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понедельник, 5 октября 2015 г.
Saint Laurent весна-лето 2016 - Vogue
Эди Слиман своей коллекцией поставил шах и мат всем тем, кто все еще стеснялся признаться в любви к 90-м
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Кэндис Сванеполь, Лили Олдридж и Лиу Вен борются с голодом - Vogue
Топ-модели стали послами новой кампании Майкла Корса Watch Hunger Stop, а вы можете помочь благому делу, купив футболку с вашей авторской надписью
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#SuzyPFW: Stella McCartney — Primarily Women - Vogue
Primary colours — red, blue and yellow — are the story of the Paris shows for summer 2016. Those vivid shades, when worn together, are redolent of Africa
But Stella McCartney, after her bright, light show, was adamant that there was no complex message in the slim, mid-calf dresses in Madras checks that came at the beginning. However there was a welcome diversity among the models on the runway.
"Colours of summer, celebrating life — and celebrating women, " Stella said, dexterous as ever in handling one of her daughters while greeting guests.
Stella's life in fashion has two meanings: first there is the fact that she was born with a silver guitar in her hand, a child of the McCartney music legacy. Rapper MIA was sitting front row but there was no famous dad; only a supportive husband.
Stella McCartney, the brand, has grown up with its founder, and this show was streamlined and sophisticated
Transparency was never cute and not even deliberately pretty. Rather it shadowed the silhouette behind the check or stripe patterns.
The new look came from ankle-length dresses that rose up the calf when airy pleats were offered in two or three layers. The dresses, occasionally tunics over bunchy trousers, all had an easy summer feeling
But Stella is too smart to believe that life in summer is one long holiday. She introduced curvier tops, still with calf-length hems but in pastel colours, and then got down in earnest to black work clothes. That solemnity did not last long however, as the designer turned to swirls of primitive prints on black, white and rust, inspired by abstract sculptures.
'Sophisticated' is the best description for this collection, whether sporty or tribal — or transparent for the red-carpet crowd. That word would never have been used at the turn of the millennium when Stella started seriously her fashion career. It shows how much she has changed not in her signature style, but by moving forward in attitude and execution.
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Sacai весна-лето 2016 - Vogue
Золото и темно-синий, покрывающие все цветы и перекроенные шали в новой коллекции Читосе Абе
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Гости вечера Мирославы ДУма и Натальи Водяновой в Париже - Vogue
Марио Тестино, Джованна Баталья, Каролин де Мегре, Даша Жукова и другие знаменитости на вечере в поддержку молодых дизайнеров России, Украины и Казахстана, который устроили Наталья Водянова и Мирослава Дума
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#SuzyPFW: Swinging London Obsessions — Ungaro and Galliano - Vogue
Emanuel Ungaro
An A-line, short-skirted silhouette from the 1960s — but with intense decoration and craftsmanship — has been a recurring theme for summer 2016.
Why this fascination with Swinging London, half a century ago, along with the silhouette of Courrèges and other houses which are being dusted down and relaunched? I asked Fausto Puglisi, the designer who has taken the helm at Emanuel Ungaro, a designer who was famous for his intense patterns and body twists and drapes.
Fausto channelled frills, mostly running from shoulder to wrist on a decorative blouse above a miniskirt with a fancy hem.
"The ruffles — I wanted it to feel young," said the designer backstage. "Paris is the DNA of the maison, not London, but because I am obsessed with that kind of vibe, I added some injections of floral and pink."
Fausto went on to define other influences: Argentina for his version of the horse-riding gaucho, which included tailored jackets with long skirts or a streamlined onesie of checked silk, inevitably in the colour pink.
Anything else? He told me about "a touch of romantic bondage - but not too aggressive, playful and feminine".
The show was not as confused as it might sound, with pretty pieces from white thigh-high boots appliquéd with flowers, to a streamlined pantsuit with a touch of embroidered flower decoration at the collar, waistband and running down the side of the pants.
What was missing amid this obsession with lacy frills, flowers and the colour PINK was any vision of what Ungaro stands for today. Shouldn't the brand be targeting international women in their early 30s who want to look streamlined and dynamic, rather than like baby dolls?
