Moschino For Carlo Mollino

For Moschino’s Fall/Winter 2018-19 women’s pre-collection, Jeremy Scott delves into the artistic world of 20-century architect, designer and photographer Carlo Mollino, adding a new chapter to the strong union between art and fashion.

Moschino’s creative director includes a selection of clothing and accessories inspired by several works by the Turin-born artist in the collection. Mollino’s lifetime passions include photography which always played a special role, demonstrated by the more than 2000 erotic Polaroids shot between 1960 and 1973 and found only after his death.

These very photographs, which always portray anonymous models in seemingly lewd poses, are now being re-presented by Jeremy Scott as prints on a selection of ready-to-wear garments, including the overcoat, velvet and plissé silk chiffon dresses for day and evening wear, and they are also offered on a selection of bags including the iconic “B-Pocket” and “Hidden Lock” models.

The photo shoots features models Teddy Quinlivan, Linda Helena Soares and Sohyun Jung, on a set that uses some of the original furnishings from Carlo Mollino’s apartment/studio.

Givenchy Couture Fall Winter 2018

For the Givenchy Fall-Winter 2018-2019 Haute Couture collection, Artistic Director Clare Waight Keller wished to create a homage to Monsieur Hubert de Givenchy, not only for the timelessness of his creations but as a tribute to the innate elegance of the man himself and the grace with which he lived.

Gucci Cruise 2019

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Gucci’s creative designer Alessandro Michele chose the Provencal city of Arles; more specifically, the Alyscamps, one of the most famous Roman necropolises of the ancient world, as the location for Cruise 2019.

“Alyscamps is a Roman cemetery, but it’s also not a cemetery, it was a promenade, it became a walk in the 1700s; it is hybridized, it does not look like a cemetery because it is and it isn’t. I like things that seem like something but are not”. ALESSANDRO MICHELEFlames and fire divided the runway for the Cruise 2019 fashion show. Widows clutched flowers in embroidered velvet gowns and capes, kids played rock stars wearing tiger striped narrow pants and fluorescent belt bags. The guests-models-of the rave walked the Promenade Des Alyscamps after dark in Arles, in looks designed for a party in a cemetery imagined by Alessandro Michele. Pan, the mascot from the Hotel Chateau Marmont appeared on laundry style shoulder bags, and scarves featuring the Flora print wrapped intricate hairstyles inspired by the end of the Roman empire.

Chloé Spring 2019 Lookbook

For Chloé’s Spring 2019 season Natacha Ramsay-Levi presented a feminine, refined and confident collection. Check out the entire lineup below.

Louis Vuitton Cruise 2019

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Louis Vuitton Cruise 2019 runway presentation took place in the lovely Fondation Maeght in the village of Saint-Paul-de-Vence on the French Riviera. A masterpiece of modern architecture, the Fondation Maeght was designed by architect Josep Lluis Sert to present modern and contemporary art in all its forms. The Fondation’s essence, to showcase the creation of our times, is intrinsically connected to Louis Vuitton’s commitment to the Arts and close to Nicolas Ghesquière’s inspirations.

With their spliced sleeves and curved lapels, the opening outfits brought to mind a cadre of female Jedi. He pumped up fall’s spaceship uniform volumes with oversize dresses set off by thigh-high leather boots that reprised the chunky soles of his hit Archlight sneakers.

“For sure, the shapes of the statues and the volumes of the statues were influencing my silhouette, absolutely. You always fight with gravity when you design clothes,” the designer noted.

“You want the clothes to be light, or to be suspended, or to be in movement with the body of the woman, and so it’s very interesting, I think, this relationship with movement and those wonderful monoliths of art,” he added.

“What is important is to build a vocabulary, I think, and it’s what I’ve been doing now for five years with Louis Vuitton, and so you can also play with that vocabulary and transgress it and shake it,” he mused.

“We all dream about doing timeless things, but the thing is, we’re doing fashion. We want to be in the moment, and we’re trying hard, I think, every designer, to respond to the desire of having a new emotion with fashion. So there’s this duality,” he added.

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Emilio Pucci Resort 2019

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For Resort 2019, the Pucci woman is embraced by the sensuality and warmth of Mexico. Its intriguing and mysterious history, exuberant aesthetics established by its most famous artists — Frida Kahlo and Diego Rivera — and glamorous beaches of Acapulco, form the rhythm to this collection.

Her wardrobe celebrates this joyous allure with easy-to-wear pieces, simple to style according to the occasion, versatile and elegant. Vibrant colours, a Pucci sign of distinction, which infuse energy and suggest an attitude.

Harmonious and exotic hues—cobalt, sunshine yellow, mint, aquamarine, fuchsia, flamingo pink and mango—mingle in perfect harmony with prints featuring evocative names such as Acapulco, Frida, Rivera and Guanabana. The images of Mexican landscapes — bright and captivating skies and lush vegetation — are diluted by soft and delicate nuances.

The parka with large cargo pockets, the nylon trench coat made to fold easily into your suitcase and the elegant basket-weave, poplin-lined peacoat all benefit from new and comfortable fits — while maintaining their precision of premium tailoring. An urban mix and match quality also highlights the crossover versatility of the collection. Denims feature printed silk twill patches.

