The Davidelfin's KATHARSIS!

Every season there's that one collection that sticks in your mind for weeks after it comes down the runway, it speaks to you, it's almost as if that collection was made just for you. For me it wasn't something I watched come down the runway in Milan and Paris or saw online from New York. This time it was Cibeles Madrid Fashion Week that was the culprit, more specifically so Spanish designer Davidelfin's new Spring Summer 2012 collection: Katharsis. The word Katharsis comes from the greek word katharos, meaning pure or clean, which is exactly what comes to mind with this collection.
From the moment the first look came down the runway, a simple white button up with colored panels of bright pink, red, baby blue and a yellow collar with an asymetrical pencil skirt with a technicolor fringe, I was smitten. Nude tops with conveniently placed colored stripes, color blocked zippered tees, asymetrical shorts and pants in the freshest pastels. Add to that a mindboggling skirt and dress seemingly made of paint chips in every imaginable shade of the rainbow. The Katharsis collection is pure magic. It's the new Prep of the future. One particular piece that is going to be a must have is a sleeveless pastel paneled modified motorcycle jacket. In bubble gum pink, kelly green, tan, saffron, ice blue, orange and white this jacket is unlike anything you probably have in your closet at the moment.







Ever since I discovered Davidelfin on his other half Pelayo Diaz's blog I've eagerly waited for each new collection. Pelayo collaborated on some of the finishing details of this collection with David as evidenced from the Mawi jewelry and Dr. Martens shoes and it's perfection.
The Katharsis collection is simple but yet so complex with its strange geometries and multifaceted color palette. With a season full of crazy patterns, textures, and heavy accesories this collection is a breath of much needed fresh air.




Louis Paul Pisano

Vogue Fashion's Night Out Rome 2011 - The first edition.

Rome, the city that we thought died under the weight of its political and religious role, seems to have attracted back the attention that the fashion biz, long time ago, reserved to her. Thursday, September 15th, in fact, Rome will host the first edition of Vogue Fashion's Night Out, an fashion event for charity has proven a massive success in all world capitals. For this occasion, boutiques, griffes and emerging young designers will open the doors of their worlds together to celebrate the beauty of creativity and individual expression. The streets of the trident, from via del Babuino to Rione Monti, will come to life for a night of shopping and fashion fun: cocktail parties, inauguration, presentations and limited edition items specially created to support this initiative signed Vogue. Among the most interesting (which you can find detail on the VFNO's website) Fashilosophy recommends: Valentino and REDValentino, with their cocktail parties at the boutiques of Via Condotti and Via del Babuino, where you can admire the collections and be captivated by Valentino's world, accompanied by a super dj set and classy glamour. Second event not to be missed is Hoss Intropia, the Spanish brand which will celebrate its arrival in Rome with the inauguration of its first flagship store in Via due Macelli, near Piazza di Spagna, the heart of Rome. To warm up the evening Hoss will be a minimalist-chic (the boutique set is amazing), the music of Lara Martelli and his band and of course Mojitos a go-go. And to make you fall in love, Hoss has created a limited edition gadget, which will be given to those who take wild shopping!
On via Frattina, the roman boutique of Patrizia Pepe will present "Tribal Excess" with a special DJ set Ema Stokholm. Nobody knows what it is, but we are very curious to find out.
To conclude the Fashilosophy's tour will be Rione Monti with all its indi shops where young designers create and sell their handmade concept collection, a mix of creativity and a modern reinterpretation of the tailoring and handmade.

Ps: The night of fashion turns Campari red: once again, this year, the historic brand will be the official drink of Vogue Fashion's Night Out. A marriage, that between fashion and Campari, made even stronger by the presentation in Rome, on September 15, of the Red Passion Prize, an award that not only will be given to the personality who embodies Italian passion and excellence in the world, but also to a woman and a man who were able to better interpret - and be ambassadors of - the Italian style.



