О футуристичных очках, серале Star Trek и о съемках кампейна под началом Жана-Батиста Мондино
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среда, 13 июля 2016 г.
Рианна — о своей коллаборации с Dior - Vogue
О футуристичных очках, серале Star Trek и о съемках кампейна под началом Жана-Батиста Мондино
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Короткие шорты этим летом носим только «парами» - Vogue
Джинсовые — с мужскими трусами, как на показе Alexander Wang, а спортивные — с велосипедками, как заядлые бегуны
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#SuzyCouture: Dolce & Gabbana: High Fashion As Extraordinary Entertainment - Vogue
Inside the stone fortress, Sophia Loren, the new 'queen' of Naples, was receiving the southern Italian city's highest award. 'Sophia Napoletana' was written in a flourish under a portrait of the sultry 1950's film star, whose cleavage still sweeps as low as her luxurious head of hair is held high.
Her voice cracking with emotion, her grandchildren and designers Domenico Dolce and Stefano Gabbana at her side, the actress, 82, claimed that Naples was the source of all her good fortune.
The crowd roared in response. And so it had been the evening before in the centre of the city. 'We love Sophia' shouted the residents of crumbling stone buildings, waving out of the windows at their idol as she was seated in a plush, gilded chair to watch the Dolce & Gabbana Alta Moda high fashion show.
This was fashion as entertainment on an epic scale. Stefano and Domenico have invented for their super-rich clients a way to make buying clothes at stratospheric prices Fun! Fun! Fun!
But oh! The glamour of this fashion pageant. Flowers adorned the hair and heads were elongated by papal crowns as Domenico and Stefano played every emotional note: poor-but-sexy girls in torn jeans and fancy tops; nice girls in 1950s frocks splattered with flowers; sporty girls in soccer T-shirts with a homage to famous footballer Diego Maradona on the back.
Down past the church and back up again walked 99 models, the music rising to a crescendo of operatic arias as dresses with long trains patterned with giant roses swept the pathway.
The private customers, who had flown — or yacht-ed — in from over all the world and were wearing intensely glamorous, decorative, hand-made dresses and twinkling jewels, then moved on to the Naples port and its bevy of water-side restaurants, decorated with strings of fairy lights.
'They let us do everything we wanted,' said Domenico, referring to the city of Naples, which had encouraged the make-over of the harbour's local restaurants where professional performers, dancing and fireworks added to the entertainment.
Dolce & Gabbana - as they are known — have become travelling promoters for Italy, presenting with verve, panache and a touch of irony, a cliché of a country where everyone is perpetually smiling, singing like Luciano Pavarotti and the sun is, of course, always shining.
Capri, Portofino and Venice are among previous destinations for the fashion duo's Alta Moda shows. The image is the colourful South, scanned to produce only things happy and glorious. The triple bill of shows — women's, men's and high jewellery — akes place over an entire weekend providing a light-hearted energy to what might once have been stuffy social grandeur.
Domenico said, with a laugh, that he could not confirm to me that a mighty boat floating between the castle and the twinkly lights of the town's waterfront belonged to one of his big-shot Russian clients. Perhaps the harbour was less crowded than the local aerodrome was with the private planes for other clients landing from Asia, South America and Gulf states.
Analysing the collection, it was clear that there was a strategy. For every bold outfit there was a very specific clientele — an Arabic robe, body conscious sportswear or outfits patterned with racing cars — there were impeccably tailored Neapolitan suits, the kind that tautly outline the masculine body.
I found the line-up to be a discomforting view of a male world still reflecting the James Bond era of sexist attitudes. The D&G sly wit just — but only just — carried off the collection that was redeemed by the superior craftsmanship. I thought wistfully back to last season's discreet Alta Sartoria, where fine embroidery and streamlined sports clothes had been easier to digest.
My two days in Naples were a fascinating insight into a society that is no longer cohesive as it once a was, but just plastered together by money. And judging by the crush at the Dolce & Gabbana pop up store on the yacht front and the female clients already wearing some of the most dashing new pieces, Stefano and Domenico have hit on the secret of success to attire the global society of the super rich. Make it fun to pay a fortune.
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#SuzyCouture — Fendi: Legends And Fairy Tales - Vogue
The tumbling water, the Baroque marble statues, the night sky dying into an intense blue, and figures seemingly walking on water in front of Rome's Trevi fountain — it was an unforgettable and emotional fashion spectacle.
