If you looked from up there I’m sure you’ve approved this “your” collection.
Please Tom come back to Gucci, they need you !!!!
It was all but official before the show began. This would be Peter Dundas’ last collection for Emilio Pucci. The reasons still aren’t clear, but if we had to guess, it’s because Dundas’ Pucci is more hot-blooded than blue-blooded. Pucci, the brand, was born on the island of Capri in the 1940s, and came to global prominence in the ’60s, when the jet set first impressed itself on the world at large. Dundas, who hailed from Roberto Cavalli (and, according to rumor, may be headed back there), didn’t necessarily break with Pucci’s past, but he had a vision of his own for the brand. His work for the label was unapologetically sexy, and he was in love with rock ‘n’ roll from his bold Fall ’09 beginning right on through to tonight, when Led Zeppelin dominated the soundtrack and a whole lot of legs ruled the catwalk.
“It’s a very personal collection,” Dundas pointed out in a preview. The sporty horizontal stripes on clingy ribbed knits were apparently a reference to the rowing league he belongs to in Florence. The fluttery white and black evening separates were a loving tribute to his mother, a violinist who wore the colors when she performed. Here and there, you could spot callbacks to former hits, like an ombré-dyed body-con minidress or electric-hued crushed-velvet trousers and an equally bright silk blouse. As for the astrology motifs running through the collection, does it get more personal than star signs? They turned up everywhere, from intarsia sweaterdresses to delicate beaded embroideries on a velvet blazer and a floor-scraping cape. For the finale, Dundas sent out his favorite models in long jersey T-shirt dresses, each with their own zodiac sign: Cancer for Anja Rubik, Leo for Joan Smalls, Aquarius for Lily Donaldson. The illustrations were sweeping, strong, and emotional; Dundas also pointed out they were rendered by hand, as Emilio Pucci himself used to do.
He invited his studio team out to take their final bow with him. It was a lovely, tender gesture. Dundas’ tenure at Pucci lasted six years, double that of his predecessor. He made the show one of Milan’s hottest tickets and dressed show business’ best bodies (Gwyneth, Beyoncé, and Rihanna included), in the process giving the Pucci legacy a fresh relevance—and he did it all with dashing good humor and charm. Personnel change every few years is now the norm, not the exception, at fashion houses, and whoever follows Dundas in the creative director role will likely take the label in a new direction, but no one will deny that, for much of his time here, he was a star turn.
Roberto Cavalli’s Ming-vase dress from Fall 2005—the one made famous by Victoria Beckham—is apparently part of the Met Museum Costume Institute’s big summer show, China: Through the Looking Glass. That was enough to make Cavalli look East for his latest collection. But there was more.In the Mood for Love, to be precise. The windowpane-checked cheongsam worn by Maggie Cheung in Wong Kar-Wai’s modern classic sparked a visible train of thought for the designer. The check was duplicated in white string embroidery on micro-sequined evening dresses, in the grid of white paillettes that nestled in a fur jacket, in the pattern formed by silk fringed to look like fur.
Then it was just a question of decorative detail: metal pagoda buttons, heavily beaded floral motifs from the Ming dynasty, sinuous opium-garden embroideries mounted on a faded tiger print, the gold fringing on a jade gilet, the abundant silk fringing that swept the floor in the finale. And the models walked under huge neon reproductions of traditional Chinese lanterns.
But this was potentially the collection that would seal the deal for a sale of the Cavalli company, so there were the signatures that underscored the brand identity, most obvious in the artisanal handwork but also inescapable in the more animal-based effects, like ocelot-printed pony skin, and in the tawny temptress vibe of evening dresses that floated in a cloud of sunray-pleated dégradé chiffon. Cavalli is lucky in that he is his own cliché. Judge him on his own terms, and this collection was a success. Widen the frame of reference, and you get the impression that something has to change.
Italian Designer Ivan Bellanova presents his new FW 2015 Capsule Collection and previews the new Beachwear 2016 Collection. The luxury designs, made with love and inspired by his heritage, perfect suit to today`s working women: Elegant during the day and “the one and only” during night.
