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

Benjamin Lennox presents ”Magnétique”editorial for Numéro August 2014

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Model Catherine McNeil stars in ”Magnétique”, a stunning editorial lensed by Benjamin Lennox and styled by Fashion Editor  Charles Varenne for  Numéro magazine,issue 155- August 2014.Hair styled by Tomi Kono and make up by Benjamin Puckey.

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”Garry Winogrand” exhibition at The Metropolitan Museum of Art opens June 27

 

 

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”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.”

~Garry Winogrand~

Centennial Ball, Metropolitan Museum of Art, New York

Centennial Ball, Metropolitan Museum of Art, New York

 ”I have a burning desire to see what things look like photographed by me.”
   ~Garry Winogrand~

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.

 

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Metropolitan Museum of Art Centennial Ball, New York City

Metropolitan Museum of Art Centennial Ball, New York City

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(MET press release)

~June 27–September 21, 2014, Galleries 691–693 & 852~

 

Thairine García for Blumarine Fall/ Winter 2014-2015 by Camilla Akrans

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Japanese minimalism,white orchids,sunny rooms and a sparkling personality,that of Thairine García, that uplifts the Blumarine campaign,aided but the precise yet challenging view of photographer Camilla Akrans.

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”Fashion as Meta-language”- Willy Vanderperre’s ”Art Walk” with Raquel Zimmermann

Raquel Zimmermann in “Art Walk” by Willy Vanderperre for W magazine,June/July 2014

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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/

”Le Petit Théâtre Dior” travelling exhibition opens in Chengdu

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“I thought that, to explain the reasoning behind it, this house should be – in a time when everything is tending to the machine – more like an artisanal laboratory than the ideal of a factory,” Christian Dior admitted in his memoirs. Even before founding his own House, the couturier recognized that the noble professions exercised by the artisans were inseparable from the haute couture. Even if they were only a third the size of the original model, each miniature dress in the Petit Théâtre Dior is also produced based on a cotton toile in the purest haute couture tradition and necessitates the same precision and rigor as its big sister. In the ateliers time seems to have stood still: the embroidery is done by hand, as in the 18th century, and the silk flowers are born between the fingers of an artisan with quasi-botanic exactitude. On the original Miss Dior dress designed in 1949 or on its miniature version, produced specially for the exhibition, bouquets of rose, jasmine and lilac burst into bloom. In order to arrive at such a result, the petite main perpetuates a legacy that has remained intact; the fabric petals are cut out by hand with a punch tool and the embossing is done with a period tool that ensures both perfection and astonishing realism. Fixed around a brass stalk, the petals become a flower as they’re worked by expert hands with a fairy-light touch. The details might be miniature but the savoir-faire remains grandiose, as evidenced by the spectacular dress Mexique from the fall-winter 1951-1952 collection in brown tulle embroidered with gold sequins and beads highlighted by a dark brown velvet ribbon on the bust.

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