Podcasts about azzedine ala

Carla Sozzani è una figura chiave della moda contemporanea e ha trasformato editoria, retail, stile e arte. Ha iniziato la carriera nell'editoria lavorando per Cherie Moda, Vogue ed Elle, per poi collaborare a stretto contatto con designer iconici come Romeo Gigli e Azzedine Alaïa.Fondatrice del primo concept store al mondo, 10 Corso Como, e della Galleria Carla Sozzani, ha rivoluzionato la fruizione di moda e arte, ridefinendo allo stesso tempo l'urbanistica di Milano. Oggi si dedica alla Fondazione Sozzani, continuando a promuovere la conoscenza, la fotografia e la moda. Partendo dal libro “Carla Sozzani: arte vita moda” percorriamo le tappe fondamentali della sua carriera, fatta di incontri unici e progetti memorabili, tutti alimentati da una naturale e costante curiosità.--------------------------------------I link dell'episodio:- La Fondazione Sozzani https://fondazionesozzani.org- La Fondation Azzedine Alaïa https://fondationazzedinealaia.org- Il libro "Carla Sozzani: Arte vita moda" di Louise Baring https://www.ippocampoedizioni.it/libro/9788867229383- "Il giovane Holden" di J. D. Salinger https://it.wikipedia.org/wiki/Il_giovane_Holden

Host Danielle Radojcin chats to Carla Sozzani, a revered figurehead in the worlds of art and fashion. Known as a pioneering fashion editor, visionary gallerist, and the founder of 10 Corso Como and the Fondation Azzedine Alaïa, Carla has spent decades shaping the creative landscape.From her early days as a magazine editor in Milan during the late '60s and '70s to launching Italian Elle in 1987, Carla's career has always been driven by an unwavering commitment to creative integrity, even when it came at the cost of her own career. Along with her late sister, the legendary Italian Vogue editor Franca Sozzani, she has shaped the lives of some of the most important fashion designers and photographers of the past 50 years, and created some of the most memorable imagery, working with photographers like Paolo Roversi, Peter Lindbergh and Steven Meisel. Throughout her career, Carla has been a mentor to independent designers, offering friendship, guidance and resources. She shares heartfelt memories of her great friend, the late Azzedine Alaïa, whom she helped save from bankruptcy, ultimately founding the Alaïa Foundation to preserve his legacy.In this episode, Carla talks about fashion designers today, from the independent designer she most rates, to her thoughts on incoming Chanel creative director Matthieu Blazy,  as well as discussing what makes print magazines relevant, and why you can't rely on AI to replace individual human creativity. Carla is the founder of 10 Corso Como, the groundbreaking concept store she opened in Milan in 1990. Long before spaces like Dover Street Market or Colette existed, 10 Corso Como redefined the shopping experience, becoming a pilgrimage site for fashion lovers worldwide. She is also the founder of Fondazione Sozzani, which aims to support new generations of creative talent. Carla's new book, Carla Sozzani: Art, Life, Fashion by Louise Baring, offers an intimate look at her life and contributions to the worlds of fashion, art, and design.Resources:Carla Sozzani: Art, Life, Fashion by Louise Baring (2024, Thames & Hudson)Fondation Azzedine Alaïa10 Corso ComoFondazione Sozzani 

Michiel de Zeeuw gaat in gesprek deze week met Jetteke van Lexmond. Een van Nederlands meest gerenommeerde stylisten en Fashion Director. Tijdens haar carrière heeft zij titels zoals ELLE Girl, Glamour en Vogue tot sleutelspelers binnen de Nederlandse media gemaakt. Van Lexmond heeft modeshows gestileerd voor Azzedine Alaïa, Max Mara en andere grote modehuizen. Haar carrière omvat ook: het oprichten van Lexmond|Lexmond een sieradenmerk in samenwerking met koninklijke Asscher. Daarnaast is Jetteke een van de weinig ambassadeurs wereldwijd voor het prestigieuze huis van Chanel. Haar energie en tijd staat de laatste jaren vooral in het teken van de maan en het verspreiden van deze mooie informatie wereldwijd. De Interieur Club is hét inspiratieplatform voor interieurprofessionals en interieurondernemers. Bij De Interieur Club hebben wij de wekelijkse interieurpodcast, ⁠⁠De Interieur Business Club⁠⁠, De Interieur Club Academie met cursussen, netwerkborrels en interieurnieuws zodat jij jezelf kan ontwikkelen. Iedere week een inspirerend en informatief gesprek voor de interieurprofessional. Kijk voor meer informatie en de agenda onze website:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.deinterieurclub.com⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠ Intro en outro van #Uppbeat: https://uppbeat.io/t/soundroll/feeling-home License code: LDXQZCEWVETV5XBG

Spoiler : Cet épisode est de loin le plus inspirant depuis le lancement du podcast Strat & LuxeAvec Thomas Eberhard, nous plongeons au cœur de l'univers du cuir de luxe à travers le métier de tanneur, mais pas que ! J'ai été impressionné par le nombre d'anecdotes issues de ses rencontres avec les plus grands créateurs de mode que l'histoire ait connue. Moi qui m'attendais comprendre la galaxie du cuir et ses métiers, je ressors de cet échange avec des insight, des visions, de nombreux apprentissages et surtout une passion grandissante pour cet univers. Merci Thomas.

Pre-Loved Podcast is a weekly vintage fashion interview show, with guests you'll want to go thrifting with! For more Pre-Loved Podcast, subscribe to our Patreon! On today's show, we're chatting with Marie Remy, who is the founder & owner of The French Workwear Company. Marie grew up in the 1970s and 80s in rural Eastern France, where her dad had a mechanic's garage.  She always dreamed of moving to Paris, which she did as a student and soaked up all the indie music gigs, record stores, vintage fashion and flea markets every weekend. On this episode, Marie shares the stories that lead to her launching a French workwear vintage business, after several years in the music industry and settling in London. Like many of us, she first started selling her “surplus,” as she and her musician husband were both vintage lovers, but would continue to go back to France to source workwear, particularly the ‘bleus' which were a quintessential part of her upbringing. Tune in for Marie's fab stories, plus a fascinating amount of social and fashion history – this episode is a really fun deep dive, so let's get right into it! DISCUSSED IN THE EPISODE: [4:01] Growing up as a teenager in rural France in the 1980s, loving indie music and vintage fashion. [5:37] On Marie's first trip to Paris she saw Azzedine Alaïa while out and about. [7:12] Thrifting in Paris in the late 1980s at the Guerrisol. [11:33] On shopping at the iconic Parisian flea markets. [16:23] She first started selling her “surplus,” as she and her musician husband were both vintage lovers. [19:36] The history and aesthetics that drew Marie to vintage workwear. [39:53] French workwear is meant to last a long time, and some pieces have beautiful mending. [51:59] The pieces in her vintage collection that Marie finds especially unique.  EPISODE MENTIONS:  @frenchworkwearco The French Workwear Company The Face magazine Black Spot on Netflix Yves Klein Blue or 1920s Bugatti blue car @little_moth_mends @the_elephant_in_my_wardrobe @stewarteaston Thomas Turner - fashion historian @fash_rev LET'S CONNECT: 

