Rankin Around

Thursday night saw a mass migration of the fashion flock to Brick Lane so as to pay homage (and many a toast to) to lord of the nude and Dazed and Confused co-founder, Rankin, at the bash kicking off his retrospective at the Truman Brewery. Amongst those in attendance, Erin O'Connor and Jaime Winstone.

True to Rankin form, the evening was less about the art, and more about the oodles of fabulous flesh on display. Despite the fact that the cavernous labyrinth of a space (whose lofty enormity rivals that of a downtown NYC Apple Store) boasted an army of perfect naked bodies, some high res close ups of NC17 organs and entire rooms dedicated to Courtney Love, Kate Moss and Heidi Klum, after guests had had their fill of gazing at boobs in designer heels and snapping photos of themselves in the "Rankomatik" photo booth, the real party quickly congealed round the bar, lounge area and outdoor smoking space. The night truly smacked of Rank.

Speaking of smacking and Rankin, I myself had a close (albeit drunken) encounter with the legend himself. My camera and I had spent the better part of the night in search of a "quick Rank," as giant words printed on a fall facing the entrance offered. But every time I almost had him, I would lose him behind a bright red lipsticked bird sucking banana print or to the double-kiss of some model with her clothes actually on. When I had my best chance as yet to actually swoop, I was intercepted by an event snapper wanting to take my lowly pic and he disappeared behind the velvet ropes of the upstairs VIP section, where, I presumed, he was welcomed into the waiting ranks of his nude model minions...forever lost to me.

Resigning myself, my companion and I pushed our way outside to join the rest of the gallery-goers who had forsaken the photography in order to further advance the onset of lung cancer. We climbed to the top of this rickety little fire-escape staircase, sipping on red wine and surveying the progressively more and more randy crowd below when, suddenly, the door against which I was leaning flew violently open, sending a fountain of red wine down my white dress. Just as I turned to unleash my Ranky-cranky fury, whose dishevelled, blurry-eyed face should I find slurring an apology of sorts as he fumbled to join mouth to cigarette and cigarette to lighter? I of course immediately accepted his apology (as the crowd below began to chant "Rannn-kin, Rannn-kin!" upon spotting him) in exchange for a photo op. Master obliged apprentice and I ended up getting my quick Rank after all.

Some Photos

Scene

Antje Geczy

One rainy tube-striking afternoon this spring, I took shelter at Brown's hotel and kept warm by the light of the jewels of new designer, Antje Geczy. Originally from Germany, Antje moved to Paris to study fashion design at the Ecole de La Chambre Sydicale de la Couture Parsienne thence to the ateliers of Christian Lacroix and Karl Lagerfeld. And it shows, as her line definitely demonstrates a deep sartorial awareness and understanding of the necessary dialogue between clothes and accessories. Her first two collections, "Secret Garden" and "Modernist," both exude a wholly wearable yet simultaneously red carpet ready kind of classic elegance, while the aesthetic feel of each range is entirely different. I caught up with the lovely and talented Antje over a cup of tea to learn more about her high fashion background, striking out on her own and the Kabiri-bound baubles sparkling on display around us.

CW: You began your career in fashion working at Christian Lacroix and then moved to Chanel. What were you doing there are what made you realize you wanted to design jewellery and do you think your experiences at those houses influence your work?
AC: At Christian Lacroix I was assistant in the Couture studio and had to help with fittings, liaison between ateliers and design studio and getting prepared for the fashion shows. At Chanel I was assistant to Karl Lagerfeld and Gilles Dufour, responsible for Couture and Ready to Wear accessories such as gloves, sunglasses...it was at Chanel that I got very interested in accessories especially jewellery as there was always a link to Fine Jewellery at Chanel…its where I learned to appreciate pearls. From Lacroix, I got my love of colours and the playfulness.

CW: How do you feel about Lacroix's recent declaration of bankruptcy?
AC:I am so disappointed that Christian Lacroix declared bankruptcy because at the time it was an absolutely magical place to work and every fashion student's dream. Unfortunately, Christian's creations were dreamlike and his ready to wear didn't find a place in the real world (except for his Haute Couture which was sold to only the very lucky few).

