Pierre Cardin, a pioneering French fashion designer of the 20th century, died on December 29, 2020, at the age of 98. According to Associated Press: “The French Academy of Fine Arts announced Cardin’s death in a tweet. He had been among its illustrious members since 1992. The academy did not give a cause of death or say where the designer died.”
Born on July 7, 1922 as Pietro Costante Cardin in San Biagio di Callalta, Italy (near Venice), he moved to France with his family when he was a child. While living in France, he began going by the first name Pierre.
At the age of 14, he began is fashion career as a clothier apprentice. He moved to Paris in 1945 and worked for fashion house of Paquin, as well as for designer Elsa Schiaparelli. In 1947, he became head of Christian Dior’s tailleure atelier. And by 1950, Cardin began his own fashion house.
Cardin was best known pioneering “mod” fashion of the late 1960s and the 1970s. One of his best known creations was to combine the concepts of miniskirts and maxiskirts by having short dresses or skirts with cascading designs. He was also one of the first fashion designers to license his brands worldwide for not just clothes and accessories but also fragrances, luggage and other household items. At the time of his death, Cardin’s company (which remained privately owned) still held hundreds of licenses, although he had sold off many licenses over the years.
In his personal life, Cardin never married or had children. He reportedly had affairs mostly with men and sometimes with women. His most high-profile relationship was a four-year romance in the 1960s with French actress Jeanne Moreau.
Cardin was the subject of the documentary “House of Cardin” (directed by P. David Ebersole and Todd Hughes), which made the rounds at several film festivals in 2019 and was released in several countries (including the U.S.) in 2020. It is unknown at this point who will inherit Cardin’s vast fortune and how this inheritance will affect the leadership of his company.
Culture Representation: Taking place in New York City, the documentary “Calendar Girl” features a group of predominantly middle-aged and senior citizen white people (with a few Asians and African Americans) discussing Fashion Calendar founder Ruth Finley, who also participated into the documentary.
Culture Clash: Finley was very resistant to new technology and refused for years to sell Fashion Calendar.
Culture Audience: “Calendar Girl” will appeal primarily to people who are interested in the American fashion industry and New York Fashion Week.
Long before software spreadsheets and the Internet existed, the schedules of the U.S. fashion industry in New York City were and still are largely influenced by the subscription publication Fashion Calendar, which launched in 1941. Ruth Finley was the founder of Fashion Calendar, which is still considered the most influential scheduling “bible” for people in American fashion, especially those who attend New York Fashion Week. Finley’s name might not be as famous as longtime Vogue (U.S.) editor-in-chief Anna Wintour, but Finley holds a place in fashion media as an underrated pioneer. The engaging documentary “Calendar Girl” tells Finley’s story.
Directed by Christian D. Bruun, “Calendar Girl” (which had its world premiere at DOC NYC in 2020) was filmed over the course of several years in the 2010s. Finley passed away in 2018, at the age of 98, but she fully participated in the film, which includes interviews with numerous colleagues and family members of Finley. A few of the interviewees have also since passed away, such as photographer Bill Cunningham and former Bloomingdale’s executive Joseph “Joe” Siegel, who was Finley’s beau toward their end of their lives. Therefore, “Calendar Girl” looks dated in some ways, but the inspiring message of the movie is timeless.
Rather than giving a boring and predictable chronological telling of Finley’s story, “Calendar Girl” gives a non-chronological but insightful overview of Finley as a businessperson, mother and beloved influencer, as well as how she fits into the larger cultural context of the fashion industry. The movie begins with footage of her being honored at a 2014 Hall of Fame Tribute to celebrate Fashion Calendar, an event presented by Citymeals on Wheels. Later in the documentary, there’s footage of Finley getting the Board of Directors’ Tribute at the 2014 Council of Fashion Designers of America (CFDA) Awards, as well as Finley receiving the Fashion Institute of Technology (FIT) President’s Lifetime Achievement Award in 2016.
Through Finley’s own words and the words of her colleagues and her three sons (Joe Green, Jim Green and Larry Lein), a story emerges of a dedicated and sassy woman who went against society norms to start Fashion Calendar during an era when women were expected to not have careers. She was a single, working mother for most of her career, long before it was common or even acceptable to be a mother who worked outside of the home. Finley also kept working well past the age when most people are expected to retire.
