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пятница, 25 сентября 2015 г.
Dressing Madonna: Gucci’s Alessandro Michele Reveals (Almost) All - Vogue
“It’s like you’re in a temple, going to meet the goddess, and then you discover that the goddess is a big perfectionist and an incredible woman,” said Alessandro Michele, Gucci’s creative director, about how he met Madonna in rehearsal in New York.
“She is tiny and beautiful,” Alessandro continued. “The thing I really loved about her was her eyes — the most beautiful eyes I have ever seen; super green-blue eyes - I think she must have had the same eyes since she was six years old!”
The passionate designer, who has rocked Gucci with his magpie spirit, mixing inspirations from decades and centuries past, was spotted by über-stylist Arianne Phillips as new fashion blood for the Material Girl's “Rebel Heart” world tour.
Full disclosure: I was the person who suggested to Arianne at Prada's “Iconoclast” exhibition in London in February that Alessandro could create a new romantic look for Madonna.
“Essentially, my job is to be an editor for Madonna,” Arianne said, whose list of designers to dress the tour includes Jeremy Scott at Moschino, Prada’s Miu Miu, Fausto Puglisi and Alexander Wang. But she was eager to include Gucci’s Alessandro.
“I became entranced by his return to craft, the personal and feminine aspects that he has brought into his embellishment to the austere, slick Gucci,” Arianne said. “It was like a return to beauty and incredibly inspiring.”
Sitting with Alessandro in the Gucci showroom in Milan this week, surrounded by the spring/summer 2016 collection of intensely coloured and decorated outfits, wild with frescoes of flowers, he explained his thoughts about dressing Madonna.
“It was an idea to mix Spanish and Latin attitude with chinoiserie, in the exact pink you can see in that skirt,” the designer said, pointing to a floral outfit on the rail.
“I thought that if Madonna wore the chinoiserie - a skirt with a super-long fringe - it would be like the divas of the 1920s, when the exotic was mixing Japan and Spain together,” he said.
But these fantasies had to pass the eyes and experience of Arianne. She missed Madonna's “Rebel Heart” tour's first night in Montreal because she was in Hollywood with Tom Ford. She is working on his new movie, starring Amy Adams and Jake Gyllenhaal — a film she had been waiting for since working on Ford's A Single Man.
“It's an interesting circle; Alessandro Michele first came to Gucci under Tom Ford, and played the soundtrack of A Single Man at his first Gucci show,” the award-winning costume designer said.
Back to Madonna. It was in awe and trepidation that Alessandro - who was promoted to Gucci’s creative director after years in the team behind the scenes — alked into the studio on the outskirts of Manhattan at 11 at night to come face to face with his idol.
“They opened the door, and she was having dinner — grilled salmon — and said, ‘Welcome to my restaurant — do you mind that I’m eating?’” Alessandro remembers. “Then she danced for an hour and a half or two. She was ready to work after midnight.”
I can imagine Alessandro sitting in the studio - as he was in front of me in the Gucci show room — looking like a Romantic poet, with his beard and his rings that he changes all the time, “ because I have a huge box full of Georgian and Victorian jewellery”.
But as Arianne knew and Alessandro was about to find out on his midnight visit to Madonna, the art of performance clothes is different from fashion style.
“When they asked me to design, I wanted to give her something super-romantic with the idea of an exotic, dancing Frida Kahlo with ruffles, colour, and a different kind of aesthetic,” Alessandro said. “I started with something super-huge, because I did not imagine she would actually want to dance with this dress.”
“And then she tried on the outfits, started to move to check that everything is good to dance in. She really is a performer — she doesn’t just want to look beautiful — she cares more about the performance. She is obsessive about how to communicate with her audience.”
He confesses that he was taken aback by her commitment. “I was completely shocked when I came to the rehearsals; it was in a place you would meet a real dancer, super rough, not a place for a diva, but a place for a real artist.”
The Gucci designer also discovered that he would have to create outfits not just for Madonna, but also for all the dancers, making it a marathon job.
“I tried to sketch in my office, to put together an aesthetic like I usually do,” Alessandro said, describing one outfit as “Asian, with flowers and ruffles from Spain, something from Mexico, colours and English embroidery.”
I interrupted Alessandro’s stream of words to ask when he had first registered Madonna and her work.
“I was about 15 - I was a big fan,” the 43-year-old said. “She was the first pop musician that I really loved. Because I was in love with the English music, like The Sex Pistols, I was a bit of a snob about pop. But she was the first one who tried to mix a certain kind of punk aesthetic — like black lace — and she put it together and tried to become a new superstar. She really wanted to be a diva.”
I wanted to find out more about Alessandro, this designer who seemed to have sprung from nowhere with so much knowledge of history — of fashion and otherwise. He told me about losing his parents, saying that “I had a very beautiful relationship with my mother - she was so funny and intelligent. She died when she was 69 but she was like 20.”
Madonna, for Alessandro, has that spirit of eternal youth. “She is 57 but she’s like a teenager, and if you’re like a teen in your mind you are alive forever,” Alessandro said. '”I have to say that Madonna is really open. She is surrounded by people that love art and she has a lot of people around her that are perfectionists. She is very intelligent — that is why she is still at the top after 25 years.”