Roma, la città che pensavamo morta sotto il peso del suo ruolo politico e religioso, sembra aver attirato nuovamente su di sé le attenzioni che, un tempo, il fashion biz le riservava. Giovedì 15 settembre, infatti, Roma ospiterà la prima edizione della Vogue Fashion's Night Out, un evento-moda a scopo benefico che ha riscosso grandi successi in tutte le capitali.
Per questa occasione boutiques, griffes e giovani designer emergenti apriranno le porte dei loro mondi per celebrare tutti insieme il bello della creatività e dell'espressione individuale. Le vie del tridente, da via del babuino a rione Monti, si animeranno per una notte all'insegna dello shopping e del divertimento modaiolo: cocktails parties, innaugurazioni, presentazioni e items in limited edition creati apposta per supportare questa iniziativa firmata Vogue.
Tra gli appuntamenti più interessanti (che potrete trovare dettagliatamente sul sito di VFNO) Fashilosophy vi segnala Valentino e REDValentino, con i loro cocktails parties presso le boutiques di via dei Condotti e via del Babuino, dove potrete ammirare le collezioni ed essere rapiti dal mondo Valentino, accompagnati da un super DJset e dalla raffinatezza.
Secondo appuntamento da non perdere sarà Hoss Intropia, il brand spagnolo, che celebrerà il suo arrivo a Roma con l'innaugurazione del primo flagship store in Via due Macelli, tra la Maison Valentino e quella di Fausto Sarli a due passi da Piazza di Spagna. A scaldare la serata di Hoss vi saranno un ambiente minimal-chic (l'allestimento della boutique è incantevole), la musica di Lara Martelli e della sua band e ovviamente Mojitos a volontà. E per farvi innamorare, Hoss ha creato un gadget limited edition che sarà regalato a coloro che si daranno allo shopping sfrenato!
Su via Frattina, la boutique romana di Patrizia Pepe presenterà "Tribal xcess" con uno speciale d-set by Ema Stokholm. Nessuno sa bene di cosa si tratti, ma noi siamo molto curiosi ti scoprirlo.
A concludere il giro che Fashilosophy farà ci sarà il rione monti con tutti i suoi negozietti dove giovanissimi designers creano e vendono le loro concept collection handmade, un mix tra creatività e una reinterpretazione moderna della sartorialità e del fatto a mano.

Ps: La notte della moda si tinge di rosso Campari: anche quest'anno infatti, lo storico brand protagonista del happy hour, sarà official drink della Vogue Fashion's Night Out. Un connubio, quello tra moda e Campari, quest'anno reso ancora più forte dalla consegna a Roma il 15 settembre del Red Passion Prize, premio che verrà assegnato (oltre che alla personalità che incarna la passione e l'eccellenza italiana nel mondo), anche alla donna e all'uomo che hanno saputo meglio interpretare -e farsi ambasciatori- dell'Italian Style.

Lady Gaga for FASHION MAG!

Lady Gaga for FASHION Mag wear a top and skirt by Irina Shaposhnikova, head sculptures and hair by Bob Recine, makeup by Billy B for Bridge Artists, manicure by Aya Fukada for Hair Room Service.

Photographed by Mariano Vivanco
Styled by Nicola Formichetti.

A day with Margherita Missoni - Video-interview by VOGUE Germany.

A focus on a Margherita Missoni's typical day, heir to the Missoni's empire, built over many years of great craftsmanship and research.

Take a look. Enjoy it!

VALENTINO: State of Grace. Interview.

While we're waiting for photos of latest Valentino's Haute Couture collection, enjoy this article pubblished by Interview.

"If there is something most significant about Valentino, it’s that women feel beautiful when they’re wearing Valentino. Beauty is at the core of his work—it’s not just an element."

Pier Paolo Piccioli

Since taking the reins two and a halfyears ago as creative directors at VALENTINO,designers Maria Grazia Chiuri and Pier Paolo Piccioli have faced numerous challenges—not the least of which has involved building upon the enormouslegacy of the legendary Valentino Garavani, who retired from the house that bears his name in January 2008. Mr. Valentino may have left his business, but he didn’t retreat from the fashion world and certainly not from his very active social life. Today Valentino’s imagecontinues to loom large, both figuratively and literally, over the fashion empire that he and his longtime business partner, Giancarlo Giammetti, built together over the span of nearly five decades.

