jeanclaude
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Amen! Being a corporate designer is like selling your (creative) soul to the Devil...well, just in case you have any creativity to begin with!
Celine F/W 2019.20 Paris
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Amen! Being a corporate designer is like selling your (creative) soul to the Devil...well, just in case you have any creativity to begin with!
jeanclaude
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100% agree. Feels like "Emperor´s new clothes" are more in fashion than ever before.
MissMagAddict
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Hedi is so clever.
margielamike2004
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I've decided to call this collection...... "Hedi Slimane.....re-visits Mary Tyler Moore and Rhoda Morgenstern." Mary Tyler Moore was a very popular sitcom. ...television series....during the 1970s.
disco54
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Rhoda and Mary dressed better than this to be fair, esp Rhoda she was always sassy also their fashion sense is more early mid 70s style. This skews more late 70s /early 80s .
Frida
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Hedi Slimane’s Plan for Celine Begins to Emerge
The notoriously rakish designer shows he can do bourgeois, too.
By Cathy Horyn
By now, everyone who follows fashion closely will know that Hedi Slimane did a U-turn last night on the Place Vauban in Paris.
That’s where he held his second Celine women’s show. Instead of continuing with the skinny suits for the guys and chic party clothes for the girls that he proposed last fall, Slimane sent out a medley of conservative blazers with either pleated wool skirts or culottes, ladylike blouses, plain high-heeled boots, and discreet jewelry. There were also jeans with wool ponchos, one or two bombers or baseball jackets (with a cursive “Celine” above the left breast), and some tasteful belted dresses in tweed or chain-print silk. The models, who had on minimal makeup — a touch of pink on the lips — all wore gold-rimmed aviator sunglasses and, of course, a perfect little scowl.
During the show, I thought: Well, he has a plan. And later I was told, though I didn’t hear it myself, that the words repeating like a hammer on the soundtrack were: Look at me, I’ve got a plan.
Well, it seems obvious to me that Slimane used his Celine debut in September to test-drive — or perhaps extend — the sleek elegance of his final show for Saint Laurent, in March 2016. I first covered Slimane in the late ’90s, when he was the men’s designer at Saint Laurent (Alber Elbaz did the women’s, then Tom Ford before Slimane himself decamped for Dior Homme). He is intuitive, competitive, and very sensitive to the vibrations in fashion and culture that often signal a broader change in desires. And he’s great at unpacking the aesthetics of a house — and eliminating the stuff that is boring. When he was creative director at Saint Laurent, from 2012–16, I thought he picked out the period when Saint Laurent was truly cool, 1965–70, and then married the original revolutionary baby-doll dresses and tuxedos with see-through blouses to his own skinny-rocker look. The results were enormously successful.
But Celine is a very different and in some ways opposite brand to Saint Laurent, and the reaction to that first show in some quarters treated it almost as a betrayal — would Slimane be trampling on the house’s history with another round of his sexy-waif thing? It’s still early, but this second collection suggests that the answer is no. Since September, he’s had time to consider the style of Celine. Founded at the end of the Second World War by Céline Vipiana, the brand has had five designers since LVMH took it over in the late ’90s. It has always been viewed as a bourgeois brand — that is, a clothing and accessories label for upper- and middle-class Frenchwomen who prized tastefulness over the trendiness of designer fashion. Each modern Celine designer has done some twist on that “bourgeois” style, with Phoebe Philo taking it the furthest — actually into the territory of trendiness.
The girls who paraded out at Place Vauban last night in pleated tweed skirts and neat blousons with silk scarves at the neck suggested that Slimane might depart from his own history in favor of Celine’s bourgeois, anti-trendy legacy. The show demonstrated for me several things. One is that Slimane can offer clothes that aren’t cruelly restrictive in the fit, as they often were at YSL. A lot of the blazers, coats, and dresses would look great on women of various body types and ages. Another thing is that it might be sane — and good business — for a luxury brand nowadays to put some distance between itself and the mass of brands on the scene. Many of them use the same approach to design — that is, they manipulate familiar forms. Let’s take a classic wool car coat and hyperextend the collar or add weird flaps to the pockets. Let’s grab a puffed sleeve from a 17th-century Dutch painting or a bit of snowflake lace from an Italian portrait, and rework them as a “modern” shirt — with a fat modern price tag to boot.
