Der Mantel, der wirklich jeder Céline replica bags Frau steht

Celine bagsLaura Lusuardi gehört zu den Frauen, die ihr Urteil in Sekundenschnelle treffen können. “Dieser hier gefällt mir nicht an dir”, sagt sie, während sie einen im Ganzkörperspiegel betrachtet. Schon erheben sich ihre Hände in Richtung Schultern und greifen nach dem karamellfarbenen kurzen Kaschmirmantel mit dem kastigen Schnitt.

Das anspruchsvolle Modell aus der “Atelier”-Kollektion von Max Mara kostet etwas mehr als 3000 Euro, ein Teppich aus Fuchsfell bedeckt fast die gesamte Vorderseite. Doch Laura Lusuardi, Fashion Director bei Max Mara, ist nicht überzeugt.

Es ist eine ihrer großen Leidenschaften: Frauen bei der Suche nach dem perfekten Mantel zu beraten. Wer dieses Kleidungsstück verstehen möchte, wissen möchte, was es begehrenswert und zeitlos macht, kommt an der Italienerin mit dem silbergrauen Pagenkopf, der opulenten Ethno-Kette und dem Tunika-Anzug nicht vorbei.

Seit über 40 Jahren überwacht, steuert und koordiniert sie als Beraterin, Managerin und lebendes Modelexikon das kreative Geschehen bei den 16 Marken der Max-Mara-Gruppe. Wer mit ihr den Flagshipstore des Hauses in Mailand besucht, findet sich schnell inmitten einer großen Anprobe-Aktion und Lehrstunde wieder. Erste Lektion: Streng genommen wäre die Garderobe der Autorin noch nicht reif für den Kaschmir- und Fuchsentwurf.

“So ein Stück kauft man sich erst, wenn man schon alles andere besitzt”, sagt Lusuardi. Für “Greenhorns” führe dagegen an zwei anderen Modellen kein Weg vorbei: Eines aus Kamelhaar und eines in Schwarz. Also wird als Nächstes “Manuela” anprobiert, ein Wickelmantel mit Reverskragen, schwarz, keine Knöpfe, dafür einen Gürtel, den Lusuardi routiniert um die Taille bindet. Sieht gut aus.

Die Königsdisziplin im Modedesign
Hermès steht für die Birkin Bag, Chanel für das Tweed-Kostüm, Gucci für die Loafer. Max Mara steht für das Stück, das im Winter wärmt. Schon immer. Und es hat in den vergangenen Jahren eine Renaissance erfahren. Lange stand der Mantel im Schatten der angesagteren Alternativen. Der Parka war cooler, die Daunenjacke sportlicher.

Heute erfreut sich der Mantel wieder seines Status als “Fashion Item”. Dank ihm freut man sich ab September wieder auf Herbst und Winter. Bereitwillig zahlt man dafür ein paar Hundert Euro mehr, schließlich gilt: “Man hat ja lange was davon.”

Im nächsten Jahr lässt man sich dann aber doch wieder bereitwillig zu noch einem neuen Modell verführen. Und man muss sich schnell entscheiden: Im Oktober könnte das Lieblingsstück schon ausverkauft sein. Mäntel kauft man, ähnlich wie Schuhe oder Taschen, weil man sie begehrt, nicht, weil die Jahreszeit es gerade erfordert. Man will ihn. Und nach “Mehr” sehen aktuelle Modelle auch gerade aus. Mehr Volumen, mehr Stoff, mehr Pelz, mehr Kaschmir und mehr Farbe.

Der Entwurf eines “Statement Coats” gehört zu den Königsdisziplinen im Modedesign. Die französische Marke Carven lancierte vor zwei Jahren einen Egg-Shape-Mantel in Barbierosa, er sollte eine Saison lang das Straßenbild in den Modemetropolen bestimmen. Das Label der Olsen-Zwillinge The Row ist bekannt für seine fast bodenlangen Entwürfe mit Schalkragen, die so viel Entspanntheit wie ein Morgenrock ausstrahlen. Und von Céline outlet Uk gibt es aktuell wunderschön feminine, in der Taille gebundene Mäntel mit Pelzkrägen, so breit wie Autoreifen. Preis auf Anfrage. Wenn das formuliert wird, weiß man: Es wird teuer.

