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Tao Kurihara, closed her Signature Label after Seven Years

1 May
Tao Kurihara

It’s already 5 years ago, Tao Kurihara’s label, simply named Tao, ceased to exist. Under the umbrella of her mentor and Comme Des Garçons founder, Rei Kawakubo, Tao showed from a/w 2005 untill s/s 2011.

It all started with an elaborate re-working of the corset; only in Kurihara’s hands this was cable-knitted and came with a ruffled and also knitted lace trim and predominantly in less than overtly feminine school-uniform grey. Witty and pretty in the extreme, it quickly came to the attention of the more discerning fashion follower who, while she might not have been quite ready to buy into this aesthetic in bulk – it was as prohibitively expensive as it was extreme – would be more than happy to see and read about it. This she could do in the pages of W magazine which, for a debut collection, is elevated coverage indeed.

TaoPage in W magazineTao 2005

The famously media-shy Kawakubo, meanwhile, admired Kurihara’s work enough to make an exception to her rule of silence and comment in that magazine thus: “The Japanese don’t have the habit of praising their own family, but I thought the collection was good because it has a concept and youthfulness.”

Next came a collection based entirely on handkerchiefs – predominantly found, vintage Swiss handkerchiefs – and trench coats. “I was attracted to the strong, cool, definite form of trench coats,” Kurihara explained of that season’s offering. “But I wanted to make something very different from traditional, water-resistant and functional trenches. So I chose to work with something fragile and familiar: handkerchiefs.”

handkerchief trenchcoat

spring '06

Kurihara re-worked old-fashioned bedcovers too, into exquisite, rainbow-coloured stoles and, more spectacularly still, turned her attention to the wedding dress, playing off the overblown and ornamental genre with nothing more overtly feminine or obviously decorative than a classic man’s white shirt. “I thought the idea of a man’s shirt meeting a white dress was a beautiful one,” she told at the time. “It’s because it is worn only once. Some people get married a few times but they don’t, I would imagine, wear the same outfit or go on to wear their wedding dress again as part of their daily outfit.”ss 2007

summer '07

For this reason, she continued, at least some of the designs in the collection were crafted in plain white paper, only pleated and folded in a manner that might upstage even the most overblown meringue. “That makes sense to me,” Kurihara said. “Paper is so fragile and not appropriate for over-use. I thought a paper wedding dress would be more special than one that was crafted out of a more traditional and typically extravagant material.

spring '07White silk knit short-sleeve polo shirt, white craft paper skirt from -A shirt and a wedding dress-

“I think the best way to express myself is to do a small but concentrated and very condensed collection,” was how the designer explained any self-imposed limitations as far as theme was concerned. “I believe that when one sets such limitations some kind of strength occurs.”

From thereon in, Kurihara based her shows on everything from 1980s gym-wear – striped, in hot pink and edged with small but perfectly-formed crushed frills – to the twisting and knotting of great swathes of fabric and the type of uniform the most  toy soldier might like to wear. While her work was clearly indebted to Comme des Garçons in particular and to the Japanese school of design more generally – and with that a belief that experimentation, as far as both fabric, cut and proportion are concerned, was of prime importance, her aesthetic has always also been gently feminine and as playful and light-hearted as it is clever.

What she did share with both Kawakubo and Watanabe is an uncompromising disregard for anything as obvious as a passing trend or even anything even remotely people-pleasing.

Tao fall 2006fall 2006

fall 06Tao spring 2008spring '08

spring '08Tao fall 2008fall '08

fall '08Tao spring 2009spring '09

In fact – and in this she differs from her Comme des Garçons stablemates – Kurihara studied fashion in London at Central Saint Martin’s “a few classes behind Stella McCartney and Phoebe Philo. I couldn’t find any Japanese universities and colleges where I could investigate my interests more deeply. I don’t deny that my national identity is reflected in my work. I think I’m influenced by where I grew up and especially by my experience at Comme des Garçons. However, I don’t think my way of working would change if I was another nationality. My standpoint would still be the same. Nationality is pure chance”.

