Блеск металла в новых коллекциях повсюду. Пропагандист французского непринужденного шика Изабель Маран тоже в струе
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пятница, 2 октября 2015 г.
Isabel Marant весна-лето 2016 - Vogue
Блеск металла в новых коллекциях повсюду. Пропагандист французского непринужденного шика Изабель Маран тоже в струе
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Детали показа Christian Dior - Vogue
В этой галерее можно рассмотреть не только сумки, туфли и бурно обсуждаемые ожерелья с цифрой 1947 (годом первого показа Кристиана Диора), но и увидеть, как кропотливо скроена и сшита каждая вещь
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Loewe — Everything Happens At Once - Vogue
There were many ways to interpret the abundance of design tropes for this S/S 2016 collection
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Issey Miyake весна-лето 2016 - Vogue
Йошиюки Миямаэ показал невероятую изобретательность в работе с материалами в новой коллекции для Issey Miyake
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Loewe весна-лето 2016 - Vogue
Металлический блеск и перелетные утки в коллекции Джонатана Андерсона для испанского модного Дома
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Карл Лагерфельд откроет выставку фотографий своего авторства - Vogue
Посмотреть на вещественные доказательства еще одного таланта маэстро можно будет в Париже уже через две недели
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#SuzyPFW: Lanvin — Magical Realism - Vogue
Is there any designer who can see things from a women's point of view better than Lanvin's Alber Elbaz.
"I was thinking about the red carpet and how there was more body than dress," said Alber backstage. So what did he do? Make stretchy corsets to fit snugly under a one-shoulder black dress with slits between the angular drapes.
It was the same story for filling in a triangular silk jersey dress at otherwise naked hips. Academy Awards problem solved. Hey presto!
Lanvin today is all about magical realism. And in this enormous 70-outfit strong show for summer 2016, Alber made simplifying the closet into an art form.
The show started with that Monday morning feeling. Help! Something to wear to work... So there was the perfect white shirt, its collar as small and pointed as its sleeves were big and round. Add high-waisted black pants and you're done.
A few more black jackets, skirts, waistcoats and shirts, and that section segued into dressing up a bit. Yet everything remained feet-on-the-ground, especially boots tidying up a look of tweedy dresses with dangling threads: that high-fashion balance of done and undone.
Those were only two of six different sections of, say, mannish suits with streamlined tailoring, maybe with a lightly veiled bra as a strong woman's defiant gesture.
By the end of the show the designer was witty and whimsical, turning the current passion for accessories (and there were plenty of those) into decorative prints. From perfume bottles to cute yellow and red handbags and shocking pink stilettos, the close of the show was funky and fun.
I remain doubtful about the visible corsets under bare-it-all dresses. Wouldn't it be easier to make graceful, cover-up clothes? But I was still impressed by Alber's output. How can one (male) designer get inside a modern woman's head and find as many angles of dress as there were angular pleats?
Alber showed me how. He produced five cards, each with a line up of his drawings of clothes. The outfits all had small pieces of fabric attached, from the cotton of the first white blouse through to the stretchy fabrics of the drape-over-corset dresses to the shapely lace.
The designer explained that working last year on a museum exhibition about founder Jeanne Lanvin and subsequent displays of his own oeuvre, made him think about all the different ideas he has had previously.
I was simply in awe of such imagination and the way Alber turned it all to the advantage of women today.
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SuzyPFW: Balmain — Softening Up - Vogue
"I'm inspired about being 30!" said Olivier Rousteing of Balmain, while outside the gilded ballroom of the InterContinental Paris Le Grand the crowd screamed at the arrival of any celeb, but especially an orange-clad Kris Jenner (part of the Kardashian gang).
She had come to see her daughter Kendall on the runway, wearing two typical outfits for Balmain today: a white dress with a cleavage peephole and a lattice skirt; and a bodycon catsuit in rusty brown curves.
Rousteing has been at Balmain for four years and he is increasingly certain of his agenda: a belief in diversity on the runway — of clothes and of the people who wear them. The designer said that preparing a capsule collection for H&M had encouraged him to examine what he stood for.
"And I challenge myself," the designer added. "I want more fluidity, more lightness."
Rousteing lived up to his own expectations in this show. There were still Amazonian women striding out in sexually charged outfits, where bandeaux criss-crossed the chest and mesh was open weave. But there was a new softness and even frills cascading down the legs of the lightest of leather trousers. The women wore wide metallic collars, or ones with macramé sheaths of intense handwork.
Burnt orange lightening to a ginger or mustard and a rich blue suggested the colours of Africa.
The Balmain house seems to have shrugged off entirely its polite, Parisian heritage. But within the limits of his vision and with the advantage of intense studio handwork, Rousteing had something to say to, and about women.
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Alexandre Vauthier весна-лето 2016 - Vogue
Александр Вотье представил повседневные вариации своих кутюрных творений на прекрасной Дарье Строкоус
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#SuzyPFW: Chloé — Golden Girls - Vogue
The golden girls sat front row — hair long, hemlines high, sweet faces cocked to see the Chloé models walk the cork runway. Cork? Ah! It must be another Boho 1970s collection from designer Clare Waight Keller.
But instead, out came clothes for a fresh era of sporty innocence: sweaters atop floor-sweeping skirts; a sweatshirt and pants worn with Parisian elegance; brief one-shoulder dresses and flat bags dangling on a chain. Then, lace for an elegant all-in-one outfit. It added up to a streamlined prettiness that seemed a perfect fit with the young women in the audience.
Who were they? Young British singer Flo Morrissey and model and actress Dylan Penn (daughter of Sean Penn and Robin Wright), French actress Lola Le Lann and a coterie of smart international bloggers.
"It's about an innocence that is still very sophisticated — the opportunity that comes with youth," said the designer, referring to a fashion take on sportswear. She also called details in the collection "tangy and sweet colours together" and "the illusion of nonchalance".
Clare was standing backstage by her mood board wearing a white T-shirt and a pair of jeans frayed at the ankles. She should have been revelling in the fact that this was by far the best show she has done for Chloé, as though after four years at the design helm she had finally hit the target.
The show was different because although the designer has tried a hippie-de-luxe, carefree style before, elements of it here were far more assured. For example, an intricate, Paisley-style pattern was in ink blue and white only, not wild in colour: while the sporty racing stripes on tracksuit pants were matched by a graceful ribbon bow at the shoulder.
With such small gestures, Clare made a world of difference from dressing retro to seeming ready-to-go. Perhaps the smartest move was to give volume to lace, so that the clothes seemed free, rather than body conscious. Add vivid colours like tart lemon, or subdue such shades with black, and there was another round of sophistication — ending with a long swish of chiffon in vertical lines of green, yellow and red.
Injecting a sense of global youth culture into what was a cute, intrinsically French label has been a slow process for Waight Keller. But for summer 2016, the Chloé girl is ready to roll.
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Vetements весна-лето 2016 - Vogue
Российский дизайнер Гоша Рубчинский открыл показ французского бренда в качестве модели
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