A name dropper who was dropped, André Leon Talley’s latest memoir, The Chiffon Trenches, charts his life and career through the glittering war zone of fashion’s front row and his time at American Vogue. From his childhood in the southern states of America, raised by his grandmother, to New York, bouncing between there and Paris, depending on his roles at various magazines, it’s a who’s who (or who he knows) of fashion and society in one of the most exciting periods of 20th century fashion. Think the great 1970s period of Yves Saint Laurent.
Left - André Leon Talley - The Chiffon Trenches published by HarperCollins - £20
While I’ve never read Talley’s journalistic work, being pictured on the arm or by the side of American Vogue editor Anna Winter saw him enter fashion folklore. With his voluminous kaftans and capes he became a memorable fashion caricature alongside Wintour’s bob and dark sunglasses.
As a journalist, this is lite and while he thinks he’s describing things, throwing in a few French terms just feels a bit dated and doesn’t impress. Well, not this side of the pond anyway. It’s fluff.
The beef between YSL and Karl Lagerfeld is legendary and it’s interesting to hear about his dealings with John Galliano and Alexander McQueen, but apart from that there’s no great insight other than continually reminding you how he knows his fashion history and what a great dresser Lee Radziwill (Jackie O’s sister) was.
Clearly used to the golden years of magazines, when you could expense everything, had a car at your disposal and got put up in the Ritz, he glosses over his failings, like losing his job at Ebony, they couldn’t afford him, or so he says, and then messing up a huge opportunity writing YSL’s book because he took much on and didn’t have the time. Doesn’t look good, or sound professional.
Wintour and Lagerfeld dropped him a few years back, so the reason behind writing this book was probably the death of the latter. He knew that his friendship with Lagerfeld was the reason Wintour held him so close.
This, along with his documentary, The Gospel According To André, has a feeling of still trying to stay relevant and visible. But, what does he do exactly? He seems to mostly accompany rich women when they go shopping. He loves ‘a strictly private invitation funeral mass’ and has to drop in how he’s always frow or got a select invite to something or another.
He hates it when others don’t like his chosen gifts. It’s a lot of giving and receiving special stuff. All about the alligator. It has to be the best, most expensive and this attitude feels again dated. He moans about people treating him badly yet carries on doing things for them or going to their launches and dinners. He wants to feel important. Has to.
He compares Naomi Campbell to Elizabeth Taylor. Really? #eyeroll And addresses Edward Enninful as a Sir, which he’s not. He has an OBE, and, for a man who think he knows everything, this feels like a stupid thing not to know. I'm surprised the publisher didn't pick this up.
Sycophantic, he’s like one of those people who hears something new then acts like they invented it. It’s all Goyard luggage and blacked out cars. He’s sucked in by breeding and heritage and he's spoilt by a free and expensed lifestyle. Those days are over.
The book is quite repetitive; Met Gala, Anna Wintour Costume Center, Diana Vreeland, Lagerfeld, Chanel, Chanel, Chanel…
There’s a best dressed list at the end of the book and even a ‘picture section’.
Takeaway - He’s a self-professed ’elegant walker’ and, while bitter about his detachment from Wintour, Talley has kept all the receipts, literally, and they are all here to read. Burn.
A large bulk of the fashion industry is feeling pretty smug with itself. The just-gone G7 summit in Biarritz, France, a meeting of the world’s largest economies, saw French President Emmanuel Macron, accompanied by Economy and Finance Minister, Bruno Le Maire, Minister of Labour, Muriel Pénicaud, and Deputy Minister of Ecological and Solidary Transition, Brune Poirson, launch the ‘Fashion Pact’. An initiative to minimise the environmental impact of the fashion industry, the Fashion Pact, signed by various fashion companies and brands, made numerous commitments regarding sustainability, renewable energy and biodiversity.
Left - Tall glass of Pinault?! The 'Fashion Pact' launch at the recent G7 summit
Making plenty of noise, and, while anything in the right direction, particularly while the Amazon rainforest is burning, is welcome, it’s worth looking at some of the detail.