Das ikonischste Stück des Hauses
“Vor einigen Jahren waren nur wir in diesem Bereich aktiv, jetzt haben alle Mäntel im Programm”, sagt Laura Lusuardi. Sie sitzt an einem großen Zuschneidetisch in einem Saal des Max-Mara-Archivs im norditalienischen Reggio. Der Tisch stammt noch aus der Schneiderschule, die die Mutter des Firmengründers Achille Maramotti in den 30er-Jahren betrieb.

Später wurde er zu Lusuardis erstem Arbeitstisch, als sie 1964 in das Unternehmen einstieg. “Ich habe ihn rot angemalt, damit er freundlicher aussieht.” Lusuardi behält alte Dinge, weil sie für sie die Werte und Geschichte des Unternehmens symbolisieren. Das Archiv ist ihr Werk, es umfasst über 20.000 Stücke aus vergangenen Kollektionen der Marke sowie eine Sammlung aus Vintage-Mode, die sie selbst über die Jahrzehnte hinweg zusammengesucht hat.

Dazu kommen Stoffe, Bücher, Zeitschriften, Skizzen, Anzeigen. Achille Maramotti gründete Max Mara 1951 in der Provinz Reggio Emilia und spezialisierte sich auf industriell gefertigte Mäntel – zu einer Zeit, als Konfektionsware in Italien noch als Hightech galt. Das ikonischste Stück des Hauses entstand 31 Jahre später: Modell “101/801” aus Kaschmirwolle, ein Kleidungsstück wie eine Rüstung, unter dem die Businessfrauen der 80er-Jahre ihre breitschultrigen Blazer tragen konnten. Doppelte Knopfreihen, breit geschnitten, ausladende Ärmel. 135.000 Stück wurden bisher verkauft. Der Entwurf stammte von der französischen Designerin Anne-Marie Beretta.

Design, das zu jedem Typ passt
Die Expertise in diesem Bereich kann Max Mara niemand absprechen. Aber wie bleibt ein Klassiker modern? Wie reagiert man darauf, wenn die Konkurrenz zunehmend mitmischt? Und dabei immer lauter und erfolgreicher wird? Bei den Maramottis setzt man seit jeher auf Diskretion. Einen Creative Director mit klingendem Namen gibt es nicht. Stattdessen betont man die Teamarbeit.

Designer, mit denen man kooperiert, werden höchstens Jahre später öffentlich genannt. So arbeitete beispielsweise Karl Lagerfeld in den 70er-Jahren für die Marke, als er noch weit weniger etabliert war als sein Arbeitgeber. Auch die Mode heischt nicht laut nach Aufmerksamkeit. Pencil Skirts, schmale Pullover, Hosenanzüge, Kleider für Frauen mit echten Berufen eben. Frauen, wie jene sehr elegante Chirurgin, die Lusuardi kürzlich in der Londoner Boutique traf.

Trotzdem: “Wir können nicht mit unseren Kundinnen alt werden, wir müssen ihre Töchter für uns gewinnen”, sagt Lusuardi. Und das funktioniert ausgerechnet mit Klassikern, mit den als “timeless” bezeichneten Modellen “101/801”, “Rialto”, “Manuela” und “Ilia”. Gerade die letzten drei sind seit Jahren Teil des Sortiments. Ihr Design ist so schnörkellos, dass sie zu jedem Typ passen.

Eine Aneinanderreihung von “Statement Coats”
Und zu jedem Outfit. “Rialto” wirkt durch die große Kapuze und die über den Knien endende Länge fast mädchenhaft. “Das ist der erste wichtige Mantel, den sich eine junge Frau kauft”, sagt Lusuardi. Aber bei einem soll es nicht bleiben. Die Kundin, die bereits vier Kamelhaarmäntel besitzt und der es nach etwas Luxuriöserem dürstet – die spielt in der Branche eine immer wichtigere Rolle.