FW 2015 CAPSULE COLLECTION:
The collection consists of dresses, jackets and skirts. All the garments work as single pieces and can also be combined in various ways – always dressed perfectly for any occasion. The main colour of the collection is grey used in 3 tones, to show the special urban style of today women living a “big city life”. The basic fabrics are winter cotton and wool creating a warm and comfortable atmosphere. Bright details in red, blue and yellow reflects the “lights” of the city nightlife. Decorative elements, inlaid like a marble intarsia, generate a geometrical order that give the garments a unique handmade “twist”. Silhouettes are tight underlining femininity and sophistication.
PREVIEW BEACHWEAR SS 2016:
It is a preview of the SS 2016 Beachwear Collection accomplished by light tunics, promenade dresses and ponchos. The samples are bright coloured with summer prints with various colour combinations creating a happy, sunny and delightful mood. Silhouettes are simple and comfortable for the beach. Garments are decorated with amazing ribbons. www.beechwear.com
Born on the ancient island of Sardinia, surrounded by crystal blue waters of the Mediterranean, the designer soon discovered its artisan treasure, exemplified in jewellery and traditional dresses. The intricate lacework of gold and silver jewellery instilled in Ivan the sense of preciousness. Combining his passion for design in all its facets – from art over fashion to architecture studied in Florence – Ivan Bellanova creates fashion for women who feel young and secure at the same time, open for new experience yet already settled.
For the last couple of years Ivan Bellanova satisfied the most demanding request in an atelier in Florence, his work always passionate and perfect. In this season he decided to do the next step to establish himself as a designer bysharing his métier to the wider public and creating a collection for the whole women`s Fashion World.
Depending on the season, Karan shifts between tailoring and dresses. This collection was mostly built on the former. All manner of jackets, from blazers to a leather bomber, were belted at the midriff above tapering trousers or narrow skirts. Karan understands outerwear better than most designers. Keeping you warm, which her long-haired shearling-lined brocade number will surely do, is only half of the mission. The other part of the job—making a statement, polishing off a look—is just as essential. Which is where a gold coat with rich black embroidery on its back came in.
Her evening dresses had a similarly modern spirit. Bare-shouldered in the signature Donna way, the black gowns folded and tucked, exposing sheer panels here and there, but didn’t end up looking fussy. They were actually quite sleek.
From the expanses of savannah to the catwalks of the world. Today, the fashion made in Africa and inspired by the traditions, completely ethical and sustainable, it is increasingly fashionable. And it is a source of inspiration for music and photography here is how:
Where trends are born? This is the question that people who work in fashion arises daily. There are those who favors big cities, those who think they are born directly in the studio, or those who speak of “alchemy against the grain”, leading the way and the common people as the true origin of trends and fashions. Not only that. Thanks to globalization, and the ability to reach virtually the other side of the world in an instant, even those countries currently excluded from the creative process because they are too far away or tied in a difficult socio-political situation, have proved a source of inspiration ever original, and topping the charts there is no doubt Africa.
A huge continent of over 30 million square kilometers, multi-faceted, with a history often difficult and dramatic; a mysterious place, and therefore irresistible. And now it is here that creative people are left.
WATCH THE TREND
One of the first designers to bring the catwalk a collection inspired by the Dark Continent was Lamine Badian Kouyaté, better known by its brand name, Xuly Bet, which in Wolof, the Senegalese language, means “keep an open mind.” After living in Paris and studying at the Ecole Nationale Superieure d’Architecture in Strasbourg in 1989 launched his own collection, very “open minded” and innovative: its ability to recycle fabrics found in flea markets and in turn colorful patchwork is winning. He is inspired by the great couturiers such as Azzedine Alaia and Yves Saint Laurent, combining materials and colors of contemporary Africa, not to mention the seventies punk rock and funk. The result is a mini-dresses with colorful wax fabric and leather, hand embroidery and volumes emphasized. Everything, for the first time, is developed and produced in an ethical and sustainable embroidery on jackets and painted fabrics, for example, are commissioned to African women in exchange for a fair wage and decent working conditions. No one before him had done.
It is this sensitivity to certain customs that came back to get noticed on the runway, pushed by his growing success in music and photography: shooting Koen Hauser in “The Hommage a l’Art” (2013), for example, are a celebration of African fashion, and have been around the world. They were created to celebrate one of the leading manufacturers of fabrics wax in the industry, Vlisco has always been committed to supporting African designers: to do so regularly organizes courses in tailoring for women Ghanaian, Nigerian finance the most talented designers and the sponsor of two of the most important events of the style “Made in Africa”: the Nairobi Fashion Week and the Lagos Fashion and Design Week (the latter was also a guest of Pitti Immagine W in 2012). At the same time there is also the work of songwriters such as folk artist Imany, now popular all over the world, who in the show never abandons his turban typical of the Comoros islands.
