Sandra‘s Closet

Hello from Greece! I arrived in Athens for a very special celebration. My friend Themis Zouganeli is opening her new THEMIS Z flagship store in the Greek capital. Fond memories of her childhood in Athens and summers spent in Mykonos inspire her eponymous label.

Themis with me last January at The Gstaad Palace.

Each piece is conceived to reflect the relaxed yet sophisticated nature of Greek culture and handmade by artisans from the finest materials, which are sourced locally and under responsible conditions. Contemporary separates are showcased with clean lines and printed with geometric motifs and symmetrical patterns reminiscent of antique tile designs, translating the beauty of traditional Grecian dress into the everyday.

Don’t miss out on her tableware collection. Her unique creativity lies in the simple, clean lines she applies to her designs and patterns. It makes you feel like being on vacation at your own home.

At the Blue Palace, Resort and Spa at Elounda in Crete where I went last August, you can find a bespoke fine porcelain tableware adorned with individual hand-painted motifs reminiscent ent of the crystal hues of the Aegean Sea and inspired by the name of the hotel itself.

I am really looking forward to spending the next two days in Athens.

TO SHOP THEMIS Z, CLICK HERE PLEASE.

LoL, Sandra

Photos: © Sandra Bauknecht / © Themis Z
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«Fashion does not belong in a museum.» – Karl Lagerfeld

Probably one of the only quotes of Karl Lagerfeld (1933–2019), I don’t agree with and obviously the Costume Institute neither. Its spring 2023 exhibition «Karl Lagerfeld: A Line of Beauty» will examine the work of the late designer. Focusing on his stylistic vocabulary as expressed in aesthetic themes that appear time and again in his fashions from the 1950s to his final collection in 2019, the show will spotlight the German-born designer’s unique working methodology. Most of the approximately 150 pieces on display will be accompanied by Lagerfeld’s sketches, which underscore his complex creative process and the collaborative relationships with his premières, or head seamstresses. Lagerfeld’s fluid lines united his designs for Balmain, Patou, Chloé, Fendi, CHANEL, and his eponymous label, Karl Lagerfeld, creating a diverse and prolific body of work unparalleled in the history of fashion.

I had the honor to meet and work with Karl on several occasions, as a young fashion editor, later on as editor-in-chief and also as a customer of his work, may it be fashion or art. If you interested in some anecdotes, I invite you to read this obituary.

Mannequins specially made for the exhibition, Karl Lagerfeld: A Line of Beauty, reflect the renowned fashion designer’s aesthetic tastes.

Exhibition Dates: May 5–July 16, 2023
Exhibition Location: The Met Fifth Avenue, The Tisch Galleries, Gallery 899, Floor 2
The Met Fifth Avenue, 1000 Fifth Avenue, New York, NY 10028, Phone: 212-535-7710

Special Access
Evening Hours: Every Sunday until 9 pm. (The rest of the Museum is not open during these hours.)
Met Member Morning Hours: 9–10 am every Thursday, Saturday, and Sunday starting May 6.

The exhibition has a virtual queue which you can join via QR code only once inside the Museum. No advance or timed tickets required. Access is first come, first served and subject to capacity limitations.

LoL, Sandra

Photos: Courtesy of Lagerfeld, Costume Institute, #ALineOfBeauty
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The eldest of a modest family of eleven children, Jeanne Lanvin was born in Paris on January 1, 1867. From an early age, her independence and strength of character foretold Jeanne’s extraordinary fate. At the age of thirteen, Jeanne earned her first wages working for a milliner on Rue du Faubourg Saint-Honoré. In charge of delivering hats all over Paris by omnibus, she found a clever way to save the cost of a bus ticket: she followed the vehicle on foot. Nicknamed the «Little Omnibus», Jeanne had already gotten herself noticed and quickly worked her way up the ladder.