Slimane, by contrast, simply offered the luxe car coat, in camel with dark buttons. And he literally finished up with an exclamation point: a sleek black evening trouser suit with a sparkly black shell. Whatever the style, his approach is straightforward, without hidden meanings or dark references to politics, and in today’s world that can seem a virtue.
This is not to suggest that it’s honest or pure. Those skirts and print dresses are not too far from styles shown in Celine ads in the ’70s, though the fabrics and proportions have been updated. There is a calculation here, not just of brand history but of business and the role Celine will play in the Paris luxury universe. There’s a significantly underdeveloped space between Chloé and Hermès — and an opportunity, as the chiefs at LVMH know, to move into rival Hermès’ conservative turf, minus the horses and saddles.
That’s the big picture that I was thinking about during the show.
thecut.com
The notoriously rakish designer shows he can do bourgeois, too.
By Cathy Horyn
By now, everyone who follows fashion closely will know that Hedi Slimane did a U-turn last night on the Place Vauban in Paris.
That’s where he held his second Celine women’s show. Instead of continuing with the skinny suits for the guys and chic party clothes for the girls that he proposed last fall, Slimane sent out a medley of conservative blazers with either pleated wool skirts or culottes, ladylike blouses, plain high-heeled boots, and discreet jewelry. There were also jeans with wool ponchos, one or two bombers or baseball jackets (with a cursive “Celine” above the left breast), and some tasteful belted dresses in tweed or chain-print silk. The models, who had on minimal makeup — a touch of pink on the lips — all wore gold-rimmed aviator sunglasses and, of course, a perfect little scowl.
During the show, I thought: Well, he has a plan. And later I was told, though I didn’t hear it myself, that the words repeating like a hammer on the soundtrack were: Look at me, I’ve got a plan.
Well, it seems obvious to me that Slimane used his Celine debut in September to test-drive — or perhaps extend — the sleek elegance of his final show for Saint Laurent, in March 2016. I first covered Slimane in the late ’90s, when he was the men’s designer at Saint Laurent (Alber Elbaz did the women’s, then Tom Ford before Slimane himself decamped for Dior Homme). He is intuitive, competitive, and very sensitive to the vibrations in fashion and culture that often signal a broader change in desires. And he’s great at unpacking the aesthetics of a house — and eliminating the stuff that is boring. When he was creative director at Saint Laurent, from 2012–16, I thought he picked out the period when Saint Laurent was truly cool, 1965–70, and then married the original revolutionary baby-doll dresses and tuxedos with see-through blouses to his own skinny-rocker look. The results were enormously successful.
But Celine is a very different and in some ways opposite brand to Saint Laurent, and the reaction to that first show in some quarters treated it almost as a betrayal — would Slimane be trampling on the house’s history with another round of his sexy-waif thing? It’s still early, but this second collection suggests that the answer is no. Since September, he’s had time to consider the style of Celine. Founded at the end of the Second World War by Céline Vipiana, the brand has had five designers since LVMH took it over in the late ’90s. It has always been viewed as a bourgeois brand — that is, a clothing and accessories label for upper- and middle-class Frenchwomen who prized tastefulness over the trendiness of designer fashion. Each modern Celine designer has done some twist on that “bourgeois” style, with Phoebe Philo taking it the furthest — actually into the territory of trendiness.
The girls who paraded out at Place Vauban last night in pleated tweed skirts and neat blousons with silk scarves at the neck suggested that Slimane might depart from his own history in favor of Celine’s bourgeois, anti-trendy legacy. The show demonstrated for me several things. One is that Slimane can offer clothes that aren’t cruelly restrictive in the fit, as they often were at YSL. A lot of the blazers, coats, and dresses would look great on women of various body types and ages. Another thing is that it might be sane — and good business — for a luxury brand nowadays to put some distance between itself and the mass of brands on the scene. Many of them use the same approach to design — that is, they manipulate familiar forms. Let’s take a classic wool car coat and hyperextend the collar or add weird flaps to the pockets. Let’s grab a puffed sleeve from a 17th-century Dutch painting or a bit of snowflake lace from an Italian portrait, and rework them as a “modern” shirt — with a fat modern price tag to boot.