Thirty two companies representing around 150 brands and roughly 30% of the fashion industry committed to:
“100% renewable energy across own operations with the ambition to incentivise implementation of renewables in all high impact manufacturing processes along the entire supply chain by 2030.”
“Protect the oceans: by reducing the fashion industry’s negative impact on the world’s oceans through practical initiatives, such as gradually removing the usage of single-use plastics.”
“Restore biodiversity: by achieving objectives that use Science-Based Targets to restore natural ecosystems and protect species.”
“Stop global warming: by creating and deploying an action plan for achieving the objective of zero greenhouse gas emissions by 2050, in order to keep global warming below a 1.5°C pathway between now and 2100.”
These all feel like the least they can do. Words like ‘gradually’ and ‘ambition’ make most of this wishful thinking. But, waiting until 2050 to achieve zero greenhouse gas emissions is laughable. Most of the signatories will be dead by then. It’s 31 years away!!! Who’s to say any of these companies will still be in business?
We live in a very stressful and confusing time. Environmental paralysis is understandable amongst consumers not sure exactly what they can do to combat climate change. But, waiting until 2050 to ‘possibly’ make that new handbag zero carbon emissions ain’t one of them. Green lip service is becoming increasingly frustrating and brands are going to have to give definite and distinct decisions while updating consumers on progress and fact based information much faster than this. People want to see something.
The brands involved include adidas, Bestseller, Burberry, Capri Holding Limited, Carrefour, Chanel, Ermenegildo Zegna, Everybody & Everyone, Fashion3, Fung Group, Galeries Lafayette, Gap Inc, Giorgio Armani, H&M Group, Hermès, Inditex, Karl Lagerfeld, Kering, La Redoute, matchesfashion.com, Moncler, Nike, Nordstrom, Prada Group, Puma, PVH Corp., Ralph Lauren, Ruyi, Salvatore Ferragamo, Selfridges Group, Stella McCartney and Tapestry.
In April 2019, ahead of the G7 meeting, Emmanuel Macron gave François-Henri Pinault, Chairman and Chief Executive Officer of Kering, a mission to bring together the leading players in fashion and textile, with the aim of setting practical objectives for reducing the environmental impact of their industry. And the Fashion Pact was born.
This goes someway to explain the most noticable luxury absentee from the list, the LVMH group. LVMH, Kering's main luxury competition, announced in May that it was partnering with Unesco on a five-year deal, allowing the fashion houses in the group access to “a network of experts at the regional level and in different disciplines to drive the development and success of their initiatives to protect biodiversity” and secure transparent supply chains. They’ve also recently cemented a tie-up with British designer Stella McCartney to lead their charge in sustainable luxury.
The majority of these brands don’t know what the eco-future looks like, but they know they need to start making the right noises yet want to continue to generate billions of dollars in yearly turnovers. Signing up to things like the ‘Fashion Pact’ focuses minds, but the time frame makes it a case of we’ll start tomorrow, which goes against the current urgent 'Climate Emergency' feeling felt within the wider population.
Kering issued a statement saying, “Private companies, working alongside nation states, have an essential role to play in protecting the planet. With the Fashion Pact, some leading players in the fashion and textile sector are joining forces for the first time to launch an unprecedented movement. A collective endeavour by its nature, the Fashion Pact is open to any company that wants to help to fundamentally transform the practices of the fashion and textile industry, and to meet the environmental challenges of our century.”
If these luxury companies worked as quickly as they did when chucking money at Notre-Dame, after its fire, then we’d really be getting somewhere. Pinault found €100m (£90m) down the back of the sofa and the Arnault family stumped up €200m within hours of the flames being put out.
Governments will need to bring in legislation much sooner to force these companies to do more. We’re going to look back at this period of history and wonder how we got through it sanely, but what we know is, we have to start today.
When New Look announced, at the beginning of this month, its menswear was going online only, it solidified what we already knew; high-street fashion is struggling, badly. It was only a few years ago, when the ‘dapper’ three-piece skinny suit was at its zenith and pocket squares were furnishing top pockets, that the good times were rolling and Britain’s high-street menswear retailers were expanding.