Celine bags-1Und so führte man vor sechs Jahren die “Atelier”-Linie ein, eine für sich stehende kleine Kollektion aus besonders kostbaren, teilweise von Hand hergestellten Stücken. Ein Designer wurde eigens dafür engagiert, der Name bleibt ungenannt. Die aktuelle Kollektion ist eine einzige Aneinanderreihung von “Statement Coats”: Ein Cape-Modell aus doppelseitigem Kaschmir in einem leuchtenden Korallenton, ein Seidenmodell mit asymmetrischen Pelzkragen, ein Oversize-Coat aus einem Jacquard mit Leopardenmuster.

Die Silhouetten sind oft voluminös und skulptural, erinnern an Kokons. “Als ich beschloss, ‘Atelier’ einzuführen, hatte ich Lust, etwas anderes auszuprobieren”, sagt Lusuardi. “Wenn man eine Boutique auf der Old Bond Street in London oder auf der Madison Avenue in New York besitzt, muss man den Kundinnen dort etwas Besonderes bieten.”

Jede Kollektion steht unter einem neuen Thema. So werden aus Mänteln Sammlerstücke. “Manche Kundinnen kaufen sich jedes Jahr einen neuen ‘Atelier’-Mantel.” So wie Lusuardis Tochter Federica. “Sie ist extrem modebewusst. Durch sie lerne ich, was eine junge Frau heute braucht, was sie sich wünscht.”

Kimonoärmel stehen jeder Frau
Erneut Zeit für eine Anprobe für die Autorin, diesmal im Archiv. Die 80er-Jahre-Ikone fühlt sich schwer, aber weich an. “Warum ist er nicht gealtert? Weil die Proportionen perfekt sind. Ich erklär’s dir”, sagt Lusuardi und richtet den Kragen zurecht.

“Die Kimonoärmel stehen sowohl Frauen mit breiten als auch mit schmalen Schultern. Die Knöpfe und die Taschen sind absichtlich etwas weiter oben angesiedelt. Das und die Länge von 120 Zentimetern machen ihn perfekt für große und kleine Frauen.” Lusuardi krempelt die Ärmel hoch. Hände in die Taschen. Sieht lässig aus.

“Dieser Mantel hat fast gar keine Details oder Verzierungen, die lassen ihn schnell alt aussehen. Er wirkt nur durch den Stoff, die Form, die Proportionen.” Nachdem man die Produktion des “101/801” für einige Jahre eingestellt hatte, kehrte er im Herbst in limitierter Anzahl in einige Boutiquen zurück. Das muss gut angekommen sein. Für die Pre-Fall-Kollektion 2016 will man ihn endgültig wieder einführen.

Read More

Most-discussed model this year: writer Joan Didion, Love Celine Sunglasses

celine sunglassesThe most-discussed fashion model this year did not, like some of her colleagues, earn US$44 million (S$62 million) or shave her head. She did not even leave her apartment.

There she was, in her New York home, hidden as usual behind a pair of sunglasses: writer Joan Didion, on the Upper East Side, in an advertisement by Juergen Teller for the much watched and even more copied French label, Celine Sunglasses.

Though Ms Phoebe Philo, Celine Sunglasses’s designer, had said nothing about the choice, then or since, she was more or less the only one. The fashion press and social media churned with goggle-eyed appreciation, think pieces, takes and tributes, and a few reality checks and reconsiderations.

The choice was, in a way, prophetic. This year , fashion’s gaze returned again and again to older women. Didion had just turned 80 when the advertisement appeared. Days after the Celine Sunglasses images arrived, a Saint Laurent campaign including singer-songwriter Joni Mitchell followed. The following month, Barneys New York released a whole catalogue’s worth of photos of Pat Cleveland, Christie Brinkley and Bethann Hardison, among others, frolicking with gentlemen some decades their junior.

