Latest news with #Tuileries
Fashion Network
4 days ago
- Business
- Fashion Network
Nodaleto opens "pop-up concept" store in Paris, launching Noda line and new partnerships
Nodaleto returns to Paris with an "immersive" pop-up store, following its first ephemeral space in 2020 that accompanied its launch. Over six years, Julia Toledano's shoe brand has evolved and matured, expanding into other product categories through collaborations under the new Noda line, which debuts with this store. The space, open until June 26, operates at number 5 rue Rouget de Lisle, steps from the Tuileries and Concorde, behind rue Saint-Honoré. After running a temporary store in Miami, USA, from 2022 to 2024, the brand — known for its Bulla Babie model with double strap and thick flared heel — now aims to reconnect with its Parisian clientele, its most active e-commerce audience, while testing physical direct sales in the market. In recent years, Nodaleto has reduced its retail network to around fifty select stores that align with the brand's positioning and market demand. In Paris, the brand maintains corners at Galeries Lafayette, Printemps and Le Bon Marché. "It made more sense for us to focus on key stores to guarantee quality partnerships, rather than quantity, and to be able to offer a high-level partnership," explains Julia Toledano, the daughter of Sidney Toledano, LVMH 's long-serving manager in charge of the Fashion Group division. Nodaleto designed the 100-square-meter space in collaboration with the Necchi Architecture studio. Wrapped in brown carpeting, the space offers a cocoon-like, concept store environment that blends elegance and quirkiness. The minimalist décor features select design objects alongside the product displays. The store also hosts Nodacafé, a beverage corner created in collaboration with Parisian café Maurice Sfez. In addition to its permanent shoe collection — including sandals priced at just over 600 euros — Nodaleto presents models from its recent collaboration with Brazilian rubber shoe label Melissa. The store also features clothing and accessories from the new Noda line, created in partnership with brands such as Mysteryjoy (jewelry), Seconde Vue (vintage and second-hand eyewear), La Galpa (sexy second-skin knitwear), and Dolla (swimwear and bikinis). The brand states in a press release, "these limited collaborations, co-imagined by Julia Toledano and designers chosen for their singular vision, extend the Nodaleto wardrobe and universe through different creative prisms, and embody elective affinities." Julia Toledano co-founded the house in 2019 with Olivier Leone, who led image creation until his departure in June 2023. From the beginning, the brand has focused on product quality, with production based in Venice, Italy, and a high-end market positioning. She describes her style as "an exploration of vintage nostalgia mixed with modern references, always playful and chic." She adds, "I design with the conviction that a wardrobe should complement an active lifestyle and support everyday life. This has always been my intention with Nodaleto: to create pieces that are joyful, chic, timeless and grounded in reality," she says.
Asharq Al-Awsat
04-03-2025
- Entertainment
- Asharq Al-Awsat
At Dior, Maria Grazia Chiuri Riffs on Ruffs, History
The past and present collided in a dreamlike spectacle at Dior's fall 2025 show in Paris, where Maria Grazia Chiuri riffed on ruffs — both literally and literarily. Inspired by Orlando, Virginia Woolf's time-traveling protagonist, the ready-to-wear collection spun historical silhouettes into a vision of fluid, ever-evolving femininity. If this is indeed one of Chiuri's last collections, as rumors suggest, she's leaving on a high. Jisoo chaos Absolute mayhem erupted when Jisoo arrived. The K-pop megastar and Dior ambassador was mobbed the second she stepped into the Tuileries annex, setting off a full-blown fan riot. Security scrambled, screams pierced the air, and for a moment the flashing cameras threatened to turn the fashion show into a concert. Inside, once the commotion settled, Natalie Portman, Elle Macpherson, and Isabelle Adjani took their seats, watching as giant volcanic rocks descended from the ceiling, transforming the venue into something raw, primal and unexpected. Orlando meets pirates meets power dressing Chiuri has always played with history but this season she made it more dynamic. The white shirt, one of her enduring signatures, reappeared, this time with dramatic, removable ruffs, an explicit nod to Orlando that gave wearers the power to shift between past and present. From there, things took a more unexpected turn. Billowing pirate-style pantaloons, trailing lace scarves and severe ecclesiastical coats lined with tulle set a moody, gothic tone. Fur-like collars and exaggerated ruffs heightened the drama, while knee-high socks with leather shoes grounded the look in something tougher, more pragmatic. The interplay of structure and fluidity was key. Black velvet ribbons tied with baroque pearls mimicked dematerialized crinolines, while intricate cut-out and appliqué embroidery clashed against sleek technical outerwear. Bustiers over masculine jackets continued Chiuri's quiet rebellion against traditional power dressing and the tailcoat's return added another element of historical play. Then came the day's biggest throwback: the "J'adore Dior" T-shirt, a Galliano-era relic, made its return — this time on a model who looked particularly miserable. Was this intentional artistic direction, a comment on nostalgia, or just an unfortunate accident? The jury's out. A feminist vision — with a touch of swagger Chiuri's feminism is nothing