The Marilyn dress in printed jersey undergoes the holiday treatment with raffia and fringes, as do the silk cady kaftans in contrasting colors. The latter, made to be worn over swimsuits in embossed stretch piqué by day, and in their full glamour by night.

The collection is enriched and completed with new accessories like the bucket bag in python and leather — perfect for the city. And its raffia twin — the holiday equivalent. Slippers and sabots are offered with colorful fringe and tassel decorations, sometimes enriched by the Pucci logo. But, for the most glamorous occasions, there are heeled sandals made of braided strips of multicolored python. In honour of the full-Pucci look, sunglasses with angular frames and straw cloche hats compliment the exuberance of the collection. Standing out among the foulards is the silk twilly scarf in the exotic Guanabana print.

Jil Sander Resort 2019

Femininity, simplicity, the strength of intimacy. The source of Jil Sander’s Resort 2019 collection is in everyday life. Utilitarian objects are transformed into design pieces. A Vichy story, with large and small checks in cream, pale blue, cocoa, yellow, and black, translates familiar motifs and hues, warm and comforting, into a statement. Corsetry, a symbol of feminine strength, turns structure into form, shaping jackets and tops: desire, protection and control, but without restraint, off the body. Quilted and striped dimensional skirts float, transforming domestic patterns into light, soft forms.

There is a carefully designed sense of ease. A voice, clear and soft-spoken, sensitive and recognizable among diverging sounds, creates a bottom note that you can clearly hear. The expressions of Lucie and Luke Meier’s Jil Sander are crisp, bold, and aware. Most dis­tinctively their own. The world we need to design for is our life: clothes need to make us feel confident and safe, to enhance our power to enter, individually, into the future.

Now the future is spring: rebirth, growth, freshness, youth, skin. There are shorts, bare arms and legs. Tailoring is presented directly on the skin, representative of a lighter approach but also one that is inti­mate and caressing. Silhouettes are sharp and in motion; sculptured with folds and creases, animated by malfilé linen/viscose, and pleats. Skirts are worn over trousers. Everything is layered; an invitation to combine garments at will. Volumes are luscious, trousers are comfortable, the mood is relaxed.

White, cream, camel and black, pastel colours. Fabrics that seem solid at a closer look reveal subtle weavings of yarns of different hues. Shirts and shirt-dresses are fluid. Classic coats, long and short, beige or navy and black, are generous, display contrast stitching and magnified checks.

The research of materials is accurate and deep. The synergy between shapes, fabrics, patterns and touch is forward looking. Touching is as important as looking. There is a constant interplay between what is seen and what is felt in wearing a garment. Refined wools, cottons and silks match, and sometimes double, polyester and nylon. Bags are soft and malleable or structured and edged, iconic and functional. A transparent nylon hand-knitted bag transforms the everyday reality into an elevated proposal. Different worlds meet and merge. This is an age of ambivalence: we are multiple, everything changes. The future is us.

 

 

Dior Cruise 2019

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“Each  of  the  women  presented  [in  this  volume]  is  one  and  multiple,  both  herself  and  many  others,  some  illustrious  and  some  less  well  known  to  us,  but  all  of  whom  resemble  her  in  some  way.”

Dior’s Artistic Director Maria Grazia Chiuri chose the noble setting of the Domaine de Chantilly for the Cruise 2019 collection. A prestigious symbol of the French art of living, the grandiose stables were built in the 18th Century by architect Jean Aubert. The choice of Chantilly marks a return to the house’s roots, as Christian Dior designed an evening dress inspired by the town of Chantilly for his second ever collection, for Fall/Winter 1947-1948.

The Cruise 2019 collection is inspired by the female riders, called escaramuzas, that compete in Mexico’s version of rodeo.

With their embellished sombreros and embroidered cotton dresses, which flare out into tiered skirts layered with petticoats, the riders cut dashing figures as they perform stunts at full gallop, all the while riding sidesaddle.

“The reason I like the escaramuzas is because they do something that is so macho — rodeo — in our vision, but they decided to do that in their traditional dresses which are so pretty, so feminine,” she said during a fitting at Dior’s ready-to-wear workshop in Paris.

The designs also hark back to Chantilly’s rich history of lacemaking. Chiuri used the delicate fabric, whether in graphic inlays or frothy ruffles, on full-skirted looks worn with chunky belts and her updated take on combat boots: a heavy-soled rubber and Neoprene lace-up design dubbed Diorcamp.

She gathered acres of tulle into featherlight petticoats, while sheer mesh skirts were delicately embroidered with lattice or Toile de Jouy motifs. The latter fabric, traditionally used for interiors, is something of a house signature, appearing in vintage creations such as a pair of shoes designed by Roger Vivier in 1956.

“Toile de Jouy is a very traditional Dior element. I decided to change the print. I put some animals to give it a twist, just a little bit ‘sauvage,’ less traditional,” said Chiuri. The pattern, featuring tigers and serpents, is woven through silk dresses or printed on more casual items like a trenchcoat or a denim shirt.

“You don’t necessarily have to buy a beautiful embroidered evening dress, you can also buy something more simple, like a pullover, with the same element,” she said. “You can find something that is really democratic, like denim, with a code that is really Dior, but that maintains this kind of couture culture.”

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