Resurrection Summons Fashion Gods With New Retail Store

Photography: Alexander Thompson

In 1996, Mark Haddawy and Katy Rodriguez founded Resurrection, a retail archive that would become one the world’s premiere international venues for collectible and historic clothing. With locations in both Los Angeles and New York, Resurrection has attracted high fashion icons including Prince, Catherine Denueve, Lou Lou De la Falaise, Azzedine Alaia, Iman, John Galliano and Chloe Sevigny—not to mention Kate Moss, who Rodriguez cites as their longest running, most loyal client.

“Kate Moss came into the store on our first day 20 years ago,” she said. “She will always hold a special place in our hearts and history.  She embodies our generation’s curious take of high and low fashion and everything in between.”

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Alexander McQueen Dogtooth Cocoon Coat (2009), Alexander McQueen Sarabande Lace Gown (2007), Alexander McQueen Runway Gown (2008)

With a new location on Great Jones, Resurrection opens its doors to celebrate a brand new, custom retail gallery and archive. In addition to their vast inventory of vintage pieces from fashion gods like Christian Lacroix, Gaultier and Moschino, Haddawy and Rodriguez are celebrating three specific archive collections in their new space.

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It begins with a selection of rare 20th century, out-of-print books showcased on custom Brian Thoreen brass shelves, moves on to Bulgari Jewelry (including the company’s famous Tubas watches) and finishes with a pupil dilating curation of Alexander McQueen pieces.

“It’s really special,” Rodriguez said. “The collection spans McQueen’s career from our perspective. We love the early pieces as much as the very famous later collections. He was such a unique force.  It’s been an important reminder of what great is.”

Later this month, Resurrection will showcase a rare collection of Maison Martin Margiela and in September, will debut a Helmut Lang show—stay tuned.


Resurrection, 45 Great Jones Street, is open Monday – Saturday from 11 AM – 7 PM.

Lacroix Shows Second Men’s Collection With New Head Designer

Esteemed French couturier Christian Lacroix has experienced a rocky few years with his house in shambles. The designer, who invited la robe pouf and baroque-level decadence on his magical designs, shuttered his label by filing for bankruptcy in 2009. While his enterprise was never truly profitable, Lacroix was backed by Bernard Arnault’s LVMH empire from the late ’80s until 2005, when it was sold to Falic (a duty-free company). The ultra-luxury label still suffered however; The New York Times reported that in 2008 the company bled $14 million in its prêt-à-porter division alone. The recession took its toll on the maison for the last time, when the Lacroix self-funded his final haute couture show on July 8, 2009.

Ever the fighter, Lacroix and his team have slowly made efforts to revive his dynasty. He inked a sunglasses deal in late 2010, as well as a few other lifestyle products. He began a design collaboration with growing Spanish brand Desigual this past year. Now Lacroix has officially re-entered the fashion week schedule, this time with a men’s line helmed by Sacha Walckhoff, a 20-year veteran of the famed house. With a début collection named "The Garçons Migrateurs," the key theme was transitional movement and adventure. This involved a definite British sensibility in plaid prints and aviator motifs, with even the Marseille sailor boy popping up, too. There were references to the eagle mixed with a man in voyage — suggesting travel without an intended destination. Color ran the full color gamut.

Many elements of Lacroix remain, such as the silhouette and his signature sparkle, which appeared on an awesome sweatshirt covered in brooch and button appliqué of random religious symbols, including one that featured the gleaming face of Princess Diana. It is evident that the new design team has made efforts to make this men’s wear collection edgier and a bit more appeasing to younger customers. The show took place in a hipper spot; gone was uptown Jardin des Tuileries — now models graced a catwalk in the Latin Quarter at the bohemian Galerie des Beaux-Arts on Quai Malaquai.

After the show, Walchkoff commented that the collection was "fun and references [the] past [that] is what drives the ‘Lacroix boys’ this winter." We’ll have to wait and see how the receptions when the threads hit fine boutique next fall.

(Photo by Trevor Mansfield)

Christian Lacroix Designs French Train Uniforms

Jaunted has sneak peaks of Christian LaCroix’s newly designed custom uniforms for French rail system employees. The get-ups are all jaunty purple and gray, match the train’s decor and come complete with a sort of newsboy-beret. As Jaunted points out, this is part of a trend, with Delta/Northwest commissioning Richard Tyler for new uniforms, United commissioning Cynthia Rowley and The Hotel on Rivington staff rocking Ted Baker suits. I’m not complaining. Any way that a bland uniform can get a little jazzy upgrade is all right with me. The new Lacroix uniforms are coming down the pike in the next few months, set to dress some 20,000 French rail employees.

