'The simplicity in silhouettes of the opening tailored looks soon morphed into the colossal ballgowns radiating couture sophistication'Fashion Director: Joseph Toronka Kim Jones’s second haute couture collection for Fendi was an ode to the City of Rome. Inspired by its historical, cultural and architectural legacy left by the cities foreign occupiers. His tenure at Fendi provides him with the luxury to express his fashion fantasies, supported by a world class atelier. Jones’s ability to create grand and beautiful clothes is increasingly exciting, you could feel his complete engagement with the craft and the technical ability of his atelier. What he brings is his natural ability to push boundaries whilst striving to create relevance, exemplified by the coveted menswear looks presented. This season's collaboration with visual genius, Italian film director Luca Guadagnino was the catalyst for a harmonious presentation. Highlighting the key design attributes of the collection with Roman references, it embraced taking a virtual historical walking tour of Rome. The fabrication seemed simple but to the contrary, intricate embroideries, beadwork, delicate petal work or pearls were featured widely. The simplicity in silhouettes of the opening tailored looks soon morphed into the colossal ballgowns radiating couture sophistication. Sheer diaphanous dresses are sensually wrapped around the body, trailed by meandering 3D florals. Whilst white leather pleated to precision created an illusion of a moving statue, or an intricately painted intarsia echoed the mastery of classic Italian paintings. Lace and specialist embroidery were skillfully utilised to create the effect of volute, and column structures that are forever present in Roman architecture.
0 Comments
'The signature second skin ‘Body Con’ dresses that the house is notable for didn’t disappoint'Fashion Director: Joseph Toronka Azzedine Alaïa without a doubt was a legend amongst legends of the fashion fraternity. He was one of the last great technical designers, often found in his studio manually working on his collections. As a designer he considered all aspects of womanhood to deliver a brand that made women feel special. Fast forward four years after his death and the arrival of Pieter Mulier as creative director. Muiler has a great pedigree working alongside the maverick Raf Simons during his tenure across many prolific brands. This was always going to be a challenge to step into the great man’s shoes, but in Muiler Richemont the parent company had made a prodigious choice. Muiler delivered a debut collection that paid homage to Alaïa and his Maison team. He was aware of maintaining the brand's core DNA, whilst hoping to attract a new customer base to the brand.
Precisely cut tailoring kicked off the proceedings long and lean in its lines, topped off with a hood a detail that ran throughout the collection. This had a sense of reminiscence to the founders Tunisian heritage, but also to the outfit designed for her one time muse actress and singer Grace Jones in the James Bond epic ‘A View to a kill’. The signature second skin ‘Body Con’ dresses that the house is notable for didn’t disappoint, there was an element of freshness to them using ultra fine sheer knits that clung to every curve of the body. As always they maintained the sense of sexuality without vulgarity. Knitwear development has always been a major aspect of the Alaïa code, like their signature to die for viscose knit pieces, and this season was no different. Sumptuous leggings and body hybrids were teamed with slinky flippy bias cut skirts or dresses, possibly a sign of the new order. Waist focus was created with signature wide leather belts, whilst technically layered leather glistened in a classic strapless corset dress. There were classic house signatures everywhere but it had a slight edge of modernity as in the Japanese denim hooded ensemble. Muiler’s time under Simons was palpable, but felt elevated by the expert execution of his new Maison’s team. It will be interesting to see how he develops a brand that has such strong foundations having been given creative freedom from the powers that be. instagram Alaia
'Alexandre Mattiussi vision and representation of his AW21 collection via this video run-way show is Simply Genius! We salute his vision and execution'Fashion Editor: Savannah Barthorpe Film: Alexandre Mattiussi Ami AW 2021 observes the optimistic and luxurious themes of the collection centred around the reality of adopting a dynamic and versatile wardrobe. Featuring creative director Alexandre Mattiussi’s signature style of straight forward wardrobe staples, the collection recalls the light hearted and elegant style of the early nineties, reminiscent of his youth. Statement must have accessories, include the unveiling of the new exclusive 'Le Rendez-Vous' quilted bag, to the modern minimalism of the ‘Le Box Bag’. Every season, the AMI shows tells a special story, and this season is no exception. Le Defile is a tribute to the early 90’s, the golden age of fashion shows. For Alexandre it represents youth, a joyous mood and its sophisticated visual codes were revelation marks the origin of the Designers ambition to create timeless pieces. instagram AMI
'Stylistically Vaishali Shadangule may be the bridge that the Indian fashion industry needs'Fashion Director: Joseph Toronka Vaishali has always been the go to designer amongst the fashion set in the know. This is not to say that she is a new name, mastering her craft for over 20 years she has shown in New York and Milan in previous seasons. Nonetheless she endeavoured the herculean task of selection by the Chambre Syndicale de la Couture and succeeded. She is the first Indian woman to carry such an accolade and the second Indian designer after Rahul Mishra to show during couture week. A few seasons ago I had the chance to visit her atelier and I was struck by her philosophy of ‘design is an ethos’. Shadangule’s ability to transform textiles into art and design is embedded in her belief in transparency throughout the process. For her, there is no question about the importance of social impact and welfare of the artisans who are essentially the mastermind of her work.
