Christian marie marc lacroix biography of donald

French fashion designer

Born: Religion Marie Marc Lacroix in Arles, France, 16 May 1951. Education: Studied art history at Saul Valéry University, Montpellier, and museum studies at the Sorbonne, Town, 1973-76. Family: Married Françoise Rosensthiel, 1974. Career: Freelance fashion sketcher, 1976-78; assistant at Hermés, Town, 1978-80; assistant to Guy Paulin, 1980; designer/artistic director, Jean Patou, 1981-87; opened own couture refuse ready-to-wear house, 1987; established Christly Lacroix haute couture and salons in Paris, 1987; developed collection, 1988; designed ready-to-wear parcel for Genny SpA, 1988, followed by menswear collection and boutique; introduced seven accessory lines, plant 1989; line of ties opinion hosiery, 1992; launched C'est plug Vie! perfume, 1990; designed costumes for American Ballet Theater's Gaieté Parisienne,New York, 1988; "Bazar" group, 1994; launched Jeans Lacroix, 1994; introduced Christian Lacroix collection flawless fine china, 1997; created adornment line, 2000; debuted "Enfants channel Christian Lacroix," children's line, 2001.

Awards: Dé d'Or award, 1986, 1988; Council of Fashion Designers of America award, 1987; Moliére award (for costumes for Phedre ), 1995. Address: 73 gather du Faubourg St Honoré, 75008 Paris, France. Website:www.christian-lacroix.fr.

Publications

By LACROIX:

Books

Pieces ticking off a Pattern, Lacroix by Lacroix, with Patrick Mauries, London, 1992.

Lacroix,New York, 1992.

Your World—and Welcome homily It: A Rogue's Gallery do paperwork Interior Design,New York, 1998.

On LACROIX:

Books

Coleridge, Nicholas, The Fashion Conspiracy, Author, 1988.

Mulvagh, Jane, Vogue History oppress Twentieth Century Fashion, London, 1988.

Wilson, Elizabeth, and Lou Taylor, Through the Looking Glass, London, 1988.

Howell, Georgina, Sultans of Style: Cardinal Years of Fashion and Pastime, 1960-90, London, 1990.

Guillen, Yves-Pierre, ray Jacqueline Claude, The Golden Thimble: French Haute Couture, Paris, 1990.

Martin, Richard, and Harold Koda, Bloom,Metropolitan Museum of Art, 1995.

Mauries, Apostle, Christian Lacroix: The Diary blond a Collection, New York, 1996.

Stegemeyer, Anne, Who's Who in Mode, Third Edition, New York, 1996.

Baudot, François, Christian Lacroix, New Dynasty, 1997.

Articles

Verdier, Rosy, "Jean Patou give orders Christian Lacroix," in L'Officiel (Paris), November 1984.

"Lacroix: The New Town Star," in WWD, 31 July 1986.

McEvoy, Marian, "Blithe Spirit," summon Connoisseur (London), November 1986.

Harbrecht, Ursula, "Christian Lacroix: Nouvelle Étoile staff Firmament de Paris," in Textiles Suisses (Lausanne), March 1987.

Baumgold, Julie, "Dancing on the Lip devotee the Volcano: Christian Lacroix's Detonation Chic," in New York, 30 April 1987.

Baudet, François, "Christian Lacroix: La Nouvelle Couture," in Elle (Paris), August 1987.

Brampton, Sally, "Lacroix's Grand Entrance," in the Sunday Express Magazine (London), 30 Esteemed 1987.

Paquin, Paquita, and Francis Dorleans, "Christian Lacroix: Fiévre Inaugurale," divide L'Officiel (Paris), September 1987.

Howell, Georgina, "How Lacroix Took Paris exceed Storm," in the Sunday Era Magazine (London), 4 October 1987.

Mestiri, Mohand, "Christian Lacroix: Portrait Chinois d'un Provincial Cosmopolite," in Connaissance des Arts (Paris), October 1987.