It was easy to be a little worried about David Koma’s Spring presentation, now that the Georgian designer is the artistic director of Mugler. Since that was a lifelong dream for him, one wondered if he might put his heart and soul into Mugler at the expense of his eponymous line, or whether he’d be able to multitask.
Koma’s challenge was to make sure there was a distinct separation between his Mugler collection and his own, and also to breathe new life into his body-con aesthetic. The designer uses color sparingly—he is very architecturally oriented and often sticks to black and white—so it was a welcome surprise to see shots of citron yellow in the first looks. Color was introduced with restraint: a simple strip on just one side of some shorts, a pop of it on a waistline or collar.
The body-con pieces had cutout waists, sheer panel details, and organza overlay—add to all that the asymmetrical hem, and there were a lot of ideas not seen in previous Koma collections. A supersharp dress in electric blue or pure white had geometric cutouts and bathing-suit-strap details that added interest, but the real standouts were the crystal-embedded looks with minute handwork and meticulous geometry. All in all, Koma made his point: When it comes to his own line, he is definitely not asleep at the wheel.
This season Diane von Furstenberg gave the fashion world a modern day update of the French Riviera style of the 1950s. The designer posed herself the question: what would an in her prime Bridget Bardot wear today?
The answer seemed to be that she would still favor quite a lot of girly gingham. But to better catch the summer sunlight beating down on the Cote d’Azur she would embellish her bra tops, flirty short day dresses or palm frond tunic top in glossy brightly colored sequins, micro crystals or reflective mirrored embellishments.
The smiling models certainly looked as if they were enjoying themselves as the late afternoon sun that beat down on the audience heightened the feeling of being smack dab in the middle of a summer heat wave.
But that is exactly what customers go to von Furstenberg for. Clothing that will bring a delighted smile to the face, give a bit more of a bounce to the step and always, always keep the woman in control of her feminine power. The brand’s new artistic director, Michael Herz, certainly got the DVF message loud and clear.
Even at her most playful, von Furstenberg makes sure to never lose track of the effect a woman in her clothing can have on the world.
The little black book that designer Hedi Slimane gives out each season, as the invitation for his Saint Laurent shows, is a portable mood board of sorts. And this time, if the images in the booklet are to be believed, Slimane was in a naughty state of mind.
When the show got underway there was a certain wantonness about the collection. Between the soundtrack which consisted of a French singer talking ad nauseam about wanting to have sex, and all the deep scoop neck tops, navel grazing short dresses and short shorts – all of which offered easy access to erogenous zones – Slimane was giving a pretty clear sexually charged message.
Of course he did it vicariously though his favorite era-the 70s. But unlike in recent past collections his rebelious party crowd got a bit more glammed up. A lot more sequined jackets, turbans, halter tops and dresses showed up on the catwalk this time around. And the introduction of floral motifs on a number of the short and sexy looks gave a slightly uneasy under age vibe to the designs.
o democratize couture. This is the message conveyed by Dior’s Creative Director, Raf Simons. The designer continues his search for modernity started three months ago with his haute couture collection. “I wanted to create something more modern, more dynamic, more real. I wanted (the idea of couture) to be made available to a wider audience,” said Raf Simons. From 18th century up to now, from court coats to streetstyle, Simons goes beyond; he starts from the past that he reinterprets with fresh modern eyes: hoop skirts are now worn with a simple tank top, bermuda shorts are borrowed from the world of skateboarding, 18th century tailcoats are morphed into loose coats while jumpsuits in tech materials evoke astronauts’ uniforms. Once again, the Dior collection reads like a journey into fashion history, an adventure through three centuries of costume history and the result, conceived and created by Simons, proves that modernity is the attitude of making something dramatic look easy, of simplifying the past and reinterpret it with new eyes and techniques.
The powerhouse celebrity family unit of Kris Jenner, Kim Kardashian and Kayne West might have been watching Kendall Jenner walk in the spring/summer 2015 Balmain show, but it was a different pair of iconic siblings that actually inspired designer Olivier Rousteing this season.
