“La Palmeraie”- Numéro Magazine #166 August 2015
Model: Crista Cober
Photographer: Txema Yeste
Stylist: Elizabeth Sulcer
Hair: Tomi Komo
Makeup: Tyron Machhausen
“La Palmeraie”- Numéro Magazine #166 August 2015
Model: Crista Cober
Photographer: Txema Yeste
Stylist: Elizabeth Sulcer
Hair: Tomi Komo
Makeup: Tyron Machhausen
Alexandre Vauthier X Mellerio dits Meller Haute Joaillerie Fall 2015
Model: Kate Bogucharskaia
Photographer: Mathieu César
Hair: John Nollet
Makeup: Saraï Fiszel
Giambattista Valli based his Fall Couture 2015 on another imaginative “impossible conversation”, this time between legendary bohemian muses, Peggy Guggenheim, Talitha Pol- Getty and rock legend Syd Barrett. It’s been 10 years since Mr. Valli founded his independent design house, and he celebrated this milestone by doing what he does best: showing a gorgeous, glamourous, high-impact, and elaborate collection of party-ready garments. I LOVE this house!
This season marked a definite progression in Mr. Valli’s work by stretching the borders of his traditional flower-festooned couture pieces into slicker, showier fashion territory. There was a definite vintage vibe to the show, with plenty of looks that referenced the minimalist lines and sweeping silhouettes of Sixties and Seventies couture. Lean tunic and trouser combos were seen alongside sleek collarless coats, slim trousers and short shift dresses- each embellished to the hilt with lush ornamentation. It was pure rock and roll glamour.
Mr. Valli’s signature elaborate flair wasn’t completely missing though- it appeared in some transitional pieces that paired the minimalist look with poufy half-spheres of tulle ruffles, feathery fringe or sweeping peplum panels of heavy silk.
From there, the silhouettes and embellishments only got more extravagant! Flowers, ruffles and eye-catching colour are what women want from Giambattista Valli… and that’s certainly what they got. Shapes became larger and more elaborate as the bohemian influence came into play: loose tunics, flirty skirts, ruffles and spaghetti-strapped halter necklines. There were some sweeping draped goddess gowns that just begged to be worn on a red carpet and some voluminous evening frocks embellished with fluttery layers of pastel feathers and silk flowers. Gorgeous!
The simplified lines of his garments provided ample canvas for intense and varied surface decoration: ruffles, elaborate tapestry prints, crystal appliqués, feathered trims, 3D florals and trailing vine embroidery were just a few of of his touches. The modernist theme kicked in with futuristic tiers of pixilated prints, silvery beaded fringe, lacquered lace, sequinned macramé and metallic foil prints. Every surface gleamed and twinkled with adornment, that were then further enhanced with vivid pops of acidic green, aqua, cyclamen and orange over stark plains of black and white.
Paired with round oversized crystal-embellished sunglasses, huge chandelier earrings and sparkly sky-high platforms, the looks came off as slick and glamourous as any disco diva’s wardrobe.
For a while, the glitzy vibe seemed to have taken over the show, but Mr. Valli’s breathless romanticism came out fully for the show’s finale. This season’s ball selection appeared in volumes of tulle, with models making their way down the runway carrying a veritable harem’s worth of undulating ruffles. These pieces were certainly marvels of construction, but as they didn’t glide effortlessly across the floor, the finale walk came off as slightly taxing for the finale models.
To be honest, I felt the finale was a bit much. To me, it seemed that Mr. Valli was trying to top his previous work with these looks- and this time the show stopping pieces came off looking a little silly. They’re far too heavy and cumbersome for anyone to easily wear without structural support, and styled as they were on the runway- with fussy feathered tunics, embroidered motorcycle jackets (quite fabulous) and embellished T-shirt tunics (not so good), they looked… not that great.
I know that couture is not supposed to be easy to wear, nor is it ever worn anywhere else but to Black Tie events, but the show would have ended much more successfully had these finale looks been styled better or exempted from the lineup.
That’s my only complaint on an otherwise great show. I adore all the fluttering fringes, eccentric silhouettes and glimmering rockstar embellishment that this season had to offer. Mr. Valli’s exploration of sleeker silhouettes brought a decidedly grown- up notion to his work that has been lacking on previous occasions, and I appreciate seeing this progression. Still, there was plenty of youthful spunk and playful femininity to go around and I’m in love with his girlier offerings!
Can’t wait to see more!