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Giamba весна-лето 2016 - Vogue
Современные Лолиты, сралдкие и развратные, в новой коллеции демократичной линии Джамбаттисты Валли
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Гости открытия сезона в Парижской опере - Vogue
Натали Портман, Олимпия Ле-Тан, Летиция Каста и другие красавицы в Christian Dior и украшениях de Grisogono
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Blumarine весна-лето 2016 - Vogue
Невесомые платья, украшенные цветами, и все виды верхней одежды к ней — от пальто в пол до короткого жакета — все жутко модные
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#SuzyMFW: Prada — Working It - Vogue
Will Miuccia Prada ever get over her subversive tailoring, her suggestive sensuality and her surreal accessories?
Let's hope not!
For the designer (absent from her show because of a family bereavement), produced a splendid collection that was, as ever, a wink-of-an-eye ode to womanhood.
From bauble earrings through to prim mesh shoulder coverings down to pointed-toe shoes with a shiny ball for decoration, this is the Prada that everyone wants to see: modern tailoring with more twists than a snake's tail.
Dressed in a parody of workwear clothes, the models stepped out in precise jackets and tidy skirts, with colour and texture playing a powerful role.
The most sober of striped suits was offset by golden lips, gilded stripes and those dainty, pointed-toe shoes.
Prada had a transparency — figuratively and literally — to her message. A neat jacket would suddenly appear with a translucent skirt as though the sexual temptation of female legs was making a surreal appearance.
At the same time, a translucent raincoat or a silken dress were more regular elements of a woman's wardrobe.
Prada's ability to get under the skin or inside the head of the modern woman is uncanny. And that is why this exceptional designer is repeatedly leader of the fashion pack.
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#SuzyMFW: Emilio Pucci — Fishing for Mermaids - Vogue
An abandoned paper factory, poetic in its worn stone plainness was preparing for new life.
But this regeneration on the outskirts of Milan was not about books or paper but about fashion: Emilio Pucci in the hands of a new designer, who does not feel the need to go back to the label founder's aristocratic heritage in Florence; nor his relationship with the burgeoning mid-century jet set.
"I don't like clothes that smell of vintage," said Massimo Giorgetti — known for his dynamic, popular MSGM label — and for Emilio Pucci this season he decided on an interpretation of 'la dolce vita', translating and updating those louche and glamorous 1960s.
"My first rule is to be now," said the designer, pointing to a mood board made up of many intriguing images, including a juvenile Kate Moss and a drawing of mermaids wearing Native American headbands.
Sounds of the sea, from fishing nets to shells, reverberated through the collection. But if there were new versions of the signature swirling Pucci prints, I missed them in the mêlée.
On the runway were some graphic black-and-white dresses, the lines at an angle.
The mood was sporty: fast foot forward in narrow pants and long, slim dresses. Both might be covered with sparkle, giving a sun-on-sea glaze to the fabric.
There was a sense of fine and detailed workmanship. And as flower-patterned dresses and those mermaid prints took the catwalk, the clothes looked pleasant enough.
But where was the heart of Emilio? Surely not in a grass-green, long coat swinging over a matching lace dress?
"The emotion of Emilio Pucci was not only Vivara (the fragrance) and collage prints," Massimo insisted.
I didn't dislike the collection, which was colourful and coherent. But I thought of Emilio Pucci himself, noble on his parade horse surrounded by Florentine flags. And I could not feel his spirit at all.
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Fendi — Tudor Rose - Vogue
Not since Princess Diana's wedding gown with its full, fat sleeves - or maybe earlier still with Henry VIII and his puffy pantaloons — has volume seemed so big in fashion.
The Fendi show in Milan was an ode to the Tudor rose, from the intricately smocked milkmaid blouses to the same effect given a twenty-first-century allure as a short black leather dress. The pinafore bodice was innocent-looking enough, though there was flesh visible through open squares at the sides.
Then there were thigh-high bloomers which, worn with the puffed-sleeve tops, looked surprisingly refreshing.
And the flat flowers, like symbols of the fifteenth-century War of the Roses — they decorated shoe fronts and the bags that the brand's creative director Silvia Venturini Fendi showed proudly backstage.
"Useful, light and functional," said Silvia, referring to the sturdy effect of leather blanket stitches framing abstract flowers at the bag's front.
Compared to Karl Lagerfeld's recent Fendi collections, which featured romantic flowers or architectural shapes, this one seemed to be coming more from heads and hands and less from the heart.
Yet ever the pro, the designer played nonchalantly with high and low hemlines, and the full-bodied tops and short shapes. Everything seemed convincing.
"It's about a change of proportion - another way to do long (hemlines) on curvy lines," said Karl, describing precisely the puffy graphic elements.
I just found it a little mechanical: blood red to go with the roses, followed by cream and green moving through blue to black.
But even a collection from Lagerfeld that lacks the Wow Factor still carries a competence that is compelling.
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Утенок активный: капсульная коллекция Moschino - Vogue
В этот раз Джереми Скотт вдохновлялся ни много ни мало сантехникой, чистящими средствами и стройкой. Чехлы в виде спрея для кафеля и футболки с трубами уже можно купить
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