The British Fashion Council Awards-English National Opera 01 Dec 14 – 01 Dec 14-Be there!

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British designers and creatives are renowned for their ability to set the global fashion agenda. Each year the British Fashion Awards celebrates their creativity and success. Established in 1989, the British Fashion Awards has been celebrating the contributions of British designers, creatives and models to the international fashion scene for more than 20 years.

The British Fashion Awards 2014 will once again see the top designers, hottest models, renowned fashion editors, stylists and industry vips joined by a glamorous line up of celebrity guests, presenters and performers.

Don’t miss this opportunity to join the stars of the fashion industry in celebrating the best of British fashion.We’ll be there!

THE ANN DEMEULEMEESTER ARCHIVE, ANTWERP-Exclusively in ‘A Magazine’,lensed by Belgian photographer Zeb Daemen

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As the legacy of Ann Demeulemeester’s work lives on under the direction of French designer Sebastien Meunier, A Magazine presents an exclusive portfolio by Belgian photographer Zeb Daemen captured in the designer’s native Antwerp. In and around the woodland grottos and outdoor sculptures of Middleheim Park, iconic Belgian model Kim Peers embodies the wild spirit of a pagan deity, wearing designs from the Autumn Winter 2014-2015 collection alongside signature pieces courtesy of the Ann Demeulemeester archive.

Photography by Zeb Daemen
Creative Direction & Styling by Dan Thawley

Hair by Eva Peeters
Photography Assistant: Gretar Ingi Gunnlaugsson
Stylist Assistant: Casper Nowaks
Model: Kim Peers @ Next Models
Graphic Design: Pierre-Yves Morvan

With thanks to Sebastien Meunier, Michele Montagne, Katou Van Dyck & Céline de Schepper

http://www.anndemeulemeester.be

(re posted from A magazine,http://www.amagazinecuratedby.com/news/ann-demeulemeester-by-zeb-daemen/)

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The Dolce &Gabbana Fall/Winter 2014/2015 Capri collection-A Mediterranean Fairy tale.

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”There is no end. There is no beginning. There is only the passion of life.”

~Federico Fellini~

“It’s about the beauty of Italy – we don’t really have Alta Moda here – we wanted to do something for our country.”

~Stefano Gabbana~

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The Dolce &Gabbana Fall/Winter 2014/2015 collection was something of a performance,with male models acting as ushers and female ones being helped getting on location,(a private place in the Island Of Capri). The fashion crowd was seated alongside a traditional Mediterranean style house-hotel and the models reached the land via water,walking past the seated A-lister’s. Interesting,no doubt. As for the outfits,well,i find it difficult to say anything seriously negative about the work of the famous design duo.Of course,design/style obsessions are to be expected and ever present,but what else fashion is than the transformation of those very obsessions into art via a creative process?Oh,did i mention how much i like fans?I’m getting another of my  own sometime soon,preferably customized!Just like being in a Visconti or early Fellini film!
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The mind revisits Alexander Mc Queen’s world.

”There is something sinister, something quite biographical about what I do – but that part is for me. It’s my personal business. I think there is a lot of romance, melancholy. There’s a sadness to it, but there’s romance in sadness. I suppose I am a very melancholy person.”
~Alexander McQueen~

#13, September 1998 London

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

”..leaving the page of the book carelessly open,
something unsaid, the phone off the hook
and the love, whatever it was, an infection.”
~Anne Sexton~

It’s Only a Game, October 2004 Paris La Dame Bleue, October 2007 Paris Pantheon Ad Lucem, March 2004 Paris Sarabande, October 2006 Paris Scanners, March 2003 Paris The Girl Who Lived in The Tree, March 2008 Paris Untitled, March 2010 Paris Voss, September 2000 London2

Yiquing Yin/Serkan Cura/ Augustine Temboul: My One’s to watch.

With  all ”Official” Fashion& Couture Week heading to an end end,i felt i should enjoy it a bit more and dedicate a post to the designers that made me personally think; “Whow,there’s talent out there!’‘ .Sometimes media-related fashion critics pay way too much attention to Hedi just because he has to prove he’s the ”Hedi Slimane” they envisioned. This can be dangerous and,naturally,not favorable to creativity.Still,in the  designers to follow,the only thing that’s not absent is creativity itself!

-Yiqing Yin for Leonard

French designer Yiqing Yin has long ago proved that her personal aesthetics and her meticulous attention to detail when it comes to craftsmanship can create magic,no wonder why she is now strategically placed as creative director of the French fashion house Leonard. Her first collection for the House took place in Paris Fashion Week F/W 2014 with the reviews being triumphant for a debut collection.Still,the is no exaggeration to say that she carefully study the House’s archives ,then used all those traditional house prints remixed and recoloured!She also admitted that she dived into the house’s dna only to find more inspiration: ”I really drew on the (Leonard) archives, especially the 1960s and 1970s which I found more interesting (and) modern than what has been done recently. There was more energy, it was more international.” Her long,fluid silhouettes present a world of rebellious glamour,where re-designed basics (such as the LBD) go along/complement dreamy yet impressive outfits.