The Jacksons, Michael on the soundtrack and Janet on the catwalk,shaped this monochromatic, ode-to-the-nineties collection.
This meant models with slicked back wet hair strutted down the runway in dramatic cut out bandeau tops that were strapped tight to the torso. They also showed up rocking graphic grid patterned high waisted pants and body con dresses that appeared to cadge in each model’s curves.
Rousteing is known for his highly structured and richly embellished rock-and-roll designs. And yes, the strong shouldered jackets did make an appearance on the catwalk. This time they came with tricky twisted bodices that left waistlines exposed.
However this season he smartly showed that he could keep his rebellious edge but still propose (slightly) more forgiving garments. One of the best of these was look 9, which paired a draped black t-shirt with a matching semi-sheer pleated maxi skirt. Also strong were the striped primary colored sleeveless suit vests cut in oversized proportions. A broad collared leather jacket cinched to the waist with a belt also expertly played with dramatic shapes.
The final outfit in the line-up really said it all about this show. The top was an easy white cotton sleeveless shell with an understated flourish of draped fabric. The bottom a pencil skirt festooned with colorful beadwork laid out in a geometric grid motif. A clash of causal and couture that resulted in one seriously bitchin’ ensemble.
Like a breath of fresh air blown in on a warm summer breeze, the last Missoni show reminded the rain soaked audience that this week was supposes to be all about dressing for the summer months.
It’s understandable to think that more then a few of the front row guests might have forgotten that fact, considering all the dark-hued shows and abundance of leather and suede that has shown up on the Milan catwalks this season.
Not so at Casa Missoni.
This up-beat collection, filled with feather-light knitwear in sweet rainbows of color combinations, was truly lovely in its easy nonchalant approach to fashion. Everything was fluid or voluminous and more often then not semi-sheer. The collection was designed by Angela Missoni to lightly caress the body. Think the perfect pieces to wear during next summer’s hot and sticky heat waves.
There was also a hidden feel good element to the show. Missoni teamed up with the WFTO certified fair trade company SeeMe to create the lining for some of the Missoni dresses. They were all hand made by women who have been victims of violence in the slums of Ankara.
But as laid back as this collection was, Missoni was still able to maintain a sense of chic sophistication in her silk oversized men’s shirts, colorful short-sleeved trench coats, palazzo pants and maxi dresses. The silk scarves that bundled up the models hair with a twist only added to the show’s sense of refinement. It was too bad the thong sandals did not.
Nice show and beautiful color. Well done Missoni !!!!!
a McQueen show, all the bold flower embellished fabrics were cut with an elegant rigor rather than any cutesy Kawaii geisha style. More samurai warrior, with their black strapped harness topped dresses, cape jackets cut with slit open sleeves and short dresses with rounded armor-like short sleeves and stiff skirts, then Kabuki theater.
Japan and its traditional dress a theme that Alexander McQueen had visited more than once during his lifetime. But here in Burton’s hands there was just a touch more ease to the eye-catching designs. Her kimonos elegantly adorned with circles of cherry blossom were cool and yet still approachable. Her cut out bloom embellished harness topped dresses were softened via a skirt of ruffling petal and tiny flower appliqué alighting on the fabric.
This dramatic collection was all about the beauty of strength. How a woman can be strong and powerful without ever having to give up her femininity. It’s an area the McQueen brand is proving itself to be very adept at interpreting for the fashion world.
There was saucy seedy sophistication to the whole proposition—naughty girls who have already seen it all and decided to pull together pêle-mêle ensembles brimming with attitude and a good dose of arrogance.
This was another strong show from Prada. It was easy to imagine the lineup of feisty female Hollywood stars like Hailee Steinfeld, Nicola Peltz and Shailene Woodley, who were all sitting in the front row at the show, pulling apart the collection’s looks and building their own sweet-yet-sour ensembles for a unique tangy and tart result.
We’re in Florence, cradle of the Renaissance and Italian Fashion. In particular, where there is the HQ of Pitti Immagine (we will talk soon in a future post). It was therefore imperative to give an eye to what the men’s fashion holds for us for the SS 2015.
So let’s start the show. Enjoy…. 🙂
What do you think ? do you like ? let me know …
Ivan Bellanova Resort World Collection presented in Four Seasons Jimbaran Bay – Bali Indonesia model: Vanessa
Picking up perfectly off the back of last season’s show, Ghesquière created a cohesive collection that developed ideas that he had just touched on in his debut. His impressive talents with state of the art construction techniques and love of modern fabrics once again worked marvelously well, backed by the wealth of noble textiles Louis Vuitton has put at his disposal.
