Loewe for edge, The Row or Victoria Beckham for minimalism (though the latter can lean quite basic). Delvaux makes beautiful pieces as well.
Any guesses or speculation for Hedi’s 1st collection?
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When I bought (almost) all the classics in H1 2018 (box, luggage, phantom and belt) prompted by the SA saying it might not stay i was a bit regretful that I didn't spend the money at Chanel/Hermes and thinking I need to rethink my shopping habits. But now - I'm feeling like I've won a lottery
And the colours I've got are perfect.Like the clutch. I guess with tonnes of marketing especially 'influencers' the bags will catch on. I run digital marketing strategy for a financial company so I am certain anything can be marketed.
I‘m fuming. Céline was my favourite brand, I loved the handbags Phoebe designer. I loved her creativity and how unique the bags were.. Now Hedi made them look like every other brands handbags just with a huge C in the front, great, thanks for nothing Hedi.
I love (and always have loved) the dirty, grungy, moto-boots-and-biker-jacket aesthetic that Hedi designs. I wear it a lot. But it’s not Celine, and not what I look to Celine for. I don’t need Saint Laurent v2.0
Ouch, scathing review https://www.nytimes.com/2018/09/29/fashion/celine-hedi-slimane-paris-fashion-week.html
Hedi Slimane’s Celine: Mamma Mia! Here We Go Again
Rejecting the female gaze for baby doll poufs and skinny suits — and other clothes we’ve seen before.
By Vanessa Friedman
Celine, spring 2019.CreditGonzalo Fuentes/Reuters
PARIS — On Friday night in Paris, as the moon rose over the gold dome of Napoleon’s tomb in Les Invalides and a giant black box specially constructed in its backyard loomed in the shadows, Hedi Slimane, the much-admired, much-decried designer who left Yves Saint Laurent in 2016 and whose ghost had been haunting fashion ever since, made his return to the catwalk.
He did it under the auspices of the house of Celine, and he did it with Celine-branded Champagne miniatures and a (literal) drumroll, thanks to members of the ********** Guard. He did it with a specially constructed backdrop of his own design made from transmuting silver squares that looked like they had beamed in from planet Krypton. He did it with 96 looks on concave, skinny boys and cranky, baby-faced girls.
And fashion, which had been on the edge of its seat, fell off. Déjà vu! It was disorienting: what year was this? But at least some questions had been answered.
For those who, upon hearing that Mr. Slimane had been named Lord Chief Overseer (O.K.: artistic, creative and image director) of Celine, feared that the days when this brand defined what it meant to be a smart, adult, self-sufficient, ambitious and elegantly neurotic woman were at an end — you were right.
ADVERTISEMENT
For those who worried that maybe, after reinventing Dior Homme in his own Thin Dark Duke image, and Saint Laurent in the shape of dissolute morning-after Los Angeles teenagers, perhaps Mr. Slimane did not have another brand vision in him — you were right, too.
Image
Celine, spring 2019.CreditValerio Mezzanotti for The New York Times
And for those who asked whether brand Hedi would take precedence over brand Celine — well, yup.
None of this was really surprising. Nor was the fact that the collection was almost entirely in black and white, plus a bit of gold and silver, with a dash of green and red thrown in. Or that for girls, it mostly consisted of super short 1980s baby doll prom dresses with metallic poofs, motorcycle boleros and some very slick tailoring (oh — and one pair of baggy acid-washed jeans with a little fur chubby).
Or that for boys, it was the tailoring again: narrow pleated trousers hiked high on the waist and cropped in at the ankle; razor-sharp jackets, both double- and single-breasted, long and short; skinny ties.
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Or that the distinguishing characteristic between the two was mainly black trapezoidal glasses for the boys and little haute flea-market fascinator veils for the girls. Plus some nicely bourgeois chain handbags. Mr. Slimane has done all this before.
Céline: Spring 2019
96 Photos
View Slide Show ›
Image
Gio Staiano/Nowfashion
It was the essence of his YSL, which he rechristened Saint Laurent, just as he rechristened Céline as Celine, dropping the accent. In both cases, Mr. Slimane was going back to an earlier incarnation of the logo, because — well, it was never entirely clear. Because he could.
It sold very well for YSL. Celine’s owners are probably assuming it will do the same for them. If they have to sacrifice all that the brand used to stand for in the process, so be it. It’s fashion! Things change.
