Latest news with #VICs
Yahoo
4 days ago
- Yahoo
A Pennsylvania Man Pleads Guilty to Selling Fake Picasso and Basquiat Paintings
A Pennsylvania man pled guilty on May 29 to selling works falsely attributed to Joan Miró, Pablo Picasso, Andy Warhol, and other notable artists. According to the U.S. Attorney's Office, the man, 77-year-old Carter Reese, of Reading, was charged with one count of wire fraud and one count of mail fraud for an alleged art forgery scheme active between February 2019 and March 2021. He was accused of misrepresenting artworks as genuine creations from some of the most decorated names in modern and contemporary art, including Jean-Michel Basquiat, Roy Lichtenstein, Keith Haring, Fernand Léger, and Francis Bacon—all of whom have eight- or nine-figure auction records. More from Robb Report Old Forester's President's Choice Single-Barrel Bourbon Is Making Its National Debut Pizza, Parties, and Palazzos: How Mytheresa Is Winning over VICs Richard Simmons Called This $7 Million Hollywood Hills Estate Home for Decades The Philadelphia Inquirer reported that the Harvard-educated Reese worked at Pottstown's Hill School as a fine arts and history teacher and later as director of admissions. (The article added that Reese and his wife were old neighbors of Taylor Swift in Wyomissing before she moved to Nashville.) He was an avid antiques collector, with a collection that held some 17,000 toys, Oriental rugs, and furniture, among other objects. In court documents, he claimed the collection had a total value of more than $6 million. The forgery scheme was discovered through a joint investigation by members of the FBI's Art Crime Team working in Philadelphia and Miami, and is being prosecuted Assistant United States Attorneys Ruth Mandelbaum and Jason Grenell. Reese is set to be sentenced on September 12 and faces a potential 40-year prison term. Best of Robb Report The 10 Priciest Neighborhoods in America (And How They Got to Be That Way) In Pictures: Most Expensive Properties Click here to read the full article.
Fashion Network
01-05-2025
- Entertainment
- Fashion Network
Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever
This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel. Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured. That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April. One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o. The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales. It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer. Hence, pre-show sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic. Fashion Network: Why did Chanel come to show in Como? Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect. Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer. FN: Why are cruise collections so important for Chanel? BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment. FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim? BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product. We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio. FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake? BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle. FN: And why specifically did you acquire 35% of Mantero? BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs. So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money. We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good. FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair? BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised. FN: What are your plans for dealing with Trump tariffs in the U.S.? BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.
Fashion Network
01-05-2025
- Entertainment
- Fashion Network
Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever
This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel. Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured. That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April. One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o. The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales. It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer. Hence, pre-show sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic. Fashion Network: Why did Chanel come to show in Como? Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect. Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer. FN: Why are cruise collections so important for Chanel? BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment. FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim? BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product. We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio. FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake? BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle. FN: And why specifically did you acquire 35% of Mantero? BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs. So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money. We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good. FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair? BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised. FN: What are your plans for dealing with Trump tariffs in the U.S.? BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.
Fashion Network
01-05-2025
- Entertainment
- Fashion Network
Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever
This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel. Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured. That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April. One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o. The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales. It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer. Hence, pre-show sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic. Fashion Network: Why did Chanel come to show in Como? Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect. Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer. FN: Why are cruise collections so important for Chanel? BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment. FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim? BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product. We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio. FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake? BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle. FN: And why specifically did you acquire 35% of Mantero? BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs. So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money. We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good. FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair? BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised. FN: What are your plans for dealing with Trump tariffs in the U.S.? BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.
Fashion Network
30-04-2025
- Entertainment
- Fashion Network
Chanel's love letter to Italy at Lago di Como cruise show
Chanel kicked off the international cruise season with an elegantly staged show Tuesday evening at Villa D'Este that was a telling expression of founder Coco's long-time love of the Italian peninsula. Specifically referencing Coco's great friendship with master filmmaker Luchino Visconti, whose noble family once owned Villa Erba next door. While a unifying theme in the show was the famed star of Visconti's films, Romy Schneider, with several models done up with the Austrian actress' smoldering hairstyle style. For the final look, a side-slit white satin column, the model's haircut mimicked the messy-shirt look of Schneider in the comedy anthology "Boccaccio '70", where – directed by Visconti - she played a housewife whose aristocrat husband cheats on her, leading Romy to successfully demand payment from her spouse for sex. Chanel dressed Schneider in that film, and this collection featured updated references to the pink cloqué blouse and blue, gold lame dresses and silver lame lingerie that Coco created for Boccaccio '70. Movie star glamour al'Italiano throughout a show where Keira Knightley, Anna Mouglalis, Lupita Nyong'o, Margaret Qualley, Caroline de Maigret, Anamaria Vartolomei, and Carlotta Gamba sat front row. The stars perched around metals tables, as was Sofia Coppola, a former intern and long-time friend of the house, who directed a cool teaser where model Ida Heiner strolls about the marble staircase or sunny terraces of legendary hotels in high-waisted shorts or swimsuits. This 2025 cruise collection will be the penultimate created by Chanel's hyper professional design studio, which will also handle the house's next couture collection in July in Paris. As reported, Chanel named Matthieu Blazy to be its new creative director. The former Bottega Veneta designer began working at the house in early April and will stage his debut collection for Chanel in October in Paris. Presented at sunset outside Villa d'Este, a 16th-century palace built for a Renaissance cardinal, the collection was also an artful display of an ecosystem of top-quality Italian factories that supply Chanel, three of them based near Como. Like the classical two-tone Chanel slingbacks, or natty pyramid-heel mules finished with tiny golden double "CC" logos that were made by Roweda in Parabiago. One of the first Italian resources acquired by Chanel back in 2000, Roweda today boasts 380 skilled men and women artisan boot and shoemakers. Backed up by the latest great soundtrack by sound-meister Michel Gaubert, blending electro samba remixes of tracks by the likes of Dean Martin or Michael Jackson, the cast wandered around between an audience of 400 editors, thespians and VICs, at two shows - noon and then 6p.m. Opening with a pearly white quintet, 50's femme fatale glam with dressing gown dresses, metallic trim cocktails or knit mini blazers. Classic, though certainly shorter, and shaggier wool bouclé suits looked splendid, again sourced locally. From Vimar 1991, famed for its specialist yarn making and brilliant bouclé materials that incorporate leather, cashmere, paper and even feathers. Other passages starred great metallic leather party frocks, or perfectly cut suede cocktails with faux-fur pockets trimmed in strass. Many looks accessorized by beautifully printed scarves from Mantero, probably Como's most famous silk manufacturer, in which Chanel recently announced it had acquired a 35% stake. In the wake of social media laments about Chanel jacking up prices last year, this was the house's way of reminding informed fans and trained eyes of the unique quality of its products. Pre-show, seaplanes from Aero Club Como buzzed by the hotel terrace - their machines part of the essential soundtrack of this beautiful lake. Post-show, cormorants, seagulls, and mallard ducks flew by, as Lago di Como returned to its peaceful evening silence, before a local DJ began spinning and the models dashed onto the dancefloor.
