La Parisienne

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Hedi Slimane (born July 5, 1968) is a French fashion designer. From 2000 to 2007, he held the position of creative director for Dior Homme (the menswear line of Christian Dior). He is currently the creative director for Saint Laurent (formerly Yves Saint Laurent). Born to an Italian mother and a Tunisian father in 1968 in the 19th arrondissement of Paris. At 11, he discovered photography, received his first camera and learned black and white darkroom printing. At 16, without fashion in mind, Slimane started making his own clothes. He studied Art History at the Ecole du Louvre and completed a tailor apprenticeship at a men’s designer house. Early in his career, he visited the offices of Le Monde, as he wished to become a journalist and reporter. From 1992 to 1995, Slimane assisted fashion consultant Jean-Jacques Picart on the centenary of the project "monogram canvas" of Louis Vuitton. The project invited seven fashion designers - Azzedine Alaia, Helmut Lang, Sybilla, Manolo Blahnik, Isaac Mizrahi, Romeo Gigli, and Vivienne Westwood - to reinterpret the monogram canvas in celebration of its longevity. In 1996, Pierre Bergé installed Slimane in the position of ready-to-wear director of mens collections at Yves Saint Laurent and later he became artistic director. After the Black Tie collection for autumn-winter 2000-2001, which foreshadowed the advent of Slimane's silhouette, and the debuts of "skinny", he chose to leave YSL, declined the offer of creative directorship at Jil Sander, and accepted the position of creative director for menswear at Christian Dior. In June 2001, he headed up the launch of Dior Homme's first fragrance under his creative control - named Higher. He designed the packaging and worked with Richard Avedon on the accompanying advertising campaign. In April 2002, Hedi Slimane was the first menswear designer to receive the CFDA award for International Designer. David Bowie, whom Hedi Slimane dressed for his tours, presented the award. Thanks in part to Slimane, Dior’s couture business, which includes ready-to-wear and accessories, increased by 41 percent in 2002. Brad Pitt had Slimane create his wedding suit.Although he never designed a womenswear collection, he dressed female celebrities like Madonna and Nicole Kidman during his tenure at Dior.He furthermore created stagewear for groups such as The Libertines, Daft Punk, Franz Ferdinand and The Kills and artists such as Mick Jagger, Beck, Jack White. Slimane commissioned original soundtracks for his runway shows for Dior Homme, created by artists such as Beck, Readymade FC (Jean-Philippe Verdin) & bands such as Phoenix, The Rakes, Razorlight. The track "In the Morning" was composed by Razorlight exclusively for the Dior Homme show. Slimane was known for working with emerging avant-garde artists. Readymade Fc composed "F Me" (2001-2002) & the legendary "Flexion" (2002-2003). These New Puritans, composed "Navigate, Navigate" for the last défilé of Dior Homme in January 2007. Slimane became known for redefining the male silhouette, widely recreated in fashion and advertising (fashion and fragrances). In July 2007, Slimane did not renew his contract at Dior Homme. The fashion house proposed to fund Slimane's own label, but the discussions failed and the designer declined. Slimane had written on his website that he did not want to lose control of his name, and management of his own brand. He returned to fashion and portrait photography. In March 2011, following John Galliano's dismissal from Dior, Slimane was linked with the job of new Dior creative director.In March 2012, Yves Saint Laurent and its parent company, PPR, officially stated that Slimane would replace Stefano Pilati as creative director at Yves Saint Laurent, after the departure of the latter, who held said position for almost eight years.He will base himself in his creative studio in Los Angeles, rather than the brand's Parisian headquarters. In 2000, Visionaire magazine, a New York quarterly that commissions publication projects on fashion, asked Slimane to guest edit its next issue. Published in an edition of 6,000 and priced at $175, Slimane's proposal of his own vision of Paris as a city of the future involved the participation of 29 artists, photographers, architects, musicians, and graphic and Web site designers. Immediately after leaving Yves Saint Laurent, Slimane moved to Berlin, where - upon the invitation by curator Klaus Biesenbach - he took up a residency at the Kunst-Werke Institute for Contemporary Art between 2000 and 2002.Berlin, a selection of black and white photographs published by Editions 7L/Steidl with Karl Lagerfeld and Steidl in 2002, was Slimanes first book documenting the Berlin scene.Stage, published by Steidl in 2004, is his second book published on the rock revival and the 2.0 generation. Also in 2004, Slimane created the album cover for the band Phoenix's album Alphabetical. "London Birth of a Cult", released by Steidl in 2005, described the daily life of a young unknown British rock star Pete Doherty. Pete Doherty is surrounded by The Paddingtons, his fans, and he symbolized the new generation of London punk rock. The book foreshadowed the project on "London". Slimane proposed "London" to the French daily Libération. The London issue, published in May 2005, marked the beginning of the British onslaught, and its adoption by a new generation of French fans. On July 5, 2005, Slimane celebrated his birthday at Tryptique club in Paris where Doherty took stage by surprise and sang Happy Birthday. The Paddingtons and The Others also performed. In May 2006, Hedi Slimane created the photographic blog Hedi Slimane Diary. Slimane created his Rock Diary, beginning in 2004 in collaboration with the British journalist from NME, Alex Needham. In addition, he shot spreads for magazines including French Vogue, VMAN, and Purple. When Slimane left for America and based himself in Los Angeles in 2007, California became the subject of many of his images and later the subject of several exhibitions. In 2009, he photographed the album cover of Lady Gaga's EP The Fame Monster. In 2011, he curated "Myths and Legends of Los Angeles" a group show of Californian artists, including John Baldessari, Ed Ruscha, Chris Burden, Sterling Ruby, Mark Hagen, and Patrick Hill at Almine Rech Gallery in Paris and Brussels. His own work was shown in 2011 at the MOCA, where Slimane presented a photographic installation that showcased an archive of images from his California period. The exhibition, titled "California Song", was created in a kinematics way, accompanied by a soundtrack by the musical group No Age. No Age performed on the opening night on November 11, 2011, drawing a record attendance of over 2,000 people for the MOCA. The opening night performance became the subject of a documentary by Slimane and Commonwealth. Christopher Owens, the singer of Girls, was the lead figure of "California Song". Digital slide show billboards were seen in the streets of Los Angeles showcasing the MOCA exhibition. Commissioned for the 2011 debut issue of Garage, a magazine created by Dasha Zhukova, Slimane designed one of the three versions of the publication's covers. His photograph showed the lower half of 23-year-old nude model Shauna Taylor, whose crotch is covered by a green butterfly sticker created by Damien Hirst. The sticker peels off (inspired by the Velvet Underground album art by Andy Warhol) to reveal a butterfly tattoo, also of Hirst’s design.

