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.

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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

Get The Edge of Summer: Shopping Tips by Louis Paul Pisano.

It's that time of year again, SUMMER. Tank tops, colorful pants, flip flops, neon sunglasses are all the rage but you're not like everyone else. While they run to the nearest Jil Sander, Prada, and Dsquared you head the opposite direction. You say to yourself summer is no reason to look like a box of Crayola crayons. Yet you can't exactly run into your closet and wear those black leather Rad Hourani pants you've been rocking all winter. So how does one do summer on a edgy, monocromatic scale? Watch.
Let's start with the foundation. It's hot outside so you want to wear a tank top, but not a boring old basic body hugging piece of fabric. You want classic with a twist. I propose a Claude Maus tank. It's your classic tank top with a draped scarf neck.

But it's BLACK! And it's SUMMER! you think, well this tank top is made of a superfine jersey that gives maximum breatheabilty. PROBLEM SOLVED. And remember black is very slimming.
Moving on. You've established you want to wear black. Great for you. But menswear below the waist has gone to both extremes of the spectrum. You're still not sure about this new trend of leggings and "skirts" so you stick with a pair of shorts. Now what kind? Leather? Yeah NO. So you decide on cotton. Lanvin has this classic and casual pair.

Cuffed at the bottom and falling just above the knee, these beauties are versatile enough for the transition to evening should you opt out on trousers.
Now on to footwear. So many options, so little time! You wore boots all winter, so how about sandals? These dual style Dior Homme detachable canvas lined calfskin sandals will take you easily from the street to the shore

But you can’t forget the accessories! Your jewelry should be as minimal as possible in the summer so forget about all that stacking and choose one statement piece. My pick is this beautiful Ann Demeulemeester silver feather necklace. Simple yet stunning it will leave you soaring high above the rest of the fashion crowd.

And THE BAG. Your classic black leather bag gets a summery update with a woven texture in this version from Officine Creative. Big enough to hold a small laptop, the latest copy of L'Uomo Vogue, your camera to capture those summer moments, etc.

With sunglasses you can never go wrong a pair of black Ray Ban Wayfarers

So that’s how to do simple summer dressing if color is not exactly your "thing". Remember look for modified versions of classic summer apparel to stay ahead of the curve but while keeping the season in mind. Remember no matter what anybody says nothing will ever be the new black. All pieces featured above can be found on the always essential Luisaviaroma.com.

Happy Shopping!

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!

Shu He for V magazine.

Shu He for V Mazagine #71, Asia summer issue 2011. Shot by Glen Luchford, styled by Beat Bollinger with Make up & hairstyle by Eugene Souleiman & Lucia Pieroni.

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.

Powered by V Magazine.

Look of the Weekend #15

FASHILOSOPHY's suggestion about style and weekender outfit!

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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.



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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.

Is it interesting or not?!

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

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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!