31 January 2011
27 January 2011
This is the right ATTITUDE!
The invitation safety-pinned a piece of fishnet to a piece of cardboard. The run of show named outfits after "Anarchy in the U.K." and "London Calling." And that was Sid's "My Way" playing as we walked in. All held the promise that Jean Paul Gaultier would parade punk couture, hardly a new idea for him, and not exactly a thrilling prospect for us, especially given that the designer has been going through a dry spell of late. But something magical happened on Gaultier's catwalk today. A living legend got his mojo back. Maybe the split with Hermès fired him up, maybe his upcoming career retrospective in Montreal got him thinking about his greatest bits. Whatever, it worked.
As far as the punk theme went, there were elaborate Mohawk hairdos (tulle cascaded from the bride's at the finale), the odd dog collar, and some cropped bomber jackets. One of them was crusted with metal pearls. Another, gracing an outfit named "Vicious," was indeed decorated with chains and studs, but it was draped over a black crepe sheath with a flounce of tulle. The ripped 'n' torn aesthetic was in full effect with an ensemble that featured a raggedy beaded top and a silk skirt falling to pieces. (Dégradé is couture's take on punk.) And, at a very glamorous pinch, the perforated black leather jacket and skirt fit the theme, but what his punk starting point really bestowed on this collection was rigor and focus.
Gaultier has always been a brilliant tailor, and here he applied his genius to a pinstripe jumpsuit and matching jacket; a white suit with a corseted torso and ruching rounding out the hips; a gown that used almost straitjacketlike straps to make its sensually tense point; and a tuxlike pantsuit—with frog closing—in an organza covered with passementerie. That last item was the sort of thing you'd only see at a couture show—and probably only this one, to boot.
Something else Gaultier has always been—the most Parisian of designers. A cancan froth of silk tulle ruffles peaked out here and there before finally erupting into a full-on, high-kicking finale, courtesy of Psykko Tico, from the Crazy Horse. Gaultier revisited his favorite alt-Parisienne, the concierge, in a printed mousseline jumpsuit wrapped in a long cardigan in a similar print. And his signature piece—the trench—gained a new length, lost a shoulder, and came up rose-colored. He called this outfit "I Am an Anarchist." But only in a world where ugliness rules.
Powered by Style.com (Tim Blanks)
"If fashion is about today, then today it's time to go back to elegance," said Pier Paolo Piccioli, after a collection that put the seal on his and co-designer Maria Grazia Chiuri's creative stewardship of Valentino. "Elegance is subversive," he added. "The real subversion is culture." And, in the duo's eyes, haute couture is a way to flex some cultural muscle.
Piccioli's somewhat opaque words actually helped to explain the paradox of the collection: how something so blatantly pretty, pale, and light could also feel like it had an irresistible germ of, if not subversion, then at least oddness. It wasn't just the penitent hair and makeup, or Freja's opening outfit, in all its vestal virginity. Maria Grazia said there was a secret in the collection, in the way the pleats fell, the way the sheer fabrics seemed about to reveal something while keeping it hidden. That secret was presumably the girl inside the clothes. If she was covered up, she wasn't demure. The models walked with a diffident hauteur, hardly innocent.
Chiuri and Piccioli's signatures may be delicate—lace, bows, flowers, plissé—but underlying that delicacy is an intense emphasis on workmanship. "Researching lightness, subtracting weight," said Piccioli. The process of subtraction applied equally to the openwork on the seams of an ivory crepe dress (daywear in this collection) and the lace insets that made the trailing eveningwear seem barely there.
Put today's show together with the duo's ready-to-wear and the menswear line they launched in Paris last week, and you get the inescapable sense that they have a genuine vision for the Valentino brand—coherent and seductive, every way you look at it.
Powered by Style.com (Tim Blanks)
Tim Blanks says 'bout him "Inspired, he said, by the gleam of gemstones, Armani produced clothes that came from another planet, the same one that Pier Cardin and Thierry Mugler might have touched down on once. (It's already been suggested its name could be Gaga.) The first outfit—jacket, skirt, and leggings—shimmered around the model's body like liquid mercury. Her metallic saucer of a hat—one of many made by Philip Treacy for the collection—beamed in signals from above. The ensemble set the tone for the sci-fi extravaganza that followed. "Tron-y, a bit," said Wilde, who should know."