Xx – Ana
“I’m Feeling Myself”- Dress to Kill Magazine S/s 2015
Model: Jenna Jenner
Photographer: Chris Nicholls
Stylist: Randy Smith
Hair, makeup: Sabrina Rinaldi
Fur is one of the most controversial topics today. Long gone are the days when a person could stroll out of the house in head- to- toe mink and have no one bat an eye in disdain. Similarly long gone are the times when a design house could consider fur as a base material for their seasonal collections and have little to no backlash from the public.
That’s why it’s no surprise that Fendi’s first Haute Fourrure collection opened amidst a raging PETA protest and a swirl of controversy.
Still, Fendi’s head designer, Karl Lagerfeld, is no stranger to criticism or controversy- he embraces it, using these emotions to fuel designs that push the limits of decadence and irreverence. Basically, adversity is a vital part his design work. I’m sure he got his fill of these emotions with this show.
Entitled “Silver Moon”, this collection was chock full of elegant, classic looks with a sleek space- aged twist. Silhouettes were reminiscent of the 1940s with lean, body-conscious garments being worn under piles of fantastic furs. Throughout, there was a sci-fi edge to the looks, with metallic finishes, sleek embellishments and species- blending fur ornamentation. Think what you will, but the show was très chic!
It opened elegantly with a group of sumptuous coats and capes that practically dripped with timeless elegance, but soon, racier elements came into play- Furred miniskirts, leather trousers and trailing mink boas inserted a shot of sexiness into the lineup. Girlier items like draped shawls in pink and white mink and voluminous princess coats provided an energizing break to all that was going on on the runway.
Indeed, there was a lot to be seen: space-aged confections of metallic leather, vinyl and crystals, flashy metallic jackets, leather stockings, graphically- striped furred minidresses, embellished tunics and cocoon-like coats; there were ladylike suits done entirely in sable, mink scarves and chinchilla stoles. There was a white gown trimmed in mink that was made for a true Ice Queen (Tilda Swinton perhaps?) and a series of gorgeous cross-species feather and fur creations that definitely ended the show on a high note.
These fabulous …almost dreams, all trimmed in rows of feathers, were my favourite looks of the entire collection- I’d love to give a round of applause to the artisans of the Fendi ateliers for their work- the garments are exquisite! Elsewhere in the lineup, other ornamental details proved equally impressive: crystal appliqués appeared over panels of vinyl and glossy leather, fluffy ‘rosettes’ of spotted bobcat and chinchilla popped up all over the coats, decorative silk embroideries and brocade weaves were lined with fur. There was intricate beading, plush patchwork embroidery, decorative knitted patterns and large 3-D flowers created out of mink. The craftsmanship was impressive!
There have always been fur garments and accessories included in Fendi’s seasonal collections, but with this show the house strove to use luxurious pelts and skins in ever more extravagant ways. The results were truly amazing… but despite being a beautifully intriguing display of garments, the show came over to me as quite surreal and a bit unsettling. Writing about this show presented a moral challenge to me since I don’t support the idea of the excessive killing of animals for fashion.
While my family and I do use fur, we have always purchased upcycled pieces as we don’t see the point in killing any more animals for a garment when there are so many beautiful existing pieces already circulating in the market. It’s hard for me to look past the excessive use of protected furs in this show no matter how beautiful or creative the final garments were. Show notes stated that these were true furs, meaning that Mr. Lagerfeld didn’t use materials from the Fendi fur archives to construct these pieces- these animals were freshly processed. To me, that’s very disturbing. Also, the utilization of fur as a garment is not an easy proposition. It is a skill and talent that, like so many work intensive fashion techniques, is in danger of disappearing and must be preserved. Much like the loss of endangered languages, the loss of this knowledge would leave the world a poorer place.
Fur is definitely not an easy topic.
But, I have to applaud the craftsmanship and vision of this show. The end result was a gorgeous one- astracan, mink, chinchilla, wolf, lynx, swakara and sable were all transformed into the sumptuous visions on display, visions that exhibited all of the mastery and talent of the Fendi ateliers. I’m in awe of the craftsmanship and ingenuity that went into creating these pieces- there were things that I’ve never seen done with fur- and as much as I hate to say this, I’m interested to see what they’ll think of next.
All in all, Fendi Haute Fourrure Fall 2015 was a good show. It was full of beautifully- constructed garments that toed the line between classic elegance and avant garde innovation. Distressed, amazed, shocked… whatever you may feel, what was presented was the craft of fashion at its finest- but then, what more can you really ask for from the planet’s foremost furrier?
