Tuesday, June 18, 2013
Thursday, June 13, 2013
Wednesday, June 12, 2013
"Bruno Frisoni’s retreat in the bustling port city of Tangier is as eclectic and inventively chic as his creations for Roger Vivier.
Through a decade and more of high-concept designer shoes—towering constructions larded with details and hardware—Bruno Frisoni has conceived fashion for the foot (and bags, and bijoux) as whimsical and as thoughtfully stylish as he is. In his role at Roger Vivier, where Frisoni has been creative director since 2002, the accessories maestro has reinvented the refined but imaginative taste of the designer credited with bringing the stiletto heel to high fashion and encasing the feet of the most stylish women of the mid–twentieth century in creations of elaborate fantasy.
“I’m always very spontaneous,” says Frisoni of his design process. At Vivier, “I have tried to bring back this very sophisticated Parisian idea of shoe-making—to make ‘chic’ alive! What was important was not to bring a shoe line back, but to make it instead a maison—a fashion house rather than just an accessory line.”
To this end, Frisoni’s ready-to-wear collections are presented in evocative environments that reflect Roger Vivier’s own taste for innovative decorating. Vivier’s much-photographed apartment on the Quai d’Orsay, for instance, with its suave and prophetic mix of seventeenth- and eighteenth-century antiques, contemporary art, and Asian and African sculpture, was radically new and influential in the fifties and sixties. Frisoni has channeled its excitingly eclectic flavor in the Vivier stores, where similar pieces are juxtaposed with monumental bronze and lacquer consoles and vortex-shaped lamps and chandeliers, created by his partner, Hervé Van der Straeten. The spirit also inspires the high-style environments that Frisoni and Van der Straeten have conjured in their own homes: a loftlike Parisian apartment, an eighteenth-century house in Frisoni’s native Burgundy, and—most dramatically—a residence in the medina of Tangier, the windblown Moroccan port city."
Tuesday, June 4, 2013
"Most scientists are astonished by Deeda Blair’s style, and the style mavens are surprised by her scientific expertise. That is obvious to even the most casual observer of her life. If one penetrates those disparate worlds, however, one soon finds that neurobiologists credit her with helping them think through difficult questions, and that fashionistas must employ metaphors from 18th-century France to describe the impeccable way she dresses and entertains. The word “elegant” is in regular use in both fashion and science; it can describe a certain understated self-assurance manifest in a choice of shoes or an arrangement of furniture — and, equally, the underlying structures of the universe or the transcription of RNA. It perfectly describes Deeda. Her couture is severe and simple, the kind that only the knowing eye can identify as couture. Her trademark bouffant has not changed in 50 years, but it does not feel dated; it feels Deeda. Her apartment, all pale gray, is like being inside a pearl; it is a study in discipline. The work she does with scientists has a similar urgent deliberateness. Pretension lies in striving to be who you are not; Deeda, rather, tries to be even more of who she is. And who she is outstrips what she says or does; her gentle way of insisting on people’s best selves enables their accomplishments."