Swing time, the park consists of temporary hammocks that light up in different ways depending on the movement. The installation was set up by Howeler + Yoon Architecture in the Boston Convention and Exhibition Center with the aim of creating a new idea of the city park. The large circular hammocks are made from welded polypropylene, available in three sizes and different heights, to allow everyone to experience the hammocks. The LED lighting inside the hammock is controlled by a mechanism that controls the oscillations. At rest, the hammocks are lit in white, but as soon as you sit on it and move the lighting varies in color from white to blue to purple. The idea of the project is to make people interact with each other, through the oscillations of the hammocks.
(photo by John Horner Photography)
The Poncho is the mantle typical clothing of the peoples of South and Central America, with a central opening through which passes the head. The Paracas, a population that preceded the Incas, dressed Poncho already 500 years before Christ.
Going through the centuries is in the middle of the 19th century that the Poncho spread throughout South and Central America.
From the Araucanian in Chile to the Argentinian and Mexicans Gauchos, even using different names such as: Pala, Chamanto, Jorongo, Gaban, the Ruana The Poncho becoming the most used and popular garment , up to the present day with different uses and more refined.
A new Italian Fashion Brand, IVAN BELLANOVA introduces its line of Beachwear Poncho, a unique series of colorful prints and fun Poncho.
18 phantasmagoric prints that will wrap you in a world full of color and life.
You can close your eyes and travel with the imagination in the beautiful and most exclusive corners of the earth wearing the poncho IVAN Bellanova.
The Grand Canal Hotel Aman was chosen by George Clooney and his future wife, Amal Alamuddin to host the grand celebrations organized for their wedding. According to leaked these days, in fact, the program provides that the bride accommodation in the luxurious resort while Clooney will spend the night at Cipriani Hotel that located on the island of Giudecca. The great feast that the bride and groom will give the eve of the wedding will be held in the luxurious rooms of the hotel Amal, all overlooking the Grand Canal. The Aman hotel is located in Palazzo Papadopoli, built in the sixteenth century by order of Coccina, wealthy merchant family from Bergamo, who only later sold it to Papadopoli. The present owners, the family of noble Arrivabene Valenti Gonzaga, decided in the mid-2000s renting the building because there arose a luxury hotel, the first seven-star hotel in Italy
Will debut in just over a week, one of the main novelties in the second half of 2014 for the engine market and, without a doubt, the most awaited news of the year for Fiat. At the Paris Motor Show in 2014, in fact, will be unveiled, a preview of the new Fiat 500X, the compact crossover that will attempt to give a whole new dimension to the sub-brand and 500 in the entire Fiat brand that, in Europe, struggling to establish itself as a brand able to drag the FCA group in terms of sales also due to a reduced range, in fact, to a minimum.
For now, Fiat has declined to reveal specific details about its new Fiat 500X that has appeared, as well as in some spy photos, a few teaser video. The event of the Paris Motor Show 2014 will be the right opportunity, then, to look closely at the car.
By the time the project Fiat 500X know very little. Of course, the car will be built at the plant in Melfi where it will be produced in parallel to the twin Jeep Renegade, one of the most interesting models from the current range of home Jeep.
For the engines of the new Fiat 500X should, instead, wait for the official presentation. The new car Fiat should submit a list of three petrol, a 1.4 or 1.6 100 hp and two 1.4 MultiAir Turbo 140 and 170 hp. The range of diesel units should comprise two proposals, a 1.6, available in two steps of power between 105 and 120 hp and a 2.0, available in 140 and 170 hp.
U2 have chosen their site to reveal the image of the cover of the new album “Songs of Innocence”, due out October 13. The image, taken by Glen Luchford portrays drummer Larry Mullen Jr. and his son Aaron Presley. “It reflects the new songs and their inspiration to the early years of U2 as teenagers in Dublin,” said the band’s frontman, Bono. The photo, with Larry that protects the eighteen year old son recalls, “Boy”, the iconic band’s debut album dated 1979, and “War” of 1983: both were present in the face of a child, Peter Rowen, the younger brother of Guggi , a childhood friend of Bono. “U2 has always been a community with family and friends. ‘Songs of Innocence album is more intimate than we did. With this record we were looking for the raw, naked and personal, to go back to basics,” added the singer . The idea of the unique relationship between a parent and a child, the image of a father and his son, came from the band. The photo with Larry and his son was initially an experiment, but we all loved as a visual metaphor for the disk. “If you know the album,” says Bono, “you will see the themes of visual language and how it is much more difficult to hold on to their innocence than to that of someone else.”
Contributor: Jessica Michault
There must be something in the water in Milan. How else to explain the groupthink phenomenon this season, when almost every other fashion show offers up its take on the looks of the 1970s.
At Etro, the proposition Veronica Etro gave was of the hippy variety with a strong Native American slant. Her clothing included a much more apparent handicraft element in the designs. It felt more organic and yet refined in all of it’s raw asymmetric edges, feather adorned accessories and woven suedes.
