#Lucien Pagès

[cleverhottubmiracle]

PARIS — Jean Paul Gaultier has tapped Duran Lantink to be its creative director, the Puig-owned brand confirmed Tuesday.The move makes the Dutch designer — whose puffy, body-reshaping silhouettes and distorted prints have made him a breakout fashion star — the first-ever successor to the label’s namesake founder, who became famous in the 1980s for blending pop theatricality and gender-fluid, inclusive storytelling with rigorous couture technique.Lantink will debut his vision for Jean Paul Gaultier during September’s Paris Fashion Week, staging the brand’s first ready-to-wear show in over a decade. His haute couture debut is slated for January 2026.“I see in him the energy, audacity and playful spirit through fashion that I had at the beginning of my own journey: the new enfant terrible of fashion,” said Mr Gaultier, who gave his blessing to the appointment.“Duran isn’t referencing Gaultier exactly, but you can find his values there in the way he is rethinking volumes, rethinking the body,” said managing director Antoine Gagey.The brand shuttered its ready-to-wear line in 2014, as top-end heritage brands and cut-rate fast-fashion groups alike pinched designer labels that had once been aspirational staples on the floors of department stores and multi-brand boutiques. For the last decade, Gaultier has shown only haute couture, which remained a laboratory for its founder’s campy, deftly constructed designs, while casting a halo over its significant fragrance business.Since 2020, when Mr Gaultier stepped down, the brand has used couture as a platform for rotating collaborations, giving designers including Glenn Martens, Haider Ackermann, Nicolas di Felice and Simone Rocha an unprecedented opportunity to try their hand at the artisanal form.The brand also revived its ready-to-wear offering with a series of capsule collections: collaborations with the likes of Lotta Volkova and Shayne Oliver as well as studio-designed drops informed by the brand’s archive. And despite the somewhat scattershot strategy, the business has steadily rebuilt a roster of around 100 stockists in addition to selling its collections directly online.“There’s a real demand for Jean Paul Gaultier, young people in particular are in step with its values,” Gagey said. But taking its fashion business to the next level will require a more stable approach. “We’re at a stage where we need more consistency across categories and seasons,” he added.Since reengaging with Gaultier, stockists have gravitated towards its entry-level luxuries like T-shirts and jersey dresses. Working with a single creative director will allow the brand to expand its credibility to new categories and stretch its propositions upmarket.“This brand is more elevated than people remember, with a heritage that is really rigorous and precise. We have a certain legitimacy in design, in luxury to reassert — not to mention the cultural credibility that was always a part of the brand’s story,” Gagey said.Lantink, aged 38, studied at the Gerritt Gerrit Rietveld Academie and Sandberg Instituut in Amsterdam before building his profile in the industry through celebrity projects like designing a pair of viral “vagina” trousers for Janelle Monae in 2018. His 2021 debut runway show, which was staged for an audience of buzzing drones during coronavirus lockdowns, garnered critical praise for its innovative use of upcycled materials and transformation of archival garments and prints.Duran Lantink Autumn/Winter 