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BEAUTY NEWS

Oscar De La RentaOscar De La RentaOscar De La RentaOscar De La RentaOscar De La RentaOscar De La Renta

The idea of a new generation of designers keeping their own line while giving a fillip to an established brand is relatively familiar.

It can work – as in the case of 30-something Jonathan Anderson, who is the Creative Director and Designer at Loewe, as well as his own JW Anderson line. But it is a concept fraught with difficult decisions. For example, the challenge facing Laura Kim and Fernando Garcia, who have created a quirky image for their Monse brand, playing this season with gender-neutral clothes.

There was not much of that off-kilter spirit in the designers’ other day job at Oscar de la Renta. But they have brightened and lightened the legacy, creating a vision of summer with beautiful silk fabrics crafted into glamorous gowns. But they are, in this day and age, more likely to be worn by loyal follower Nicki Minaj than the children (or grandchildren) of the founder’s followers on the Upper East Side.

As if to underline the fact that the collection is now for a wider audience, the show was held on the rooftop of the way-downtown Spring Street Studios.

The show opened with a hint of Moroccan exotica and lush growth from the Dominican Republic, de la Renta’s place of birth. That meant drapes of what, from a distance, seemed like North African prints, decorated with fringe. Predictably, the gender fluidity in the duo’s own collection was not the message here.

Yet Kim and Garcia are making a fairly successful marriage between old and new.

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Oscar de la Renta by Fernando Garcia and Laura Kim

Suzy Menkes (@suzymenkesvogue) on Sep 11, 2018 at 8:41am PDT

The programme, with its intense detail and tiny print, was very old school. A coat with a bold flower print – a vision we have seen since the newbies’ first collection two years ago – read, “Ecru dyed lamb coat with Silk Road thread-work embroidery, flower pot woven cotton-linen crochet dress”, followed by two more explanatory lines.

Yet in every other way, the show seemed to loosen up, with a mix of floral patterns on a silk dress that grazed the body.

How exactly do Kim and Garcia see themselves in the wide world of dressing up? Would they like to face off Dolce & Gabbana with the brand’s passion for florals? Would they hope to take on Valentino with their version of loose-fitting outfits? Or perhaps challenge Dior’s bodice shapes?

In spite of a lack of originality, there were still some appealing clothes. A navy tailored jacket and knife-pleated dress with a triangle pattern near the hem looked young and fresh. And those are surely the two words that define success in bringing a long-established brand to new life.

L'articolo #SuzyNYFW: Oscar De La Renta, Prepped For A New Generation sembra essere il primo su Vogue.it.



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Anna SuiAnna SuiAnna Sui

t was the most joyful, compelling collection of clothes I’ve seen so far at New York Fashion Week.

There were Sofia Coppola and her famous movie director father, Francis Ford Coppola, along with Naomi Campbell and a room full of enthusiasts, all leaping on clothes laid on the runway as if at some funky bazaar.

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Clothes to shop the flea markets for fun – from Anna Sui

Suzy Menkes (@suzymenkesvogue) on Sep 10, 2018 at 7:26pm PDT

Here was a spill of pattern over the floaty fabric of a dress; there a scarf, white but splodged with inky blue; as well as tops, trousers, sandals and swimsuits. What wasn’t on show on this crazy but compelling set, where models including Gigi and Bella Hadid played at being shoppers before walking the runway?

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Anna Sui – Dream works

Suzy Menkes (@suzymenkesvogue) on Sep 10, 2018 at 7:32pm PDT

“I wanted a bazaar because I think that retail is not dead,” said Sui, who was inspired by the famous bazaar scene in the 1950s movie, Kismet, and by the fact that the objects in view (and on sale) were from her own suppliers, some going back all three decades of her career.

“Shopping used to be exciting; it was an adventure, you could search out incredible things that you’d never seen before and discover them,” she said. “That’s all we need: Shopping as fun.”

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Bravo for Anna Sui and her witty, charming, colourful and inventive clothes offered in a market on stage

Suzy Menkes (@suzymenkesvogue) on Sep 10, 2018 at 7:24pm PDT

Sui might have added “clothes that inspire desire”, for, once again, she made her usual mix, but with a fresh feel to the prints, the flowers, the rich-to-bright colours, the caftans and dresses with shimmery finishes.

