Dossier Journal: Style

LD Tuttle

Deanne Yee — Fri, 19 Mar 2010 12:16:36 +0000

The designer with her F/W10 collection

There’s an understated jolie-laide to the shoes created by Tiffany Tuttle for her Los Angeles-based label LD Tuttle. They are intricate yet simple, involved yet easy-to-wear. Their functionable/fashionable duality is perhaps a result of her comprehensive design background. After studying fashion design at FIT and working in apparel design, Tuttle decided to pave her own path, entering the highly technical world of footwear via the Ars Sutoria school in Milan. Here she learned skills such as shoe patternmaking and construction. In 2005 the designer brought it all together, launching LD Tuttle with her husband, Richard Lidinsky. “The LD in the name stands for his initials, whereas Tuttle is my last name,” she reveals. Tuttle now splits her time jetting between Los Angeles and two factories in Northern Italy just outside of Milan, where her signature distressed boots and strappy sandals are produced.

For F/W10, Tuttle designed tough platform boots, wedges, low-heeled booties and a handful of unisex styles in her usual moody palette of black and grey with splashes of yellow, green and navy, paired with unusual artisanal details such as handknit leather and parchment. The inspiration for the collection came from a variety of sources, including pictures of old fossils, gemstone shows, Baroque paintings and a 1200-page biography of Rembrandt, which Tuttle says fascinated her. “I was thinking about this idea of protection and preserving things,” she notes. “The collection is usually about that: a feeling of heaviness but also, through use of unlined leathers, a lightness and suppleness.” In a first for her label, the designer developed a process of knitting long strips of leather by hand, which she says “is nice because it has this protective cocoony effect but an openness where you see skin, so there’s a certain sexiness.”

While Tuttle often begins designing each shoe with a preliminary sketch, she mostly works by draping on a last. “A lot of my shoes are about the leather and how it moves,” she elaborates. “So when I have an idea, I’ll take leather, starting cutting it and draping. To me, it’s important to see how it drapes on the foot and where straps will go.” The same hands-on approach applies to her work building heels: “I work with a heel maker that sculpts by hand at first, so it’s all very organic.”

In addition to her signature collection, Tuttle collaborates with labels like VPL and Louise Gray, but she maintains a strict code that shoe design should enhance, not overwhelm the wearer. “Certain people are inspirations for me,” Tuttle clarifies. “My sister is one. She works at an art gallery and has this easy style, which I think is really cool. She looks amazing, but it’s never really thought out. Everything is a bit messy, but her personality always shines through. I want our customers to feel the same way: yes, the shoes are special, but it’s not all about the shoe. It should be about the person, too.”

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Dossier in Conversation with Alex Dunstan

Elisa Lusso — Thu, 18 Mar 2010 10:57:29 +0000

Elisa Lusso: 18 years old, one year modeling and you’ve already worked with Hedi Slimane for AnOther Man, Vogue Hommes Japan, Dazed & Confused and you’re a Topman face. That’s quite a beginning! How’s it been?

Alex Dunstan: I grew up a rather quiet boy and even when I started, I always doubted it would go anywhere. So it definitely came as a big shock. I’ll always remember the day I first saw my face in a magazine…

Elisa: Don’t you feel weird going around London and seeing your face? Tell me about the first time you saw yourself in a campaign?

Alex: The first time I saw the Topman campaign was definitely key. I had no idea it was out yet. I was catching a tube up to Oxford Circus and noticed my face all along the walls… Haha, a very surreal moment.

Elisa: How did you start modeling?

Alex: I was out drinking with some friends in London Bridge. I was walking past a crowd and a woman by the name of Jane Duval stopped me in the street and asked me if I’d ever consider modeling. We exchanged numbers. She got back to me and took me into Select [Model Management]. Me and Jane are still good friends. Select seemed to like me, and I’ve been happy with them ever since.

Elisa: What is the strangest job you’ve done?

Alex: Perhaps the most extraordinary one—for lack of a better word—was the shoot I did for Contributing Editor with Kim Jones styling and Thomas Lohr as the photographer. Most of the shots involved the models hanging off of sea cliffs and walking into the sea. Suffice to say, it was very different to the studio environment I’d gotten used to.

Elisa: And which was the most difficult?