And her passion for fashion is almost unparalleled, as she kept up her rigorous work schedule for decades. She was tirelessly attending fashion shows well into her 90s. “Calendar Girl” includes footage of her attending some of these shows. In the documentary, Finley says, “Sometimes I do as many as 12 shows a day.” She also mentions that her personal career record for going to fashion shows was attending 150 shows in one week.
Fashion Calendar had a very simple concept that worked extremely well: Publish a calendar schedule of all the major fashion events happening in New York City. For years, before Fashion Calendar had office space, Finley worked out of her home. Fun fact: Before Emmy-winning actress Doris Roberts was famous, she worked as a teenage typist for Fashion Calendar in the publication’s early years.
The Fashion Calendar newsletter eventually grew into a booklet-styled publication years later. CFDA founder Eleanor Lambert, who started out as a fashion publicist, rose to prominence at around the same time that Finley did. Lambert, Finley and former Vogue (U.S.) editor Diana Vreeland are mentioned by several people as the three most influential women in fashion in the 1950s and 1960s.
Fashion Calendar, which was published weekly and then bi-weekly, was typewritten or mimeographed on pink paper for years, before computer technology existed. Finley and her small staff also kept files and Rolodexes that they still used until CFDA purchased Fashion Calendar in 2014 and Finley took on the role of consultant. At the time Fashion Calendar was sold to CFDA in 2014, the publication had only three full-time employees, including Finley and longtime Fashion Calendar editor Mary Hackle.
The idea of making Fashion Calendar pink ended up being one of the best ideas for the publication, not only because it made Fashion Calendar stand out from other fashion publications, but also, as Finley says, “The reason why we kept this color is so people would find it on a messy desk.” It’s why Fashion Calendar ended up being nicknamed “The Pink Bible.”
Finley (who was born in 1920, in Haverhill, Massachusetts) launched Fashion Calendar while she was still a student at Simmons College in Boston, where she majored in journalism and minored in nutrition. After graduating from college in 1941, she moved to New York City and devoted herself full-time to Fashion Calendar, which included listings for movie premieres and Broadway shows in the publication’s early years. Under her ownership, Fashion Calendar never had ads or took sponsorship money, which is unusual for any print-media publication.
Finley’s youngest son Larry Lein comments in the documentary: “She realized all along that she could’ve taken ads and she could’ve made more money, but she thought it would ruin the integrity of what she was doing and ruin her credibility. It never occurred to her that her business should be anything but an impartial listing service.” He also says that his mother’s business success could be attributed to her frugality, because she learned early on to keep overhead costs low.
While her Fashion Calendar business was thriving, Finley experienced major heartaches and tragedies. Her first marriage to businessman Hank Green ended in divorce in 1954, at a time when being divorced was considered somewhat scandalous, especially for women. Finley’s sons Joe and Jim Green were born from that marriage.
In the documentary, Finley says that her first marriage was a mistake that happened because she wanted to rebel against her domineering housewife mother, who didn’t approve of Hank Green and thought that women should not have careers. Finley and her mother didn’t see eye-to-eye on a lot of issues, but their relationship is described as close, despite any ongoing tensions.
Not long after her divorce from Hank Green, Finley married second husband Irving Lein, who owned a women’s designer sportswear company. Her third and youngest son Larry was born from that marriage. However, Irving tragically died of a heart attack at the age of 44 on January 14, 1959, which also happened to be Finley’s 39th birthday.
The widowed Finley told people at the funeral that she never wanted to get married again. And she never did. Finley says in the documentary that her way of dealing with tragedy and setbacks was to try to be as positive as possible: “I always believed in looking at the happy side. And too many people don’t know how to do that.”
That optimistic outlook on life served her well in an industry that tends to be very fickle and not well-suited for people who are sensitive to criticism. As the fashion industry grew in America (especially in New York City, the fashion capital of the United States), so too did Fashion Calendar’s influence. Finley found herself not just publishing the fashion schedules of the industry but also becoming a power broker who could decide who and what could be scheduled where and when. It was also a job that required a lot of negotiating skills to deal with the huge egos and histrionics in the fashion industry.
