Cesare Paciotti's Home And The Designer Is Expecting His Third Child

Cesare Pacotti takes Harper's Bazaar inside his home in Italy.

Some excerpt from the interview:

Paciotti, who took over the family business with his sister, Paola, in 1980, has collaborated with other high-end Italian designers along the way: Gianni Versace, Dolce & Gabbana, and Roberto Cavalli. The collaboration that holds the most weight in his world, however, is that with his wife. He and Laura met 12 years ago on a holiday with mutual friends in Sardinia. "What I liked about her is her simplicity and sweetness," he professes about the understated schoolteacher whom he also calls the muse for his work. The couple are expecting their first child together, who will join his two older children, daughter Ludovica, 21, and son Giuseppe, 16.

I must confess, I am not really a morning person," admits Italian designer Cesare Paciotti. "I try to set up my meetings after 10:00 A.M. I like to work late at night; I have a high level of energy then." Quote from the interview read more.

Roberto Cavalli Interview

Roberto Cavalli gave a very candid interview to W Magazine. The interview is very long so I selected a few excerpts.

“To keep up with the tam-tam of fashion”—he mimics a drumbeat—“we need help from stylists. For Armani, is enough to change one lapel on one jacket. From us the people expect new design, new style, new way to attract the new boyfriend.”

“I tried immediately to have a baby because I was so afraid not to have a baby in my life,” Cavalli said, settling, kinglike, into a baroque leopard-print chair. “My first child was born nine months, 10 days after the wedding. For me, I would expect to have 10! I never understand why God give the possibility to have children just to woman,” he continued, clutching theatrically at his belly. “Oh, my God, my dream would be to have a baby!”


“When I go to a restaurant and they say, ‘We’re fully booked,’ I say, ‘It’s Roberto Cavalli,’ and they say, ‘I will check,’” Cavalli said, clapping his hands with relish. “I love it!”


“It is always about the animal,” Slobodan Mihajlovic, Cavalli’s knitwear designer, told me. “You always have to be ready to find an animal—or even to come up with a new one.”

“Sometimes, because of my success, I am afraid that I was not a good father. With the first two I was too strong, and with the other three I was too weak. I told Tommaso, ‘Take a Ferrari and go to Monte Carlo!’ He said, ‘If I drive a Ferrari, it will be when I am able to buy it myself.’ I say to myself, Okay, Roberto, maybe you were too strict. But Daniele, he take everything. He destroy my Porsche in the highway!”

“I was 18; she was 20,” Cavalli recalled. “I think I give her the first kiss after six months. But I was not innocent—we would go in my Fiat 500! We make love when we married. I remember the first night, our wedding.”

On his 40th-anniversary show, which was to take place in two weeks in Milan: “I will invite the other designers, but they won’t come—they are all shit.” Read the entire interview. 

Jane Birkin Interview With The NY Times She Explains How The Famous Hermes "Birkin" Bag Was Name After Her

Jane Birkin may be best known for her namesake Hermès bag and her scandalous duet with Serge Gainsbourg on ‘Je T’aime … Moi Non Plus,” but there is far more to her. At 68 years young, Birkin has recorded more than 20 albums, acted in more than 65 films, worked as a designer, a model and a muse, and actively supported a slew of humanitarian causes. Along the way she even picked up an Order of the British Empire title. And yet the Birkin bag somehow still manages to steal the spotlight.

“I was on an airplane,” Birkin said, explaining the bag’s genesis, “when a plastic bag holding all my things broke and everything fell out — my date book, papers, everything. Just as I was saying how I wish Hermès would make a bag that could fit all my things, the man sitting next to me happened to work for Hermès — it was Jean-Louis Dumas, the head designer! They already had the Kelly bag, named after Grace Kelly, so he began work on the Birkin bag. I went down to the atelier, and he had made it in cardboard. And we talked about it, and I said they should make some changes, like making pockets bigger. And that’s how it was made.” Read more.