To The Door’s classic rebel anthem “Riders on the Storm,” Etro sent out a collection that showed that even with a theme that centered around worn in well loved, and often handmade clothing, a skilled designer could still make them look exceedingly luxe. The perfect example in this show was look 26, a kaftan dress embellished with intricate beadwork designed to mimic a Navajo Indian blanket. Beautiful too were the raw linen hand painted pieces, and the open weave woven silk sweaters.
One of the most attractive things about this show was how skillfully Etro embedded the brand’s iconic Paisley patterns into the flowing handkerchief hemmed dresses, and then faded them onto printed tank tops and rounded pants.
It’s true that the Boho heritage of the Etro house easily lends itself to the designer’s chosen theme. But it’s a testament to Etro’s talent that she was able to underplay it and blend it so seamlessly this season.
Frida Giannini, creative director for ten years designed a Gucci collection during Milan Fashion Week which looks like a treasure chest full of treasures brought from all over the world. The fashion designer admits to being inspired by the brand’s customers, people who for business or pleasure travel a lot and that enriches their own home, your wardrobe, your life with charms, souvenirs and rare pieces collected here and there. And here’s how the pieces more classic, almost taken for granted, seen by more closely and carefully, they appear as something exclusive, unique. Workmanship, materials, details, renew and make it very attractive brand and its iconic pieces.
The theme of the Ermanno Scervino collection for next spring-summer 2015 is the glamor that defined the days of this woman extremely refined and elegant. Look researched and interesting, both in tissues and in the stylistic details. The jackets are over, the high-waisted skirts are paired with micro top. The long dresses enhance the feminine silhouette gliding sensually on the body……Bravo !!!!
it’s another 70s inspired summer show to add to the long list stacking up here in Milan. But Pucci has a legitimate clam to this territory, as the late 60s and 70s was when this colorful house exploded onto the collective fashion psyche.
Let’s start with the end of this show because that was truly where this collection took off. Dundas came up with the idea of blending iconic Pucci prints with tie-dye patterns and the psychedelic poster art of his chosen era. The combination made for some killer silk maxi dresses. The designer crafted them with bold jeweled necklines that linked the fabric to the body, or stitched the silk onto beaded bra tops or simply gathered the fabric at the neck.
The Flower Power daywear was also well done. Particularly the first few white crochet looks embellished with dainty little brightly-colored flowers. The designer’s ultra slim pants and fitted flower-embellished jackets showed that Dundas could do tailoring just as deftly as he does flou.
It was a blur of accordion pleats, bright patterns and glossy python on the Roberto Cavalli catwalk on Saturday. The fast paced show looked to be going for instant impact rather than reposed reflection.
But isn’t that exactly what women go to Cavalli for- outfits that demand attention?
If the models had ever slowed down enough for more then a passing glance, guest would have been able to spot – and more fully appreciated- the designer’s attention to details and talent for complex embellishments. They surely would have welcomed a closer look at the flirty beaded halter dresses, the pleated skirts, crafted from strips of of sheer organza and the worn-in denim pieces with their strategically placed tears, backed by shimmering jacquard fabrics.
As it was, the show’s message of clothing inspired by travel to distant sunny locations was lost in the rush. Instead the collection felt more like a mishmash of different designs that Cavalli has honed and refined over the years. More a well curated wardrobe of ensembles that one could
For many seasons, Domenico Dolce and Stefano Gabbana have been milking their native Sicily for inspiration to their glorious fantasies. Not so long ago, they even staged that fairy tale on a grandiose scale in Capri. Today, although this had tenuous links to Sicily, Spain provided the same passionate Mediterranean woman archetype, and this was embodied in the fighting spirit of bullfighting and flamenco. From the heavily encrusted waist clinchers, to the blood red of carnations embroidered on lace dresses, and the ruffles and polka dots of flamenco dresses, it was pleasingly theatrical.
The embroideries on tight bolero jackets were pleasingly transcribed from the original, completed with puffy shorts in lieu of skin-tight trousers (it’s summer after all). So were the fringes of dancer shawls, swinging prettily from the summer’s cape, a shape they seem to love perennially. Quirky, and sure to please the snap-happy front row crowd, was a painterly print of bullfighting wrapping around a skirt. Collectors’ appetites will have been whetted by the dolls encased in their windowed carry-cases, figuring the archetypal Dolce & Gabbana women. Somewhere in between there were variations on their corseted black widows, and some decidedly younger transparent black camisoles worn with rhinestone heavy jeans.
As gently romantic they appear, their strength is that of a wounded bull. That contrast has always been at the heart of the Dolce & Gabbana vision of femininity, and comes back to their roots. Everywhere, silhouettes were femininely encased in either curve-enhancing (or revealing) get-ups. As always, their narrative is enriched by the superb work on fabrics and adornment, gilding any idea with the scintillating edge of fantasy. For the finale, the cadre of toreador glamazons paraded on the catwalk, offering the empowered vision of women ready to stand and grab any bull by the horns in the arena of life.