Her clout had a major effect not just with big-name designers but also with up-and-coming designers. Several people in the documentary, including fashion designers Betsey Johnson and Jeffrey Banks, have nice things to say about how Finley have them big breaks in their careers. And her Fashion Calendar work also affected the careers of countless other industry people besides designers, such as buyers, media, retailers and wholesalers. Ellin Saltzman, a former Saks Fifth Avenue buyer, says of Finley: “Without Ruth, I couldn’t do my job.”
Fashion designer Nicole Miller says in the documentary that for Miller’s first New York Fashion Week show in 1991, Finley was “tough” in insisting that then-newcomer Miller get a less-than-desirable time slot: 9 a.m. on a Tuesday. Miller says, through a lot of heated discussions with Finley, she was able to negotiate for a better time slot at 12 noon. Miller says that these negotiations weren’t easy because Finley was considered an industry powerhouse that a lot of upcoming designers did not want to alienate.
Fashion designer Nanette Lepore comments in the documentary that although Finley was no pushover, she still brought a sense of decorum and politeness to her job, in an industry where screaming tantrums and rudeness are very common: “She was constantly smoothing over egos, negotiating for someone … There was a gentlemanliness about how people approached fashion and Fashion Week, mostly because of how Ruth’s gentlewomanliness was managing it.”
Because she conducted most of her business over the phone, Fashion Calendar had a personal touch that many other fashion media executives lost as computer technology took over many businesses and people used email or social media to communicate with each other. In the documentary, Finley says that as long as she owned Fashion Calendar, she made sure that she and her small number of employees were always accessible through phone calls.
It was a very traditional mindset that people in the documentary say was both an asset and a detriment. Even though Crafting Beauty CEO François Damide says in the documentary of Finley, “I really think she’s the Steve Jobs of our industry,” that comment might be overstating her influence. Even Finley herself admits that she was far from a technology pioneer, and she didn’t really invent anything. She just provided a particular news service for the fashion industry before anyone else did.
Finley’s resistance to new technology would ultimately lead to her decision to sell Fashion Calendar. For decades, Finley turned down offers from other companies to buy Fashion Calendar. One of the reasons why Finley’s family convinced her to sell Fashion Calendar was that the American fashion industry and New York Fashion Week were just too big for Finley and her small staff to handle just by their old-fashioned methods of Rolodexes and hand-written drafts of schedules.
The Fashion Calendar staff eventually used computers, but former CFDA executive director Fern Mallis says, “Ruth was very late to get to the technology. People begged her to be online. She resisted.”
In 2014, CFDA president/CEO Steven Kolb and then-CFA chairperson Diane von Furstenberg approached Finley to sell Fashion Calendar to CFDA. Kolb says in the documentary that CFDA had been considering launching a rival fashion calendar business, but approached Finley to sell Fashion Calendar to CFDA, out of respect for Finley and with the promise that they would keep her core integrity for the business intact. The CFDA took over Fashion Calendar in October 2014. Fashion Calendar’s last print edition was published in December 2014.
Kolb comments in the documentary, “Technology, whether we like it or not, whether we accept it or not, it forces us to move forward in a way, because if we don’t, then we become irrelevant.” Kolb adds that Finley was also convinced to sell Fashion Calendar because he told her that stepping away from day-to-day managerial duties “frees her up … and lets her focus on the fun stuff.”
The documentary also gives a great overview of the priceless contributions that Finley made to the fashion industry, in terms of historical significance. She meticulously kept all of the Fashion Calendar issues, which she donated to the FIT Museum for posterity. These archives are incredible resources for research and for examining what was going on in fashion at the time. There are no other archives like it in the world.
Fashion Calendar wasn’t a flashy publication and there was “not a lot of production value,” comments independent archivist David Benjamin, who helped transfer Fashion Calendar archives to the FIT Museum. “But it’s important, in terms of the information it contains.”
Because “Calendar Girl” was filmed over several years, there are many other people who were interviewed for the documentary. Fashion designers who offer their glowing commentary on Finley include Carolina Herrera; Mark Badgley and James Mischka of Badgley Mischka; Tadashi Soji; Thom Browne; Ralph Rucci; Dennis Basso; and Steve Herman, a former CFDA president.
