Lifestyle

On Set: The Resort Book on the French Riviera

Location, location, location. What they say about real estate also holds true in fashion photography. While the product is every bit as glamorous, creating those fantastical images was nothing short of hard work, carried out by a team of 13 pros—art directors, photographers, makeup artists, hair stylists, assistants, and models—who traveled from far-off places to the French Riviera and Monaco for a fashion shoot spanning five captivating days.

The famed Grand-Hotel du Cap-Ferrat, which sits on 17 acres located between Nice and Monaco, was the site of the first day of shooting. The rocky shore just below would mark the staging area overlooking the Mediterranean. While photographer Alistair Taylor-Young prepared for the day’s shoot schedule, model Sigrid Agren was coiffed by hair and makeup artist Pedro Pianto before hours of her standing stock-still in various challenging, yoga-like positions with a circlet of fresh flowers on the Martinique beauty’s head.

The second day of shooting took the team to the coastal mountain range Massif de l’Esterel. There, NM art director Lori Stadig instructed French workmen to haul a white wall onto the beach, an idea that was, at first, lost in translation. (A wall on a beach? Je ne comprends pas!) Also nonindigenous to the coastline was the espresso maker plugged into a generator and perched upon the rocks, providing an early morning jolt before the cameras started clicking again for Sigrid.

A change of theme, from floral romanticism to graphic intensity, was witnessed at yet another venue, the Monaco Heliport, where Polish model Zuzanna Bijoch had her moment on the helipad cantilevering the azure sea, as well as hours spent in the Nice Harbor, poised atop its flat-planed slabs of rock. Making the last day truly something of legend—even among world-traveled models—was the Bubble House, or “Palais Bulles,” Pierre Cardin’s former domicile, built in 1989. Designed by renowned architect Antti Lovag, the pod-house, with its panoramic views of the Mediterranean, was where Zuzanna beautifully shaped the looks pictured in the Evening Odyssey feature.

Images snapped by Stadig, Taylor-Young, and NM associate art director Devin Hall from their time in France. 

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Women's

How It’s Made: René Caovilla

The idea for the jeweled design of “Bollywood” ($1,395) came from an ancient Italian bracelet that has been in the Caovilla family since 1930. The initial design was drawn on paper, then adapted to the shape of the foot.

The idea for the jeweled design of “Bollywood” ($1,395) came from an ancient Italian bracelet that has been in the Caovilla family since 1930.

Rows of skilled artisans hunched over worktables, scrupulously cutting leather and forming the slivers into delicate adornments; placing crystals with surgeon-like dexterity onto the vamps of stilettos; stitching thousands of beads, sequins, and feathers by hand, one by one. This is the scene that greets visitors to the Venice villa workshop of shoemaker René Caovilla. Here, shoes are meticulously tooled into creations befitting a modern-day fairy tale. And that’s exactly how the calzolaio wants it.

A peak inside the René Caovilla compound.

The René Caovilla compound.

The second-generation shoemaker learned his craft at the apron of his father, Edoardo, who made shoes for the highest-echelon clientele—fusing art, Venetian craftsmanship, and jewelry making. The pupil studied well and followed in the Caovilla tradition. His reputation as a craftsman and couturier led to several esteemed creative partnerships. In the ’70s, Caovilla joined forces with designer Valentino Garavani, creating shoes under the label Valentino by René Caovilla—an association that lasted more than two decades. Another brush with high fashion was in the early ’90s when Dior came calling, followed by a five-year collaboration with Karl Lagerfeld.

Jeweled embroidery incorporates five sizes and 10 colors of Swarovski crystals —each one set by hand. The embroidery alone requires five hours of labor.

Jeweled embroidery incorporates five sizes and 10 colors of Swarovski crystals —each one set by hand. The embroidery alone requires five hours of labor.

It wasn’t until 2000 that Caovilla made the decision to focus all production efforts on the house’s eponymous brand. Shoes lavished with jewelry would be the epicenter of his artistic expression. The divine results have garnered a celeb following and the highest standing among shoe devotees and fashion’s elite. Simply put, a shoe by René Caovilla is nothing short of a masterpiece.