Calvin Kleins Interviews Marc Jacobs For Harper's Bazaar Magazine

CK: How do you put a collection together? Where does it start? What is your inspiration?
MJ: I usually start out by saying I have no idea what we’re doing, because I don’t. It starts out the same way every time. I just sit there with my team, and I say, “Does anyone have any ideas, anyone have any thoughts?” I’m terrible with a blank piece of paper, so I can’t get started looking at nothing. But if someone shows me six pieces of fabric, I’ll say, “I don’t like this, I don’t like this, but that’s interesting.” And that interesting thing might not last. But it’s a catalyst, and it gets the ball rolling.

I’m very arbitrary. I like to take on the thing I don’t like at the moment. I like to find something that looks wrong or feels off, something that I would never have done in the past, like brocade. And then all of a sudden, if we can make brocade work, then we’ve really done something, because I hate it. And that’s just a reference. I don’t actually hate brocade.

CK: How do you separate them in your mind when you are doing your collections — Marc Jacobs, Marc by Marc Jacobs, and Louis Vuitton?MJ: I hope to not be too spiritual about this, but I end up being where I am. When I’m in Paris, I’m a foreigner. I’m a little bit detached. Like the Vuitton job, which is an amazing job, and I love doing it, but it’s kind of an alter ego. It’s so much more of an overt personality, it’s so about being recognized with the logos, and it’s so glossy and so extroverted — and it’s not who I am, but it’s a role I like to play. I’m an American in Paris being a French designer, having the people come with the embroidery samples and the button samples. It’s very French fashion design. I think of it like I’m in a movie. Like it’s not real.

Here in New York, I’m much more connected — where I’m in a gallery, and then I go to work or a museum or whatever. And my friends are here, so bits of conversation get taken to work, but I do end up doing what I have to do when I’m in the place where I am.

CK: I read somewhere that you were working out two and a half hours a day, six days a week. And on this diet that was very strict.MJ: I had 21 percent body fat four years ago. I was in and out of the hospital because I had flare-ups of ulcerative colitis. I’d be in the office for 16 hours a day, six of which were in the bathroom because I was so ill. I ate nothing but junk food. Basically, the doctor said, “We’re going to have to remove your colon.” And I said, “I’m not doing that!”

So I went to a nutritionist named Lindsey Duncan, and he said, “If you are 100 percent compliant with what I tell you to do, you will be in better shape than you’ve ever been in, and you will not have to have your colon removed.” I said, “Okay, sign me up.” He said no caffeine, no sugar, no white flour, no dairy from a cow, take açaí every morning, goji, noni, mangosteen, et cetera, omega-3, wheatgrass shots with ginger. The list is endless.

He said, “You gotta laugh every day, you gotta rest every day, and you have to perspire every day, which means you have to go to the gym.” I hadn’t stepped foot in a gym. Well, I hadn’t walked a block in 20 years. So I started, and like everything — I say this, and I hope it’s not misinterpreted, but I like what makes me feel better. That probably doesn’t come as a shock.

When I started to feel better, and when my stomach wasn’t hurting, and when I wasn’t on the toilet all day, and when I could look at myself in the mirror, and when I went from 21 percent body fat to 5 percent body fat and I had muscle, I was like, This is great!

When guys started looking at me and asking me out on dates, I felt way better about myself. So it was hard to keep my clothes on, actually. And whenever I was asked to take my clothes off, I was like, “Sure! I haven’t worked out for three years to keep this all under wraps.” Everything changed. I cut my hair, I got contact lenses, I started to groom and get manicures and pedicures. I started to get my hair cut every two weeks.

Before, I never took care of my appearance. I was like, “Who cares? I’m in the studio 16 hours a day, and nobody sees me.” Everything, it all sort of changed. My home life changed. I wanted to have people over for dinner. I cared about interiors because I wanted to have guests over all the time.

Burberry Cheif Design Director Christopher Bailey Talks To Interview Magazine

 What inspired you as a child to be a designer? Was it something you always wanted to do?

BAILEY: I really didn’t know that this kind of fashion even existed when I was a child in Yorkshire, England. My dad is a carpenter, a joiner, and I used to watch him make things. So I always imagined that I’d do something where I made things, too. I was really more interested in architecture growing up because I would work with my dad on houses. So fashion was, in a way, an accident. But this world opens you up to a lot of different avenues that interested me. I loved the idea of working in different countries. And I loved the idea of construction and working with imagery. But, yes, I fell into fashion a bit by mistake.