Other “Calendar Girl” interviewees include FIT Museum director/chief curator Valerie Steele; FIT Library head of special collections and college archives Karen Trivette; former Costume Institute/Metropolitan Museum of Art curator-in-charge Harold Koda; Costume Institute/Metropolitan Museum of Art communications officer Nancy Chilton; Fashion Group International creative director Marylou Luther; Cushnie et Ochs CEO Peter Arnold; Paper magazine editorial director Mickey Boardman; The Ground Crew CEO Audrey Smaltz; Victoria Royal president Alan Sealove; KCD co-chair Julie Mannion; and InStyle magazine editor-at-large Eric Wilson.
Even though all of these talking heads in the movie are very laudatory of Finley, “Calendar Girl” does an admirable job of not placing her too high on a pedestal, since it includes some constructive criticism of how Finley’s technophobia affected her business. “Calendar Girl” director Bruun was also the film’s cinematographer, and he brings an unpretentious intimacy to this fashion documentary, in contrast to so many other documentaries about fashion influencers that tend to lean into “larger than life” pomp and circumstance. Most of all, “Calendar Girl” is a noteworthy tribute to Finley, by showing that her name might not be well-known outside of the fashion industry because she remained humble and cared more about her work than she cared about being famous.
World premiere at DOC NYC in New York City on November 8, 2019.
If you think about how much the fashion industry relies on photography and a designer’s image to sell products (it’s why designers always come out on the runway with the models at the end of a designer’s show), it’s pretty remarkable that Belgian fashion designer Martin Margiela could spend 20 successful years in the business and avoid being photographed or interviewed. Yes, there are a few random photos of him that you can find in an Internet search, but he wasn’t a complete recluse at the time he was in the fashion industry. He was backstage at his fashion shows, where there were photographers galore, and somehow, he convinced them and other people around him not to take photos of him. At the height of his success, Margiela abruptly quit the fashion industry at the end of his last fashion show in 2008, and then he really becoming a recluse.
“Martin Margiela: In Own Words” is a documentary that tracked down the elusive Margiela and interviewed him in his home, but only his hands are seen on camera. For many fashionistas watching this movie, it might be the first time hearing him speak. (He has a very soft-spoken, almost sing-song voice.) During the course of the movie, he shares his memories of his life in fashion and what he’s been doing in the years since he “disappeared” from the scene.
Margiela (whose real name is Margiela Statin) also opens up his archives, as the documentary shows him flipping through many of his original sketchbooks and showing some of his early illustrations. We also see that Margiela loves Barbie dolls, which served as his earliest models (mini-mannequins, if you will) when he developed an interest in fashion as a child. He still keeps many of his handmade Barbie-doll fashions from his childhood, including his first amateur design: a gray flannel blazer inspired by Yves Saint Laurent. (Yes, it’s shown in the movie.)
As a child, he says he was lonely but had a vivid fantasy life. His earliest memory of wanting to be a fashion designer, he says, was when he was 7 years old and saw a Paris fashion show on TV. His grandmother, who was a dressmaker, was an enormous influence on him—someone whom he considers to be the most important person in his life.
As an adult, Margiela teamed up with business partner Jenny Meirens to launch Maison Margiela, a Paris-based company that had its first collection in 1988. He says of Meirens, who died in 2017, at the age of 73: “We both had a fascination with Japanese designers, which was very intense.” One of Maison Margiela’s early signature looks consisted of shoes designed to look like animal hooves. Another signature Maison Margiela look was to have four stitches in odd places on his clothes.
Sandrine Domas, who modeled for Maison Margiela in the early 1990s, is one of the people interviewed in the documentary, and she remembers how people often thought those four stitches were a mistake and wanted to remove the stitches. It’s an example of Margiela’s eccentric humor that he liked to play with people’s expectations on what should and shouldn’t be part of haute couture.
Other people from the fashion industry who are interviewed in the documentary (and, quite frankly, do nothing but gush over Margiela) include former New York Times fashion critic Cathy Horyn, who says that Margiela is “definitely in the top 10” of the greatest fashion designers of all time. Jean-Paul Gaultier, who used to be Margiela’s assistant, marvels at how impressed he was with Margiela’s first runway show, and admits that, at the time, he didn’t think the show wouldn’t be as good as it was. The NEWS showroom founder Stella Ishii compared that first Margiela show to Andy Warhol “shattering the art world in many ways.” Pierre Rougier, who was Margiela’s publicist from 1989 to 1991, raves that Margiela “was ahead of his time.”