Alberta Ferretti has been showing her demi-couture Limited Edition line for four years in as far- ranging and exotic locations as Florence, Los Angeles, and Istanbul, but this year, she showed at a true fashion mecca – Paris. This year Ms. Ferretti released her gorgeous collection at her brand’s fabulous new home- a spectacular Paris showroom at 43 Rue du Faubourg Saint Honoré, an 18th-century mansion with baroque salons and a private garden that once belonged to the Rothschild family. So fab!
It’s truly a magnificent place resplendent with paintings, friezes, dramatic chandeliers, ornate mouldings and gilt everything, so it’s not a surprise that these details became the very story behind the collection itself.
“The collection is dedicated to this space,” Ms. Ferretti said of her offering, “…stucco, frescos and crystal chandeliers were the base for composing the whole collection. I imagined all these decorative elements desired by Goldschmidt-Rothschild as hand-painted, redundant frills, chiffon, tulle and handmade duchesse… people are looking for things that are unique, that have more personality.”
The results were truly spectacular: 25 unique pieces constructed of lavish materials and entirely hand-embroidered by the masters of Italian artisan craftsmanship . “People are looking for things that are unique, that have more personality…it’s not couture, but it is a night line designed in that spirit,” Ms. Ferretti said of this line, which is meant to bridge the gap between haute couture and the most luxurious prêt-à-porter.
This made for utterly gorgeous garments: long gowns, skirts and coats richly decorated with trompe l’oeil floral paintings or beaded embroidery reminiscent of frescos and gilded wooden panellings, airy confections constructed out of layers of chiffon or lace and draped gowns fashioned from pleated chiffon frills in the softest shades of beige, gray and cornflower blue.
The most lavish adornment in the collection was seen in the finale series of opulent crystal-embellished white gowns, all densely covered in tulle frills. They’re a bit much for my wardrobe, but I can see them being perfect options for brides with an extravagant sense of style.
The 18th century references are easy to spot in the collection’s full skirts, tight bodices and puffed bell sleeves, but there’s a touch of Renaissance romanticism in the delicate lace panels, flowing cascades of chiffon and the high, tight necklines of some of the gowns. Elsewhere, glimpses of Ms. Ferretti’s signature wood nymph style were seen in draped goddess dresses of chiffon and heavy silk and feather-light confections of lace, tulle and spun gauze.
This collection is arguably a display of Ms. Ferretti’s work at its finest. Her signature romanticism was in full force and further enhanced by her whimsical detailing and deft manipulation of ethereal fabrics. This is a collection that appeals to everyone’s inner princess.
I’m completely in love here!
Alberta Ferretti’s 2016 Limited Edition collection is spectacular- it’s begs the question of who needs bodycon dresses and embellished trousers when one could sport a tufted tulle gown or a floor-grazing skirt covered in shimmering latticework? The Rococo period may be back in vogue after all!
Xx – Ana
“Picture Perfect”- Fashion Editorial for South China Morning Post (SCMP) July 2015
Model: Zuzana Gregorova
Photographer: Angelo D’Agostino
Stylist: Moses Moreno
Hair: Gareth Bromell
Makeup: Yacine Diallo
For every Trinidadian fashion lover, Sunday July 5th was highlighted on your day planner, calendar and in your phones because it was the date of the country’s premiere design fair, Racked TT! Held at Port of Spain’s Radisson Hotel and hosting some of the most innovative and downright covetous designers, the third installment of Racked was not only keenly anticipated, but judging from the number of attendees- a hugely successful event.
Racked is truly unique. It’s the fusion of a traditional sample sale, a design expo and a pop-up shop, where designers showcase their products to customers in a boutique market-style setting. Event organizers select participating designers based on the quality and cohesiveness of their collections and (if considering a new designer) the potential of their brand. This allowed for a unique mix of the best talents in local design and an intermingling of each brand’s clients. Attendees were able to purchase exclusive prêt-à-porter fashion and accessories, shop sample sales, browse current collections and make appointments with designers for made- to- measure garments. Most importantly, it allowed industry leaders, designers and clients to meet and chat in a particularly fashion focused setting. In a local industry plagued by horribly organized and produced runway shows and fashion weeks, Racked is both an improvement and an evolution in our fashion sector.
This year’s selection included a host of fabulous offerings that ranged from full collections of street, resort, swim and prêt-à-porter collections (largely womenswear, but menswear popped up here and there), custom accessories, makeup and fashion and fine jewelry. Also participating was NMFV (nomorefashionvictims.com), T&T’s first local designer online boutique and a stockist of many brands showcased in the event.