Not since La Dolce Vita, Federico Fellini's 1960s film that featured Anita Ekberg frolicking in the waters, had the famous fountain hosted such a spectacular performance as this Fendi Roma Haute Couture show. Yet in their fairy tale outfits, the models seemed not showy or decadent, but transported into another world of forests and castles, flora and fauna.
By the time that Karl Lagerfeld himself stepped out with Silvia Venturini Fendi onto the transparent plexiglass runway above the tumbling stream and threw a symbolic three coins into the fountain, there was a roar of applause. It felt like a spectacle that would mark fashion history.
The celebration was threefold: Ninety years since Fendi's foundation in Rome as a fur company; a staggering 51 years of Karl as a designer; and the restoration of the Trevi fountain as a gift to the city from the Fendi family — although Fendi only received final approval from the Mayor of Rome 24 hours before the event, according to Pietro Beccari, Fendi's CEO. He gave an emotional speech afterwards at the outdoor dinner on the Pincio Terrace at the Villa Borghese, twinkling with candles, ringed by fountains and with a view over the eternal city.
Karl himself, showered with congratulations from movie star Kate Hudson to Bernard Arnault, President of LVMH (Fendi's owner), said that it had taken six months to plan and create the show.
"It's called 'Legends and Fairytales', but it is also about the incredible Fendi workmanship," said Karl, who had put the focus on the petites mains who created the handwork for his Chanel show in Paris just two days previously. He called the Fendi collection "Artisans of Dreams", fusing light-handed Italian workmanship with the fairy tales of his German heritage.
So the show had to be seen in two different aspects: the presentation that was a visual masterpiece and cheered to the echo by front-row guests from photographer Mario Testino to focus-of-the-moment Pierpaolo Piccioli of Valentino and his former design partner Maria Grazia Chiuri. Dior has officially announced that Maria will be joining the French house as women's designer.
The other focus was on the delicately but intensely-worked clothes. For example, Karl has always treated fur like fabric, combining many small pieces of different kinds to create melds of colour and texture. At the after-party, he explained to me that the work was divided between ateliers in Paris, such as Maison Lemarié, and the Fendi fur workers.
"But did you see the dresses?" asked Silvia Fendi, referring to the fact that this show was not a fur fantasy, but also showed pretty, modern clothes such as the denim-look jacket and blue-and-white short skirt worn by Kendall Jenner that opened the show to longer dresses in feather-light materials. Delicacy and decency were the words that summed up the look for day or night.
But it was Lagerfeld's romantic and even whimsical side, not seen so often behind the rigorous tailoring of Chanel, which was at the heart of this Fendi anniversary show. There were roses in full pink bloom against a leafy background for a slim, strapless dress; and more roses rambling over a long fitted coat. However "pretty" the concept, even for little pouch bags, the ankle boots or sturdy heeled shoes brought soaring fantasy to earth.
After looking at a display of Karl's drawings for Fendi and at photographs that showed glimpses of the details, I longed for precise descriptions of how and with what these clothes are made.
I watched faded rust roses on the exterior of a pale and fluffy fur coat. I saw a brief, dark fur jacket patterned with hearts; and another short fur coat scattered with flowers. But there was no doubt about the most stunning pieces: they told visual fairy tales.
On dresses or coats, I could see the stories of the Brothers Grimm — the princess lost in the forest, the woodland of magical blooms, the branches woven into a fence covered in soaring flowers. Were there also goblins and fairies, or just in my imagination, as this densely decorated but light-handed collection was walked over the water?
Something very deep and romantic came out of Karl's personal vision. And perhaps it is significant that it flowered at Fendi. His lifetime experience with members of the family has created a bond of trust, and Silvia Fendi's role in this collection, although un-trumpeted, must have been significant.
Pietro Beccari's enthusiastic management and his creation of a new Fendi headquarters in a modernist building on the edge of the city has also contributed in giving Karl a Roman work area and a link to the city.
It will be part of Karl's own legend that he created this ode to Rome, to beauty and to craftsmanship, at a time when the tectonic plates of fashion — and European history — seem to be shifting.
For one enchanted evening, the Fendi fashion show allowed its audience to dream.
And Karl? Beccari had the punch line when he said of the eternal Karl Lagerfeld, "He looked at the Trevi Fountain and said to me, 'For Fendi's 100th birthday, what are we doing to do as an encore?'"
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