(These may date to Tom Ford’s time at the company.) Uma Thurman is featured on a handful of 1980s Simplicity patterns, including two by Cathy Hardwick. Uma Thurman in Geoffrey Beene, British Vogue, December 1985. Born and raised in Massachusetts, Uma Thurman dropped out of her prep school there to pursue acting in New York City, where she worked as a fashion model before landing her breakout roles in Stephen Frears’ Dangerous Liaisons (1988) and Terry Gilliam’s The Adventures of Baron Munchausen (1988). 1970) is the daughter of Nena von Schlebrügge and her second husband, Robert Thurman. Detail of Vogue 1484 by Grès (1960) Image: Etsy. Von Schlebrügge can also be seen on Vogue 1484 by Madame Grès, a 3-piece ensemble that includes a voluminous coat with three-quarter sleeves, loose back panel, and elegant contrast lapels and lining: Vogue 1484 by Grès (1960) Image: Vintage Patterns Wiki. Here she models one of Vogue’s first Dior patterns by Yves Saint Laurent-Vogue 1472, a skirt suit and full coat with big, shaped collar: Vogue 1472 by Yves Saint Laurent for Christian Dior (1959). Nena von Schlebrügge appears on a number of Vogue Pattern Book covers and Vogue patterns from the late 1950s and early 1960s. Nena von Schlebrügge, first test shots, Stockholm, 1955. In 1957, two years after she was discovered by Norman Parkinson, she moved from her native Stockholm to London to pursue modelling, later moving to New York to sign with Eileen Ford. 1941) was born in Mexico City to German-Swedish parents who had fled Nazi Germany. In honour of Mother’s Day, this models post is devoted to a mother and daughter who both modelled for designer sewing patterns: Nena von Schlebrügge and Uma Thurman. (A late Mother’s Day post since I was under the weather yesterday.) They’re like pop stars ready to rock the night, to celebrate and party.” As much as he seems to be enjoying the ride, you could tell that he cannot wait to get back to the clubs.Nena von Schlebrügge on the cover of Vogue Pattern Book, Autumn 1960. There are lots of eclectic, fun moments in the look book, as I really wanted the models to look like CD covers from the 2000s, so we shot the images with a ring light that isn’t fashionable anymore. Camouflage was given a sexy turn in tiny, tight-fitting, asymmetrical dresses in stretchy chiffon, and branding was explored extensively, attacked (his word) with a raw attitude and experimental finesse.īreaking his reluctance to dig deeper into the collection’s rationale, he said that every garment holds a contrasting dynamic: “One orientation is very military and distressed, the other is very pop and futuristic. Probably at other companies it would have taken eons to do.”Īs complex and challenging as building the Diesel Library was, Martens’s definition of pre-fall was, as he put it, “straightforward.” While keeping the offering real and appealing to the Diesel following, he worked his intriguing magic on that straightforwardness, twisting puffers into enormous specimens printed with hallucinogenic kaleidoscope twirls and coating dusters and side-zipper denim pants with a scratched patina of destroyed metallic shine. “We achieved amazing results in such a short time, but Renzo isn’t afraid of anything he just did it. “We basically revisited the production chain,” explained Martens. The one he seems most proud of is the Diesel Library, a repertoire of denim essentials redesigned with a progressive genderless approach and provided with a sustainable pedigree. In his brief tenure at Diesel, Martens has already made his mark, spearheading a couple substantial projects that reveal his affinity for OTB’s move-fast ethos. A haute collaboration with Jean Paul Gaultier Couture, due out in January, is the cherry on the fashion cake it will seal his status as a sought-after star in the industry’s revolving door of creative directors. He seems rather busy juggling collections and multiple Diesel projects cooked up by Rosso and his kinetic team. During a showroom appointment at the label’s sprawling HQ, he talked turnovers, sales, and revenues with a touch of irony, as if he himself didn’t quite believe he was so proficient at discussing figures.Ĭatapulted in a sort of culture warp from the Paris studio where he creates the hyper-influential label Y/Project to the provincial shores of Breganze, Italy, the realm of Renzo Rosso’s Only the Brave, Martens is in the eye of a creative tornado. Despite his Belgian-bred credentials of radical cool and experimental prowess, Diesel’s Glenn Martens seems to find the business side of fashion just as compelling.
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