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Serkan Cura Couture Fall 2014

For me Serkan Cura is already a true Couturier that just didn’t want to give up the idea of clothes made for the beauty of it,not necessarily to be worn.Using fluidity where necessary and experimenting with 3D,its not surprising that she caught the attention of Iris Van Herpen.The designer also claims he has a patent-all the upper part of his ‘wedding” dress, sculpted from feathers that were painted with exactly this secret patent,to acquire volume. “You coat it, it pops like popcorn, and then it becomes very strong,” he explained backstage.At last,some fashion fun!!

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 Augustine Temboul S/S 2015

The designer duo’s Augustine Temboul presentation of their S/S 2015 “SHINY VOID  collection made the idea of a ”Shiny Void” way too metaphorical in a semiotic form as most of the outfits’ colors ranged from black to pitch black.Still, there was anything but a tedious parade of black LBD. Augustine Temboul tend to make each presentation into a performance and so they successfully did once more! See,it is the way the fabrics are cut,the solid pattern forms and the exploration of femininity within a dark canvas that uplifted the whole collection.Regarding fabrics,let us not forget that they have been nominated for the International Woolmark Prize 2014/15 (Europe).And that says a lot!

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As for my favorite of all,Olivier Theyskens, ,i feel i should make a whole new post now that Theyskens’ Theory no longer exists.Because he’s worth it.

 

 

 

 

Fred Sathal Haute Couture FW 14/15- ‘COULEUR LUMIERE’- Couture Beyond The Stars

« The thread, does not unwind but stars itself. It connects the cardinal points, the constellations, the stories. The yarn is a logbook. It braids and ties. It is the stitch that travels and it is this tiny unity that will cover and expand. »

~FRED SATHAL~

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Photos : Olivier Claisse

Fred Sathal is a real artist that incorporates various inspirations in the creative process of a unique collection This time the thems was: ‘COULEUR LUMIERE’ or, to say,a playful combination of color and the light that enhances it.The result?The ‘Fred Sathal Haute Couture Fall Winter 14 15′ , one of the most intriguing collections i came across this season Designed with pure inspiration and brought to life with serious handcrafted work,each piece seamed to claim the stage for its own,so shiny and enchanting the designs and fabrics used were.An excellent work,indeed!Plus i will definitely try and stay tuned.After all,the ‘moonlight lit’ exceptional dress could add some serious..  unique style points to my overall wardrobe!

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Fred Sathal Haute Couture Automne Hiver 14 15
Fred Sathal Haute Couture Fall Winter 14 15
~COULEUR LUMIERE~

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The truth lies the details.The beauty also.Enjoy some exclusive detail close ups.

Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014 Fred Sathal Haute Couture Fall Winter 2014_15 Paris July 2014

(with special thanks to William Amor for all the information,and of course to Fred Sathal)

~Show Room Fred Sathal~
13 rue de Passy 75016 Paris
+33(0)1 77 17 30 57 – +33(0)6 78 21 84 88

Contact presse / Press contact
William Amor communication E.
w.amor@williamamor.com
T. +33 (0)6 64 98 51 11

The politics of the miniskirt- ”50 years of a Fashion/Gender/Political Revolution”

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Early Twentieth-Century Skirts and Sowing the Seeds of Change

While the miniskirt may have existed as long as civilization has, it is probably only recently that it has evoked powerful political and cultural implications. In the mid 1800s, women in Europe and America were generally believed to be the weaker and more vulnerable sex. Politics, business, and physical activity could be dangerous for women, and tight corsets with long, restrictive skirts generally reflected these beliefs (Weaver 2003).

After WWI, however, advances in women’s emancipation and post-war escapism led to the “flapper” style, an androgynous style with hemlines up to a woman’s knee. After dropping to a more sober calf length during the early 1930s, hemlines rose to just below the knee during WWII, partly due to mandatory fabric rationing during the war (Lehnert 2000)

After the end of wartime restrictions on cloth, women were ready for elegance and femininity, and the fashion industry promoted the “New Look” epitomized by Christian Dior. The New Look was mature and sophisticated, with an exaggerated hourglass figure and long, lavish hemlines (Steele 1997). While the New Look reflected the “best years of our life” consumerism that followed WWII, the “teddy boys” and beatniks of the Beat generation were already sowing the seeds of discontent in 1950s materialism—a discontent that would find its full voice in the 1960s and dramatically change hemlines forever (Reilly 2003).