Chiuri and Piccioli, who had previously served as accessories designers under Valentino for more than a decade, were appointed in 2008 following the brief run of Alessandra Facchinetti, who took over after Valentino’s retirement and promptly moved to etch out a new, very different image for the Valentino woman, but lasted just two seasons at the helm. In stepping in after Facchinetti’s departure, Chiuri and Piccioli were thrust into the position of having to determine the future of a brand at acrossroads. The journey has not been without some bumps along the way: a debut collectionthat some deemed too reverently old-school Valentino; another, an Avatar-inspired collection thatothers deemed not Valentino enough; and their ongoing struggle to carve out their own path as a design team—and working to reconcile that vision with the history of Valentino—in a very public way. Recently, though, Chiuri and Piccioli have started to hit their stride. Their Fall 2011 collection, presented this past March in Paris, offered clear evidence of why they’ve quietly captured the hearts of Young Hollywood’s hippest girls (among them, this month’s cover girl, Michelle Williams, who wore Valentino to the Golden Globes), while creating a new language of grace and fragility in fashion—one that contains a delicate balance of romantic prettiness and edginess that has gently seduced women back into kitten heels, longer lengths, sheer layers, lace, ruffles, and bows—and a lightness of being that is quickly becoming the signature for the Valentino girl of the future.

The day after the show, Chiuri and Piccioli visited Giammetti at Valentino’s castle, Chateau de Wideville, in Davron, a half hour outside of Paris, to discuss the burdens of stepping into the shoes of their former boss, the Last Emperor, and how they think they’ve found a way to the future by looking into the past. Since taking the reins two and a half years ago as creative directors at Valentino, designers Maria Grazia Chiuri and Pier Paolo Piccioli have faced numerous challenges—not the least of which has involved building upon the enormous legacy of the legendary Valentino Garavani, who retired from the house that bears his name in January 2008. Mr. Valentino may have left his business, but he didn’t retreat from the fashion world and certainly not from his very active social life. Today Valentino’s image continues to loom large, both figuratively and literally, over the fashion empire that he and his longtime business partner, Giancarlo Giammetti, built together over the span of nearly five decades.

Read the Chiuri-Piccioli's interview by Giancarlo Giammetti on Interview Magazine.

Kate Moss & Terry Richardson for MANGO: The Great Escape.

Kate Moss and Terry Richardson team up for Mango’s fall 2011 campaign film entitled, The Great Escape.
Going on the run, the duo explores notable Parisian locations such as the Mini Palais, Place de la Concorde, Place de l’Alma, Champs Elysées and the Centre Pompidou.

Vesna Filipovic aka Fashionela

Versace meets H&M - Another collaboration for the biggest swedish brand.

Riding the wave of success after the most recent collaboration with Lanvin, swedish fast fashion brand H&M announced today they would be doing collaboration with Versace this fall filled with studded leather, bold prints and vibrant colors with around 40 pieces for women and 20 for men as well as accessories and pieces for the home.
BUT WAIT!? Does anybody remember back in 2008 when Donatella Versace told people in NY she would never do a diffusion line? Seems the designer has had a change of heart. She once stated that a diffusion line would “confuse” the brand. But what will a mainstream brand like H&M do to the lofty and exclusive world of Versace? Margareta van den Bosch, creative advisor at H&M said: 'Versace is one of the most important brands of recent times, and their collection for H&M will be glamorous and flamboyant – everything Versace stands for. As Italian fashion blogger Andrea Ravieli said on his blog of the recent Lanvin collaboration “Isn't it just a cheap copy in the end? “ What do you think?

Louis Paul Pisano

MAGGIE JEANS - Women will save the world!

Is there anyone who still thinks that feminism is dead? I don't think it.

The feminist, revised and updated, is now a real part of our society and sides with its opposite not to claim something, but rather to confirm that women-in-power have always worked and always will work good way, just look at Michelle Obama, Anna Wintour, Hillary Clinton and many others.
Fashilosophy is always on the women's side, especially women of fashion, therefore we wanna talk about a new brand that just raised, has already done so much to talk about itself, for quality of its fashion concept and the initiatives to which it has joined, immediately creating a brand-loyalty relationship with its followers through a cross-media promotion and communication strategy, which emphasizes the great care that the brand reserves to virtual reality and blogging, now a reference point for fashionsystem.
Maggie Jeans, this is its name, offers us a strong and determined woman, who is aware of who is and what she wants. Not just a matter of jeans, but a real philosophy. Women will save the world, the pay-off chosen by Maggie Jeans, clearly expresses the message by combining the finest collections in a strong social spirit. Could you get anymore? Sure! During the last edition of FashionCamp, the MJ's team has launched a fresh and fun contest, "Looking for Maggie" with the aim of finding the real Maggie, the blogger who truly reflects the spirit of the brand, in flesh and blood...and MJ's jeans. The name of the winner will be announced in September and the girl chosen will become the editor of brand's blog for a whole year. That's great. The initiative has a very simple format of participation and you will find all the information here.
What you waiting for?!