 Congratulations, by the way, on winning the CFDA award. You’ve won a lot of awards since you joined Burberry in 2001. Which one has meant the most to you?

BAILEY: It’s brilliant to get recognition. The CFDA was magic because it’s such a big award in our industry. There’s nothing more flattering than being honored by your peers. The British Fashion Awards are also very important because it’s my hometown. But it’s really a recognition of my team, and those awards give me an opportunity to thank them in a formal way. You and I have worked together enough to know that it really isn’t about two people. It’s a whole team. And so it’s great to acknowledge that you never do anything alone.

 You design all the collections—both menswear and womenswear—and you really have a voice in the branding of the label. You said you were interested in architecture as a kid—and you designed the entire Burberry building on Horseferry Road. How do you handle it all?

BAILEY: I’m fairly organized. I’m quite good at compartmentalizing things. I can go from a meeting to working on a building and then designing a fragrance and then working on a collection. You can do that when you build an amazing team. I’ve always loved working with people. It’s really not about ego—it’s about creating something we can be really proud of.

 You’re putting out a makeup line this fall. I guess that’s an organic move, since you already have the fragrance.

BAILEY: It was one of the only things I felt was missing whenever we were working on a show or a shoot. When we’d be talking about the look of the Burberry Girl, I found it really difficult to describe the natural makeup I wanted, which wasn’t plastered on and two-inches thick. The idea for this line was much more natural and relaxed. There is still a lot of old-fashioned romanticism about makeup—like a big face of cake all over you. So I developed this line from the attitude of what modern makeup is. I liked the idea of it being easy and elegant rather than something that was such hard work to apply. It took about two years to put it all in motion. It was a big project.

 Okay, so if you weren’t a designer, what would you be doing?

BAILEY: I’d be an architect.

 What do you love and loathe about fashion?

BAILEY: I love the energy, and I often loathe the deadlines. Read more.

Kelis Talks To The New York Times About Graduating From Culinary School, Recipes, And Her Cookbook

Q.

How did you get involved in cooking?

A.

Growing up, my mom had a catering business. I used to help her pretty early on and loved doing it. My mom is an amazing cook, and she helped me cultivate a love for food. She taught me that food can be beautiful. We eat not just for survival, but we survive to eat. It’s part of who I am.

Your mother is of Puerto Rican and Chinese descent. What kind of food does she make?

She has vast knowledge of cooking techniques from around the world, even though she is a born New Yorker. As kids, my three sisters and I had very developed palates and ate all kinds of things. She is still a way better chef than I am, and when I’m testing recipes I’ll call her. She trained for a while, but didn’t finish.

But you studied at Le Cordon Bleu, right? What was that like?

My time in culinary school was one of the best things I’ve ever done. I loved the intensity and competition of cooking. It’s a French culinary school, but you learn everything.

What was your focus?

I focused on being a saucier. Anything with a sauce involved, I flourished. I learned the basic French sauces like a beurre blanc or a bordelaise — really basic, classic French red and white sauces, but I would go off on my own.

How do you embellish sauces?

I spent a lot of time out of the country looking for new things to eat. I spent a summer in Malaysia and Bali and that region. I was in Penang, where everything is savory and sweet. I’d make beef and shrimp sauces infused with litchi. I started doing my own thing.

Who would you learn from in these places?

I would try to find a chef to study under. But it’s also about eating and figuring it out myself. As a chef, if I can taste something I can basically figure out what’s in it. I have my own take on green coconut curry and a ginger-sesame marinade.

Do you see a connection between your approach to cooking and your approach to making music?

I think the first thing is that they are lifestyles. Everything I do has a certain quality, a certain flair, a certain flavor. I like to eat the way I like to dress, the way I listen to music: put it all together and it’s a great party.

How did cooking school influence you?