Five artisans work on each pair of sandals: one to create the embroidery, and four to craft the shoe’s other components—heel, platform, insole, and upper. A pair, from start to finish, is an 18-hour process.

Five artisans work on each pair of sandals: one to create the embroidery, and four to craft the shoe’s other components—heel, platform, insole, and upper. A pair, from start to finish, is an 18-hour process.

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Lifestyle // Women's

Seeing Things: The Diana Vreeland Documentary

Diana Vreeland surrounded by red furnishings- series, 1979

Diana Vreeland surrounded by red furnishings, 1979.

Valentino: The Last Emperor… The September Issue… Bill Cunningham New York. And now, Diana Vreeland: The Eye Has To Travel. The latest in a series of must-see fashion documentaries brings to life one of the style world’s most exotic, vibrant, and fabled characters. In a life roughly spanning the twentieth century, Vreeland more than merited her “Empress of Fashion” title: 26 years as fashion editor at Harper’s Bazaar, editor-in-chief of Vogue through the cultural revolutions of the 1960s, and, at age 70, a post at the Costume Institute of the Metropolitan Museum of Art, which she pushed into the vanguard with fashion exhibitions as imaginative and relevant as any the world had seen.

But those are just the facts. Much more interesting is the fantastical persona Vreeland invented for herself, becoming the star of her own glamorous and adventurous drama. First-time filmmaker Lisa Immordino Vreeland (wife of Vreeland’s grandson Alexander) brings it all vividly to life, weaving photographs, interviews, animation, clips of Vreeland’s television appearances, and voice-overs into a magical 86 minutes. “To say Diana Vreeland has dealt only with fashion trivializes what she has done,” Jackie Onassis once noted. “She has commented on the times in a wise and witty manner. She has lived a life.”

dianavreeland-film.com

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Lifestyle // Women's

At Your Service: Betty Lidji

We’ve often tried to imagine life as a Neiman Marcus sales associate, and we finally did something about it. We shadowed Betty Lidgi, a top associate at the NM flagship in downdown Dallas, for a morning.

8:30 AM: Betty Lidji has yet to arrive, but her office is ready for business: Three rolling racks, two tall enough to accommodate gowns, one already hung with an array of Hanro tanks and Cosabella mesh tees. A vignette of fragrance samples and instant-tanning mousse. Candy jars loaded with the chocolates she picks up on visits to her native Paraguay. And then there’s the glossy Haynsworth portrait of Betty’s “children”: Master Sable and Madame Coco, chihuahuas.

8:50 AM: Lidji rounds the corner, a pint-sized blur of blond and black, the heels of her slingbacks soundless on the thick, cream-colored carpet. Her greeting comes with enthusiasm and an accent to rival Sofia Vergara: “Oh good morning! How are you? Can’t I get you cappuccino? We have a very busy day!”

9 AM: Lidji joins some 60 other downtown sales associates seated on folding chairs in the fine apparel department. The theme of today’s staff meeting is, as it is most mornings, service. “How many of you have upgraded your iPhone applications?” asks general manager Shelle Sills. The phones offer access to any Neiman Marcus item, anywhere. Lidji uses hers like a second assistant. (Her first assistant, Kelsey Smith, handles appointments, messages, deliveries and anything else that might come up.)

Pep-rally applause greets Sills’ announcement that the downtown store ranks first in the company in customer service. It’s the job of the department co-manager Mathew Simon to reveal the previous month’s top associate: A beaming Betty Lidji. The 16-year NM vet [March  25, 1996] also is first in sales “out of home base,” meaning she’s as likely to help you find a handbag, earrings, lipstick, or pair of shoes as a dress from her home department.

9:30 AM: Sales associates preview of the day’s Sofia Cashmere trunk show. Betty listens, legs and hands politely crossed.