Left - Momager Kris Jenner loving an adidas tracksuit but with a Gucci bag or Fendi keyring
Back in 2016, New Look was busy rolling out menswear stores in university towns, appealing to those on a budget wanting fast fashion. New Look was fairly late to the menswear party, following in the footsteps of brands like Topman, River Island and Moss Bros, but it had lofty ambitions. They opened 22 menswear stores in places such as Shrewsbury, Exeter, Maidstone, Derby and Nottingham. They are all now closed, wth New Look saying in a recent statement, “New Look is removing menswear from its UK and Ireland stores but will continue to sell the range online and on third party platforms,” such as ASOS and Zalando.
So, what happened? Sportswear happened. Branded sportswear has been the main fashion story for the past few years. From trainers to tracksuits, sportswear is everywhere and on everybody.
Recent results from sportswear behemoth, JD Sports, illustrates its growth and dominance. JD Sports, which is now more than three times bigger than arch rival Sports Direct, almost-doubled revenue in its latest results for the 52 weeks to February 2, 2019. Revenue was up an incredible 49.2 percent to £4.7 billion for the period compared to the year before, with profit before tax increasing by 15.4 percent to £339.9 million pounds.
JD Sports’ results includes its acquisition of the Finish Line business in America. The brand was bought for around £400 million in June 2018, and saw JD Sports take ownership of Finish Line’s 600 stores in the US.
JD Sports executive chairman, Peter Cowgill, said in a statement: "We believe that our acquisition of the Finish Line business in the United States, the largest market for sport lifestyle footwear and apparel and the home to many of the global sportswear brands, will have positive consequences for our long-term brand engagement whilst significantly extending the group's global reach. We maintain our belief that Finish Line is capable of delivering improved levels of profitability.” JD Sports said it stayed clear of reactive discounting while offering a point of difference in the goods it sold.
This American dominance, particularly of the internet and social media channels, has helped grow this market. When American football is coming to Wembley and there’s even talk of baseball making inroads into this country, then you know the power of the American online world we now live in. When you see Kris Jenner wearing a full adidas tracksuit on multiple episodes of the Kardashians, instead of the luxury labels she used to be wearing, it really illustrates how far this trend has come and it’s global.
JD Sports is now in 10 countries in mainland Europe with its first store in Austria at Mariahilfer Strasse in Vienna opening in the next few months. The JD fascia saw a net increase of 39 stores in the period with new stores in all of the retailer’s existing territories as well as its first two stores in Finland. In Asia, JD Sports has opened its first stores in Singapore, Thailand and South Korea with its local partner Shoemarker Inc, and now has 16 JD stores, including 14 conversions of the multibrand Hot-T fascia which was acquired in the previous year.
New Look recently closed all of their stores in China, Belgium and Poland, 85 stores in the UK and, potentially, those in France and Portugal too. It has returned to profit after its underlying operating profit came in at £38.5 million to Dec 2018, compared to an underlying operating loss of £5.1 million for the same year-to-date period the year prior, but like-for-like sales are still falling, they’ve just slowed.
These woes aren't just restricted to New Look. The fall in the value of these high-street companies is illustrated by Arcadia recently buying a 25 per cent stake in retailers Topshop and Topman back from US investor Leonard Green for $1 or 76p. It was rumoured the US private equity firm bought the 25 per cent stake from Sir Philip Green’s Arcadia in 2012 for £350 million. That’s some devaluation.
Another British high-street brand suffering from the dominance of sportswear is Moss Bros. The menswear retailer recorded a £4.2 million loss for the 52-week period ending January 26, 2019, compared to a profit of £6.7 million the year prior. Revenues were down 2.1 per cent to £129 million and like-for-like sales dropped 4.3 per cent. Interestingly, full-year figures showed that like-for-like hire sales plummeted by 9.3 per cent. People aren’t even renting formalwear now?! Moss Bros chief executive, Brian Brick, said it was an “extremely challenging” year. “We suffered from a combination of a significant stock shortage and extremes of weather, alongside sporting distraction in the first half, which impacted footfall into our stores,” he said. That “sporting distraction” was the World Cup with people no doubt wearing yet more sportswear.
