27 February 2011

LOVE by Kazaky.

Videoclip of "LOVE" by Kazaky. Something remembers me the video-presentation of new Thierry Mugler's menswear collection by Nicola Formichetti.

Faster, Mugler! Kill Kill!

One Shot #6

"Fashion is a movie. Every morning when you get dressed, you direct yourself."
Thierry Mugler, 2011.

The unsaid is very important.
Futurism is the unsaid, the unexpected. No codes, completely open and full of charm. It's movement and evolution. Dada and Futurism allow sensations to be evoked, emotions to be awaken. It's true, the world gets formatted, trivialized everyday more but when facing with the unsaid, taboos are ready for us to hold on to.
Get some humor, world! Here's to you the infamous Mr Misogyny par excellence: Thierry Mugler. Yet Femininity has never been celebrated in such a way. Heavily criticized during his whole career for the not-so-comfortable styling and fitting ("…je veux une femme roulèe comme une Buick!"), Mugler simply elevates the Woman to a pagan goddess. The body becomes a hybrid, a machine that never stops changing shape. The limits between dress and model's body do not exist anymore. The designer's sources include sexual fetishism, politics, sci-fi, Metropolis, Hollywood glam. A newly revamped Sunset Boulevard takes place during Mugler's shows, like Cirque d'Hiver is showing (1995). Dada and Futurism seem to be the pattern influencing the designer's approach to fashion: detail, transformation, theatrics, communication.

The woman is touched with idolization and devotion by his hands and the way he conceptualized femininity is nothing like the others. McQueen also pushed the Woman to fight against herself, against society, against men, against history. Remember the whole Highland Rape thing by McQueen? It was history en scène, it was the epic representation of a civilization. Let's imagine John Willies' work alive: a third body is created when the model dresses the strong, living clothes by Thierry Mugler. (robot)
Dealing with history, the broad-shouldered collection of 1986, for example, was inspired by Russia. Visuals of the performance-show included backgrounds of heroic Soviet monuments mixed with endless landscapes reminiscent of early 20th-century Social Realist painting and poster art. The kaleidoscopic compositions he created represent myth and truth, Chimere (1998) and Hollywood ladies, Gothic Velvet Vampires (1988) and Cow-girls (1992). Mugler's work as photographer also is a clear-cut definition of how his Goddess should be portrayed.
In his words, the unsaid is very important. Muglerettes would agree, I'm sure.
Hold on tight to taboos, world!

Spread the word!

"La moda è come un film. Ogni mattina quando ti alzi scegli cosa indossare, stai mettendo in scena te stesso."
Thierry Mugler, 2011.

Ciò che non diciamo spesso è più importante delle nostre parole. Il Futurismo rappresenta il non detto, l'inaspettato. Privo di codici, è totalmente aperto e affascinante. E' movimento, evoluzione. Dada e Futurismo rivelano sensazioni, emozioni celate. E' vero, non è più così facile lasciarci sorprendere: il mondo diviene ogni giorno più omologato, semplice, ma quando veniamo in contatto con il non detto i nostri tabù porgono una mano a cui aggrapparci. Per paura.
Procuratevi un sano sense of humour, signore e signori! Ecco a voi Mr Misoginia in tutto il suo splendore: Thierry Mugler. Eppure la Femminilità non è mai stata celebrata così. Da sempre criticato per i suoi fitting non propriamente agili ("…je veux une femme roulèe comme une Buick!"), Mr Mugler semplicemente eleva la Donna allo status di divinità pagana. Il corpo è un ibrido, una macchina in continua evoluzione di forma. Il confine tra abito e corpo non esiste più. Pensiamo alle fotografie di John Willie: le sue modelle, legate con corde e lacci divenivano la somma di corda e corpo, un terzo soggetto nasceva nei suoi scatti. Il designer si lascia influenzare dalla moda fetish (1989), dalla politica, dalla science-fiction, dai grandi film del passato, da Metropolis ai grandi capolavori di Hollywood. Un nuovo "Viale del tramonto" viene messo in scena in Cirque d'Hiver (1995). Dada e il Futurismo sembrano essere la chiave per comprendere le creazioni di Mugler: dettaglio, trasformazione, teatralità, comunicazione.
L'artista tocca la Donna con adorazione e devozione, viene plasmata in modo completamente nuovo, unico. McQueen allo stesso modo spinge la Donna a lottare contro stessa, la società, la storia, a divenire guerriera, strega. Ricordate il celebre Highland Rape di McQueen? Era una messa in scena storica, l'epica rappresentazione di una civiltà.
La storia? Mugler lavora ad una collezione di ispirazione russa nel 1986. Spalle ampie, alte, geometrie severe. Il background mostra gli eroici, imponenti monumenti sovietici e grandi paesaggi ispirati alla pittura realista socialista degli anni '20. Il caleidoscopio di Thierry Mugler crea mito e verità, Chimere (1998) e dame hollywoodiane, Gothic Velvet Vampire (1988) e Cow-girls (1992). Anche il suo lavoro come fotografo esplicita una lucida visione della sua Donna, l'unico modo in cui una divinità deve essere ritratta.
Per dirlo a suo modo, ciò che non diciamo è molto importante. Tutte le Muglerettes sarebbero d'accordo.
Tenevi stretti i vostri tabù!