Slimane, by contrast, simply offered the luxe car coat, in camel with dark buttons. And he literally finished up with an exclamation point: a sleek black evening trouser suit with a sparkly black shell. Whatever the style, his approach is straightforward, without hidden meanings or dark references to politics, and in today’s world that can seem a virtue.
This is not to suggest that it’s honest or pure. Those skirts and print dresses are not too far from styles shown in Celine ads in the ’70s, though the fabrics and proportions have been updated. There is a calculation here, not just of brand history but of business and the role Celine will play in the Paris luxury universe. There’s a significantly underdeveloped space between Chloé and Hermès — and an opportunity, as the chiefs at LVMH know, to move into rival Hermès’ conservative turf, minus the horses and saddles.
That’s the big picture that I was thinking about during the show.
thecut.com
GivenchyHomme
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The word Bourgeois is getting thrown around a lot, but it's not that sophisticated. It's not a modern interpretation. It's old clothes styled with jeans and messy hair. Besides the label what makes it unique? It's the Brand du jour, but what else does it have to offer?
Lola701
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It’s interesting that Cathy is mentioning Hermès because I was thinking about how I would actually like to see this type of clothes at Hermès rather than the stuff Nadège is doing. This kind of « real » fashion: a printed silk blouse, a cashmere coat and a Japanese denim trouser.
The reality is that bourgeois dressing is more casual today than it was before. Before it was a lifestyle and the clothes were just an element of the whole look. Everything counted (disciplined hair, gold jewelry, a scarf).
La bourgeoise de base wears simple classic pieces with her own twist. In Paris or France, it’s almost a cliché because almost everybody dress like that.
I think that Riccardo’s interpretation of la bourgeoise is maybe more interesting, more forward looking but unlike Riccardo, Hedi does have the conviction to present this as his sole vision and sell others more trendy items in stores.
I would warm up with Hedi’s vision if he continues with that.
The reality is that bourgeois dressing is more casual today than it was before. Before it was a lifestyle and the clothes were just an element of the whole look. Everything counted (disciplined hair, gold jewelry, a scarf).
La bourgeoise de base wears simple classic pieces with her own twist. In Paris or France, it’s almost a cliché because almost everybody dress like that.
I think that Riccardo’s interpretation of la bourgeoise is maybe more interesting, more forward looking but unlike Riccardo, Hedi does have the conviction to present this as his sole vision and sell others more trendy items in stores.
I would warm up with Hedi’s vision if he continues with that.
Ken Doll Jenner
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If this is his plan to get back Phoebe’s customers, he’s got no chance in hell. All I see here is still a bunch of department store-like offerings. The dated department stores, to be exact. Phoebe’s idea of bourgeois dressing has wit and adventurousness, which is why I don’t think her customers would love to dress as conservatively as the models in this show.
To think that people used to criticize or even make fun of Frida Giannini’s last three Gucci collections for being so mediocre and literal in its 70s interpretation. I’d say her offerings were a million times better than Slimane’s. If this is the direction Celine is heading, they should’ve hired her instead of him.
To think that people used to criticize or even make fun of Frida Giannini’s last three Gucci collections for being so mediocre and literal in its 70s interpretation. I’d say her offerings were a million times better than Slimane’s. If this is the direction Celine is heading, they should’ve hired her instead of him.
Lola701
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Hedi’s luck is that like many brands, Celine has a fashion customer and a luxury customer. The fashion customer of Celine might buy some items from Hedi like a pair of jeans or a blazer but I think, he will move on to something else (Loewe, Lanvin...etc). And it’s not like the Celine RTW customer only wore Celine (I know I don’t).
The luxury customer doesn’t care. He buys bags and is quick to post about it on YouTube. It’s the type of customer who can buy a 500€ T-shirt. Celine will continue to sell bags and after all, the market is large for this type of fashion.
Hedi is a great stylist, more than he is as a designer and he achieved his job perfectly here.
I went to the new Celine website. There was nothing appealing to me... But I can understand how someone can fall in love with a 2000€ navy blue peacoat by one of the most « controversial » designer in fashion. Because yes, this boring fashion will be market as controversial to help sales.
rip_ian curtis
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Surprisingly supportive of Cathy.
But I agree that it’s nice to see some ”plain” clothes that are well made, because that is something so few designers do at the moment.
