Джулианна Мур, Рэйчел Макадамс, Николь Кидман, Кейт Уинслет и другие
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воскресенье, 31 января 2016 г.
суббота, 30 января 2016 г.
Clashing forces of history from Ulyana Sergeenko - Vogue
The Russian designer’s show took fashion from the Romanovs to the Soviet Union by way of Marie Antoinette and David Bowie. Two moments marked Russian history: the end of the Romanov dynasty at the beginning of the 20th century and the collapse of the Soviet Union in 1991. What amazing tales! And who better to express these moments than Russian designer Ulyana Sergeenko, couture's primary fairytale-teller?
She took the two opposing events, dragged them from the pages of the history books, and created an intriguing look — part grandiose, part crazy boho. Against a backdrop of an intensely decorated Paris hotel, worthy of Romanov excess, the models looked purposeful but charming. Chalky colours like the facades of St Petersburg brought a decadent prettiness to a pastel pink Soviet cap, worn at a rakish angle, the work of British milliner Stephen Jones.
Bags shaped like cats and fish or with card motifs from a decadent dynasty added depth to the tales of Russia. But it was the visual effects that garnered the most attention. The pale green of a fluffy fur jacket competing with melds of yellow, peachy pink and turquoise. It was mesmerising to find the unexpected: ball dresses worn with the military caps, brief hemlines on A-line dresses, or skinnie Bowie looks. I felt a sense of chaos with the mash-up of the early era. And of freedom in the post-Soviet period. ё
There is something compelling about Ulyana's work and the intensity of the hand-decoration, which included the cat purses. She described the fashion storyline as "Marie Antoinette meets David Bowie”. However pretentious or ridiculous that might sound, the designer gets better each season as her technique and vision develop. And this show was a winner.
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Гости церемонии вручения Национальной Премии «Золотой Орел 2015» - Vogue
Светлана Ходченкова, Рената Литвинова, Юлия Пересильд, Надежда Михалкова и другие модницы вечера
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пятница, 29 января 2016 г.
Jean Paul Gaultier’s Creatures of the Night - Vogue
The designer paid tribute to 1980s freedom with a celebration of joie de vivre in clothes
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Снежная королева: беговые лыжи как образ жизни - Vogue
Осваиваем самый модный спорт этой зимы — свежий воздух и безупречная экипировка adidas в помощь
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Paskal pre-fall 2016 - Vogue
Paskal pre-fall 2016. «Дом это место, в котором что-то может пойти не так. И это происходит, постоянно», — цитата Дэвида Линча вдохновила украинского дизайнера Юлию Паскаль на создание своей версии «сумасшедшего» дома на основе образа советской дачи, где ненужные старые вещи лежат без дела много лет, а затем воспринимаются совершенно по-новому
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Китайская школа высокого ювелирного искусства в новой коллекции драгоценностей Chopard - Vogue
Цветной титан, космически прекрасные орнаменты и богатая палитра самоцветов — есть на что полюбоваться
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Ночная маска, уплотняющая кожу Lancôme - Vogue
Absolue Precious Cells создаст защитный барьер, восстановив естественную гидролипидную пленку лица
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четверг, 28 января 2016 г.
#SuzyCouture: Valentino Resurrects Fortuny's Magic - Vogue
Magic was in the air at the Valentino couture show, in the flower petals strewn on the floor and, most especially, in the slithering, antique velvet dresses. As maidens steeped in grace, long hair caught in gilded jewels of headbands, walked through intersecting rooms, to the music of Debussy's Prélude à l'Après-midi d'un Faune and Lakmé's Flower Duet, the audience — including, of course, Valentino in person — sat spellbound.
This collection probably makes no sense as a retail endeavour — no real day clothes, nothing to wear for a smart summer lunch. But, as a yearning for beauty and an expression of the finest handwork, it was starlit. "The body is free," said Maria Grazia Chiuri, as she and fellow designer Pierpaolo Piccioli went through the "mood board" of figures postured for early modern dance.
Here was Isadora Duncan, there clothing alchemist Mariano Fortuny. Maria Grazia Chiuri announced proudly that the current Fortuny company had worked with Valentino to create new versions of their famous velvets with burnt-out surfaces and painted patches.
The collection was almost entirely an ode to dresses — ones that ran down the body, mostly with a deep "v" at the front. Even when arms were covered, the fabric ran liquid, emphasising body shape and movement. Occasionally, skirts were short and wide, which looked unconvincing. But with the models frequently on the turn, backs bared, dressed just with a rope of adornment, the effect was fantastical.
Floor-sweeping coats, dense with embroidery, were magnificent, although at that point the collection teetered towards costume.
Why not? Every piece was ravishing. And after a season where not only have collections often seemed dull, but the entire definition of couture is in question, this Valentino show was a moment of fashion serenity joy.
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Streetstyle на Неделе Высокой моды в Париже. Часть 3 - Vogue
Вика Газинская в толстовке с Дональдом Даком, Кристиан Лубутен на Веспе и продрогшие легко одетые девушке на ветру
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#SuzyCouture: Galliano moves towards the Margiela aesthetic - Vogue
Step by step, in bold riding boots, the Maison Margiela collection moved forward. First came the blank canvas of white, especially striking in its rendition as a perfectly tailored coat.
Then designer John Galliano shifted towards Artisanal - the range of put-together pieces that Martin Margiela, the house's original designer, had invented as part of his early perception of recycling in the 1980s. For in the Spring/Summer 2016 Haute Couture line, there were fragments of fabric — patterned pieces that could have come from castaway curtains and striped shirts — bunched like clean laundry on the breast of a shirt dress. Galliano seemed much more assured with this collection, shown with a flourish in noble rooms at the Hôtel National des Invalides.
He even inserted a little of that mad make-up from the Dior show years: eyes outlined with a dark star; purple lips painted on the face; and a lot of red hair. Always the showman, Galliano finished off an impeccable double-breasted jacket with a flurry of pink dress at the back, showing off an orange lining from the front.
The brilliant mixes that Galliano used throughout both his personal and Dior years seemed, for the first time, to fit with the Margiela aesthetic. Yet… we have, indeed, seen all these recycling and remaking stories before.
The shirts-on-shirt whispered "Comme des Garçons". Everything seemed like an echo chamber of something in fashion's past. The real problem with the Artisanal project is that it is a merger of two similar skill sets, but with entirely different fashion spirits. Martin Margiela is from Europe's north, the artistic fashion equivalent of the Flemish painters; while Galliano is intrinsically Mediterranean, with the richness of Spanish or Italian art.
The north/south divide seems present in their separate ways of approaching the concept of recycling: Margiela, a dedicated "green" before that title was invented; Galliano a "magpie" decorator.
The new Artisanal collection, supported financially and emotionally by Renzo Rosso's Only the Brave group, shows Galliano moving towards Margiela's goal. But it remains to be seen whether the merger will finally be sealed in this confused period of changing fashion attitudes and fading haute couture.
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