Spread the word!

Tommaso Pollo's "One Shot" for Fashilosophy!

26 February 2011

Look of the Weekend #13

FASHILOSOPHY's suggestion about style and weekender outfit!

Click image to enlarge

Sorry me Fashilosophers! But my work steals me all the time, even my free time, but now I should have so much time to dedicate to my F.Blog.

For this weekend a very simple outfit's idea. Half retrò, half countrygirl. A very usual colors palette in this season, but still of great taste.
The winning detail is certainly the pochette, created handmade by Silvia della Giacoma's Internodiciotto (which you can buy a short collection of pochettes and bijoux on Etsy.com).


25 February 2011

Reports from Milan Fashion Week. Prada F/W 2011. Sleek and Funny!

Miuccia Prada's often impenetrable thought processes were more naked than usual this season. She wanted to perform a perverse/reverse alchemy: Take the clichés of worldly female glamour, sequins, snakeskin, fur, the color pink, and make them innocent again. After the show, she harked back to her lace collection of Fall 2008.
"I'm curious about women," she said. "I want to challenge their passion."

A year ago, Miuccia was exalting the womanly form at its shapeliest. Here, she opted for the dropped-waist, straight-up-and-down silhouette of the twenties flapper, or the sixties dolly bird. Wide belts were slung low over big-buttoned coat-dresses or sheer shifts. Given that both the aforementioned decades were periods of female emancipation, it was hard to take Prada to task for a potential retreat to the elevation of, what would be for most of her customers, unattainable girlishness. Besides, she referenced her beloved Saint Laurent with a block print evoking his Mondrian dress from 1965, a piece that is, forever and always, the quintessence of fashion modernism. And, on top of that, the collection danced gleefully around those adult elements of desirability that Miuccia has made her own, bags and shoes. Especially noteworthy were the latter, including boots offered in a killer trompe l'oeil combo of high heel and knee-high, particularly provocative in python.

Python was also cut into cocoonlike twenties-style coats with big fur lapels. The reptile angle was pursued with a series of outfits coated with huge plastic scales. But were the girls serpents or mermaids? It was the kind of question that leaves a Prada audience uncertain about spontaneous responses. "Let me sleep on it," say the flummoxed journalists as they leave a show. Whatever, today's finale flourish was a gorgeous effect that perfectly encapsulated Miuccia's intended aim of innocent glamour. Let's plump for mermaids.

A footnote: At Prada there is always at least one element that doesn't quite gel. Here, it was the way the models clutched their bags tightly to their chests. Ladylike might be one interpretation. Shields could be another. That's food for thought for the next collection

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24 February 2011

Get the Embroidery!

Credits of Pic: Maria Carla Boscono shot by Steven Meisel for VOGUE Italia october issue 2010.

21 February 2011

Daphne Guinness video-interview for VOGUE.IT!


Bernard-Henri Levi once said about her: "You're not a person, you become a concept." This is true. Daphne's a factory of ideas.

19 February 2011

Lady Gaga's photoshoot for VOGUE!

Lady Gaga for Vogue. Behind the scenes. Just amazing!

01 February 2011

Style Icon of the month #7

Style Icon of the month: Kate Lanphear.
She's the style director of
ELLE US and is originally from Virginia but started her career in fashion in Australia. The style editor is known for her strong sense of dress, platinum blonde locks and is often revered as a style icon by those in the industry. Kate has a huge cult following and has inspired numerous blogs that follow her punky style.

Previous to working in the United States, Kate worked for eight years in Sydney at
Vogue AU and Harper's Bazaar AU. She then returned to the USA where she landed a role at Harper's Bazaar. It wasn't long before she was offered the role of senior fashion editor at Elle and then style director in 2008.

She was raised in a conservative Irish-Catholic family and was surrounded by stylish women. She says her own wardrobe is filled with studs, chains and black skinny jeans. Kate's style is both androgynous and glamourous. Although she thinks of herself as a fashion geek, claiming her style is more "potluck".

Although Kate herself has worked for years in fashion, she likes that there are fresh voices in fashion through blogging and the internet.
As for favorite designers, Kate says that she collects old
Helmut Lang and Margiela.

She really rocks in fashion!