There’s an excitement in cooking. I graduated cooking school with honors, one of the best in my class. I came home from school feeling very competitive. I didn’t realize it, but I’m competitive. With music I don’t really compete, but with food I can actually be better than someone. I’ve been doing music since I was a teenager and being an artist is 24/7, and it’s easy get caught up in it. But with cooking it was really amazing to be passionate about something else besides music. I don’t have to make music, I can do something else.

What is the key to making sauces?

The key to sauces is having patience. I’m not a patient woman, but I learned with sauces that you have to get everything on a slow roll and layer the flavors. That’s where you get robust tastes: it starts one way and ends another.

I understand you have a cookbook coming out.

It’s in the works. I’m still writing and trying to get it all done. I still wake up with recipes in my head and thinking, What if I add guava paste. …

Net a Porter Founder Natalie Massenet Talks Fashion And Business

BoF Fashion Pioneers | Natalie Massenet in conversation with Imran Amed from The Business of Fashion on Vimeo.

Paul & Joe Founder Sophie Albou Interview With WWD

Why did you open your flagship in Los Angeles, versus New York?
Paul & Joe is a sparkling and sunny brand, and so it is fantastic for L.A.. The city is so magical because it's always busy. Tourists come from all over, and some are very big spenders. And my brother, who is my partner in the company, lives in Los Angeles. It just felt comfortable.  

And what about New York?
My goal is to open a boutique in New York within a year.

Your parents worked in the fashion industry—your father as an executive, and your mother as a designer. Did your upbringing shape the way you do business now? 
Yes, I learned a great deal. I was working in the fashion industry myself in the late '80s. You must learn first from a good boss. Of course, you have to have a bit of talent!

What are your cardinal rules of running a good business?
Be able to do more than just one thing well. You have to be curious and commit so much of yourself to the process of selling and designing. There is a lot of competition, so you have to be better than the others. You must be fair and nice at all times. There are so many different ways to make it work, but the most important thing is to be real and sincere to the people around you. You have to remind them that they are doing well and give them confidence. You can’t calculate too much. When I started, I never thought about how much money I would make.

Your label is 15 years old now. How has it evolved?Yes, 15! At the very beginning of Paul & Joe, I wanted to make only men’s clothes that were fanciful, happy, and colorful. But many of my customers were asking me to do something for the ladies. I was hesitant, because I know women's wear is so tough. I didn’t want to do it at first, but now, the women's business is so much bigger than men’s. Season after season, I started to do coats and knitwear and other areas. And years later, I was approached to do beauty. After 15 years we have childrenswear, Paul & Joe Sister, which is the more affordable line, jewelry, accessories, and so on.

What’s next?I really want to develop home. I am interested in linen, china and décor. People are now willing to make their homes as good-looking as they are. I designed a hotel suite in Paris, and we made special wallpaper, frames, linen and blankets. It was so joyous. The day we are bored, we must stop or change jobs.

In 2006, you collaborated with Target. How did that affect your business?
It affected the brand very positively, because it makes the line so much more affordable. At one point, these collaborations were considered as cheaper alternatives to the brand. But now, it's becoming almost snobbish to shop at Target!  It’s genius for the brands and for the store. If I had to do it again, I would do it with no doubt in my mind. It was in all the magazines, we received very positive reviews, and everyone is still talking about it. It allowed Paul & Joe to enter the homes of areas in the U.S. where otherwise they never would have heard of Paul & Joe.

How badly were you hit during the recession?We were very, very aware of the times, and we were so careful. And I think we actually did pretty well. We have such a big market, thank goodness. Our main focus is France and Asia, which have not been so bad.

How important is celebrity dressing? They are our number-one ambassadors. They are so important to sales. This is all very recent. You have a celebrity wearing anything at all, and if it’s credited, you have waiting lists. That’s the way it works! We’ve always had a lot of American celebrities in Paris and London buying the brand, and now it will be much easier for them.

Why are you so inspired by nature?I love, love the animals, plants and flowers. Sometimes, the color of a fish will catch my eye. Now, I am not going to tell you I am a fully organic woman. I am not a vegetarian.