Icone de mode? Exactement. Par son allure folle et sa gouaille incomparable, FARIDA KHELFA a marqué les années 1980. Mannequin en vue, muse de Jean-Paul Gaultier, Thierry Mugler ou Azzedine Alaïa, elle dévoile aujourd'hui, dans "Une Enfance Française" (Albin Michel), une jeunesse marquée par la violence et les abus sexuels.Dans cet épisode, FARIDA KHELFA raconte les apparences pour mieux se livrer en profondeur… Des robes bariolées de l'Aïd aux mini jupes du Palace, en passant par les créations des podiums et ces jeans qu'elle n'a pas lâchés depuis qu'elle s'est enfuie de chez elle, rien, dans le style de l'icone de mode, n'a jamais été anodin. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

A Barcelona seguim de festival en festival i la semana passada es va celebrar la setena edició del Moritz Feed Dog, el certamen sobre documentals de moda que es pot veure a l'Aribau. La nostra companya Lorena Iglesias l'ha estat cobrint pel programa i ella i l'Héctor ens comenten el que han vist en una programació que ens ha portat les visions de grans genis de la moda com la Vivienne Westwood, Gianni Versace, Azzedine Alaïa, Gian Paolo Barbieri o Toni Miró, entre d'altres.

C'est en amie fidèle et de longue date que la galeriste italienne Carla Sozzani revient sur le parcours hors-norme du couturier Azzedine Alaïa, arrivé en 1956 à Paris pour devenir à force de persévérance, l'une des figures majeures de la mode française. Artiste autodidacte, d'origines modestes, il a su dès ses débuts et tout au long de sa carrière s'entourer de femmes de la haute société qui lui ont donné la liberté de créer une mode exigeante et sensuelle dans laquelle elles se sentaient fortes et jamais objetisées. Malgré sa disparition en novembre 2017, la fondation Azzedine Alaïa, co-fondée en 2007 avec Carla Sozzani pour transmettre ses connaissances et inspirer les générations futures, ne cesse de perpétuer son oeuvre et sa mémoire grâce à des conférences, cours, bourses, mais aussi de multiples expositions présentant son travail et celui des autres qu'il n'a jamais cessé de collectionner (Vionnet, Balenciaga, Schiaparelli, Patou, Chanel, etc.). « Il avait des yeux, un sourire, une façon de s'exprimer qui était touchante (…) tout le monde aimait Azzedine » Ce que vous allez apprendre dans cet épisode: L'enfance d'Azzedine Alaïa Son arrivée à Paris Sa formation express chez Dior Les femmes de la haute société qui l'ont aidé à se lancer Sa rencontre avec Arletty et l'influence du cinéma dans son travail Son admiration pour Schiaparelli La découverte de Balenciaga Son déménagement vers la rue Bellechasse Son goût pour la collection et la conservation Sa rencontre avec Greta Garbo Sa vision du féminin Ses débuts dans le prêt-à-porter Sa rencontre avec Thierry Mugler Son travail pour le Crazy Horse Sa première collection en cuir refusée puis adoubée Son premier défilé à New-York Sa rencontre avec Carla Sozzani Ses 26 ans d'apprentissage avant d'atteindre le succès Ses 2 oscars de la mode Sa sortie du calendrier de la mode Son départ de la rue Bellechasse vers la rue du parc Royal Son rapport privilégié à la cuisine Le vocabulaire Alaïa Son rapport au travail et son processus de création Le rachat de sa société par Prada puis Richemont Sa disparition en 2017 L'après Alaïa Son projet de fondation et sa particularité « Azzedine avait une culture instinctive très forte, il n'avait pas besoin de livre, il avait un oeil, un instinct, un sens de la beauté qui l'a accompagné toute sa vie et qui n'appartenait qu'à lui. » «Dans le travail d'Azzedine, il y a toujours cette féminité très forte, mais il détestait le mot « sexy » il ne voulait pas que les femmes soit sexy, mais qu'elle soit féminine avant tout. » « La collection printemps 1992 était sa collection la plus grande, la plus importante, il y avait comme un vocabulaire Alaïa là-dedans, il y avait tout » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : La fondation Azzedine Alaïa: https://fondationazzedinealaia.org/fondation/lafondation/ Le livre L'alchimie secrète d'une collection: https://fondationazzedinealaia.org/shop/lalchimie-secrete-dune-collection/ Le prix Azzedine Alaïa: https://fondationazzedinealaia.org/education/prix-azzedine-alaia/ L'anecdote des meubles Jean Prouvé: https://fondationazzedinealaia.org/collection/patrimoine/ L'amitié entre Thierry Mugler et Azzedine Alaïa: https://fondationazzedinealaia.org/en/evenements/thierry-mugler-azzedine-alaia/ Alaïa et la cuisine: https://fondationazzedinealaia.org/cuisine/

C'est en amie fidèle et de longue date que la galeriste italienne Carla Sozzani revient sur le parcours hors-norme du couturier Azzedine Alaïa, arrivé en 1956 à Paris pour devenir à force de persévérance, l'une des figures majeures de la mode française. Artiste autodidacte, d'origines modestes, il a su dès ses débuts et tout au long de sa carrière s'entourer de femmes de la haute société qui lui ont donné la liberté de créer une mode exigeante et sensuelle dans laquelle elles se sentaient fortes et jamais objetisées. Malgré sa disparition en novembre 2017, la fondation Azzedine Alaïa, co-fondée en 2007 avec Carla Sozzani pour transmettre ses connaissances et inspirer les générations futures, ne cesse de perpétuer son oeuvre et sa mémoire grâce à des conférences, cours, bourses, mais aussi de multiples expositions présentant son travail et celui des autres qu'il n'a jamais cessé de collectionner (Vionnet, Balenciaga, Schiaparelli, Patou, Chanel, etc.). « Il avait des yeux, un sourire, une façon de s'exprimer qui était touchante (…) tout le monde aimait Azzedine » Ce que vous allez apprendre dans cet épisode: L'enfance d'Azzedine Alaïa Son arrivée à Paris Sa formation express chez Dior Les femmes de la haute société qui l'ont aidé à se lancer Sa rencontre avec Arletty et l'influence du cinéma dans son travail Son admiration pour Schiaparelli La découverte de Balenciaga Son déménagement vers la rue Bellechasse Son goût pour la collection et la conservation Sa rencontre avec Greta Garbo Sa vision du féminin Ses débuts dans le prêt-à-porter Sa rencontre avec Thierry Mugler Son travail pour le Crazy Horse Sa première collection en cuir refusée puis adoubée Son premier défilé à New-York Sa rencontre avec Carla Sozzani Ses 26 ans d'apprentissage avant d'atteindre le succès Ses 2 oscars de la mode Sa sortie du calendrier de la mode Son départ de la rue Bellechasse vers la rue du parc Royal Son rapport privilégié à la cuisine Le vocabulaire Alaïa Son rapport au travail et son processus de création Le rachat de sa société par Prada puis Richemont Sa disparition en 2017 L'après Alaïa Son projet de fondation et sa particularité « Azzedine avait une culture instinctive très forte, il n'avait pas besoin de livre, il avait un oeil, un instinct, un sens de la beauté qui l'a accompagné toute sa vie et qui n'appartenait qu'à lui. » «Dans le travail d'Azzedine, il y a toujours cette féminité très forte, mais il détestait le mot « sexy » il ne voulait pas que les femmes soit sexy, mais qu'elle soit féminine avant tout. » « La collection printemps 1992 était sa collection la plus grande, la plus importante, il y avait comme un vocabulaire Alaïa là-dedans, il y avait tout » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : La fondation Azzedine Alaïa: https://fondationazzedinealaia.org/fondation/lafondation/ Le livre L'alchimie secrète d'une collection: https://fondationazzedinealaia.org/shop/lalchimie-secrete-dune-collection/ Le prix Azzedine Alaïa: https://fondationazzedinealaia.org/education/prix-azzedine-alaia/ L'anecdote des meubles Jean Prouvé: https://fondationazzedinealaia.org/collection/patrimoine/ L'amitié entre Thierry Mugler et Azzedine Alaïa: https://fondationazzedinealaia.org/en/evenements/thierry-mugler-azzedine-alaia/ Alaïa et la cuisine: https://fondationazzedinealaia.org/cuisine/

