Elie Top - Jewelry Designer - the Fashion Spot
 
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16-07-2010
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Elie Top - Jewelry Designer
Finally I know the name behind the fantastic Lanvin jewelry.

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Meet Elie Top, the 33-year-old designer behind Lanvin's fantastic, over-the-top jewelry. Dapper and self-effacing, Top was one of fashionís best-kept secrets who now finds himself one of its fastest-rising stars.
In the dozen or so years since he began as an intern illustrator in Yves Saint Laurentís atelier, Top has helped put jewelry center stage not just at Lanvin, but across the board, and his quirky tribal-industrial fall collection is a stunneróa cross between an H.G. Wells time machine and a medieval torture device (those metal chokers could do some harm!).


Add to that hand-faceted, jeweled carafe-stoppers for Baccarat, not to mention design stints for names weíre not at liberty to mention, and itís clear why Top is coming out on topóeven if his feet remain firmly on the ground. ďBig rocks donít interest me,Ē he says. ďWhat interests me is character.Ē You can see a lot more of his character when he launches a semi-precious jewelry line of his own next year. In the meantime, here he reflects on his cosmic-grandma baubles for Monsieur Elbaz...


How did you get your start?
I met Albert Elbaz at YSL Rive Gauche [in 1997]. When I arrived in Paris at 20, and my first job was in M. Saint Laurentís studio, mostly working on illustrations. Then Alber asked me to work on jewelry, plus some belts and bags. When Tom Ford took over, I left Rive Gauche and went to YSL couture, but also went freelance. When Alber went to Lanvin, he called me. Aside from Chanel, jewelry had no real presence. Alber totally relaunched that.


What did you learn from Yves Saint Laurent?
I learned that everything has a purpose and there is no room for useless detail. He would spend hours choosing the right black crÍpe and perfecting the cut. No act was gratuitous. AlaÔa works that way, too, on the body. There is a continuity, and I like that. Itís more interesting than changing every season.


What were your inspirations for fall?
Itís a tribal collection heavily influenced by an industrial theme, but itís a bit of a cabinet of curiosities because thereís a cosmic side to it. Itís very 3-D and high volume, kind of far-out with lots of mixes, like leather and rhinestones. That was an interesting exercise, because we wanted to do massive stuff that wasnít heavyóand I usually do stuff thatís heavy, like my cuff for the Baccarat Bouchons collection.



Tell us about your process.
Alber lets me do my thing, and then we talk about it. Whatís great about Alber is that if something works, he really pushes you. He asks for a lot and itís always interesting. For my part, I think its interesting to take something common and then do something unusual with it. For example, I like taking something thatís not directional, thatís had a previous life, like something grandma wore that youíve had around forever. That way, it has personalityóa bit like Loulou [de la Falaise].


Any challenges?
The trap of designing is that you become enchanted with the picture, but it doesnít always work in reality. Itís easy to get caught up in the design itself and forget reality. Thereís a lot of economy in getting just the right line.

source:hintmag.com

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Lanvin 2010 Fall-Winter,photo from style.com


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A coverage at Vogue Italia's site.Click

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09-08-2010
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So I guess he did the men's jewelry line for S/S 11 as well? Because it was fabulous and very much in line with what was done for the women's jewelry



style.com

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