CÉLINE Shop Interior Design and Ambience FAN CLUB

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STYLE.COM
JANUARY 10, 2010 NEW YORK
By Nicole Phelps

FALL 2010

Phoebe Philo has thrilled editors and retailers alike with the way she's suddenly re-energized minimalism for a new generation at Celine. Her latest effort, with its strong focus on outerwear, intense colors, and newly playful spirit, will keep the accolades coming.

More so than the razor-focused Spring show, pre-fall is a collection of iconic wardrobe pieces. There's the bonded cognac leather poncho worn over a navy and red marinière tunic and cigarette-skinny stonewashed jeans; there's Philo's must-have high-waist flaring canvas trousers; and, of course, there's her de rigueur all-in-one, this season color-blocked in white and black for evening. Surprises came in the form of a not-so-basic cashmere sweater (intarsia'd on the front was a car, complete with "Celine" plates) and the shoes (bright primary-color suede numbers with natural leather wedge heels).

A red cable-knit sweater and slim pants in the same vibrant hue would ensure that the woman who wears them stands out in a crowd, to say the least. Such is Philo's persuasive power, it's a good bet we'll see someone do it.

 

[SANDER]

STYLE.COM
JUNE 13, 2010 NEW YORK
By Nicole Phelps

SPRING 2011

The first thing you noticed at Celine's showroom presentation today: the wall of accessories. In addition to reorienting fashion in a more minimal direction with her ready-to-wear, Phoebe Philo ushered in a new era of small, understated bags when she launched her boxy, shoulder-strap Classic bag last year. For Resort, she's added a new, larger Classic bag to the lineup, as well as fluorescents and exotic skins. The designer's approach, whether to It bags or to clothes, is evolutionary. Just because the rest of the world has latched onto her vision and even tried to give it a handy label—"utility chic"—doesn't mean she's ready to hare off in a new direction. On the evidence of this showing, she remains committed to building an iconic wardrobe, and there's little doubt that in the short time she's been at the French luxury goods house, she's designed some iconic pieces.

 

[SANDER]

STYLE.COM
SEPTEMBER 30, 2012 PARIS
By Jo-Ann Furniss

SUMMER 2013

Once, you worried for the Céline woman. She would stand there perfectly put-together—you imagined she never sat, that would be too undisciplined and unruly, and it would ruin the line of her clothes. She was anxious for the world to see how brilliant she was; yes, she knew about Bauhaus, both the movement and the band, in depth—had you not seen the color-blocking on her coat or her perfectly manicured iPod? It seemed she existed in a white box, not in the more rococo confines of Avenue Foch. Unlike Fragonard's lady in The Swing, she would not be showing her knickers anytime soon.

Really, there was nothing to worry about. The Céline woman who emerged at that Avenue Foch venue today was somewhat different: stylish, yet slovenly even, elegant in a dishabille way. Yes, you could imagine her sitting down; in fact, you could imagine her sprawled out on a couch. And the Céline woman was all the better for it.

A mood of looseness (in both senses of the term) and ease has been permeating many of the shows this season. And yet how the designer Phoebe Philo handled it was distinctly her own. As much was apparent as the first silhouette emerged, black, slightly oversize, trousers slightly half mast, not too perfect. And then there were the shoes: black fur-lined sandals in a Birkenstock vein, and that fur looked like mink with the models' glossy red toenails nestled in it. Perverse, like Méret Oppenheim's furry teacup. The track to accompany all of this? Depeche Mode's "Useless."

The shoes were key to this collection: furry, witty, unhinged. In a mostly black and white offering, they disrupted any notion of sobriety. Predominantly flat—yet with some also rather remarkable fur-covered stilettos—they were fuzzy flashes of color, fun, and oddness.

As for the clothes, there was something unfinished in those raw edges, or the backs of tops with excess material, or the unfinished seams; there was also a nod to Belgian deconstruction of the nineties. The slouchy, flat-front trousers with their crotches carelessly low, the trenchcoats slung over short dresses with full furry slippers—there was something of the walk of shame about the lot, as well as the nineties up-all-night attitude, when Helmut Lang clothes would be flashed and trashed in clubs. And yet it all really felt like Céline and Phoebe Philo.

Unlike most, this reviewer never imagined Philo as the Céline woman—well, who really could be? She was just so perfect, and not all authors of novels are their characters in any case. The designer had concocted an extreme and immaculate character for her collections, somebody to aspire to for her audience. Yet today she added a new chapter to her story, and it was one you couldn't help but think had sprung from real life. Philo defined her collection as being about "togetherness, beauty, friendship, and a journey." In this journey the Céline woman was humanized. For this viewer, it was the most compelling Céline collection yet.
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STYLE.COM
MARCH 03, 2013 PARIS
By Jo-Ann Furniss

WINTER 2013

A runway made of chipboard. Fuzzy plinths to sit on. The same texture on the invitation. A trend book awaiting each guest with images of clouds, yarn, and fluff, Flemish painting from the fifteenth century, portraits of women and men, the buttocks of statues, mostly female. These were the clues for Phoebe Philo's latest show. What on Earth has the Céline woman, the character Philo has created for her collections, been up to since last we left her?

You can't resist imagining the life of the Céline woman; it is quite an extraordinary one. She has some wardrobe for a start—one so precise she wouldn't sit down in it until last season. Of course, she has issues—who among us doesn't?—and she seemed to be working through many of them for Spring. In so doing she became a far more human creation. Now, having gone through her somewhat louche period, it appears as if the Céline woman may be settling down.