Auteure des textes : Yasmina JaafarDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

- Gilles Lellouche et Pierre Niney sont à l'affiche demain du film "Goliath" réalisé par Frédéric Tellier. Un tandem de cinéma inédit pour l'affrontement au sommet d'un avocat du droit de l'environnement et du représentant d'un lobby de l'agrochimie. Entretien croisé des deux acteurs au micro de Stéphane Boudsocq. - Florian Gazan se laisse tenter par "Alerte rouge", le nouveau dessin animé du studio Pixar diffusé sur Disney + à partir de vendredi. - Une exposition à Paris et un film sur Arte reviennent sur le parcours atypique et l'œuvre du couturier Azzedine Alaïa. Découverte avec Monique Younès. - Les programmes télé de ce mardi soir, avec Isabelle Morini Bosc. Coups de coeur, coups de gueule, reportages, interviews, et des invités prestigieux : "Laissez-Vous Tenter" dresse un panorama de l'actualité Musique, Cinéma, Littérature, Médias, People. Ecoutez Laissez-vous tenter avec Yves Calvi et Le Service Culture du 08 mars 2022

Du 18 au 23 janvier 2022 se tenait à Paris la fashion Week masculine automne hiver 2022/2023. A l'instar des Fashion Week féminines, les collections dites masculines des maisons se présentent lors d'un défilé. Je vais donc revenir sur les temps forts de cette saison, de New-York à Paris, en passant par Londres et Milan. Je vais ensuite aborder les tendances que l'on peut tirer de cette Fashion Week. Enfin, je vais vous partager les évènements qui ont rythmé cette semaine et dont j'ai pu participer. Comme le défilé pierre Cardin qui rendait hommage 1 an après sa disparition au fondateur de la maison avec un show spectaculaire de 50 minutes. Mais aussi, au vernissage de la dernière exposition de la fondation Azzedine Alaïa qui s'intitule Alaïa avant Alaïa . Je vous invite donc à découvrir le seizième épisode de ce podcast : Fashion Week Masculine Automne/Hiver 2022 : tendances, défilé Cardin et exposition Alaïa ! Bonne écoute. Pour rejoindre Têtes de Mode sur les réseaux sociaux: https://www.instagram.com/tetesdemode/ https://twitter.com/ModeTetes https://vm.tiktok.com/ZMebHuY4E/

Mindful Monday Mantra: "I make clothes, women make fashion." —Azzedine Alaïa   Join me for today's dive into fun & fashion psychology with women's outdoor clothing designer, Alisa Otto.     Alisa Otto is the owner of Ottomatic Threads, an outdoor clothing company made for women, by women. They are committed to helping give underrepresented bodies a voice in the outdoors. Women have been ignored in the outdoor industry for too long and their goal is to make outdoor apparel for all by offering all styles in sizes XS-6X. Connect them @ottomatic_threads or their website ottomaticthreads.com   Want more style inspo too! For More Info Go To: https://wwwkatiejuststyled.com   Reach out with styling questions @katieallenstylist

Alexander Fury is the men's fashion critic of the Financial Times newspaper and the fashion features director of AnOther magazine. He comes back on the show to discuss being front row at what he describes as the “first big return of physical fashion shows.” That is, the live presentations showcasing the Spring/Summer 2022 men's ready-to-wear collections and the Autumn/Winter ‘21 Paris couture.  Alex offers a rare insight to the critically acclaimed debut of Azzedine Alaïa's creative director, Pieter Mulier, and also the extraordinary reveal of Demna Gvasalia's inaugural Balenciaga couture collection. This includes details of Gvasalia's olfactory collaboration with the Norwegian artist, Sissel Tolass.  Alex's view from Venice includes his thoughts on how Saint Laurent's Anthony Vaccarello and Valentino's Pier Paolo Piccioli “interacted” with the art world. Amidst all of this, he talks about the sort of Covid-19 protocols he encountered during fashion's return to “business as usual” plus the reported demise of the glossy magazine “super editor.” His ultimate takeaway? “The couture shows very much sent a message about the resilience of fashion,” states Alex. “And they sent a message about the kind of joy of fashion, the joy of dressing up. When people ask for a justification for the existence of couture….you know, couture is really about joy, and about exuberance, and creating clothes that can really make people dream. And I think that was a message that you drew away from these shows. Absolutely.” Please rate, review and subscribe to A Different Tweed. Share it with your friends. Thanks for listening!

Este episodio es un fragmento de un Facebook Live que organizamos para hablar de moda y shopping en Paris con la tienda departamental Galeries Lafayette. Invitamos a Valeria Doustaly, consultora en imagen de origen argentina pero radicada en la ciudad de París, capital de la moda por excelencia. En este episodio, Valeria no dio una plática sobre tres museos imperdibles de París para los amantes de la moda. Nos habló de grandes nombres de la moda como Yves Saint Laurent, Coco Chanel y Azzedine Alaïa. También platicamos del barrio Le Marais y otras tips para disfrutar de Paris y las compras. Pueden saber más de los tours y cursos online de Valeria en https://parisstyleweek.com/

Azzedine Alaïa diseinatzaileak Balenciagaren 600 piezatik gorako bilduma osatu zuen eta Getariako museoak bi jostunen lanak aurrez aure jarri ditu, antzekotasunak eta ezberdintasunak nabarmenduz. ...

durée : 01:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Ciné club" proposait, en mars 1998, de se pencher sur le destin hors du commun de "Musidora, première vamp et dixième muse" la comédienne mythique des films de Feuillade, qui fut également réalisatrice et historienne de son art naissant, le cinématographe (1ère diffusion : 11/03/1998). - réalisation : Virginie Mourthé - invités : Azzedine Alaïa