There was, of course, a hint of the street-smart hippie era. But Sui’s ability to make her signature looks relevant to this millennium is an object lesson. Her own motto?

“These are all my friends,” she said of her producers. “All my favourite creators of vintage, embellishment, T-shirts and leathers and these amazing artisans,” the designer explained. “It’s what we need: Energy and real clothes.“

L'articolo #SuzyNYFW Anna Sui: In Praise Of Shopping sembra essere il primo su Vogue.it.



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Models Karen Elson and Amber Valetta, backstage at Proenza Schouler Spring/Summer 2019Proenza SchoulerProenza SchoulerProenza SchoulerProenza Schouler

A sky-blue shirt with rain-washed clouds, a palid denim skirt and, hanging loose from one shoulder, a vast bag that was cut from a pair of jeans.

Proenza Schouler has come home from its two seasons showing in Paris. And with that return, designers Lazaro Hernandez and Jack McCollough have shed its focus on craft. Instead of intense handwork, the duo embraced something intrinsically American: denim.

“We wanted to celebrate coming back to New York, and what’s more American than denim? The whole collection was about exploring one material,” McCollough said.

He was referring to the complex cutting and imaginative use of humble materials, whether for a white denim jacket over a chalky skirt, or cloudy-blue bleached materials from plain cotton through gabardine and poplin.

But denim was not the only Proenza Schouler story. A display of plastic-covered figures by German artist Isa Genzken was planted at the entrance to the show, which was held in the same raw, abandoned Wall Street building that the designers used in previous seasons.

“The whole collection was in response to those works; the whole thing is a dialogue,” the duo explained, referring to the artist’s body of work and to the installation of five mannequins wearing Proenza garments, standing among the plastic tubes, adhesive tape, plastic foil, and foam material.

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Installation inspired by German artist Isa Genzken at the entrance to Proenza Schouler show

Suzy Menkes (@suzymenkesvogue) on Sep 11, 2018 at 4:29am PDT

The idea was smart: To pair humble, workaday denim with a European artist who is fascinated by New York and who draws on everyday culture, from consumer goods to urban environments. But the reality was that the designers’ return to simplicity, in their fabrics and clothing, introduced some arty complications. They were mostly in the form of little squares containing an iconic New York image, such as the Statue of Liberty, or a glass-and-metallic high-rise building that contrasted dramatically with the “down home” feeling of a cloudy blue shirt or a stonewashed skirt.

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Proenza Schouler

Suzy Menkes (@suzymenkesvogue) on Sep 11, 2018 at 4:38am PDT

As so often with Proenza Schouler, there was a sense of imagination that became too intense and complex. The shoes, by contrast, seemed inventive but simple, with a gathering of leather at the ankle.

Many of the clothes were also streamlined, such as a washed denim dress with a focus on pockets, a flap at the breast and gathered openings at the knees. Stitches tracing dark denim made for a chic daytime outfit.

Perhaps it was time for the Proenza Schouler label to adopt a simpler attitude to modern dress. The false simplicity, humbleness and Puritanism of down-on-the-farm sun-dresses in thick, stout cotton had a French chic. And touches of colour – especially green and yellow patterns with a giant orange bag – were a nice surprise. (The photograph of a New York skyscraper planted at the hem of the shirt was less comprehensible.)

I am all for fashion embracing art. But that should mean clothes made with an artistic point of view, not undigested art references. The collaboration with Isa Genzken, for all her passion for New York City, made me feel that it is time for an amicable divorce between fashion and art. Ultimately, the artistry in the clothes themselves should be enough.

L'articolo #SuzyNYFW: Proenza Schouler’s Denim Homecoming sembra essere il primo su Vogue.it.



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The RowMansur GavrielSies MarjanSies MarjanSies Marjan

Mary-Kate and Ashley Olsen were the first American designers of their 30-something generation to express fashion as outward simplicity with intense attention to shape and to detail.