A hard worker, Jeanne Lanvin began her milliner’s apprenticeship a few years later and proved to be quite creative. The hats created by «Mademoiselle Jeanne» were met with great success, and Jeanne started dreaming of opening her own shop. The dream would soon become a reality for the then 22-year-old milliner. Through her many sacrifices and persistence, she managed to get her creations, labeled «Lanvin (Mademoiselle Jeanne) Modes», worn by the most fashionable Parisians.

Portrait of Jeanne Lanvin, 1934 © Studio Harcourt / Patrimoine Lanvin

MOTHER AND DAUGHTER

On August 31,1897, Jeanne Lanvin gave birth to Marguerite: her only child, her greatest love, and her muse. From their close bond was born one of the most famous French fashion houses. Nothing was too beautiful for Marguerite. The little girl became the first source of inspiration for Jeanne Lanvin, who designed an incredibly sophisticated wardrobe for her from a very early age. The mother and daughter never left each other’s side. It wasn’t uncommon to catch sight of Marguerite meandering around the hat shelves in the store, where she was often complimented on her elegant outfits. A new opportunity then presented itself to Jeanne Lanvin, who decided to delve into children’s clothing.

This extraordinary mother-daughter relationship is deeply connected to the brand’s history: it was out of her love for Marguerite that Jeanne Lanvin began designing dresses. It was also for her daughter, who by then had become Countess Marie-Blanche de Polignac, that Jeanne launched the legendary perfume Arpège in 1927, as a birthday present. Through this extraordinary bond of maternal love, the brand’s iconic logo was born: a drawing of a woman and her child, imagined by the Art Deco illustrator Paul Iribe.

Marie-Blanche de Polignac, circa 1930 © Roger Schall/ Patrimoine Lanvin

A STEP AHEAD

A true visionary, Jeanne Lanvin captured the spirit of the times throughout her career in order to bring her fashion house to heights of elegance and modernity. The designer was a pioneer in many fields. It was important for her to forge ahead and never fall behind. A jack of all trades, Jeanne Lanvin developed the brand’s business by regularly opening new departments in order to meet the needs of an evolving society.

Hats, children’s clothing, young ladies’ and women’s collections, furs, lingerie, wedding gowns, sports attire, men’s collections, perfumes, and even interior design: through her audacity, Jeanne Lanvin gradually built an empire and heralded a lifestyle revolution. Her career boasts a long list of firsts: Jeanne Lanvin was the first designer to launch a children’s fashion line in 1908; the first to offer a made-to-measure men’s collection in 1926; and even the first to create a mixed eau de toilette in 1933. At its peak, Lanvin had nearly 1,200 employees, many stores, and several branches throughout the world, all thanks to the vision of an exceptional woman.

Modèle Sport, Hiver 1928. Gouache Drawing © Patrimoine Lanvin

TRAVEL JOURNALS

The success of Lanvin was unmistakably due to the curiosity, inventiveness, and creative energy of its founder. With each new collection, Jeanne Lanvin sought to reinvent herself and drew inspiration from traveling, the artists of her time, and everything around her. When she wasn’t working on her next collection, Jeanne Lanvin would frequently travel, taking the time to jot down her experiences and inspirations. Her travel journals were never far from her when she was working, carefully stored away in her office.

In addition to her memories, Jeanne Lanvin would write about objects she had found, fabric samples, or the traditional clothing of the countries she or her close friends and family would visit: Indian saris, Chinese attire, toreador outfits, or ethnic embroideries and materials.

Egypt, circa 1930 – © DR / Patrimoine Lanvin.

AN ARTISTIC SENSIBILITY

Although she mostly kept to herself, Jeanne Lanvin’s artistic sensibility and creative spirit opened the doors very early on to the most avant-garde artistic circles of her time. The designer would frequently socialize with painters from the Nabis movement, in particular Édouard Vuillard, with whom she shared an obsession with color.

Jeanne Lanvin was also a collector, amassing works by Renoir, Degas, Fantin-Latour, Fragonard, and many others. She was highly influenced by the use of light in Impressionist paintings as well as the symbolic works of Odilon Redon. These artistic affinities could often be seen in the brand’s collections. Jeanne Lanvin’s passion for color even led her to open her own dye factory in 1923.