Except not Mr. Slimane. Generally, when designers hop from heritage house to heritage house they make some nod to that heritage. Celine’s has been fuzzier than most, granted — it doesn’t have the same logo totems or design iconography. And when Mr. Slimane’s predecessor, Phoebe Philo, arrived, she, too, swept away what had been before. Remember that? Didn’t think so. It wasn’t much, which was why she could.
But she gave Celine an identity that for women meant a great deal, because it was clearly for them, not an image of them caught in a black and white photo of back alleys and nightclubs and the damage done after dusk.
And it does beg the question: Why not just give Mr. Slimane a brand under his own name? That’s effectively what’s happened here. Why not just call it what it is? Why hedge your bets with a pseudonym?
For a while, it was possible to hold out hope that Mr. Slimane might have lived up to all the hype around his reputation. That instead of repeating himself, he really would have been able to evolve his sense of form into something new; something that spoke more generously to those with multidimensional lives. It’s rare for a designer to be able to change how people use dress to express themselves more than once in their career — Yves Saint Laurent (the man) did it, but he was an outlier. It turns out Mr. Slimane isn’t. He had his moment. It mattered. Now he’s just reliving it.
Will the rest of us want to, also? The whippetlike suiting, which will be available equally for women as well as men (though the treatment does not apply to dresses): yes. But the pouty, infantilizing rest of it? The lack of diversity of any kind? No, thank you.
Two years ago when Mr. Slimane departed fashion, the world was a different place. Women were different. Hell, they were different a few days ago. They have moved on. But he has not.
And it meant that, despite an audience crammed with rock’s hipster elite, the lyrics that most came to mind were Mamma Mia! Here we go again.
Hedi Slimane’s Celine: Mamma Mia! Here We Go Again
Rejecting the female gaze for baby doll poufs and skinny suits — and other clothes we’ve seen before.
By Vanessa Friedman
- Sept. 29, 2018
Celine, spring 2019.CreditGonzalo Fuentes/Reuters
PARIS — On Friday night in Paris, as the moon rose over the gold dome of Napoleon’s tomb in Les Invalides and a giant black box specially constructed in its backyard loomed in the shadows, Hedi Slimane, the much-admired, much-decried designer who left Yves Saint Laurent in 2016 and whose ghost had been haunting fashion ever since, made his return to the catwalk.
He did it under the auspices of the house of Celine, and he did it with Celine-branded Champagne miniatures and a (literal) drumroll, thanks to members of the ********** Guard. He did it with a specially constructed backdrop of his own design made from transmuting silver squares that looked like they had beamed in from planet Krypton. He did it with 96 looks on concave, skinny boys and cranky, baby-faced girls.
And fashion, which had been on the edge of its seat, fell off. Déjà vu! It was disorienting: what year was this? But at least some questions had been answered.
For those who, upon hearing that Mr. Slimane had been named Lord Chief Overseer (O.K.: artistic, creative and image director) of Celine, feared that the days when this brand defined what it meant to be a smart, adult, self-sufficient, ambitious and elegantly neurotic woman were at an end — you were right.
ADVERTISEMENT
For those who worried that maybe, after reinventing Dior Homme in his own Thin Dark Duke image, and Saint Laurent in the shape of dissolute morning-after Los Angeles teenagers, perhaps Mr. Slimane did not have another brand vision in him — you were right, too.
Image
Celine, spring 2019.CreditValerio Mezzanotti for The New York Times
And for those who asked whether brand Hedi would take precedence over brand Celine — well, yup.
None of this was really surprising. Nor was the fact that the collection was almost entirely in black and white, plus a bit of gold and silver, with a dash of green and red thrown in. Or that for girls, it mostly consisted of super short 1980s baby doll prom dresses with metallic poofs, motorcycle boleros and some very slick tailoring (oh — and one pair of baggy acid-washed jeans with a little fur chubby).
Or that for boys, it was the tailoring again: narrow pleated trousers hiked high on the waist and cropped in at the ankle; razor-sharp jackets, both double- and single-breasted, long and short; skinny ties.
ADVERTISEMENT
Or that the distinguishing characteristic between the two was mainly black trapezoidal glasses for the boys and little haute flea-market fascinator veils for the girls. Plus some nicely bourgeois chain handbags. Mr. Slimane has done all this before.