Designer Jedda-Khan always knew fashion was in his blood. Jedda may have been upset after initially coming in second place at an emerging fashion designer competition in NYC, but that was just the start of Jedda's career. Jedda's work was so unique and innovative, all eyes that saw Jedda's designs wanted more. Today, Jedda-Khan NYC is a top independent luxury brand for men and women in Brooklyn, exclusively made to measure - all curated and designed by Jedda himself. Since his Spring 2005 debut on the New York runway, Jedda has been a staple among fashion elites - redefining luxury with an elegant twist for the modern woman. In this week's episode, Kirsten sits down with Jedda to discuss staying true to your artistic vision through adversity and how to turn passion into a successful business and personal brand. Contact us at AFashionMomentPodcast@gmail.com Show Notes: Follow Jedda-Khan on Instagram: @jeddakhan Follow Jedda-Khan on Twitter: https://twitter.com/jeddakhan Website: http://jedda-khan.com/ The Fashionettes at Western High School in Baltimore: https://www.youtube.com/watch?v=nNv7kJX3QCU Iceberg: https://www.iceberg.com/en/ Key quote: “Every dream has to be financed” All on the Line competition show with Joe Zee: https://www.youtube.com/watch?v=-v0ikuyOLoU Harper's BAZAAR profile of Azzedine Alaïa: https://www.harpersbazaar.com/uk/fashion/fashion-news/a13800534/6-ways-azzedine-alaia-changed-the-fashion-landscape-as-we-know-it/ Alaïa: https://www.maison-alaia.com/us Festival Internationale De La Mode En Afrique (FIMA): https://fima-africa.com/?lang=en Arise Magazine: https://twitter.com/arisemagazine  Netflix “Black AF” Tyle Perry scene: https://www.youtube.com/watch?v=tDY4N6I345Y

Masters of Cut... Carla Sozzani's wealth of knowledge envelopes the highest reaches of 20th-century fashion. As a fashion editor, journalist, historian, and president of Association Azzedine Alaïa she's curated the culture of clothing on an international scale. Her cultural shopping center and gallery venture, 10 Corso Como, has grown from one location in Milan to six awe-inspiring centers stretching from New York to Seoul. Sozzani came to SCAD as an honored guest for the opening of the "Masters of Cut" exhibition at the SCAD FASH Museum of Fashion and Film. The collection features the seminal works of couture and tailoring giants Gilbert Adrian and Azzedine Alaïa, two artists Sozzani understands intimately. Sozzani sat with Paula Wallace during the exhibition's opening to explore the artistry of Adrian and Alaïa, celebrate their legacies, and muse on the future of fashion and fashion journalism.