The uniform pieces include “blouses, skirts and jackets for women, and pants, jackets and striped shirts for men.” Fancy. Designing duds for travel industry staff is a fabulous idea, and I’m hoping it will become standard practice. Are you listening Virgin America? Alitalia? Japan Airlines? I’m thinking you better get on the phone with Proenza Schouler, Moschino, Rei Kawakubo respectively or else you’re going to be left in the dust!

Paris Couture Shows: Christian Lacroix

It hasn’t been a good year for Christian Lacroix, arguably the reigning king of couture. Bankruptcy blues have forced the great needle-and-thread artist to reconsider the iconic brand’s poor financial standing, sending production on a (we hope) temporary hiatus. Nonetheless, his 2010 couture show went on unhindered, albeit amongst a drizzle of tears from spectators lamenting the potential demise of one of the greats.

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Lacroix himself said he expects nothing but greatness to ultimately result from his current woes, citing the time as the beginning of something, rather than the end. It also obviously pays to have friends in high places, as shoes were donated, hair and makeup worked for free, and Lacroix’s esteemed embroiderer lent services free of charge. Only the models who participated in the funeral march walked the show were paid.

The collection itself was, as one would expect from Christian Lacroix, stunning. As funereal as it was, the 24-look lineup presented the same Parisian flair that kept Lacroix at the helm of couture for all those years. Lacy veils decked black hats; most of the pieces adhered to a dark palette, the only departures from black being the occasional purple, navy, or gold. But nothing screamed and wailed their usual Lacroix showgirl cheer. The finale look, a bridal parade float of a dress dripping with jewels, flowers, beads, and religious iconography, was perhaps a sign of the divine intervention that is to save the brand.

Major props go to Mr. Lacroix for going out with a bang — his 13th-our dedication not something that will go unnoticed. Verdict: Despite the somber undertones that shaped this important collection, it was a relief to see a true master sticking to his art, making the end more beautiful than bitter.

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Two High-Fashion Brands Bite the Dust

imageTwo esteemed names within the fashion industry have taken quite a hit this week. News broke Wednesday that the Parisian haute couture house of Christian Lacroix is filing for bankruptcy. In a piece cheekily titled, “How Clothes Brought Down Lacroix,” the Independent sums up the situation: “the creative flamboyance of the man who invented ‘le pouf’ is once again being thwarted by the constraints of commercial viability.” In other words, though critically revered for years, Christian Lacroix is an immensely skilled designer who epitomizes an exuberance that hasn’t translated well into sales (Lacroix, who “posted €10m (£8.7m) losses last year, has never once turned a profit,” adds the Independent). So, while the recession by no means is responsible for squeezing the last bits of life out of Lacroix, the economic downturn definitely hasn’t helped an the already floundering house.

In other news of fashion labels soon to be left for dead, Veronique Branqhuino announced yesterday that she will soon be shuttering the doors of her brand, James NV. The Belgian designer has been on the scene for just shy of a dozen years, and she’s garnered a strong reputation within the industry. Sadly, this is a case of recession-induced defeat: “James NV blamed a sharp drop in orders for its fall/winter 2009/2010 collections, and a plethora of canceled orders and nonpayments for the past spring/summer season,” says Women’s Wear Daily. As for Branqhuino, she’ll take on the role of “new artistic director of the 180-year-old Belgian leather goods brand Delvaux and continue as a professor at the University of Applied Arts in Vienna.”

Industry Insiders: Erin Fetherston, Dreamy Designer

Ever since bidding bon voyage to the Parsons School of Design in Paris, Fetherston has been making a splash among the New York fashion set. Her Autumn/Winter ’09 show took place at the Fashion Week tents on February 15 and wowed spectators with super-feminine mini frocks, amazing gravity-defying teacup skirts, two-toned tights, lace gloves, flowing dress layers, rhinestone bows and accents, floral capes, and glittery mouse masks. The new collection is every girly girl’s über fantasy.

What was your inspiration for Autumn/Winter ’09? I wanted to do something that felt very polished for the season, and I wanted to have more structure. With the economic climate and what’s going on in the world, it felt right to do a collection that really fit together. It’s more respectful and buttoned up. I looked at different things for inspiration, in particular, I looked at large images from Ballet Rouge. I’m very involved with images of the ballet and dancers.One of the other things that I really was in love with in the inspiration stage is an old black-and-white German film by a filmmaker called [Ernst] Lubitsch, named The Doll. The story is that there is this man who needs to get married in order to inherit his family fortune. He doesn’t want to get married, so the toymaker in town tells him, “I’m going to make you a life-sized doll, and you can make it your wife.” But really the toymaker makes up his daughter as the doll. So, she marries him and plays a doll playing a girl. I’ve always thought about living dolls in working on my collection.

