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Information and news from the World of Beauty
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Information et nouvelles du monde de la Beauté
Información y noticias del mundo de la belleza
信息和新闻从美的世界
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BEAUTY NEWS

Sfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobreSfogliamo insieme Glamour di ottobre
Questo mese potrete scegliere tra due cover, entrambe starring Katrin Thormann fotografata da Giovanni Gastel.

Questo mese potrete scegliere tra due cover, entrambe starring Katrin Thormann fotografata da Giovanni Gastel.

Glamour di ottobre fa l’effetto di un libro giallo: si fa leggere tutto d’un fiato. Si parte dalla cover story a pag. 127 con l’intervista alla super top Katrin Thormann (che ha da poco apportato un cambio fondamentale nella sua vita) e si prosegue con un’incursione nel camerino delle pop star Benji & Fede che, a pag. 141, si confidano senza filtri (e, sì, parlano anche d’amore!). Poi, ci si fionda a capofitto nel servizio di moda firmato Luca Babini per trarre ispirazione per qualche abbinamento audace: immagino che anche voi siate stufe del total black, ma abbiate paura di mixare; ecco, a pag. 194 troverete spunti e suggestioni per farlo a regola d’arte. O meglio, di stile. Da qui è un attimo correre allo shooting super chic di pag. 206 e chiedersi: chi non vorrebbe vestirsi così? Sfogliando e ammirando i bei look si arriva dritti dritti al racconto in prima persona di Winnie Harlow, la modella con la vitiligine che ha scalato il fashion system e che a pag. 252 ci parla di bellezza e diversità. Girando qualche pagina, a pag. 268, toh, un bell’elenco di trucchi per avere una pelle perfetta: dal fondotinta al primer, dal blush al correttore. E ora che avete rimpinguato la vostra wish list in fatto di capi moda e prodotti beauty, probabilmente vi sentite pronte per affinare l’arte del rimorchio. A tal proposito vi aspettano ben due pezzi: a pag. 293 si parla di amori sbocciati su Instagram, a pag. 301 si indaga sull’app segreta dove “broccolano” le celebs (pare sia iscritta pure Sharon Stone!). Per chi è già felicemente accoppiata, il suggerimento è di volare a pag. 305 e farsi quattro risate con i racconti di uomini che si improvvisano fotografi per fare felici le proprie compagne Instagram-dipendenti. E poi di concludere con un momento introspettivo leggendo “Lettera alla donna che non sono diventata” a pag. 320. Buona immersione, ispirazione, risate e, sì, anche riflessione: tutto questo è Glamour!

L'articolo Glamour di ottobre è meglio di un libro sembra essere il primo su Glamour.it.



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Scelta tra le 33 finaliste, la reginetta di bellezza italiana per il 2018 è Carlotta Maggiorana in gara con il numero 12.

missitalia_42169585_470729156762726_2521154728158701943_nPer il sesto anno di seguito La7 ha ospitato sul suo canale la finalissima di Miss Italia, che quest’anno si è svolta a Milano e non a Jesolo come da tradizione. A presentare lo show Francesco Facchinetti e Diletta Leotta; tra la giuria Massimo Lopez e Tullio Solenghi che hanno accompagnato le miss per tutto il programma. Oltre a loro come ospiti per la serata figure illustri del panorama contemporaneo televisivo: lo Chef Alessandro Borghese, il giornalista Andrea Scanzi, Pupo, Maria Grazia Cucinotta (classificata terza a Miss Italia 1987) e l’ex nuotatore della Nazionale Azzurra Filippo Magnini.

Tra stacchetti musicali e balletti durante il programma, le future Miss hanno mostrato le loro abilità in interviste e sfilate, mettendo in luce non solo la loro bellezza. Molto criticata la scelta di mantenere la sfilata in costume da bagno, eliminata da Miss America ma mantenuta nel nostro programma. La Leotta ha difeso la scelta dello show affermando che: mostrare i corpi delle ragazze fosse una scelta coraggiosa e non sessista, mettendo il luce la loro bellezza senza timore.

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Non poteva mancare l’omaggio a Fabrizio Frizzi “padre” di Miss Italia, in suo onore è stata creata anche una fascia, vinta da Mara Boccacci. Eliminata all’ultimo momento la diciottenne Chiara Bordi, la Miss più chiacchierata e – sfortunatamente – colei che è diventata sui bersaglio degli haters, per la protesi alla gamba. Trend Topic anche per il 2018 con l’hastag #missitalia si aggiudica la fascia di Miss Social la finalista, Fiorenza d’Antonio grazie alla sua bellezza radiosa e onesta.

