Latest news with #MaisonLesage
Yahoo
08-07-2025
- Entertainment
- Yahoo
Roger Vivier Collaborates With Maison Lesage for Pièce Unique
Roger Vivier's archives already offer ample inspiration for the brand's creative director Gherardo Felloni, but this season was a double-whammy for his Pièce Unique collection of one-off designs. In collaboration with long-standing house partner Maison Lesage, with which he worked to develop the eight bags and two gilets in the collection this season, he was able to tap the storied embroidery specialist's back catalog for inspiration, as well as its archive of materials and components, making each precious design all the more unique. 'All of these stones don't exist anymore on the market,' Felloni enthused during a presentation. 'For Pièce Unique, they opened the archive and said you can use any quantities that we have.' More from WWD Penélope Cruz Highlights Chanel's Textured Tailoring at the Brand's Fall 2025 Couture Show in Paris Hailee Steinfeld Embraces Bold Cutouts and Dramatic Bows in Sheer Dress for Tamara Ralph Fall 2025 Couture Show in Paris Hailee Steinfeld Gives Classic Hollywood an Edge in Dior Pumps at Tamara Ralph's Fall 2025 Couture Show Felloni bounced off the leitmotif of his main line for fall, the rose, which Roger Vivier was the first footwear designer to take from a couture hat and put on shoes in the 1940s before making it a recurring motif in his designs. A multitude of complex techniques came into play thanks to Lesage's expertise and both companies' archives, with each piece inspired by a specific design from the past and crafted by hand in Italy and France, with Lesage's artisans embroidering directly onto the bags themselves. The tiny, folded and pleated silk organza blossoms stitched onto a background of lilac silk were in reference to a hat in the Lesage archive. Hand-beaded, gold-threaded iterations on green velvet for La Vertueuse came from a vintage cape. On La Passionnée, blossoms were draped and sculpted by hand from silk mousseline or hand-embroidered with tiny beads. L'Ephemere, inspired by a dress in the Lesage archives and developed as both bag and gilet, featured pale colors evoking the fading of time and a combination of silk, muslin and wire embroideries and twists, hand-painted and overlaid with delicate strands of feathers. On La Tendre, hundreds of coral-colored glass beads from the '60s shivered. The buckles and handles for each piece were also crafted by hand and set with semiprecious stones including onyx, citrine and amethyst. Best of WWD It's Not Just a Bag, It's a Fendi Baguette: A History of Fendi's Famous Bag How to Bag an Hermès Birkin Hollywood Stylist Mimi Cuttrell Designs Capsule for By Far
Yahoo
08-07-2025
- Entertainment
- Yahoo
Schiaparelli Fall 2025 Couture: Back to the Future
Daniel Roseberry is no stranger to a gear shift. At a time of seismic evolution in the luxury sector, the Schiaparelli designer sent out his most futuristic collection to date — the prelude, he said, to a reset of his creative process amid a flurry of designer changes that promises to reconfigure the competitive landscape next season. It started — as most Schiaparelli couture shows do — with a viral moment. Cardi B, dressed in a black bustier dress with a dramatic raised neckline dripping curtains of fringe, stood in front of the gilded gates of the Petit Palais holding a live black raven. 'I'm not scared of the bird,' she told WWD. 'I control him. We're best friends.' More from WWD Roger Vivier Collaborates With Maison Lesage for Pièce Unique Penélope Cruz Highlights Chanel's Textured Tailoring at the Brand's Fall 2025 Couture Show in Paris Hailee Steinfeld Embraces Bold Cutouts and Dramatic Bows in Sheer Dress for Tamara Ralph Fall 2025 Couture Show in Paris Still, the image was strikingly on-point. Was the Gothic bird a harbinger of doom, or simply a reflection of ambient angst? As it happened, Roseberry's fall collection harked back to another chaotic moment in time: the inter-war period when founder Elsa Schiaparelli revolutionized the language of fashion with her Surrealist designs, often created in collaboration with artist friends like Jean Cocteau and Salvador Dalí. Roseberry pulled black-and-white photographs from the archives and transcribed them into an edgy collection where color was stripped away in favor of metallic surface effects. 'There's something about that era that felt mournful and also turbocharged at the same time,' he said backstage after the show, which he titled 'Back to the Future.' Silver sequins glistened on a black jacket with ramrod-straight shoulders and slim leg-of-mutton sleeves, and exploded across a transparent black tulle reproduction of the 'Apollo of Versailles' cape designed in 1938 for U.S. actress and interior designer Elsie de Wolfe — one of the highlights of the brand's museum retrospective in Paris in 2022. While hourglass constructions stuck to the designer's body-conscious playbook, for every bulging hip pad there was a slinky bias-cut gown sliced away to reveal acres of flesh — none more so than a black satin fishtail gown scooped low in the back to reveal a rhinestone-encrusted thong, evoking Tom Ford's famous Gucci G-string. Roseberry leaned into fetish glamour with a black saddle dominatrix bustier, and molded breasts with erect nipples. They appeared on a pearl gray satin body plate with black harness trim and protruded from the back of a red satin corset-laced gown, accessorized with a mechanically pulsating rhinestone necklace shaped like a human heart. With her sleek bun, glossy black lips and silver spike heels, Anasofia Negrutsa, dressed in a silver biker jacket with matador epaulets, appeared like a cross between sci-fi classics 'Blade Runner' and 'Metropolis.' Roseberry said the collection was inspired by a world, and an industry, on the precipice — both then and now. 