Lars Nilsson

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Lars Nilsson (born 1966 in Stockholm, Sweden) is a fashion designer who has worked with several major fashion houses,
Published Date : 2/12/2015
By :PK Mart

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Lars Nilsson:

Lars Nilsson (born 1966 in Stockholm, Sweden) is a fashion designerwho has worked with several major fashion houses, including Christian Dior, Bill Blass, Nina Ricci,Gianfranco Ferré, Comptoir des Cotonniers, Princesse tam.tam, and an own menswear line Mr. Nils.

Biography:

Lars Nilsson graduated from both Virginska Skolan in Sweden and Paris’ Ecole de la Chambre Syndicale de la Couture. Following fashion school he did an apprenticeship at the tailoring atelier of Chanel haute couture before joining the fashion house Christian Lacroix in a senior design role. From 1997 to 1999 he worked at Dior Couture as couture collection coordinator. After that he moved to New York to become the Design Director for the Polo Ralph Lauren women’s wear collection. From 2000 to 2003 he was Creative Director of Bill Blass Collection, designing both women’s and menswear. In 2003, he returned to Paris to become Creative Director - and also creative collaborator for perfume and cosmetics - at Nina Ricci until 2006 and was appointed as Creative Director of Gianfranco Ferré in September 2007. In September 2009 he started a menswear label, Mr. Nils. For most of 2014 he acted as consultant Artistic Director for the Paris-based Fast Retailing women's wear brands Comptoir des Cotonniers and Princesse tam.tam. 

Christian Dior:

From 1997 to 1999 he worked with the newly-arrived John Galliano at Dior Couture as coordinator of both the haute couture studio and the fur collections. In the early seasons of Mr. Galliano’s tenure at the famous Paris fashion house, Nilsson was there to help bring the British designer’s wild flights of creative fancy to life, interpreting endless outpourings of inspiration and references into actual items of clothing that were no less fantastical or awe-inspiring. Nilsson’s output in this period included such landmark couture moments as the fabled Pocahontas-meets-Tudor-England-meets-Moroccan-souk show with models arriving on a real-life steam train at the Gare d’Austerlitz, and the gloriously decadent show inspired by Marchesa Casati at the Palais Garnier opera house.

Nina Ricci:

Returning to Paris in 2003, and directly across Avenue Montaigne from Dior, Nilsson took up the reins as Creative Director at the Puig-owned house of Nina Ricci. While his role would also involve providing creative input on the beauty side of the business, his primary task was the injection of a dose of excitement, youth and energy into the somewhat dormant fashion and accessories lines. Placing the focus on the house’s inherent feminine image, he created fashion that was light, lovely and luxurious, focusing on developing identifiable color stories, prints, and a general mood and silhouette that would be instantly recognizable as Nina Ricci. In line with the brand’s feminine allure, he ramped up the lingerie line, enlisting the involvement of the corsetier Mr. Pearl on innovative collaborations  In 2004 he designed the house's first-ever resort collection and, having learned the incomparable role played by presence on the social scene from his time in Manhattan, set about increasing brand visibility through hosting a bevy of international runway shows trunk shows and black-tie events. The house’s reach stretched far beyond Avenue Montaigne, dressing a new generation of socialites in New York, and appearing regularly on Hollywood red carpets worn by actresses including Renée Zellwager and Kate Beckinsale. In 2006 he was awarded Sweden’s highest fashion honor, the Guldknappen (Swedish for ‘golden button’).

Gianfranco Ferré:

Following the founder’s sudden death in June 2007, Lars Nilsson was named Creative Director of Gianfranco Ferré in late September 2007. Based in Milan, he was in charge of women and men’s clothing and accessories for main and associated lines and licenses . Attempting to inject a fresh, modern and international attitude into a house weighed down by an image both operatic (mainline) and trashy (secondary) and a distribution skewed primarily to the Russian and Eastern European markets, he was responsible for bringing a slew of influential external collaborators on board. On his instruction dark interiors were painted bright, and light literally flooded in when the coverings were removed from a massive glass ceiling. Reimagining the traditional manner in which the house showed its collections, he invited set designer extraordinaire Michael Howells to create a striking modernist set in the in-house show space for the men’s collection in January 2008. In spite of great support from international (especially US) press and retailers, clashes with a management generally uninterested in investing in a new image at the expense of blingy ruble income resulted in his shock dismissal from the house two weeks before he was due to show his debut women’s wear collection in February 2008. A large article in US Vogue, which bowed during the same period, profiled Nilsson and three other talented designers taking over the reins of established houses. The unambiguously cautious tone of the article proved prescient: by years’ end all four had been let go.

 

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Lars Nilsson

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