Since graduation – and based once more back in Tokyo – her career path has, as she has always said, been entirely indebted to Comme des Garçons. After graduating, she worked as assistant to Junya Watanabe and, as well as designing her own collection, in 2002, took over from him (Watanabe) at the more accessible Comme des Garçons Tricot line alongside. She has been, she argues, “very lucky to work in an environment with 100 per cent free spirit”.

Tao fall 2009Tao Comme Des Garçons

fall '09

fall '09

fall '09 Tao fall 2010fall '10

fall '10Tao spring 2010spring '10

spring '10

spring '10Last Tao collection, spring 2011spring 2011

spring '11

spring 2011

spring 2011.j

Of her decision to stop work on her signature line in 2011, she says now that she was looking for “a change of my lifestyle – marriage could have been a trigger.”

Kurihara is, of course, not the first or last talented designer to make such a move and, although her presence in Paris is missed, she still continues to design Tricot, which is available in Dover Street Market in and enjoys a high profile in Japan. “My intention is to create the kind of everyday clothing that is new and exciting for this label.

Tricot Comme Des Garçons 

tricot CDG

tricot CDG

iiiinspired _ special story Tricot Comme des Garcons, so-en, feb 2011, ph Osamu Yokonami _013

iiiinspired _ special story Tricot Comme des Garcons, so-en, feb 2011, ph Osamu Yokonami _ 017

tricot CDG '13 '14


info: &



Lauren Hutton, Facts of her Life & Career

27 Sep
Lauren HuttonPh. by Richard Avedon, 1973

Lauren Hutton was advised to correct the slight gap in her teeth and tried using morticians’ wax to cover the gap, cutting a line in the middle of it; this was followed by the use of a cap, which she would often swallow, laugh out or misplace. She eventually retained this “imperfection”…..

Lauren Hutton

Hutton, who is now 71, was the Kate Moss of her time – almost as famous for her partying as for her incredible and enduring fashion career – and the outspoken beauty explained that there were millions of dollars to be made from modelling, even in the Seventies.

She was illiterate until age 11. After her mother remarried (Hutton never knew her father), the family of three moved from Charleston to the swamplands of Tampa, which she calls “a magical place.” Hutton spent her days as a carefree tomboy, and learned how to interact with wildlife from her stepfather.

She first came to NYC for a few-month stint, earning her rent as a “Lunchtime Bunny” at the Playboy Club. (She explained that the position of “Lunchtime Bunny” was reserved for 18-20 year-olds). She was there around the same time that Gloria Steinem and Debbie Harry were also working at the Club, although they never interacted, since the ladies who would later be known as the godmother of feminism and Blondie, respectively, had the distinction of being Nighttime Bunnies.

Lauren HuttonLauren Hutton as a Lunchtime [Playboy] Bunny

She was born as Mary Laurence Hutton, but blame it on Playboy for the switcheroo: There were apparently too many cocktail waitresses named Mary, so she decided to riff on her middle name and go with Lauren, inspired by none other than Lauren Bacall.

Hutton got into moddeling after she saw a want ad in the New York Times for a Christian Dior model, “experience required.” Her friend’s boyfriend told her she needed to go to the audition anyway. “I said, ‘I don’t have experience,and he said, ‘Of course you do.’ I had my first great New York lesson: Lie.” She did get the job—though the fact that she offered to do it for less than minimum wage ($50 a week) was probably also a factor.



Hutton about her first meeting with Vogue editor Diana Vreeland. “‘You have quite a presence,’ Vreeland told me. I did not know what presence meant.  I figured it was good. I said, ‘Yes ma’am, so do you.’ She said, ‘You stay after.’ I opened my book and she said, ‘I think I’ll call Dick [Avedon.]'” 

It was her first big shoot with famed photographer Richard Avedon, and things were not going well. “I was trying to be Veruschka, and that was terrible,” she says. When, in the hopes of finding something that would inspire her, Avedon asked her questions about her childhood, she revealed that she used to love jumping over snakes. He told her to leap and jump in the photo, and the rest was history. “That started the run-and-jump pictures…because I couldn’t model.”