To that you can add “colour”, for The Row collection that was shown this season on mannequins and even coat hangers still succeeded in capturing the artful simplicity with which they have made their mark. And for Spring/Summer 2019 there was a surprise: A focus on menswear tailoring as much as on womenswear.

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The OLSEN twins are going big on menswear. Subtle colours and airy fabrics

Suzy Menkes (@suzymenkesvogue) on Sep 10, 2018 at 5:18am PDT

There was also a complementary line of handbags, designed with as much attention as The Row’s dresses. Also included were shoes and other accessories in this season’s deep-jungle green tinged with grey.

The importance of a clear, clean-cut silhouette, part of the New York scene during the heyday of Calvin Klein and Donna Karan, seemed to have skipped a fashion generation. But the Olsen Twins have a special relationship with both cut and texture.

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Simplicity of elongated designs at The Row

Suzy Menkes (@suzymenkesvogue) on Sep 10, 2018 at 5:20am PDT

In the showroom, grainy wood shelves were the backdrop for sandals made from twisted ropes; while masculine clothes set against white walls were a symphony of olive tones and pale or richer pink.

Subtlety and quality are the story from The Row, not to mention bold design in a short cape or a long smock dress, as if the aim was a noble millennial version of down-on-the-farm.

Mansur Gavriel: Macaroon Inspiration

Two things stood out at Mansur Gavriel: First, the tower of Ladurée macaroons dominating a room of tea tables laden with evermore sweet treats. Then there was the simplicity of shape, whisked up with pretty colours, of the Spring/Summer 2019 collection.

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So I guess I HAVE to give Mansur Gavriel a good review – or I may not get a Laduree macaroon for tea ….

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 10:39am PDT

And not just the favoured pink from this duo of Rachel Mansur and Floriana Gavriel. Here was a cable sweater in rain-washed sky-blue; a loose jacket with narrow trousers, both in pistachio green; and a similarly shaped outfit in bright bronze.

The rounded shoulders on tailored outfits underlined the softness of tailoring drawn with a compass, not a T-square. This shaping was evident from the moment the show opened, with ankle-length coats in shades of beige and stone before the sweeter colours kicked in. An occasional touch of whimsy came in a long dress glistening with flowers and, of course, from the sugary pink confections placed in front of the audience in the tea-salon setting.

Sies Marjan: No Place Like Home

How poetic the colours looked at Sies Marjan, as the intrepid models walked the rain-soaked terrace, clutching their umbrellas. The flow of water from the skies only added to the elegant romance of the clothes, for both sexes, that followed the bodyline.

That was less evident in men’s tailoring and sportswear, but powerful for the female models, for whom everything from a shapely white dress to a striped wraparound traced the outlines of the body.

This focus on shape added to designer Sander Lak’s inventive play with colours, especially in his treatment of a spectrum of mustard through bronze that illuminated the clothes, and a softer, gentler shade of russet beige melded with white that captured the sharp/soft dynamic. Fabrics such as crinkled papery and plastic-coated materials made the insertion of white seem natural.

Backstage, the emotional designer explained how so much of his life was invested in the show, including his own mother walking the runway.

“I guess it’s very much about home and my upbringing, about my parents – it’s very, very personal,” he said. “It’s really a collection that came about with everything that has happened in the last two or three years. I have lived all around the world in so many different countries – perhaps 20 countries by now – and this is the first time that I feel at home. That is very new to me – like a first love.”

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COLOUR! Sies Marjan

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 8:14pm PDT

Whatever the complex backstory, the Sies Marjan look has an original touch that makes the fashion refreshing.

L'articolo #SuzyNYFW: Triple Vision – The Row, Mansur Gavriel And Sies Marjan sembra essere il primo su Vogue.it.



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Max Mara, The CubeMax Mara, The CubeMax Mara, The CubeMax Mara, The CubeMax Mara, The CubeMax Mara, The CubeMax Mara, The CubeMax Mara, The Cube

To celebrate the 10th anniversary of The Cube – Max Mara’s collection of quilted coats and gilets neatly packaged into cubed carry-cases for on-the-go women – the Italian fashion house asked three photographers to interpret the concept. The brief? To take the core creation of luxury, high-performance outerwear – and its neat travel bag – and turn it into an art piece that represents what the brand stands for: modern fashion realised through a meticulous, artisanal lens.