'I wanted it to feel like a bit of a farewell. We're gonna be restructuring everything after this,' he said. 'I think if you want to change the result, you have to change the process, and I just want to keep pushing forward.' Having dominated the post-pandemic couture scene with his sculptural creations and mastery of red carpet moments, Roseberry is wise to position himself for next season's great reset, when Jonathan Anderson at Dior, Matthieu Blazy at Chanel and Pierpaolo Piccioli at Balenciaga will all make their couture debuts. Call it surreal fashion for surreal times. Launch Gallery: Schiaparelli Fall 2025 Couture Best of WWD Windowsen RTW Spring 2022 Louis Shengtao Chen RTW Spring 2022 Vegan Fashion Week Returns to L.A. With Nous Etudions, Vegan Tiger on the Runway
Fashion United
26-06-2025
- Entertainment
- Fashion United
Christian Louboutin celebrated its Sartorial line at Hôtel de Crillon
During Paris Men's Fashion Week this June, Christian Louboutin unveiled its Sartorial line with an immersive, multi-room presentation and cocktail held within the storied salons of the Hôtel de Crillon. Blending heritage and innovation, the experience brought the Maison's craftsmanship to life through live demonstrations, choreographed movement, and bespoke scenography. In the Salon des Batailles, guests discovered the delicate gestures of artisans revealing three of the House's signature techniques: the patine, the glaçage, and the embroidery of Maison Lesage while in the Salon des Aigles, four performers embodied '24 hours in the life of a dandy' through a poetic choreography, dressed in key silhouettes from the collection. The final chapter unfolded in the Salon Marie-Antoinette, where the Chambeliss line took center stage— with style displayed like objets d'art in a billiard-inspired installation. Sartorial Line. Credits: Christian Louboutin A celebration of timeless elegance, the experience offered guests a powerful homage to Christian Louboutin's enduring dedication to artisanal excellence through a resolutely contemporary lens.
The Star
25-06-2025
- Business
- The Star
Embroidery project changes the lives of women in a Moroccan fishing village
In a small village on the coast of southern Morocco, women gather in a house to create collaborative works of textile art, and also earn a living. Several hunch over large canvasses, embroidering their latest piece at the women-only workshop, in the village of 400 people. Some of their works have been shown internationally. 'This project has changed my life,' said Hanane Ichbikili, a 28-year-old former nursing student turned project creative director. 'And yet I had never held an embroidery needle before,' she said. Just 19% of Moroccan women hold steady jobs, according to official figures, and in rural areas they are particularly affected by poverty, unpaid labour and a lack of opportunity. An artist with roots in both Morocco and France has tried to make a difference. Margaux Derhy founded the workshop in 2022 in her father's native village of Sidi R'bat, around 70km south of Agadir, to fulfil her 'dream to make art with purpose'. The project uses textiles and old photographs to explore her family heritage before they left the country in the 1960s, turning sepia-toned portraits and scenes into large silk-and-linen canvases. The North African country was a protectorate of France before gaining its independence in 1956. Being able to embroider and earn an income means a lot to the women. Creative process The project is more than just personal for Derhy – it also provides local women in the small fishing village employment. 'I wanted to be engaged on the ground,' said Derhy, adding that she hired 10 local women to work full-time for a monthly salary exceeding Morocco's private-sector minimum wage of 3,045 dirhams (RM1,410). The women's hands glide over frames that were once used by Paris' prestigious Maison Lesage, the world- famous embroidery house that has worked with some of the greatest names in fashion. The creative process is collaborative, with Derhy drawing an outline and the team then gathering to choose the threads and colour palette for each section. A canvas can take up to five months to complete. The finished works, priced at up to US$5,620 (RM23,823), have been shown in exhibitions in Marrakesh, Paris and Brussels. Future exhibits are planned for Casablanca's L'Atelier 21 and Tabari Artspace Gallery in Dubai. The workshop has also helped to challenge perceived ideas about women in the village. 