No wonder Dolce & Gabbana are in love with Elsa Schiaparelli for Fall. She was an original proponent of the ballooning shoulder (the fashion story of the season), worked her surrealist glamour through tough and weird times, and was an Italian to boot. In an edgy moment, Domenico Dolce and Stefano Gabbana used her example to defy all fashion nervousness and lay on a sumptuous show whose production values gave no quarter to the idea that cutbacks and timidity should be the order of the day. Quite the opposite, in fact. The front row was positively teeming with A-listers: Scarlett Johansson, Kate Hudson, Naomi Watts, Freida Pinto, Eva Mendes, and others who had all flown in to view the clothes, and then take in the Extreme Beauty in Vogue exhibition opening that the designers have underwritten at the Palazzo della Ragione.
The thirties and forties references played through the displaced gloves used as headpieces and scarves, the shell-shaped buttons, the clunky wartime suede platform wedges, the homages to Schiap’s shocking pink, and, of course, those huge, puffed-up leg-of-mutton sleeves, rising up in some cases to earlobe level. The spending on luxe materials and a cinematic level of beauty never ceased. Fox, dyed goat hair, mink, and rich brocades were worked into narrow-waisted silhouettes, alternating—though not much—with bell-shaped skirts.
It might have been a one-message show, but as is always the case with these superconfident designers, there was never any surrender of house identity. Dolce & Gabbana-isms were wittily reiterated when their signature Sicilian corseted and see-through lingerie dresses reappeared, Schiap-shaped, counterpointed by black tuxedo suits. Finally, their traditional ending parade of exaggerated crinolines shifted the look completely to their own territory, with Monroe photo prints spreading over the skirts. Times may be tough, but these are two guys who are not about to give an inch on what they believe in.
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Julles-Louis Audemars and Edward-Auguste Piguet collaborated in the late 1800s to design and produce some of the finest quality watches of that time. The two came together in 1875 and developed the perfect partnership. Jules-Louis Audemars was the designer and man ‘behind the scenes’ while Edward-Auguste Piguet was the ‘money man’ handling the financials, advertising and logistics of the company. Together the two men created a company which designed and produced fine watches. As the two progressed in their fine watch making they developed a specialty in chiming watches.
In 1907 Ademars and Piguet expanded such in their business that they changed locations of their workspace to accommodate the new hires necessary to put out the demanded watches by the people. At the company’s highest point, before World War II, Audemars and Piguet had nearly 70 employees. With the tragedy of World War II business was slowed significantly. During World War II the two designers put their heads together to come up with a design for the manufacturing of the chronograph watch. Although business was slowed by WWII, the chronograph was able to breathe new life into the company and Audemar Piguet watches once again appealed to the public. In the years following the company grew and designed more fine watches under the direction of business manager and CEO Georges Golay. Throughout the decades the company has made watches with advanced mechanisms and earned much international acclaim. It was in the early 1970s when Audemars Piguet manufactured the first classy athletic watch. It was called the Royal Oak.
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