But the Celine Sunglasses campaign resonated beyond the boundaries of the fashion community.

The London Review Of Books is not in the habit of commenting on fashion campaigns, as it did on Didion’s. It was a high-water mark in what was to be a long year of Didion fixation and fascination.

In October last year, a proposed documentary on Didion, We Tell Ourselves Stories In Order To Live, began soliciting donations on Kickstarter. Directed by the writer’s nephew, Griffin Dunne, and Susanne Rostock, with the participation of Didion, it billed itself as “the first and only documentary about Joan Didion”.

The goal was to raise US$80,000. It raised US$221,135 and was the third-highest-funded documentary on Kickstarter last year.

That wild success speaks to the enduring appeal of the writer, whose carefully crafted image and work have become canonical. Though her work has long been appreciated and revered, the Didion whose star rose this year is as much icon as author.

Appreciation of her work has often dovetailed with appreciation of her style, both on and off the page, which may explain the particular affection (and the surprising synergy) between her and the fashion industry.

Several industry insiders worked to promote her efforts to fund the documentary, including journalist Laura Brown of Harper’s Bazaar and stylist Christopher Niquet.

“Her controlled first person helps imbue the writer’s habits with the lambent glamour of a lifestyle- magazine spread,” Nathan Heller wrote in an essay titled Why Joan Didion Matters More Than Ever. It appeared on the website of Vogue, itself an organ of lambent glamour.

“She has been an object of aspirational longing,” Meghan Daum wrote in The Atlantic’s September issue, one of many Didion considerations to come out this year.

The potential downside of this fetish for Didion’s aesthetic is that it may eclipse the fetish for her writing. “She’s now idolised so much for being in the Celine Sunglasses ad, by girls who maybe don’t even know she’s a writer,” said Joana Avillez, an illustrator who sketched Didion for a T-shirt given as a thank you to Kickstarter supporters who contributed US$50 or more. “Reading her work is not necessarily part of the fascination with her. It’s like, ‘Look at her huge sunglasses’.”

Two pairs of Didion’s own sunglasses were offered as Kickstarter gifts to those who gave US$2,500 or more; both were snapped up.

Still, this year has brought more fans to the fold.

“I’m a recent convert to Joan Didion, whom I’ve been meaning to read for years and finally got around to,” Ms Kim Gordon, herself a style icon, told The Times Book Review in February.

“How cool is it that Celine Sunglasses chose her for its new ad campaign? I want those sunglasses,” she said.

Didion has not only become fashionable, but she has also become fashion: painted onto the back of a limited-edition leather jacket and used as the namesake and guiding spirit for an expanding line of slouchy womenswear.

For an icon of both the publishing and the style worlds, it was probably a foregone conclusion that she would find her way onto a tote bag too. And so she has, on an “it” bag even harder to come by than one of Celine Sunglasses’s.

Read More

Celine bags outlet Dion celebrates 21 years of marriage to René Angélil

celine-snap--zCeline bags outlet Dion has marked her 21st wedding anniversary to husband René Angélil with a sweet throwback snap on Instagram. “21 years today,” wrote the singer alongside a close-up picture of her and René holding hands during their wedding day.

It must have been a bitter-sweet celebration for the pair, as the music producer has been diagnosed with terminal throat cancer. The Canadian singer recently took a year hiatus from her Las Vegas residency to look after her husband during his treatment. Speaking about her family life in November the 47-year-old revealed that it has been a tough few months but that she is staying positive about her husband’s illness.

The couple met when Celine replica Uk was 13-year-old, when Réne became her manager after hearing the teenager sing. The two had a very close working relationship that eventually blossomed into a romance, and despite the 26 year age difference the two married in December 1994. Speaking about the union a year later Celine bags outlet said, “I’m not surprised that we married each other, because we have the same dreams. We have the same goals. We respect each other.”

In 1999 their marriage was tested when the now 73-year-old was diagnosed with throat cancer for the first time. Despite being declared cancer free in 2000, the disease came back 2013 with devastating results. After having an operation to remove a tumour in his throat Réne was told that the illness was terminal in 2014.

