Courtesy Diane von Furstenberg; courtesy Stuart Weitzman; still life photography Brendan James
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The Stuart Weitzman boutique on Via Sant’Andrea
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Diane von Furstenberg in her frst ad, circa 1974
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dvf’s design legacy “That’s a wrap” is typically synonymous with endings, but for Diane von Furstenberg it is where her story began. Forty years ago, the plucky 26-year-old princess dipped her toe into the design world with her very first wrap dress. A chance meeting with iconic Vogue editor Diana Vreeland helped bring her form-fitting frock to the masses and soon an empire was born. Von Furstenberg is celebrating the storied garment this month with her Journey of a Dress exhibition at the Wilshire May Company building in L.A., where devotees can trace its evolution and also admire the portraits of Von Furstenberg created by Andy Warhol, Helmut Newton, Annie Leibovitz, Dustin Yellin, and others. “It’s hard to believe 40 years have passed and the dress is still alive and relevant,” says Von Furstenberg. “What better way to honor it than by dedicating a full retrospective in the building of an old famous department store that will soon become The Museum of the Academy on the LACMA campus. Glamour, art, and commerce...just like the wrap dress itself!” MIA SOLKIN
JOurNey Of A DreSS IS ON vIew At the wILShIre MAy COMpANy buILDINg IN LOS ANgeLeS frOM JANuAry 11 tO AprIL 1
“People have always been interested in the projects that achieve the fantastic—projects that make fantasy a built reality. They are fascinated by diferent experiences, and this is key for retail design,” explains fashion savvy architect Zaha Hadid of her approach to creating Stuart Weitzman’s recently minted 3,000-square-foot fagship on Via Sant’Andrea in Milan. To a feet of 53 international and 44 U.S. sales points, Hadid’s team will add a total of six over three years, including locations in Rome, New York, Dubai, Harrod’s London, and most immediately at the IFC Centre, Hong Kong, due to open by February 2014. The result of months of studying the brand, the Milan prototype is more jewelry case than shoe shop, setting a fattering formula for future locations. On Via Sant’Andrea, sculptural bands of reinforced, lightweight concrete rendered in velvety grays strap the foor to the walls and ceiling, much as an evening pump might lace up over instep and ankle. Linear lighting, glassy surfaces, and luminescent ceilings stir the sense of fow, orchestrating what Hadid calls an event space, “a feld of diferent spaces that ofer a variety of experiences, with a coherence that unites the whole and a clarity to exhibit the products at their best.” Indeed, Hadid’s most ingenious move may be the sinewy product displays that snake down the center of the store and double as seating, relieving the walls of clutter and letting the windows reveal the treasures within. Chromed in a painstakingly developed rose-gold, these gems of modular furniture will be fabricated near Milan for all the fagships. Seating areas pair with foor mats of silk carpeting, a comforting detail Weitzman insisted on. That same insistence has borne stunning results for the New York shoe designer, who placed repeated inquiries with Hadid’s London ofce before landing the architect, this despite her wellestablished sartorial signature including heels by Weitzman. The ft may seem obvious enough, but this frst realized collaboration confrms that the designers do wear each other well. pIerre ALexANDre De LOOz
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grrl power After fve years at the helm of his wildly successful jewelry company, Eddie Borgo had some strategic thinking to do about where he wanted to take his brand. “We had to do one of those marketing exercises like Who is our customer,” he says. “Those things can be pretty torturous, but also helpful. And my female friends say that our jewelry makes them feel powerful, so that was the starting point for the season.” Borgo and his team took the empowerment idea full tilt, delving into Feminist Theory 101, and drawing inspiration from suffragettes, women’s lib heroes Elizabeth Cady Stanton and Gloria Steinem, La Femme Nikita, Patty Hearst, political art, Pussy Riot, and more. The resulting Spring/Summer collection is rife with moxie and military symbolism. Medallions appear as oversized charms. Zippers cast from combat boots are reinterpreted into bracelets, rings, and earrings. Borgo even created his version of a purple heart, with druzy crystal, which makes for a very fetching pendant. Among his core customers, perhaps the greatest catalyst of all was the designer’s own mother. “She was a feminist who was questioning a lot of the things that were happening in 1960s America,” he says. “A lot of her spirit from that time came from the campaigns at that time that eventually made reform possible.” SArAh CrIStObAL
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