![]() She agreed on the condition to continue working in London whilst showing in Paris, and devoted the first year to rebuilding the business by opening a design studio in a derelict Georgian town house on Cavendish Square in London. In 2008, LVMH offered Philo a job as creative director and board member of the French Maison Céline. She later told The Guardian in 2009 that after stepping down from Chloé, she had explored launching her own line, but “the time wasn’t right”. She subsequently moved back to London to be with her family and had her second child. In 2002, Philo commissioned Sophie Hicks to create a concept for the Chloé stores. During that time, she also became the first designer at a major fashion brand to take an official extended maternity leave. At Chloé, she was credited with ushering in the trend for babydoll dresses and heavy leather accessories, such as the Paddington bag. Philo began working for Chloé in 1997 as Stella McCartney's design assistant, succeeding her as creative director in 2001. She quickly joined Chloé as Stella McCartney's first assistant for ready-to-wear collection in Paris. She graduated showing a final student collection that The Guardian would later describe as having a "Latino influence and huge gold jewellery". Philo studied at Central Saint Martins College of Art and Design in London, graduating in 1996. In 1987, at the age of 14, she began customizing her clothes after receiving a sewing machine as a birthday present from her parents. The family returned to Britain when she was two years old, and she was raised in Harrow, London, with her two younger siblings Louis and Frankie. ![]() Her father, Richard, is a surveyor and her mother, Celia, is an art dealer and graphic artist who had a hand in creating David Bowie's Aladdin Sane album cover. For any Three Stooges fans out there, I've always thought Keith's decline was kind of like Curly Howard's: too much indulgence in an unhealthy lifestyle began to compromise both talents, but even as they slowed down and became less consistent and magical in their performances, they could still, on good days, match some of their best work from earlier eras.Philo was born in Paris to British parents working there. Nevertheless, as others have noted, it wasn't a linear decline, and there are flashes of the old energy and agility like on "Who Are You". By the time they recorded "The Who By Numbers", I think Keith was on his downhill slope-the drums just aren't on the same level as what he did before. I haven't heard much from the '73 tour, but the stories about his passing out in SF and in Boston make me think that the quality of his performances was somewhat erratic, to say the least. Lesser drummers could easily have got locked into playing it straight. It's especially impressive when one considers that he still manages to be inimitably Keith in the context of songs that were far more structured, in certain respects, than "Substitute" or "Pictures of Lily". There are a number of occassions on that album where he saves the songs from sounding too "produced", with the synths and the horns and the general thickness of the arrangements, through his drumming. To me, the last consistently brilliant Keith Moon performance is on Quadrophenia.
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