How so? Carine Roitfeld, who was editor-in-chief of Vogue Paris from 2001 to 2011, says that one of the things that Margiela pioneered was to do street casting for models, by randomly inviting people off the street to model in his shows on a first-come, first-served basis. He also encouraged his first street-casted models to smile and interact with the audience, which was the complete opposite of the runway norm to have models walk stone-faced and aloof from the audience. There’s footage in the documentary of these street-casted models in action.
So with all this praise, glory and success, why did Margiela shun the spotlight? He explains in the documentary: “Anonymity was my protection as a person.” Later in the film, he says of the fashion industry: “I’m too serious for that world.” Nina Nitsche, who was Margiela’s assistant from 1998 to 2008, said that when Diesel came in as a major investor in Maison Margiela in 2002, things started to change—and not for the better. Diesel’s emphasis was on the Margiela brand being “sexy” instead of “mysterious.”
Margiela essentially confirms that his disillusionment with the fashion industry was around the time that Diesel started controlling his company. He also wasn’t keen on Diesel’s push to have more of the business on the Internet, and that’s when he knew the fashion industry was going into a direction that he didn’t like. As he says in the documentary: “I felt like an artistic director in my own company, and that bothered me, because I’m a fashion designer.”
There are two moments in the movie where Margiela gets emotional. First, when he talks about the night in 2008 when he shocked everyone by quitting the business right after his runway show. He says his biggest regret was how he chose to leave because “I never had a chance to say goodbye to my team.” The documentary then shows him writing a note on the screen that says, “Thanks to everyone who helped my dream come true!”
The other time he gets emotional is when discussing how flattered and awed he was that the ModeMuseum in Antwerp, Belgium, had an entire retrospective exhibit for his fashion. There’s some footage of the exhibit’s grand opening in 2009. But, ever the recluse, Margiela wasn’t there, although he obviously knew what was in the exhibit.
“Martin Margiela: In His Own Words” director Reiner Holzemer shows an admirable amount of restraint, by staying true to the movie’s title, and not putting himself on camera or having a director’s voiceover narration to steal some of the spotlight from Margiela. Many documentarians who would do a film where they’re the first to interview a famous recluse on camera wouldn’t be able to resist the urge to show off how they achieved this feat, and make sure the audience could see their other investigative journalism skills.
The movie’s main shortcoming is that it’s a non-stop praise fest of Margiela. The worst thing that people say about him is that he’s a perfectionist. A little less fan worshipping and a little bit more of objective viewpoints could have made this a more balanced film. However, that minor flaw does not take away from the fact that Margiela is a fascinating subject, who is a lot more open in telling his life story than people might think he would be.
Although he spends his creative energy nowadays by painting and making sculptures, at the end of the movie, he hints that there’s always a possibility that he might return to the fashion industry. Whether or not he ever does, this documentary serves as an exemplary capsule of Margiela’s fashion legacy, told from his perspective.
UPDATE: Oscilloscope Laboratories will release “Martin Margiela: In His Own Words” in select U.S. virtual cinemas on August 14, 2020.
Celebrated fashion designer Zac Posen has shuttered his House of Z business (based in New York City), and he’s announced that he’s stepping away from the industry to decide what his next move will be. Posen said in an interview with Vogue about House of Z, which had been put up for sale: “I’ve been personally trying to find the right partner for some time. But time ran out, and the difficult climate out there… it’s not an easy time in our industry.”
According to Vogue: “As early as April of this year, Yucaipa Cos., the investment firm founded by Ron Burkle, was seeking to sell off its stake in the label.” House of Z employees, which numbered about 60 people, have all been laid off as a result of the business being shut down.
“It’s been 20 years of love, I’m very sad,” Posen told Vogue of his fashion career. “But I’ve had the great fortune to express myself creatively, and to have made some incredible work with unbelievably passionate people. The community of people who have come through House of Z and are currently here—it’s a powerful force.”