Fausto could have edited the collection to give it a different vibe, focusing on the long skirts, sleek trousers and smart jackets — rather than rerunning those Sixties which are not so relevant today. There were fine pieces in the collection, but they were drowned out by the frills.
John Galliano: Twist and Shout
Music from the Beatles blared so loudly at the John Galliano show that it seemed as though designer Bill Gaytten was going to send out another show inspired by the 1960s.
But the designer is tasked with making this line credible and saleable. To that criteria, the collection was well done. Working with art director Franck Durand, the idea was to keep the spirit of the house but to accentuate the style.
The focus was firstly on lace, which is now a summer staple. But as well as semi-transparent tops and brief skirts (topped with metallic Buckingham Palace guard caps), Gaytten took the lace to longer lengths. That decorative fabric might be swapped with chiffon, perhaps with graphic dots. The designer was in favour of the long and streamlined as much as the short and girly.
The John Galliano heritage includes tailoring, at which Gaytten excels, and his jackets with trousers seemed more for the real world than a buttercup chiffon dress, however much it might be a midsummer night's dream.
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Юбилейная коллекция сумок Bvlgari - Vogue
Впервые появившийся в 1975 году «штамп» Bvlgari-Bvlgari облачится в новом сезоне в блестящую кожу теленка и мерцающую чешую ската
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«Режиссер Нигина Сайфуллаева пошла в столовую ГИТИСа — и нашла меня» - Vogue
Актриса Любовь Аксенова выходит из мира сериалов на орбиту большого кино: главная роль в злободневной драме Петра Буслова «Родина» сделает ее звездой
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Детали показа Alexander McQueen - Vogue
Расшитые шелком, пайетками или меховые клоги, роскошные серьги с диким жемчугом и очень-очень красивые сумки
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Рукодельные сумки в весенне-летнем лукбуке 7ll - Vogue
Новая коллекция грузинской аксессуарной марки, которую создали основатели интернет-магазина More is Love. Все вещи связаны вручную, и по ним это видно (нам как раз это и нравится)
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#SuzyPFW: Alexander McQueen — The Line of Beauty - Vogue
The maidens in their chalky dresses, alabaster leather crinkled across their bodies, looked magical as they walked the wooden planks of an old Paris schoolhouse.
Whether floor-sweeping gowns or short skirts or even jeans, there was the same effect of intense decoration at the Alexander McQueen show.
"It's an ode to craftsmanship, to the Huguenots who came to Spitalfields with flower seeds in their pockets," said designer Sarah Burton of the French religious migrants who crossed the English Chanel in the seventeenth century and settled in the East End of London, the late Alexander McQueen's stomping grounds.
Burton has a knack for each season finding a new crevice in the world of McQueen. She is able to shred organza and suggest that the wrecked beauty has a story behind it; to embroider a giant bird on the body of a chiffon dress as though it were a vicious vulture; or to wrap heavy chains round black tailoring to hint at a chain gang.
Yet there is a parallel feeling of sweetness and light: flower patterns on the finest leather gowns, floral paintings on shoes and a soundtrack that included "Willow's Song" from 1973 film The Wicker Man and "I am Daylights" by British singer-songwriter Songs of Green Pheasant.
Burton received an ovation for her imagination and for the intense beauty of the show — and the success bodes well for the McQueen store that opened in Paris's Rue Saint-Honoré this week.
Yet only backstage did I grasp fully the extraordinary craftsmanship the McQueen ateliers had achieved — and this for a ready-to-wear, not a couture collection.
The papery whiteness turned out to be leather, washed and treated. French lace was handmade with doves and flower trellises. Jewels were thin chains with a Huguenot cross attached.
The show embraced a general trend of innocent, pastoral dressing for the summer 2016 season. But this lyrical version, with hints of darkness as well as light, was a triumph for Burton and the house of McQueen.