Run-and-Jump Pictures by Richard Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon 1971

Lauren Hutton by Avedon 73

She was the very first model to nab a beauty contract—and it was all her idea. Up until then, modeling was an occupation that was paid by the hour. But Hutton knew that she was a hot commodity. “Twiggy had quit, Veruschka was doing something else, Shrimpton was off doing something else—everyone had quit. I was the only one left!” But when she caught a glimpse of a New York Times article about a man who had received a $1 million contract for his own job, she said, “How can I do that?” She mentioned her idea to Avedon, who told her to up the ante and make it exclusive. She pitched it to Revlon, and in 1973, at age 31, she signed the first-ever modeling contract with Revlon for a sum of $400,000. She was the face of the mega-brand until they let her go about 10 years later.


Lauren Hutton appeared on the front cover of Vogue magazine a record 41 times!

Lauren Hutton by Irving Penn, December 1968.


Irving Penn vogue


lauren-huttonLauren Hutton & Christy Turlington
Veruschka, Isabella Rossellini Lauren Hutton by Steven Meisel 1988.Veruschka, Isabella Rossellini Lauren Hutton, Steven Meisel 1988


In October 2000, Hutton joined a motorbike group, which included actors Dennis Hopper, Laurence Fishburne and Jeremy Irons, to celebrate “The Art of the Motorcycle” exhibit at the Hermitage-Guggenheim museum in Las Vegas, Nevada. Prior to the journey, Hutton informed the Las Vegas Review-Journal: “I love the feeling of being a naked egg atop that throbbing steel. You feel vulnerable — but so alive.” En route, Hutton crashed near Hoover Dam, on the border between the US states of Arizona and Nevada, going over 100 miles (160 km) per hour, and suffered multiple leg fractures, a fractured arm, broken ribs and sternum, and a punctured lung. Hopper later recalled from before the start of the ride: “She had on a little helmet, sort of tied under her chin. It was cute. And Jeremy [Irons] came up to her and said, ‘You got to be kidding.’ He took it off her and gave her a proper helmet.”

Lauren Hutton



About American Gigolo:

“Everyone knew it was great, that it was ahead of its time. Paul [Schrader] had been trying to get it made for ten years. He’s a genius idea man, and a genius producer. He was one of the first people to use popular music the way he did in that film, with Blondie. Originally, John Travolta had the lead role. He was fresh off of Saturday Night Feverand Grease, which together had made a quarter of a billion dollars. There were entire rooms in Paramount stuffed with his fan mail. What happened was, two weeks before we were to start, John’s mother died. He was just a 24 year-old kid. He was in real agony. Then his dad had a heart attack. So John asked for a two week extension so he could pull himself together emotionally, and also lose some of the weight he’d put on during this time. And they wouldn’t give him an extension. Everyone was going to sue him. It was just a mess. So what John had to do to get out of it, was give Paramount a deal where they chose his movies, and he had no say. And prior to that, John had what no other actor in town had, which was final cut. Plus, John was very romantic. If John had played the role, it would have been much more romantic and you would have seen the gigolo kiss. With Richard [Gere], you never really see the gigolo kissing. You see everything leading up to it. You see his expertise in dressing, more than his expertise at romance.”

“The character of Julian Kaye was a bit removed and completely narcissistic. It was his narcissism that blinded him to the conspiracy around him, but you would have had a populist hit if there had been more romance in the film. As it was, it wasn’t a hit when it came out, but became a classic in retrospect on cable and home video. So we ended up being lucky, because Richard is such a wonderful actor, and he became a star because of that role, deservedly.”



Lauren Hutton

“We have to be able to grow up. Our wrinkles are our medals of the passage of life. They are what we have been through and who we want to be. I don’t think I will ever cut my face, because once I cut it, I’ll never know where I’ve been.” 

Lauren Hutton






Click to access LAUREN_HUTTON.pdf

Tom Ford gets Candid about his Years at Gucci

23 Aug

Tom Ford

What Tom Ford did for Gucci in the 90ties was revolutionary and some of the designs are still iconic. Lately I wondered what happened during those days with Tom Ford and Gucci.