2025 (BERTRAND GUAY) By the time he joined the Paris ready-to-wear calendar in October 2023, he had already attracted a robust circle of support. Boosters included stylist Jodie Barnes, “Fantastic Man” editors Jop van Bennekom and Gert Jonkers and publicist Lucien Pagès, who cajoled editors to his outing on the ninth day of Paris shows.What they saw was compelling. Sportswear classics were reinterpreted in improbable, inflated proportions. There was humour (not just social-media-baiting gags), unconventional sex appeal and a sense of mystery.Lantink’s appointment at Gaultier follows big wins at the 2025 Woolmark Prize (announced in Milan earlier this month) and LVMH’s 2024 Karl Lagerfeld prize.“When I look at Monsieur Gaultier’s collections, it feels like he was always inspired by what was happening around him, culturally, socially and politically,” the designer said. “I feel a strong connection to that approach and spirit.But Lantink’s consecration as creative director of a major Paris house will come as bittersweet news to some, as the designer plans to suspend his namesake line to focus on his new opportunity.“Especially since I’m not only working on the ready-to-wear, but also the couture, it’s a big responsibility that I take very seriously. I have so much respect for Mr. Gaultier and his couture legacy, and I want to take the time to truly focus on the savoir-faire of the incredibly talented people in the atelier,” he explained.“Duran is something that won’t disappear,” he continued. “I’m still very eager to explore its possibilities — when the time feels right, and when I feel ready and confident that I can take on multiple things without compromising the quality.”Gaultier owner Puig — the Barcelona-based group known for its prowess selling fragrances — has steadily worked to rebalance its portfolio in recent years, shedding licenses in favour of investing in brands it owns outright like Jean Paul Gaultier, Paco Rabanne, Charlotte Tilbury and Nina Ricci. While the scale of its fashion businesses still pales in comparison to global scents like Rabanne’s “1 Million” or Gaultier’s “Le Male,” the company has sought to ramp up its footprint in apparel, notably by acquiring Dries Van Noten in 2018. After a long period of churning through designers, it has also built a more stable fashion platform at Rabanne, where Julien Dossena has been creative director since 2014.“Puig has a real strategy and ambition in fashion,” Gagey said.While luxury brands are currently facing headwinds worldwide, some labels that dramatically scaled back distribution in recent years are managing to bounce back with a new strategy. LVMH’s Pucci, for one, says it’s experiencing “strong growth” under designer Camille Miceli, who was brought in to relaunch the brand after it ditched many of its oversized boutiques in urban locations during the pandemic. L’Oréal’s Mugler, by contrast, parted ways with its designer of seven years Casey Cadwallader after sales and buzz tumbled from a post-pandemic peak.After onboarding Lantink, Gaultier’s immediate priority will be to grow sales through its current channels (the brand’s online flagship as well as leading stockists like Mytheresa, Saks and Nordstroms) as well as working more closely with influential stores like Dover Street Market (Gagey describes the Comme des Garçons-owned boutique as “re-positionnant.”)If all goes well, a return to retail could be in the cards in the medium term. “It’s time to dream bigger,” Gagey said. Source link