Designer Zac Posen and Olga Sorokina visit the Mario Testino opening at PRISM during Academy Awards week on February 23, 2013 in Los Angeles, California.

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Wayne Tippetts

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March 3, 2013 PARIS By Jo-Ann Furniss Clare Waight Keller, the creative director of Chloé, showing her fourth season for the house, perhaps defined herself and her particular output for the label most clearly today. In presenting a somewhat tougher girl than is expected for Chloé, she made it her best collection yet. There is a certain English and boyish discipline that Waight Keller has added to the collections at Chloé—both in their style and substance. This appears to come from the lessons learned by being an accomplished menswear designer in the past. Today she used her skills to the full in presenting the idea of a schoolgirl growing into her own identity through style. "It's about girls who emerge from uniform," said the designer backstage before her show. "It's essentially about girls creating independence through the way they dress." She eschewed the cute and the surface perversity of such a theme—this was far from a replaying of Britney Spears' "Hit Me, Baby…One More Time" moment. Instead there was an elegance and hauteur in what was presented in double-faced and pressed wools, tweeds, and fille coupe fabrics. That was the influence of the French house; the English-schoolgirl attitude—Clare Waight Keller herself went to school in Birmingham—came through in the show's soundtrack. This girl likes to listen to an old-school hip-hop mixtape, no doubt whilst being moody in her bedroom, featuring a preponderance of Roxanne Shanté. The tough and the elegant came together in harnessed pinafores and capes with metal detailing; in the strategic use of leather, particularly in the gray leather jogging bottoms; and in the boyish boilersuiting. It culminated with an overtop and overdress both made by a chain-link fence manufacturer. These garments were given a luxe spin by having paste jewels embedded in them. It was a collection that was playful in a British-playground sense and precise à la Parisienne. It moved the "state of mind" of the Chloé label in a new direction and proved that girlish does not have to be girly.

March 3, 2013 PARIS By Nicole Phelps Albert Kriemler lost his mother, Ute, last December. His show today, accompanied by a small orchestra playing her favorite composer, Bach, was a tribute to her, he explained backstage. Although it was almost all black, and inspired by her personal wardrobe of turtleneck gowns, blouse-and-pant combos, and clean tailoring, his new Akris collection wasn't necessarily somber. Though in demeanor still mournful, Kriemler found interesting ways of letting in the light. Starting with the house's signature photoprints: This season, he used a dark photograph of a street, the streetlamps casting horizontal white lines across the planes of what he called his new three-piece suit—a double-face cocoon coat worn over a double-breasted jacket and a tunic dress. A nubby, three-dimensional St. Gallen embroidery added shimmer to a short cape and its matching pencil skirt, while a floor-grazing skirt in unlined lamb's fur had its own sheen. Other embellishments, including gridlike patterns of jet crystals and silk fringe, lit up his evening offerings. The fringe was contained by horizontal seams; Kriemler didn't seem quite up to the cheerfulness that loose fringe might've suggested. And yet there were other intimations of a son and a company moving on. Kriemler had some brilliant sportswear on the runway today; his customer will love the look of an oversize herringbone sweater and snood worn with matching chevroned pants, or a pantsuit in a tonal plaid cut from cashmere, angora, and wool. In right about the middle of the show, he included a single white lamb's-fur coat. That bright moment served to underscore the poignancy of this season's story, and one couldn't help but be moved.

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