I am clearly not the only one, browsing the internet I found a recent article ‘Tom Ford Gets Candid About His Years at Gucci’ ( at the NY Magazine website), which I like to share. And to refresh the memories of the epic designs I included some video’s and photographs….. 

Gucci 1996 ad by Mario TestinoGucci '96/'97 ad by Mario Testino, styling Carine Roitfeld

In October 1994, the publicist for Gucci nearly begged journalists to attend Tom Ford’s first women’s show in Milan. Within a year, Ford would behailed as “the most directional designer in Milan” for his sleek tailoring and retro ’70s glamour. And Madonna dressed in a teal-blue satin shirt and hip-huggers at the MTV Music Video Awards, would invite even more attention when she chimed about her outfit, “Gucci, Gucci, Gucci.”

But that autumn it was easy to be skeptical. Despite its golden association with playboys and Hollywood goddesses, and despite success by the company’s creative director, Dawn Mello, who pushed the house to revive its snaffle-bit loafer and bamboo-handle bag, Gucci had failed to achieve its potential — and to distract consumers from designers like Giorgio Armani and Gianni Versace or upstarts like Romeo Gigli. At one point Gucci couldn’t even meet its payroll. Maurizio Gucci, after selling out family shares to Bahrain-based Investcorp, had been ousted. (He later was gunned down in a murder-for-hire arranged by his ex-wife.) Then in the spring of 1994, Mello left, returning to Bergdorf Goodman as president.

FW 1996 Tom Ford for Gucci KeyHole Gown 2FW 1996 Tom Ford for Gucci KeyHole Gown  .

Ford, who in his four years at Gucci had been an invisible backroom presence, was now on his own. And the ladylike knits and full skirts in wistful colors and prints that he showed reflected his tentative grasp of the brand’s identity. Speaking by phone last Friday from his home in London, Ford said with a laugh, “It wasn’t a bad show. It just wasn’t anything.” He said that his “brain was still full” of the type of fashion that Maurizio Gucci had wanted — classics that related to Gucci’s scarf history and leather goods. But clearly no one cared. Besides, Gucci didn’t have a ready-to-wear story to tell — not the way, say, that Chanel did. It would have to be invented. But given the brand’s uncertain future, with Investcorp weighing a sale of Gucci, was that even feasible? Depressed, Ford says he was ready to leave after the fall 1994 show.

Gucci Jeans 1999

As it happened, his sense of failure became his wedge. He felt he could do as he pleased because he had nothing to lose. “I had a moment where nobody was looking at anything I did,” he says. Then, too, he has always been the kind of person who knows what he wants. On his first date, in 1986, with Richard Buckley, the writer who became his partner, Ford announced that within ten years he would be a millionaire and designing his own line in Europe. Preparing for his Gucci men’s show, in January of 1995, Ford began questioning how he thought people wanted to look. At the time, Gucci’s archives consisted of a cardboard box filled with glossy press snaps of movies stars like Liz Taylor and Grace Kelly wearing Gucci scarves or walking through an airport with a bag. The glamour of Gucci resided in their celebrity rather than in anything they specifically wore. That’s what Ford tapped into, and he would emphasize that notion in his shows by putting a single spotlight on the models as each came down the runway. Versace often used the same effect, but the difference was that Ford killed the backlight, so that you were actually forced to notice the clothes and the models — and not someone sitting opposite. He also had the sense, he said, that people wanted to look sexy again. Fashion had reached the point where it was all minimal and proper, apart from the romance of Alexander McQueen and John Galliano whose businesses were still relatively tiny.

So in January, in Florence, Ford sent out velvet hip-huggers and a long, thin, new Gucci loafer in patent leather, a look that some writers related to mod and James Bond. He repeated the idea, more or less, for his women’s show that March. He also ignored a clause in his contract that said he couldn’t take a bow. “I thought, You know what? I’m going to do what I think is right. I’m going to step on the runway,” he recalled.

Gucci Mens and Womens A:W 1995-1996 S:S 1996 from TOM FORD INTERNATIONAL on Vimeo.