[norajworld]

PARIS — Jean Paul Gaultier has tapped Duran Lantink to be its creative director, the Puig-owned brand confirmed Tuesday.The move makes the Dutch designer — whose puffy, body-reshaping silhouettes and distorted prints have made him a breakout fashion star — the first-ever successor to the label’s namesake founder, who became famous in the 1980s for blending pop theatricality and gender-fluid, inclusive storytelling with rigorous couture technique.Lantink will debut his vision for Jean Paul Gaultier during September’s Paris Fashion Week, staging the brand’s first ready-to-wear show in over a decade. His haute couture debut is slated for January 2026.“I see in him the energy, audacity and playful spirit through fashion that I had at the beginning of my own journey: the new enfant terrible of fashion,” said Mr Gaultier, who gave his blessing to the appointment.“Duran isn’t referencing Gaultier exactly, but you can find his values there in the way he is rethinking volumes, rethinking the body,” said managing director Antoine Gagey.The brand shuttered its ready-to-wear line in 2014, as top-end heritage brands and cut-rate fast-fashion groups alike pinched designer labels that had once been aspirational staples on the floors of department stores and multi-brand boutiques. For the last decade, Gaultier has shown only haute couture, which remained a laboratory for its founder’s campy, deftly constructed designs, while casting a halo over its significant fragrance business.Since 2020, when Mr Gaultier stepped down, the brand has used couture as a platform for rotating collaborations, giving designers including Glenn Martens, Haider Ackermann, Nicolas di Felice and Simone Rocha an unprecedented opportunity to try their hand at the artisanal form.The brand also revived its ready-to-wear offering with a series of capsule collections: collaborations with the likes of Lotta Volkova and Shayne Oliver as well as studio-designed drops informed by the brand’s archive. And despite the somewhat scattershot strategy, the business has steadily rebuilt a roster of around 100 stockists in addition to selling its collections directly online.“There’s a real demand for Jean Paul Gaultier, young people in particular are in step with its values,” Gagey said. But taking its fashion business to the next level will require a more stable approach. “We’re at a stage where we need more consistency across categories and seasons,” he added.Since reengaging with Gaultier, stockists have gravitated towards its entry-level luxuries like T-shirts and jersey dresses. Working with a single creative director will allow the brand to expand its credibility to new categories and stretch its propositions upmarket.“This brand is more elevated than people remember, with a heritage that is really rigorous and precise. We have a certain legitimacy in design, in luxury to reassert — not to mention the cultural credibility that was always a part of the brand’s story,” Gagey said.Lantink, aged 38, studied at the Gerritt Gerrit Rietveld Academie and Sandberg Instituut in Amsterdam before building his profile in the industry through celebrity projects like designing a pair of viral “vagina” trousers for Janelle Monae in 2018. His 2021 debut runway show, which was staged for an audience of buzzing drones during coronavirus lockdowns, garnered critical praise for its innovative use of upcycled materials and transformation of archival garments and prints.Duran Lantink Autumn/Winter 2025 (BERTRAND GUAY) By the time he joined the Paris ready-to-wear calendar in October 2023, he had already attracted a robust circle of support. Boosters included stylist Jodie Barnes, “Fantastic Man” editors Jop van Bennekom and Gert Jonkers and publicist Lucien Pagès, who cajoled editors to his outing on the ninth day of Paris shows.What they saw was compelling. Sportswear classics were reinterpreted in improbable, inflated proportions. There was humour (not just social-media-baiting gags), unconventional sex appeal and a sense of mystery.Lantink’s appointment at Gaultier follows big wins at the 2025 Woolmark Prize (announced in Milan earlier this month) and LVMH’s 2024 Karl Lagerfeld prize.“When I look at Monsieur Gaultier’s collections, it feels like he was always inspired by what was happening around him, culturally, socially and politically,” the designer said. “I feel a strong connection to that approach and spirit.But Lantink’s consecration as creative director of a major Paris house will come as bittersweet news to some, as the designer plans to suspend his namesake line to focus on his new opportunity.“Especially since I’m not only working on the ready-to-wear, but also the couture, it’s a big responsibility that I take very seriously. I have so much respect for Mr. Gaultier and his couture legacy, and I want to take the time to truly focus on the savoir-faire of the incredibly talented people in the atelier,” he explained.“Duran is something that won’t disappear,” he continued. “I’m still very eager to explore its possibilities — when the time feels right, and when I feel ready and confident that I can take on multiple things without compromising the quality.”Gaultier owner Puig — the Barcelona-based group known for its prowess selling fragrances — has steadily worked to rebalance its portfolio in recent years, shedding licenses in favour of investing in brands it owns outright like Jean Paul Gaultier, Paco Rabanne, Charlotte Tilbury and Nina Ricci. While the scale of its fashion businesses still pales in comparison to global scents like Rabanne’s “1 Million” or Gaultier’s “Le Male,” the company has sought to ramp up its footprint in apparel, notably by acquiring Dries Van Noten in 2018. After a long period of churning through designers, it has also built a more stable fashion platform at Rabanne, where Julien Dossena has been creative director since 2014.“Puig has a real strategy and ambition in fashion,” Gagey said.While luxury brands are currently facing headwinds worldwide, some labels that dramatically scaled back distribution in recent years are managing to bounce back with a new strategy. LVMH’s Pucci, for one, says it’s experiencing “strong growth” under designer Camille Miceli, who was brought in to relaunch the brand after it ditched many of its oversized boutiques in urban locations during the pandemic. L’Oréal’s Mugler, by contrast, parted ways with its designer of seven years Casey Cadwallader after sales and buzz tumbled from a post-pandemic peak.After onboarding Lantink, Gaultier’s immediate priority will be to grow sales through its current channels (the brand’s online flagship as well as leading stockists like Mytheresa, Saks and Nordstroms) as well as working more closely with influential stores like Dover Street Market (Gagey describes the Comme des Garçons-owned boutique as “re-positionnant.”)If all goes well, a return to retail could be in the cards in the medium term. “It’s time to dream bigger,” Gagey said. Source link

