Starting June 17th 2011, Montreal Museum of Fine Arts will display 35 years of outstanding work by the world renowned designer Jean Paul Gaultier. Over 120 haute couture dresses and ready-to-wear pieces made from 1976 to 2011 will be on display.
In honor of this exhibition Elle magazine commissioned an exclusive editorial featuring pieces from Jean Paul Gaultiers archive to be worn by Coco Rocha. This film documents that editorial and cover shoot.
Filmed and Edited by James Conran.
Photos by Nelson Simoneau for Elle. Music: ET by Katy Perry (Dubstep remix)
I love to meet new artists. Yes, I love to know them and discover how they are working on, what they have to say and how they found a definition of their precise way to confront with reality and take it to their followers. Photography, which we have devoted many posts, is certainly the most immediate and most modern vehicle to use, and this may have been the same thought of Diago Mariotta Mendez, who just 20 years may already be included in the short list of young and promising emerging photographers. I discovered him so easily, sifting through Twitter profiles and photo albums of the indie and glamourous milan disconights. Well, after watching some of his shots I was fascinated by them. He's very young but already fully aware of what great vehicle is the fashion photography (but not only), and he's learning to use it in the best way, according to his precise aesthetic ideal.
Born in Nigaragua, grew up in Switzerland and moved to Milan to get away from the static swiss-society, began to be known as DIE immortalizing fleeting moments of the alternative nightlife (that are so en vogue in fashionsystem) and giving a clear insight but keeping the chaotic and bohemian spirit at the same time. He started from this kind of suggestions, has mixed his passion for the cosmopolitan Boombox's atmospheres of London with the feeling of his origins, with his fashion-image concept, and took out a personal and intimate photographic product. His portfolio has also affected the Central Saint Martins School's Committee that has included Diago in its courses.
UP&DIE Magazine is his photo-blog/reportage, with whom he shares what drives him and hit him artistically. I like his work so much that I decided to share it on Fashilosophy.
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Adoro conoscere artisti nuovi. Si, amo conoscerli per scoprire come lavorano, cosa hanno da dire e come arrivano alla definizione di un loro precisono modo di confrontarsi con la realtà e riproporla a chi li segue. La fotografia, alla quale abbiamo dedicato molti posts, è sicuramente il mezzo più immediato e più moderno sul quale fare affidamento, e questo deve averlo pensato anche Diago Mariotta Mendez, che a soli 20 anni può già essere inserito nella rosa dei giovani e promettenti fotografi emergenti grazie al suo lavoro. L'ho scoperto per pura casualità, spulciando profili su twitter e gli album fotografici delle serate un po' indie un po' glamourous della movida milanese. Beh, dopo la visione di qualche suo scatto ne sono rimasto affascinato. E' giovanissimo ma già pienamente consapevole di quale grande mezzo sia la fotografia di moda (ma non solo), e sta imparando a servirsene nel migliore dei modi, secondo un suo preciso ideale estetico.
Nato in Nigaragua, cresciuto in Svizzera e trasferitosi a Milano per evadere dalla staticità elvetica, ha iniziato a farsi conoscere come DIE immortalando gli attimi della nightlife, delle notti alternative che sono tanto en vogue nel fashionsystem, dandone uno spaccato chiaro ma conservandone, allo stesso tempo, lo spirito caotico e un po' bohemienne. E' partito da questo tipo di suggestioni, le ha mixate alla sua passione per il cosmopolitismo alla Boombox londinese, al sentimento delle sue origini, al suo concept di fashion-image, e ne ha tirato fuori un prodotto fotografico personale e intimistico. Il suo portfolio ha colpito anche la Committee della Central Saint Martins School che da settembre lo ha inserito nel suo corso di studi.
UP&DIE Magazine è il suo photo-blog/reportage, con il quale condivide ciò che lo stimola e ciò che lo colpisce. A me personalmente piace il suo lavoro, così tanto che ho deciso di condividerlo su Fashilosophy.
FASHILOSOPHY's suggestion about style and weekender outfit!