Her knowledge and collaborative practices of working with traditional handloom fabrics echoes throughout her collection. Chanderi, a popular Indian fabric is given a new breath in her hands, teamed with her pioneering cord technique fabrics. The result is covetable museum pieces cut to modern fresh diaphanous silhouettes, that may seem constructed or deconstructed however you want to see it! Stylistically she may be the bridge that the Indian fashion industry needs, a designer whose ability to transcend tradition and modernity is the key to producing a label with mainstream global reach. At her core she is sustainable in every sense, she breathes an air of freshness to the industry, and yes, her clever designs commands all the intricacies of couture but is made accessible to the new wave of couture customers. There is so much more to come from her and I for one cannot wait to see her continual journey. instagram Vaishali Shadangule
'Rahul Mishra has always been a champion of the varied traditional artisans that India has to offer'Fashion Director: Joseph Toronka India has been in the midst of turmoil through this pandemic and with Rahul Mishra and his atelier also affected by this, one can only imagine the resilience and strength required to be able to simply create. “Shape of Air '' was a collection conceptualised from better times, when the designer and his family holidayed on the Greek island of Santorini with its beautiful spectrum of blues against traditional Cyclades stark white buildings. It was translating these natural elements of nature into clothing that the creative challenge was born.
Mishra has always been a champion of the varied traditional artisans that India has to offer and this collection was a testament to their skills. Hand embroidery as light as air itself was used in mille-feuille layered dress, in simple tiered layers or intricately panelled and then layered bringing the emphasis of the ombre effect to the forefront of the collection. Structured tailoring was overlayed with the finest tulle, and when done in tones of oranges and red it was reminiscent of the sun’s daily cycle. Bellowing balloon dresses in purist white gave the sense of space and air with a standout heart shape dress that was truly memorable. For me, it was the intricacy and delicacy of the embroidered island landscape featured widely throughout the collection, which demonstrated the level of the these accomplished artisans that have become the backbone of team Mishra. It is that army of talent that Mishra has always championed in his work (and continues to hero) that makes this collection even more special. In times of great adversity and loss, he has managed to maintain a team capable of producing what I think is one of his finest collections to date. I know there are so many pieces that will be on the red carpet once we are back in full flow. instagram Rahul Mishra
|
 |  |
The presentation was held in silence just as was normal back in the golden era of salon shows, with an enhanced focus on the collection. A concerted effort was made to focus on the technical ability of the atelier by sending out a diligent collection of black enormous feel tailoring which delivered the message of immaculate craftsmanship. This twisted sober looking suiting with a modern edge screams of Demna‘s handwriting, whilst fitted dresses with a jaunty hip sympathetically honours the master that was Monsieur Balenciaga.
In contrast, we got what we were expecting, his couture treatment of denim, the vision of Gvasalia married with the skilled expertise of Maison Balenciaga. Japanese premium denim brought the expected luxury, jackets with exaggerated collars falling off the neck (a shape created by Monsieur Balenciaga to naturally elongate the neck) this house signature look was styled with tonal relaxed ‘Mom’ jeans perfectly capturing the spirit of the house’s past and its future. An array of gigantic shawls perfectly enveloped oversized utility jackets and overshirts, but it was the hybrid of parka gowns in bright taffeta or those ultra voluminous robe gowns that announced his arrival to the world of couture.
instagram Balenciaga
    |     |
 |  |
Fashion Editor: Savannah Barthorpe
These tropically designed outfits in the new collection by Shoma take insperation from the Caribbean, and operating from Trinidad, merged their famous patterned prints with refined shapes, bringing out the a timeless glamour in every woman's body.
The latest collection below, named, “Tropical Masquerade,” a story about returning to the beautiful Caribbean islands; with touches of the 1940s and 1970s, celebrating bold prints and adventurous cuts including ruffles and cascading features that were inspired by the everyday shapes of Caribbean landscapes.
Shoma
These tropically designed outfits in the new collection by Shoma take insperation from the Caribbean, and operating from Trinidad, merged their famous patterned prints with refined shapes, bringing out the a timeless glamour in every woman's body.