[chilimili212]

PARIS — Jean Paul Gaultier has tapped Duran Lantink to be its creative director, the Puig-owned brand confirmed Tuesday.The move makes the Dutch designer — whose puffy, body-reshaping silhouettes and distorted prints have made him a breakout fashion star — the first-ever successor to the label’s namesake founder, who became famous in the 1980s for blending pop theatricality and gender-fluid, inclusive storytelling with rigorous couture technique.Lantink will debut his vision for Jean Paul Gaultier during September’s Paris Fashion Week, staging the brand’s first ready-to-wear show in over a decade. His haute couture debut is slated for January 2026.“I see in him the energy, audacity and playful spirit through fashion that I had at the beginning of my own journey: the new enfant terrible of fashion,” said Mr Gaultier, who gave his blessing to the appointment.“Duran isn’t referencing Gaultier exactly, but you can find his values there in the way he is rethinking volumes, rethinking the body,” said managing director Antoine Gagey.The brand shuttered its ready-to-wear line in 2014, as top-end heritage brands and cut-rate fast-fashion groups alike pinched designer labels that had once been aspirational staples on the floors of department stores and multi-brand boutiques. For the last decade, Gaultier has shown only haute couture, which remained a laboratory for its founder’s campy, deftly constructed designs, while casting a halo over its significant fragrance business.Since 2020, when Mr Gaultier stepped down, the brand has used couture as a platform for rotating collaborations, giving designers including Glenn Martens, Haider Ackermann, Nicolas di Felice and Simone Rocha an unprecedented opportunity to try their hand at the artisanal form.The brand also revived its ready-to-wear offering with a series of capsule collections: collaborations with the likes of Lotta Volkova and Shayne Oliver as well as studio-designed drops informed by the brand’s archive. And despite the somewhat scattershot strategy, the business has steadily rebuilt a roster of around 100 stockists in addition to selling its collections directly online.“There’s a real demand for Jean Paul Gaultier, young people in particular are in step with its values,” Gagey said. But taking its fashion business to the next level will require a more stable approach. “We’re at a stage where we need more consistency across categories and seasons,” he added.Since reengaging with Gaultier, stockists have gravitated towards its entry-level luxuries like T-shirts and jersey dresses. Working with a single creative director will allow the brand to expand its credibility to new categories and stretch its propositions upmarket.“This brand is more elevated than people remember, with a heritage that is really rigorous and precise. We have a certain legitimacy in design, in luxury to reassert — not to mention the cultural credibility that was always a part of the brand’s story,” Gagey said.Lantink, aged 38, studied at the Gerritt Gerrit Rietveld Academie and Sandberg Instituut in Amsterdam before building his profile in the industry through celebrity projects like designing a pair of viral “vagina” trousers for Janelle Monae in 2018. His 2021 debut runway show, which was staged for an audience of buzzing drones during coronavirus lockdowns, garnered critical praise for its innovative use of upcycled materials and transformation of archival garments and prints.Duran Lantink Autumn/Winter 2025 (BERTRAND GUAY) By the time he joined the Paris ready-to-wear calendar in October 2023, he had already attracted a robust circle of support. Boosters included stylist Jodie Barnes, “Fantastic Man” editors Jop van Bennekom and Gert Jonkers and publicist Lucien Pagès, who cajoled editors to his outing on the ninth day of Paris shows.What they saw was compelling. Sportswear classics were reinterpreted in improbable, inflated proportions. There was humour (not just social-media-baiting gags), unconventional sex appeal and a sense of mystery.Lantink’s appointment at Gaultier follows big wins at the 2025 Woolmark Prize (announced in Milan earlier this month) and LVMH’s 2024 Karl Lagerfeld prize.“When I look at Monsieur Gaultier’s collections, it feels like he was always inspired by what was happening around him, culturally, socially and politically,” the designer said. “I feel a strong connection to that approach and spirit.But Lantink’s consecration as creative director of a major Paris house will come as bittersweet news to some, as the designer plans to suspend his namesake line to focus on his new opportunity.“Especially since I’m not only working on the ready-to-wear, but also the couture, it’s a big responsibility that I take very seriously. I have so much respect for Mr. Gaultier and his couture legacy, and I want to take the time to truly focus on the savoir-faire of the incredibly talented people in the atelier,” he explained.“Duran is something that won’t disappear,” he continued. “I’m still very eager to explore its possibilities — when the time feels right, and when I feel ready and confident that I can take on multiple things without compromising the quality.”Gaultier owner Puig — the Barcelona-based group known for its prowess selling fragrances — has steadily worked to rebalance its portfolio in recent years, shedding licenses in favour of investing in brands it owns outright like Jean Paul Gaultier, Paco Rabanne, Charlotte Tilbury and Nina Ricci. While the scale of its fashion businesses still pales in comparison to global scents like Rabanne’s “1 Million” or Gaultier’s “Le Male,” the company has sought to ramp up its footprint in apparel, notably by acquiring Dries Van Noten in 2018. After a long period of churning through designers, it has also built a more stable fashion platform at Rabanne, where Julien Dossena has been creative director since 2014.“Puig has a real strategy and ambition in fashion,” Gagey said.While luxury brands are currently facing headwinds worldwide, some labels that dramatically scaled back distribution in recent years are managing to bounce back with a new strategy. LVMH’s Pucci, for one, says it’s experiencing “strong growth” under designer Camille Miceli, who was brought in to relaunch the brand after it ditched many of its oversized boutiques in urban locations during the pandemic. L’Oréal’s Mugler, by contrast, parted ways with its designer of seven years Casey Cadwallader after sales and buzz tumbled from a post-pandemic peak.After onboarding Lantink, Gaultier’s immediate priority will be to grow sales through its current channels (the brand’s online flagship as well as leading stockists like Mytheresa, Saks and Nordstroms) as well as working more closely with influential stores like Dover Street Market (Gagey describes the Comme des Garçons-owned boutique as “re-positionnant.”)If all goes well, a return to retail could be in the cards in the medium term. “It’s time to dream bigger,” Gagey said. Source link