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Vince Miss Italia 2018 Carlotta Maggiorana, 26 anni di Cupra Marittima (AP), ha occhi e capelli castani, vive a Roma da molti anni. Diplomata all’Accademia Nazionale di Danza, è attrice; è stata valletta in “Avanti un altro”, “Paperissima” e nel mondiale superbike 2016. Ha recitato nel film “Tree of life”, con Brad Pitt e Sean Penn, in “Un Fantastico via vai” di Leonardo Pieraccioni e nella fiction “Onore e rispetto”.

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L'articolo Miss Italia 2018 la vincitrice è la bellissima Carlotta Maggiorana sembra essere il primo su Glamour.it.



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BurberryBurberryBurberryBurberryBurberryBurberryBurberry

After the last elegant, beige trench coat had left the wood-constructed Burberry stage – along with a newly designed logo on shirts; men in suits or in funky sportswear; and women in slithering black dresses – Riccardo Tisci, the new Chief Creative Officer at Burberry, explained his approach.

The intensely Italian designer, who spent his recent fashion career as Creative Director at Givenchy in Paris, offered his thoughts after a well-received, low-key but massive display of clothes – without his usual front row of celebrity friends such as Beyoncé or Kanye West. Nor were there the expected iconoclastic interventions from an official collaboration with forever-Punk, Vivienne Westwood.

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Riccardo Tisci tweets the look for Burberry

Suzy Menkes (@suzymenkesvogue) on Sep 17, 2018 at 12:45pm PDT

Although there were a few funky elements, especially for men, references to Bambi were outdone by prints of Shakespearean characters, presented as if the Old Bard’s theatre programmes had been laundered on to the clothes.

Tisci, reminiscing on his student years at London’s Central Saint Martins in the Nineties, was reverential in his view of “Great Britain” – known more tersely in current usage as the “UK”. But Tisci knew that. He named the entire show “Kingdom”.

“It’s new Burberry, but keeping the heritage. I wanted a mix of things, like an essence, or like petrol,” said the designer backstage in the vast mail sorting office in Vauxhall, converted into a show space. His smooth working relationship with CEO Marco Gobbetti made the event seem streamlined and efficient.

“I have tried to build a wardrobe for mother and daughter and father and son – I want to show everything under the umbrella of Burberry,” Tisci continued, although instead of typically British rain, the show started with the roof opening dramatically to let in a flood of autumn sunlight.

Disney played a small role in the collection, with Bambi references appearing as clever tilts at the more stolid tailoring that opened the show. A classic British passport dangled from a chain as a sneaky reference to the current turmoil over Brexit and the country’s departure from the European Union.

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Don’t you love, love, LOVE Burberry’s latest accessory??? Riccardo Tisci is rescuing the pre-Brexit passport to use as jewellery!

Suzy Menkes (@suzymenkesvogue) on Sep 17, 2018 at 1:13pm PDT

But Tisci’s view of England was seen through rose-coloured spectacles of the past. He seemed wedded to the end of the Eighties and the Margaret Thatcher era, when women still followed Queen Elizabeth II’s style, wearing smart tailoring in town and Burberry raincoats. The beige jackets and slim skirts – and especially the Thatcher pussy bows at the neck – will now be seen in the international world of working women. There were enough jacket-and-skirt outfits in that section of the 134 Burberry outfits to fill any sophisticated closet.

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BURBERRY! It’s part of the new look from Riccardo Tisci

Suzy Menkes (@suzymenkesvogue) on Sep 17, 2018 at 12:35pm PDT

But the designer’s real fetish is Punk, which a young Tisci experienced on his first visit to England at age 17 and once again when he was offered a scholarship to Saint Martin’s fashion school in the Nineties.

“I love music, I love rave, I love to follow DJs, but coming back this year I saw that this new generation of English boys and girls are different. They don’t like rock anymore, more things like rap, which is not British, but at the same time in the blood is the fact they are Punks,” Tisci said. “The way they approach fashion is very interesting, like using the clothes of their parents or mixing oversize with vintage, like they used to for Punk in the moment of revolution.”

