Phantom Thread

M.R. James’ ghost stories. A Christmas Carol. Beatrix Potter’s The Tailor of Gloucester. A particular moment from Paul Thomas Anderson’s personal life when he was sick in bed and his wife was taking care of him, and his imagination just took over: “Oh, she is looking at me with such care and tenderness… wouldn’t it suit her to keep me sick in this state?” These were all sources of inspiration for Anderson’s Phantom Thread, which he wrote, directed and shot himself. He mentioned all these influences in his interview with Terry Gross on Fresh Air and I happened to listen to the podcast before watching the film (it just arrived in our cinema last week). I usually don’t like to read reviews or interviews about films I haven’t yet seen, but I am glad I did this time. I could sense those influences subtly woven into the story, without playing down the element of surprise.
Phantom Thread 2017 
This is a film created out of sheer love of cinema and storytelling. In a time when there is so much pressure to make socially- or politically-charged movies, it feels truly wonderful to watch a great film that captures your imagination, that captures your interest through its own story and through its characters alone, without any ulterior motives or messages. I admire Paul Thomas Anderson for keeping it in the artistic field.

Phantom Thread is beautiful to look at, absorbing, thrilling, mysterious, a little dark, with a Hitchcockian vibe but retaining its own originality, with touches of humour and black humour. It’s about dedication, perfectionism, love, co-dependency, obsession. It makes you keep asking questions and the answers it does provide (because it does not answer all the questions it raises and that’s part of its fascinating beauty) take you by surprise. And those final moments and lines are the kind of open ending that so often make a film great. Because everyone interprets it in its own way.

Anderson also mentions Cristóbal Balenciaga as one of the starting points, the greatest couturier of all times in my opinion. According to costume designer Mark Bridges, everyone involved in the production read the book “The Master of Us All: Balenciaga, His Workrooms, His World” (I wrote about it here) in preparation for the project. I am not surprised that Balenciaga influenced the character of Reynolds Woodcock. Even before watching the film and listening to the interview, the movie stills of Daniel Day-Lewis (as Woodcock) released to the press clearly reminded me of Balenciaga at work.
Phantom Thread 
Reynolds Woodcock is a couturier in 1950s London. Woodcock lives for his craft (Paul Thomas Anderson wanted to make a film about the most obsessive of artists, the fashion designer, in his own words) and Daniel Day-Lewis has become Reynolds Woodcock, immersing himself into the role – he is known to go to extreme lengths when preparing for a role – and giving one of his best performances. Could it be possible that this actor’s finesse and craft have yet again reached new heights? I simply wish he doesn’t retire, as he announced he would after this film. Vicky Krieps and Lesley Manville give winning performances, too. The way the stillness and looks of all these three actors speak more than words can is something incredible to watch.

photos: film stills | Annapurna Pictures

Posted by classiq in Film | | Leave a comment

Le Redoutable: In Conversation with Costume Designer Sabrina Riccardi

Adapted by Michel Hazanavicius from Anne Wiazemsky’s own memoirs, titled Un An Après (or One Year After), Le Redoutable tells the story of Anne’s life with Jean-Luc Godard, with Louis Garrel and Stacy Martin in the lead roles. Anne made her film debut with her role in Robert Bresson’s Au Hasard Balthazar (1966) and went on to appear in several of Godard’s films, from La Chinoise (1967), to Week-End (1967) and One Plus One (1969). She was not only the muse of the renowned pioneer of the Nouvelle Vague, but also Godard’s wife for 12 years, from 1967 to 1979.
Interview Le Redoutable 
Brimming with pastiche, Le Redoutable elegantly employs some of Godard’s most famous filming style techniques (the use of primary colours to depict Godard’s apartment, the voiceovers, the breaking of the fourth wall, the back and forth camera tracking), in order to tell its own story with wit and humour. It’s exactly the humour that I loved the most about it. It is not a shining homage to Godard, but rather a sharp portrait that does not however fail to pay Godard credit where he’s due. But it is not about simplifying the French New Wave talent so much as bringing him down to earth, and that’s where the film’s originality and strength come from.

Le Redoutable is structured around Wiazemsky and Godard’s marriage, but set largely in 1968, on the background of the developing insurgency that lead to the May ’68 protests, its subject is also about Godard’s life as an artist and the way his relationship with cinema got turned on its head during that crucial period, when he was trapped between his ideological convictions and his reputation as a revolutionary filmmaker, foreshadowing his politically committed period during which he seemed determined to alienate anyone who’d ever loved his early work.