The 1960s and the Politics of the Miniskirt

Before the 1960s, young women had been expected to dress in the style of their mothers, which was usually loosely based on Parisian couture. For example, as late as 1962, a Sears catalog portrayed mothers and daughters as “patchwork pals” who were overjoyed that they are wearing identical dresses. Looking back on the late 1950s, the English designer Sally Tuffin remarked, “There weren’t any clothes for young people at all. One just looked like their mother” (Steele 1997).

However, by the 1960s, youth protests and demands for individual expression revealed that young adults were gaining a self-conscious awareness of themselves as a distinct and unified group that was able to respond to political events in ways that were different from their parents (Cawthorne 1999). Youngsters felt they no longer needed to follow the rules of bourgeois morality and manners, which they saw as hypocritical and based on double standards. As this young political entity gained a voice, they created a space for a new and distinctive fashion that embodied their own political views—not their parents’.

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The Miniskirt as an Expression and Tool of 1960s Feminism

Growing awareness of feminism also paved the way for a different fashion for women. For example, in 1963, American Betty Friedman published The Feminine Mystique which deconstructed the myth of the happy housewife and expressed the desire of women to explore other roles. In addition, the 1960s saw a dramatic increase in women attending universities and entering the workforce, especially with the advent of the “temp agency” which allowed greater flexibility in when and where a woman wanted to work.

This decade also saw laws passed that helped protect and empower both married and divorced women (Diamond and Diamond 2006). Perhaps most important was the advent of the birth control pill, which removed fears of pregnancy and helped usher in the sexual revolution (Cawthorne 1999). The image of a woman was beginning to dramatically shift from being a wife and mother to a young, single, carefree girl proud of her sexuality and confident with her power. The miniskirt would express—and serve as a tool for—this growing woman’s movement.

A New Class of Young Consumerism

The young generation was indeed growing up rebellious and articulate—and with more money than they’ve ever had before. Young people suddenly became a powerful class of consumers who demanded a fashion that matched the spirit of youth. Consequently, the whole structure of the fashion system was challenged from the youth in the streets as the prestige of “couture” came under attack or, worse, seemed irrelevant (Cawthorne 1999). Upstart designers and boutiques began to cater to a new youth market that could now buy what they wanted—and to older women who began to scramble to look like their daughters.

The mother of the miniskirt-Mary Quant:
When a young upstart British designer named Mary Quant opened her boutique Bazaar in 1955 on King’s Road (a mod and rocker hangout), she was poised to spearhead a fashion revolution. Without any real training in fashion, but with a finger on the pulse of everyday fashion of the street, she represented a distinctive breakaway in fashion. She began to sell clothes that reflected the ideas of the day’s youth and that had nothing to do with established Paris fashion houses (Lehnert 2000).When she raised the hemline of her skirts in 1965 to several inches above the knee, the iconic miniskirt was born. Named after her favorite car, the Mini, the miniskirt was an instant success and epitomized the spirit of London in the mid-60s: free, energetic, youthful, revolutionary, and unconventional (Diamond and Diamond 2006).

 

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Mary Quant in one of her own designs

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“The Lord of the Miniskirt” :  Bazaar

Quant probably deserves primary but not exclusive credit for the miniskirt. One French designer also caught the spirit of the era and did for France what Quant did for England (and America)—André Courrèges. Though he began to experiment with hemlines as early as 1961, Courrèges showcased his futuristic, space-age minimalistic dresses which scandalously fell above the knee in late 1964. Like Quant, Courrèges shocked the fashion world. Unlike Quant, he tended to design his skirts with more sophistication and maturity, which, in turn, helped make the miniskirt acceptable to French haute couture (Cawthorne 1999).

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While Courrèges would later claim that he invented the miniskirt, Quant dismissed his claim, saying “It wasn’t me or Courrèges who invented the miniskirt anyway—it was the girls in the street who did it.” Though the debates between Quant and Courrèges can be amusing and many scholars tend to “skirt” the issue, both Quant and Courrèges appropriated the trends of earlier fashion houses and both took advantage of the greater social changes that were occurring around them. Regardless of who really “invented” the miniskirt, both Quant and Courrèges deserve credit for revolutionizing and enriching the fashion world with their daring hemlines (Diamond and Diamond 2006).

copyright: http://www.randomhistory.com/)

Celebrities of the time served as a powerful means to popularize miniskirts-and it did work!

Actress Brigitte Bardot in a miniskirt, 1965

Actress Brigitte Bardot in a miniskirt, 1965

Model Jean Shrimpton wearing a miniskirt at the annual Melbourne Derby Day, 1965

Model Jean Shrimpton wearing a miniskirt at the annual Melbourne Derby Day, 1965

ves Saint Laurent, Rive Gauche boutique, Paris, September 1966

Yves Saint Laurent, Rive Gauche boutique, Paris, September 1966

 

copyright: http://www.randomhistory.com/)

 

Photographer Alberto Raviglione presents ‘iOS 6′ -an iphone/printed editorial that stuns!