But still, I hope Hedi would find a less costume-y way to put these pieces on the runway. Drop the obvious styling and pieces that are too specific to certain period and highlight the timeless, beautifully cut pieces and silhouettes. That would be very Celine. I think his 90s-00s YSL would be a good visual reference for Celine.
But I agree that it’s nice to see some ”plain” clothes that are well made, because that is something so few designers do at the moment.
But still, I hope Hedi would find a less costume-y way to put these pieces on the runway. Drop the obvious styling and pieces that are too specific to certain period and highlight the timeless, beautifully cut pieces and silhouettes. That would be very Celine. I think his 90s-00s YSL would be a good visual reference for Celine.
liberty33r1b
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the first women collection by him I don‘t immediately hate
MetroMelannie
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Lesson of the day : In a world of profit, you can't always win.
LVMH might start to think they have made a mistake by calling him back home. We can see the brief was to diminish Hedi's print since all the noise that went on last season and grievance over Old Céline.
Seeing this collection got me wondering if it was 2009 again.
LVMH might start to think they have made a mistake by calling him back home. We can see the brief was to diminish Hedi's print since all the noise that went on last season and grievance over Old Céline.
Seeing this collection got me wondering if it was 2009 again.
birdofparadise
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I agree with this; there's something about Riccardo's relationship with this way of dressing that feels more accurate, though that is the wrong word. I think there has to be a soupçon of boredom, of dis-ease in order to make a new take on it work because at least then it's honest. Any 'system' or way of dressing is intrinsically restrictive. Hedi isn't perhaps interested in passing those kinds of judgements now but I feel he does design clothes that encourage emotion and action. It'll be interesting to see how the team will navigate house codes, if they'll continue to do so with such respect.
dior_couture1245
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I actually agree with Cathy Horyn regarding this collection.
It’s refreshing in a rather surprising way to see extremely straightforward clothes. Nothing tricky, nothing gimmicky, nothing clichéd “modern,” nothing artsy...
Her calling out that point really makes you realize that that’s what almost every other brand is doing.
It’s really not that bad of a collection.
It’s refreshing in a rather surprising way to see extremely straightforward clothes. Nothing tricky, nothing gimmicky, nothing clichéd “modern,” nothing artsy...
Her calling out that point really makes you realize that that’s what almost every other brand is doing.
It’s really not that bad of a collection.
Mutterlein
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People complained that they missed they old Celine.
Be careful what you wish for.
That’s exactly what Slimane gave us.
This is as pure of an interpretation of the brand as you can get. For those who know its past at least. And, in a moment when overembellished sweatshirts and ironcally ugly sneakers reign surpreme, this feels quite fresh and alluring.
Controversial perhaps in that there is no controversy. It’s just clothes. Good and proper. That’s all.
I agree with Cathy that this sits in that undeveloped space between Hermès and Chloë. Let’s see where he takes it. He clearly knows what he is doing and I applaud him for his evergreen sense of savior faire. For the first time in over a decade Slimane has my full confidence and attention.
Be careful what you wish for.
That’s exactly what Slimane gave us.
This is as pure of an interpretation of the brand as you can get. For those who know its past at least. And, in a moment when overembellished sweatshirts and ironcally ugly sneakers reign surpreme, this feels quite fresh and alluring.
Controversial perhaps in that there is no controversy. It’s just clothes. Good and proper. That’s all.
I agree with Cathy that this sits in that undeveloped space between Hermès and Chloë. Let’s see where he takes it. He clearly knows what he is doing and I applaud him for his evergreen sense of savior faire. For the first time in over a decade Slimane has my full confidence and attention.
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helmutnotdead
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I know it's a free world and everyone have an opinion but reading all these comments supporting this crap is beyond.
It's like everyone forgot the last Phoebe collection: really easy, desirable and modern clothes. That's the fashion I want to see today. Not this mountain of boring and mundane garbage.
It's like everyone forgot the last Phoebe collection: really easy, desirable and modern clothes. That's the fashion I want to see today. Not this mountain of boring and mundane garbage.
helmutnotdead
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I MEAN, A BOMBER WITH THE CÉLINE LOGO EMBROIDERED?
NOT EVEN ZARA REACHED THAT LEVEL OF BASIC.
NOT EVEN ZARA REACHED THAT LEVEL OF BASIC.
