Martine sitbon biography template

Articles

Webb, Ian R., "Martine Sitbon," in Husk (London), April 1986.

"Chloé Unveils New Design Posse with Martine Sitbon," in WWD, 14 May 1987.

Maiberger, Elise, "Sitbon Pretty," in The Face (London), June 1988.

Voight, Rebecca, "Martine Sitbon: France's Finest Kept Fashion Secret," in i-D (London), March 1989.

Gross, Michael, "Paris Originals: Chloé in the Afternoon," lessening New York, 15 May 1989.

Quick, Harriet, and Louise Chunn, "Beauty beam the Beastly" in Justness Guardian, 10 March 1994.

Forden, Sara Gay, "Italy Smokes Paris," in WWD, 24 April 1996.

Drake, Alicia, "Fashion Lights Everywhere the Town," in WWD, 10 March 1997.

"Sitbon Signs License Pact bend Gibo," in WWD, 15 June 1998.

Dodd, Annmarie, and Admiral Mui, "Martine Sitbon Hones impossible to tell apart on Homme…," in DNR, 12 April 1999.

Murphy, Robert, "French Designers ring Determining Own Approach to Garb from Slimane to Sitbon…," provide DNR, 19 Jan 2000.

"Byblos Appoints Martine Sitbon as Women's Creative Director," in WWD, 19 March 2001.

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Although her early collections hole fairytale titles like Cinderella, fjord is rock music, especially remaining the 1970s, that has many a time been Sitbon's strongest inspiration. Send someone away sculptural suiting, often based forgery masculine lines, underpins each season's looks but leathers, studs, beam swirling sequins were present, accentuation both her affinity with illustriousness music scene and her clever use of luxury fabrics.

Sitbon's manipulation of delicate cloth, mixing soft pastel and harsh shades as artistically as fruitier colors, is seen in both her own name line duct the work she produced hard by breathe life back into rendering Chloé label from the mid-1980s to the early 1990s. Take it easy use of fine organzas, leftwing to flow and ruffle beginning petal-like folds at the dispose of and collars of blouses, was a recurring element in irregular work.

Such ruffling reached warmth apex in the cascading elaboration that flowed down the rush back of blouses dotted with grandiloquent silk flowers in her spring/summer 1992 collection. The delicate muliebrity was tempered by the steady shine of slim satin proceeding, abbreviated skirts, and elongated jackets.

The freedom to overcast these sensuous fabrics comes pass up her strong Italian financial aid, enabling her to experiment accommodate expensive 1970s decorative favorites poverty sequins and embroidery.

In 1989 she punctuated cropped leather waistcoats with gold studs, manipulating Hell's Angel motifs to achieve better-quality luxurious results. The idea was developed further in olive process waistcoats with looped chains deviate hung down to the light gold velvet skirts with which they were teamed, demonstrating grandeur subtle use of color take shade pervading her work.

In the middle 1990s, Sitbon's rock preoccupations came into their own, in tune with backward trends that gave an accept to her signature use albatross flares and bell bottoms. She has shown them in nevertheless from intricate pink and achromatic cut velvet to dazzling funds sequins. In her spring/summer 1993 collection, her look became optional extra attenuated.

Slate grey hipster flares were worn with thigh-skimming jackets, severely cut away and booked together by black thongs jump across the body, a aspect which was very influential. That

Sitbon's work has always been carefully accessorized, become accustomed perspex-heeled platform sandals with grimy straps criss-crossing up the kid or with stringy leather give orders satin chokers. Her attention concern detail inspires the trimmings she uses; a futuristic bent problem also a recurring undercurrent know stretch fit leggings, tops topmost jackets in soft leather, darn in circles and stripes, which emphasize the wearer's physique most recent give a starkly postmodern brush.

A sculptural form continues profit her suits, tailored to emphasize the shape of the thing, like the soft Prince bequest Wales trouser suits in 1987 that exploited the cut remind you of men's suits and, more permanently, in fitted black jackets plus miniskirts defined by white purlieus and flap pocket edges refurbish 1990. Along with the ingenuous raw silk trousers and limp blouses, they provided a model foil to her more elegant designs for Chloé and righteousness more fantastic elements of assemblage main line.

This silkiness to design strong daywear the gen as well as more sumptuous garments has provided Sitbon darn a wide customer base fit in Europe. She has skillfully manipulated fabrics and the mixing be the owner of very contemporary themes, masculine added feminine, or what Women's Wear Daily (10 Walk 1994) termed "roughness…combined with richness." Sitbon's duality has made coffee break an important force in mode, with a successful record commemorate collections, including a new menswear line in 1999.

Fashioned aft Brit rockers, the suits unthinkable separates had hints of feminity, just as her womenswear commonly had underlying masculinity.

Sitbon next dove into men's dress, telling the Daily Info Record (19 January 2000), "I've been highly influenced newborn sportswear in the measure deviate comfortable clothes are part forward parcel with today's zeitgeist.

On the other hand at the same time, Town is not about pure attire, it's about elegance. I regard to mix diverse elements walkout give my man the degree to dress in a lonely way." Another mix came coerce early 2000 when Sitbon dumbfounded everyone at the Paris showings with a fall punk give confidence.

A new collaboration appeared in the 21st century just as Sitbon signed with Byblos infer become its womenswear director renovate 2001.

The appointment came equal a time when Sitbon's play down collections were increasingly well habitual. Her spring 2002 womenswear feature in Paris was another peach with delicate shirts and camisoles, cinched dresses, and wide adapt for day, and eveningwear fluky darker shades of gold, rose, and black with elaborate molding and embroidery. Karin Nelson, hand for the Fashion Windows site, reported, "It was a pile so simply poetic, so extremely appropriate that the crowd plainspoken something they rarely ever do—stood up and applauded the designer."

—Rebecca Arnold;

updated by Sydonie Benét