[mushimooshy]

The Giants That Eat Giants, When Survival Becomes Submission

When giants eat giants, creativity pays the price. #ThoughtsOfALouver

A tale of power, consolidation, and the price of creativity Hello Louver, It has long been said that in the modern luxury landscape, power begets power. The acquisition of Lucien Pagès Communication by The Independents Group marks yet another milestone in a growing trend: giants consuming smaller giants to bolster their dominance. While headlines paint these moves as mere strategic alignments,…

[oshiozena]

press day today with lucien pagès

[soylazaro]

Kaleo Sansaa - Pay Mi In Cash from Justyna Obasi on Vimeo.

The video for „Pay Mi In Cash“ dramatizes frustration and anger due to exploitation. By applying the repetitive principle of the song to the video the director created a fascinating visual mantra.

Director: Justyna Obasi DoP: Konstantin Mazov Producer: Felix Knabel Choreography: Kiani del Valle Styling: Kamilla Richter Make Up: Servulo Méndez Hair: Tini Amoako Art Dep: Juliette Valone Focus: Julian Hansche Gaffer: Luke Sullivan Grip: Dennis Klemba Runner / PA: Emil Baikousis Editor: Matthias Graatz Grading: Julia Rossetti VFX: Katalyst Berlin Designers: Helena Stölting Joshua Sengespeick Laura Gerte Neith Nyer via Autrement PR Helene Zubeldia Lucien Pagès Design Assistants: Isabelle Thiede Sammy Cullis Joana Zibat

[systemmaguniverse]

Daily Thoughts : On Fashion (Part III) Lucien Pagès, founder of Lucien Pagès Communication Images by BOF “It’s too early to be sure how it will change — we’re still under shock.