At age 18, Posen (who was born and raised in New York City) was accepted into the womenswear degree program at London’s Central Saint Martins College of Art and Design at the University of the Arts London. He became an instant success by bursting onto the fashion scene in the early 2000s. In 2001, at the age of 21, his work was being shown at the Victoria & Albert Museum in London, worn by celebrities such as Naomi Campbell, and he opened his own fashion company. By 2004, he had won the Council of Fashion Designers of America’s Swarovski’s Perry Ellis Award for Womenswear.
Posen made popular the “mermaid” style dress for evening gowns. The celebrities who often wore his fashions included Katie Holmes, Rihanna, Natalie Portman, Jennifer Lopez, Claire Danes and Kate Winslet. He was a consistent attendee of the annual Met Gala.
Like many haute couture designers, Posen expanded his business into low-end retail, through a partnership with Target. Posen also branched out into reality TV, as a judge on “Project Runway” from 2012 to 2017. He was the subject of the 2017 documentary film “House of Z,” which chronicled his challenges of staying relevant and profitable in a fickle industry.
Amazon Prime Video has announced details of its fashion-competition show starring Heidi Klum and Tim Gunn, the Emmy-winning former hosts of “Project Runway.” The show is called “Making the Cut,” and it will premiere sometime in 2020. British supermodel Naomi Campbell, fashionista Nicole Richie, journalist Carine Roitfeld and fashion designer Joseph Altuzarra will be judges or guest judges on the show, which began auditioning contestants in January 2019. There will be 12 contestants (whose identities are to be announced) on the first season of “Making the Cut,” according to an Amazon Prime Video press release.
The executive producers of “Making the Cut” are Klum, Gunn, Sara Rea, Page Feldman and Jennifer Love. The show’s production company is SKR Productions.
The show’s grand prize has not yet been announced, but designs that win a challenge in each episode will be available for purchase on Amazon. The grand prize will also likely include some kind of deal where Amazon will sell the clothes of the winning designer.
“Making the Cut” joins a growing list of fashion-competition shows for contestants who are designers. Gunn and Klum were part of the original “Project Runway” team when the show debuted in 2004, and the duo left in 2017.
The “Project Runway” reboot in 2019 included the show moving from Lifetime back to Bravo (the show’s original network) and an almost complete recasting of the show’s stars. Karlie Kloss is now the host of “Project Runway,” which added mentor Christian Siriano (a former “Project Runway” winner) and new judges Brandon Maxwell (fashion designer) and journalist Elaine Welteroth. Nina Garcia, who has been a judge on “Project Runway” since the beginning, has remained with the show during its numerous changes.
Netflix also has a fashion-competition series: “Next in Fashion,” hosted by fashion expert Tan France (of “Queer Eye” fame) and model Alexa Chung. There will be a rotating group of guest judges. Elizabeth Stewart and Eva Chen are the guest judges announced so far. The premiere date for “Next in Fashion” is to be announced.
Karl Lagerfeld—the iconic fashion designer who was the longtime creative force behind Chanel, Fendi, Chloé and his own Karl Lagerfeld Paris label—died at the American Hospital of Paris in the Parisian suburb of Neuilly-sur-Seine on February 19, 2019. The cause of death has not yet been officially revealed, but several media outlets are reporting that he had pancreatic cancer. Although his age at the time of his death has been widely reported as 85, the Associated Press reports that Lagerfeld had two birth certificates—one that lists his birth year as 1933 and the other as 1938—and it has not been verified which one is authentic.
What is known for sure is that Lagerfeld was born in Hamburg, Germany, to a successful industrialist father and a violinist mother. He went to school in Paris, and apprenticed at Balmain before joining Patou in 1965. Lagerfeld joined Fendi in 1965, and later became the Italian design company’s creative director. He then made his mark at French label Chloe, followed by his career high point as creative director of the legendary Chanel company, beginning in 1983.
Lagerfeld started his own eponymous fashion label (Karl Largerfeld Paris) in 1984, and remained its creative director after it was sold to the Tommy Hilfiger Company in 2005. In addition to being a fashion designer and entrepreneur, Lagerfeld was an author and photographer. At the height of his fame, he became known for his eccentric personal fashion style, which included wearing a ponytail, mostly black clothes and always wearing sunglasses and gloves in public. Even though he was widely admired in the fashion world, Lagerfeld also had his share of critics and made statements that were considered racially or culturally offensive. In August 2018, the New York Times published a blistering critique of Lagerfeld that questioned why more people weren’t boycotting his work because of offensive comments he has made over the years.