For one, she isn't wearing furry slippers anymore. Yet she hasn't entirely abandoned the idea of domesticity and warmth. If anything, Philo has increased the quotient this season in her collection. Yet the designer has also melded a mood of stripped-down, put-together elegance, something of the old Céline woman combined with the new.

This was primarily demonstrated in the terrific fabric choices. Tactile, tasteful, and—dare it be said—cozy, they tethered the entire offering. This touchable aspect, the very desirability of wearing and living in such materials, is unsurpassed in Philo's output for Céline. The show began with what looked like a form of bouncy cream bouclé; the designer used it for a skirt that gently flared just below the knee and a simple band of a top. Swaddling the model from torso to shoulders, it had a combination of constriction and comfort, a play of sensual and safe. The exact same look was echoed at the very end in navy blue. On both occasions, a simple bag was clutched. It was reminiscent of a hot water bottle in its cozy cover.

There was a notion of the mid-century modern made contemporary in this collection; the soft, rounded shapes, the color palette, the exaggerated silhouettes of the coats all played on this. Yet there was also plenty of room for perversity, as in the second-skin leather boots that seemed as if they might be thigh-skimming under those tunics, as well as the laundry-bag check made large on coats, wrap skirts, and funnel-neck tops. This is a motif from Helmut Lang, here applied to Philo's domestic theme, a nod and a wink to high fashion and the humdrum in one. As Juergen Teller, the photographer of the Céline campaigns, put it: "Really elegant but weird; almost nerdy but perverse." And he should know.

And as Phoebe Philo put it backstage after her show: "It was coming from a place of emotion and intimacy, something instinctive. There was softness and desire, to create something emotionally engaged." Over the years there has been much talk of Philo and her output as being "cool." What she has achieved over her last two seasons at Céline is something far more difficult than cool: That's warmth.

 

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[cotonblanc]

SANDER, thank you for compiling all these photos. The reviews lend a great backdrop to the visuals. I'm a big fan of you.

 

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Merci Thank you like wise you made me start here ....

Yes i thought i would make it more complete for future reference to reflect the time and the background of the store design vice versa.

CB did you not make this pic of this white Celine in store sofa this year or last year !? i had it some where in my archives but cant find it maybe you can post it here.

 

[SANDER]

www.telegraph.co.uk/luxury

Céline London flagship unveiled Céline is the latest luxury brand to open a flagship boutique on Mayfair's Mount Street

BY BETHAN RYDER MARCH 25, 2014 15:09

Mount Street's luxury credentials have been further boosted by the arrival of the French fashion brand Céline, which has opened a London flagship at number 103.

The store was designed by Phoebe Philo with the Céline team and has been designed to uphold the "respect for fine craftsmanship, rare raw materials, research and innovation the house is known for". Behind the dark Iroko wood framed façade is a single storey offering 3,300 sq ft of retail space that is divided by walls clad in chic clear grey marmorino plaster. These are constructed around a central oval via which three distinct areas for bags, shoes and ready-to-wear can be accessed.

By far the most distinctive feature of the new store is the striking marble floor which calls to mind Spanish designer Patricia Urquiola’s Earthquake collection for marble company Budri. Inspired by parquetry it’s a veritable patchwork of 12 different types and colourations of marble inlaid with semi-precious stones. There are 6,000 tiles in total with plenty of rich tones lending warmth and the overall effect is to inject a sense of both classicism and modernity to the space.

Danish artist FOS, aka Thomas Poulsen who is represented by Philo’s husband Max Wigram, has collaborated on the project, creating a series of unique, specially commissioned objects for the store including cast-iron door handles, a day bed, central table, lighting (in brass, the material du jour) and display vitrines. Poulsen, who describes himself as a "social artist", is known for creating a diverse range of works that include an ice-cream stand made from the detritus of an art fair and a floating public space featuring a bar."Collaborating with Céline marks a high point," he says. "Design has always been a part of my artistic frame, which by its nature is part of fashion’s.”

The Céline opening swiftly follows the launch of the Moynat store and later this year Christopher Kane and Roksanda Ilincic are slated to join Mount Street, making this street a serious luxury fashion destination that looks set to rival Bond Street.

CÉLINE
103 Mount Street
London
W1K 2AP
www.celine.com
Map

 

[SANDER]

New Stores: FOS x Celine in London this Autumn
August 5, 2013 |



French luxury house, Céline is commissioning a series of practical furniture pieces by Danish artist FOS for the brand’s new flagship store in London this September.

According to online sources, pieces from the collection will include earthenware tables and concrete and metal lamp stands, which will unite Céline designer, Phoebe Philo’s minimalist aesthetic with the Danish artist’s quirky and fantastical vision.

“Design has always been a part of my artistic frame, which by its nature is part of fashion’s,” explained FOS (Thomas Poulsen) to Style.com recently.

It’s not the first time we have seen a contemporary artist foray into the world of fashion retail. Pringle of Scotland collaborated with British artist Liam Gillick to design a capsule collection and pop-up shop during Art Basel Miami Beach in 2011. The collection, and interior space perfectly fused Gillick’s abstract, “color-blocked” aesthetic with Pringle’s heritage, argyle pattern. You can view images of the collaboration via our blogpost feature.







FOS is represented by Max Wigram Gallery in London. – Samantha Fox