bruno Sialelli has succeeded in reviving one of the most storied French fashion houses thanks to a handful of collections, his fascinating stories, and his cinematic heroines. L’OFFICIEL: You grew up at La Cité Radieuse, the residential complex created by Le Corbusier in Marseille, south of France. Has that influenced your career as a designer? BRUNO SIALELLI: I think so. My parents chose to raise us in this extreme environment. My idea of “normal” was different. My preschool was on the 8th floor and all the activities were creative: acting, painting, or calligraphy. I was very hyperactive, so my parents were happy to send me to the movie theater, to the pool, or the gymnasium… all I had to do was move from one…

L’OFFICIEL: Between your sister Victoire de Castellane, artistic director of the jewelry department at Dior, and your uncle Gilles Dufour, who ran the Chanel studio, fashion is very much a part of your home life. What influence has it had on you? MATHILDE FAVIER: Fashion is in my DNA. That’s probably why I’ve always felt very comfortable in this business. When you went to Karl Lagerfeld’s school, you couldn’t help but look at fashion theater with a lot of humor and lightness. L’O: As a teenager, you did several internships at Chanel, where you met Sofia Coppola, then you collaborated with Carine Roitfeld, and then became public relations director at Prada and finally Dior. What do you love about this profession? MF: What I love about this job is the…

Timeless, to me, means immortal; it means enduring, ageless, and constant. The word can also carry a suggestion of being antiquated, but this project aims to change that. In the following pages, as a special collaboration, we present Tiffany jewelry through the eyes of fashion’s new guard of three talented young designers: Antonin Tron, Angel Chen, Christopher John Rogers—who are redefining timelessness as being free from the traditional boundaries of gender and race. For this project, we asked each designer to style their muse in a fantastic mix of Tiffany jewelry and their own creations, and captured the creative partnerships on video. (The three “Styled to a T” films can be seen in their entirety on lofficielusa.com.) On these pages, you will see arresting still images from these films, and…

LISA IMMORDINO VREELAND: Is there a woman in your head who you have as a reference when designing? CHRISTOPHER JOHN ROGERS: I think the women or the people that I always reference end up being my closest friends. It’s really about a person who mixes and matches different things, who isn’t beholden to one type of aesthetic or reference, and who creates their own world—not to impress anyone, but solely because they enjoy the journey of getting dressed.: You have to be super self-assured to feel comfortable in these clothes. I also hope that even if you aren’t, the clothes can help you muster that within yourself. LIV: You clearly love color. What does color mean to you? CJR: Color is the way that I see the world, more than…

Wes ANDERSON’S the FRENCH DISPATCH IS ONE of THE MOST ANTICIPATED NEW FILMS. Starring ALONGSIDE an ALL-STAR ENSEMBLE CAST INCLUDING Timothée CHALAMET, Bill MURRAY, Tilda SWINTON & Frances McDORMAND, THE RISING FRENCH-ALGERIAN ACTRESS Lyna KHOUDRI HOLDS her OWN. In the film, Lyna plays Juliette, a student activist in Paris. Motorbike helmet on, she protests for women’s rights with her equally passionate boyfriend, played by Timothée Chalamet. Every night during production, Anderson helped her expand her cinematic knowledge. L’OFFICIEL: In the film, you play Juliette, a student activist in Paris who protests for women’s rights while wearing a Motorbike helmet. What was it like to be on set? LYNA KHOUDRI: In the lobby of the hotel where we were all staying, there was a table full of DVDs. Dinners were almost…