Your label is named after your children. Will they join the family business?My eldest son is 18 and he loves fashion—the blogs, the people, the popular culture. He is a shopaholic. He sent me a list of places to visit in L.A.. He is going to university, so he will have years of learning experience, and after that, why not? My younger son doesn’t care as much. He cares about his friends and the girls. But my eldest son loves coming to the showroom and trying the samples of the new men’s collection. He gives me advice. I like to have him come in with his friends because they are the next generation of customers. 
The original article. Shop Paul & Joe. Watch Paul & Joe 2010 summer collection.

Emilio Pucci Talks To The WSJ The Fashion House Is Not All Psychedelic Patterns Anymore Their New Fashions You May Not Even Recognize

Mr. Dundas joined Pucci just over a year ago, and his third collection is about to be shipped to stores for fall. In that relatively short time, he has already captured a new, younger audience for the brand. At its core, the image is decadent, chic party animal (of the heiress sort).

"Since Peter has come on board, he's taken it beyond 'I'm-going-to-wear-it-on-vacation,' " says Petra Flannery, a Hollywood stylist who dressed actress Zoe Saldana for the Los Angeles premier of "Star Trek" last year in a Pucci dress with a snake slithering around the torso and mesh cut-outs. She put starlet Hayden Panettiere in form-fitting Pucci for a number of public appearances, including the World Music Awards in Monaco last month.

Before Mr. Dundas's arrival at the brand, red-carpet appearances were rare. Ms. Flannery says she used Pucci only in shoots for swimwear and beachy editorial spreads.

"We were doing the same look every season," Didier Drouet, Pucci's chief executive, conceded after the brand's fall 2010 runway show in Milan.

Pucci's new emphasis spurred Saks Fifth Avenue to create a space for it on its venerable third floor in New York for this fall. Saks will feature Pucci's new cocktail and evening gowns. Saks will also devote its Fifth Avenue windows to Pucci between Sept. 2 and Sept. 9.
Before now, Saks sold Pucci clothes only at stores in places like Boca Raton and Naples, in Florida, and Phoenix. "We thought it was more of a resort, warm-weather collection," says Joseph Boitano, Saks' women's general merchandising manager. Now, Mr. Boitano says, Mr. Dundas "really is attracting a very young customer."

The emergence of solids is a nod to the fact that there are only so many Pucci patterns that a woman's closet can hold.

But there is a risk here of losing the iconic look of the brand. It can be difficult these days to recognize a Pucci when you see it. When Carrie appeared in a swirling, gray Pucci gown in the recently released "Sex and the City 2," I wouldn't have known it was Pucci without the movie notes. Clothes that look generic may not work to build the brand's image.

Still, the Pucci family itself is loving the new look. "I hate the stereotypes of Pucci, the psychedelic pop," says Laudomia Pucci, the daughter of Emilio Pucci, who founded the brand. "Peter has shaken that up."

It's a ticklish task to dial down the target age of a luxury brand without losing its older, wealthiest customers. Mr. Boitano says Pucci is managing that by continuing to create plenty of prints and simpler dresses. On Mr. Dundas's runway, the prints are often still there—though they're sometimes dyed an unexpected color like deep burgundy, and the clothes can be so revealing that they border on lewd.

These days, the role of a designer at a brand goes way beyond making clothes. Mr. Dundas's arrival at Pucci is re-setting the image of the house, which is owned by the Pucci family and luxury conglomerate LVMH Moët Hennessy Louis Vuitton.

The original designer, Mr. Pucci, was a Florentine aristocrat who began by making bathing suits and reached his calling as a designer in his 40s. His wildly colored, geometric designs and simple silhouettes drew attention in the 1950s and 1960s. Marilyn Monroe was buried in Pucci.

After Mr. Pucci's death in 1992, Pucci clothes were created by a succession of designers known for their use of color and patterns, including Christian Lacroix and Matthew Williamson.

Now, Pucci is following the playbook of other European luxury brands, from Louis Vuitton to Ferragamo, that have branched into every possible product line. Mr. Drouet is busy building licensing relationships: Expect to see more Pucci handbags, shoes, fragrances, ties and sunglasses. Original article.