[inapat14]

How Covid-19 forced the fashion industry to digitize itself?

In March 2020, President Emmanuel Macron announced the first lockdown in France due to Covid-19. This planetary pandemic is an unprecedented health crisis and a global economic shock which led to several consequences in the fashion industry. First of all, household spending on clothing decreased. Then, production and distribution channels were slowed down. Finally, fashion weeks were canceled. That is why actors had to find solutions to fill the gap. This unfortunate event has forced the luxury industry to move and adapt quickly. Luxury brands have quickly redesigned their communication tactics.

So, the fashion cycle has been broken. That’s why digitization emerged from the crisis in a position of strength. It was easy for those big companies : they already have digital know-how. With the impossibilities of real contact, the fashion industry has to engage itself with customers in a more authentic way. Social networks have become the privileged platform. Prior to Covid-19, they were generally only a showcase for these brands. But, social media have seen an important spike in usage during the crisis. Indeed, the majority of French people work or study from home. So, they spend even more time on their smartphone. Thanks to these platforms, brands continue to communicate frequently with consumers. A new and very powerful relationship appears between brands and digital communities.

New types of communication have been exploited : webinars, digital and party evenings… Several platforms are used: Facebook, Google, YouTube, and even Paris Fashion, a channel developed by Canal +.

Source : https://www.canalplus.com/paris-fashion/

To this day, Instagram is the most used platform to promote luxury. That’s why Influencers have become even more privileged mediators between brands and consumers. A lot of young influencers assist nowadays to the Fashion Weeks and post all the shows in their stories. Do their voices have nowadays more impact than the usual front row ?

Source : Instagram / Carla Ginola ; Lena Mahfouf

Before Covid-19, the sector of luxury was reserved for professionals. But, some major events have reinvented themselves in virtual format. For example, Fashion Week. The main goal was to recreate a coded universe through a screen. How do you transcribe an experience through audiovisual? Is that sustainable in the long term?

For some fashion professionals such as Lucien Pagès, the interest of a Fashion Week comes first and foremost in everything that surrounds the presentation: the front row, the backstage, the hairdressers, the stylists… In these digitized formats, we lose this part of theatricalization. But, with the digitization of content, it will be relayed to the general public via influencers. The luxury brands gradually reveal know-how. The elitist fashion world has opened up the common mortal through live broadcasting platforms. Moreover, we observed a large audience at those onlines shows. For example, the show Céline had more than 800,000 people live and 1.2 millions saw the replay show the following weekend. Thanks to Covid-19 and digitization, we observe a democratization of this sector.

Some brands like Dolce & Gabbana or Jacquemus refused a full digitisation. They held physical fashion shows with distance measures repeated live on platforms.

Jacquemus Runway Show, 2021. Credit : Jacquemus

Digitization won’t be a panacea. Will the digital revolution be the future of the fashion industry? It is not made to last, it’s just a temporary solution. Yet, in June 2020, the federation of fashion announced its intention to maintain the Women’s Spring-Summer 202A FW in real life. On the other hand, the experience of Fashion Week will tend to be more digitally translated through audiovisual (videos). It will therefore be more accessible than it was before Covid-19.

One question remains for us, who will archive all this digital content and what future for this audiovisual material?