Who is the Erin Fetherston girl? The Erin girl is really her own person, and she’s got her own style. What she wears is a reflection of her personality, her interests, her taste. She has a sense of originality. My clothes are definitely fun and playful, and the girls who gravitate to that, want those clothes, because the clothes help them tap into ideas of themselves.

Which celebrity are you dying to dress? Drew Barrymore. I feel like her whole personality is really right on with my collection. She is a free-spirited girl, and I like that she’s always smiling and always happy. There is a poppy and upbeat point of view in my collection, and I really respond to someone who is on the red carpet smiling and laughing instead of always giving that catty stare-down. I also like that Drew is really animated and adorable. So I would love to dress her. I think she would look great in my clothes.

Who are inspirational figures in your life? I take inspiration from people who are close to me. There are a handful of girls who are meaningful to me in that way. It’s always good to have real people in mind when you’re designing clothes. One example is my good friend Sophie Flicker. I really think she’s a brilliant muse, in a way. She has so much charm and vibrancy from what she’s wearing to what she’s doing to how she’s living. I love Christian Lacroix. I think he’s amazing. I think in terms of career, obviously, what Marc Jacobs has accomplished — in a relatively short period of time — is really phenomenal.

Your Target collection was a huge hit. What was different about designing for that project? I love that collection, and I loved working on it. I really just wanted it to be me, and it wasn’t very hard to be me and make it democratic. I wanted it to remain a quality fashion product. I didn’t want it to be too watered down, because then I feel like, well then, what’s the point? I think it’s exciting to offer a quality product at that price point as well. I tried to focus on signature elements for my collection in general to work those into the clothes. If you look at the Target collection, it is still going to be relevant to the feeling of my collection then, now and moving forward. I just wanted it to all be very signature.

What are some of your favorite places in New York? I really like Broadway East, Cookshop, Balthazar, Pastis, Rose Bar. I like the Greenwich Grill — they have a great sushi bar downstairs. I like the East Village as a neighborhood. There are great vintage shops there. I also like Bouley Market. I do like Giorgione.

What are some positive trends you’ve seen in the fashion industry? The level of consciousness of being green is being championed by the fashion industry. I think that’s incredibly positive.

How did you come to collaborate with Ellen von Unwerth? I met Ellen in Paris during the five years that I lived there. I met her at a party, and we kept bumping into each other socially around Paris. We just naturally became friends. Very shortly after we met, we decided to do this short film together called “Wendybird.” Doing that partnership together was a bonding experience, and I would say that project really brought us together. She has become a very strong person in my life, a really good friend, and she’s a big influence.

What do you miss most about Paris? Everything. In terms of lifestyle, we have really good friends there, and I miss them. I miss taking your dog for walk and having your dog come in with you for lunch. It’s so quiet there. Everything in Paris has a sense of design. From the food to the pastries you eat, design is very integrated into everything. Obviously, I am a design-oriented person, so that makes me feel good. Even frozen vegetables are packaged in a really chic way.

Where are your favorite places in Paris? My favorite restaurant is in the 1st arrondissement, very close to rue de Rivoli. It’s called Toraya. I wish there was a Toraya in New York. I smuggle their green tea back through customs whenever we visit. It’s really quiet and charming. Anahi is great, it’s an Argentinean restaurant. Le Martel is a French brasserie we love. It’s really like a hole in the wall, because it’s in a very random neighborhood. There is this amazing taxidermy place called Deyrolle. All of the museums are so amazing in Paris. I love the Musée des Arts Décoratifs — they have the best bookstore there.

Finally, what are some things on your radar right now? I like the film that came out a few years ago called, The Squid and the Whale. I’m also really excited that MTV is re-launching House of Style.

Lacroix Homeward Bound, Curates Arles Exhibit

Legendary fashion designer Christian Lacroix is giving back to his hometown this summer. Lacroix will be this year’s guest curator for the 39th edition of “Rencontres de Photographie d’Arles,” a summer photography exhibit that runs from July 8 through until September 14 in Arles, France. While Lacroix hasn’t returned to his hometown in nearly nine years, in an interview with Le Journal des Arts, he said, “Arles is a city you do things for notwithstanding, and one I keep coming back to.”

The show will host Lacroix’s rediscovered private photography collection and those of other Arles studio photographers. The show centers on Arles: the city and its history, the culture of Provence, bullfighting, the area’s industrial heritage and the “Trente Glorieuses”—France’s 30-year postwar boom—as seen from Arles. This, however, is not Lacroix’s first time as guest curator. The designer has most recently contributed to “Histoires de Mode” at the Musée des Arts Décoratifs earlier this year as well as the new exhibition at the Musée Réattu on view now through October.