And so, Dutch photographer Hellen van Meene played with paint-like techniques; New York-based cameraman Max Farago looked at The Cube from an off-centre perspective; and Japanese lenswoman Rinko Kawauchi used lighting techniques to transformative effect. Each image in the 10th anniversary series is brilliantly individual, much like Max Mara’s customers, who have come to rely on The Cube collection for its unparalleled warmth-to-weight functionality and adaptable styling.

It’s this cutting-edge design that underpins The Cube, and Max Mara’s commitment to innovation, that sets it apart from anything else in the fashion industry. Since 2008, Max Mara has developed original coats, jackets and accessories made from exclusive, purpose-made fabrics that are reversible, breathable, water-repellent, light and adaptable. The form and functionality are second only to style. Each piece is unmistakably Max Mara: a sophisticated, elegant construction that can be collared, cuffed, hooded, jewelled or embellished with the myriad options available.

The unmistakable Cube packaging, meanwhile, is now universally recognised as a symbol of design excellence around the globe. The Cube is in the Kulturforum collection of the Staatliche Museum in Berlin, as well as the Fashion Institute of Technology in New York.

For its 10th edition, Max Mara is not only celebrating The Cube’s unique balance between beauty and practicality, it is also adding a new member to the family: La Superleggera. A r-evolution of the brand’s iconic duvet whose unlimited lightness comes in a limited edition: 300 grams in 300 pieces available from September 19.

See the cult following behind Max Mara The Cube grow beyond the autumn/winter 2018 season, and well into its 11th year, as it cements its place as a wardrobe essential alongside the brand’s iconic camel coats.

L'articolo Max Mara Celebrates The 10th Anniversary Of Its Iconic Downjacket, The Cube sembra essere il primo su Vogue.it.



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Capsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New YorkCapsule Collection For Kate Spade New York

Sometimes, it’s best to go back to the beginning. That’s the strategy that Nicola Glass, Kate Spade New York’s new creative director, kept in mind as she began to design her first-ever accessories capsule collection for the label, exclusively debuting with Vogue, and available now.

“I’ve always been attracted to the original ethos that [the brand launched with] in 1993 – thoughtful design, a modern use of colour – and I saw so much opportunity within that for the brand, to refine and evolve the original codes of the house in new ways,” she explained.

But looking to the past did not result in anything remotely old-looking. The capsule – which features handbags and scarves – combines strong silhouettes, playful details, and a sweet colour palette for a completely fresh and sunny sensibility. Take, for instance, the collection’s MVP, the aptly named Nicola shoulder bag, which, incidentally, is the designer’s favourite piece. Gently structured, with soft, feminine details such as rounded corners and refined, jewellery-like hardware, it’s the kind of classically sophisticated bag that you can wear anywhere (and will want to wear everywhere). “One of my favourite hidden details is the plunge on the back pocket,” said Glass. “It’s a slightly seductive nod to the spade.”

For Glass, the heart of the brand is, well, the spade. And if you look closely at the collection, you can see how much the classic shape inspired her, appearing as an enamel turn-lock on the Nicola Twistlock bag, or more subtly, baked into the interlocking leather pieces of the Dorie bucket bag. It’s a theme that Glass says we can expect to see in her forthcoming ready-to-wear collection as well.

“For me, colour and print are really important,” she said. “When you walk into a store I think you should be able to spot a brand from across the floor by its colour and print sensibility. So, expanding on the codes of the house, refined colours used in surprising ways, and graphic prints that become something else up close – like a floral pattern made entirely out of spades. In fact, there are secret spades throughout.”

What else can we expect from her New York Fashion Week debut? “The clothes are less retro and more modern,” she said. “They have a light touch of sensuality; when something is revealing, it’s not in an overt way, and the fabrics are ones you want to touch.”

