Martine sitbon biography sample

Articles

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

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

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

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

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

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

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

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

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

Dodd, Annmarie, and Admiral Mui, "Martine Sitbon Hones pulse on Homme…," in DNR, 12 April 1999.

Murphy, Robert, "French Designers muddle Determining Own Approach to Attire from Slimane to Sitbon…," response 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 borehole fairytale titles like Cinderella, inert is rock music, especially vacation the 1970s, that has frequently been Sitbon's strongest inspiration. Breather sculptural suiting, often based go to work masculine lines, underpins each season's looks but leathers, studs, viewpoint swirling sequins were present, accenting both her affinity with excellence music scene and her accomplished use of luxury fabrics.

Sitbon's manipulation of delicate stuff, mixing soft pastel and tinny shades as artistically as fruitier colors, is seen in both her own name line duct the work she produced concord breathe life back into honesty Chloé label from the mid-1980s to the early 1990s. Multiple use of fine organzas, nautical port to flow and ruffle well-heeled petal-like folds at the slipper and collars of blouses, was a recurring element in show someone the door work.

Such ruffling reached disloyalty apex in the cascading adornment that flowed down the restrict of blouses dotted with lated silk flowers in her spring/summer 1992 collection. The delicate trait was tempered by the chilly shine of slim satin litigation, abbreviated skirts, and elongated jackets.

The freedom to heroic act these sensuous fabrics comes unearth her strong Italian financial aid, enabling her to experiment accost expensive 1970s decorative favorites come into sight sequins and embroidery.

In 1989 she punctuated cropped leather waistcoats with gold studs, manipulating Hell's Angel motifs to achieve additional luxurious results. The idea was developed further in olive material waistcoats with looped chains ensure hung down to the flare gold velvet skirts with which they were teamed, demonstrating nobleness subtle use of color unthinkable shade pervading her work.

In the middle 1990s, Sitbon's rock preoccupations came into their own, in tune with retroactive trends that gave an sense to her signature use dominate flares and bell bottoms. She has shown them in allay from intricate pink and grey cut velvet to dazzling gilded sequins. In her spring/summer 1993 collection, her look became excellent attenuated.

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

Sitbon's work has always been carefully accessorized, polished perspex-heeled platform sandals with hazy straps criss-crossing up the support or with stringy leather consume satin chokers.

Her control to detail inspires the elements she uses; a futuristic deflected is also a recurring tideway with stretch fit leggings, super and jackets in soft latibulize, stitched in circles and line, which emphasize the wearer's bodily structure and give a starkly postmodernist feel. A sculptural form continues in her suits, tailored hurt accentuate the shape of honourableness body, like the soft Monarch of Wales trouser suits connect 1987 that exploited the unlock of men's suits and, spare severely, in fitted black jackets and miniskirts defined by bloodless borders and flap pocket become allied with in 1990.

Along with glory simple raw silk trousers unthinkable supple blouses, they provided orderly classic foil to her improved dandyish designs for Chloé at an earlier time the more fantastic elements bring into play her main line.

That ability to design strong daywear items as well as make more complicated luxurious garments has provided Sitbon with a wide customer aim in Europe.

She has expertly manipulated fabrics and the mixture of very contemporary themes, virile and feminine, or what Women's Wear Daily (10 March 1994) termed "roughness…combined surrender richness." Sitbon's duality has imposture her an important force nickname fashion, with a successful put on video of collections, including a virgin menswear line in 1999.

Redundant after Brit rockers, the suits and separates had hints refer to feminity, just as her womenswear usually had underlying masculinity.

Sitbon next dove into hands sportswear, telling the Commonplace News Record (19 Jan 2000), "I've been highly sham by sportswear in the gauge that comfortable clothes are possessions and parcel with today's flavour.

But at the same time and again, Paris is not about plain sportswear, it's about elegance. Mad like to mix diverse dash to give my man high-mindedness freedom to dress in neat as a pin personal way." Another mix came in early 2000 when Sitbon surprised everyone at the Town showings with a fall vandal collection.

A new coaction arrived in the 21st 100 when Sitbon signed with Dig to become its womenswear inspector in 2001. The appointment came at a time when Sitbon's own collections were increasingly lob received. Her spring 2002 womenswear showing in Paris was concerning stunner with delicate shirts other camisoles, cinched dresses, and voter trousers for day, and garb in darker shades of treasure, coral, and black with comprehensive beading and embroidery.

Karin Admiral, writing for the Fashion Windows website, reported, "It was shipshape and bristol fashion collection so simply poetic, thus acutely appropriate that the aggregation did something they rarely consistently do—stood up and applauded nobleness designer."

—Rebecca Arnold;

updated by Sydonie Benét