The latest collection below, named, “Tropical Masquerade,” a story about returning to the beautiful Caribbean islands; with touches of the 1940s and 1970s, celebrating bold prints and adventurous cuts including ruffles and cascading features that were inspired by the everyday shapes of Caribbean landscapes.
Shoma
 |  |
  |   |
 |  |
Arts Editor: Christopher George
Spanish designer Juana Martín presents today through the digital format her new collection, “Sal Negra"
Images are closely linked to nature, which take us directly to where the Fashion Film was recorded, the unmistakable Salinas de la Bahía de Cádiz, which belong to the Cultural Heritage of Andalusia, in the middle of dawn.
Symbology is crucial in “Sal Negra”: the dawn represents the rebirth of a new stage after a turbulent year and the very name of the collection is reinforced by the scenario in which the catwalk takes place.
Black Salt (Sal Negra) is characterised by volume, structure and the binomial and paradox between black and white, light and dark. In terms of patterns, volumes and exaggerated structures invade the garments. We also find a combination of straight lines to which are also added the curved format in more organic shapes.
The main fabrics are embroidered satins, structured organza with whalebones, taffetas, pleats, silk chiffons and a sophisticated crystal mesh coat. Fabrics and textures take an important role in her video-parade, as they make an important contrast with the blue sky and the infinite sand.
The colors of nature that serve as a backdrop merge and are part of the colorful of this collection.
Juana Martín
Spanish designer Juana Martín presents today through the digital format her new collection, “Sal Negra"
Images are closely linked to nature, which take us directly to where the Fashion Film was recorded, the unmistakable Salinas de la Bahía de Cádiz, which belong to the Cultural Heritage of Andalusia, in the middle of dawn.
Symbology is crucial in “Sal Negra”: the dawn represents the rebirth of a new stage after a turbulent year and the very name of the collection is reinforced by the scenario in which the catwalk takes place.
Black Salt (Sal Negra) is characterised by volume, structure and the binomial and paradox between black and white, light and dark. In terms of patterns, volumes and exaggerated structures invade the garments. We also find a combination of straight lines to which are also added the curved format in more organic shapes.
The main fabrics are embroidered satins, structured organza with whalebones, taffetas, pleats, silk chiffons and a sophisticated crystal mesh coat. Fabrics and textures take an important role in her video-parade, as they make an important contrast with the blue sky and the infinite sand.
The colors of nature that serve as a backdrop merge and are part of the colorful of this collection.
Juana Martín
   |    |
Story shot and edited on the iPhone by Carlos Palma
Article: Dhwani Katotia
A modern take on the avatars of the Indian Goddesses, this beauty series is inspired by the fierceness of the deities in Hindu Mythology. The weapon of choice? Kohl or Kajal to ward off the evil eye. The story is a juxtaposition between history and modernity, a representation of what today's mighty "Goddesses" might personify.
Poet, Varsha Lakshiminarayan, takes us on an evocative journey that explores the power held within these dark eyes.
My beaded black eyes, in a colour that does not
hold the ocean nor the hazel sky, but so dark and
pit less that you are forced to see something more.
Uncaged I am like water,
neither as white as snow nor as dark as the night.
I wallow in between muddled.
My colour is that of sand, that which made me, that i shall become.
HMU – Carlos Palma
Styling – Dhwani Kathotia
Model – Nisha Jahan, Body London
Poem – Varsha Lakshminarayan
Article: Dhwani Katotia
A modern take on the avatars of the Indian Goddesses, this beauty series is inspired by the fierceness of the deities in Hindu Mythology. The weapon of choice? Kohl or Kajal to ward off the evil eye. The story is a juxtaposition between history and modernity, a representation of what today's mighty "Goddesses" might personify.
Poet, Varsha Lakshiminarayan, takes us on an evocative journey that explores the power held within these dark eyes.
My beaded black eyes, in a colour that does not
hold the ocean nor the hazel sky, but so dark and
pit less that you are forced to see something more.
Uncaged I am like water,
neither as white as snow nor as dark as the night.
I wallow in between muddled.
My colour is that of sand, that which made me, that i shall become.
HMU – Carlos Palma
Styling – Dhwani Kathotia
Model – Nisha Jahan, Body London
Poem – Varsha Lakshminarayan
  |   |
Sø•FASHION
Editing a fashion style for a more positive self-assured individual.
Archives
October 2021
September 2021
August 2021
July 2021
June 2021
May 2021
March 2021
February 2021
November 2020
October 2020
September 2020
August 2020
July 2020
May 2020
February 2020
January 2020
November 2019
October 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
RSS Feed