“Looking forward, in common with many UK retailers, we continue to anticipate an extremely challenging retail landscape, particularly within our physical stores, as a result of reduced footfall and rising costs.” he said.
This sportswear as a fashion trend is slowing, but sportswear is beyond a trend, now, and it’s a lifestyle and ease of dressing that is resonating around the world and to every age group. These once dominant British high-street stars are contracting and they are cutting off limbs (menswear) to save the vital organs. Karl Lagerfeld once said, “Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants.” He couldn't be more wrong.
Marc, who? Exactly. Walk into the new Dior exhibition - Christian Dior: Designer of Dreams - at the Victoria & Albert Museum and you’ll be wowed by a glamourous exhibition dedicated to one of the world’s strongest fashion houses. A few rooms in, there’s a recap of the previous Dior Creative Directors, in order, from after Dior’s death in 1957 up until the present designer, Maria Grazia Chiuri. All getting equal billing and space is Yves Saint Laurent, Marc Bohan, Gianfranco Ferrè, John Galliano, Raf Simons and Chiuri.
The least known, yet the longest there, is Marc Bohan. From 1958 to 1960, Bohan designed for the Christian Dior London line. In September 1960, Dior’s creative director Yves Saint Laurent was called up for military service and Bohan was promoted to replace him. He stayed at Dior until 1989 when he was replaced by Gianfranco Ferrè.
Left - Linda in Chanel. But, will we remember this in a few decades time?
Bohan’s career at Dior lasted over 30 years and yet he is almost forgotten about. Still alive, he didn’t create anything long lasting directly attributed to his hand at Dior. Or, that is widely known. And this is where I bring my comparisons to Karl Lagerfeld. He lead Chanel from 1983 up until his death. That’s a 36 year career, and yet in a few year's time, what direct influences will Lagerfeld leave on the French house? Will Karl Lagerfeld become the Marc Bohan of Chanel? #Discuss
Dr Kate Strasdin, Fashion Historian and Senior Lecturer in Cultural Studies at Falmouth University, says, “I think he will be remembered just because of the length of time he was at the helm and that his time coincided with the expansion of mass media. He talked about being a caricature of himself, creating his own distinctive self-image.
“As for Lagerfeld’s legacy, many people criticised his work as derivative. but actually I think he was astute at managing a heritage brand, treading that line between designs that were recognisably ‘Chanel’ and simultaneously relevant for over 30 years....I would argue that was his distinctiveness.” she says.
Looking at Lagerfeld’s Chanel, he brought the house’s tropes into the late 20th century, but they already existed. The tweed, the camelias, the quilting, the interlocking Cs and gold chains all existed within the archive. The most famous bag shape, the 2.55, was created in 1955 and is still a juggernaut today.
Benjamin Wild, Cultural, Historian, Writer and Lecturer, says, “For sure, there are many similarities between the men - longevity and the ability to contemporise classical styles, not least - but it is interesting to note the increasing number of voices that are coming forward to comment on Lagerfeld's less savoury social attitudes and comments. In a week where major fashion brands have withdrawn items from their Spring/Summer collections because of their perceived racism and insensitivity, it seems to be a sign of the times that Lagerfeld's character and creations are also being examined in a forensic manner as people recognise that person and portfolio cannot be - and should not be - so easily disentangled; if we are to understand Lagerfeld's contribution to fashion, we need to be frank about who he was, and this will, I think, leave for a more accurate, but disputed legacy.”
Lagerfeld’s tenure at Chanel was through the boom of designer brands and luxury clothes. Bohan’s was in a much smaller industry and no doubt had to design few collections than the six Chanel creates every year. Lagerfeld’s Chanel was much bigger, so it’s interesting that even fewer designs of Lagerfeld’s have stuck. But, also, today, there is now so much more competition.
It’s often what comes after and how good it is that really pushes a designer into the background. When Galliano created his Dior, it was a fantasy of couture, yet still managed to leave behind his strong DNA - the Masai neck, the saddle bag and the famous Dior newspaper print are all Dior signatures still attributed to him today.