Jeanne Lanvin at a fitting with Yvonne Printemps, circa 1936 – © DR / Patrimoine Lanvin.

THE LANVIN STYLE

Jeanne Lanvin had many inspirations, but elegance, femininity, and modernity were the designer’s key words. In the 1920s, Lanvin stood out for its use of bold colors combined with innovative decorative techniques. Ribbons, embroideries, pearls, and precious details adorned dresses without ever compromising the ateliers’ cutting work and exceptional construction.

The use of black and white was frequently incorporated with the brand’s iconic colors, such as the Lanvin blue. This combination, sometimes interspersed with touches of silver, represented the peak of chic in the mid-1920s. It was the result of geometric research inspired by the Art Deco movement, which was then at the height of its influence.

Embroideries and beading created in the Lanvin ateliers between 1925 and 1935 – © Patrimoine Lanvin.

MADAME LANVIN

The success of Jeanne Lanvin’s fashion house lay in her long years of persistent work. Reserved and meticulous, her unique personality made her stand out from her contemporaries.

«Madame,» as her staff called her, was a demanding boss who, nevertheless, put great trust in the talented individuals surrounding her. Jeanne Lanvin was self-taught and did not draw. She worked a lot with the materials and exchanged her ideas directly with her head seamstresses, who were responsible for creating the models. Refusing to participate in most social events, the designer evolved within restricted and intimate circles of artists, writers, and musicians. It was very rare to see her at a ball or at the Longchamp races, and if by chance you ran into her there, it was because she came to observe the elegant Parisians in order to better anticipate their future desires.

On July 6, 1946, Jeanne Lanvin passed away peacefully at the age of 79. «Madame» Jeanne—the milliner, the designer, the decorator, the perfume manufacturer—left behind an empire in her wake.

After Jeanne Lanvin passed away, her daughter Marie-Blanche became president of the company and continued to design collections until 1950. Several designers succeeded her with the ambition of keeping the brand’s expertise, state of mind, and excellence intact.

Since 2018, it has been a subsidiary of Shanghai-based Lanvin Group, originally named Fosun Fashion Group. Stay tuned for the next post, in which I will tell you how Lanvin does new-tailoring today under the creative vision of Bruno Sialelli, a 31-year-old French designer!

LoL, Sandra

Jeanne Lanvin and a mannequin, 1935 – © New York Times/Rea

Photos: © LANVIN
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Mary Quant (Feb 11, 1930 – April 13, 2023), one of the most influential figures in the fashion scene, died at age 93 peacefully at home in Surrey, UK. Being credited with making fashion accessible to the masses with her sleek, streamlined and vibrant designs, she is also known as the pioneer of the mini skirt and hot pants. While this claim has been challenged by others, it became the trademark of her style, and she is cited as the inventor of this style. However, Mary Quant liberated more than just our legs. Her real legacy was more profound, and her vision of female freedom still feels as fresh as it did back in 1955.

Dame Mary was the daughter of two Welsh teachers but was born in Blackheath, London, in 1930. She gained a diploma in the 1950s in art education at Goldsmiths College, where she met her husband Alexander Plunket Greene, who later helped establish her brand and with whom she married until his death in 1990. The couple had a son, Orlando, who was born in 1970. In 2014, she was made a dame for services to British fashion in the Queen’s New Year Honours list.

The V&A Museum, which hosted an exhibition about Dame Mary’s designs in 2020, wrote: «It’s impossible to overstate Quant’s contribution to fashion. She represented the joyful freedom of 1960s fashion, and provided a new role model for young women. Fashion today owes so much to her trailblazing vision.»

Quant initially sold clothing sourced from wholesalers in her new boutique in the Kings Road named Bazaar, that she had opened in 1955. Being the first concept store in the world, she created a special environment, including music, drinks, and long hours that appealed to young adults. A groundbreaking service at that time – this environment was unique for the industry, as it differentiated from the stale department stores and inaccessible high-end designer store environments that had a hold of the fashion market.

