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Giles Deacon for New Look : Drew Barrymore
- Thread starter Ceptuouse
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^ Drew doesn't look very happy there but I'm liking the dress
Luxx
oh me, oh my
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Drew Barrymore?
I used to love Drew when I was 13 years old and she seemed like a cool rebel. Of course I was 13 at the time. Anyone who crossed the street without looking both ways seemed like a cool rebel. I do not understand fashion designers and their recent fascination with her. Sure she's nice and sweet but there are about 10 other actresses who could also qualify as nice and sweet. When I think Giles, even if it is Giles for New Look, I don't think Drew.
I used to love Drew when I was 13 years old and she seemed like a cool rebel. Of course I was 13 at the time. Anyone who crossed the street without looking both ways seemed like a cool rebel. I do not understand fashion designers and their recent fascination with her. Sure she's nice and sweet but there are about 10 other actresses who could also qualify as nice and sweet. When I think Giles, even if it is Giles for New Look, I don't think Drew.
If you wouldnt mind 
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Looks nice...like the brooch a lot
SuGaR_rUsH
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When and where (what branches) is the collection coming out? Looks very promising.
High street highs
[FONT=arial,helvetica,sans-serif]Designed by the hottest name in British fashion; modelled by Drew Barrymore; yours for a song. Jess Cartner-Morley on Giles Deacon's New Look collection[/FONT]
[FONT=Geneva,Arial,sans-serif]Friday March 9, 2007[/FONT]
The dresses on the right were designed by Giles Deacon, toast of London Fashion Week and the reigning British Fashion Designer of the Year. They were tweaked and accessorised by Katie Grand, editor of Pop magazine, the stylist who works her magic for, among others, Louis Vuitton and Prada. Drew Barrymore, who modelled the dresses, liked them so much she took them home to LA with her. They go on sale on Monday. But don't bother looking for them on Bond Street; instead, head to New Look, where you will find them on sale for £30 each, in sizes 8-18.
These are glory days for the British high-street shopper. Quality, good design and the latest looks are now accessible at all budgets. Driven by ever more discerning and demanding consumers, the once-clear divide between designer and mass-market fashion is beginning to blur. This phenomenon is personified by Deacon, who divides his time between creating fantastical catwalk visions for his high-fashion Giles line, developing a heavyweight commercial signature as the designer hired to revitalise the Daks brand, and now creating collections for New Look, the first of which you see previewed on these pages.
All around us in the Paris showroom last week were couture-like pieces from the Giles collection that Deacon had been showing to buyers: dresses of hand-painted silk with feathered edges; surreal-scale knits made from rope-thick loops of yarn. On the table, his Blackberry buzzed with messages from his Japanese bosses at Daks about a dinner later that evening. Meanwhile, we talked about £5 bangles and £10 sunglasses.
Deacon, poster boy for the integrated fashion industry, saw nothing odd in this. "Designing for the high street is very different from designing for the catwalk, in terms of the method and the market. No harder, no easier, just different. I enjoy it because for a long time people spent their hard-earned money on ... well, rubbish. Over the last 10 years awareness of aesthetics and design has risen steeply, and it's now accepted that you can have high-quality, well-made, affordable, well- designed products on the high street. And it's nice to be involved in making them."
The 34-piece Gold by Giles collection incorporates Deacon's design signatures from the Giles catwalk - strong sculptural silhouettes, bell sleeves, silk prints, animal-inspired accessories - at prices that range from £4 for earrings to £60 for a fully lined cotton sateen "cropper" coat. The vogue for creating collections for the high street has snowballed (Viktor & Rolf, Karl Lagerfeld and Stella for H&M; Celia Birtwell, Marios Schwab and Christopher Kane for Topshop) and is now spreading into "celebrity" collections (Madonna for H&M, Kate Moss for Topshop). None the less, Gold by Giles has attracted a considerable buzz. "I didn't want to do something for a quick hit of money and publicity. I want to create a brand in its own right. I'd had offers from the high street before, but didn't want to be one of 21 names on a list." As for the designing itself, "it can work one of two ways. You can either just give your name to something and then other people go away and do it" - gentleman that he is, Deacon declines to name names - "or be actively involved in the whole process. I wanted to do it the second way." Once the clothes were designed, Deacon and Grand drew up a wish list of faces for the collection. Barrymore came out top because, as Deacon says, "she's an A-list star but there's something believable about her. She's glamorous but she's not a product, she's a person. She's got a history, she's got curves." As luck would have it, Grand bumped into Barrymore in a lift soon afterwards - this may sound unlikely, but Grand hangs out in more A-list lifts than you or I do - and got her to agree to the shoot.
Deacon has several unusual traits in a fashion designer. First, he is often billed as one of the few straight men in the fashion industry. But when I ask him how this affects his work - the interface between fashion and sex being a strange one - he becomes uncharacteristically inarticulate. "It's quite ... fine. I probably view women in a different way from other male designers. But I've been ... like it for such a long time now that it seems quite normal."