In his 13 years at Givenchy, Tisci’s looks hovered between haute couture and rappers’ style, and he has shown a similar skill at Burberry. After a rather dull but utterly wearable display of men in suits (with a few little tricks like a truncated waistcoat across the chest), the menswear part of the show broke into something far more daring and cool than traditional “smart casual”. Baggy shirts with Bambi motifs, a trench patterned with graffiti and all sorts of story-telling objects plonked on the chest made that section a Wow! of millennial looks.

The women’s collection of clothes for hip kids was also well thought out, with a focus on skinny stretch leg warmers and mini skirts. Only a concluding line-up of slim black dresses, elegant and modern, seemed like an afterthought.

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Burberry: Riccardo Tisci underlined black for evening

Suzy Menkes (@suzymenkesvogue) on Sep 17, 2018 at 12:42pm PDT

My memories of Riccardo Tisci go back a long way, to his very first show in Milan, when I found backstage a nervous young man lighting votive candles to pray for a successful show. I have since followed every single one of his shows and admired the see-saw of designs from this good Catholic and family man, whose mother has been to so many shows (including the new Burberry), who also has a wilder rock‘n’roll side. That has underlined so much of his work and made it vibrant and contemporary.

Perhaps because I am British, and living through the turmoil of Brexit and the despair of so many young people to pay for university education or to find a job, I found something missing from this Burberry celebration of “Britishness”. I was also there in the Eighties to see the flip side of Margaret Thatcher’s world, when fights with the trade unions turned off the country’s electricity and when despairing young people, with no jobs or money, spent hours creating aggressive hair-dos and torn clothes that became romanticised as “Punk”.

I also know that fading pictures of men in Burberry raincoats and army caps still sit on pianos and above fireplaces across the UK to remember those who died for their country.

Perhaps Tisci, after a year or so at Burberry, will take off those rose-tinted spectacles and develop this British-rooted brand on more 21st-century lines.

L'articolo #SuzyLFW Burberry: Riccardo Tisci’s Playful But Respectful Approach sembra essere il primo su Vogue.it.



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Victoria BeckhamVictoria BeckhamVictoria BeckhamVictoria BeckhamVictoria Beckham

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So grateful for the past 10 years. Thank u #TeamVB x VB Kisses #VBSS19 #LFW #VBSince08

Victoria Beckham (@victoriabeckham) on Sep 16, 2018 at 2:37am PDT

I’m still as enthusiastic, I’m still as excited and still as passionate – and you know I’m very driven, I love what I do and that hasn’t changed,” said Victoria Beckham after the waves of clapping for her 10th anniversary show had subsided.

“Each season is a challenge in different ways,” she continued. “Building a business is huge, so I’m learning a lot. Yet I still wake up every day and I love what I do. It’s about making women feel great and celebrating them. When I looked back over the last 10 years and I looked at all the collections – you know I was really emotional.”

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Victoria Beckham

Suzy Menkes (@suzymenkesvogue) on Sep 16, 2018 at 2:56am PDT

Victoria celebrated her decade in fashion by both bringing her show back from New York to her native London – and absolutely laying to rest her early career as a Spice Girl.

For this landmark show, the designer introduced confident new ideas about fabrics and cut. Intriguing colours included a ginger jacket with a red striped top or purple and green chiffon skirt melding with a tweedy floral jacket.

These shades were inspired by the paintings of American-based British artist Nicola Tyson.

Another example of a fresh confidence was the use of lace giving subtle glimpses of skin. The result was more elegant than cheeky, and womanly without a hint of vulgarity.

All this proved how far ‘VB’, as her team knows her, has come from the first effort when, with her own commentary, she introduced her early looks in a tiny gallery in midtown New York.

Now her collection was live-streamed on the screens at Piccadilly Circus amongst a mash-up of her career highlights.

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#VBSS19 at the Piccadilly lights! So excited to see you all at the Dover Street Store at 3PM today where I will be signing my anniversary t-shirts! x VB #VBSince08 #LFW

Victoria Beckham (@victoriabeckham) on Sep 16, 2018 at 4:49am PDT

“When I saw the filming from the first presentation running on to last season, I was so emotional,” she said. “I actually I thought – I’m proud, I’m proud of me, I’m proud of my team. We’ve come a long way.”

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Victoria Beckham reflects on her 10 years in fashion

Suzy Menkes (@suzymenkesvogue) on Sep 16, 2018 at 3:01am PDT

Since I was there at the very beginning, I feel that I witnessed the growth. It was, of course, about growing up and – dare we say it – approaching middle age with energy and style.