Camille Garcia

Bibliography :

BEGHIN Claire, “Quel avenir pour la Fashion Week de Paris?”, I-D Vice, 03/07/2020

FAGUER Astrid, “Paris Fashion Week : les réseaux sociaux dévoilent les secrets de fabrication”, Les Echos, 21/01/2021

EAVES Emmaleigh, “The future of the fashion industry : a digital revolution?”, Verdict, 10/09/2020

GONZALO ; HARREIS ; SANCHEZ ; VILLEPELET, “Fashion’s digital transformation : Now or never”, Mckinsey, 06/05/2020

MENDES Silvano, “Covid-19 : la pandémie a accéléré la transition de la mode vers le “phygital”, RFI, 15/01/2021

NEYCENSAS François-Marie, “Fashion Week et crise sanitaire - rencontre avec Pascal Morand”, Hecstories, 16/12/2020

PERRIN-AUSSEDAT Eloi, “Mode : comment l’industrie fait face à la crise du Covid-19”, Forbes, 07/05/2020

ZOCCHETTI Vanessa, “Défilés online, e-shop boostés, reloking… 2020 ou l’année de la mode virtuelle?”, Madame Figaro, 06/07/2020

[byredooooo]

Byredo has become one of Europe’s omnipresent fine fragrance brands - with a cult following and enduring mystique of minimalism and intimacy. I chose to follow the brand for this final project for the ‘Brands in a Digital World’ seminar, however, as I was wondering how a brand like Byredo would adapt their communication and digital strategies during the era of Covid-19. How do you create and market something as subjective and personal as a fine fragrance in a world where all the boutiques are shuttered? How do you convince someone to spend 135 euros on a pandemic-launched fragrance they can’t easily sample themselves - or to buy a new makeup product in a world where everyone’s working from home in their sweatpants, and dance floors are abandoned and collecting dust?

The Swedish-headquartered brand really rose to the occasion, however. Their communication approach is split a few ways - their only forms of social media are Facebook (142k likes) and Instagram (378k followers). They cross-promote the same content, and so here on this blog I’ve focused primarily on archiving their Instagram posts, stories, reels, and live streams. In addition, Byredo is represented by Lucien Pagès Communication, the Parisian agency that represents other cult brands like APC and Lemaire, and consistently helps Byredo’s products reach top influencers and journalists.

Their digital strategies are driven and focused on establishing stark intimacy that defies traditional distances. We can see this in their short but deeply evocative captions; their abstract, creative art direction; their intimate Instagram Q&A’s and IGTV tutorials with Byredo’s makeup creatives; their dedication to the product above all else. In a crowded digital world, they clearly try to use their social media platforms, e-commerce presence, and featured press appearances to build into an ultimately engaging strategy - everything is to add meaning to Byredo’s brand experience and depth to its social community.

Byredo was founded by Ben Gorham in 2006, according to their website, ‘with an ambition to translate memories and emotions into products and experiences.’ You can see this brand mission connect through all their past few months of brand content and product launches, all the way up to their new limited time fragrance OPEN SKY. Rather than create and market a fragrance simply based on one notable place or traditional smell, Gorham and Byredo chose to create a scent dedicated to a feeling - the idea of ‘being on your way somewhere,’ ‘the void that exists between departure and destination.’ And to me, it’s this innovative, abstract perspective on scents and emotions which is what ultimately separates Byredo from every other fine fragrance and beauty brand that’s currently on the market today.

[ifashiontrend1]

時尚界最酷的公關 Lucien Pagès的無壓力處世哲學

Colette關門前，Balenciaga、Lucien Pagès、 Sacai、 Thom Browne、Chanel和Saint Laurent會相繼掌管2樓的陳列，在這些耳熟能詳的品牌中，Lucien Pagès是唯一一個公關公司。

(more…)

[universomovie]

Que portent les Parisiens en automne ? Ft. Lucien Pagès | LE STREETS

Que portent les Parisiens en automne ? Ft. Lucien Pagès | LE STREETS

Depuis la création de son bureau éponyme en 2006, l’attaché de presse Lucien Pagès fait et défait les modes, travaillant auprès des marques et maisons les plus influentes. L’occasion pour Vogue de l’inviter à participer à la série Street Style, en marge de la Fashion Week, pour décrypter et analyser les tendances stars de la saison. Que porte-t-on dans les rues de Paris cet automne ? Si le retour…