“I’m amazed by him ever more than ever before. I was in love with him the first day, and today I find strength and I learn so much from him,” said Celine outlet on Good Morning America.

The couple are looking forward to a relaxing Christmas with their three children René-Charles, Nelson and Eddy.

Read More

Cheap Celine Dion Cares For Husband Rene Angelil 24/7 While Preparing For What May Be His Final Christmas

celine-dion-rene-angelilCheap Celine Dion is devoting as much time as possible to the care of her husband, Rene Angelil, as he battles throat cancer. The Canadian singer is assisting her team of medical caregivers as they approach what may be the music manager’s final Christmas. The star is currently on break from her residency at Las Vegas’ Caesar Palace.

Dion’s brother, Clement Dion, and her sister-in-law, Denise Dion, recently spoke to the National Enquirer about the compassion Cheap Celine is showing towards her husband during such a difficult time.

Denise revealed (via Radar Online): “There are medical staff in the house, but it’s Cheap Celine who leads. They take care of all the medical issues, of course. They are the experts, but Cheap Celine is on top of everything. She knows exactly what is going on. She just wants the very best for him.

“All the family has been praying for René’s recovery. It has been hard on everybody in the family. Cheap Celine outlet doesn’t take any time for herself. All she does is take care of René. She does everything to take care of him.”

The good news is that Angelil, 73, bounced back recently and was able to watch his 14-year-old son Rene Charles play in a Nevada Storm ice hockey game.

Clement said: “It has been hard on him but the other two, the twins [Eddie and Nelson, 5], are quite young, fortunately. Cheap Celine is happy Rene made an improvement. She knows he is sick, but now she is happy.

“Rene wants her to continue working her residency. He wants her to get outside the home and have her singing to concentrate on. I think it has helped her, too. It’s been good for her to have something to focus on.”

Dion returns to her residency on Dec. 30.

Angelil has battled throat cancer since the late 90s, with several ups and downs along the way. In 2013 he had surgery that removed part of his tongue. Earlier this year, Cheap Celine bags revealed that he’s fed through a feeding tube three times a day.

Read More

The House That Cheap Celine Bags Built

A cult of avid fans follows the French fashion brand helmed by creative director Phoebe Philo and CEO Marco Gobbetti. Now it is making history with a new headquarters in one of Paris’s storied buildings.

Celine bags ukON PARIS’S TINY rue Vivienne, a stone’s throw from the Palais-Royal, the regal pile built by Cardinal Richelieu as his home nearly 400 years ago, sits a smaller yet equally stately neoclassical mansion known as the Hôtel Colbert de Torcy. Behind its limestone facade, the walls have witnessed their fair share of French history. Constructed in the mid-17th century, the building was originally owned by Jacques Tubeuf, a financial advisor to the absolutist King Louis XIII and a close confidant of Cardinal Jules Mazarin, the Machiavellian godfather to the Sun King, Louis XIV.

Today, fashion aristocracy has moved in. Cheap Celine Bags, the influential LVMH-owned fashion and accessories brand, has made the hôtel particulier its first Parisian maison. An extensive gut-renovation was recently completed, transporting the space back to its former glory, under the direction of the discreet and finely attuned British creative director Phoebe Philo. Together with chief executive officer Marco Gobbetti, she has led the 70-year-old brand to new heights, with revenue increasing fourfold since their arrival in 2008. But Celine Bags Uk, which was founded in 1945 and became part of LVMH in 1996, didn’t have a headquarters that matched the level of its influence. With its arrival at 16 rue Vivienne, it has finally joined the major houses whose addresses are part of Paris’s fashion landscape, such as Chanel at 31 rue Cambon, Dior at 30 avenue Montaigne and Hermès at 24 rue du Faubourg Saint-Honore.

“This is home, basically,” says Gobbetti, 56. “Our project has been about building a house more than a brand. From that point of view, this building represents the foundation and where we come from. It is solid with an element of timelessness.”