The bolder and more unique pieces in her collection started garnering more attention from media like Harper’s Bazaar, and an American manufacturer purchased some of her dress designs. Because of this attention and her personal love for these bolder styles, she decided to take designs into her own hands. Initially working solo, she was soon employing a handful of machinists; by 1966 she was working with a total of 18 manufacturers. A self-taught designer inspired by the culture-forward «Chelsea Set» of artists and socialites, Quant’s designs were riskier and more unique than standard styles of the time.

Dame Mary named the mini skirt after her favourite make of car, recalled its «feeling of freedom and liberation» . She said: «It was the girls on King’s Road who invented the mini. I was making clothes which would let you run and dance and we would make them the length the customer wanted. I wore them very short and the customers would say, ‘shorter, shorter’.»

In 1988, Quant designed the interior of the Mini (1000) Designer (originally dubbed the Mini Quant, the name was changed when popularity charts were set against having Quant’s name on the car). It featured black-and-white striped seats with red trimming.

Quant’s designs revolutionized fashion from the utilitarian wartime standard of the late 1940s to the energy of the 1950s and 1960s’ cultural shifts. Modern fashion owes a great deal to the trailblazing 1960s designer Mary Quant. She stocked her own original items in an array of colours and patterns. From skinny-rib sweaters, to coloured tights and ‘onesies‘, you will be amazed that Dame Mary also revolutionized the high street with trousers for women, as well as accessories, tights and make-up, while using the daisy brand design that became synonymous with her creations. Quant looks changed the way we dress, proving there was more to Mary than just miniskirts.

Here are some things that you might not know about that are credited to Mary Quant:

THE JERSEY DRESS

Quant saw the potential for easy jersey garments as outerwear in the ’60s. Leading then the jersey dress boom by producing thousands of designs in hundreds of different colors, including different shaped collars, sleeves, zips and buttons, with skirts swishy or straight, the jersey dress became a driving force in the democratization of style.

TIGHTS

Where would the modern women be without stretchy tights, in black, or a choice of colours? Sixty years ago, most women were still unquestionably wearing stockings in the shade «American Tan» (black stockings were a hangover from the Victorian era). Held up by garters, or attached to a separate suspender belt with hard metal clips, stockings were fiddly and uncomfortable to wear. Skirts meanwhile fell below the knee to keep all this hardware, and naked thighs, firmly hidden from view. Mary Quant, always looking to develop new ideas, wanted stockings and tights in bright colors, such as mustard yellow, ginger and prune, as well as black – the perfect accompaniment to her knee-skimming skirts and dresses which enabled women to dance, run and move. She partnered with the Nylon Hosiery Company, set up in 1954 by the Curry family, who had recently emigrated from India. They developed a technique of making long stockings which joined together at the top, and were specially dyed to contrast and co-ordinate with Mary Quant separates. The partnership proved to be long-lived, with an ever-expanding range of new colours and patterned knits, including the 1966 «Highball» glitter stockings in silver, gold, green, blue and red.

TROUSERS FOR WOMEN

From skinny jeans and culottes to harem pants, bell bottoms and power suits, trousers have been an essential part of fashionable women’s wardrobes for over 50 years. This was thanks largely to Mary Quant, who was one of the first designers to promote trousers and suits as fashionable womenswear. When Quant opened her famous boutique, Bazaar, trousers and jeans were popular with female students and subcultures on the outskirts of mainstream fashion. Appropriating trousers for women remained a strong theme throughout Quant’s career, as she pushed towards an increasingly androgynous look, playfully challenging established gender norms.