Alex: Difficult? I’d never say a shoot is especially difficult in the scheme of things… Although, of course sometimes it takes longer to get the shot you’re looking for. However, I personally think that this largely depends on how well the photographer and model interact.

Elisa: What is the thing you dislike of being a model?

Alex: There’s nothing I dislike. I wouldn’t change what I’m doing right now for the world.

Elisa: What is, instead, the best part of your job?

Alex: I guess the traveling. It really opens up opportunities for experiences I wouldn’t normally have, and you meet a lot of amazing people along the way.

Elisa: Do you hang out with other models?

Alex: More and more these days. I guess it’s because they’re the people who you share the most in common with. You can share experiences and talk about life and work and everyone’s on the same level… No judgments or pretenses.

Elisa: Do you prefer shoots or shows?

Alex: Do you prefer chocolate or coffee? I love both for different reasons.

Elisa: Have you got any style icons?

Alex: To be honest, not so much… I’ve always just mismatched any clothing I have and hoped for the best. There are a few designers I admire, though.

Elisa: Where in London do you live?

Alex: I grew up and still live in the East Dulwich\Peckham area. Its a lovely place to live with lots of parks and open spaces. Parts of it are sketchy. The area has greatly improved though, and Peckham isn’t nearly as bad as a lot of people like to make out to be.

Elisa: What are your favorite places in London?

Alex: That’s a hard one…I have so many you see; London’s my home! I suppose Borough Market off London Bridge has always been a favorite. And of course I used to cruise around Camden Market in my early teens, but who didn’t? Clubs… Vendome and Jalouse tend to be my usual hangouts when I’m uptown. Although to be quite frank, I’m not too picky. You can’t go too wrong with a bottle of vodka and a big group of friends. I also enjoy less manic nights. Something a bit more low key with an intimate group of friends can be better than a night out at times.

I’ll Take You to the Candy Shop

Erin Dixon — Wed, 17 Mar 2010 13:49:15 +0000

Top, 3.1 Phillip Lim. Necklace, Alexis Bittar.

Photography by Andrew Kuykendall
Styling by Brett Bailey at Atelier Management
Hair by Damian Monzillo at Kate Ryan NYC
Makeup by Alejandro Calvani
Model: Melo @ Marilyn NYC
Styling and Production Assistant: Alex Chapman

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Left: Jacket (worn throughout), J. Mendel. Jewelry, Alexis Bittar. Right: Sweater, 3.1 Phillip Lim. Ombre dress, J. Mendel. Tan dress, Bailey. Socks, Bailey. Shoes, Christian Louboutin.

Shoes, Nicholas Kirkwood.

Left: Jacket, J. Mendel. Dress (worn on shoulders), J. Mendel. Skirt (worn around neck), Viktor & Rolf. Shorts, Marjan Pejoski. Collar and bangle, Alexis Bittar. Near right: Top and pants, 3.1 Phillip Lim. Shoes, Bailey. Jewelry, Alexis Bittar. Far right: Shoes, Rad Hourani.

A Final Look at Paris Fashion Week F/W10

Erin Dixon — Tue, 16 Mar 2010 12:10:46 +0000

Image by Randy Harris

Chanel at Paris Fashion Week F/W10

Katharine Zarrella — Tue, 16 Mar 2010 12:10:26 +0000

Oh Karl, you’re such a cheeky devil! As environmentalists and PETA activists are up in arms about global warming (or “global cooling” as a skeptical Lagerfeld calls it) and the fashion industry’s indulgence in cozy yet cruel fur pelts, Karl Lagerfeld says ‘pish posh’. Lowering the Grand Palais to sub-zero temperatures, the designer garnished his runway with a 28-foot tall, 265-ton iceberg, which he had imported in bits and pieces from Sweden. Clearly a pillar of the environmentally conscious community, Karl countered this display of frozen excess by showing a polar bear-esque array of faux-fur ensembles. Faux fur! At Chanel!

It all began with Freja Beha Erichsen who—placed amongst three models dressed in full-on Chewbacca suits—wore white faux-fur pants. What followed were faux fur-infused tweed suits, coats, dresses and leather jackets, all of which were accompanied by ice-block heeled, knee-high faux-fur boots. Lagerfeld’s new textile covered purses, was woven into peplums and even appeared on a few pairs of hot pants. But somehow, these ridiculous satirical looks were oddly elegant, even—dare I say—wearable.