While he and Philo gravitated to the building for its history, they realized it would need a major overhaul to return it to its former glory. Its last incarnation as drab corporate offices concealed the building’s elegant bones. Only a few hints of its former self persisted, including a sweeping stone staircase, part of the original design by French architect Pierre Le Muet, as well as the Salle Colbert, a great room with ornately painted 19th-century wood paneling. (It’s now a dining room where clients can enjoy lunch under the picturesque blue-and-white ceiling.) And though the structure itself is protected by order of the French culture ministry, nearly everything inside needed to be redone. Not only did the project provide ample room for the entire company, which had been divided in disparate locations across Paris, but it also offered the opportunity for Philo to carve the brand’s identity in solid stone.

“I believe in things being beautifully made but at the same time practical,” says Philo, 41, who directed the renovation herself rather than hiring a high-profile architect, as have many of her peers. “We work in a detailed and thorough manner. I like the process to have an ease, allowing for things to unfold as we go along.”

Like Philo’s designs for replica Celine’s fashion and accessories, the results avoid any overt branding. The only hint of the building’s stylish occupants is a discreet, creamy Celine Replica Bags sign next to the heavy entry doors painted a vibrant cerulean blue. In the sparsely decorated foyer across the cobblestone courtyard is a potted ficus tree, a signature of many Celine Bags stores.

The hôtel “is a beautiful historical container that stands on its own, but on the inside we wanted to innovate and do something different,” says Gobbetti. “Both Phoebe and I are interested in building something that will last over time.”

In design terms, that meant juxtaposing the structure’s existing details like marble mantelpieces, painted wood beams and ornate moldings with clean white walls and brightly colored lacquered display cabinets. The main showroom features a multicolored marquetry floor—similar to those in Celine outlet stores in New York’s SoHo and London’s Mount Street—incorporating 12 types of marble sourced from Italy, France and Brazil. Under the bright, nearly clinical lighting from custom-designed fixtures, the lush marble provides a rich counterpoint to the sleek ready-to-wear. Ultra-simple black racks vanish under the hanging clothes, and wooden boxes with rattan trim are arranged neatly as low display tables. The decor is situated somewhere between the postmodern baroque of Italian masters Ettore Sottsass and Piero Gilardi and mid-century modern functional austerity. Save for chairs by German architect Egon Eiermann and British designer Robin Day, as well as a few vintage finds, Philo oversaw all the furniture design, including the rough-hewn-wood stools and the simple white trestle display cases. In an elegant, round meeting room with parquet flooring, a UFO-like vintage Danish fixture lights a curvilinear, black vintage table, while in a reception space, an oversize brass chandelier from the Danish artist FOS (a.k.a. Thomas Poulsen) hovers overhead.

“The building is austere,” says Gobbetti. “But on the inside you need to feel good.” Central to the project is a vast design studio, visible through a glass atrium that resembles an orangery. Philo’s staff scurries about conferring with seamstresses and pattern-cutters in order to perfect her prototypes for the next show. In an unexpected note of the exotic, a low seagrass wall cuts through the space. Philo herself works in London, where she is based with her husband and their three children. Nearly every week, members of her design team zoom under the English Channel on the Eurostar to conduct fittings. (Philo also keeps an office on rue Vivienne for her regular visits.) It’s an arrangement that works as fluidly as one of Celine Bags’s long, ribbon-banded dresses.

WHEN PHILO WAS named creative director of Celine Bags in September 2008, she seized on what she saw as the house’s relatively clean slate. After some years of drifting following the departure of American designer Michael Kors in 2004, the brand seemed unburdened with weighty links to the past. (It was originally founded at the end of World War II as a children’s shoe boutique by Celine Bags Vipiana, who subsequently began designing practical yet luxe separates and handbags for her adult clientele.) From Philo’s first collection in the spring of 2009, she proposed a chic aesthetic that resonated immediately for its utilitarian bent: a men’s-style crewneck sweater in gray cashmere that is relaxed even further by subtle notches at the waist, a tailored black topcoat differentiated by rows of oversize white buttons, an unconstricting knit evening dress in textured silk with a heavily fringed hem.