“What did Gucci executives have to say about that?” I asked him.

“The next day you could not get into the showroom. It was absolute hysteria. So, no, no one gave me flak after that.

It’s interesting to trace journalists’ reactions between 1994 and March of 1996, when Ford showed perhaps his most celebrated collection, the one with the slinky cutout gowns in white jersey, for which he received a standing ovation. Until the hip-hugger men’s show, Amy Spindler of the New York Times, who became one of his most ardent admirers, typically landed Ford’s men’s shows near the bottom of her reviews. But after Florence she called the show “the most directional for the magazines.” By July, she had upgraded Ford to “the most directional designer in Milan” and in September of 1995, in an insightful column headlined “Flip-Flop: The Runway Leads the Street,” she elaborated on “the Gucci influence.” Fashion brands at all levels were suddenly turning out hip-huggers.

Those three seasons — the velvet collection, the so-called hippie show with clashing prints in the fall of 1995, and the white-dress show — are what made Tom Ford at Gucci. Revenues in the first nine months of 1995 doubled, to $342 million, over the previous year. At the same time, he began to work with the stylist Carine Roitfeld and the photographer Mario Testino, helping to expand their own domination in the ’90s and beyond. Ford first made the connection to Roitfeld in 1994, while looking at a shoot she had styled for French Glamour. In so many words, he said, “This is my woman.” In reality, a number of women have served as Ford’s muses, notably Lisa Eisner in Los Angeles. But Roitfeld’s ultrasexiness, her élan, had a huge impact on him. And very much in the tradition of designers like Bill Blass and Coco Chanel and Yves Saint Laurent, Ford knew that he had to design for an actual woman, and not some cardboard creature.

In so many ways, Ford’s run-up at Gucci is instructive — though, to be sure, the fashion world has now changed beyond recognition. He was one of the very first designers to put into play the notion of mass luxury — that is, stuff that anyone could aspire to and maybe acquire. Despite the incredible glamour of Ford’s shows, which he carried over in the provocative advertising images, the clothes were essentially wearable. Christopher Bailey has taken a similar approach at Burberry not coincidentally, both Ford and Bailey have a strong business sense. And in abstracting the notion of celebrity from that slim box of Gucci photos, and in spectacularly elevating that notion on his runway, he was foreshadowing the current mania for celebrities and the red carpet. He really defined the conversation for the industry in the second half of the ’90s.

Chatting with Ford, I remarked that breaking with Gucci’s storied but rather conventional past must have saved him. He laughed. “Yes, but in fashion you never feel that way. Every time you turn your back and walk off the runway you think, Fuck, I got away with that this time. What am I going to do the next time? Literally, I was always terrified.” But in the lull before his velvet hip-hugger show, before Madonna, it did help that no one was looking. As he said, “I could have sent anything down that runway.”

By Cathy Horyn (for the New York Magazine website)


Tom Ford


Jacques de Bascher called Karl Lagerfeld “Mein Kaiser”

28 Sep

Jacques de Bascher

Since the book The Beautiful Fall and the movie Yves Saint Laurent there’s been an increasing interest in Jacques de Bascher, the man who fuelled the rivalry between former friends Karl Lagerfeld & Yves Saint Laurent by having a love affair with both of them and the reason Karl Lagerfeld suffered from a broken heart for years. Now the movie Saint Laurent has been released (24 September, 2014), I find even more people searching for information on Jacques de Bascher on my blog, so I decided to try to find out more about this mysterious dandy.

It wasn’t an easy task, because not a lot can be found about him, but ……


What has been written about Jacques de Bascher:.

Behind every great designer there is often a nudging muse; an aristocratic aesthete who embodies not only the designer’s ideals but who also simultaneously pushes him towards greatness. This symbiotic relationship is at the heart of many a fairytale story; note Alexander McQueen and Isabella Blow, Yves Saint Laurent and Lou Lou de la Falaise. Jacques de Bascher represents this figure for arguably the most influential and important designer (bar perhaps Yves Saint Laurent) of the last half a century – Kaiser Karl, Karl Lagerfeld of Chanel, Fendi, and world domination.