It marks a new chapter for the label, which was helmed by Deborah Lloyd for 10 years. But, in many ways, it’s continuing on a long tradition that was begun in 1993: creating clothes that simply feel happy. “Whoever she is,” said Glass, “our woman is joyful.”

L'articolo Exclusive First Look: Nicola Glass’s Debut Capsule Collection For Kate Spade New York sembra essere il primo su Vogue.it.



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Spring/Summer 2019 looks from Monse (left) and Eckhaus Latta (right)MonseMonseMonseEckhaus LattaEckhaus Latta

Monse: Grandmother’s gift

At the Monse show, Laura Kim had an answer to my question about why the frayed tweeds, used for clothes and loosely woven shoes, carried a whiff of Coco Chanel.

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MONSE’s drapes, stripes, cords – and a dash of Coco – all from Monse by Laura Kim and Fernando Garcia

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 5:40am PDT

“We were thinking of a young girl raiding her grandmother’s closet,” the designer said, while Fernando Garcia, the other half of the fashion duo, talked about “twisted tweeds”.

I didn’t even ask why male models slipped on big, bold, striped sweaters, worn with Coco-esque checked shorts. Gender neutral is the current mood for millennials, although the designers make some unquestionably feminine dresses, cut on the bias and sloping over one shoulder.

The diagonal cross-cutting was fresh and a definite statement at Monse. Big sweaters – a pattern of checks or stripes sliced at an angle across the body – underlined the sense of division, while nautical ropes offered a striking, if familiar, addition.

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MONSE’s fan club lead by Paris Hilton and sister Nicky Hilton Rothschild

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 5:45am PDT

But whatever ingenious inventions there were on the runway – not least those frayed Chanel-from-the-attic sandals, famous clients outshone the models. There was Nicky Minaj with hair dyed tomato red and scarlet stilettos to match; and sisters Paris Hilton and Nicky Hilton Rothschild wearing black and white spotted and striped outfits. They almost stole the show. But that honour went to a (male) model wearing a unisex Monse cover-up in many colours, with stripes at an angle across the body.

Eckhaus Latta: Texture at play

The audience at the Eckhaus Latta show was seduced before the catwalk even started in an industrial building on the outskirts of Brooklyn. A group of toddlers and school children provided the music, banging on metallic bowls and shaking tambourines.

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The kiddie music accompanies fashion for Eckhaus Latta

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 5:52am PDT

This chaotic cacophony of sound was in contrast to the clothes for both sexes, which drew a similar narrow shape for male and female silhouettes. The interesting part was in the treatment of the surfaces, which might be lacy weaves torn into patches of thread; or what looked like a ragged white top, thickened with splats of red and blue.

Other effects had surfaces layered with diamond-shaped pieces; or wide cotton dresses were worn off the shoulder, almost down to the elbow.

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Finale from Eckhaus Latta

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 5:58am PDT

Were the Eckhaus Latta clothes gender neutral just because there might be similar patterns or materials such as cow hide that were shown for male and female?

Designer Mike Eckhaus explained: “It’s always been about the clothes and clothing at the end of the day. We gender it once we decide who might want to wear it or buy it. That has shifted for us over time. But also I think we relate to gender identity a little less aggressively. It’s less binary and I think that’s something we have always felt attuned to.”

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High on the roof of Brooklyn’s old work area, turned construction site, Mike Eckhaus and Zoe Latta present Eckhaus Latta

Suzy Menkes (@suzymenkesvogue) on Sep 9, 2018 at 5:50am PDT

L'articolo #SuzyNYFW: Gender Neutrality At Monse And Eckhaus Latta sembra essere il primo su Vogue.it.



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Ralph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRalph LaurenRicky and Ralph Lauren with Hillary Clinton at the designer's 50th anniversary dinnerOprah Winfrey with Steven Spielberg at Ralph Lauren's 50th anniversary dinnerThe family firm celebrating Ralph Lauren's 50 anniversary in fashion: (L to R) Lauren Bush Lauren, David Lauren, Ricky Lauren, Dylan Lauren and husband Paul Arrouet, Andrew LaurenAnne Hathaway and Jessica Chastain celebrate Ralph Lauren's 50 years in designRobert De Niro and Oprah Winfrey at Ralph Lauren's 50th anniversary dinner

Ralph Lauren, holding hands with a small child whose eyes were filled with wonder, walked the steps down the Bethesda Terrace in New York’s Central Park. Inside the underpass, transformed by Persian rugs and painted walls, the designer greeted his family – his wife Ricky and three children, shed a twinkling tear with Oprah Winfrey and continued on his walk of honour to mark reaching 50 years in fashion.