Not for nothing was the Spring/Summer 2019 show kicked off by Stella Tenant, a model of classic and eternal beauty at age 47.

Art may not have been in Victoria Beckham’s heart at the start of her career, but it is now. Holding the show in the Galerie Thaddaeus Ropac positioned opposite her own store on London’s Dover Street, was a statement.

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.. We are so proud of you @victoriabeckham ♥️

David Beckham (@davidbeckham) on Sep 16, 2018 at 2:13am PDT

Then there is the art of holding together a family. David Beckham loyally led in their four children, while the eldest, Brooklyn, snapped photographs – in keeping with his career ambition.

What were the key visuals in the collection? First, there was a gentle treatment on traditionally mannish clothes, such as a top with soft trousers; or a streamlined striped dress for summer in the city. Those dresses, the skirts angular and cut on the bias, were the base of a wardrobe that anyone could do business with.

But softening the looks with peeps of lace at the neckline or silken underwear teamed with heavier dresses or trousers was also on the Beckham agenda.

“It really is about celebrating all women – not just the Victoria Beckham woman,” said Victoria. “But that’s who my customer wants to see.”

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VB takes her 10 year bow

Suzy Menkes (@suzymenkesvogue) on Sep 16, 2018 at 2:58am PDT

L'articolo #SuzyLFW: Victoria Beckham – 10 Years In Fashion sembra essere il primo su Vogue.it.



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Gareth PughGareth PughGareth PughGareth PughHalpernHalpernHalpern

Gareth Pugh: Homage to Judy Blame

No shoulder is too wide or too sharp for Gareth Pugh, nor any reference to the 1980s club scene too obscure. And judging by a floor of earth and the expectant stomach of one of the models, the designer was aiming to giving birth to new ideas. His show notes even revealed that Stravinsky’s ‘Rites of Spring’ was buried in the soundtrack.

Yet at the heart of the show, presented like a modern ballet – dance having been the designer’s first love – was a single figure: Judy Blame, a hyper-creative person in London fashion in the 1980s who died earlier this year.

Pugh expressed his feelings in a eulogy: “Judy was uncompromising, ungovernable and fiercely anti-establishment – a creative extremist, who came up in the 1980s and 1990s when much of the culture was moving towards the shallow and the acquisitive, dumbed down, debased and dissociated from its primary purpose: creative expression. Judy was a counterpoint to that.”

There is no denying the exceptional and often unacknowledged contribution of Judy Blame. But somehow Pugh’s emotional connection and eagerness to deliver a eulogy with his collection was too complex to appreciate. The dramatic lighting had athletic bodies in stretch black and blood-red garments, also covering the head and face, moving in a balletic way in and out of light and shade. The only time the scarlet was let go, it ceded to an orange weave or shocking pink shiny materials.

Everything expressed not so much anger as an eager, urgent energy. Boots with more straps than you could count (especially with the chiaroscuro lighting) stomped through the dirt.

Add globs of scarlet over the mouth, the occasional punk updo and the recreation of the 1980s/1990s – and of course AIDS scourge.

In spite of a preliminary feeling that Pugh was looking back, this was a fine tribute to a fashion period and to his friend.

Halpern: Toning down the sparkles

Michael Halpern came into the London fashion scene via his home in America and he has made his name with disco-era sparkles. All the sequins and glitter created a rather charming sense of party time, tinged with the mood of dancers in a theatre caught backstage.

It had seemed that the designer had only one string to his bow. But this season he had eased up, taking as his muse his late grandmother and her embrace in the1960s of the first stirrings of the women’s rights movement that only gets fiercer as the decades move forward.

But the fashion look had calmed down with T-shirts just glimmering on the surface, worn with easy trousers or skirts.

It was the deliberate move into daywear that Halpern achieved so smoothly – in part because he and other designers have made sparkles so wearable. New for the summer 2019 season were stripes and checks that gave a sporty feel to the crystal surfaces.

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Halpern – sparkle and pattern

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 9:49am PDT

L'articolo #SuzyLFW: The Lure of The 1980s And 1960s For Gareth Pugh And Halpern sembra essere il primo su Vogue.it.



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JW AndersonJW AndersonJW AndersonJW AndersonJW AndersonJW Anderson

I miss the early days of JW Anderson – the plays on gender when he was the designer who led male/female fluidity in fashion. I miss too the raw but futuristic fabrics and the crazy elements.