The film beautifully captures the love story of two different artists trying to discover or rediscover themselves. The costumes play an important role in telling the story and rendering the evolution of the characters. In our interview, costume designer Sabrina Riccardi talks about the challenge of her first period film, about the asset of working with a director who understands clothes and about how she created all the costumes for the lead roles from scratch.

“Cinema fascinates me and clothes inspire me.”

Le Redoutable is not only based on real characters and events, but also on the renowned pioneer of Nouvelle Vague and one of the most important figures of the world cinema, Jean-Luc Godard. Was it intimidating in any way working on the film?

Not at all, I was very proud and excited to take this challenge.

What was the most inspiring part about working on this project?

The challenge! It is my first period film. Then, the script, written with Michel’s finesse and humour. And this love story between Jean-Luc Godard and Anne Wiazemsky in the climate of the Parisian revolution of May 1968.
Costumes in Le Redoutable 
Where do you start and where do you look for inspiration for period films inspired by real life characters and events, in this case the late 1960s-the 1970s? What were your references for the wardrobes?

First, I read Anne Wiazemsky’s novels, Une année studieuse, about her meeting with Godard, and Un an après, which recounts the story of her life with Godard. Then I searched a lot of archives from that time, photos, ads, magazines, movies by Godard, Truffaut, interviews of Godard. I documented myself on the Nouvelle Vague movement. With all of this in mind, I made a costume moodboard that served as a guideline, which I showed to Michel. We discussed it, changed and rebounded and the different styles quickly took shape in our heads. For the extras, I got my inspiration from William Klein’s 1968 documentary Grands Soirs et Petits Matins. It’s a day to day testimony from the Paris of May ’68, shot during the events. There are testimonies of waiters, workers, students, unionists, pensioners, housewives, tourists. It was a huge source of information.

You have partly answered my next question, as I wanted to ask you whether Anne’s revealing memoirs or director Michel Hazanavicius played a part in the costume process.

Yes. Michel is a real aesthete. He is very sensitive to fabrics, clothes. So it is a real pleasure for a costume designer to work with such a director. He carefully pays attention to details. Michel is a director who always takes you higher.

A costume designer’s job is to reinforce the story and help the actor form an identity of his/her character. But what exactly goes into the work of a costume designer today? How much off the rack shopping, how much vintage and how much making did the costumes in Le Redoutable involve?

Most of the costumes for the main characters are creations that were inspired by archive materials that I had selected for the moodboard. For the extras, the costumes are real clothing from the period that were rented from French renters like Les Mauvais Garçons, Euro Costumes, La Compagnie du Costume, Aram. For Le Redoutable, I hired a tailor as leader of a workshop, with his two assistants and a sewer, to make all the costumes for the lead roles. He had my moodboard as a visual support and did an amazing job. He instantly understood what I wanted. I had the chance to work in a very big space so that my whole team was concentrated in the same place, which was a huge asset to me. I was able to be available to everyone and therefore anticipate as much as possible.

I noticed a great attention to details regarding the film sets as well, and especially the way the use of primary colours in Godard’s apartment and Anne’s clothes seemed to work as a whole. The film has a distinctive look, aesthetic.

We did a colorimetry work with Michel, meaning we made a stock of clothing that were blue, grey, beige and brown. Then I used primary colors – red, blue and yellow – on all the roles and extras by inserting them piece by piece in every plan, as in Godard or Truffaut’s movies of that period, which gives quite a strong visuel! They did the same with the decor.
Le Redoutable costume design

Interview with costume designer Sabrina Riccardi

Interview costume design Le Redoutable 
Let’s talk a little about the character of Anne Wiazemsky played by Stacy Martin. How would you describe her style? What did you want the clothes to convey about the character?

Anne’s character wears a mix of manufactured clothes, vintage and contemporary pieces, from MiuMiu for example. Anne is a young woman in a restrainted love with Godard, fascinated by him. She is still a student. In the beginning, I played with the twin set + pleated skirt + pea jacket combo to mark the difference between Anne and Godard’s universes, in shades of blue and yellow. The more the story goes forward, the more her emancipation and distance from Godard are shown by the changes of color in her wardrobe, by adding the red. She becomes free of his influence.
Interview costume designer Le Redoutable

Interview costume design Le Redoutable

Le Redoutable interview costume designer Sabrina Riccardi 
How about Louis Garrel’s wardrobe? His clothes reflect the transformation of the character as well.