Except that it was not a preppy parade of all things the designer loves – what he himself had described to me that afternoon as “jeans and a fresh white button-down shirt.” Instead, it was an open door on a diverse world: women in the lush velvet of hippie-de-luxe elegance; men with straggly hair spilling over a tailored plaid coat and leather trousers.

After the parade of strokable, tailored clothes – some seeming historical, others current, came diversity at its sweetest: reinvented and reassembled ‘families’ in Polo sportswear, lined up like a fashion army on the steep stairwell.

“After I worked for a tie company when I was 24 years old, I started drawing fashion in a drawer,” Ralph had said to me that afternoon in a heartfelt interview. Having followed his career for over three decades, I am still fascinated by the story of the little boy from the Bronx who has lived the American dream.

“It was not a room or a closet, it was a drawer!” he explained. “I worked like that, but I called the company Polo because it was aristocratic in some way.”

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Ralph Lauren – and his fashion empire of 50 years

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 8:14pm PDT

Given his majestic position in New York’s firmament, the designer who could shut down Central Park for his Spring/Summer 2019 show might equally have brought in horses for a polo game or to carry models thundering through the trees in the Big Country prairie clothes that were part of his oeuvre in the 1980s.

But Ralph Lauren showed his humility in a two-way speech with Oprah Winfrey at a dinner (including steak from the designer’s Colorado ranch) under big white umbrellas and a drizzling sky. “Back then, my idea of celebrating success wasn’t to go out and get a fancy car or jewellery,” the media icon said. “It was Ralph Lauren towels that represented comfort, luxury and admiration.” She reminded the audience that the designer had another first: being a lifestyle innovator. He replied to her humbly by saying that in his own home the towels are worn and few, but loved.

America loves Ralph because he created an augmented reality – a more beautiful and desirable vision of city and country clothing with his sharp tailoring melded with Native American prints and rustic knits. But could any designer do the same today for a fragmented country? Could there be a distinctive modern look as American as apple pie?

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We are family! Ralph Lauren

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 10:20pm PDT

“The world is very small now – I don’t know what you would call ‘an American look’ for new designers. Today there is an international sensibility,” said Ralph. “I did what I did because it was what I wanted to wear myself. Then, when I had children, I made clothes for them and my wife. This show is all about individuality and taste, not what the trend is. It doesn’t look like it’s American or English or French – it looks cool and doesn’t have an age.”

Yet on the runway, the collection this season looked different: more eclectic, with pieces of whimsical jewellery that might have been found on global travels and slightly offbeat masculine tailoring as an alternative to the more familiar sporty, casual wear. Totalling over a hundred looks, the collection itself was streamlined, but rich in sumptuous velvet patchwork and soft leather.

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Ralph Lauren at 50. Colour. Pattern.Texture.Jewellery

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 10:07pm PDT

I would judge that the designer, subtly but firmly, put a lock on the preppy style that was once his signature. The Polo presentation was a homage to diversity.

Seeing the line-up of celebrities reflected that inclusivity – from Robert De Niro to Pierce Brosnan, Kanye West and Hillary Clinton; add Blake Lively, chic in a curvy tuxedo, Rosie Huntington-Whiteley in a sensual white coat, Jessica Chastain in buttercup yellow, and Priyanka Chopra glittering in a curvy dress. How to find enough front row seats for them all?

Then there were the applauding fashion designers: legends such as Calvin Klein and Donna Karan amid many current names from Thom Browne though Tommy Hilfiger to Michael Kors and Alexander Wang. Who from the world of fame and fashion was NOT there?