But I have to admit that the Irish creative with the gift of the gab sent out a cracking good collection this London Fashion Week. The clothes for Spring/Summer 2019 were that meld of craft and texture that gives wearable pieces a fillip. And after some tortuously staged past presentations with a maze of thin walls, this time the pieces of ironwork railings, which the designer said were inspired by the V&A Museum, gave just the right feeling of a well-crafted walkway.

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JW Anderson

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 10:28am PDT

“I wanted to make it a little bit more bohemian with a celebration of fashion and texture with fluidity to it and which is a bit patchwork,” Jonathan Anderson said.

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JW Anderson – finale

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 11:01am PDT

“It had this idea of fluidity that everything was moving off the body,” he continued. “So you don’t see a static look – it has to be seen in motion as a walking look. I think that’s what clothing is about – the idea that it comes to life through walking in a domestic space or in the landscape of life.”

Sounds good. But what exactly were these clothes? Movement was key, as dresses had a floating wrap above an up-down hemline or a fringe as the lower half of a tailored jacket. Lace, streamlined rather than froufrou, was used as patchwork. It was a new take on that familiar masculine/feminine fashion story. But whereas the designer had previously brought back the broad shoulders from the 1980s, this season they were reduced to normal proportions.

The two points of reference or fashion statements were crowns covered in white headpieces somewhere between a nun’s wimple and a skull cap; and shoes that might be square-heeled loafers rising into boots, worn above handkerchief hemlines dipping and diving.

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JW Anderson – feet first!

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 11:03am PDT

Throughout the collection, fluidity was all.

But take the pieces apart – especially their positioning on the garments – and there was a substantial wardrobe of fine clothes: woven dresses with airy open slices; or the same idea for a checked dress with a lacy collar.

“I think who ‘young’ consumers are today depends on what demographic you’re looking at in the world,” the designer said in a long backstage conversation.

“You know that consumer buying power has become younger globally, but I just feel, as I get older” – he is all of 34 years old – “that the character of the clothes has to evolve with me, or it becomes false. I think our price pointing is very different. Bags are no more than 1,200 Euros and the clothing price doesn’t really cap that. So there is still this idea of accessibility in being able to buy fashion.”

That seemed a complex way of explaining that many of the pieces were moveable, wearable in different ways and affordable, creating a body of work which relates to the reality of women exercising choice in how they dress.

And one thing JW has learned from LVMH, where he is creative director of the Spanish-based Loewe, is how to turn creativity and invention into a buck.

L'articolo #SuzyLFW: JW Anderson’s Bohemian Craftsmanship sembra essere il primo su Vogue.it.



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Molly GoddardMolly GoddardMolly GoddardJasper ConranJasper ConranStephen Jones

Anya Hindmarch: A cloud nine experience

A giant bean bag covered the entire floor of the grand and gilded Banqueting House at the Anya Hindmarch show.

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Am I ready to roll – on a beanbag???

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 3:12am PDT

Others had been there before, bouncing in the foamy white cloud and relaxing to gentle live music. More private clients than at the designer’s Bond Street store had been buying bags from a stall and enjoying the experience.

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Anya Hindmarch #chubbycloud #lfw

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 3:19am PDT

“Our brand is about engaging with the customer – it’s about humour, it’s about experience and quite literally enveloping people in our brand, while people can shop online,” said Hindmarch.

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Instagramable! Anya Hindmarch has got it. Why do a regular show, when you can get the audience bouncing on the biggest bean bag in the world (maybe) in London’s grand and gilded Banqueting Hall. Bags on sale downstairs.

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 1:52am PDT

The icing on the sugary pastries on offer was the moment when BBC Radio 4’s Zeb Soanes read out the Shipping Forecast – a night-time weather report that serves as a lullaby to the UK nation.

How British! For London fashion is offering a lighter side of the squabbles and dramas of the upcoming Brexit.

Alice Archer: Prairie blooms

Alice Archer

So what does being ‘British’ mean in fashion terms? There is the English love of flowers – even if Alice Archer claimed that her sweet floral embroideries were inspired by the prairies and Willa Cather’s books of frontier life on the Great Plains. Yet nothing seemed more characteristic of the English countryside than the wispy bouquets, tinged with corn. They were a backdrop to a show that expressed her passion for creating floral patterns using digital embroidery techniques.

