Платья-сети из будущего
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вторник, 6 октября 2015 г.
Ellery весна-лето 2016 - Vogue
Эффект жидкого металла и остромодные безразмерные комплекты в коллекции Ким Эллери, вдохновленной инсталляцией 1969 года «Обернутое побережье» арт-дуэта Кристо и Жан-Клод
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Детали показа Chanel - Vogue
Потрясающие чемоданы, сандалии с подсветкой, перчатки, которые держатся на браслете и куча всего интересного в аэропорту Камбон
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Правила французского шика Каролин де Мегрэ - Vogue
Модель, дизайнер и диджей показывает, как носить вещи из лимитированной коллекции Forever Chic испанского бренда Uterqüe
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Наташа Поли спела для Frame Denim - Vogue
Супермодель попробовала себя в роли певицы и даже сняла небольшой клип для Frame Denim (а еще разделась и станцевала)
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#SuzyPFW: Hermès — A Forward Canter - Vogue
Learning to ride a horse is a bumpy business. There is an awkward elevation on the trot - and then, slowly, miraculously, the human body is in tune with the animal as they gallop away together.
Creating a fashion show is not so dissimilar, especially if you are working for Hermès, the most elegant and the most horsey of brands. Start slowly and carefully, a gentle trot, canter — and off you go.
But that was then: when Hermès could retain its noble distance. It was before the internet and Instagram, which now dominates in photographs and videos of the shows.
In her second outing as Hermès designer, Nadège Vanhèe-Cybulski seemed, if not bold, much less timid with the heritage. And if she had turned the show around, starting where flame and tangerine played off in leather and silk, with the symbolic Hermès orange even for shoes, there might have been a sharp intake of fashion breaths, the inevitable forest of smartphones clicking and a round of applause.
But Nadège preferred to build up to the drama with a plain, flat start: ink-blue tailoring, a cut that she called 'H' (for Hermès) and variations on pleats. These opening outfits were sleek, sharp and worn Oh so correctly! with hose and high heels.
In her manifesto, the designer listed "unconstrained elegance, reformation of classics, a sports spirit and a strong femininity".
She also added "visual illusions" and "audacious mismatching", but that seemed an extravagant claim for white fabrics with thin black checks and an artful incursion as leather was treated with patterns, apparently of the famous Hermès Ex-Libris scarf prints.
In a smaller venue than a huge horse barn of the French Republican Guard, these subtle details would have been easier to see. Chunks of mineral jewellery like agate on wrist bangles and belts stood out in their size and solidity.
Faced with the hurdle of colour, the designer handled it boldly and well: a royal-blue silk pleated dress or a similar style in white tipped with blue. While a jumpsuit looked chic in tan with an orange leather bag.
The show galloped on to its end, through black-and-white geometric dresses. Then, finally, came the bold pieces in Seville-orange silk and burnt umber trousers. I could imagine those colours, and the orange leather that came after, at the start of the show — boxing the neutral shades in-between.
Fashion today has many hurdles. Hermès may be right to stand aside from the digital imperative. The printed booklet produced for the show was lavish in its information about fabrics and accessories. But maybe there was a need for a tug of the reins, a Whoa! to slow down to a gentle trot a collection that had so much to see and absorb.
Instagram @SuzyMenkesVogue
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#SuzyPFW: Giambattista Valli — Sweet Bird of Youth - Vogue
How cute she is, the Valli girl, in her short skirt and fancy top as she strides out onto the pink and grey carpet in her gladiator sandals with sparkly, crystal soles.
Haven't we seen her somewhere before with her daintily decorated clothes and girly prettiness? Was it in the summer that she was dressed in a similar way but with intense embellishment? She had walked the same room but a different set of carpets at Paris haute couture.
Or what about her more juvenile appearance in Milan, in 'kids of' clothes for generous mothers to purchase? That is the Giamba line.
It is a smart idea for a designer to gather loyal customers from a young age. But all the Giambattista Valli collections seem to be melding in my mind. This season's ready-to-wear was mostly short and quite cute, even when it segued into longer hemlines.
From the beginning, out came a jacquard or brocade top — hard to tell from the distances the models walked across a large, square runway. Below the waist was the short A-line skirt, and that same upturned triangle silhouette was repeated with chiffon dresses, intense prints and embroidery. A scoop-front bodice was especially charming.
Sometimes the focus was on the lower half, when a white shirt was tucked into a patterned velvet skirt. Or there might be a few flower stems embroidered on a white dress. Occasionally a pair of narrow trousers entered the equation.
The decoration was subtle and beautifully realised, but always with the sensibility of Marcel Proust's vision of "jeunes filles en fleur" (young women blossoming).
Is this fledgling creature really the target for Giambattista's main line? We know that hemlines can be lowered — even if it is harder to drop down girly, high waists. And designers must be tempted to capture the sweet bird of youth, especially in a canary-yellow chiffon dress hung from a tiny sparkling bra.
But there was little in this collection, even among floral evening dresses, to make a girl raid mama's closet. It would be rather the other way around.
Instagram @SuzyMenkesVogue
Twitter @SuzyMenkesVogue
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Строгий древесный аромат Equipage Géranium - Vogue
Переиздание первого мужского аромата Hermès, которое теперь сильно рискует стать любимым ароматом и для женщин
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Premier Precious Butterfly — новая часовая коллекция Harry Winston - Vogue
Крылья тропической бабочки на циферблате — любимый прием американского ювелирного Дома. Встречайте роскошные и разноцветные новинки
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Alexandre Plokhov весна-лето 2016 - Vogue
Ультра линейная, по описанию самого создателя, коллекция русско-американского дизайнера
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