Céline: Spring 2019
96 Photos
View Slide Show ›
Image
Gio Staiano/Nowfashion
It was the essence of his YSL, which he rechristened Saint Laurent, just as he rechristened Céline as Celine, dropping the accent. In both cases, Mr. Slimane was going back to an earlier incarnation of the logo, because — well, it was never entirely clear. Because he could.
It sold very well for YSL. Celine’s owners are probably assuming it will do the same for them. If they have to sacrifice all that the brand used to stand for in the process, so be it. It’s fashion! Things change.
Except not Mr. Slimane. Generally, when designers hop from heritage house to heritage house they make some nod to that heritage. Celine’s has been fuzzier than most, granted — it doesn’t have the same logo totems or design iconography. And when Mr. Slimane’s predecessor, Phoebe Philo, arrived, she, too, swept away what had been before. Remember that? Didn’t think so. It wasn’t much, which was why she could.
But she gave Celine an identity that for women meant a great deal, because it was clearly for them, not an image of them caught in a black and white photo of back alleys and nightclubs and the damage done after dusk.
And it does beg the question: Why not just give Mr. Slimane a brand under his own name? That’s effectively what’s happened here. Why not just call it what it is? Why hedge your bets with a pseudonym?
For a while, it was possible to hold out hope that Mr. Slimane might have lived up to all the hype around his reputation. That instead of repeating himself, he really would have been able to evolve his sense of form into something new; something that spoke more generously to those with multidimensional lives. It’s rare for a designer to be able to change how people use dress to express themselves more than once in their career — Yves Saint Laurent (the man) did it, but he was an outlier. It turns out Mr. Slimane isn’t. He had his moment. It mattered. Now he’s just reliving it.
Will the rest of us want to, also? The whippetlike suiting, which will be available equally for women as well as men (though the treatment does not apply to dresses): yes. But the pouty, infantilizing rest of it? The lack of diversity of any kind? No, thank you.
Two years ago when Mr. Slimane departed fashion, the world was a different place. Women were different. Hell, they were different a few days ago. They have moved on. But he has not.
And it meant that, despite an audience crammed with rock’s hipster elite, the lyrics that most came to mind were Mamma Mia! Here we go again.
I agree that they should have given him a brand under his own name. Tim Blanks' review on Business of Fashion echoed a similar sentiment, that there was no newness. All that suspense-building and extravagant set for the same old, same old.Ouch, scathing review https://www.nytimes.com/2018/09/29/fashion/celine-hedi-slimane-paris-fashion-week.html
Hedi Slimane’s Celine: Mamma Mia! Here We Go Again
Rejecting the female gaze for baby doll poufs and skinny suits — and other clothes we’ve seen before.
By Vanessa Friedman
Image
- Sept. 29, 2018
Celine, spring 2019.CreditGonzalo Fuentes/Reuters
PARIS — On Friday night in Paris, as the moon rose over the gold dome of Napoleon’s tomb in Les Invalides and a giant black box specially constructed in its backyard loomed in the shadows, Hedi Slimane, the much-admired, much-decried designer who left Yves Saint Laurent in 2016 and whose ghost had been haunting fashion ever since, made his return to the catwalk.
He did it under the auspices of the house of Celine, and he did it with Celine-branded Champagne miniatures and a (literal) drumroll, thanks to members of the ********** Guard. He did it with a specially constructed backdrop of his own design made from transmuting silver squares that looked like they had beamed in from planet Krypton. He did it with 96 looks on concave, skinny boys and cranky, baby-faced girls.
And fashion, which had been on the edge of its seat, fell off. Déjà vu! It was disorienting: what year was this? But at least some questions had been answered.
For those who, upon hearing that Mr. Slimane had been named Lord Chief Overseer (O.K.: artistic, creative and image director) of Celine, feared that the days when this brand defined what it meant to be a smart, adult, self-sufficient, ambitious and elegantly neurotic woman were at an end — you were right.
ADVERTISEMENT
For those who worried that maybe, after reinventing Dior Homme in his own Thin Dark Duke image, and Saint Laurent in the shape of dissolute morning-after Los Angeles teenagers, perhaps Mr. Slimane did not have another brand vision in him — you were right, too.