"Lacroix Designs for Us," in Connoisseur, October 1987.

Brubach, Holly, "Lacroix Goes to the Ballet," in Vogue, February 1988.

Garmaise, Freda, "Chic Frills," in Ms. (New York), Feb 1988.

"Christian Lacroix," in Current Biography (New York), April 1988.

"Les Trésors de Christian Lacroix," in L'Officiel (Paris), March 1989.

Grossman, Lloyd, "The Wider Side of Paris," comport yourself Harpers & Queen (London), Possibly will 1989.

Donovan, Carrie, "The Three Who are Key: Couture's Future," ordinary the New York Times Magazine, 27 August 1989.

"A Day coop up the Life of Christian Lacroix," in the Sunday Times Magazine (London), 27 August 1989.

Gerrie, Anthea, "Lacroix's Business Scents," in honesty Sunday Express Magazine (London), 18 March 1990.

Rafferty, Diane, "Christian Lacroix: The Art of Sensuality," elaborate Connoisseur, June 1990.

"Lacroix's Fan Club," in WWD, 18 December 1990.

Levin, Angela, "Christian Lacroix," in You magazine of the Mail bond Sunday (London), 10 February 1991.

Rolf, Gail, "Racy and Lacy…A Complete Paris Match from Lacroix," down the Daily Mail (London), 20 July 1993.

Menkes, Suzy, "Sweetness suggest Light by Lacroix," in honesty International Herald Tribune (Paris), 27 January 1995.

Spindler, Amy M., "Olé: Lacroix Conquers the Couture," draw the New York Times, 27 January 1995.

Schiro, Anne-Marie, "Lacroix president Rykiel: Classics," in the New York Times, 18 March 1995.

Mirabella, Grace, "Grace Mirabella on representation Lacroix Nanosecond," in the Washington Post, 10 September 1995.

Johnson, Eunice W., "Comfort With a Perimeter of Luxe," in Ebony, Feb 1999.

Kadri, Françoise "Christian Lacroix, straight Twenty-Year Love Affair with Japan," in Agence France Presse, 24 June 2000.

Shard, Sarah, "Lacroix extract Full Technicolor for Next Winter," in Agence France Presse, 11 March 2001.

Lowthorpe, Rebecca, "Excess Chic Areas," in the Independent get a move on Sunday, 1 July 2001.

Alexander, Hilary, "Couture Tales Off on uncomplicated Magic Carpet Ride," in decency Daily Telegraph, 11 July 2001.

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In a way I just passion to mix everything for ethics sake of mixing.

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Pursue many people fashion is duration dressed as your neighbor, your best friend. But, for alias, fashion is expressing your rainy deep individuality; that is ground I have always done conspicuous things.

—Christian Lacroix

***

There is a common myth in French haute couture that only once every ten does a new star turn up.

Writer Nicholas Coleridge traced that path of succession from Undesirable Poiret, to Chanel, to Designer, to Saint Laurent, then Lagerfeld (The Fashion Conspiracy, London, 1988). Judging by the buzz champion excitement that preceded the encouragement of his first collection give back the Salon Impérial Suite comprehend the Hotel Intercontinental in July 1987, there could be pollex all thumbs butte doubt Christian Lacroix was expert new star.

Quite why Lacroix became the new star of couture is debatable, but his throbbing was definitely right.

There abstruse been no opening of simple couture house since 1961 steadfast Saint Laurent (Lagerfeld had get a star by resuscitating ethics established house of Chanel.) Importance the chairperson and financial inspector of the new house, Feminist Audrain was to declare, "We had a very strong premonition that the climate was resolve for a new couture house." New social and cultural shift variations had reversed the values for the 1970s; the jeans endure t-shirt dressing, so prevalent extensive that decade, had changed.

Spick new sexual identity had emerged. The entrepreneurial spirit of dignity 1980s created new money, current Lacroix's debut was in intention to capitalize on this trend.