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Alice Archer tells me about her floral inspiration

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 4:15am PDT

This worked at its most charming on delicate dresses of filmy transparency rather than for the few attempts at tailoring.

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Alice Archer finale

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 4:11am PDT

Molly Goddard: English Exuberance

An aura of eternal celebration surrounds Molly Goddard whose own description of dresses filled with bubbling frills was an idea of a woman with a flushed face “unsure whether it’s down to the sunburn or the cervezas” (Spanish for beer).

But for the Spring/Summer 2019 season, this party girl seemed to be spending more time in the UK (coping with the sinking pound sterling perhaps). Bright dresses with flower patterns might have taken a plunge through the bust line, but the inky blue-black dresses were relatively subdued.

Jasper Conran is angry

The colours at the Jasper Conran show were so intense – ultra-marine, hot pink, acid yellow, grass green, vermilion and a streak of silver – that they seemed to express in elegant, streamlined clothes the rage bottled up by the designer.

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Jasper Conran – hard , bright colours for a tough stance on women’s rights

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 9:24am PDT

A typed list handed out with the show notes voiced an unexpected burst of rage from a designer of nearly 40 years who deplores the snail-like progress of women’s rights since he first saw his mother Shirley Conran fighting through the 1970s and 1980s.

How to express frustration that “89 per cent of women in the UK work for a company with a pay gap that favours men; and that women hold only 12 per cent of jobs paying £150,000 or more?” he asked in the written rant.

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Jasper Conran. Bold, bright and purposeful

Suzy Menkes (@suzymenkesvogue) on Sep 15, 2018 at 9:44am PDT

The message was sent out also via sleek, stark clothes in brilliant colours led by a not-so-mellow yellow and a vivid orange. There were graphic stripes on dresses; head-to-toe red ensembles; and the vivid colours were interspersed with calming white.

Whilst Conran’s Instagram posts are filled with his country house flower garden, in this show not a bud or a bloom could be seen.

Stephen Jones: Between aristocrats and punk

Are there really signs in fashion – always a good barometer – about the divorce from the European fashion world?

Or maybe it was never a perfect marriage. As Stephen Jones, whose hats are seen in shows from Dior in Paris to Marc Jacobs in New York, put it: “If you are British and even though you try and be international and assume a European identity, there is always something which anchors you within a British sensibility.”

And, for him, “That means a balance between the love of the aristocratic and the love of the punk.”

L'articolo #SuzyLFW: So British! The Brighter Side Of Brexit sembra essere il primo su Vogue.it.



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Michael Kors CollectionMichael Kors CollectionMichael Kors CollectionMichael Kors Collection

Michael Kors is on a mission to cheer everyone up. “You know me, I live to travel, work and play.

“I think in this moment, globally, of sadness, everywhere I go, people still dream of blue skies, turquoise water and a sunny day.”

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Michael Kors with his ‘paradise’ bag designed by an Australian artist from Perth Australia- but living in Brooklyn

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 10:08am PDT

Michael was explaining his spring/summer 2018 collection, knowing that I was rushing off to Venice for the launch of ‘Homo Faber’ – an unprecedented gathering of European artisans.

The designer is an enthusiastic traveller – both for pleasure and for inspiration.

“I just got back from the South Pacific when you are in this remarkable water, and you’re thinking to yourself: ‘these are precious things’.

“I want to capture that kind of ‘joie de vivre’.”

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Big, bold flowers were the thing on the Michael Kors runway

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 9:40am PDT

And more men and women are increasingly in step with Michael’s joyous worldview, according to the designer.

“Do you know what people are buying for fall? Women who I never saw wearing colour, or anything joyous are now the opposite.

“Clients I’ve known for a long time who always wear black and grey say: ‘You know what, I love the yellow tartan trouser; I love the floral dress’. Because of the sadness, and because of this sort of cloud hanging over us, I think everyone’s the sort of opposite.”

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Michael Kors – with Malibu in mind ….

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 9:58am PDT

The merry designer insists that he never wants to be in a bad mood – and he has stories to prove it.

“Listen, we were in Los Angeles doing an event and we saw this giant taxi-yellow shearling coat from fall. And this woman at the event looked at me and she said ‘Oh thank god it’s not black nylon.’ And I said ‘exactly’”.

So sunny is Michael’s outlook that he jokes his second job could be “opening Michael Kors beach clubs!”