Image
Celine, spring 2019.CreditValerio Mezzanotti for The New York Times
And for those who asked whether brand Hedi would take precedence over brand Celine — well, yup.
None of this was really surprising. Nor was the fact that the collection was almost entirely in black and white, plus a bit of gold and silver, with a dash of green and red thrown in. Or that for girls, it mostly consisted of super short 1980s baby doll prom dresses with metallic poofs, motorcycle boleros and some very slick tailoring (oh — and one pair of baggy acid-washed jeans with a little fur chubby).
Or that for boys, it was the tailoring again: narrow pleated trousers hiked high on the waist and cropped in at the ankle; razor-sharp jackets, both double- and single-breasted, long and short; skinny ties.
ADVERTISEMENT
Or that the distinguishing characteristic between the two was mainly black trapezoidal glasses for the boys and little haute flea-market fascinator veils for the girls. Plus some nicely bourgeois chain handbags. Mr. Slimane has done all this before.
Céline: Spring 2019
96 Photos
View Slide Show ›
Image
Gio Staiano/Nowfashion
It was the essence of his YSL, which he rechristened Saint Laurent, just as he rechristened Céline as Celine, dropping the accent. In both cases, Mr. Slimane was going back to an earlier incarnation of the logo, because — well, it was never entirely clear. Because he could.
It sold very well for YSL. Celine’s owners are probably assuming it will do the same for them. If they have to sacrifice all that the brand used to stand for in the process, so be it. It’s fashion! Things change.
Except not Mr. Slimane. Generally, when designers hop from heritage house to heritage house they make some nod to that heritage. Celine’s has been fuzzier than most, granted — it doesn’t have the same logo totems or design iconography. And when Mr. Slimane’s predecessor, Phoebe Philo, arrived, she, too, swept away what had been before. Remember that? Didn’t think so. It wasn’t much, which was why she could.
But she gave Celine an identity that for women meant a great deal, because it was clearly for them, not an image of them caught in a black and white photo of back alleys and nightclubs and the damage done after dusk.
And it does beg the question: Why not just give Mr. Slimane a brand under his own name? That’s effectively what’s happened here. Why not just call it what it is? Why hedge your bets with a pseudonym?
For a while, it was possible to hold out hope that Mr. Slimane might have lived up to all the hype around his reputation. That instead of repeating himself, he really would have been able to evolve his sense of form into something new; something that spoke more generously to those with multidimensional lives. It’s rare for a designer to be able to change how people use dress to express themselves more than once in their career — Yves Saint Laurent (the man) did it, but he was an outlier. It turns out Mr. Slimane isn’t. He had his moment. It mattered. Now he’s just reliving it.
Will the rest of us want to, also? The whippetlike suiting, which will be available equally for women as well as men (though the treatment does not apply to dresses): yes. But the pouty, infantilizing rest of it? The lack of diversity of any kind? No, thank you.
Two years ago when Mr. Slimane departed fashion, the world was a different place. Women were different. Hell, they were different a few days ago. They have moved on. But he has not.
And it meant that, despite an audience crammed with rock’s hipster elite, the lyrics that most came to mind were Mamma Mia! Here we go again.
I like Hedi Slimane, but I haven't seen someone come to a brand and completely ignore all of its predecessors. Not even an ounce of Phoebe Philo was there, unless you count the sunglasses which featured the 3 triangular dots on each temple. I felt like I was watching a Saint Laurent show. I'm sure the Celine executives are behind this, given that they already know that Hedi Slimane tends to do that at any house he designs for (Dior Homme looks a lot like Saint Laurent menswear), and they essentially gave him carte blanche.
If this is a way for LVMH (Celine) to compete with Kering (Saint Laurent), it's kind of funny, because essentially LVMH now has Saint Laurent's designs but sold under a different name. They got the man behind the Saint Laurent image after all, so Celine can't be accused of copying Saint Laurent. I'm sure it will sell very well. I'll be one of the customers. But I would have been one of the customers even if Hedi was given his own brand, so I wonder why they chose Celine.
Not sure why the lock isn't streamlined on this bag below. It looks a bit old-fashioned instead of modern.
So I am no sure why Hedi loves to use all these underweight model? I thought there was a ban of underweight model for runway.