Thierry Mugler is the Armani's inspiration? That's unusual, but grant to sacred god of fashion to have fun...sometimes.
Then John Galliano for Christian Dior disappoint us season by season. Ok, we understand that your style-sign is the extravagance and excess, the provocation... but we got to 2011, after fourteen years the overlaps of volumes, skirts with layers and layers of tulle like bar suit, the make-up so excessive as to make the models look like newyorker dragqueens has a little tired us. From a genius of the illussione as Galliano (for a so important maison like Dior) is always expected something more than a constant mention of himself. Obviously that's just my opinion, questionable or not, but you must admit that this collection isn't nothing of new and amazing, only the craftsmanship with which it was created, that isn't a news. Going without fail can be a wise choice these days, but you can be true to yourself without stumbling into the "already seen and reviewed".
Non so, ma credo che questa stagione della Couture Parisienne sia partita davvero a fatica. Armani propone una donna strana, ma di quello strano a tutti i costi che poco si addice alla sua filosofia, filosofia che già da qualche anno, soprattutto nella couture, ha perso il concept generale di Re Giorgio, rifacendosi a dei mondi forse troppo distanti da lui. Un mix tra un Armani futuristico-sperimentale e un Armani classico poco riuscito. Sicuramente qualche proposta passerella è meravigliosamente invitante, ma se si osserva tutta la collezione, tutto d'un fiato, si avverte una nota stonata. Tim Blanks ha scritto circa questa collezione: "Inspired, he said, by the gleam of gemstones, Armani produced clothes that came from another planet, the same one that Pierre Cardin and Thierry Mugler might have touched down on once. (It's already been suggested its name could be Gaga.) The first outfit—jacket, skirt, and leggings—shimmered around the model's body like liquid mercury. Her metallic saucer of a hat—one of many made by Philip Treacy for the collection—beamed in signals from above. The ensemble set the tone for the sci-fi extravaganza that followed. "Tron-y, a bit," said Wilde, who should know". L'ispirazione di Re Giorgio è Thierry Mugler? Beh questo è davvero inusuale, ma concediamo ad un dio sacro della moda di divertirsi...ogni tanto.
John Galliano per Christian Dior poi, mi delude di stagione in stagione. Ok, abbiamo capito che il tuo segno di stile è la stravaganza e l'eccesso, la provocazione...ma siamo arrivati al 2011, dopo quattordici anni le sovrapposizioni di volumi, le gonne a ruota con strati e strati di tulle stile abito bar, il trucco così eccessivo da far sembrare le modelle delle dragqueens californiane ci ha un po' stancati. Da un genio dell'illussione come Galliano (per una maison così importante come Dior) ci si aspetta sempre qualcosa di più e non una costante citazione di se stesso. Ovviamente è solo una mia opinione, discutibile o meno, ma bisogna ammettere che di nuovo e sconvolgente questa collezione non ha nulla, se non la maestria artigianale con la quale è stata creata, che d'altro canto non è certo una novità. Andare a colpo sicuro può essere una scelta saggia di questi tempi, ma si può essere fedeli a se stessi senza inciampare nel "visto e rivisto".
A jet-propelled robot, a beaming sun god and an impish spider are not the likeliest of characters to embody the ultra-luxurious world of Chanel, but Peter Philips, the innovative mind behind them, has made his name pursuing the unexpected. Chanel’s Global Creative Director of Makeup took a break from conceptualizing cosmetic gold to don the animator’s cap for today’s short, a work inspired by a series of headdresses he crafted from beauty product packaging for a Vogue Paris shoot. Built from a trove of compacts, glosses, brushes and more, Philips’s characters embark on a journey that begins with a lipstick-powered automaton blasting through the clouds and ends on more familiar ground, with a model whose chic ensemble channels Mme Chanel herself. Philips came to the task with the requisite technical skills, having studied graphic design before attending Antwerp's Académie Royale des Beaux-Arts. But he did concede on one creative point—the music. “If it were up to me it would have been disco,” he confesses.
