Finding Myself in Fashion (23 page)

Valentino's focus had been unwavering. But the rumour mill continued to speculate that his days in fashion were numbered. In July 2007, on the occasion of his forty-fifth year in the business, the seventy-five-year-old Valentino hosted a three-day extravaganza in Rome, inviting the movers and shakers of the international fashion scene, along with a galaxy of stars, to join him. First on the agenda was the opening of a retrospective at the Richard Meier–designed Ara Pacis Museum, a stunning year-old structure built around a two-thousand-year-old Roman peace altar. Featuring three hundred dresses and rare archival material, the impressive exhibit was a testament to Valentino's prolific genius.

I was lucky enough to be one of the first people Valentino and his long-time business partner, Giancarlo Giametti, saw when they came through the door at the media preview. They made a beeline for me, and I told them how moved I was by the whole experience of coming to Rome, not only to see this retrospective but also to witness Valentino's first couture show in the city in seventeen years. For the sake of business, the Italian had religiously presented his couture collections in Paris. Now, as an act of gratitude to the city that gave him his start, Valentino paid homage to Rome. “The only thing I ever wanted to do was make women look and feel beautiful,” he told me. “I'm so proud and happy to see my life's work all together in this special city that I love so much. It really is an emotional moment for me.”

“
I just find him to be such an inspiration,” mused a statuesque and stunning Uma Thurman on her way into the museum. She was wearing a simple white column gown, flat sandals, and gold embroidered shawl. “And more than being this brilliant creative artist, he's also a good friend.”

Many of the stars who came out revealed that their relationship with the designer was more than merely professional: They had learned a lot about style from the legend. “We often holiday together,” said Liz Hurley, clad in a sexy white beaded Valentino. “And I have to be careful what I pack. He notices every little detail of what I'm wearing!”

Sarah Jessica Parker, decked out in a gold brocade vintage Valentino suit, said, “He's taught me the beauty of ultra-feminine style, and the meaning of grace and charm. Besides, his clothes just feel so good to wear!”

Other luminaries on hand included Anne Hathaway, Claire Danes, Jennifer Hudson, Eva Mendes, Claudia Schiffer, Elle Macpherson, Princess Caroline of Monaco, Princess Marie-Chantal of Greece, and a sprinkling of world-class designers. Tom Ford claimed that beyond the inspiration Valentino had given him, the two had become close friends. Diane von Furstenberg and Carolina Herrera also sang the designer's praises, and Zac Posen commented on Valentino's technical genius. “His dresses seem so light of hand, but there's so much work that goes into them. That's the sign of a great couturier.”

What was most astounding about Valentino was his longevity in the business, and his constant red-carpet appeal. Downstairs, there was a collection of creations that had been worn on an assortment of red carpets by some of the biggest luminaries of our time. From a white beaded number that Liz Taylor wore to the Oscars back in the 1960s and Jackie Kennedy's black velvet ruffles to a black-sequined lace gown worn by Sophia Loren and a white tulle dress originally worn by Audrey Hepburn, Valentino seemed to be saying there wasn't anyone he hadn't dressed. The display also included memorable dresses worn by the younger Hollywood set, such as Gwyneth Paltrow's black lace-andmesh gown; the black-and-white vintage gown that Julia Roberts wore for her Oscar win; another “Oscar win” dress, worn by Cate Blanchett, in yellow; Penélope Cruz's big flower-print ball gown; and the white
tulle fantasy Cameron Diaz wore to the Oscars. And the list went on. Beside each dress was a small screen showing video footage and press coverage of the stars in their Valentinos. We all waxed nostalgic as we remembered the impact these dresses had had on us. But what impressed me most was that any of these dresses would work as well today as they did when they first debuted. It was that timelessness that explained the master's extraordinary longevity.