Neil discusses the pleasure of medical touch. Designer/entertainer Isaac Mizrahi consoles us that at least Stephen Sondheim isn't the best bridge player. ABOUT THE GUEST Isaac Mizrahi has worked extensively in the entertainment industry as an actor, host, writer, designer, and producer for over 30 years. He is the subject and co-creator of Unzipped, a documentary following the making of his Fall 1994 collection which received an award at the Sundance Film Festival. He hosted his own television talk show The Isaac Mizrahi Show for seven years, has written two books, and has made countless appearances in movies and on television. Mizrahi has directed productions of A Little Night Music and The Magic Flute for the Opera Theatre of St. Louis and has also performed cabaret at Café Carlyle, Joe’s Pub, West Bank Café, and City Winery locations across the country. He currently serves as a judge on Project Runway: All-Stars and his memoir, I.M., was published in February 2019. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE’S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund, Western Bridge, and the David Shaw and Beth Kobliner Family Fund Producer: Devon Guinn Creative Consultants: Aaron Dalton, Molly Donahue Mixer: Fraser McCulloch Visuals and Sounds: Joshua Graver Theme Song: Jeff Hiller Website: Itai Almor & Jesse Kimotho Social Media: Lourdes Rohan Digital Strategy: Ziv Steinberg Thanks: Jennifer Callahan, Larry Krone, Tod Lippy, Sue Simon, Jonathan Taylor TRANSCRIPTION NEIL: Isaac Mizrahi, thank you so much for being on She's A Talker. I really appreciate it. ISAAC: So happy to do it. NEIL: I'm curious, today, May 15th, what is something that you find yourself thinking about? ISAAC: May 15th. I think about, of course, I think what everybody else is thinking about at the moment. Like, what the hell is going on? Really! What the hell is going on? It's so scary. Like, I was looking at Instagram, I follow this one dancer, this one beautiful dancer called David Hallberg. I love him, he's an old friend of mine. Anyway, so I was following him and I was looking at pictures of him dancing on stage in a costume with other dancers thinking like, “Excuse me? Will we ever get to go to a theater again?” I know that's really what I'm thinking. A lot about theater and how much I love theater, opera, ballet. So that's what I'm thinking about. I'm thinking about David Hallberg in tights. NEIL: That's inspiring. ISAAC: I know. Never will I ever see David Hallberg in tights again. NEIL: May it be soon. May it be soon. ISAAC: I know, may it be soon! Exactly. NEIL: So that's what you're thinking about on May 15th. Do you have kind of like a recurring thought that seems to return to you? ISAAC: You know, I gotta say the recurring thing that I think about, especially in May, is my dog who died on May 12th, 2016, right? Since May 12th, I've been thinking about my first dog called Harry. My screen saver on my phone is still Harry and Dean, who we got, I don't know, six or seven years later. We got a second dog called Dean. And Dean is still with us. And he's aging now. I'd say he's like 14 or 15, and we have a younger dog named kitty. (dogs barking) Oh, there they are on cue! That's funny. All right, Dean, relax. He's a beagle mix so he’s very talkative. NEIL: I love it! Well, it's perfect for the podcast called She's A Talker. ISAAC: I know! She's A Talker! She's A Talker! And it's so funny because kitty, the bitch, is not a talker at all. She rarely opens her mouth. I was going to say that I was thinking about my screensaver and then I was thinking about, Jesus, when he goes, right, I don't know when that's going to happen, five years from now or seven years from now. When he goes, what would my screensaver be? To me, that screensaver is the truth of my life. It's those two dogs together in this house, in Bridgehampton. I have to say, like, I don't have a big fabulous mansion in Bridgehampton. I have a shack that I love! That's my home! And I've been here since the middle of March thinking, “Do I care if I ever see my apartment again?” Which is fabulous, the third-best apartment in the whole city or something, you know? And I keep thinking like, “Do I need to see that place again?” No, I would rather just be here now. But I think a lot about the dog situation! Like, when Dean goes does that mean that my screensaver has to change? Right? Because the truth of my life, the truest moment of my life is being here with Dean and Harry, even though he's still not here. Isn't that weird? His ashes are here. Harry’s ashes are on my shelf, in the den. I know it's a little morbid. Did we expect for She's A Talker to get so morbid today? NEIL: Oh, I'm fully prepared to go there, and also that doesn't feel morbid at all! That feels comforting. And it's interesting, you know, the show is based on these index cards I've been writing down over the years and one of the cards, I can't remember it exactly, is something about the different durations of our pets lives and our own lives. It creates a kind of musical counterpoint in that, you know, my partner is 12 years younger than I am, my husband, and my cat is five years and together we're all operating on these different lifespans. It feels somehow musical to me. ISAAC: Right. You know, I often think, especially, like, I've been writing more and more— I know this sounds insane to you probably. (dog barking) It sounds insane to Dean, but I've been writing a novel. I finished at the Carlyle February 8th or something like that. Then I had like four days off and I felt like, “Okay, what am I going to do?” I feel I’m in postpartum depression, I have to start something. So I started writing this novel that I've been taking notes about and thinking about for 30 years or something. And the more I think about writing, the more I think about what you're saying, which is if you stories going on, if you have simultaneous stories going on, you know the characters affect each other in this way. So the timeline you're talking about, I often think about that. And especially now. Like, you know, my husband and I are not cohabitating through this. My husband is in the city. He preferred to shelter in the city. I couldn't face it. I couldn't do it. NEIL: Yeah. ISAAC: Anytime I talked to him on the phone, I think to myself this thought that you're saying. This timeline thing, this emotional timeline of what's going on in his life. Because he has this whole other 90% of something else that's going on. You know what I mean? Like we think that's going along in parallel lines, but it isn't, and yet it works. My husband and I, we have separate bedrooms and I feel like we need that for a lot of different reasons. And we're comfortable. Like, I always kind of spoke about the fact that I was an insomniac and that's what kind of prescribed the separate bedroom thing. But it's not so much about that as much as, like, really sort of standing for the fact that we have separate lives, you know? I mean that. That's a really, really important part of our partnering. NEIL: Next card is— I'm going to mention this person's name and maybe bleep them out. It's really within the context of adoring their work, but— How the third story in ****’s latest collection is a little bit disappointing, but that feels like a relief from the relentless virtuosity. Do you ever have that feeling about like where something is so masterful, where it falters a little bit it's almost like— ISAAC: And you go like “phew,” yes. Thank goodness they're human. I have, but I can't think of any real examples of it. I will tell you I'm sort of friends with Steve Sondheim, right? Literally, he has never written anything bad. Like you can't find anything bad. But I played Bridge with him a long time ago. We used to play bridge and he wasn't the best bridge player. And that made me feel a little bit better. NEIL: Another card says: The technical differences between a performer being naked versus wearing a bodysuit; How that probably gives rise to a lot of fetishes. ISAAC: What a hilarious question on so many levels. That is a hilarious thing to ask. Dance belts, thongs, sports bras... Talk amongst yourselves, right? That's basically what you're doing. I think that people go to see dance shows not merely because it's an incredible art form or it's beautiful, but also because they're horny and it's like a sexy thing. NEIL: Of course, yeah. ISAAC: It's a really sexy thing to watch people dance. You see like body parts jiggling, you see butts, you see titties, you see, like, baskets on men. The weights of these things. I do. Of course, you can scream, you can laugh at me, but I swear, like, a large percent of what I have been doing all these years is that. You know, when I see a woman with beautiful legs and a tutu, I go like, “what?” You know, your legs just can't look any better than if you're wearing a tutu and pointe shoes. It just doesn't get better. Sometimes I design short short short tunics for boys so that when they fly up you get to see the flesh color dance. I mean, like, I just do because I'm a pervert and also because it’s beautiful! NEIL: Oh absolutely. ISAAC: It’s beautiful. But, by the way, you know, there've been times where I go like, “Oh, wouldn't it be great if this was naked?” You know? And, you know, it wouldn’t because then it's not about anything but the bodies, you know what I mean? Like, yes it’s all about the body, but it's not just about-— it's not only about a body. I rarely like naked dancing. There was one show I saw when I was a kid that I loved that was, oh, what's her name? It was Garden of Earthly Delights. That wonderful choreographer I can't remember. But they were all naked and I loved it. It was a great show. Cause it was set in the Garden of Earthly Delights! But yeah, I don't love nudity on stage. I never think it really has a place except to shock people, you know? NEIL: Mhm. But your talking makes me realize that something about— in a way it's about abstraction. You know, the bodysuit creates almost an abstraction of the body. Is that it? So you're not getting, like, balls and cock and ass and tits or et cetera, but you are— ISAAC: Yeah, maybe so! To me, the figurative is stronger than the literal. I don't know. I always feel like it's kind of a let down when you see someone without their clothes. NEIL: Absolutely. ISAAC: And I don't think it's an abstraction of a body. I think it's a kind of leveling of the body, and it's the best way to see the body. Sometimes I think the only great costume is a leotard. And the more I work as a costume designer, which I don't really do that much, I work with Mark Morris. Still, it's really interesting to me because we're really, really close friends. We're best friends. So it's really interesting for me to do that. I always love rehearsal clothes better than any costume you could possibly come up with anymore. It makes me focus better. Does that make sense? NEIL: Did you see that recent Cunningham documentary? ISAAC: Yes, I did. NEIL: The balance so many of those costumes struck between— You know, they were often bodysuits, but adorned and decorated. ISAAC: I was actually gonna bring up Merce because, you know, usually it was some kind of a bodysuit. I'm a huge Merce Cunningham fan. I loved that stuff so much growing up. I was there so often and, by the way, not liking it and not understanding it a lot too. It never stopped me from going. I kind of went so as not to understand everything. I didn't want this feeling of understanding when I went to see Merce. I wanted to be immersed in something. Almost like being immersed in your own organs or something. It's like the insides of your own body that you're looking at. NEIL: For me, Merce— I have such a similar relationship to the whole cognitive experience of watching Merce and not getting it. I almost feel like it's about a type of productive spacing out. Like, the ways in which I don't connect or the way it throws me back into my mind by virtue of not getting it is a productive space. Is that part of what you're saying, perhaps? ISAAC: Absolutely! Yes, 100%. One of the things I don't think a lot of choreographers answer is the question: Why the hell are we here? You know what I mean? Why are we here? Right. A lot of choreographers don't do that. Some of the best. And it bugs me. I can't work with them unless they can answer that question. And with Merce, the question doesn't even arise. You are there because you are there. To me, it transcended everything. I mean, that music, that idea about what art is, I mean, to me, it's what it is. And you know, for a long time, my favorite movie was 2001: A Space Odyssey because of the attraction and because of the wonderful coming together of this kind of futuristic look at something and this ancient look at something. Monoliths and space people and ape-men, et cetera. I thought it was this incredible thing. And then I saw it again and you know what? It didn't really age that well. I have to say it didn't stay with me. And if you look at Merce it not only ages well, it's just the most beautiful damn thing. It's as beautiful as anything you will ever look at. NEIL: I so agree. ISAAC: Graham doesn't age that well, does it? It's like a little drama. It looks great out of costume. If you ever get a look at Graham in rehearsal out of the costumes, it looks so beautiful. It looks so beautiful. NEIL: That makes sense because it adds to the melodrama, the costumes. ISAAC: Merce was just doing it all without costuming. You know, you look at some of the pivots, and some of the flexing, and some of the arched back, and that kind of deep, deep plié, and the relevé, everything on the relevé never touched. It's Martha Graham only without costumes and on steroids and an abstract— no subject matter, no story, nothing. You know? NEIL: Yeah. Yeah. Product placements: the kind of psychic work you have to do to get past them. How do you connect to that, if at all? Like when you're watching a TV show or a movie and you see— “Okay, there's that Coke.” ISAAC: Yeah, exactly. Right. You know, I think they're doing a really good job because I notice it less. You know? I notice it less. You know when I notice it? Is on, like, Ellen or something. Like talk shows? NEIL: Interesting. Uh-huh. ISAAC: I notice it a lot. You know, it's like, “Oh, who made that deal to use that spatula on the cooking segment?” You know what I mean? That's when I think about it. In the movie, I don't exactly think about it unless there's a giant product name. I don't know why, but it doesn't bother me. And I feel like they're doing a good job or something. They're doing a good job. NEIL: Well you know they're measuring it. God knows. ISAAC: I know. Or else I'm getting callous and I don't care or something. I don't judge a show by its ability to place a product without notice. But at a talk show, it's like, well, of course it's about— that's all it's about. Why else are you watching the talk show right now? It's to plug someone's new movie and someone's new spatula. Right? That's the only reason to have a talk show. NEIL: Do you have a favorite spatula? ISAAC: I do actually. My favorite spatula is an OXO Good Grips spatula. NEIL: Absolutely know what you're talking about. ISAAC: I love it. NEIL: I know you're into astrology and see, for me, I feel like, as a hardcore four planets in Virgo, that the spatula is the Virgo tool. ISAAC: Yes it is. You know I have a Virgo ascendant. Yes, NEIL: Yes. you're a Libra. Right? If I remember correctly? ISAAC: Yes, a Libra with a Virgo ascendant. NEIL: As a Libra, does your choice in kitchen tools connect at all to your— ISAAC: A few things. A few things that I adore. I have the best ice cream maker in the fucking world, it’s huge! And it makes basically a cup of ice cream, but it does— It's so great. When you turn it on the whole house vibrates and you know this ice cream is being churned. And I loved it so much I got another one for the city. So now I have two of these babies and I feel so rich. I feel like I’m a rich person because I could afford two ice cream makers, you know, like, of such quality. And then the other thing I have, which is so special and I love it: if you go on my Instagram page— speaking of product placement, Isaac Mizrahi! Hello? Hello!— So the thing is that I did this cooking segment. I made this really good pasta with— NEIL: With pork! I saw it! ISAAC: Yeah, exactly. And I have this wonderful sausage smasher. It smashes the sausage really effectively NEIL: Sausage smasher sounds like a euphemism somehow. ISAAC: Doesn't it? It sounds like something you would— like a terrible thing you call someone. NEIL: Okay. Another card is: I always feel the gesture of holding something away from my eyes to read it because I'm not wearing reading glasses somehow looks cool. Like I do it in front of students, but of course, it looks just the opposite, but I still haven't let go of it. ISAAC: No, you mustn't do that. You mustn’t. That ages you so much. You know what else ages you? If you wear glasses and, at some point, you look over your glasses to see something. NEIL: Oh, don’t do it. Don't do it. ISAAC: I remember, I'm not gonna mention any names, but I worked for an older designer at a time and he used to look over his glasses and I was like, “You're so old.” I came close to saying it to his face once. Like, you gotta stop doing that because it's just so aging, you know? Don't do it! Do not do it. NEIL: I'm thinking of your life in cabaret, this other world that you occupy. So how I wrote it down on the card is: The connection between camp and paying the check while performers are still singing at Joe's pub. And I know it's the cafe Carlisle as well. I remember seeing Justin Vivian Bond breaking my heart with a song, but, at the same time, the server is coming or I'm doing that tip. And somehow navigating that mental space between being moved by something on stage, but also having to negotiate this transaction feels like the essence of camp. ISAAC: You know, I honestly, and especially after that exhibit, shall we call it, last year at the Met called Camp, I don't know what the hell camp is. I always thought I knew what camp was and I always kind of understood that people associated a certain amount of camp with me because I embrace it. I do love camp but I don't know what it means anymore. You know? NEIL: Yeah. ISAAC: And so all I can say to you is I would never associate the word camp with the confluence of those two things happening at once. Like, you know, on stage singing a heartbreaking song with the fries coming and paying a bill. That's not, to me, campy. To me, that's ironic. And it doesn't detract because that's the understanding that you have as a performer in a nightclub. That’s the understanding that you have. The irony kind of adds to it. It makes it better in a certain way because all artists are there to be appreciated. Right? So if this person came and is sitting there and the agreement is that he can order food and he can pay his bills while you're doing what you're doing, then I say, “Bring it, bring it, bring it on.” I mean that. I never— I don't flinch when that happens because I think, you know, I'll tell you this one thing: I used to kind of be friends with Azzedine Alaïa a little bit, a little bit. Like, we had dinner three times. I said to him, “Oh, you know, this person was wearing the dress and she was wearing it with this bra—” and he was like, “Darling, I don't care if she's wearing it with a flower pot on her head, she bought the dress, bless her.” You know? And I was like, well, thank you Azzedine. You know, I thought that was a great piece of advice. Like as I age, I get less and less precious about certain things and more and more precious about other things that I didn't. One of them is not people paying attention to me on stage because if they already paid, they can do— I count the sleepers sometimes. I’m not kidding you, it’s like, “Oh she’s sleeping, he's sleeping…” And I'm counting people who are asleep. If you play a big room, you're going to have some sleepers. You know? And I go, “Hurray!” Because darling, some of the best sleep I ever got was at ballet or the opera or the theater. And I love the show, by the way. I come out thinking “That's the best show I ever saw in my life.” A) Because it was great. And B) because I got like a 10-minute nap and it was my favorite thing. NEIL: Yeah. And sleeping is a form of interactivity too. It's like an edit. ISAAC: Exactly. This is true. It's like a way of making it your own, shall we say? NEIL: Yes, yeah. ISAAC: Hooray! I'm glad we got that straight because I mean that. NEIL: I love that idea of the things that you become more precious about and less precious about. Does anything immediately come to mind as something else you've gotten less precious about or more precious about with age? ISAAC: I've got less precious about meet and greets and autograph signing. I’m much less precious about that. And I’ve gotten more precious about, like, what happens to me before a show, because I feel like I have to be in a certain space to do a show. NEIL: Mhm. ISAAC: I'm more precious now. Like I beg people to get me this or not offer me with that. You know, make sure that something is set up properly so that I can make my entrance because I feel like doing that thing that I do at the Carlyle or whatever I'm playing, you have to show up exactly right. Because if you don't show up exactly right they'll eat you alive. You have to really believe that you're not nervous. And in order to do that, you know, there's a lot of preparation. But now afterward, I can meet people, I can do meet and greets, I can sign autographs, I can do all that. In the fashion business, I hated doing meet and greets. I hated— I couldn't do trunk shows. God. I mean, like, really? I have to now sell the shit? Like I designed the shit, I showed the shit, I taught the shit, and now I have to sell the shit. I don't know why, but I feel like this is just on more of a personal level. Like, I guess I just like theater better. I like the theater better than I like fashion. It’s just better— Sorry. I'm old enough. I can judge. It's probably sour grapes. NEIL: Well, that's for you to decide. It doesn't sound like that. That sounds more like what artists do, which is that they have an evolving relationship to the forms that they engage with. Two last questions. What's a bad— I mean, it relates to this “what's precious, what's not anymore.” Fill in the blank for an X and Y: What's a bad X you would take over a good Y? ISAAC: I would take a bad episode of Mary Tyler Moore over, hm, oh, I shouldn't say this, over, a really, really good fashion show. NEIL: Cheers. Cheers. ISAAC: I mean it. I shouldn't say that, but I did. I said it. You got it. But could I tell you something apropos of Mary Tyler Moore? NEIL: Please. Anything. ISAAC: I have been inspired by Mary Tyler Moore before in my life and everyone knows that. So people think that that's all I think about and I live for or whatever, but, I mean, I watched the show when I was a kid a lot, whenever it was on. And then here and there, because it really wasn't one of those shows they reran to ad nauseum, you know? Anyway, I've been here since the middle of March. I swear to you, one of the first things I started doing was watching that show every single night. I watched like two or three episodes of the Mary Tyler Moore show starting from season one. By the way, it’s seven seasons of literally like 24 shows or 26 shows. So it's like 175 shows. NEIL: Wow. ISAAC: It is the most brilliant, heartbreaking, beautiful shit in the world. The writing is so unbelievable. The grasp on, like, the quality of comedy, but it's not really— I mean, comedy, yes, but it's so melancholy and it's so— it's like Peanuts, but adult Peanuts. You know, like, Charlie Brown or whatever. They're all kind of hapless and just, they're all bordering on depressed, and they're all so fucked up, and, like, so three dimensional, and they deliver you three jokes on every page. I mean, it is unbelievable. That's been getting me through. I watch whatever I'm supposed to watch on Netflix or whatever. You know, I get through all that, and then I put on Mary Tyler Moore right before I'm going to go to bed and I just watch the two or three episodes and I eat ice cream while I'm doing that. NEIL: Heaven. ISAAC: It’s heaven. Ice cream and the Mary Tyler Moore show, darling. I'm serious. NEIL: Finally: What's something you're looking forward to when this is over? ISAAC: Here's what I'm really looking forward to: David Hallberg or any male dancer in tights. Like, seeing that on stage. That's what I'm looking for. NEIL: I love it. May you have it soon. On that note, Isaac Mizrahi, thank you so much for being on She's A Talker.  