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”I consider myself privileged having acquainted Alberto (Raviglione) from his early stages of work and experimentation, to him launching certain very prestigious collaborations with top publications all over the world.Being able to produce an A list fashion editorial,he also never seizes to explore new means and image technology .His ”iOS” editorial as featured here, bears a strong testimony of all the above!”

~Ilia Sybil Sdralli (Lady Sybilia~

“Paris being the hub of the fashion world is the most ideal location for an up and coming fashion photographer. Born in Turin, Italy, photographer Alberto Raviglione is just one example of the direction that the digital age has driven this medium. The mood set by these images is driven by the subtleties in light and color. Wildly vivid or extraordinarily muted, his images convey more than just a fashion statement.”

~Text by Toshi Jones for http://www.neublack.com~

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‘iOS 6′ editorial

photographer:Alberto Raviglione

Mua: Michele Antonini

Stylist: Mema Trapani

http://www.albertoraviglione.com/

”Death Becomes Her-A Century of Mourning Attire”, the first Fall exhibition at the MET.

British Royalty. 19th Century. A portrait of H.M. Queen Victoria of Great Britain (1819-1901). Queen Victoria was one of the most famous British monarchs, reigning from (1837-1901) a reign which established Great Britain as one of the world's leaders.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“She was a genius of sadness, immersing herself in it, separating its numerous strands, appreciating its subtle nuances. She was a prism through which sadness could be divided into its infinite spectrum.”
~ Jonathan Safran Foer, Everything Is Illuminated~

 

(Exhibition Location: Anna Wintour Costume Center
Press Preview: Monday, October 20, 10 a.m.–noon)

 

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Death Becomes Her: A Century of Mourning Attire, The Costume Institute’s first fall exhibition in seven years, will be on view in The Metropolitan Museum of Art’s Anna Wintour Costume Center from October 21, 2014 through February 1, 2015. The exhibition will explore the aesthetic development and cultural implications of mourning fashions of the 19th and early 20th centuries. Approximately 30 ensembles, many of which are being exhibited for the first time, will reveal the impact of high-fashion standards on the sartorial dictates of bereavement rituals as they evolved over a century.

With the reopening of The Costume Institute space in May as the Anna Wintour Costume Center, the department returns to mounting two special exhibitions a year, to again include a fall show, in addition to the major spring exhibition. This is the first fall exhibition The Costume Institute has organized since blog.mode: addressing fashion in 2007.

“The predominantly black palette of mourning dramatizes the evolution of period silhouettes and the increasing absorption of fashion ideals into this most codified of etiquettes,” said Harold Koda, Curator in Charge of The Costume Institute, who is curating the exhibition with Jessica Regan, Assistant Curator. “The veiled widow could elicit sympathy as well as predatory male advances. As a woman of sexual experience without marital constraints, she was often imagined as a potential threat to the social order.”

Exhibition Overview
The thematic exhibition will be organized chronologically and feature mourning dress from 1815 to 1915, primarily from The Costume Institute’s collection. The calendar of bereavement’s evolution and cultural implications will be illuminated through women’s clothing and accessories, showing the progression of appropriate fabrics from mourning crape to corded silks, and the later introduction of color with shades of gray and mauve.

“Elaborate standards of mourning set by royalty spread across class lines via fashion magazines,” said Ms. Regan, “and the prescribed clothing was readily available for purchase through mourning ‘warehouses’ that proliferated in European and American cities by mid-century.”

The Anna Wintour Costume Center’s Carl and Iris Barrel Apfel Gallery will orient visitors to the exhibition with fashion plates, jewelry, and accessories. The main Lizzie and Jonathan Tisch Gallery will illustrate the evolution of mourning wear through high fashion silhouettes and will include mourning gowns worn by Queen Victoria and Queen Alexandra. Examples of restrained simplicity will be shown alongside those with ostentatious ornamentation. The predominantly black clothes will be set off against a stark white background and amplified with historic photographs and daguerreotypes.

An exceptional Moschino Fall/Winter 2014-2015 campaign,lensed by Steven Meisel

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Models Linda Evangelista, Raquel Zimmermann, Stella Tennant, Carolyn Murphy, Saskia de Brauw and Karen Elson star in perhaps the most interesting fashion campaign of the season,the Moschino Fall/Winter 2014-2015,lensed by renowned photographer Steven Meisel. The all black and white images capture the witty,playful elegance that has been Moschino’s star qualities from the very start,thus shaping the House’s profile.

 

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