It was fabulous! I brought home so many gorgeous new things that my closet is practically sparkling! Just as great was the opportunity to chat with so many hugely talented designers and hear a little of the inspiration behind their work. I met many friends, made some new ones and shopped like crazy… it was great!
To founders Emma Forster-Hiscock of Eenie Meanie Studios, Ain Earle of DISThink Management and Stephanie Rydle of Creative 25, congratulations on a well executed and definitely growing event. To the designers, I was blown away by so much of your work! Keep pushing forward.
Here are some of my favourite things from the third installment of Racked TT!
Lisa Sarjeant of Lisa’s Fabrics
AF Adrian Foster
Jade Drakes’ Jewellery
Coco Vintage Jewelry
CLD- Charu Lochan Dass
Brown Cotton Designs by Risanne Martin
Micha Gomes Jewelery by Laura Michelle Gomes
Luna Mar Cosmetics
Turtle Warrior by Nature Seekers
Noor by Noorlain Agha
Blumarine is one label that always makes me happy. Anna Molinari’s gorgeously quirky, youthful take on feminine dressing has continuously provided brand followers with a seasonal supply of sugary spunk and I just can’t get enough of it!
Resort 2016 is particularly sweet with a gorgeous array of fluid, summery dresses and insanely wearable separates in delicate fondant hues. The hyper-stimulation of the senses was the idea behind this offering, which resulted in a tempting assortment of lusciously adorned, soufflé- light garments that are as tantalizing as the elegant confections on display in Milan’s famed pasticcerias.
Of course the collection’s colour palette played in perfectly with these pastry shop visuals, with layers of macaron pastels being accented by zingy acid shades and sober hues of black, white, cream and blush.
Silhouettes were quite simple; there’s a good mix of flirty dresses, plainly-cut separates and slinky evening looks to be found throughout the collection. Every piece was infused with a relaxed, vintage romance attitude that was playfully girly and subtly sexy at the same time. It all put me in mind of a hippie-fied version of Alice in Wonderland, especially as there’s more than a hint of the fairy-tale heroine to be seen in the prim necklines, flounced skirts, box ruffles and bell sleeves that appeared all over this collection.
A playful sexiness came into play to counterbalance all the sweetness; transparencies and see-through panelling effects provided the perfect palette cleanser to all the fluff, while clean shapes and abbreviated lengths delivered a distinctly modern feel.
There are a lot of dresses in this collection- Ms. Molinari provided a vast selection of pretty frocks for every time of the day and occasion. Fluid, panelled sheafs, tulip- dresses and ruffled pintafores are the perfect options for daytime, while an array of richly- beaded mini and maxidresses appeared for evening. Elsewhere, panelled trench coats, patchwork knits, cropped denim trousers, high-waisted bell bottoms, kimono jackets and sweeping lace robes delivered a fresh, versatile supply of separates that went far beyond the usual thoughts of vacation dressing.
Gorgeous as it all was, it was this season’s ornamentation that really brought the collection to life. Almost every garment in the collection was shrouded in intricate detailing- degradé embroideries, 3-D appliqués, lace intarsias, jacquard voile, and macramé overlays to name a few. All. So. Beautiful!
As always, floral motifs provided a major part of these graphic adornments and lushly- pigmented flowers were scattered with wild abandon over every available surface. They blossomed in macramé, beaded appliqués and embroideries and sprouted on ruffled laser-cut suede and cotton. Lace was spun into delicate blooms and silk and denim appeared with a floral motif worked into the fabric as a reverse weave.
All in all, Blumarine Resort 2016 is a fantastic collection and delivers exactly what brand followers have come to love and expect from the brand. It’s youthful, feminine, romantic and effortlessly glamorous, with enough of a roguish twist in every look to make it all look fresh. I love everything and I can’t wait for these beautiful pieces to hit stores. I’m getting one of all – it’s just that good.
Xx – Ana
“Bitch Better Have My Money (BBHMM)” Music Video – Rihanna
Director: Robyn Rihanna Fenty & MegaForce
Producer: Kathleen Heffernan & Ciarra Pardo
Editor: Douglas Crise
Production Company: Iconoclast
Line Producer: Bridgitte Pugh
Stylist: Mel Ottenberg
This is perhaps one of her fiercest videos to date it’s packed with violence, nudity, gore and loads and loads of beautiful fashion!