There were, of course, options for the more traditional Chanel woman, like a series of white knit dresses that were delicately brushed with powder blue accents, and a classically over-the-top black-and-white tux look. Clear double-C clutches and jewelry that dripped down the body like icicles were understated interpretations of the arctic theme, and a series of snowy ladylike embellished dresses embraced the house’s heritage.

Will Chanel’s clientele go faux? Questionable. Will outraged activists be crucifying Lagerfeld until his next runway stunt? Definitely. But come on, everyone; this is fashion. Sure the show was absurd and borderline offensive, but a little snarky fun here and there is allowed, even essential, especially when there are incredible garments to back it up.

Cerre at Paris Fashion Week F/W10

Alban Adam — Tue, 16 Mar 2010 12:06:36 +0000

A look from Cerre F/W10

Established in 2005 by LA-based design and life partners Flavie and Clayton Webster, Cerre started with leather handbags and accessories. Five years later, the designers selected Paris to launch their ready-to-wear label, showing a capsule collection of knits, jeans, coats and jackets handmade from the finest Italian leathers and the softest wools.

The clothing contains a mystique born of the duo’s background in the American west, where dark rock meets folk and Native American heritage mixes with old European traditions. The resulting wares are conversely modern and nostalgic, reflecting the Websters’ desire to create tomorrow’s antiques by working off the guidelines: “Beauty is sacred. Craft is Ritual. Quality is Law.”

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Designers Flavie and Clayton Webster

The Cerre store at 1647 N. Las Palmas Ave, Hollywood, CA.

No Editions at Paris Fashion Week F/W10

Alban Adam — Tue, 16 Mar 2010 12:02:29 +0000

In the age of industrial reproduction, No Editions questions the authenticity of mass-produced high-end fashion garments. Conversely, each one of the brand’s items is unique and features an exclusive print.

This season No Edition’s textiles focus on three elements: Earth, weather and faces (for a preview check out the above video), which are digitally printed on elemental felt coats, silk tops, leather jackets and Japanese denim. In the end, the prints are abstract, developed according to various artistic, personal and sequential criteria—such is the dogma of the label’s designers Christian Niessen and Nicole Lachelle. The good news is that their work it is far easier to wear than it is to understand.

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Generation 11 at Paris Fashion Week F/W10

Alban Adam — Mon, 15 Mar 2010 18:13:20 +0000

Oda Pausma’s installation

There are only a couple of influential fashion schools in Europe, amongst them is the Dutch ArtEZ Institute of the Arts (aka Fashion Institute Arnhem) with an MA course that has developed industry leaders like Viktor & Rolf and Lucas Ossendrijver of Lanvin. This Fashion Week, the school introduced eight new graduates at a presentation titled Generation 11. Art directed by creative duo Freudenthal/Verhagen, the event took the form of an installation, a kind of fashion dorm where each designer decorated a room reflective of their creations. While the general talent level was high, a few graduates particularly stood out: Oda Pausma, who presented strong fetish-y leather bras and a soft fluid transparent silk suit; Rebecca Ward, with organic printed dresses and trousers reminiscent of the late McQueen; and Nick Rosenboom, whose wood print will remain in my memory for quite some time.

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From left: Looks from Oda Pausma; a look from Nick Rosenboom

Rebecca Ward’s installation

A look from Rebecca Ward

Nick Rosenboom’s installation

Maria Luisa at Paris Fashion Week F/W10

Alban Adam — Mon, 15 Mar 2010 16:56:41 +0000

Maria Luisa has been Paris’ retail reference for the best new international designers since 1988, introducing revolutionary names like Riccardo Tisci, Nicolas Ghesquière and Christopher Kane into the city’s fashion vocabulary. Now Maria Luisa Poumaillou, the woman behind the shop, has launched her own clothing line of reasonably priced (mostly) knitwear. The idea is to offer classic Parisian style for less at no competition to labels sold in the store. And, in fact, the collection is a seamless complement to the timeless wardrobes that Poumaillou’s boutique has built over the past two decades.

Maria Luisa is available at Opening Ceremony NY and LA.

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Pretty in Pink at Paris Fashion Week F/W10

Erin Dixon — Mon, 15 Mar 2010 16:19:14 +0000

Images by Randy Harris