THE SKINNY-RIBBED SWEATER

As with many of Quant’s designs, the inspiration for the skinny-rib came from childrenswear. In her 1966 autobiography, she describes how she «pulled on an eight year old boy’s sweater for fun» and was «enchanted» with the result. Six months later, Quant had put the skinny-rib into production and «all the birds were wearing the skinny ribs». Pinafores paired with sweaters were the building blocks of Mary Quant’s Ginger Group – the wholesale label she set up in 1963, which promoted good-value, mix-and-match separates.

PVC RAINWEAR

In the 1960s, Quant was «bewitched» by polyvinyl chloride (PVC), «this super shiny man-made stuff and its shrieking colours… its gleaming liquorice black, white and ginger.» (Quant by Quant, 1966). The plastic-coated cotton was a new material in the fashion world, having previously only been used for protective garments. Quant launched her «Wet Collection» in April 1963 at the Hôtel de Crillon, Paris, featuring entirely PVC garments. The show was attended by influential fashion editors, and it earned the designer her first magazine cover for British Vogue, featuring a brilliant-red PVC rain mac.

LOUNGEWEAR AND HOT PANTS

Writing in 2012, Quant recalled how she discovered the «house-wear» market in the US around 1965 and decided to bring this new concept to Europe. She designed «a collection of jersey tops and hotpants in striped jersey-knit fabrics with matching bras, pants, socks, leg warmers and minis – all using knitted fabrics of various thicknesses and weights». The idea of special clothes for lounging in at home was quite a change in mindset for most of the British public – who only had the ubiquitous dressing gown until then. The range included brightly coloured jersey and stretch towelling one-piece suits, with short zip-up versions and full-length styles that included feet. These easy-to-wear garments were the ultimate in comfort and freedom, made in the fun colours that were at the heart of Quant’s brand. Quant’s experiments with loungewear can be seen as the forerunner to the contemporary «onesie» craze.

WATERPROOF MASCARA

Quant also made her mark on the makeup world. Her cosmetics line, with its daisy logo and colorful crayon formulations, shared the same sunny, childlike outlook as her fashion. And she brought the world a truly innovative invention: waterproof mascara.

BOB HAIRCUT

Mary Quant made London swing in the early 1960s. But her look was completed by the liberating geometric haircuts of Vidal Sassoon. In 1964, Vidal Sassoon provided Mary Quant, then 34, with her signature haircut, that is now as closely associated with Quant as Sasson. The Bob is the most trending hairstyle at the moment again.

One of the most important figures in fashion, Quant’s influence can still be seen on catwalks. Rest in Peace, Mary, thank you!

LoL, Sandra

Photos: © Mary Quant, V&A, AP
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Today, I am writing to share some exciting news about YVY, the Swiss fashion brand that has been making waves in the fashion industry for its innovative designs that cross the boundaries between object, accessory, and clothing.

Yvonne Reichmuth founder and creative director of YVY.

The brand’s biggest ARCHIVE SALE will take place from the 14th to the 16th of April at their studio and online from the 17th to the 20th. The studio’s address is Quellenstrasse 27 in Zurich with opening hours on Friday 14th of April from 10am to 8pm and during the weekend from 11am to 5pm.

The cuban-born American-raised superstar Camila Cabello wore the YVY Spine Harness for her look on The Voice USA recently.

YVY has gained a lot of attention and love from celebrities worldwide. The ARCHIVE SALE features some of the iconic pieces worn by Lady Gaga, Ciara, and Irina Shayk, making it an exciting chance for fans to own a piece of fashion history! Moreover, YVY will have samples and prototypes of some of their bestsellers.

Matthias Breschan, CEO of Longines, Yvonne Reichmuth and Kate Winslet.

Last year, Swiss watchmaking brand Longines entrusted YVY with a new design for the famous rectangular watch of Longine’s DolceVita collection, resulting in four sophisticated timepieces that were revealed in Paris in the presence of Kate Winslet.

Madonna in 2020 in a one-of-a-kind top from YVY’s BRUT collection, handmade in the Zurich atelier with Italian lambskin and delicate Swarovski crystals. 