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Spring is now arrived. The sun is shining and the desire to abandon the neutral tones hovers everywhere: in shops, on magazines, by the streets. As decided by Gucci, Vuitton, Moschino, Blumarine and many other brands, colors will be expecially for this season, the dominant element. No matter what color, what shape and in that materials, the important thing is to paint themselves as an impressionist painting. So, in perfect harmony with the common feeling, here is a very essential and economic Weekender outfit, frivolous and always cool.
In 2010, Swarovski enlisted multimedia artist, photographer, and director Bruno Aveillan to make a cinema spot with them that would conjure Swarovski's more than one-hundred-year heritage on the big screen. Propelled by the vision of using film as a medium for conveying Swarovski's charisma and grace and mastery of light, as well as a portrait of the spirit of crystal and beyond, the team ventured to Turkey, traveling from Istanbul to a salt lake outside of Ankara. There, they began filming what was to become a tale of brilliance and movement. The result is a beautiful, powerful, and unique cinematic work that will amaze and delight cinema audiences. It is an experience you should not miss out on...
A Behind-the-Scenes Look at a Highlight From the Designer's Costume Institute Retrospective.
A collaborative labor of love between late designer Lee Alexander McQueen, milliner Philip Treacy and jeweler Shaun Leane, the Bird's Nest Headdress profiled in today's film is among the pieces appearing in the Costume Institute of New York's McQueen retrospective at the Metropolitan Museum of Art opening this week. "Birds were one of McQueen's greatest inspirations," says curator Andrew Bolton. "This hat is a poetic manifestation of his love of nature." The feathered creation opened McQueen's fall 2006 Widows of Culloden presentation, a darkly romantic panoply of tweeds, tartans and brocades inspired by the final battle of the Jacobite Risings that saw the fashion maverick revisit his Scottish roots. Crafted from mallard wings, Swarovski blue topaz and smoky quartz gemstones, the headwear took eight weeks to complete and was one of two works the trio of designers made together for Widows—the other being a black spinel–encrusted eagle's skull topped with jet plumes. "McQueen gave me the platform to push the boundaries of jewelry design," says Leane. Savage Beauty will feature close to 100 looks and 70 accessories pulled from McQueen's 19-year body of work, spanning his pivotal early collection Highland Rape to his swan song in 2010, when royal wedding dress designer Sarah Burton took up the McQueen mantle.
Last night at the Metropolitan Museum, was celebrated the annual Gala of the Costume Institute, this year dedicated to the genius of Alexander McQueen. Watching and commenting about redcarpet we have decreed the our three best outfits.
At first position we put doubtless a beautiful Jessica Stam dressed by Tommy Hilfiger's blush pink strapless dress. Elegant and refined, make up and coiffed like a fairytale princess. She catch our hearts!
At second position we put an androgynous Hilary Rhoda, dressed by a beautiful and fresh Alexander McQueen's white dress-suit. A vintage hairstyle and red lipstick transforming this beautiful woman in a new Greta Garbo.
At third position we put an always wonderfully classy Natalia Vodianova, dressed by a vintage Haute Couture creation of her accompanist for the Gala, Mr. Valentino. This dress belongs to the collection that the couturier created for his 45 years carrer show, in Rome.
According Fashilosophy these are the three most beautiful and elegant mises of the Gala. But amid so much beauty can't go unnoticed even bad taste: Naomi Campbell, the Black Venus historic character of the most famous catwalks, came to the gala with a questionable outfit. Dress by Alexander McQueen was amazing, but she looks kitsch, old and grotesque at the same time. Naomi NO! From you we can't accept it!
One of the first official pictures of the function at Westminster Abbey's nave. Catherine Middleton wear a bride dress designed by Sarah Burton at Alexander McQueen. HRH Prince William wears the traditional Irish high uniform suit, as tradition.
Credict of Pic: TIME magazine.
Miss Catherine, now Duchess of Cambridge, in Sarah Burton at Alexander McQueen dress for the evening. Amazing, sleek and timeless elegance. Credits of pic: Photo by John Stillwell - WPA Pool/Getty Images 2011.