'At first, some of the women had to hide to come because it was frowned upon,' said Khadija Ahuilat, 26, who oversees operations. Just 19% of Moroccan women hold steady jobs, and in rural areas, they are particularly affected by poverty, unpaid labour and a lack of opportunity. A blessing She said some people thought the project 'was nonsense, and a woman should stay at home'. 'But we managed to change that. I'm very proud to have contributed to this change, even if on a small scale.' Her mother, Aicha Jout, 50, a widow who once gathered mussels and raised livestock to support her family, is now one of the embroiderers. 'It changes a lot for me to be here,' she said. 'I love the idea of embroidering on pictures, but also of passing on the craft to other women.' Jout learned to embroider at the age of 12, and has trained the rest of her mostly single or widowed colleagues. 'There aren't really a lot of job opportunities here, so when the chance came, I didn't hesitate for a second,' said Haddia Nachit, 59, one of the workshop's most efficient embroiders. Her nickname among the women is 'TGV' – after France's high-speed train. Seated next to Nachit, Fadma Lachgar, also 59, said the work allowed her to help her family. 'Resuming embroidery at my age, after 20 years of stopping, is a blessing,' she said. – AFP
Gulf Today
03-06-2025
- Business
- Gulf Today
Moroccan women embroider ‘art with purpose'
In a small village on the coast of southern Morocco, women gather in a house to create collaborative works of textile art, and also earn a living. Several hunch over large canvasses, embroidering their latest piece at the women-only workshop, in the village of 400 people. Some of their works have been shown internationally. "This project has changed my life," said Hanane Ichbikili, a 28-year-old former nursing student turned project creative director. "And yet I had never held an embroidery needle before," she told the media. Women attend an embroidery workshop. Just 19 per cent of Moroccan women hold steady jobs, according to official figures, and in rural areas they are particularly affected by poverty, unpaid labour and a lack of opportunity. An artist with roots in both Morocco and France has tried to make a difference. Margaux Derhy founded the workshop in 2022 in her father's native village of Sidi R'bat, around 70 kilometres (45 miles) south of Agadir, to fulfil her "dream to make art with purpose". The project uses textiles and old photographs to explore her family heritage before they left the country in the 1960s, turning sepia-toned portraits and scenes into large silk-and-linen canvases. French Morocco artist Margaux Derhy (right) holds an art work during an embroidery workshop in Sidi Rbat. The North African country was a protectorate of France before gaining its independence in 1956. Creative process The project is more than just personal for Derhy -- it also provides local women in the small fishing village employment. "I wanted to be engaged on the ground," said Derhy, adding that she hired 10 local women to work full-time for a monthly salary exceeding Morocco's private-sector minimum wage of $330. The women's hands glide over frames that were once used by Paris's prestigious Maison Lesage, the world-famous embroidery house that has worked with some of the greatest names in fashion. The creative process is collaborative, with Derhy drawing an outline and the team then gathering to choose the threads and colour palette for each section. A canvas can take up to five months to complete. French Morocco artist Margaux Derhy (centre) talks to participants during an embroidery workshop. The finished works, priced at up to $5,620, have been shown in exhibitions in Marrakesh, Paris and Brussels. Future exhibits are planned for Casablanca's L'Atelier 21 and Tabari Artspace Gallery in Dubai. The workshop has also helped to challenge perceived ideas about women in the village. "At first, some of the women had to hide to come because it was frowned upon," said Khadija Ahuilat, 26, who oversees operations. 'A blessing' She said some people thought the project "was nonsense, and a woman should stay at home". "But we managed to change that. I'm very proud to have contributed to this change, even if on a small scale." Her mother, Aicha Jout, 50, a widow who once gathered mussels and raised livestock to support her family, is now one of the embroiderers. Women attend an embroidery workshop in Sidi Rbat. "It changes a lot for me to be here," she said. "I love the idea of embroidering on pictures, but also of passing on the craft to other women." Jout learned to embroider at the age of 12, and has trained the rest of her mostly single or widowed colleagues. "There aren't really a lot of job opportunities here, so when the chance came I didn't hesitate for a second," said Haddia Nachit, 59, one of the workshop's most efficient embroiders. Her nickname among the women is "TGV" -- after France's high-speed train. Seated next to Nachit, Fadma Lachgar, also 59, said the work allowed her to help her family. "Resuming embroidery at my age, after 20 years of stopping, is a blessing," she said. Agence France-Presse