The aim for YVY’s ARCHIVE SALE is to provide an unparalleled opportunity for the Swiss audience to own exclusive pieces from the collection Swiss made. YVY believes that each piece carries a unique story, and is thrilled to share it with their valued customers.

Lday Gaga herself starred in her Haus Laboratories’s makeup line’s campaign in a top by YVY to underline the empowering effect of a bold eyeliner.

Take advantage of this opportunity to get your dream leather look and follow YVY on Instagram @yvyleather for a first look at the archive pieces. Get exclusive access to iconic pieces worn by celebrities for fashion magazines and press events, as well as one-of-a-kind designs and samples from some of their must-haves at up to 80% off.

LoL, Sandra

Photos: © YVY
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It is the end of an era! After 10 years, Jeremy Scott is leaving his role as creative director of Moschino. The Kansas City-native, 47, has been at the helm of the Italian luxury brand since 2013, carrying on the important legacy Franco Moschino left behind. Scott reignited the late designer’s tongue-in-cheek, humorous take on high fashion with his fantastical collections that I have been a huge fan of since decades!

Jeremy Scott’s first collection for Moschino was F/W 2014 (click here, to see the outfit post).

His first collection was for F/W 2014. It launched a thousand debates on the role of fashion in the annals of art, consumerism, and social commentary. Scott has penned a fundamental chapter in the legacy of the brand with his fearless and show stopping pop-camp style and incisive humor – true to the renowned codes of the House.

With Massimo Ferretti last month at the Moschino F/W 2023 show.

«I am fortunate to have had the opportunity of working with the creative force that is Jeremy Scott,» said Massimo Ferretti, executive chairman of Moschino’s parent company Aeffe in the official statement. «I would like to thank him for his 10 years of commitment to Franco Moschino’s legacy house and for ushering in a distinct and joyful vision that will forever be a part of Moschino history.»

With Jeremy backstage at his last show for Moschino in February.

Jeremy Scott said: «These past 10 years at Moschino have been a wonderful celebration of creativity and imagination. I am so proud of the legacy I am leaving behind. I would like to thank Massimo Ferretti for the honor of leading this iconic house. I would also like to thank all my fans around the world who celebrated me, my collections, and my vision for without you none of this would have been possible.»

I am really sad seeing Jeremy leave Moschino. I have been such a huge fan of his work and can only wish him the best. Thank you for all these dreams you have created for me.

LoL, Sandra

Photos: Courtesy of Moschino, © Sandra Bauknecht / Nadia Krawiecka
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Louis Vuitton announces Pharrell Williams as its new Men’s Creative Director, effective immediately. His first collection for Louis Vuitton will be revealed this June during the Men’s Fashion Week in Paris.

Pharrell Williams is a visionary whose creative universes expand from music, to art, and to fashion – establishing himself as a cultural, global icon over the past twenty years. The way in which he breaks boundaries across the various worlds he explores aligns with Louis Vuitton’s status as a Cultural Maison, reinforcing its values of innovation, pioneer spirit and entrepreneurship.

«I am glad to welcome Pharrell back home, after our collaborations in 2004 and 2008 for Louis Vuitton, as our new Men’s Creative Director. His creative vision beyond fashion will undoubtedly lead Louis Vuitton towards a new and very exciting chapter.»  declares Pietro Beccari, Louis Vuitton’s Chairman and CEO.

Billionaires Boys Club

Pharrell Williams is a visionary recording artist, producer, songwriter, philanthropist, fashion designer, and entrepreneur with 10B combined global music streams to date. He excels as a fashion designer and entrepreneur with his Billionaire Boys Club and Ice Cream apparel among other brands. In the fall of 2019, Williams teamed up with David Grutman and opened both Swan and Bar Bevy in Miami’s Design District, and The Goodtime Hotel in 2021. In 2020, Pharrell founded Humanrace™, a product company with a mission to empower all individuals in their pursuit of wellbeing across product and people.