Jacques was not born into actual French aristocracy, but into an affluent family who had borrowed the title to accompany their wealth. But he certainly dressed the part. For Lagerfeld, Jacques represented the dandy prince of the castle who he had always wanted to be. He came to Paris seeking fame and popularity, and found it first as Lagerfeld’s lover and companion, with a brief interlude as Yves Saint Laurent’s obsession. With his penchant for exquisite suits, and turn of the century details, Jacques made quite a stir in Paris society in the eighties until his untimely death from AIDS in 1989. Even David Hockney immortalized him in one of his famous pencil sketches, which now retail for $60 upwards. A true gentleman icon of the last century and something of a modern-day Dorian Gray, Jacques de Bascher was truly a tragic figure worthy of being remembered.

Jacques-de-BascherJacques de Bascher 

In the early 70s, however, Karl Lagerfeld became enamored of Jacques de Bascher, a debauched young nobleman new to the Parisian scene, and began bankrolling his extravagant lifestyle. Bascher intrigued Saint Laurent, too, who saw in him a way to rebel against Pierre Bergé’s tight control and to “exorcise certain of his demons,” Drake (Alicia Drake, the writer of The Beautial Fall) writes. In 1973, Saint Laurent and Bascher began an affair — infuriating Lagerfeld and Bergé, and precipitating the fateful rupture between the two camps. 

For Drake, Bascher personified the “gilt-edged decadence” that defined his intimates’ milieu. Drawing on the link he himself made between “decadence” and “falling” (a link that apparently inspired her book’s title, The Beautiful Fall), she writes: “For Jacques, it was always beauty that justified the fall. Beauty made even the idea of self-destruction … a possibility.” By self-destruction, the author means not only drug addiction but AIDS, from which Bascher died at 38. But despite Drake’s presentation of him as a doomed artiste, his demise comes more as an anticlimax than as a tragedy of genius lost. Having “never carved a statue or painted a picture” or designed an article of clothing, Bascher left behind only a legacy of hatred between two men far more talented than he. The New York Times

Karl Lagerfeld, Jacques de BascherJacques de Bascher (right) & Karl Lagerfeld (middle)

People familiar with Paris fashion folklore readily recognize Pierre Bergé is talking about Saint Laurent’s liaison in the 1970s to the late Parisian dandy, Jacques de Bascher, who also carried on with Saint Laurent’s bitter rival, designer Karl Lagerfeld. 

Bergé makes no effort to disguise his distaste for Bascher. “I had to address that period,” said Bergé. “These letters to Yves couldn’t have been written without saying one, that I love him, and two that there were very difficult moments during our relationship.”  thedailybeast .com

Jacques de Bascher
Jacques de Bascher

Insofar as being a muse can be called a function, he functioned as a muse to Karl Lagerfeld. He (Jacques de Bascher) follows a certain dandyish template that I like — let’s call it the charming satanist– and, according to Agenda Inc. the “notorious Moratoire Noir party organized by Jacques de Bascher which introduced the fashion world – for the first time – to the darker edges of the Parisian suburbs and Mapplethorpian quantities of leather.” 

I did find his pretensions to French aristocracy to be, well, pretensions to French aristocracy.

Like most people in the book, he’s fairly disagreeable but what he lacks in character is mitigated by what he lacked in good intentions. (One can forgive anything except meaning well.) Pictures do him less justice than words, which, in this case, is a good thing.

Jacques de Bascher & Kaiser KarlJacques de Bascher & Kaiser Karl

He (Karl Lagerfeld) doesn’t talk about his sexual orientation and maintains that he never had sexual congress with the man he calls the love of his life, the Parisian “It” dandy Jacques de Bascher, who called Lagerfeld “Mein Kaiser” and died of aids in 1989. When Lagerfeld says he “hated the nineties, for some reasons,” it is code for many miserable years suffering with a broken heart, partially expressed by naming his Hellenic-inspired villa in Hamburg “Jako,” an amalgam of their names, and briefly selling a perfume of the same appellation. In fact, De Bascher was the reason Lagerfeld gained weight to begin with. He writes in The Karl Lagerfeld Diet that directly before De Bascher’s death, “I started to lose interest in my appearance, because I knew what was going to happen. I lost interest in myself and trivial matters. I felt old-fashioned in my proper made-to-measure Italian clothes. I started to buy my clothes from Matsuda, Comme des Garçons, and Yohji Yamamoto. I went from small to medium, medium to large, then to extra-large.”   New York Magazine