CW: How long have you been designing jewellery? When did you launch your own line?
AC: I have been designing jewellery for three years and originally began by making unique pieces for myself and friends only. The business has organically grown from small shows, over to having launched two collections, Secret Garden and Modernism at a gallery show at David Gill Gallery in November of last year, to now having talks with stockists in London.

CW: Please describe your design ethos or aesthetic, what is your vision and how do you feel you actualize it? Do you have a signature detail or material or any other nuance which marks a piece as distinctly Antje Geczy?
AC: I like my jewels to be "Serious Fashion Jewellery" or fine jewellery that is playful. I therefore use semi-precious or precious stones in unusual shapes or mixed in an unusual way. I particularly like pearls in hues from gold, over pistachio to black Tahitians and I combine them with large beryls or aquamarines. Pearls are probably a key element to my jewellery.

CW: The runway collection you did for Nina Ricci...how did you become involved with her? Are you planning to collaborate with any more designers in the future?
AC: I still am very intrigued by fashion and I follow closely what my friends do in the fashion world. That is how I got involved with doing pieces for Nina Ricci under Lars Nilsson who is a very dear friend of mine. He has since left the house and has moved on to new projects. I think I will always stay close to fashion and my jewellery reflects this. I would therefore love to collaborate again with a fashion house. It is very exciting to "bounce" back ideas with another creative person.

CW: Please tell me about the current collection, where did you get your inspiration for it? The process? The materials?
AC: My creative process commences with sourcing an inspirational stone because an asymmetrical stone or an unusually cut stone will then dictate a certain setting and a specific shape for a piece. South Sea pearls are among the stones with which I prefer to work. Pearls come in a variety of colours from white to gold, pistachio and black. So pearls adapt well to a variety of skin tones. And wearing pearls delivers a lovely sensation - they feel so soft and warm next to the skin. I also use small diamonds to add “sparkle” to my pieces but I try to avoid the "Estate Jewellery" look. As for the collections, they are very different yet complimentary. One day, a woman might wear a summer dress, high heels and a piece from Secret Garden, while the next day she might flaunt a cuff from Modernism with jeans, flats and a great jacket.

CW: What’s next?
AC: As I was saying earlier, I am in negotiations with stores to have my collection stocked in London which is exciting. I am also working on a new collection to be presented by the end of the year.Other projects include working with a fashion house, being stocked in the USA and opening my own showroom in London.

Secret Garden

Modernist

Ippocampo Heaven

Save the best for last. The final hidden gem we unearthed in our little Sardinian jaunt was the spa beneath our hotel, the "Wellness Center." It wasn't as easy as you may think. Upon checking in at Hotel Flamingo, we were not informed of the spa's existence (nor that dinner time had a 9:00 cut-off, which we, ahem, missed by five minutes our first night) and there wasn't a lick of publicity for it anyplace obvious in Flamingo's inner quarters. So imagine our delight when we ventured down a rather conspicuous path into the domain of the Ippocampo, or sea horse. An entirely whollistic spa with all natural products (mother jumps for joy at this point and marvels at the place's fabulous energy) with welcoming staff, beautiful facilities and a mile long list of interesting services. Besides the treatments, on offer was a therapeutic bath and "paths," similar to the little hot/cold donut pool I'd encountered in Ischia. They directed us towards the welcome package--a massage, use of the sauna, steam room, etc and a bath/path--€75. Two, please. Thank god for spa-revering mothers.

Ippocampo
www.eticatecnica.com
+33 45044509

Wellness Party

Yes, that's right, Wellness Party! On our last night, to introduce the spa to the mostly clueless hotel guests residing above, the friendly wellness team threw a little soiree-cum-demonstration on the premises. Complete with tasty canapes (all organic) and cocktails (non-acoholic and also organic, of course), the nibbles put to shame the ristorante upstairs. Guests were then taken into the pool area and watched an array of live demonstrations, i.e. the best pr tactic ever. After staring at this man having the traditional foot treatment, mother and I immediately booked appointments for ourselves. Wellness party on!

Gentle exfoliant powders made from local plants