Equally unusually, he is self-effacing and polite. At one point, I ask him a question that I know he's answered several times before, because I want to hear the answer from the horse's mouth. "I've been asked that ... one or two times before," he says, stopping himself from saying, "a million times before." He is determinedly normal: "I was not one of those weird kids making clothes for their grandmother aged four. I just liked drawing." At Central St Martins, he sat next to Hussein Chalayan for three years. "When we left, Hussein wanted to go and do his own thing straightaway. Whereas I quite fancied living and working in Paris for a bit, maybe working in New York. It made sense to me to get some experience before setting up on my own." The Giles label was born four years ago, by which time Deacon had been a respected industry figure for a decade, designing for Bottega Veneta and Gucci among others. The catalyst was a nasty infection that put him out of action for months. "I was lying in bed with all this time to think. I kept coming back to the idea of starting my own label. So when I got better, I did it. People will always tell you, 'Now isn't a good time.' But you can't sit around for ever, can you? You've got to at least have a go. That's what I reckon".
sourse: guardian.co.uk
[FONT=arial,helvetica,sans-serif]Designed by the hottest name in British fashion; modelled by Drew Barrymore; yours for a song. Jess Cartner-Morley on Giles Deacon's New Look collection[/FONT]
[FONT=Geneva,Arial,sans-serif]Friday March 9, 2007[/FONT]
The dresses on the right were designed by Giles Deacon, toast of London Fashion Week and the reigning British Fashion Designer of the Year. They were tweaked and accessorised by Katie Grand, editor of Pop magazine, the stylist who works her magic for, among others, Louis Vuitton and Prada. Drew Barrymore, who modelled the dresses, liked them so much she took them home to LA with her. They go on sale on Monday. But don't bother looking for them on Bond Street; instead, head to New Look, where you will find them on sale for £30 each, in sizes 8-18.
These are glory days for the British high-street shopper. Quality, good design and the latest looks are now accessible at all budgets. Driven by ever more discerning and demanding consumers, the once-clear divide between designer and mass-market fashion is beginning to blur. This phenomenon is personified by Deacon, who divides his time between creating fantastical catwalk visions for his high-fashion Giles line, developing a heavyweight commercial signature as the designer hired to revitalise the Daks brand, and now creating collections for New Look, the first of which you see previewed on these pages.
All around us in the Paris showroom last week were couture-like pieces from the Giles collection that Deacon had been showing to buyers: dresses of hand-painted silk with feathered edges; surreal-scale knits made from rope-thick loops of yarn. On the table, his Blackberry buzzed with messages from his Japanese bosses at Daks about a dinner later that evening. Meanwhile, we talked about £5 bangles and £10 sunglasses.
Deacon, poster boy for the integrated fashion industry, saw nothing odd in this. "Designing for the high street is very different from designing for the catwalk, in terms of the method and the market. No harder, no easier, just different. I enjoy it because for a long time people spent their hard-earned money on ... well, rubbish. Over the last 10 years awareness of aesthetics and design has risen steeply, and it's now accepted that you can have high-quality, well-made, affordable, well- designed products on the high street. And it's nice to be involved in making them."
The 34-piece Gold by Giles collection incorporates Deacon's design signatures from the Giles catwalk - strong sculptural silhouettes, bell sleeves, silk prints, animal-inspired accessories - at prices that range from £4 for earrings to £60 for a fully lined cotton sateen "cropper" coat. The vogue for creating collections for the high street has snowballed (Viktor & Rolf, Karl Lagerfeld and Stella for H&M; Celia Birtwell, Marios Schwab and Christopher Kane for Topshop) and is now spreading into "celebrity" collections (Madonna for H&M, Kate Moss for Topshop). None the less, Gold by Giles has attracted a considerable buzz. "I didn't want to do something for a quick hit of money and publicity. I want to create a brand in its own right. I'd had offers from the high street before, but didn't want to be one of 21 names on a list." As for the designing itself, "it can work one of two ways. You can either just give your name to something and then other people go away and do it" - gentleman that he is, Deacon declines to name names - "or be actively involved in the whole process. I wanted to do it the second way." Once the clothes were designed, Deacon and Grand drew up a wish list of faces for the collection. Barrymore came out top because, as Deacon says, "she's an A-list star but there's something believable about her. She's glamorous but she's not a product, she's a person. She's got a history, she's got curves." As luck would have it, Grand bumped into Barrymore in a lift soon afterwards - this may sound unlikely, but Grand hangs out in more A-list lifts than you or I do - and got her to agree to the shoot.
Deacon has several unusual traits in a fashion designer. First, he is often billed as one of the few straight men in the fashion industry. But when I ask him how this affects his work - the interface between fashion and sex being a strange one - he becomes uncharacteristically inarticulate. "It's quite ... fine. I probably view women in a different way from other male designers. But I've been ... like it for such a long time now that it seems quite normal."
Equally unusually, he is self-effacing and polite. At one point, I ask him a question that I know he's answered several times before, because I want to hear the answer from the horse's mouth. "I've been asked that ... one or two times before," he says, stopping himself from saying, "a million times before." He is determinedly normal: "I was not one of those weird kids making clothes for their grandmother aged four. I just liked drawing." At Central St Martins, he sat next to Hussein Chalayan for three years. "When we left, Hussein wanted to go and do his own thing straightaway. Whereas I quite fancied living and working in Paris for a bit, maybe working in New York. It made sense to me to get some experience before setting up on my own." The Giles label was born four years ago, by which time Deacon had been a respected industry figure for a decade, designing for Bottega Veneta and Gucci among others. The catalyst was a nasty infection that put him out of action for months. "I was lying in bed with all this time to think. I kept coming back to the idea of starting my own label. So when I got better, I did it. People will always tell you, 'Now isn't a good time.' But you can't sit around for ever, can you? You've got to at least have a go. That's what I reckon".
sourse: guardian.co.uk