40298_469045486928_604006928_6238161_832771_nJacques de Basher

Ultimately Pierre Bergé would move out, unable to cope with Yves’s utter self-absorption. As the years went on they both had other interests, other passions, other lovers (most notably Lagerfeld protégé Jacques de Bascher, whose affair with Yves added another dimension to the bitter Lagerfeld/Saint Laurent rivalry).   The Guardian

jacques de bascher by david hockneyJacques de Bascher by David Hockney

This book ( The Beautifal Fall) is about the fashion designers Yves Saint Laurent and Karl Lagerfeld in their heydays in Paris in the 1970s. The city then was awash with wild, glittering young things who spent their nights dancing and schmoozing and stripping off and spraying each other with champagne. There were wild parties with weird installations and vast amounts of drugs. Lagerfeld’s companion Jacques de Bascher de Beaumarchais (yes, the name is fake) loved to titillate his guests. On his parquet sitting-room floor you might find a gynaecologist’s chair, or a posse of firemen, or a Harley Davidson with the wing mirrors pointing upwards and, on each mirror, a pile of cocaine with a straw and a razorblade…  The

Jacques de BascherJacques de Bascher and unknown female
Photo’s underneath, I found on Pinterrest (copyright Phillipe Heurrault), lots more can be found on:
ad7688b36fa130d7a65061c77b7bbf8eYves Saint Laurent & Jacques de Bascher
Pierre Bergé & Jacques de Bascher
Jacques de Bascher & Karl Lagerfeld
Betty Catroux and Jacques de Bascher
Betty Catroux & Jacques de Bascher
Yves Saint Laurent (left) & Jacques de Bascher (looking in the camera)

Paloma Picasso, the seventies IT girl inspired YSL “Scandal Collection”

29 Jun


Paloma Picasso


Paloma Picasso (born Anne Paloma Ruiz-Picasso y Gilot in Paris on 19 April 1949)  is the youngest daughter of Pablo Picasso and painter and writer Françoise Gilot. Paloma’s older brother is Claude Picasso (born 1947). .

‘My parents always taught me that I have to be my own person. At the same time when you have such parents and such a name you don’t want people to associate the two. When I got to be 14 or 15 it started making me feel very nervous. For a number of years I wouldn’t touch a pencil for anything other than writing, I was so afraid I might become an artist.’


Childhood photographs Paloma Picasso & Family

Françoise Gilot with picasso & nephew javier vilato on the beach at golfe-juan, france 1948Françoise Gilot & Pablo Picasso

Picasso i Francoise Gilot, ph Robert DoisneauFrançoise Gilot & Pablo Picasso, ph.Robert Doisneau

image-7-picasso-with-paloma-b-1949-in-arms-claude-b-1947-photo-1951Paloma, Pablo & Claude Picasso

PicassoPhoto1953Claude, Pablo, Fran;coise & Paloma, 1953

1956Paloma, Claude & Pablo, 1956

Pablo & Paloma PicassoPablo & Paloma Picasso
PalomaPicassoPaloma Picasso

paloma and claude (2)Paloma Picasso

Claude, Pablo & Paloma PicassoClaude, Pablo & Paloma Picasso
Pablo Picasso with his daughter Paloma, 1960sPablo Picasso with his daughter Paloma, 1960s

The Young Picasso’s (Paloma & Claude) by Richard Avedon, 1966

january 1966 avedon

avedon 1966

richard avedon

And then she became the IT girl…

Paloma Picasso had never had the luxury of escaping notice. Carrying the name of one of the most celebrated artists of the twentieth century was no small burden for a young girl coming of age. “I was very shy and having the name meant that I could never just go and be myself,” she once said. “I decided to start dressing up in a way to shift the attention from the person I was to what I was wearing. It became like a shield.”