Chanel is privately owned by Alain Wertheimer and Gérard Wertheimer, the grandsons of Pierre Wertheimer, who was an early business partner of Coco Chanel. After Lagerfeld’s death, Virginie Viard, fashion studio director and Lagerfeld's right-hand woman at Chanel, was announced as taking over the creative leadership. No doubt she’ll be in charge to offer a respectful gap to Lagerfeld’s legacy, but, ultimately, this is one of the plummiest jobs in fashion and many designers would kill to fill those shoes and offer their own take on Chanel’s future. Like many brands, it may take a few goes to find the perfect fit and I’m not sure anybody would stick around, or be allowed to stick around, for over three decades today.
“I think to get the best out of Chanel, it now needs to push the brand boundaries - not in a Balmain or Balenciaga ‘sell out’ begging-for-attention from the Instagram generation manner, but it needs to become more relevant. I feel Chanel has sunk into a comfort zone that rich women seeking affirmation or middle class basic bitch types aspire to.” says Katie Chutzpah, Fashion Blogger.
Lagerfeld is, of course, respected for his prolific and long career, but, what left is distinctively “Lagerfeld”? You have to separate the man and his designs. When his domineering character is quietened by his death, it will be his designs and collections which will have to fight with what went before, and what will, now, come after.
“If Karl Lagerfeld had just concentrated on Chanel, then I think he would've been forgotten, but his influence was so pervasive across popular culture. Despite his work at Chanel, he was actually a modernist and early-adopter of technologies. From fashion to art, photography, product design, and even music, he was always there at the edge, and I think that will be his true legacy, not reinventing a tweed jacket every three months.” says Lee Clatworthy, Fashion Writer.
This isn’t about trashing Lagerfeld’s career, it’s an unemotional look at the things we can directly attribute to him. Clearly, Chanel has been a huge success under his guidance, but it had very strong foundations on which to build. In a few decade's time, will Lagerfeld’s chapter at Chanel be remembered as vividly and fondly?
What they’ve done with, I’m guessing, limited visual material is remarkable. Even a featured Andy Warhol art film/doc is of such bad quality it looks like the first season of Rupaul’s Drag Race. So they’ve done well to find enough contemporary film footage or pictures to fill this and keep your attention. Obviously, there are new interviews with people who were there at the time, but it’s sad and disappointing that the two main characters are no longer with us.
Left - Antonio & Jerry
I’d heard of Antonio Lopez before and was aware of his style of drawing. I knew the era he was producing in, but that was about all. I didn’t really know who he worked with and for whom.
James Crump’s documentary centres on Paris and New York between 1969 and 1973, viewed through the eyes of Antonio Lopez (1943-1987). A native of Puerto Rico and raised in The Bronx, the story centres on him and his personal and creative partner, Juan Ramos (1942-1995).
Being an illustrator Lopez would never have been in the public eye personally, unlike many of the designers he was copying. His illustrations were well known, but it felt like he was always at the mercy of the commission, whether that was for a magazine or fashion house.
Right - Lopez's partner, Juan Ramos
Unlike Warhol, who also started as an illustrator, Lopez didn’t push himself centre stage. Warhol knew there was money to be made in people’s narcissism and vanity. Lopez seems to stick to the safety of what he knows. Maybe there wasn't enough time, well, between all the shagging, at least!
I like how the documentary moves between New York and Paris, but I wanted more from the main disco time of the late 70s and early 80s. The disco is Paris’ Club Sept, but you don't really get a feel for the place.
It gets wrapped up quickly at the end without the same level of detail. What was he working on? Did he fall out of fashion?
There is a brief moment when you feel like you’re watching a documentary about YSL and Karl Lagerfeld. (Love the beef between these two). These giant fashion planets pulled many different stars into their orbit and Lopez and his entourage of models and lovers were just some of them.