Maggie Jeans's Facebook fanpage.
Community web coordinator & digital PR - Egizia Mondini.

Tom Ford talks about fashion! CNN video-interview!

Fashion designer Tom Ford talks about starting his own label and his strained relationship with Yves Saint Laurent.

Vesna Filipovic aka Fashionela

Malaan for FAINT's cover by Alexandre Dobois.

Malaan for Faint Magazine, 4th issue, phothograped by Alexandre Dubois. Make up art by Victoria Komis.
Get ready for another pack of stunning avant-garde photography with the 4th issue of Faint magazine ready to come out on the 10th of June as the The Colours & The Kids issue, this impressive cover is work of Alexandre Dubois.

New and the previous issue are available on magazine's in digital form for free.

COLORBLOCKING for Numéro #124 by Greg Kedal.

Behind The Scenes Numero # 124 Daphne Groeneveld from Greg Kadel Studios on Vimeo.

COLORBLOCKING. Behind The Scenes Numéro #124 Daphne Groeneveld, photograpehd by Greg Kadel. Styled by Bill Mullen, with hairstyle and make up Duffy & Mariel Barrera.

Click images to enlarge

Numéro and Vogue Japan summer issue covers.

Abbey Lee Kershaw in Christian Dior Couture for Vogue Japan's cover, july issue 2011.


Daphne Groeneveld with a racoon eyes-make up for Numéro's cover, june-july issue 2011.

The magic of Milan: behind the scenes could be fun!

Milan, a place as gritty as it is glamorous, a place where dreams are made and lost. Each year thousands of hopeful designers, stylists, models, and wannabe street style stars flock to the city in hopes of making it big. Fortunately for 24 year old Benedetta Borioni her dreams came true. In January 2010 Borioni was just your average student in Milan with fashion aspirations. Right before Men’s Fashion Week a friend asked her if she wanted to take her place as a model dresser at the Costume National show. Borioni jumped at this opportunity as most of us would have in hopes of meeting her favorite model. After it was all said and done she realized that she actually had enjoyed the work. I asked her what she loved about it. “I like being a model dresser because I’ve met a lot of great people, stylists, models and I’ve got a lot of new friends!” says Borioni. Her favorite part of the whole experience? “You can live the backstage with all the things like panic, photographers, people screaming, people smiling, hair and makeup, the collection before models doing the catwalk and the designers face at the end of the show. What a gratification!” The experience she describes is every fashionistas dream. The backstage is a world rarely seen by people not directly involved in the show and seeing the work that goes into what you see coming down the runway in its perfect presentation, makes you appreciate it even more.

In November 2010 Benedetta found an agency and was an official model dresser for fashion week. Since then she has worked everything from Moschino to Salvatore Ferragamo dressing the likes of Abbey Lee Kershaw, Arizona Muse, Alex Dunstan Alex DunstanAlex Dunstanand Aiden Andrews.

One of her favorite moments she fondly remembers was at FW '11, checking the runway and walking down the catwalk with the music as if she herself was modeling. She says she was so happy she felt like crying. To some people that would seem silly but to fashionistas everywhere that would be a dream come true.
I asked Benedetta what her favorite things about working in the fashion industry are. “I guess the beauty of the things, the creativity of the people and learning a lot as a person and for your work” Her least favorite? “People feel like they’ve got all the power in the world” No explanation for what she means there. We’ve all heard the stories of the taskmaster designer or the pumped up PR.
Milan is a very fickle city in all aspects from fashion, to weather, to nightlife. Most people have a love/hate relationship with the city and Benedetta is no exception. “In order to find something beautiful of Milan you have to know it slowly. You can find everything you want, amazing parties, gigs, and art” she explains. The downside of life in the fashion capitol of the world is the lack of the sea that she loves, the (unbearably hot and crowded) summer, and the difficulty of meeting good people.

To many on the outside the world that Benedetta Borioni now lives in seems like a fashion fairytale, with its fun, glamour and crazy model filled after parties, it seems so out of reach but she insists it’s not. To people aspiring to make their way into the fashion world she says all it takes is “passion, patience, strength, and to be in the right place at the right time”. I can say from experience, she’s got it right. Passion is what drives the kids here to spend their free time sewing and creating outfits to wear, patience to wait outside the venues in the rain during fashion week to glimpse the latest runway creations, strength to wait for hours in tragically chic and avant garde creations outside The House of Bordello on a Saturday night in hopes of seeing their favorite designers and to be immortalized in the weekly party pictures. Milan is a truly unique city filled with some of the most creative people in the world. It’s a place where dreams do come true, just ask Benedetta Borioni.