This podcast was recorded on december 18th, 2019 durig a class given at Institut Français de la Mode to our Fashion Image major students. Maida Gregory-Boina has become one of the industry’s most successful and sought-after casting directors, responsible for selecting models for some of the biggest runways in the world. With the quickly changing landscape of fashion, Maida focuses her attention on the building of iconic imagery through the casting of a compelling, yet curated, edit of faces to narrate identifiable insight into a brand’s visual communications; ultimately, making for an unmistakable brand message. She has casted shows for Jil Sander, Givenchy with Alexander McQueen, Balenciaga with Nicolas Ghesquiere, Roberto Cavalli, Halpern, Acne Studios, Dior, Azzedine Alaïa, Calvin Klein, Edun, Élie Saab, Hermès, Iris Van Herpen, Raf Simons, The Row and Zac Posen. She has also been responsible for launching the runway careers of Lara Stone and Karlie Kloss, among many others. Maida has styled editorials for i-D magazine, The Face and Vogue Hommes International. It was through her work in styling musicians that she first met Raf Simons, a longtime creative collaborator, working with everyone from Madonna, Michael Jackson, Elton John, and Vanessa Paradis, to rock bands like The Cult and the Smashing Pumpkins. In addition to this work, Maida has been an integral part to the Festival de Hyeres for decades, she is the Festival Art Director. The annual festival promotes young creation in fashion, photography and fashion accessories areas. Maida has helped to launch careers of many young designers thorough the festival like … Anthony Vaccarello, Felipe Oliveira Baptista, Julien Dossena and recently the Boter duo.

