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Corsetry is a Versace signature, and for fall 2022 Donatella made it central to the collection. Now, muse Hailey Bieber has become one of the first to road-test Donatella’s new-season corsetry, fresh from the catwalk. The model and mogul orchestrated an Instagram photoshoot wearing look 12 from the collection: a satin corset mini dress with intricate boning skimming the chest, torso and side seams, embellished with bejeweled Medusa motifs on the straps. Michelle Elie can’t take her Comme des Garçons collection on airplanes. No, the fervent collector of the Japanese brand has to personally drive her beloved goods across country borders whenever she heads to Paris.
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She [the dress] sat in the front of my car because she doesn’t fit in anything,” says the Cologne-based CDG-fanatic, referencing a voluminous dress from the fall 2015 collection that she wore to meet the designer Rei Kawakubo. The street style icon is attentive to her clothes in the same way a mother tenderly cares after her newborn. Elie always refers to her fantastical pieces “she” and “her”, gives them an “atelier where the girls live” in a special room at the top of her home, and rests them ever-so-gently on tissue paper-wrapped hangers.And how could Elie not be so loving to these creations? She has been collecting Comme des Garçons since 1992 and estimates that she has over 70 pieces so far. “Don’t tell my insurance,” she jokes. While giving Vogue a tour of her collection, Elie takes out a white jacket from the “Unfinished” spring 1992 collection. It’s one of her most sentimental pieces; the one that started it all. “I had no money when I bought it. I had done a campaign modeling and the first thing I thought I’d do was invest in a piece. After this, the dice were falling!
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Honestly it was a dream. And that’s very, very rare, because usually there’s always somebody that disagrees or is disappointed. You know, I’m not a professional photographer whatsoever. But I am giving whoever looks at these pictures a small moment for you to see how I see my world. I was kind of nervous. So it is very intimate and I was kind of nervous. But that is gone.There’s one that I personally love, I took it in Dubai and it’s the one with my foot. That one I love, but yeah, every single one. There’s one with a little bird that is about to take my fry. There’s one of my dog Skip. The pictures I love the most are the ones that throw me back to the moment when I took them.
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That was my mission since the first time I picked up a camera: to hold onto memories of my travels. Me, it’s a bit of a corny answer. It’s not necessarily an image that is my favorite because of the visual aspect of it. But there’s one of an open suitcase with a note from Theo to Vivienne, and this one just reminds me of how this all started. Life kind of gives you those nice presents and encounters. I’m very excited for them to see it because it’s so far away from how they take pictures. I’m curious to hear from all of my close people how they react to the pictures. Because as Christopher said, I am a very private person.
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It’s kind of hard to talk about what emotion it releases in somebody else, so I’m actually curious to hear, Christopher. I often joke, we have almost a 20 year age gap, but sometimes I feel very young when I’m with her and I think she’s much older. She has a way of looking at things that is the reality of a very professional person. When she started showing me the photos she’d taken at Chanel, I was surprised about what she saw. I was surprised by the seriousness of her photos. I know where some of those images in the magazine were taken and it’s interesting to think that a million things that may be more eye-catching to a fashion person were happening around her and she focused on something that was very emotional and graphic. Even if she only takes one frame, there’s something that is very constructed in the images that she ends up seeing. We shared the images with the Chanel team. We did the project independently of them, but because of the relationship she has with the house, we wanted to make sure they were aware of the project. They probably thought that they would have more of an Instagram kind of quality, more of a voyeuristic view of the process. I think they really appreciated that they were photographs, not snapshots.
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Even though she talks about the point and shoot, they really have to me an artistic kind of quality. They are really beautiful images. Whenever Vivienne came back to New York and had a film developed, she would send me her favorites. I would tell her I’m keeping out of those 50 you sent me 30, and we did that over a course of ready-to-wear, metiers d’art, ready-to-wear, and couture. We knew that it was going to be 80 pages, once we arrived there I went to Berlin with all the photos printed out and worked on an edit on the wall. And when we agreed on 90 photos, that’s when I involved Ezra and Lana. My first internship was with Ezra when I was in high school. And then my first job, and we retained a kind of professional relationship for all those years. I wasn’t in a million years dreaming that he would work on that project. But somehow when I mentioned the magazine, he jumped and said I really want to do this with you. Both Vivienne and I love his work so we knew that once we agreed on those 90 photos, trusted him to kind of decide what was going to be the final ones. Then we had a little back and forth to fine tune everything, to make sure that a few of the images that were important to Vivienne were present in the magazine and once all the three of us were on the same line that’s what kind of defined the final selection.
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