I have talked to Ralph Lauren before about his childhood in the Bronx, his tough life where immigrant parents could not jump-start his career or even buy him a rack of shirts. And I asked him now, 50 years on, what he would say to current teenage millennials about building a life – and maybe a business.

There was a long pause before Ralph said, “I would say: believe in yourself. Believe in who you are. You feel emotions, you feel things – if you have a sense of design and that’s what you want to do – stay with it. If you don’t expand in one year, then you won’t last too long.

“It’s about paying attention to your talent and believing in yourself to do what you like,” he continued. “Because if I had believed in what everyone else said, I would never have gone anywhere.”

Although the off-key elegance of the new collection was striking in its colours and depth of fabrics – leaving way behind a buttoned-up view of the WASP-y side of America – it was the parade of diversity from Polo that will stay in my memory, because it made my eyes prick and had many in the audience wiping away tears.

I asked Ralph, who had once told me how his mother would come to the school playground with a cup of warm milk, whether his parents encouraged his early choice of making neck ties. “I don’t think they were very impressed – like a lot of parents that came from Europe, they wanted security for me, a job like teacher, doctor or lawyer,” Ralph said. “My father was an artist, he did murals on the ceiling in churches and synagogues. I didn’t have his talent, but I think I got something that came out in colour. I didn’t go to fashion school – I had a free-form sensibility.”

His brother Jerry has been part of the company for over 30 years, what about his own children? His eldest son Andrew is a producer in the movie business; David, as Executive Vice President heads marketing and advertising at Ralph Lauren. His daughter Dylan has followed in her father’s footsteps. Sort of.

“My daughter loves colour and she opened a candy business and she has a successful store chain,” said her father. “If she had asked my advice, I would have said, ‘What are you doing? You went to college and you are a smart girl. Candy?’ But she has the drive,” he continued. “She saw something that was her own. I believe in young people and they should be encouraged to do something they love.”

As the drizzling night turned into a grey mist, David Lauren did a round of the tables, famous names on each one. “It’s all about love,’ he said. “I talked to my dad this morning – and that is what I said to him. It’s love. He loves his work and he loves his family. That is the base of it all.”

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Who’s having fun at the Ralph Lauren 50 year celebration? Anna!

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 9:58pm PDT

L'articolo #SuzyNYFW: Ralph Lauren Celebrates An Augmented Reality Of 50 Years In Fashion sembra essere il primo su Vogue.it.



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Buddy Robinson, Tory Burch's father, on holiday in 1970 ©Tory BurchA young Tory with her mother, Reva Robinson, in 1970Tory BurchTory BurchTory BurchTory Burch

With a garden runway lined with lemon trees and models dressed in Moroccan caftans or smart versions of hippie accessories, the Tory Burch show suddenly broke into the music of Simon & Garfunkel’s ‘Mrs Robinson’.

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Tory Burch – travelling light

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 10:06am PDT

“She was Mrs Robinson,” the designer said of her mother Reva and father Buddy Robinson, whom she describes as “adventurers” who took their daughter on far-flung trips every summer.

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So WHY did Tory Burch play ‘Mrs Robinson’ to end her show? Because it was the real and actual name of her MOTHER!

Suzy Menkes (@suzymenkesvogue) on Sep 7, 2018 at 10:10am PDT

“My father travelled to Morocco and carried worry beads. When I look at their pictures I see that laid-back elegance of the Sixties and Seventies,” Tory said, explaining the inspiration behind her Spring/Summer 2019 show.

It was, as she suggested, an eclectic collection of 45 pieces, each with a whiff of the Orient, the seashore, or other sunny locales that the family Robinson travelled to.

The result was a show that was marginally tougher and rougher than Tory’s more familiar pretty prints. Instead, the presentation opened with white, spiced with black; or with a dry, dusty beige sometimes warmed by that favourite Seventies hue – orange. Tory, also dressed in that evocative shade, finished her show by giving her mother a warm embrace.

The overall effect was of getting away from it all, in pretty and wearable summer clothes with a tinge of the exotic. They included striped cotton tunics, a meld of Moroccan raffia and linen, and cotton jacquard skirts.