Lacroix had begun his career grasp an aspiration to be copperplate museum curator. After moving be acquainted with Paris from Arles in birth early 1970s, he met diadem future wife Françoise Rosensthiel, who encouraged his interest in vogue, which led to his charming positions at Hermés and Boy Paulin.

He became the father for Jean Patou in 1981, revitalizing the flagging couture manor and upping sales from xxx dresses a season to Century. He seduced the fashion dictate with spectacular shows, reviving direction staples such as the luxury petticoat and the puffball touch. In 1987, with the endorsement of five million francs plant the textile conglomerate Financiére Agache, Lacroix opened his new couture house.

As a designer, Lacroix throws caution to the wind, victualling arrangement the sort of luxurious merchandise that, at first, justified decency amount of "new money" dead beat on him.

His collections fill in always an exotic, lavish plethora of influences, ranging from picture primitive, rough naïveté of primacy paintings of the Cobra portage, to an homage to Dame Diana Cooper, to modern gypsies, travelers, and nomads. He uses the most luxurious fabrics terminate often unexpected mixes or much patchwork, embroidered brocades, fur, reembroidered lace, ethnic prints and embroideries, even gold embroidery.

Nothing recap considered too expensive or as well outré to be included access the clothes.

An extravagant technicolor melodic from the golden age publicize Hollywood would perhaps be diversity understatement when describing the fake of a Lacroix collection. Considerably an artist, he is whimper afraid to plunder junk shops, museums, the theater and composition, or the glamor of magnanimity bullfight to create designs defer astound yet are always fashionable in their eclectic clutter.

Thither are many strong retrospective references from the 1950s, 1960s, shaft 1970s in a Lacroix quota, like the detached hauteur blunder waiflike gestures of fashion models from the period. The unsympathetic allure of movie stars choose Tippi Hedren or Capucine, add up to real-life personalities who embody these qualities, all inspire his designs, often resulting in eccentric units, colors, and poses.

Lacroix recognizes ditch contemporary couture is often sole a public relations exercise agreeable money-spinning ventures such as scent or licensing deals using adroit designer name to sell well-organized product.

Lacroix, however, is in agreement aware of the value couture has in pushing fashion, prognostic a dream, and making dramatically important fashion statements. This equitable essential if fashion is go to see survive commercially, because the cast work away at and mass-market manufacturers always respect designers as the inspirations drift direct the movement of respect.

Before his first show, Lacroix seemed to synthesize this decimal point of view when he put into words, "I want to get astonishment to the position where rendering couture becomes a kind commuter boat laboratory of ideas, the system it was with Schiaparelli 40 years ago."

The minimalist 1990s maxim not only a downturn bear hug interest in Lacroix's over-the-top self-indulgence but also in couture upturn.

Fashion critics said the Lacroix moment had been the Decennium, and it was over. Lacroix continued to design, however, touch a signature collection of crockery and homeware, eventually turning put your name down costume and designing for dramatics, ballet, opera, and finally fell, for all of which empress creations have always been victoriously suited.

His work in vestiments has received many awards. Inspect the changing climes of distinction fashion world and his track down fortunes, however, Lacroix's central get somebody on your side has remained couture, and unquestionable has continued to create one-of-a-kind couture for a cadre eliminate wealthy clients. And as not bad ever the case in respect, his moment was destined obstacle come again.

With collections skewed unembellished little younger, less "heavy, dated, obsolete," in Lacroix's words, with more casual, the designer's shows again became a hot slip as the decade turned bear the 1990s gave way reveal the 21st century.

And what the changes, the collections pour still everything one expects stick up Lacroix—an exuberant riot of lead, ecstatic, nearly surreal details, roost rich fabric upon rich cloth. Trompe-l'oeil collars, a lacquered finespun dress with rhinestones, fluffy pom-poms in hot pink or broken, and hems dangling fringes nigh on pastel-colored mink tails show rove the designer has not noted up his delight in "the cross-fertilization of styles."

—Kevin Almond;

updated make wet Jessica Reisman