After the official opening of the exhibition, Valentino and Giancarlo Giametti hosted an exclusive outdoor dinner party at the historic Temple of Venus, on a mammoth terrazzo facing the Colosseum. The event was staged by Dante Ferretti, one of the world's leading scenographers, the creator of sets for the likes of Fellini and Scorsese. Eight hundred guests, including Karl Lagerfeld, the shoe god Manolo Blahnik, and Philip Treacey, along with most of the luminaries who had attended the exhibit launch, dined on a sumptuous buffet dinner and drank countless glasses of Champagne, all in awesome surroundings. Just past midnight, an aerial dance show began. To the strains of opera, artists clad in flowing Valentino gowns sailed through the night sky. The performance culminated in a seemingly endless display of fireworks. This was over-the-top beauty at its most spectacular, a dream that only Valentino could have masterminded, and many were rendered speechless. It reminded us all of why we stay in a business that at times can seem so tough, heartless, and shallow.

“I think every designer should learn from Valentino how to make dresses!” Karl Lagerfeld told me the next day. The Chanel designer, whom I have rarely seen at another designer's show, was joined by Donatella Versace, Carolina Herrera, Giorgio Armani, and a host of other celebs from the night before to soak up the splendour of Valentino's special anniversary collection. Valentino retraced his past for this presentation, serving up a kind of “greatest hits” package, with iconic looks from every era reinterpreted with renewed gusto.

“That's precisely what I intended to do because there are so many young people now who don't know my clothes,” said the designer. “This collection will help people understand the scope of what I've
done through the years.” The eclecticism of the silhouettes, attitudes, fabrics, detailing, and construction techniques was astounding. There wasn't a dry eye in the house as a white-suited Valentino took his walk down the ultra-long runway, with music from
Tosca
punching up the passion of his life. He got a well-deserved standing ovation, not only for his efforts here but for a lifetime of creativity. It was an incredibly emotional moment for us all. Backstage, Valentino and Giametti were jubilant that their elaborate presentation had been so well received. “It was absolutely flawless,” Lagerfeld raved. And coming from that calibre of critic, the praise doesn't get any higher. “I'm so proud, so emotional,” Valentino told me. “Now I know I must go on!”

The final stop on the Valentino party circuit was a sit-down dinner for one thousand at the Parco dei Daini of the Villa Borghese, a masterpiece of Italian garden architecture. My camera wasn't allowed into the party—it was being shot exclusively for Matt Tyrnauer's documentary,
The Last Emperor
. But I was honoured to have received a personal invitation to this event, even though it felt a little strange going on my own. Actually, it was a tad intimidating, and pretty lonely, walking through the exquisite villa and out into the gardens, where a big tent had been erected. But at the same time, I knew I was amazingly blessed to be bearing witness to this high-fashion fantasy. With legends like Gina Lollobrigida, Joan Collins, and Mick Jagger joining the other stars that came to celebrate the memorable weekend, the festivities reached new heights of glamour. The celebs mingled in the red-draped dining room before taking their seats, and dinner began with a video presentation of Valentino at work in his atelier. At dessert, Annie Lennox performed, and we all marvelled at Valentino and Giametti's staggering attention to detail. The weekend's festivities were more than just a salute to a couturier's career—they were a celebration of haute fashion itself. This was, quite possibly, the party of the century.

Three months later, on September 4, Valentino announced his retirement. I immediately phoned my long-time friend Carlos Souza, Valentino's right-hand man and devoted PR honcho, and asked if we could get a TV interview with the designer. The dashing Carlos promised me an exclusive, just as soon as Valentino was ready to talk. I was sitting in Café de Flore in Paris about a month later when Carlos,
true to his word, called me on my cellphone to say that Valentino would grant me an interview. I contacted my cameraman and another crew I had on standby, and within a couple of hours, we were back at Valentino's Place Vendôme showroom, where he was preparing his Fashion Week collection.

Valentino was wearing a blue crocodile blazer and looked handsome, relaxed, and at peace with the decision he had finally made—a decision that must have been excruciatingly difficult, given how incredibly passionate he had always been about his métier. We sat on a couch and had a cozy chat. I told him I would miss him. He told me not to worry—he wasn't totally disappearing. He was sure our paths would cross again. Of course they did, at his final runway show later that week, and at his final couture show that January. I saw him again after that—at the house's spring couture presentation in January 2009, when his former accessory designers, Pier Paolo Piccioli and Maria Grazia Chiuri, took over the label. Valentino pulled me aside backstage after the show and told me he was going to be designing costumes for the Bolshoi Ballet. It was exciting for him, no question. But I couldn't help thinking how much he must be missing what he always loved to do most—creating beautiful clothes for some of the world's most elegant and glamorous women—and just how bittersweet this new phase of his life might be.