Louis Paul Pisano

Gwen Stefani for ELLE Serbia's June issue 2011 cover. She's back!

Gwen Stefani on ELLE Serbia's cover - June issue 2011. Photographed by Dusan Reljin.
She's back!

Adele for OUT's cover - June issue 2011.

Thanks to Marco for this reporting!
Adele looks so pretty for OUT's cover, june issue 2011, where she gave an interview with Robyn, another great singer! Who say gays have not taste?!

From the desk of Lady Gaga: the game-chancing singer on her many mondrians.

Glam culture is ultimately rooted in obsession, and those of us who are truly devoted and loyal to the lifestyle of glamour are masters of its history. Or, to put it more elegantly, we are librarians. I myself can look at almost any hemline, silhouette, beadwork, or heel architecture and tell you very precisely who designed it first, what French painter they stole it from, how many designers reinvented it after them, and what cultural and musical movement parented the birth, death, and resurrection of that particular trend. So dear critics and bullies: get your library cards out, because I’m about to do a reading.
An expertise in the vocabulary of fashion, art, and pop culture requires a tremendous amount of studying. My studio apartment on the LES, quite similar to many of my hotel suites now (knock on wood), was covered in inspiration. Everything from vintage books and magazines I found at the Strand on 12th Street to my dad’s old Bowie posters to metal records from my best friend Lady Starlight to Aunt Merle’s hand-me-down emerald-green designer pumps were sprawled all over the floor about two feet from my bathroom and four inches from my George Foreman Grill. (Starlight was always jealous that mine had a bun warmer and hers didn’t.) And in my downtime, which meant whenever I wasn’t waitressing, go-go dancing, or making mixtapes for a music publishing company in Times Square, I was analyzing and studying my library. I would dream of being a rock star who dressed like Mark Bolan, walked like Jerry Hall, and had the panache of Ginger from Casino and the mystery of Isabella Blow.1 See footnote.
Any writer, or anyone for that matter, who doesn’t understand the last two sentences of this column should NEVER be writing about or critiquing fashion or artists in publication. As someone who references and annotates her work vigilantly, I am putting all of you on notice. I’ve done my homework, have you? Where are your library cards? Did they expire? When Yves Saint Laurent designed the “Mondrian” day dress for fashion week Fall/Winter 1965, did he plagiarize or revolutionize? Some people would say he was unoriginal, that he traced an iconic contemporary artwork by Piet Mondrian, and stole it for his own merits. Others may argue that by referencing something so “before its time,” he influenced an entire generation in fashion that transformed the female body with a more linear sensibility, graphics, and painterly shape. We now call it “mod.” Picasso said, “Good artists copy; great artists steal.” Maybe he only said that because he and Matisse were in a bitchy queen fight for two decades (some called it a boxing match, I call it a conversation in art). But maybe it’s just that the resolution is: art gives birth to new art. There is no chicken or egg. It’s molecular. Cells give birth to cells. To put it more bluntly, the Hussein Chalayan vessel I wore at the Grammys wasn’t inspired by a chicken. It was stolen from an egg. But the transformation, the context, and the approach taken to reinterpret the meaning of birth and rebirth in terms of fame on a fucking red carpet — this is what creates the modernity of the statement. The past undergoes mitosis, becoming the originality of the future.

The Haus of Gaga, my (our) own pop-cultural family and living Warholian factory, talked endlessly about the initial vision for “Born This Way.” On the set of the video, it was almost terrifyingly important to me that I tribute Rico (the Zombie Boy’s) tattoos, creating a visual metaphor where tattoos, along with the body modification I had been exploring, became a subcultural symbol for rebirth. Rico in this case was my Mondrian. After I put the makeup on, I found myself dancing and flailing at 9 a.m., after twenty-four hours of no sleep on set. Feeling young and free, it occurred that the makeup allowed me to erase the public’s perception of my beauty, and define it for myself. I asked Rico, “Why did you tattoo yourself this way?” (Something I imagine he’s asked quite frequently.) He said very genuinely, with no hesitation, “Bazooka gum.”2 See footnote.