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26 January 2011
Let there be light. No designer is as primed for that kind of heavenly decree as Karl Lagerfeld, and he heeded the call with a Chanel collection that was positively luminous in its delicacy and sparkle. Dresses that looked spun from gossamer ("morning dew on spiderwebs" was his cohort Amanda Harlech's more lyrical metaphor) weren't fabric; they were pieces of embroidery. Ten million beads were used in all. The result was literally a cloth of light.
Powered by Style.com (Tim Blaks)
21 January 2011
17 January 2011
First Position: Sandra Bullock in a wonderful "vintage style" pink powder dress with a delicate crystals embroidery. She's looks amazing in this Jenny Packham.
Second Position: Scarlet Johansson in a evergreen of style nude effect dress by Elie Saab. Soft lines, narrow waist and mermaid tail.
Third Position: Leighton Meester, The Gossip Girl's Queen B, in a sleek and fluctuating dress by Burberry Prorsum. Very young and very promising.
Special Mention: Angelina Jolie, always gorgeous in a Versace Atelier's long-sleeved green dress. The lines of '30s make her look like a modern Marlene Dietrich.
16 January 2011
14 January 2011
Ok dear fashilosophers. Christmas is over, New Year's Eve and the holidays too. We started seriously with our lives, soonoer or later but that's it. This is the first post-holiday weekend, so abandoning the sentimentality, we return to our usual determination. This weekend, a tough outfit. Strong and determined, like the women who follow this blog. The black is always a safe choice for the evening, the party nights and generally for the movida...then if we combine this one with a touch of leather, studs and a few jellow edgy accessories, we have bingo! So, take inspiration from Fashilosophy's weekly suggestions and enjoy a return to the nightlife. Go Rock!
12 January 2011
Victor Nylander shot by photographer Willy Vanderperre.
11 January 2011
10 January 2011
08 January 2011
05 January 2011
She was launched onto the fashion scene by Brian De Palma's film Femme Fatale and Angel-A of Luc Besson signed er success as actress.
The cleverness of this volume, in addition to the talent of those who participated, is the idea of making the pages something of a "real" and "alive". The special paper on which the photographs were printed containing seeds of wild flowers, in fact, if planted, watered and exposed to sunlight will flourish.
The book, printed in limited edition (1500 numbered pieces) and bound in silk with gilt-bronze details, will sell for $ 295, a price that is affordable in spite of an almost impossible to have one.
Alexander McQueen è stato senza dubbio uno dei creativi più visionari della storia della moda contemporanea, amato e venerato per le sue straordinarie follie che ne hanno segnato il successo. A quasi un anno dalla sua tragica morte, una serie di suo grandi amici e sostenitori ha partecipato al libro tributo dedicato alla sua straordinaria opera. Visionaire 58 Spirits, a Tribute to Alexander McQueen, infatti è una bellissima raccolta fotografica che racconta il mondo McQueen attraverso la sua particolare estetica e la sua naturale inclinazione alla lato "strano" e un po' oscuro della moda. A rendere omaggio al suo genio compaiono nomi quali Steven Klein, Mario Testino, Nick Night e Lady Gaga, icona fashion dell'elettropop che McQueen ha aiutato a consacrare nel firmamento della musica.
La genialità di questo volume, oltre al talento di coloro che vi hanno partecipato, consiste nell'idea di rendere le pagine un qualcosa di "vero", di "vivo". La particolare carta, contenente semi di fiori selvatici, su cui le fotografie sono state stampate, infatti, se piantata, innaffiata ed esposta alla luce del sole fiorirà.
Non la trovate un'idea sufficientemente stravagante, degna di un genio come McQueen? Noi Si. SI!
Il libro, stampato in tiratura limitata (1500 pezzi numerati) e rilegato in seta con finiture di bronzo dorato, sarà venduto a 295 dollari, un prezzo assolutamente abbordabile nonostante sarà un'impresa quasi impossibile riuscire ad averne uno.
04 January 2011
Represented by next models ny, Abbey Lee Kershaw stars in the SS11 tom ford eyewear campaign shot by ford himself. Seen in platinum blonde looking lavishly chic, kershaw stuns us as a fashion audience this season.