[black-is-no-colour]

Maison Margiela Artisanal by John Galliano, Fall 2018 show. Photo credit: Lucien Pagès

[insidefashionista]

Lucien Pagès Communication Is Hiring A PR Assistant In New York, NY

[artwalktv]

The video for „Pay Mi In Cash“ dramatizes frustration and anger due to exploitation boiling in black and brown bodies. By applying the repetitive principle of the song to the video the director created a fascinating visual mantra. Director: Justyna Obasi DoP: Konstantin Mazov Producer: Felix Knabel Choreography: Kiani del Valle Styling: Kamilla Richter Make Up: Servulo Méndez Hair: Tini Amoako Art Dep: Juliette Valone Focus: Julian Hansche Gaffer: Luke Sullivan Grip: Dennis Klemba Runner / PA: Emil Baikousis Editor: Matthias Graatz Grading: Julia Rossetti VFX: Katalyst Berlin Designers: Helena Stölting Joshua Sengespeick Laura Gerte Neith Nyer via Autrement PR Helene Zubeldia Lucien Pagès Design Assistants: Isabelle Thiede Sammy Cullis Joana Zibat

[trendsdresscom]

« colette, mon amour », le Souvenir Shop

« colette mon amour », c’est le documentaire réalisé par Hugues Lawson-Body qui retrace les 6 derniers mois d’activité du concept store parisien (fermé en 2017). Les proches de la maison, Virgil Abloh, Pharrell Williams, Kanye West, Alexandre de Betak, Guillaume Henry, et bien évidement Colette Roussaux (la fondatrice) et sa fille Sarah Andelman y racontent les derniers jours d’une boutique devenue mythique. Les projections, du 26 février au 1er mars 2020 au MK2 Beaubourg seront suivies d’un talk animé par des personnalités liées à colette comme Pedro Winter, Lucien Pagès, Guillaume Salmon, David Fisher…

Pour fêter la sortie du documentaire et faire ses adieux pour de bon, colette installe son Souvenir Shop dans la boutique Kitsuné-Tuileries, non loin de son ancien espace rue Saint-Honoré (devenu la boutique Saint Laurent). Au programme : un sélection de produits réalisés en édition ultra limitée comme des sacs et lunettes Off-White, des Rubik’s cubes et cartes par Darcel, des hoodies, t-shirts et sacs Baggu, des t-shirts, sacs et sweats (et même un cookie) Kitsuné… Des artistes et amis du magasin exposeront leurs créations comme Futura 2000, le fanzine par Karl Hab ou Snoopy par Leblon-Delienne… Que la La Fashion Week commence !

colette mon amour, le souvenir shop Du 24 février au 4 mars 2020 Boutique Kitsuné-Tuileries (à l’angle de la rue du 29 juillet, 75001, Paris) Ouvert de 10h30 à 19h30

Infos et réservation des séances “colette mon amour” au MK2 Beaubourg ici 

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The post « colette, mon amour », le Souvenir Shop appeared first on Trends Dress.

from Trends Dress https://trendsdress.com/2020/02/24/colette-mon-amour-le-souvenir-shop/

[leconsulat]

OFFICE DE TOURISME / LAROSE PARIS / ALEXI HOBBS / 2017

Office de Tourisme, collection de Larose Paris, sera présentée lors d’un pop up shop chez colette Paris. Mandatée par Lucien Pagès Communication l’installation “Les Vacances de Lulu” accueillera une trentaine de designers, réunis sous le thème des vacances d’été.

Alexi Hobbs propose des images qui baignent sous le soleil et la chaleur.

Pour en savoir plus, c’est par ici. 

CRÉDITS :

Photo: Alexi Hobbs

Modèles : Florence Provencher-Proulx / Samuel Fournier

Mise en beauté : Laurie Deraps

Direction Artistique : Isaac Larose