One of the favorite designers in the UK, Ana Šekularac, presented her Fall/Winter 2011 collection on the 29th Belgrade Fashion Week. The collection embodies freedom, strength, sensuality and love of a woman. Each piece of clothing symbolizes one of these emotions and encourages its bearer to experience and express freedom, its inherent strength, sensuality, and above all love their own unique way. The color palette used in this collection are white, red, the color of sand and chocolate. The choice of materials are delicate chiffon and comfortable velvet. This season great chiffon dresses, with their layered ruffled skirts and skilful signature drape, were in the forefront of design and pass a new kind of modern femininity and elegance. In addition to the Belgrade audience of celebrities, fashion show was attended by Elizabeth Musmanno which for years has been in a position of global director of Christian Dior and Vera Wang, who now works with the biggest Hollywood celebrities such as Angelina Jolie and Charlize Theron.
About the Designer. The British-born fashion designer Ana Šekularac of Serbian origin, attained a Masters degree in Fashion Styling at the prestigious Istituto Marangoni and then studied Fashion Illustration and Womenswear Pattern Cutting at the London College of Fashion. She is the rising star in fashion and designer of choice for the international fashion elite and the synonym of truly modern elegance and refined style. Her striking dresses with their sleek silhouette and exquisite details are loved by celebrities such as Victoria Beckham, Cheryl Cole, Keira Knightley, Rihanna, Anna Friel, Sophie Ellis-Bextor, Tolula Adeyemi, Fergie and many others. Wardrobe signed by Ana Šekularac has been available for couple of years on the shelves of the famous London department store Harrods.
As the newly crowned creative director of Balmain, you can imagine my surprise when seeing the image of Olivier Rousteing and thinking, ‘why is he not a model?’.
Interesting is the fact that the house of balmain announced last week that a new talent would come to the forefront, someone who was not known to the masses & it seems as though a new revitalization of the french fashion house is waiting in the wings. rousteing has already attained experience working at Roberto Cavalli for 5 years & was promoted to head of design for both men & women’s ready-to-wear. Rousteing has risen through the ranks while being in charge of womenswear at Balmain since 2009. while some forms of hesitation are felt on my part, given the redundancy of design seen from balmain for the last few seasons- im more than eager to see how rousteing’s vision will allow the label to transform. prior to his work in the industry, Olivier had completed studies of fashion design at paris’ école supérieure des arts et techniques de la mode in 2003. French-born, it seems only fitting that olivier take the wheel at the legendary fashion house, that has been in existence since 1945, which expanded stateside in 1951. much like Sarah Burton to Alexander McQueen, Rousteing was reportedly key deputy to Christophe Decarnin & is more than likely is the best fit for the position. exciting new prospects & more for us to watch on the runway. with show season nearly six months away, im sure im not the only one who will be waiting with bated breath. word to Balmain; save some coins & cast olivier for your Balmain homme campaign.
Così come l'appena incoronato Creative Director di Balmain, potete immaginare la mia sorpresa nel vedere l'immagine di Olivier Rousteing, che mi ha fatto pensare: Perché lui? Non è un modello?. interessante è il fatto che la storica griffe Balmain aveva annunciato la scorsa settimana che un nuovo talento sarebbe venuto alla ribalta, qualcuno che non era molto noto alle masse, chiamato per il nuovo rilancio della casa di moda francese, era in attesa dietro le quinte. Rousteing ha già avuto una discreta esperienza da Roberto Cavalli, dove ha lavorato per 5 anni alla direzione prêt-à-porter donna e uomo, e pur essendo alla direzione womenswear di Balmain dal 2009 è cresciuto all'ombra del direttore creativo uscente. Nonostante qualche esitazione da parte mia, data la ridondanza del concept Balmain dell'ultimo paio di stagioni, sono impaziente di vedere come la visione Rousteing permetterà di trasformare questa griffe. Olivier prima del suo lavoro nel settore, ha completato gli studi in fashion design alla École supérieure des arts et techniques de la mode nel 2003 a Parigi. Francese di nascita, mi sembra giusto che sia lui a prendere il testimone della leggendaria maison, fondata nel 1945, e approdata negli States nel 1951. Come per Sarah Burton da Alexander McQueen, Rousteing è stato l'assistente principale di Christophe Decarnin, ed era quindi più che probabile la sua scelta per questa posizione di rilievo. Emozionanti nuove prospettive quindi.
"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.
FASHILOSOPHY's suggestion about style and weekender outfit!
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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).
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
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.
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