Lagerfeld, who was openly gay, never married and did not have children. However, he famously treated his Birman cat called Choupette as if she were a human child. Lagerfeld’s health had been the subject of speculation after he did not take his traditional final bow at Chanel’s fashion show in Paris on January 22, 2019. Chanel’s studio director Virginie Viard walked in Lagerfeld’s place instead. Chanel announced after Lagerfeld’s death that Viard has been promoted and will replace him at Chanel. Fendi and Karl Lagerfeld Paris have not yet announced who will replace Lagerfeld at their respective companies. Lagerfled’s last Fendi collection will be shown in Milan, Italy, on February 21, 2019.
The following is a press release from Kendo Brands:
Marc Jacobs Beauty announces Irina Shayk as the newest face of the brand for 2019. A dedicated campaign and animation will debut at Sephora Russia on January 14 and Irina will be making a personal appearance at Sephora in Moscow on January 26. this is the first official image of the campaign featuring Irina, shot by David Sims with creative direction by Katie Grand, makeup by Diane Kendal, hair by Guido Palau and nails by Jin Soon Choi.
“When we entered Russia earlier in the year, we knew we wanted to have someone who inherently matched the beauty and strength of the region. Irina was a natural choice, and we’re thrilled to add her to the group of impressive women who have represented Marc Jacobs Beauty.” —Tara Loftis, VP of Marketing, Kendo Brands
Irina joins iconic women such as Jessica Lange, Edie Campbell, Winona Ryder, Aya Jones, Kaia Gerber, Adwoa Aboah, and Lila Moss, who have been, and also currently are, serving as faces of the brand.
“I’ve loved and admired Marc for his wonderful fashions and overarching vision of beauty. It’s such an honor to represent Marc Jacobs Beauty in my home country.” — Irina Shayk
In the lead campaign image, Irina wears:
Eye-conic Multi-finish Eyeshadow Palette in 730 Frivoluxe A longwearing eyeshadow palette of “chilled greige and violet” shades in fashion finishes – velvet, satin, silk, and lame – to layer and dress your eyes.
Highliner Matte Gel Eye Crayon in 55 Mist Me & 63 (Grape)vine Matte lilac and dark purple shades of this malleable formula that glides on smoothly to line, define, smoke, smudge or layer.
Velvet Noir Major Volume Mascara Ultra-black pigment is delivered to even the hardest-to-reach part of the lash line thanks to the lash-maximizing, curvy brush for epic lashes.
O!mega Bronze Perfect Tan in 104 Tan-tastic This super-sized bronzer instantly and universally imparts a radiant-matte finish thanks to its silky texture of micro-fine, jet-milled powder.
About Marc Jacobs Beauty:
Marc Jacobs Beauty is a collaboration between the designer and Kendo, the LVMH incubator of new beauty brands. as with his fashion, Marc’s rule-breaking creativity is at the heart of his makeup vision. for Marc, it’s about the spirit of youth, confidence and experimentation. He inspires you to push the boundaries and create your own style. so indulge in the impeccably exquisite textures, take liberties with provocative shades, and play with daring designs.
Marc defines beauty as imperfectly perfect. “I see beauty in many things and I am attracted to all sorts of imperfection, to style, to confidence or experimentation. it’s unexpected and surprises you.” Inspiration stems from the spirit of “the girl” and her makeup ritual. “I think the idea of transforming into this person you want to be, is a lot of fun…It’s the idea of a young woman enjoying creating her look, getting ready for her night out, or her night after her night out.”
San Francisco-based Kendo (part of the LVMH Group, the world’s leading luxury products group) focuses on the development of global beauty brands. through original concepts, collaborations and acquisitions, Kendo brings to market fresh, relevant and innovative brands. the Kendo team combines product development, marketing and operations expertise to redefine the beauty landscape with brands like Marc Jacobs Beauty, Kat Von D Beauty and Fenty Beauty by Rihanna. today, brands within the Kendo portfolio are distributed in 35 countries.