LoL, Sandra

Pharrell Williams’ The Goodtime Hotel 

Photos: © Louis Vuitton / Erik Ian – Billionaires Boys Club – The Goodtime Hotel
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Kering and Gucci announced that Sabato De Sarno will assume the role of Creative Director for the House. De Sarno will present his debut runway collection at Milan Women’s Fashion Week in September 2023.

In his new role, De Sarno will lead the House’s Design Studio reporting to Marco Bizzarri, President and CEO of Gucci, with the responsibility for defining and expressing the House’s creative vision across the women’s, men’s, leather goods, accessories and lifestyle collections.

Past & Future: GUCCI Cruise 2023 Ad Campaign shot by Mert and Marcus

Sabato De Sarno was raised in Naples, Italy. He began his career at Prada in 2005, moving to Dolce & Gabbana, before joining Valentino in 2009, where he held positions of increasing responsibility, finally being appointed Fashion Director overseeing both men’s and women’s collections. Sabato De Sarno will start in his new position as soon as he will have completed all his obligations in his current role.

LoL, Sandra

Photos: © Gucci / © Riccardo Raspa / © Mert and Marcus
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A collaboration between Andrea Gullo, Director of Officine Gullo, and Edgardo Osorio, founder and Creative Director of the Italian luxury footwear brand Aquazzura, unites the world of fashion with that of design.

At Palazzo Corner Spinelli, in the San Marco district of Venice, on the Grand Canal, Edgardo resides in a beautiful residence that dates back to the end of the fifteenth century and is characterized by architecture that is representative of the transition from the Gothic to the Renaissance in Venetian art, evidenced by the façade on the canal.

Officine Gullo installed for the famous designer a kitchen in turquoise and nickel finishes in a kitchen environment, characterized by a striped painted parquet floor and hand-decorated walls. Exotic animals, flowers and brightly colored trees recall motifs of fine 18th-century Chinese porcelain and transport the observer to an exotic garden and to distant places.

Appliances
Hob with 4 burners and a coup de feu. One gas and one electric oven, fridge-freezer and dishwasher.

Colours and finishings
Turquoise & Satin Nickel.

I absolutely adore this kitchen. As I am in the process of furnishing my new home, I cannot wait to show you my new kitchen very soon… it turned out so beautifully.

LoL, Sandra

Photos: © Officine Gullo
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For F/W 2022, British designer Ian Griffiths, who joined Max Mara in 1987, seeked inspiration after seeing the major retrospective of the work of Sophie Taeuber-Arp at the Tate Modern in London. She was not only an artist, but also an architect, a dancer and a designer at the same time. During the turbulent early decades of the twentieth century, she met at Cabaret Voltaire in Zurich, with fellow artists of the avant-garde including Wassily Kandinsky, Paul Klee, Giorgio de Chirico, Max Ernst and Guillaume Apollinaire night after night. Their performances, publications, recitals and readings produced an astonishing new aesthetic: Dada, a call for peace corresponding with the outbreak of World War I, which resonates with the times we are living in now.

Max Mara F/W 22

From the beginning, Max Mara’s ethos has been to turn ideas into garments that women will not only desire but want to live in: an all-round wardrobe for the modern, stylish yet elegant strong woman. Always respecting the philosophy and iconic elements of the brand, the colour camel, for example, Ian Griffiths is constantly looking for styles that show self-expression. Whimsy was the desired effect of the teddy bear material for F/W 2022, which the designer cut not just into oversized enveloping coats, but also full skirts both short and long, dresses and even sweatpants.

Personally speaking, I was immediately drawn to the Mito camel hair maxi dress, «the teddy dress». This long dress comes with fitted sleeveless bodice in double pure camel fabric, with a slightly low waist. The wide skirt is made of pure camel teddy fabric, with slant pockets on the sides. It is lined with monogram fabric and comes with a concealed back zip fastening. For me, a must-have for my museum. Stay tuned to see me wearing it very soon!

LoL, Sandra

Photos: © Max Mara and © Sandra Bauknecht
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