The House of Valentino along with photographer David Bailey casts top models Maartje Verhoef, Ine Neefs, Josephine van Delden and Harleth Kuusik to star in the Valentino Fall/Winter 2014-2015 campaign and the result is a refined 60s look yet in an oh-so modern version.
To mark the 10th anniversary of “Who Is On Next?” the fashion scouting project organized by Altaroma in collaboration with Vogue Italia, targeted at the search for and the promotion of young, creative talents of Made in Italy fashion, an exclusive exhibition, designed to trace its history and honour the creative talents who have participated, will be presented in Rome.
Since 2005 to-date, more than 100 designers have emerged from this scouting and selection process. Italians and foreigners have chosen our country not only to develop their creations but also to make their dreams come true. In fact, here they have found master saddlers, textile districts and premium footwear manufacturers, leather goods makers and companies which, thanks to their expertise and professionalism, give life to signature collections designed for the luxury market.
“WHO IS ON NEXT?, defined by the international press as one of the ten most important competitions in the world, has seen the emergence of designers, by now well-established names on the international fashion scene who, in addition to their own individual collections, are also engaged in prestigious collaborations with leading brands in the fashion system.
The aim of the exhibition is to celebrate ALTAROMA and VOGUE ITALIA but, above all, those who now represent excellence, the new generation of Made in Italy fashion.
the new fashion generation
The exhibition will run through the 11th of September 2014
MONDAY 7/14/2014 – 19.00-21.00
MUSEO DI ROMA
PIAZZA NAVONA, 2
« 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 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!
Fred Sathal Haute Couture Automne Hiver 14 15
Fred Sathal Haute Couture Fall Winter 14 15
The truth lies the details.The beauty also.Enjoy some exclusive detail close ups.
(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.
T. +33 (0)6 64 98 51 11
“The concept is individual style, which was the idea behind my first women’s show in N.Y.,” said Ford about the campaign:“The campaign is focused on the personal, individual style of different types of women.”
Lensed by Johnny Dufort in London, the campaign features no less than 10 models, Gigi Hadid, Patrick Schwarzenegger, Sabrina Ioffreda, Ella Richards, Valentijn de Hingh, Yaya DaCosta, Lida Fox, Ashleigh Good, Natalie Westling and Ian Mellencamp. As for the outfits advertised..allow me not to comment.Should you like it,buy it at such a gross price megalomaniac Ford gives credit to his work..
”There is nothing as mysterious as a fact clearly described I like to think of photographing as a two way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.”
”I have a burning desire to see what things look like photographed by me.”
The first retrospective in twenty-five years of work by Garry Winogrand (1928–1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s—this exhibition brings together more than 175 of the artist’s most iconic images, a trove of unseen prints, and even Winogrand’s famed series of photos made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. It offers a rigorous overview of Winogrand’s complete working life and reveals for the first time the full sweep of his career.
Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both the content of his photographs and his artistic style he became one of the principal voices of that eruptive decade. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some twenty thousand rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, soldiers, animals in zoos, rodeos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in postwar America—rich with new possibility and yet equally anxious, threatening to spin out of control—seemed to unfold for him in a continuous stream.
While Winogrand is widely considered one of the greatest photographers of the twentieth century, his overall body of work and influence on the field remain incompletely explored. He was enormously prolific but largely postponed the editing and printing of his work. The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books and exhibitions; he often allowed others to perform these tasks for him. Dying suddenly at the age of 56, he left behind proof sheets from his earlier years that he had marked but never printed, as well as approximately 6,600 rolls of film (some 250,000 images) that he had never seen, more than one-third of which he had never developed at all; these rolls of film were developed after his death.
(MET press release)
~June 27–September 21, 2014, Galleries 691–693 & 852~
I rarely find another writer’s view on a couture line close enough to my own digressions.Still, the one below featured at Fb group: Haute Couture Weekly, perfectly summarizes the review i would most probably struggling to finish within sharp deadlines My gratitude to the page and its collaborators appears here necessary. Btw,i’m gonna start spotting which wannabe star/singer/media person will indulge in those flawless yet daring enough, dresses.
”Glamour was the order of the (third) day of Haute Couture Week in Paris as couturier Alexandre Vauthier continued with his sexy allure, featuring short but voluminous furs, in white, black or canary yellow. These, along with beige, were the collection’s predominant colors. Sheer dresses with strategically placed cut-outs, embellished with sequins, leather and muslin, stood out on the runway.”
~(Haute Couture Weekly)~
There’s no doubt that Hussein Chalayan is a much talented designer that has often pushed the boundaries between technical and glamorous,often with stunning results.In some cases fashion design has been a vehicle for him to make ”performance-statements” that made quite an impression.
Now as to his Demi-Couture collection for Vionnet, well, nobody was expecting nothing less than rebellious glamour.The trouble here is that he delivered a collection full of re-carpet dresses,still ”red carpet smooth glamour” isn’t exactly his area of expertise9 and perhaps liking). Chalayan has been long involved into the technical part of design and fabrics plus the use of semiotic details,viewing design as nothing more than a ”statement”, a moving work of modern art .In the case of Vionnet he worked with his favorite antithesis of fluidity-volume using pleated fabrics,often attached as 3-dimensional parts of the so called ‘demi-couture’ gowns.Sounds interesting?Yes but didn’t work at all. Vionnet is a house that bears the essence of relaxed french class.In the case of it’s Fall 2014 collection,the result was nothing but french.Let along classy.And certainly not Vionnet.
I just couldn’t resist but posting a photo of Madame Vionnet and her famous ”bias” cut.More modern than ever i’d say…