The wardrobe for Godard’s character was entirely manufactured, made to measure. I needed suits and shirts in triplicates for the falls. I got my inspiration from period vintage suits that I changed a little in the shapes. I used vintage and contemporary fabrics. The suits are all woolen, as they were back then. It had to be perfect on Louis and he had to feel at ease in his costumes. Likewise for the glasses, we started from a vintage model that we manufactured to his measures in six copies. In the beginning of the movie, Godard’s suits are rigid, steady, he wears a tie, his shirts are impeccably white. He is the fascinating worldwide admired Godard! He is the Nouvelle Vague! The more we go on, the more we see his decline, see how he rejects Godard, his wardrobe gets crumpled and worn out, floppy. He barely changes his clothes, unshaven, he looks paler. Godard is not Godard anymore.
Godard costumes Le Redoutable

Louis Garrel costumes Le Redoutable 
Bérénice Bejo plays Michèle Lazareff Rosier in the film. Rosier was a journalist and fashion designer who founded the brand V de V in the early 1960s, and in 1968 she was considered, alongside Emmanuelle Khanh and Christiane Bailly, one of the innovative and exciting young French designers. What was the inspiration Bérénice’s costumes? Did Rosier’s designs play any role in it?

I created her wardrobe myself. It was my own vision. I was not influenced by the real Michèle Rosier at all, quite the contrary, I dressed Bérénice modernly for those times, I made her wear trousers all the time to suggest her avantgarde. Bérénice’s Michele Rosier is a woman of strong character, she is the only one who stands up to Godard in the film. She is a modern, well-rounded woman, comfortable in her own mind and skin. It is Rosier who inspires Anne in the film to become an independent woman. In general, I am not really inspired by real life characters. We created them according to our vision and desire and we wanted this to show. In this regard, I have also added elements of contemporary design to the costumes.

What inspired you to become a costume designer?

I’ve always wanted to do that since I was a little girl. Cinema fascinates me and clothes inspire me. What could be more beautiful than having the chance to be part of the creation of a story? I began working in the movie industry as an assistant costume designer and, after some time, directors, actors and actresses asked for me on their projects and I became a costume designer.
Le redoutable costume design
photos: courtesy of Sabrina Riccardi | Les Compagnons du Cinéma

Posted by classiq in Film, Interviews, Style in film | Leave a comment

The Salt of the Earth

“A photographer is literally somebody drawing with light, a man writing and rewriting the world with lights and shadows.” That’s how Wim Wenders begins his documentary about photographer Sebastião Salgado, The Salt of the Earth (2015), which he filmed together with Salgado’s son, Juliano. It is an impressive and beautiful visual homage to Salgado’s life’s work, and passion. The Brazilian photographer has been traveling the world for more than 40 years, chronicling the human condition. His richly complex black-and-white photographs are of such depth, both compositionally and emphatically, that they mark you. Rather than drawing with light, he’s more likely sculpting with light.
The Salt of the Earth 2015

Sebastião Salgado

Sebastião Salgado’s camera has been along the years witness to some of our species’ hardest, lowest and most horrific moments, like the Sierra Pelada mines (“The Workers”), the burning fields of Kuwait in the wake of Desert Storm, the Ethiopian famine (“Sahel”) and the civil war in Rwanda and its savagery genocide (“Exodus”), the latter having left him psychologically scarred. You just have to look at Salgado’s photography and feel the unimaginable despair, terror and misery of those people. It is not easy and I had the impulse to look away. It is as soul-shattering and haunting as it is visually stunning. A photograph does speak a thousands words.

But Wenders quickly and beautifully finds a narrative balance against the devastation, as did the now-74-year-old photographer, who seeked refuge in nature – a phase of his work titled “Genesis”, that encompasses parts of the globe retaining their primeval aspect, from Wrangel Island in Siberia to the highlands of Papua New Guinea, despite our planet’s seemingly unstoppable march towards destruction. But more than that, he started working with his wife, Léila, to regrow the drought-stricken remains of his family’s once-thriving farm and the Brazilian rain forest of his youth. They did an experimental program of replanting millions of trees and their technique proved so successful that the project, called “Instituto Terra,” has now reforested parts of Brazil’s Mata Atlantica and is a model for similar efforts worldwide. Salgado’s “Sahel” and “Exodus” photographs did not make me cry, but this did. It may sound strange, but it’s the truth.