He started strong with some fitted “mixed media” dresses and tops that wove together an array of different knitting techniques to create a textural eye-catching design. One that he elaborated on throughout the collection, later offering the idea up in softer ruffled short dresses, and towards the end he folded in sections crafted out of knitwear or leather to give the elaborate construction a heightened sense of daring.
A selection of stripy eel pieces will be fought over for editorial coverage. As will some playful pieces covered in a print that featured floating household objects like hairdryers, eyelash curlers and salt and pepper shakers or a group of shimmer trompe l’oeil mini dresses. The velvet pants and head to toe printed versions will also get pulled by stylists but might be passed over by customers who want to keep that aspect of the 70s a distant memory.
There was also a large selection of quilted, boxy Louis Vuitton bags to choose from. But they actually worked like accessories this season, rather than statement pieces, blending in seamlessly into each technically impressive look.
It was the most anticipated event of the Paris Fashion Week. Already about two hours before the fashion show, the crowd thronged in front of the “Grand Rex”, the legendary Parisian movie theater-style Art Deco chosen by Jean Paul Gaultier to say goodbye to the prêt-à-porter, because the French designer (who debuted in fashion in 1981) went there as a child to see the fountains at Christmas. Star, designers, journalists from around the world, friends, admirers, as well as the team of the maison … More than 2,000 people came to pay homage to “the enfant terrible of fashion,” Saturday, September 27, attending a show that will rest in the memory.
So in front of the Grand Rex cinema, there was the expected crush of guests and invitation-less hopefuls trying to get in, elbowing each other in their bid to get closer to the crimson halls of this sumptuous movie theatre as hundreds of rubberneckers stood outside, causing a massive traffic jam.
Inside, a concession served champagne and popcorn as a soundtrack that felt like a medley of his shows tracks over the years poured from the speakers of the monumental main room. Within half an hour, the Orchestra, Mezzanine and Balcony were packed to the rafters with late comers dashing to grab the few seats left. Unending flashes greeted the most famous faces here tonight. Catherine Deneuve, Boy George (who’d said earlier in the day he’d come in town specially for his friend’s professional send-off), Pierre Cardin, a cohort of designers like Alexander Wang, Anthony Vaccarello, Albert Elbaz and many, many more turned up for a show that could be nothing short of spectacular.
Finally the big red curtain rises, in a crackle of applause and screams, the music of the titles in the series “Champs-Elysees”.
Under a bright arc, appearing a dozen models dressed in marinara, with big wigs and white stockings on a grand staircase that leads to the footbridge crossing the parterre.
More than a show, it was a real show, what the creator of the most symbolic fashion of the 80s and 90s of the twentieth century was designed to present his latest collection of ready-to-wear for the spring-summer 2015.
Parodying the election of Miss France, the designer invites us to the election of “Miss Jean Paul Gaultier 2015”, as announcing the invitation in the form of tricolor scarf, which the guests have worn willingly and cheerfully on his shoulders.
The tone is burlesque, offbeat and quirky, with a touch of irreverence. At the helm, the presenter Alex Taylor English and Spanish actress Rossy De Palma, in the role of Geneviève de Fontenay, the famous president of the Miss France beauty pageant with its inescapable white hat and black wide-brimmed.
The curtain falls. But the public has difficulties to leave the room. In particular, employees of the house, attended numerous. They all wear a badge in the shape of a broken heart on the bottom of why marinière.
“The heart is broken because all this ends,” says one of them. The show ended a long time, but out on the boulevard, many fans still flock to the entrance of the theater … To tell you the truth, this story really does not end well, as Jean Paul Gaultier will find ourselves in the haute couture, where can express his talent.
“Jean Paul wanted to get rid of the prêt-à-porter to dedicate himself to this great activity,” says a FashionMag.com Ralph Toledano, head of the division ‘Fashion’ group Puig, which owns the French fashion house. “This change has intervened on a weighted basis, after a real dialogue between the creator and the Puig family. Any rumors of conflict between management and Jean-Paul is so pure speculation. The parade of 27 September in Paris there were many representatives of the family Puig, evidence that Jean Paul Gaultier continues. ”