Also per my previous comment all I can use his bags which are inspired by vintage has some mix from other classic style of other brands. It like oh that’s Kelly, Constance, cc flap with a twist of YSL and Phoebe envelope clutch
Also per my previous comment all I can use his bags which are inspired by vintage has some mix from other classic style of other brands. It like oh that’s Kelly, Constance, cc flap with a twist of YSL and Phoebe envelope clutch
I will agree with a few thing you said. He is his own designer and he should not feel the need to emulate he's predecessors in any way shape or form. I will agree that Céline had no strong brand identity before Phoebe.
I had no preconceived notions of Hedi coming in and designing clothes the same way Phoebe did. That's a disservice to Phoebe and Hedi. But I did hope that a smart man like Mr. Slimane would want to distance himself from what he did at Saint Laurent and bring something new to the table. Why would he want 2 brand
You are right, this is Season 1 and who knows in a year or two this aesthetic might mature and evolve into something new and interesting.
If we were to dissect this I'll present two case-studies: Karl Lagerfeld and Phoebe Philo. Two extremely well known designers whose influence on fashion is equal to or even greater than that or Hedi Slimane.
Karl Lagerfeld:
If you take a look at collections done by Karl at Chloe, Fendi, and Chanel I think we can al agree that they look absolutely different from each other. There are elements that may be similar but on the whole they looked different. Now keep in mind that before Karl went to Fendi, Fendi had no RTW vision, he created the Fendi "look" from scratch. Now granted Chanel had a defined look but even he has moved it to a new place. He adapted himself to the brands he was designing for, still very Karl but very respectful of the house.
Phoebe Philo:
If you take a look at collections done by her at Chloe and Céline they look quite different. Again there may be similar elements, there was that easy, louche look to both, but there was such a difference Chloe felt a bit more girly whilst Céline was all woman. She grew up, and evolved yet maintained her identity.
Phoebe established a look for the house: Cool sportswear for WOMEN that had a French twist. (and in my opinion Michael Kors started that identity, it may not have been as cool as Philo but he put Céline on the map, he left the brand, he wasn't let go, the people at LVMH were quite happy with him. He probably could've stayed longer. But because it's Kors and not some "cool" designer very few people will admit it, but I digress). And there was definitley a way for Hedi to blend his downtown, rock, club kid scene with that cool french sportswear for women look that was going on at Céline. If Olivier Theyskens could clean up his grunge leanings and produce absolute beauty at Rochas and then Nina Ricci. if Martin Margiela could curb some of his dissecting and repurposing of clothing and produce the simple but look closer and see that there's more and absolutely luxurious at Hermes. Then a seasoned designer like Hedi should be able to evolve. But Hedi just seems to want to stay on the same gear.
And I really believe that he deserves more criticism for his casting. It is apprehensible and tone deaf. There was a Showstudio panel on this collection and they mentioned it at the end, and one of the panelists said "but that's who he's inspired by" and I thought that doesn't matter. The world has grown, more people have access to fashion and it's become so global. How dare he in a cast of 95 models only use 7 models of colour? That's a person who doesn't live in the real world.
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All I can say is that I’m clutching my Luggage bag tightly with gratitude, and treasuring whatever other Philo pieces I have after seeing that travesty of a show...
I’ve never liked Hedi’s work, and this has pretty much cemented it for me.
I’ve never liked Hedi’s work, and this has pretty much cemented it for me.
Thank you for clarifying. I see your point. As a follower of his, I believe that he restrained himself for this collection to build a basic foundation of classic suits, trenches, jackets, etc., and that he may branch out into less expected directions in the future. I don’t know that he will veer into classic Celine sportswear categories, but I believe he will experiment more.
As for the casting, he has been very skinny since he was young, and that’s a big part of his identity. He talked about it in the interview he gave to Yahoo in 2015. It’s defiant and self-affirming for him to emphasize that silhouette rather than to cover it up with baggy clothes to appear more masculine. It’s about being true to himself and not conforming to what society says is the “right” way for him to look. The skinny silhouette is what speaks to him the most, and that’s reflected in the casting.
I don’t know to what extent young girls and boys are looking at this collection and comparing themselves but I agree that it’s irresponsible. Clearly he is not thinking about issues of diversity in terms of weight or race, which I agree is unfortunate. I think he is very concerned about not compromising his vision and so he doesn’t listen to critics. He is doing whatever he wants and this probably isn’t even on his radar.