The collection, consisting of four items for women and two for children, is scheduled to go on sale in Petit Bateau stores and at the Opéra Garnier boutique in Paris on 6 December. Just in time for Christmas.
Style.com has first dibs on the costume designs Azzedine Alaïa has come up with for the LA Phil's forthcoming Marriage of Figaro. Christopher Maltman and Dorothea
Röschmann as Count
and Countess Almaviva will wear the outfits sketched above.
The Countess's dress is reminiscent of Alaïa's signature skintight knits, as seen on Megan Fox below - bet Dorothea won't be touching any doughnuts for a while. The Count's suit marks a departure for the designer, who normally steers clear of menswear.
Admit it, you've been waiting for these a long, long time. The world's first ever Wagnerpants® have arrived courtesy of Aussie leggings legends Black Milk.
Crafted in pure polyester with a touch of spandex, the Fire Horse Legging depicts Brünnhilde riding into Siegfried's funeral pyre as Valhalla goes up in flames - whew, some eyecatching mane positioning there guys.
Don't expect any hardcore musical analysis though.
Hair (“We try to make the curls fall well, for all the parties she’ll attend after the show”) and makeup (“As HD has come into play, the audience has wanted a more natural look”) are attended to with the rigour and expertise you would expect from America's foremost fashion mag.
Maître des frocks Christian Lacroix returns to the operatic scene with his spectacular costume designs for Madama Butterfly at Hamburg Opera, combining a flamboyant palette with respect for classic Japanese forms.
In Lacroix's own words, Vincent Boussard's production subscribes to the "tradition
of Italian opera, but also incorporates elements of contemporary
theatre to be accessible to younger people."
Before founding his own couture house in Paris, the designer spent several years in Tokyo working for the Japanese royal dressmaker Jun Ashida. Asked why he loved designing for theatre, the designer replied "Because I don't like normal life. When I was younger, life began only when I was in a theatre. That was my element.I liked this world because it was larger than life, full of colour, full of music!"
By employing Lacroix, Hamburg Opera have gained not just gorgeous frocks, but also those all-important column inches in non-music areas. Something for other opera companies to think about?
Salzburg's chicest interval retreat, the Karl-Böhm-Saal, has been hosting a wardrobe full of shoes all summer. Thirty-four pairs to be specific, hanging from a ceiling as the centrepiece of an installation by Javier Perez. Imaginary
couples dance in circles around a phonograph which endlessly repeats
the same tune.
It's an apt metaphor for the dress sense of the Salzburg audience, to most of whom fashion is a foreign word.
But there were exceptions. Let's start with the most stylish of all.