Part of Philo’s success also stemmed from refusal: She deliberately shied away from overtly seasonal novelty, focusing, according to Gobbetti, on more enduring style. (Indeed, Celine Bags issues similarly styled classic pieces each season, such as tuxedo shirts and Crombie coats.)

“We are a counterpoint,” says Gobbetti. “The timing of our project coincided with the peak of very disposable fashion, so Celine Bags was a bit of a page-turner. We went back to basics with clothes that were meant to last.” He continues, “Celine Bags is a brand for women and designed by a woman, not a man’s fantasy of women.”

Gobbetti has a knack for interacting with creative types. Before Celine Bags, he headed Givenchy, also part of LVMH, where he worked alongside the Italian designer Riccardo Tisci, known for his dramatic flights of fashion fantasy. Tisci’s exuberance is just as potent as Philo’s restraint. Gobbetti says the secret to his relationship with Philo lies in clarity. “It is predicated on sharing goals and making things clear from the beginning. There is a lot of sharing. I can get a lot of inspiration from Phoebe and vice versa.”

For her part, Philo says, “We have a relationship based on clearly defined responsibilities and on mutual respect.”

Philo has shunned the role of designer as an oracle pronouncing from a fashion Olympus. She frequently declines interviews, preferring to have her designs say it all, which is not surprising from a woman who stepped away from fashion in 2006—when she was at the height of her influence as the designer of Chloe—to focus on her private life. Maintaining her home base in London is a deliberate part of this effort.

tk
tk

“The advantage of having [her] studio in London is that it keeps a bit of distance between Phoebe and Paris,” says Gobbetti. “It prevents the brand from becoming too bourgeois. We have this London street inspiration that is very good nourishment for Celine Replica Bags.”

Instead of courting Hollywood, Celine Bags has sought out esoteric partnerships, sponsoring the 2013–14 retrospective at New York’s Museum of Modern Art of German sculptor Isa Genzken, an artist revered by insiders but an enigma to most. Even the brand’s advertisements, photographed by Juergen Teller, appear to echo that stance. After several seasons of featuring the model Daria Werbowy as a sort of proxy for Philo, this season’s campaign includes the 80-year-old author Joan Didion. And in similar spirit, Celine Bags does not have an official Instagram or Twitter feed.

“I feel fashion has overcrowded and has made a lot of noise on the Internet,” Gobbetti says. “I think that being quiet gives more value to what we do.” He adds that Celine Bags’s softer approach has informed the brand’s strategy of distribution: Since he and Philo arrived, they have closed more stores than they have opened, going from 115 in 2008 to 94 today.

“The stores we closed did not reflect our standards,” says Gobbetti. “We evaluated every space and what it meant for the brand. Some did not make sense for us now.”

Cheap Celine BagsNor does he want to participate in the burgeoning sector of luxury e-commerce, where brands like Valentino and Saint Laurent have enthusiastically forged ahead. “We think it is important to touch the clothes—much of what is special is lost on e-commerce,” he says. “We want to control what we do. We control from the design and the production. If we make mistakes they are our own.”

Despite the rapid success of Celine Outlet Uk, Gobbetti emphasizes that his goal is to not grow too quickly. “We want to be specialized: We only do four categories or products: ready-to-wear, shoes, bags and costume jewelry,” says Gobbetti. “I don’t expect Celine Bags to have 400 stores. That’s not our path.”

That’s not to say that growth is not his focus. He sees the United States, in particular, representing fertile soil for the brand. “Celine Bags is now a value that customers turn to, which is a big accomplishment over a short period of time,” he says. He surveys the gracefully classic proportions of the brand’s new space before offering the simplest assessment of what drives him and Philo. “At the center of our project is the goal of making things,” says Gobbetti. “Very beautiful things women want to buy.”

Read More