And just like that, as many of the creations in my brain take form, I realized, and so did the Haus, that not only did I need to reunite with my youth, i.e. “Bazooka gum,” but that my fans needed to see me in that juvenile way in order to understand the intention behind why I wrote “Born This Way.” Accompanied with a side ponytail, it took me back to moments when I was just a little baby monster. When my mother would perch a pony high on my hair and we would dance so hard to the tape deck that the perfectly perched pony she fashioned would fall to the side. I had to take an uncomfortable journey back into high school, where my youth represented tears. Wishing I had a mask. Hoping that I could artistically hide the wounds buried deep from years of being bullied. I have since reckoned with this psychology in my performance art. But this time, the revelation was clear: I still want to wear the mask, but now I wear it proud, and with the same effervescence and innocence I had when I was 6, dancing with my mom.

After I performed “Born This Way” at the Grammys, it seemed as though the piece was interpreted as an engagement for battle. And the whole performance was a battle cry in essence — for freedom against forces of inequality and prejudice. But as quickly as the song catapulted to number one, a more subtle controversy exploded. “Born This Way” was a triumph as a pop song and a social statement, but it ultimately revealed another division: the reality that the young generations’ challenges with equality and social justice are just as prevalent now as they were twenty-five years ago. And while “Born This Way” was written for every walk of life, I began to feel my youngest fans were longing to be nurtured, while others felt they already had been. Perhaps in this way the song was not for everyone, although the intention was such. And perhaps I was naïve to hope everyone would unfold the true meaning of my performance piece the way I unfolded YSL’s “Mondrian” dress. Instead, I am caught between two forces: one holding onto a ponytail, and another screaming “I don’t want to be angry, I want to be free.”

“I DON’T WANT TO BE A DRAG, I JUST WANT TO BE A QUEEN.”

I have a passionate understanding of the history of many of the references that not only I have reinspired, but have been reinterpreted over centuries of fashion: where they came from, what they meant, and specifically how they became modern again. I have concurrently shown that I could “read you” in this subject, but I would rather reckon with the fact that many are clinging tightly to cultural divisiveness and leaving home without library cards.

Just like sometimes Picasso was Matisse’s Mondrian, and vice versa. Bowie is often my Mondrian, as are Michael Jackson, Prince, Lita Ford, and Madonna. Mugler is my silhouette’s Mondrian, Cindy Crawford is my sexuality’s, Kermit is my whimsy’s, and, in my “Born This Way” video, two of my Mondrians were Francis Bacon and Salvador Dalí. In a lot of ways the “idea” of being obsessed with art is my Mondrian. Just like Campbell’s Tomato Soup was Warhol’s Mondrian, and Marilyn Monroe and Maripol were Madonna’s. I am obsessed with all the authors in the library of pop culture.

I do not define, however, my artistry or historical relevance with one particular fashion or musical statement. And I don’t believe any of the artists I mentioned do either. Rather, I find freedom in my ability to transform and liberate myself (and others) with art and style­ — because those are the things that freed me from my sadness, from the social scars. Furthermore, I am in no way encouraging anyone to emulate my fashion sense, but rather setting a, hopefully, liberating example for anyone to look inside and know they can become any image or projection imaginable. I am an obsessed pop cultural expert. And, perhaps, between my music, performance art, and this column, I will be remembered as such. After weeks of writing this article I asked out loud, “What do you think YSL would think of my metaphor about his collection?” My darling hair designer Frederic replied, “You could ask Nan Kempner, but she’s dead.” Now that’s a queen who never left home without her library card.


1. Mirrored bikini inspired by Bolan Scuba Suit, Mugler runway model walk, a past romance with drugs and costume jewelry à la Scorsese. Lobster Philip Treacy hat.
2. For those of you who’ve never had it, it’s a retro chewing gum that comes with whimsical stick-on temporary tattoos.

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Lady Gaga's photoshoot for V Mazanie. Behind the scene!

Enjoy it! <3

Jean Paul Gaultier - The ELLE Magazine Retrospective.

Jean Paul Gaultier Retrospective

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)

Powered by Coco Rocha.

Suggestions from the past: Vogue Italia 1991 - Dossier Couture.

Click images to enlarge

Valentino Haute Couture - Vogue Italia 1991. Rome.

Lancetti Haute Couture - Vogue Italia 1991. Rome.

Christian Dior Haute Couture - Vogue Italia 1991. Paris.

Versace Atelier - Vogue Italia 1991. Milan.

McQueen: Savage Beauty. Behind-the-Scenes.

McQueen: Savage Beauty on Nowness.com.

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.