Instead of showing an advertisement for a perfume launch or a new accessories line, as he is wont to do, Giorgio Armani commissioned a short film by Oscar winning director Paolo Sorrentino to open his spring/summer 2015 presentation.
The dialogue free images of a deserted beach, a bobbing view of an empty seaside village as seen from the ocean, the undulating outlines of sandy backs, the sounds of ocean breezes and one frolicking wet dog, all combined to instantly transport Armani’s audience far far away from the hustle and bustle of the city.
Sand – the title of the film and the collection- was Armani’s starting point for this lovely and languid show. Its grainy consistency was transformed into shimmering crystals and beadwork on evening dresses. Its wind sculpted wave patterns transposed onto other light silk skirts and tops. Its warm, golden-brown hues permeated the entire line. Even the beige snakeskin pieces at the start of the show somehow worked within the overall concept.
When Armani wasn’t running the sand idea through his designer fingers, he turned to its symbiotic ally, the sea. It was represented subtly in the rounded easy silhouettes of the show and Armani’s choice of fabrics, which often had a liquid movement to them.
To finish off a collection about sand and sea, the designer transformed his final model into a siren caught in a net of shimmering tulle covered in crystals. As she walked barefoot down the catwalk in her custom Armani gown, it was easy to understand why she gave up living under the ocean for a life on solid ground. Wearing Armani can have quite an effect on a woman.
“This is about a fresh new Versace, one that is contemporary, clean and strong. It is the way women wear Versace now, and in the future,” said Donatella Versace about her spring/summer 2015 offering for the Versace woman. But she could just as easily have said that the brand’s the newly-opened store in the heart of the famous Galleria Vittorio Emanuele II in Milan had her thinking about the purity of form and the beauty of architectural shapes.
For within the sexy, highly-charged world of Versace, this collection was much more controlled and reserved, and therefore impactful on the house. There was also a clear correlation to the work she created with Anthony Vaccarello for the Versus line she showed in New York two weeks ago.
Stripping back never looked so good.
The designer went with sleek, slim shapes and used graphic details like silver grommet holes, contrasting top stitching, laser cut leathers and Versace’s iconic interlinking Greek key motif to give the asymmetrical sliced away skirts and crop tops a sporty minimalist sex appeal.
The brief appearance of geometric, patterned knitwear left the audience longing for more. Color-block cocktail dresses, broken up by swathes of diagonal bands of colored cloth looked thoroughly modern and yet still very much Versace. The same could be said for the shimmering crystal mesh bandaeau evening dresses that used sheer organza to delineate the different shades, and created the sense that the dresses were somehow hovering over the models’ bodies.
This collection was a strong step forward for the brand. Versace’s minimal made for a maximal success on Friday night.
Partners is the thirty-fourth studio album by Barbra Streisand, released in September 2014. The album features Streisand singing duets with an all-male lineup including John Legend, Michael Bublé, Andrea Bocelli, Billy Joel,Lionel Richie, Stevie Wonder, and Elvis Presley. The collection also features Streisand’s first studio-recorded duet with her son, Jason Gould.
While the recordings are new, most of the songs have a previous history as Streisand releases. Two classic Streisand duets are updated with new partners: “What Kind of Fool“, newly performed with John Legend (originally with Barry Gibb) and “Lost Inside of You“, newly performed with Babyface (originally with Kris Kristofferson). The deluxe edition features recordings from her 2002 Duets compilation with Frank Sinatra, Bryan Adams, Barry Manilow, and Barry Gibb.
Miyake’s unwavering approach to creation is the freedom to have ideas, unconstrained by any preexisting rules or framework, and to be able to make them realities through a tenacious process of research and experimentation. Miyake works in a manner that not only advances his own ideas but also cultivates skills in the people around him, constantly pushing both the tradition and the evolution of design.
Today, Miyake is working toward his next stages of creation. Along with Sachiko Yamamoto and Manabu Kikuchi, who have served for many years as production chiefs for Issey Miyake’s collections, Miyake put together a select team of both experienced and young staff and established a new laboratory called Reality Lab. Reality Lab is already concurrently working on new designs that are intimately connected to society. These projects stem from the extensive research undertaken in preparation for the XXIst – Century Man exhibit directed by Miyake at 21_21 DESIGN SIGHT in 2008, and have since expanded into new research and development. The work at Reality Lab includes the development of environmentally-friendly and resource-conscious materials to remake and recreate even better things. In 2010 the group presented the 132 5. ISSEY MIYAKE collection, as well as the IN-EI ISSEY MIYAKE lighting collection for Artemide in 2012 at Messe Frankfurt’s Light + Building and the Salone Internazionale del Mobile di Milano (the Milan Furniture Fair). The collections have each received great responses from throughout the globe.
Making ideas, making things that have never been made before, and making new realities. Miyake continues to adopt this principal in his continuous creation of newer, ever more advanced designs for the 21st century.