As much as I love photography and as much as I admire Sebastiáo Salgado the photographer, his artistry and life-long dedication to his craft, it was this latter project, “Instituto Terra”, that sealed my admiration for Sebastiáo Salgado the man. It gives you hope and faith. Hope about our planet, faith in the human race, hope about our future and our children’s future, faith in ourselves. Miracles can happen. You just have to work for them.

photo: Sebastião Salgado

Posted by classiq in Film | | Leave a comment

S A Y A Designs: Turning Heads for the Right Reasons

I have cut down how much I talk about fashion around here significantly. That’s partly because I want to embody the minimalist and mindful philosophy I so often support and embrace. It’s also because when looking for special things to feature, I only want to share things I want for myself, things that tell a story and that can become part of my own story, things that not only reflect my tastes, but my own values, convictions and the way I live my life.

Where should I begin with S A Y A Designs? This brand epitomises all the right reasons for still loving fashion and beauty, all the right reasons why fashion still matters. Minimalistic and head-turning, subtle and bold, beautiful and meaningful. Stemmed from the love for nature, traditional craft, and pure and organic beauty, S A Y A Designs is the kind of brand that is created with timeless style and lasting memories in mind. A passionate pursuit in purposeful design.
SAYA Designs Mini a Pandans

SAYA designs Mini Pandans

The Mini Pandans by S A Y A Designs

S A Y A Designs makes hair sticks. They are handcrafted by artisans of Bali from root wood salvaged from abandoned plantations in Indonesia. They take a waste material and turn it into something beautiful and purposeful. Each S A Y A hairpin is inspired by the rich flora and fauna in Indonesia, and designed to directly reflect local plant life. It is carved by hand using simple tools and techniques, and finished with natural wax and oils. It is the original hair tool, durable, elegant, and a welcome and thoughtful alternative to plastic and elastic. And for every purchase, up to 10 endangered tree species are planted back into the rainforests in Indonesia, thus contributing to the restoration of our global ecosystem.

These are hair sticks that turn heads for all the right reasons.

I can honestly say that I fell in love with S A Y A the moment I discovered the brand and its story, and my admiration was only reinforced when I got to try their products (I opted for the Mini Pandans, which are specially designed for hair that is medium to short in length, and not too thick) – I admit, they are now my main reason for not going for a new pixie cut, an idea I had started to play with again. And after my conversation with the founder of S A Y A Designs, Victoria, I am more committed than ever to trust my own style and choose wisely. Read on for our interview, where we talked about the inspiration behind S A Y A, about the importance of raising awareness through a new approach to beauty, about starting a new life in Bali and the Indonesian unique business environment, and about the one thing she can not start the day without.
SAYA designs Mini Pandans

SAYA designs Mini Pandans

Turning heads for all the right reasons

In an overly-digitized world, it feels so special, and crucial, to make things with your own two hands. Coupled with an awareness for ethical production and the artistry of local makers, even more so. What are the core tenets on which the idea behind S A Y A Designs is based?

I have always had a deep respect for the hand-made and appreciated the heart behind its craftsmanship. This has become of more importance to me, defiantly in many ways due to the increased dependance we have on technology.

The core contents of S A Y A also highlight the key concepts of the circular economy. Which, in short, is making sure a respectful exchange happens along every step of the way; this requires slowing things down, learning and listening…

For me, S A Y A is a way of creating a platform to stand up for a cause I am passionate about whilst being creative, which is what I love most.

Why hairpins? Why not something else?

I had worn and adored them for years, first inspired by a gift from my partner who bought me one from a trip back from Beijing 6 years ago. It was red with hand painted flowers and it was so beautiful, it gave me little insight into the elegance of traditional Chinese culture. When it came to deciding what to design, I wanted something that was small, functional, and most of all unique! I joined all the dots, and S A Y A was born! I thought about how it would be something that would be a pleasure to use everyday and what a reminder it would be of supporting a cause you believe in.

That’s wonderful. Is there any significance to the name S A Y A ?

Yes! S A Y A means ‘I’ or ‘my’ in the Indonesian language depending on your turn of phrase. So S A Y A Designs means ‘my designs’. I loved the fact that it was fundamentally linked to Indonesia.

One could say that you design first and foremost for yourself, making sure your designs reflect who you are and your own values. I think that’s very important and it just shows in your unique products. Who else do you design for?

Yes, fundamentally I would say so. I also design for women who appreciate a more organic style which I think appeals to a more subtle sense of beauty… They are very tactile objects and shapes!

In this regard, could you tell me a little about the materials you use and why?