Kors’ latest collection very much has holidays in mind – from Malibu cashmere to fun, floppy hats fit for the beach.

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Michael Kors talking print and ‘clothes that catch the breeze’.

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 9:43am PDT

And it’s not just the feel of the clothes that are designed to catch the holiday breeze – the fabric has been scythed, so it’s paper thin and can fly and flutter creating an attitude that Michael describes as “sexy but easy”.

But while the collection may feel breezy, Michael explains it is “anti-disposable fashion” with its intricate handwork and handpainted flowers.

“Customers are finally saying, ‘wait a second, I can’t buy a dress, wear it Friday night and throw it out on Saturday. It’s just not right’. So you know we will teach them, handwork, embroidery, things you hold on to.”

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Michael Kors – bright pattern.

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 7:28am PDT

And he thinks times are changing.

“I don’t know if it’s necessarily changing because of fashion,.” he says. “I think it’s changing because they understand the sustainability situation of you running through the shopping experience, and the getting-dresses experience, and that handbags are meant to get better with time, and not get worse.

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Michael Kors. Colour me HAPPY

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 7:26am PDT

“I don’t actually care how they come to it, if they’re not coming into it from the fashion angle that’s fine. Come to it from the sustainability side and I’m thrilled.”

Sustainability and sunshine – Kors’ collection is designed to put you in the holiday mood even on the drabbest of days.

L'articolo #SuzyNYFW Michael Kors: The Eternal Optimist sembra essere il primo su Vogue.it.



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Penelope Cruz in Chanel Haute CouturePenelope Cruz in Chanel Haute CouturePenelope Cruz in Chanel Haute CouturePenelope Cruz in Chanel Haute CouturePenelope Cruz in Chanel Haute Couture

Versace o Chanel? Avrà pensato l’affascinante Penelope Cruz quando ha dovuto scegliere il look da red carpet per gli Emmy Awards 2018. Da un lato, infatti, l’attrice è salita sul tappeto rosso per American Crime Story: l’assassinio di Gianni Versace, nel quale veste i panni di Donatella, mentre, dall’altro, ha recentemente firmato con Chanel per diventare il volto della maison. La scelta però, alla fine, è caduta su quest’ultimo.

Penelope ha sfoggiato uno spettacolare abito couture azzurro cielo in tulle di seta, interamente decorato con perline, fiori e piume: circa 8.000 applicazioni, che sono state cucite a mano sul prezioso vestito in ben 280 ore.

Guardate la gallery dedicata al look sfoggiato da Penelope Cruz sul red carpet degli Emmy Awards 2018.

L'articolo Emmy Awards 2018: l’abito Chanel Haute Couture di Penelope Cruz sembra essere il primo su Vogue.it.



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Gabriela HearstGabriela HearstGabriela HearstGabriela HearstGabriela HearstGabriela Hearst

As she explained the stories behind her creations, Gabriela Hearst talked about her many artistic inspirations.

“The main one was the creative partnership between Jorge Luis Borges and María Kodama,” she explained.

“Then there are the colours from three paintings by Hieronymus Bosch in the Prado Museum,” she continued.

“And the jewellery I took from a Quentin Massys’ painting – ‘Christ presented to the People’.”

Phew! Since Gabriela told me about her many inspirations before the show, I expected clothes with layers of complexity.

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Gabriela Hurst in movement

Suzy Menkes (@suzymenkesvogue) on Sep 12, 2018 at 3:09am PDT

But, instead, there were streamlined dresses, flaring to a hem just above the ankle. And her more familiar severe tailored trouser suit, but offered in a rich palette of colours, especially shades of pink – from cherry blossom to cherry brandy.

Gabriela had different categories of fabric for her designs, some jacquard, others embroidered. But with the heart of her work in the wool from the family ranch in Uragui, there was not quite enough focus on knits.

Like just about every female fashion designer, Gabriela is really aiming this collection at herself, which rules out anyone not elongated and elegant.

But the designer seems to be trying different paths for her work, and has already taken strong strides forward.

The company is moving ahead with shoes with cork heels, chosen for sustainability. And her irresistible handbags, sold to the few as art objects.

“At the end of the day, what we do is provide a service,” she said.

“Artists are responsible to their self expression. But my role is a service to other women.”

L'articolo #SuzyNYFW Gabriela Hearst: Art In Her Heart sembra essere il primo su Vogue.it.



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