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Noir Kei Ninomiya весна-лето 2016 - Vogue
Бывший сотрудник дизайн-студии Comme Des Garçons создает оригинальные, но вполне реальные вещи в четко прослеживаемой японской эстетике
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#SuzyPFW: Céline — Phoebe Philo Unpacks Her Feelings - Vogue
Overhead was a tent in bold primary colours and at our feet drifts of sand as the setting for the Céline show. The bright background suggested vacation and escape. Yet not the clothes: soft satin and black lace dresses like glamorous nightwear; coats with an easy hand-in-pockets stance, a rib-knit waist inserted and an overall city feeling.
None of the fine clothes explained the deep feeling that Céline incites, where designer Phoebe Philo seems to be stretching her skills to the limit in the service of women. She knows we pine for simple linen dresses, shadowing a female body shape, and, this season, with those fashionably full sleeves.
Once backstage, Philo's long, discursive explanation made sense of the show and its setting.
First she said that she had worked with the artist Fos, who had also directed the live music. The idea was to create a space that corresponded to how women behave in different areas.
"I'm very interested in understanding how different clothes make us feel, and I started to think about a slightly strange wardrobe," Philo said. "Those clothes for me are as if you were to go on a year-long voyage, you could just pack it all and use it in all the different places you might visit. The collection is a bit like the tent, which can be folded and packed up."
Phoebe then added another emotional element.
"The context is taking her out of urban life and literally putting her feet in the sand," she said about the Céline woman. "I found it so charming and touching to remove her from that environment. I long more and more to be in nature — I get a lot of satisfaction imagining those clothes there."
The long explanation helped to define the visceral reaction to what Céline offers: clothes that do not have an external Wow! factor, although Phoebe has done that in the past with an African-inspired collection. Or when she created furry sandals that became objects of desire and were copied across continents. At this show the fur was white, teddy-bear cuddly and offered as a coat.
Although there were red ballerina flats to accompany the lingerie looks, gold jewellery in earring hoops or wrist squares and — of course — Céline's famous bags, the power was in the choice, especially the outerwear. Spring is often forgotten in summer collections, but here were smart coats decorated with wavy lines or curvy pantsuits with gilded trimmings. Navy jackets or a checked coat with plaid pants: these clothes were indeed for all seasons and reasons.
How and why has fashion today moved so far from most women and their crazy-busy lives? Céline offers a convincing — and appealing, answer.
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#SuzyPFW: Kenzo — Forever on the Move - Vogue
When I go to Tokyo Fashion Week in ten days' time, will I see anything so intrinsically Asian as the Kenzo show here? I felt this even though the original Kenzo Takada lived in Paris, and built his label on wanderlust, and current designers Humberto Leon and Carol Kim are Asian-American, rather than Japanese.
It is hard to define the mix of the cute, the streamlined and the sporty that makes up the current, global look of Kenzo. But the duo has grasped how to move the brand forward — literally in the case of remote-controlled platforms that progressed into the vast room, displaying the colourful clothes.
"We always want the shows to feel spectacular, and for people to walk away with an impression," said Humberto backstage. "We feel the spirit of Kenzo; we channel our inner Japanese with this brand. We want the heritage to be apparent and for Kenzo Takada to sit in the audience and feel: 'they are thinking of me.'"
It is rare for designers revitalising a brand to be quite so willing to please the founder, rather than taking a more pugnacious stance, as when Alexander McQueen took over Givenchy. This Kenzo collection was nothing like the label's original 1970s style, yet it expressed a similar sense of freedom.
The basic looks included macramé-type knit with a portrait neckline. The bottom half was a short A-line skirt worn with lattice thigh-high boots or flat sandals, which seemed powerful rather than seductive.
Where Humberto and Carol excel is in their modern attitude to prints, which are digital and graphic; to colours, which were mostly primary — red blue and yellow; and in the understanding that there is not one style today, but many. A floor-sweeping dress in a red-and-blue pattern looked just as relevant as the short skirts.
The design duo said that they had thought of a young woman dressing with a nonchalant mix of things from her global travels. Hence bits of hardware as if from a traveller's backpack, and bits of swimwear worn as underwear. Let's just call it twenty-first century wanderlust.
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