new but this season it felt sharper. From Diana the Huntress to Joan of Arc, she has always championed women who wield power on their own terms. Here, she let the clothes do more of the talking — gender-bending silhouettes, the subtle subversion of historical formality, the tension between softness and structure. Unlike past Dior creative directors — John Galliano's theatrical excess, Raf Simons's cerebral minimalism — Chiuri has never been one for shock value. But this collection had something more: flair and edge, a knowing wink to the past but with enough bite to feel modern. The show's staging felt like a primal act of creation. Smoke billowed from the ground, giant crystals jutted up from the floor and volcanic rocks loomed above, as if the entire scene was an ancient landscape caught mid-formation. It was a radical shift from the dreamy, overtly feminine backdrops often accompanying Chiuri's collections — this felt raw, unsettled, even a little dangerous. Inside the venue, the clothes weren't the only topic of conversation. The real buzz was whether Chiuri was imminently exiting the LVMH-owned maison. Meanwhile, fashion insiders were already looking ahead. It's been called fashion's worst-kept secret that Loewe's Jonathan Anderson is set to take over, not just for women's, but possibly for both men's and women's lines, an unprecedented move that could reshape Dior's entire creative direction.
The Independent
04-03-2025
- Entertainment
- The Independent
At Dior, Maria Grazia Chiuri riffs on ruffs, history and gender-bending elegance
The past and present collided in a dreamlike spectacle at Dior's fall 2025 show in Paris, where Maria Grazia Chiuri riffed on ruffs — both literally and literarily. Inspired by Orlando, Virginia Woolf's time- and gender-traveling protagonist, the ready-to-wear collection spun historical silhouettes into a vision of fluid, ever-evolving femininity. If this is indeed one of Chiuri's last collections, as rumors suggest, she's leaving on a high. Jisoo chaos: when a runway show turns into a frenzy Absolute mayhem erupted when Jisoo arrived. The K-pop megastar and Dior ambassador was mobbed the second she stepped into the Tuileries annex, setting off a full-blown fan riot. Security scrambled, screams pierced the air, and for a moment the flashing cameras threatened to turn the fashion show into a concert. Inside, once the commotion settled, Natalie Portman, Elle Macpherson, and Isabelle Adjani took their seats, watching as giant volcanic rocks descended from the ceiling, transforming the venue into something raw, primal and unexpected. Orlando meets pirates meets power dressing Chiuri has always played with history but this season she made it more dynamic. The white shirt, one of her enduring signatures, reappeared, this time with dramatic, removable ruffs, an explicit nod to Orlando that gave wearers the power to shift between past and present. From there, things took a more unexpected turn. Billowing pirate-style pantaloons, trailing lace scarves and severe ecclesiastical coats lined with tulle set a moody, gothic tone. Fur-like collars and exaggerated ruffs heightened the drama, while knee-high socks with leather shoes grounded the look in something tougher, more pragmatic. The interplay of structure and fluidity was key. Black velvet ribbons tied with baroque pearls mimicked dematerialized crinolines, while intricate cut-out and appliqué embroidery clashed against sleek technical outerwear. Bustiers over masculine jackets continued Chiuri's quiet rebellion against traditional power dressing and the tailcoat's return added another element of historical play. Then came the day's biggest throwback: the 'J'adore Dior' T-shirt, a Galliano-era relic, made its return — this time on a model who looked particularly miserable. Was this intentional artistic direction, a comment on nostalgia, or just an unfortunate accident? The jury's out. A feminist vision — with a touch of swagger Chiuri's feminism is nothing new but this season it felt sharper. From Diana the Huntress to Joan of Arc, she has always championed women who wield power on their own terms. Here, she let the clothes do more of the talking — gender-bending silhouettes, the subtle subversion of historical formality, the tension between softness and structure. Unlike past Dior creative directors — John Galliano's theatrical excess, Raf Simons's cerebral minimalism — Chiuri has never been one for shock value. But this collection had something more: flair and edge, a knowing wink to the past but with enough bite to feel modern. When your runway looks like the birth of the earth The show's staging felt like a primal act of creation. Smoke billowed from the ground, giant crystals jutted up from the floor and volcanic rocks loomed above, as if the entire scene was an ancient landscape caught mid-formation. It was a radical shift from the dreamy, overtly feminine backdrops often accompanying Chiuri's collections — this felt raw, unsettled, even a little dangerous. Whispers of change: who takes over Dior? Inside the venue, the clothes weren't the only topic of conversation. The real buzz was whether Chiuri was imminently exiting the LVMH-owned maison. The soundtrack's refrain, 'Once upon a time, if I had but time,' felt like an unsubtle nod to the speculation. Was this her ready-to-wear swansong for Dior? Many were convinced. Meanwhile, fashion insiders were already looking ahead. It's been called fashion's worst-kept secret that Loewe's Jonathan Anderson is set to take over, not just for women's, but possibly for both men's and women's lines, an unprecedented move that could reshape Dior's entire creative direction.