It was fun to see and hear from the group of female models Lopez championed - there's one who reminds me of Angie Bowie - and would have looked mega diverse even by today’s standards. The documentary is worth watching just for Jerry Hall’s arrival. Man, was that one beautiful woman. There are models and, then, there are supermodels. She’s like Botticelli’s Venus combine with a classical Greek siren with a dash of Texan Barbie. She’s captivating, especially in this where she's just starting out on her modelling career. This is where the film starts to end. It’s a shame, along with Grace Jones and Karl Lagerfeld, that she isn't interviewed for the film.
Lagerfeld seemed to distance himself at the end of Lopez’s career which is probably why he’s lasted so long in the fashion business. I imagine you have to be pretty cold and heartless in order to maintain your position. In the film he uses Lopez to illustrate his work at Chloe, and, being good at what he does, he knew they were the zeitgeist of the time and then when to drop them, accordingly.
Upsetting the photographer, Bill Cunningham, who is a prominent interviewee in the film, Lagerfeld wasn’t there when Lopez was diagnosed with AIDS.
The film is definitely an extensive insight into Lopez's fashion circles of the late 60s, 70s and early 80s: who knew who, who fucked who and who made it through. There are, annoyingly, not enough recorded visuals of his process and you want to hear more from the man himself. You don’t get a feeling of how much he produced and how his magazine illustrations complemented the fashion of the time. The artworks look like a mix between 70s Art Nouveau and porn illustrations, but you can see his precocious talent.
The film, again, illustrates how much talent we lost during the AIDS crisis and also fulfils our insatiable thirst for retro glamour. We live in age where we are obsessed with looking backwards at talented and beautiful people, quenching our need for what we feel today's modern landscape is sadly lacking.
Left - One of Lopez's illustrations
See #ChicGeekComment Is ‘Peak Fashion Documentary’ Killing The Fashion Tome?
Let’s make something clear, Marc Jacobs is a great designer, yet his business is struggling. Why is this? Business of Fashion said, on Tuesday, the label announced its decision to shutter its men’s business, ending a license agreement with Staff International, after the delivery of the Autumn/Winter 2017 season.
Okay, Marc Jacobs menswear had disappeared recently and, to be honest, it never really have any identity and this is ultimately Marc Jacobs’ problem.
Left - Marc Jacobs going out with a Bang, now discontinued
One of the biggest designers in the world and he has difficulty establishing his own brand. Karl Lagerfeld has always been the same, but that’s a whole other ChicGeek comment.
I knew something was wrong when I went to a Coty fragrance launch, last year, and asked how the Marc Jacobs Bang fragrance was doing. They said they’d discontinued it. I was surprised because, firstly, the bottle was great and the black peppery fragrance was very wearable and commerical. Maybe it was those naked ads, starring the man himself, that tipped it over the edge!
Marc Jacobs has done a lot of things: he put Grunge on the catwalk, but unfortunately you’ll never make money from grunge, he pioneered Louis Vuitton’s ready-to-wear and introduced many great collaborations, such as Stephen Sprouse, those leopard print-type scarves were everywhere, but he’s never really owned anything. You can’t point to something and say “that’s very Marc Jacobs” which is when a brand or designer because part of the visual language and, ultimately, means longevity and heritage.
In the early 00s it was all about the Stam handbags, which were expensive, then Marc by Marc Jacobs came along and everything was really cheap. He seemed to miss the middle, sweet spot that Michael Kors has come to dominate. He was either really expensive or pocket-money cheap and that confused the brand. You never felt like spending money on Marc Jacobs.
The fashion probably wasn't expensive looking enough for the clientele who buy designer clothes the world over and when the only shop left on the street in New York that you pioneered is a book shop - BookMarc - great name BTW - it seems as though this is a signifier of how tough things are to make money from ready-to-wear even when your name is established.
The bad news is it’s only going to get more difficult in the next few years in American fashion. Calvin Klein is hoping for a resurgence thanks to Raf Simons, Donna Karan has new owners, that will no doubt start investing heavily and Ralph Lauren is bound to hit bottom soon. They’re all chasing the same customers and competition is difficult in a saturated market. Marc Jacobs needs to decide where is wants to sit within the fashion market and aim for that. Or, hope check shirts make a major comeback!