Our hairpins are made from reclaimed root wood left behind by loggers in Indonesia. Some have been in the ground for decades and simply abandoned in ex plantation sites. The root wood we use currently are tamarind, teak and rosewood. I felt there was such an interesting story to be told here coming from root to tree… and found the circular business model was able to support the idea and raise awareness towards the global issues we face around deforestation.
SAYA designs mini pandans

SAYA Designs mini pandans  
What are the perks and challenges of an ethically produced beauty brand on the island of Bali?

We are still very much in a young stage of the business and so have many more bridges to cross… I would say some of the perks are that it really is an island of opportunity… So if your work hard and follow things up, you can manifest ideas very quickly… The craftsmanship here is so skilful, and for me that was one of the hugely inspiring factors.

Challenges are that it can also be a place that is hard to sustain things, it takes a long time and large amounts of work go towards building strong structures and frameworks to build things long term. Getting things done sometimes can be hard, especially when you have responsibilities in contrasting hemispheres, extreme weather conditions and cultural parallels. The key I think is being open to adapt where necessary.

You mention the craftsmanship of the people of Indonesia. What is the most important lesson you’ve learned from the community of craftsmen in Bali you work with?

One of the most important creative aspects they taught me was that respecting and understanding your material is fundamental in your design… This was a light bulb for me!

How do you see the future of fashion? Because so many of the people I admire and come in contact with prefer mindful shopping and meaningful brands, such like yours. Are things starting to change?

I definitely feel that things are changing, this is what I look forward to watching most in 2018! Everything we buy is like casting a vote for the direction we want to move in and I think this movement is defiantly making headway…

I think once bigger brands start feeling pressured to ‘go green’, capitalism can turn upside down. If we can all compete to be greener, cleaner, more ethical… that would be what drives the change. I do feel like the pressure is growing from the consumer end, so we just need to keep telling these stories and providing options until everyone cant help but be faced with the reality of what’s happening.
SAYA designs

SAYA Designs 
How much talent, how much hard work and how much luck would you say that is involved in a successful brand?

I would say its an equal amount of all three. Hard work definitely keeps the wheel turning!

Who and what inspires you?

I am inspired by many, many people, but especially artists like Georgia O’Keeffe and Barbara Hepworth, whose organic forms I love. Activists like Dian Fossey, who was an American Conservationist in 1966 who went out to live alone in the jungle to protect mountain gorillas. She was so brave and courageous, especially at a time that when hardly any people, let alone women, were doing what she way doing. She inspires me allot!

What advice would you give someone with their own idea or dream?

Surround yourself by people who encourage and inspire you. Refine your ideas, be brave, find ways to make things happen and forget about the fear of failing.
SAYA Designs

SAYA Designs 

Why Bali? What made you start a new life and a brand there?

I love the environment and community here, I first moved to work for an adult arts school and then realised what kind of life was here… Lots of start-ups, co working spaces and environmental based businesses. Bigger world issues also hit home allot more here as they are more visible… so that triggered allot of ideas and passion.

One favourite thing to do in Bali and which you would miss if you lived anywhere else in the world.

Seeing the colourful Balinese daily life around you and its never ending smell of incense…

What does style mean to you?

Style is about feeling good in what you wear and celebrating your own character.

One thing you can not start the day without: Cup of coffee!

Where would we find you when not working?

Walking in nature or in museums.

You wish people appreciated more: The power we have…

What makes you happy at the end of the day?

Knowing I can enjoy the company of good friends, good books or good cup of tea…
SAYA designs interview

SAYA Designs  

You can find S A Y A Designs here:
Website and Shop: | Instagram: @saya_designs
Facebook: @sayadesignscom

photos: 1-6: Classiq / 7-12: S A Y A Designs

Posted by classiq in Beauty & Beautiful Living, Interviews, Style | | Leave a comment

A Sporting Life: The Winter Style Heroes

Every winter I long for a snow storm so that I am stuck inside for at least two days with nothing to do but binge-watch movies (which, having a toddler around, would probably not happen anyway, but one can dream). However, the idea is that we usually get at least one heavy snow a winter, but this year we have barely seen a few snow flakes leaving but a very thin layer on the ground that was gone in two days. Snow-induced binge-watching movies aside, I truly miss seeing the city covered in white and the calmness of a snow day.