Associated Press
04-03-2025
- Entertainment
- Associated Press
At Dior, Maria Grazia Chiuri riffs on ruffs, history and gender-bending elegance
PARIS (AP) — The past and present collided in a dreamlike spectacle at Dior's fall 2025 show in Paris, where Maria Grazia Chiuri riffed on ruffs — both literally and literarily. Inspired by Orlando, Virginia Woolf's time- and gender-traveling protagonist, the ready-to-wear collection spun historical silhouettes into a vision of fluid, ever-evolving femininity. If this is indeed one of Chiuri's last collections, as rumors suggest, she's leaving on a high. Jisoo chaos: when a runway show turns into a frenzy Absolute mayhem erupted when Jisoo arrived. The K-pop megastar and Dior ambassador was mobbed the second she stepped into the Tuileries annex, setting off a full-blown fan riot. Security scrambled, screams pierced the air, and for a moment the flashing cameras threatened to turn the fashion show into a concert. Inside, once the commotion settled, Natalie Portman, Elle Macpherson, and Isabelle Adjani took their seats, watching as giant volcanic rocks descended from the ceiling, transforming the venue into something raw, primal and unexpected. Orlando meets pirates meets power dressing Chiuri has always played with history but this season she made it more dynamic. The white shirt, one of her enduring signatures, reappeared, this time with dramatic, removable ruffs, an explicit nod to Orlando that gave wearers the power to shift between past and present. From there, things took a more unexpected turn. Billowing pirate-style pantaloons, trailing lace scarves and severe ecclesiastical coats lined with tulle set a moody, gothic tone. Fur-like collars and exaggerated ruffs heightened the drama, while knee-high socks with leather shoes grounded the look in something tougher, more pragmatic. The interplay of structure and fluidity was key. Black velvet ribbons tied with baroque pearls mimicked dematerialized crinolines, while intricate cut-out and appliqué embroidery clashed against sleek technical outerwear. Bustiers over masculine jackets continued Chiuri's quiet rebellion against traditional power dressing and the tailcoat's return added another element of historical play. Then came the day's biggest throwback: the 'J'adore Dior' T-shirt, a Galliano-era relic, made its return — this time on a model who looked particularly miserable. Was this intentional artistic direction, a comment on nostalgia, or just an unfortunate accident? The jury's out. A feminist vision — with a touch of swagger Chiuri's feminism is nothing new but this season it felt sharper. From Diana the Huntress to Joan of Arc, she has always championed women who wield power on their own terms. Here, she let the clothes do more of the talking — gender-bending silhouettes, the subtle subversion of historical formality, the tension between softness and structure. Unlike past Dior creative directors — John Galliano's theatrical excess, Raf Simons's cerebral minimalism — Chiuri has never been one for shock value. But this collection had something more: flair and edge, a knowing wink to the past but with enough bite to feel modern. When your runway looks like the birth of the earth The show's staging felt like a primal act of creation. Smoke billowed from the ground, giant crystals jutted up from the floor and volcanic rocks loomed above, as if the entire scene was an ancient landscape caught mid-formation. It was a radical shift from the dreamy, overtly feminine backdrops often accompanying Chiuri's collections — this felt raw, unsettled, even a little dangerous. Whispers of change: who takes over Dior? Inside the venue, the clothes weren't the only topic of conversation. The real buzz was whether Chiuri was imminently exiting the LVMH-owned maison. The soundtrack's refrain, 'Once upon a time, if I had but time,' felt like an unsubtle nod to the speculation. Was this her ready-to-wear swansong for Dior? Many were convinced. Meanwhile, fashion insiders were already looking ahead. It's been called fashion's worst-kept secret that Loewe's Jonathan Anderson is set to take over, not just for women's, but possibly for both men's and women's lines, an unprecedented move that could reshape Dior's entire creative direction.