DESIGNERS I HAVE LOVED

ONE OF THE BEST THINGS going for us as a team at
Fashion Television
is our longevity: After a quarter of a century covering fashionable goings-on around the world—profiling designers, reporting on collections, and introducing diverse new perspectives on the international style arena—we've earned the trust and respect of some amazing people. Because I often have the opportunity to get close with these major players, I'm able to see them through a particularly intimate lens. Of course, I'm always wowed by their brilliance. But what impresses—and touches—me most is their eagerness to share their ideas and explain what drives their creative process.

Jean-Paul Gaultier consistently floors me with his ebullient nature and generous spirit. No matter how many reporters are crowded around him, vying to get a post-show interview, Gaultier will talk with each one of them. And even though he expends exhausting amounts of energy, you know that when he talks to you, he'll be just as animated and engaged as ever. Gaultier's quick wit and playfulness are a joy, and regardless of how tired I am by the time I'm finally in front of him with my microphone, I'm invariably inspired our conversations, my batteries recharged.

In the fall of 2010, Gaultier came to Montreal to begin work on a new exhibit at the Musée des Beaux Arts to celebrate his illustrious forty-year career. I was granted an exclusive sit-down interview with him, and was charmed once again by his candour. It was Gaultier's seventh visit to Montreal—he has a real affection for the city and its people. He told me that he found Canadians to be refreshing—more friendly and nowhere near as snobby as the French could be. The French, he said, were always judging people on their appearance. Gaultier talked about his own perception of beauty, and how he was always drawn to the unusual. He said that imperfection was far more intriguing to him than conventional attractiveness. He told me that he saw the world cinematically, and that theatrics were integral to his work as a designer. We discussed sexuality, sensuality, and all the subtleties of sartorial communication. Deep into our conversation, I realized that we weren't talking about fashion at all: We were discussing human nature.

By the end of the conversation, Jean-Paul half-jokingly told me that talking to journalists in this way was therapeutic for him. It was as though he could really hear himself think, he said, and thus he gained a better understanding of himself. He then began telling me that while he adored fashion, it was really only a way for him to get to people, a tool that enabled him to communicate and celebrate life. It was like hearing myself speak, and I once again realized that it's my passion for people that keeps me in this business. Basking in the glow of this designer's wonderful spirit, I silently thanked the fashion gods for allowing me the privilege of this magical moment. But I was especially moved at the end of the interview, when Jean-Paul graciously thanked me and let me know that he really “got me.”

“You're great,” he told me, “because you love your job.”

Then there's the inimitable Karl Lagerfeld.

My relationship with Lagerfeld goes back to the summer of 1989, when I had my first sit-down interview with him at the rue Cambon Chanel couture atelier. It was a sweltering day, and I was about seven months pregnant. My crew and I had been waiting for about three
hours for the Kaiser, as Lagerfeld was often called, to arrive. His assistant at the time, Gilles Dufour, was kind enough to put me out of my drab green maternity-wear misery by lending me a striking black-andwhite Chanel dress (which miraculously fit, and which Lagerfeld ended up giving me!). When Lagerfeld finally arrived at the atelier, he was waving around a package of contact sheets, excited about a photo shoot he had just come from. He had taken up photography the year before and was fervent about his new hobby. We had a wonderful chat that afternoon. And ever since—having interviewed him countless times in the years that followed, in cities from Miami to Monaco—I've had a soft spot for Karl.

The great French diarist Anaïs Nin once wrote: “Life shrinks and expands in proportion to one's courage.” Perhaps that explains why Lagerfeld has had such a big life: designer for three different houses (Chanel, Fendi, and his own eponymous label); photographer and illustrator; art aficionado and antiques collector; bookstore and gallery owner; publisher and author. He is fearless, and I never cease to be inspired whenever I spend time with him.