durée : 01:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Ciné club" proposait, en mars 1998, de se pencher sur le destin hors du commun de "Musidora, première vamp et dixième muse" la comédienne mythique des films de Feuillade, qui fut également réalisatrice et historienne de son art naissant, le cinématographe (1ère diffusion : 11/03/1998). - réalisation : Virginie Mourthé - invités : Azzedine Alaïa

Donatien Grau, the head of contemporary programs at the Musée d'Orsay in Paris, speaks with us about the role of a museum in a time of quarantine, the transportive quality of art, and what we can all learn from the late couturier Azzedine Alaïa about the importance of taking time.

The award-winning and best-selling fashion journalist sits down with Danielle Radojcin to talk fashion, sustainability and her career. She shares her insights into the future of responsible fashion, from circularity to 3D printing, and takes a look back at her time at The Washington Post working under the legendary Ben Bradlee, and even modelling for Azzedine Alaïa.

DE L'ART ET DE LA MODE, lundi et jeudi à 9h10 et 12h10. Actualités des expositions et des manifestations culturelles. Cette semaine Alizée Ternisien nous parle de l'exposition "Alaïa et Balenciaga, Sculpteurs de la Forme" à la fondation Azzedine Alaïa jusqu'au 28 juin.

Bridget starts her Fashion Designer A-Z minisodes with Azzedine Alaïa. Research Credits:Harper's BazarWikipediaStay tuned in two weeks for "B"!

The acclaimed British artist and curator, renowned for his contribution to the New British Sculpture movement in the 1980s, discusses his interest in the function of objects, working with the late Azzedine Alaïa and five items that hold significance in his life.

The rising French fashion designer discusses her feminist approach to fashion design and what inspires her, from Middle-Eastern culture to traditional French workwear. She also talks about what it's like running a small independent fashion house in Paris today, and why a particular Azzedine Alaïa dress is one of her favourite things.

Le couturier Azzedine Alaïa (1940-2017) est au Musée du Design de Londres jusqu'au 7 octobre 2018. Bandages, zip, cuir perforé... le "King of Cling" s'est forgé une réputation d'artisan hors pair qui sublimait les femmes tout en refusant de suivre les diktats de la mode. Alice Black, directrice du Musée du Design, revient sur le parcours atypique de cet électron libre qui a habillé les plus grandes, de Grace Jones à Tina Turner en passant par Madonna et Michelle Obama. www.culturealt.com

Cette semaine à l'émission: Entrevue avec la comédienne Ludivine Reding ; La vie culturelle à Londres avec Eleonore Dresch:Exposition sur Azzedine Alaïa ; L'actualité culturelle avec Johane Despins et Monia Chokri ; Entrevue avec le comédien François Arnaud ; Critique de livre:Le suspendu de Conakry, de Jean-Christophe Rufin ; La série Demain des hommes:Entrevue avec Guillaume Vigneault ; La vie culturelle à New York avec Marie Bourreau:Opéra pour bébé ; Suggestions musicales de Nabi Chartier et d'Annie-Soleil Proteau ; Salon du livre de la Côte Nord:Entrevue avec Patrick Senécal ; Critique de film:Jusqu’à la garde, de Xavier Legrand.

Cette semaine à l'émission: Entrevue avec la comédienne Ludivine Reding ; La vie culturelle à Londres avec Eleonore Dresch:Exposition sur Azzedine Alaïa ; L'actualité culturelle avec Johane Despins et Monia Chokri ; Entrevue avec le comédien François Arnaud ; Critique de livre:Le suspendu de Conakry, de Jean-Christophe Rufin ; La série Demain des hommes:Entrevue avec Guillaume Vigneault ; La vie culturelle à New York avec Marie Bourreau:Opéra pour bébé ; Suggestions musicales de Nabi Chartier et d'Annie-Soleil Proteau ; Salon du livre de la Côte Nord:Entrevue avec Patrick Senécal ; Critique de film:Jusqu’à la garde, de Xavier Legrand.