Paloma Sphynx—her mother’s nickname for her—became the coolly confident IT girl who held her own at the center of the French art, theater, and fashion worlds. “Her dresses were copied, choices followed, appearance imitated”. Among her most ardent admirers were Yves Saint Laurent and Karl Lagerfeld. (That she managed to straddle the divide between the warring superstars was a coup of considerable grace in and of itself—but, after all, Paloma was named after the dove her father drew for the 1949 World Peace Conference.) On her wedding day, she wore Saint Laurent’s white Spencer jacket, ruffled red silk blouse, and red gauntlet gloves. For the candlelit banquet that followed at Lagerfeld’s eighteenth-century salon, she slipped into his heart-shaped dress of scarlet satin; later, revelers headed to Le Palace to watch female wrestlers tussle to the strains of Carmen in a ring decorated like a giant wedding cake. Filled with glee and goodwill,Karl Lagerfeld and Yves Saint Laurent forgot their feud and danced the flamenco together.


Paloma PicassoPaloma in her vintage 40s style
paloma picasso , xavier de castelle at le privilege 1983 Roxanne lowitPaloma Picasso & Xavier de Castelle at Le Privilege, 1983  ph.Roxanne lowit

Paloma & Husband Rafael Lopez-Sanchez 
Paloma Picasso, in YSL, and Rafael Lopez-Sanchez wed in 1978

Karl Lagerfeld, Paloma & husbandKarl Lagerfeld, Paloma & husband Rafael Lopez-Sanchez 

Paloma & RaphaelPaloma & Rafael
Paloma Picasso wearing a dress by Karl Lagerfeld.Paloma wearing Karl Lagerfeld


Paloma & YvesPaloma Picasso & Yves Saint Laurent

Jean-Paul-Goude-Andy-Warhol-+-Paloma-Picasso-500x610Paloma Picasso & Andy Warhol, ph. Jean Paul Goude

Helmut Newton.Paloma Picasso, ph. Helmut Newton

r-PALOMA-PICASSO-1980S-large-500x500Paloma wearing YSL & her own jewelry


Beyond her status as a seventies fashion fascination, Picasso became an accomplished designer of jewelry and accessories. She began by creating costumes for avant-garde theatrical productions, stringing necklaces with rhinestones plucked from Folies Bergère bikinis. Soon, her sculpted wings and shooting stars—and other bijoux hand-soldered in her Paris loft—were being commissioned by Yves Saint Laurent as house exclusives.



The Scandal Collection


Yves was very inspired by Paloma Picasso, who liked to dress from flea markets. In the 1970s young Parisian’s were reviving the fashions worn by their mothers, wearing turbans and picking up forties clothes in flea markets. Seventies Chic. At the time, people weren’t at all used to seeing vintage. 

Yves always cited “the fashion on the street” as his greatest influence; he was quick to tune in to the trends of the time and give them an aristocratic allure. “From the end of the war through the ’60s, not much changed in the world of high fashion,” said Serge Carrera (an employee of YSL) in France magazine, “then with one collection, Yves Saint Laurent upended everything and made fashion fresh by borrowing elements from the past and mixing turbans with prints. All of a sudden, fashion moved toward the realm of spectacle.”

YSL, Scandal Collection

Yves Saint Laurent, Scandal Collection


But  a couturier was supposed to invent something new and for the French, these silhouettes evoke the Occupation as well as the gay camp aesthetic of Warhol’s drag queens and the gay liberation movement. The press was outraged. Yves openly dismissed the critics as “narrow-minded and reactionary, petty people paralysed by taboos” and denigrated couture as “a museum” that was “bogged down in a boring tradition of so-called good taste and refinement.”

1971 YSL

1971 YSL

1971 YSL







Paloma Picasso ph Mario Sorrenti  Vogue Paris Mars 2009


Paloma Picasso, ph.Mario Sorrenti Vogue Paris Mars 2009