But at least we are one day away from the Winter Olympics, which brings its fair share of excitement. With that in mind, I thought we’d take a look at the winter style heroes – the men and women who have a heavy word to say when it comes to snow style, be it on the ski slopes or in the surroundings. It’s also a chance to bring back on the blog a series I am very fond of, A Sporting Life, which takes on the challenge to put together sports and style (not exactly natural bedfellows), and makes a plea for outdoor sports. Today’s installment may not necessarily be about professional sportsmen (as the previous entries), although it does include Jean-Claude Killy, but that doesn’t mean is any less about people who love winter sports, nature and the outdoors, and look cool (while staying warm) in winter no matter what.
A Sporting Life the winter style heroes

A Sporting Life the winter style heroes

A Sporting Life winter style heroes 

Long before Sundance was known for the film festival, it was simply known as Robert Redford’s family’s private ski area northeast of Provo. In the pictures below, taken in 1969, LIFE photographer John Dominis shows the actor/director and his children at home in the Wasatch mountains. Dominis spent a week with Redford at his homes in Utah and New York, chronicling the days and nights of an increasingly famous man, who despite that, wants to remain present for his family. The unobtrusive way of shooting did justice to Redford, who seems at his most unselfconscious and relaxed. The first image is proof enough of that. The records on the table, the copy of the children’s book Charlotte’s Web, the family dog on the couch in a cuddle with Redford’s daughter (don’t you love her tweed trousers and the father and son matching track pants?), and the whole family in turtlenecks are the best example for the coziest winter day at home. It looks like the good life, doesn’t it?

Where is that snow?
Robert Redford 1969

Robert Redford by John Dominis

Robert Redford by John Dominis

Robert Redford and his family at their home in Utah, 1969, photographed by John Dominis

You guys, you know I love the classics. But you must also know that I hate it when they make classic seem synonymous to vintage. Vintage is something stuck in the past (I am not a fan of that, style-wise or otherwise), whereas the classic lives on, is timeless, is as relevant now as it was decades ago. And I believe Grace Kelly heralds the ageless appeal of the classics better than anyone else in the following photos. There is not a single piece of clothing she sports that wouldn’t look cool if worn today. Furthermore, as you can see, there’s no need to forsake warmth for style on the slopes – every single ensemble would look as much in place in the city as it does on the mountains.
A Sporting Life the winter style heroes

The winter style heroes
Now, the Winter Olympics do start tomorrow, so let’s talk a little about one of the all-time greatest and most stylish athletes of winter sports, Jean-Claude Killy. One of the greatest skiers in history, if not the greatest, Killy swept the 1968 Winter Olympics in Grenoble (subsequently dubbed the Killympics) by winning the whole three alpine events, Downhill, Giant Slalom and Slalom. He also dominated Alpine skiing in the mid-to-late ’60s and won 12 out of 16 World Cup races during the 1966-1967 season. When on the slopes, he wasn’t matched by any other competitor, in terms of style, skill and speed, says my father, my number one source when it comes to researching sports and sportsmen.

Killy wasn’t a game-changing hero just for his sport, but also for the flair in the way he dressed. If there is such a thing as classic slopestyle, then he is the man who had it. He looked good in form-fitting, geometrical patterned racing woollens, and he took a style rooted in function one step further and paved the terrain for après-ski and day-to-day wear, opting for rollneck cable-knit sweaters, shearling jackets, mirrored sunglasses and cool-looking knitted beanies. On a side note, he even starred in the 1972 movie “Snow Job” (photo below) as a ski instructor (naturally) and he insisted on doing his own stunts.

The French ski champion also remains one of the most important figures to Rolex, having been an ambassador for the brand for more than 40 years, and having a watch model named after him, the Rolex Dato-Compax Jean-Claude Killy. The watch brand has been associated with the quest for excellence in sport for almost a century. And understandably so. Sports transcend social, cultural, language and ideological barriers, and, quite like nothing else, unite people from all over the world under their common passion. Here is to a sporting life, fair play and the Olympic spirit!

A Sporting Life Jean Claude Kelly

A Sporting Life The winter style heroes

photos: 1,4-Clement Jolin for Mr. Porter / 2-Gwyneth Paltrow by Ditte Isager / 3-Alps & Meters Journal / 4,5,6-John Dominis | Robert Redford, Utah, / 7-Olycom | Grace Kelly with her daughter Caroline, Gstaad, 1960 / 8-Getty Images | Grace Kelly with her children, Caroline and Albert, Switzerland, 1962 / 9-photographer unknown (it could be Toni Frissel) | Grace Kelly, St. Moritz, 1962 / 10-Jean Claude Kelly and Danièle Gaubert in “Snow Job”, 1972 | Jacques Dejean/Sygma / 11-L’Officiel, December 1962 / 12-Jacques Henri Lartigue

Posted by classiq in A sporting life, Style | | Leave a comment