Cette semaine à l'émission: Entrevue avec la comédienne Ludivine Reding ; La vie culturelle à Londres avec Eleonore Dresch:Exposition sur Azzedine Alaïa ; L'actualité culturelle avec Johane Despins et Monia Chokri ; Entrevue avec le comédien François Arnaud ; Critique de livre:Le suspendu de Conakry, de Jean-Christophe Rufin ; La série Demain des hommes:Entrevue avec Guillaume Vigneault ; La vie culturelle à New York avec Marie Bourreau:Opéra pour bébé ; Suggestions musicales de Nabi Chartier et d'Annie-Soleil Proteau ; Salon du livre de la Côte Nord:Entrevue avec Patrick Senécal ; Critique de film:Jusqu’à la garde, de Xavier Legrand.

Cette semaine à l'émission: Entrevue avec la comédienne Ludivine Reding ; La vie culturelle à Londres avec Eleonore Dresch:Exposition sur Azzedine Alaïa ; L'actualité culturelle avec Johane Despins et Monia Chokri ; Entrevue avec le comédien François Arnaud ; Critique de livre:Le suspendu de Conakry, de Jean-Christophe Rufin ; La série Demain des hommes:Entrevue avec Guillaume Vigneault ; La vie culturelle à New York avec Marie Bourreau:Opéra pour bébé ; Suggestions musicales de Nabi Chartier et d'Annie-Soleil Proteau ; Salon du livre de la Côte Nord:Entrevue avec Patrick Senécal ; Critique de film:Jusqu’à la garde, de Xavier Legrand.

Historiker Bo Eriksson berättar om nordens amasoner; sköldmöer och valkyrior. Och med Naomi Itkes pratar vi om nyss avlidna stjärndesignern Azzedine Alaïa, även känd som "the king of cling".

Episode 40 of #TwoWiseJawns is available for your listening pleasure on Apple Podcasts, Stitcher, Google Play, and SoundCloud. “I wish I can be a basketball wife without being a basketball wife.” - a listener, a jawn. Have we been doing this all wrong? By "we," we mean us independent ladies everywhere. By "this," we mean life sis. Were we fed a lie? Is working a scam? Are "gold diggers" the true wokes? Morg and Shan posit on whether or not feminist ideals are for us. Draya and Diana Ross may have the true blueprint for success. A CONCEPT. Genevieve Jones, Shala Monroque, Sherri Brewer -- we speak your names! The Elizabeth Taylor way or Sheryl Sandberg way? STEP OUT or LEAN IN? Amber Rose or Rosalind Brewer? Can we do it all? Or was that a lie too? Lol we dunno! We don’t have the answers, we just talk a lot. Also we apologize in advance for the utter tackiness of this entire episode, but ya know, it was a truth on our hearts! HOT TOPICS: - This time last year in Episode 18 we discussed our favorite films from the 90s and had a whole moment about Cher Horowitz risking her life to prevent muddying her Alaïa dress, and girl, same! This time around we are saying RIP to the great Azzedine Alaïa. Thank you creating such beautiful clothing for women and knowing that a beautiful dress must play the supporting role to the woman who wears it. #ThisIsAnAlaia - Mass shootings, massively problematic. - Prayers for Tyrese and all others on crisis. - Serena Williams and Alexis Ohanian got married in New Orleans on Thursday and it was quite the affair. Shan appreciates how none of her homegirls got plus ones, cause whew! The guest list was tight! #NoHusbandsAllowed - Jennifer Hudson and David Otunga (a.k.a Punk) couldn't find the range after 10 years and a child and a Harvard degree! - Meek Mill sentenced to serve a multiple year prison sentence -- sparks discourse on the penal justice system, urban blight, and yes, slavery. Also Jay-Z is tiyad of Philly negroes, honestly, truly. But he finna support them. Good job Roc Nation. - The Democrats are slowly reclaiming their time via the 2017 November election. Larry Krasner crushes Republican Beth Grossman in Philadelphia race for district attorney. Danica Roem becomes first transgender person elected to the Virginia legislature; beating a republican incumbent. Ravi Bhalla becomes the first Sikh mayor of Hoboken, New Jersey. - Meanwhile the Republicans are committed to detailing the important differences between ephebophilia and pedophilia, because "Roy Moore's pro-life and a GOOD GUY." - Papa John's is tackier than us. - Blake Shelton is People's Sexiest Man of the Year because 2017. - Terry Crews has the time and is taking names -- Russell Simmons mind your creep. - Sarah Silverman is better at defending her trash male friends (Louis C.K.), than Lena Dunham (Murray Miller). - A new week, a new man touches some unsuspecting person with his penis, so we're just going to put the entire male population in rice. Recorded Sunday, November 19, 2017.

Annie Cohen-Solal, professeur des Universités à l'université de Caen, auteur de Azzedine Alaïa au XXIe siècle (éditions BAI, 2011), revient sur la carrière d'un grand couturier auquel le musée Galliera consacre une exposition jusqu'au 26 janvier 2014. Exploration de l'oeuvre d'un "passeur" dont la création est marquée par l'interdisciplinarité, le croisement des cultures et la liberté : Azzedine Alaïa travaille hors des institutions et des rituels, il ne défile pas pendant les fashion weeks... Secret, silencieux, mystérieux, Azzedine Alaïa serait à la mode "ce que Patrick Modiano est à la littérature". Un de ces rares créateurs de mode dont on peut dire qu'il laissera "une oeuvre" (dixit Olivier Saillard, directeur du Palais Galliera).

Annie Cohen-Solal, professeur des Universités à l'université de Caen, auteur de Azzedine Alaïa au XXIe siècle (éditions BAI, 2011), revient sur la carrière d'un grand couturier auquel le musée Galliera consacre une exposition jusqu'au 26 janvier 2014. Exploration de l'oeuvre d'un "passeur" dont la création est marquée par l'interdisciplinarité, le croisement des cultures et la liberté : Azzedine Alaïa travaille hors des institutions et des rituels, il ne défile pas pendant les fashion weeks... Secret, silencieux, mystérieux, Azzedine Alaïa serait à la mode "ce que Patrick Modiano est à la littérature". Un de ces rares créateurs de mode dont on peut dire qu'il laissera "une oeuvre" (dixit Olivier Saillard, directeur du Palais Galliera).

Annie Cohen-Solal, professeur des Universités à l'université de Caen, auteur de Azzedine Alaïa au XXIe siècle (éditions BAI, 2011), revient sur la carrière d'un grand couturier auquel le musée Galliera consacre une exposition jusqu'au 26 janvier 2014. Exploration de l'oeuvre d'un "passeur" dont la création est marquée par l'interdisciplinarité, le croisement des cultures et la liberté : Azzedine Alaïa travaille hors des institutions et des rituels, il ne défile pas pendant les fashion weeks... Secret, silencieux, mystérieux, Azzedine Alaïa serait à la mode "ce que Patrick Modiano est à la littérature". Un de ces rares créateurs de mode dont on peut dire qu'il laissera "une oeuvre" (dixit Olivier Saillard, directeur du Palais Galliera).