Get the Stripes!

Credits of pic: Annaleise Smith for ELLE US April issue 2011 "Everything on the Line". Shoot by Serge Leblon, styled by Samir Nasr.

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?!

Dan Cui & Jojo Qian for GQ Style China - SS11 Issue.

what yo’ name iz? chen chun, hao yun xiang, juan, xu bo lang, sun ting,
vladimir, chen chao, lenn, freidrich, ledio, zhang zhong yun

Dramatized against a white backdrop, GQ style China presents us with a curiously innovative editorial for their SS11 issue through the lens of mei yuan gui. Styled by Dan Cui & Jojo Qian, the spread allows the chinese based publication to transcend into a greater creative space, showcasing vision & style in a way that has yet to be seen from chinese photographers, models & stylists all at once. From pieces by Jean Paul Gaultier to works from Mugler by Formichetti- the editorial focuses on darker elements of style while the models appear as an underground, cult-esque grouping. My love for contrast thrives in the excessive use of black against the cocaine white studio backdrop- i was very impressed by the lighting technique seen; being that black can often times hide design details, here it was focused upon greatly & stylishly. A rather intimidating model cast was seen, as many of the names & face are still unidentifiable as individuals. A valiant effort of creativity & a breakthrough, editorially, for chinese fashion publications. Editorials like these are what enforce the fact that fashion is an industry for creatives & reminds us that fashion is far greater than ‘just clothes’. Inspiringly dark, well executed & beautifully shot.

Gaga by GAULTIER: le Documentaire Événement.

"Gaultier's charme extra-sexy!"

Save the date mates, Lady Gaga by Jean Paul Gaultier on TF6, June 9th 2011. Stay tuned!

Report from Cannes: the best & worst dressed from redcarpet, Day #1.

Every May, the whole population in Cannes rises dramatically as Hollywood comes to town in the form of the Cannes Film Festival. The world-famous and truly iconic Cannes Film Festival is the city's biggest and brightest event of the year, attracting thousands of spectators, film crews and, of course, large numbers of celebrities and movie stars.
And not only is the French festival a great place for new films to make a big splash in front of a global audience, it’s also one of the hottest red carpets of the year.
Check out our picks for the best and worst dressed of the festival.

The best.
We’ve kindly picked out the best dressed celebrities at this year’s festival and first up is Uma Thurman who looked absolutely glowing in two different white dresses. The first was a three quarter length sleeved, lace print Dolce & Gabbana which looked great in the glow of the sun, but she managed to kick it up a notch with another spectacular white gown in the evening. The actress changed into a slinky Versace gown featuring a skirt of feathers, accessorizing with an emerald Chopard bracelet and 54 carat white gold and emerald earrings by the label. Uma Thurman is a jury member for the Cannes Film Festival this year, which means we'll be seeing plenty of her looks.

Uma Thurman paired her little white dress by Dolce & Gabbana with silver Jimmy Choo heels. And then with a Versace withe gown.

Rachel McAdams wore a Marchesa look from the fall 2011 collection for the premiere of Midnight in Paris. The red silk organza illusion cap sleeve dress featured embroidery and a tulle ruffle skirt.

Model Karolina Kurkova chose an Armani Privè fall 2009 gown embroidered with sequins and Swarovski crystals.


The worst.
Unfortunately for most of the stars on the red carpet, there were a lot of bad dresses. Here are the absolute worst.


Bryce Dallas Howard wore an empire waist Reem Acra gown to the Sleeping Beauty premiere.

Salma Hayek chose Gucci's cognac soft leather strapless dress with organza shrug embroidered with hand painted flowers for a photo call for Puss in Boots. She finished the look with a purple lizard belt, tan ostrich platform pumps, and a paprika-colored Gucci top-handle bag.

Rachel McAdams in Monique Lhuillier. This is Cannes Film Festival so therefore it’s not too much to ask for all the female celebrities to wear a gown.


Style choices by Vesna Filipovic aka Fashionela.

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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Look of the Weekend #15

FASHILOSOPHY's suggestion about style and weekender outfit!

Click image to enlarge

COLORSBOOM!

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.

Shoot and DIE: Diago Mariotta Mendez, promising talent!

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.



Click images to enlarge

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.

Is it interesting or not?!

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.

From the Vault: Isabella Blow - Videofashion. In Loving memory of her!

In Loving Memory of Isabella Blow. A brilliant woman!

Look of the Weekend #14

FASHILOSOPHY's suggestion about style and weekender outfit!

Click image to enlarge

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.

Do u like it?! Have your say!

Swarovski new cinema-ad commercial! A TIMELESS FAIRYTALE.

The SWAROVSKI Cinema Spot from Swarovski on Swarovski's official Vimeo.

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...

Get the Pois!

Credits of pic: Aline Weber in Comme des Garçons for Numéro Tokyo, may issue '11.

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.

Fashilosophy's best of the MET Gala 2011.

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!

Who has dressed who! The most photographed (and criticized) outfits!

HM Queen Elizabeth II in Angela Kelly.
Lady Carol Elizabeth Goldsmith in Catherine Walker (a griffe loved by Princess Diana too).

Victoria Beckham in a dress of her latest collection, with Philip Treacy's hat and shoes of Christian Louboutin; accompanied by David Beckham in Ralph Lauren.
HRH Crown Princess Victoria of Sweden in Elie Saab.


The York's sisters: HRH Princess Eugenie in Vivian Westwood, and her sister HRH Princess Beatrice in Valentino Maison with a hat by Philiph Treacy.


HRH Princess Maxìma of the Netherlands in Valentino Couture.
Philippa Middleton in a vintage dress of Alexander McQueen.

Prince William and Miss Catherine. Royal weeding date.

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.

Reports from Belgrade Fashion Week. Ana Šekularac F/W 2011. Freedom, strength, sensuality and love.

One Shot #7

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.


Vesna Filipovic Fashionela's "One Shot" for Fashilosophy!

See the original article on Fashionela.

Gagavision N. 44!

She's totally mad!♥

Olivier Rousteing new Creative Director of BALMAIN!

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.

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Get the Flowers!

Credits of pic: Ilse de Boer wears Valentino Couture (S/S '11). Photographed by Buno Dayan for Tatler Russia, May 2011.

This creation is the most desired and photographed item of the latest Valentino Haute Couture's collection. It's the poetry of a new elegance.

Rachel Bilson for Magnum Ice Cream By Karl Lagerfeld

We think Karl Lagerfeld's king Midas of fashion communication. Everything he touches it turns to gold!

ADR...do it again!

Spanish suggestion from Anna Dello Russo.