10 AM: Somewhere, the great Oz flips a switch and music (Yael Naim’s Come Home) emanates from the sound system, signaling the store is open. Lidji beelines it for a nearby rack. Her only appointment this morning is with long-time client Tricia Besing, who’s being photographed the following week by a local magazine. Lidji is fast. And decisive. Dresses in ivory crepe and navy jersey make the cut. A black-and-white tweed is “not what Tricia would like.” A quick drop-off at her office/dressing room and Lidji heads one floor down to pull shoes and jewelry. Then she’ll swing up to Intimate Apparel for Spanx.

11:00 AM: “I love selling fashion, you know?” says Lidji. Indeed. Her room now resembles a small but well-edited boutique. Half a dozen pairs of size 8 shoes rest atop their pale blue boxes. Sofas hold a selection of bags and a velvet-lined tray of jewelry.

Lidji dispatches Smith to alterations to retrieve pieces that have been shortened, lengthened, taken in, let out, and variously perfected for other Lidji customers by her favorite fitter, Silvia Rodela. One dress has been transformed from sleeveless to long sleeve. Who knew that was even possible? “We got fabric from the vendor,” explains Rodela with deserved pride. “Whatever pleases the customer.”

11:30 AM: Besing arrives, fresh from a workout. Lidji knows that she just returned from Europe—she saw the family photos on Facebook. Now more are shared via Besing’s iPhone. “Oh look at Ali, she’s growing up! She looks so pretty!” The women’s relationship stretches back ten years. Besing laughs recalling the time her husband accompanied her and fell asleep on the sofa in Lidji’s office.

Though Lidji works chiefly with 500 or so regular customers, she also loves being “on the floor.” She and Smith tag-team on the story of a woman and her daughter-in-law who recently visited from Norway. The women shopped all afternoon, returned the following day for lunch at The Zodiac, and the day after that to have their makeup done at the Le Métier de Beauté counter. All arranged by Lidji. Including “the most beautiful Alaïa dress to take home for the granddaughter back in Norway.”

12 Noon: Besing and Lidji land on a black silk Lanvin blouse and creamy ivory skirt with high side slits. (Rodela is summoned to make them more modest.)  While Lidji heads back out to find more shoes, the “young and fun and beautiful” jewelry she’s requested arrives. Besing hones in on a pair of Nicholas Varney coral earrings. The right one is “a little tight.” It’s marked to be adjusted before the photo shoot. The shoe department manager arrives with an armload of boxes. Besing slips on a pair of Guccis with slender straps and gold Art Deco trim. Another associate kneels to fasten the tiny buckles and Besing breaks into a wide smile. “Cinderella.”

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Lifestyle // Women's

Inspired: Lela Rose Channels Santiago Calatrava

Margaret Hunt Hill Bridge in Dallas.  Photography by Mei-Chun Jau.

Margaret Hunt Hill Bridge in Dallas. Photo by Mei-Chun Jau.

It’s little surprise that Lela Rose knew the work of Santiago Calatrava long before his gleaming white, steel-and-cable suspension bridge became Dallas’ latest piece of “starchitecture.” Rose happens to be the daughter of Dallas philanthropist and arts patron Deedie Rose, who played a role in selecting the Spanish architect for the project.

Though Lela now lives and works in New York, she watched the bridge take shape during trips home to oversee the opening of her first freestanding boutique. “I kept looking at that bridge, with its fluid, bending lines,” says Rose. “You usually think of architecture as structured and rigid, but Calatrava talks about ‘the poetry of romance,’ and you really see that in his work, the bending and undulating forms. It’s very romantic to me.”

The "Very Calatravan" look 28 from the Lela Rose Fall 2012 collection

The "Very Calatravan" look 28 from the Lela Rose Fall 2012 collection

No wonder, then, that Calatrava’s “fusion of structure and movement” was the jumping-off point for Rose’s fall collection.  Silhouettes are long, angular, and lean, and Rose worked with fabric mills, showing them photos of the architect’s bridges and railway stations, to develop fabrics and patterns such as the swooping Linear Labyrinth.

Nice touch: When the Margaret Hunt Hill Bridge had its formal opening in early March, Elisa Summers, granddaughter of the bridge’s namesake, was wearing Look 28 in Linear Labyrinth. “That fabric is so Calatrava,” says Rose. “It couldn’t have been more perfect.” 

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