totally black.
Look at the way of folding,
the waist
and the shape...
pure elegance!
always Lanvin!
Look at the way of folding,
the waist
and the shape...
pure elegance!
always Lanvin!
...
3.10.2009
‘I am trying to design for now,
for real women and their life,
as well as their fantasy.
To do things that are very contemporary.
But we are about evolution,
there are lots of pieces here that we've done before
but they are reworked.
Almost everything is cut on a bias this season.
It felt right instinctively –
when I thought about it I realised how it hugs a woman.
Instead of the normal silks and satins that you see in a bias cut,
we took wool and coats and skirts.
And there was also daytime dressing.
Life is not just all parties and lunches
for real women and their life,
as well as their fantasy.
To do things that are very contemporary.
But we are about evolution,
there are lots of pieces here that we've done before
but they are reworked.
Almost everything is cut on a bias this season.
It felt right instinctively –
when I thought about it I realised how it hugs a woman.
Instead of the normal silks and satins that you see in a bias cut,
we took wool and coats and skirts.
And there was also daytime dressing.
Life is not just all parties and lunches
- although we certainly seem to do a lot of them.’
by Alber Elbaz.
As beauty as we are used to!
...
3.09.2009
Let’s move to Paris.
Catwalks are running and
I cannot wait more to talk of
one of my favourite ones:
Balenciaga
Satin, Satin & more Satin!
draped for short skirts & tops
they perfectly team with or lace bandeaux.
Sculptural figures
far away from robotic structures
of past seasons.
Is it a wink at romanticism?
...
3.08.2009
Byzantine flavour
for the iconic prints of Etro.
Burnished metallics into the favoured spice-toned palette.
Inspiring mosaics with an
ethnic colour palette of rust red,
zesty orange, saffron and a jolt of violet
was underpinned by warm neutrals of
mushroom, pumice and charcoal grey.
Let’s keep an eye to colours!
for the iconic prints of Etro.
Burnished metallics into the favoured spice-toned palette.
Inspiring mosaics with an
ethnic colour palette of rust red,
zesty orange, saffron and a jolt of violet
was underpinned by warm neutrals of
mushroom, pumice and charcoal grey.
Let’s keep an eye to colours!
...
3.07.2009
It has been different to last collection
and different to what Alberta Ferretti
does usually present.
bold colour-blocking
Clashing colour!
Flesh pink, plum, gold, teal and orange.
That is what surprises me the most.
"This collection was about positivity as well as reality.
It was about real dresses for real occasions
and the possibility to transform from day to night,"
Ferretti told.
"I also worked a lot with contrasts
-something bright and shiny with something matt,
heavy fabrics with something light,
or a touch of acid yellow with black."
Layered chiffon blouses teamed
with heathered wool skirts,
shiny satin cummerbund,
lustrous velvet and metallic lace.
Historical dress references jumped from
Ferretti's favoured 1920s elements
to Edwardiana.
Follow the History!
...
3.06.2009
simple shapes but richness of fabrics at Marni.
Felted wools, tweeds, jerseys, fox and mink
as the main on the catwalk.
Plain and simple silhouettes decorated by
sequinned bibs, brocades,
jacquarded silks,
antique gold flowers…
It was in the textures and fabric mixes
that the collection really shone.
everyone talks of a whim,
but… do you think it is?
I just consider it as a timeless beauty collection!
It is not just a fancy passing!
Felted wools, tweeds, jerseys, fox and mink
as the main on the catwalk.
Plain and simple silhouettes decorated by
sequinned bibs, brocades,
jacquarded silks,
antique gold flowers…
It was in the textures and fabric mixes
that the collection really shone.
everyone talks of a whim,
but… do you think it is?
I just consider it as a timeless beauty collection!
It is not just a fancy passing!
...
3.05.2009
the 20s and 30s
A surrealist-inspired collection
that paid homage to Schiaparelli
and Marilyn Monroe.
The empowered sleeve,
the exaggerated leg-of-mutton sleeve,
which came in every manifestation
from ruched taffeta to towering goat hair.
it was all about the house's signature
va-va-voom hourglass silhouette
neat-fit pencil skirt suits and waisted jackets
teamed with tailored pants or full crini-skirt.
brocades with georgette plissé, crepe, cloqués
and a plethora of dramatic furs.
Monroe-patterned organza crinoline dresses
and sassy corseted purple and gold cloqués and brocades.
...
3.04.2009
Tina Chow, her world and her crowd!
Her maverick style,
that is exactly what inspired Frida Giannini.
It is something between the androgynous side
and the extremely sexy, fetishistic style.
There was so much shimmer and shinesequins and glitter finishes in silver,lurex-spun knits, lustrous panne velvet.Midnight blue or wet-look blackwhile the Gucci biker jacket updatesincluded pewter broadtailor striped matt/shine options.
Gucci goes directly into a disco-glitter overdrive!
Her maverick style,
that is exactly what inspired Frida Giannini.
It is something between the androgynous side
and the extremely sexy, fetishistic style.
There was so much shimmer and shinesequins and glitter finishes in silver,lurex-spun knits, lustrous panne velvet.Midnight blue or wet-look blackwhile the Gucci biker jacket updatesincluded pewter broadtailor striped matt/shine options.
Gucci goes directly into a disco-glitter overdrive!
...
3.03.2009
'The flattened silhouette is simple and chic,
while everything else is three dimensional,
sculptural, and faceted like a diamond.
A woman can put the pieces together as she wants,
or just pull on a dress and be done.'
That's what Tomas Maier explained regarding his collection
but I would directly say 'a diamond'.
That is how I would describe Bottega Veneta collection.
A warm palette typical of the brand
of cashmere, velvet and silks.
...
3.02.2009
‘It all started with the envelope,’
according to Maier.
‘It was about fabric enveloping the body.
It was a very rectangular silhouette and
I started to attach the fabric to the ribcage and
worked on visible interior construction of a garment
-with a focus on the breast.’
according to Maier.
‘It was about fabric enveloping the body.
It was a very rectangular silhouette and
I started to attach the fabric to the ribcage and
worked on visible interior construction of a garment
-with a focus on the breast.’
Asymmetrical folds and flaps added dimension to softer, cleaner fabrics.
As usual, a timeless glamour with natural colours
paraded up and down the catwalk.
As usual, a timeless glamour with natural colours
paraded up and down the catwalk.
...
black, grey, royal blue, white and stone
were the colours applyed over
trenches, long chiffon flowing dresses
and full-pleated skirts.
'I wanted it to be poetic and gentle, mixing the city with the country,' told Bailey.
'I was inspired by British iconography, including Elizabeth, the countess of Devon, and Virginia Woolf - who had a house in Chelsea and a house in the country.'
The collection was languid and voluminous
yet still very feminine and light.
were the colours applyed over
trenches, long chiffon flowing dresses
and full-pleated skirts.
'I wanted it to be poetic and gentle, mixing the city with the country,' told Bailey.
'I was inspired by British iconography, including Elizabeth, the countess of Devon, and Virginia Woolf - who had a house in Chelsea and a house in the country.'
The collection was languid and voluminous
yet still very feminine and light.
...
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