Some prints were described as ‘Something Wild’. Of course, these charming visions of the Maghreb seem a world away from its current edgy climate.

But Tory Burch at heart is an uptown American designer, and seeing her remembrance of things past among perfumed greenery offered a charming summer respite.

L'articolo #SuzyNYFW Tory Burch: Happy Wanderer sembra essere il primo su Vogue.it.



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Jeremy ScottJeremy ScottJeremy ScottJeremy ScottJeremy ScottJeremy ScottJeremy Scott protests Trumpian politics at the finale of his Spring/Summer 2019 show

Backstage, Jeremy Scott, with rapper Cardi B to cheer him on, wore a T-shirt emblazoned with politics.

The subject was the LA designer’s anger that Republican Judge Brett Kavanaugh was nominated to the Supreme Court by President Trump.

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Fighting the cause …with Jeremy Scott

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 8:44pm PDT

With the designer’s fighting words in print came a new spirit in his Spring/ Summer 2019 show.

There were no more cooky, quirky looks and jokey messages. Instead came a revival of Punk anarchy – tough attitudes, graffiti style, one-word slogans, primary coloured plaids and some strong anti-Establishment messages.

“These are aggressive times. I have to use my voice to get the message out,” he said. “We need to ensure that we keep LGBT rights, women’s rights, women’s reproductive rights, affirmative action – there’s a lot at stake right now.”

“It’s a serious era, but I still feel joyful – we have to!” he continued. “We have to be optimistic at the same time and you always have to give colour and beauty. These are all part of my inspiration.”

And those words just about summed up the Jeremy Scott Spring/Summer 2019 show, where Polaroid photographs of the designer at the start of his career in the late Nineties made a pattern print on clothes, bags, and the basketball boots that walked the show.

The slogans spelt out his message in a powerful way. “SHOCK, SEX, REVOLT” read a pull-down top that served as a sweater dress for women in high-rise boots.

“RIOT, REVOLT, POWER, HOT” shouted the men’s version, popping out in bright colours and proving that the designer might not be downhearted for long.

The blasts from the past and the rough energy of punk plaid combined well with Scott’s new finesse in cutting and shaping. It made for a strong and unexpected show.

The designer’s own words were revealing: “Rewind to 1996, New York. Fashion design student Jeremy Scott imagines a runway collection in a gender-fluid, post-modern world. He takes self-portrait Polaroids, experimenting with different looks and identities influenced by a spectrum of icons. From the paintings of Toulouse Lautrec to Blade Runner’s ‘replicant’, Pris, he envisions a day when he will look back on his own interpretation of these archetypal muses – a post-millennial Jeremy Scott drawing inspiration from a past self.

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Jeremy Scott: FUTURE SHOCK!

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 8:37pm PDT

“He sees a day when the gender-blending nature of his look isn’t so radically shocking but rather modern, even celebrated, and uses these photographs as a mood board, with himself as his own ‘Meta Muse’.”

Scott’s vision is about drawing his past dreams into the present. So eclectic patches of neon-quilted leather were stitched with sportswear mesh in a series of Motocross jackets, boots, and trousers. These were retro-fitted with vintage army-surplus gear, re-imagined in athletic silhouettes and high-heeled overall-boots covered in iridescent sequins, to evoke a “utilitarian aesthetic as a high-fashion hybrid”.

L'articolo #SuzyNYFW: Jeremy Scott Presents Creative Anger sembra essere il primo su Vogue.it.



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Tom Hanks and Rita Wilson at the Tom Ford Spring/Summer 2019 show in New YorkTom FordTom FordTom FordTom FordTom FordTom Ford

I feel that fashion has somehow lost its way, and it’s easy for all of us to be swept up by trends that have lost touch with what women and men actually want to wear,” Tom Ford said. “So I didn’t want to make clothes that were ironic or clever, but simply clothes that were beautiful.”

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Tom Ford. Faux leopard print

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 2:43pm PDT

Ford’s quiet colours, introducing a dusky lilac and faded pink alongside smoky shades of black, achieved the designer’s aim for Spring/Summer 2019.

I stroked a leather jacket embossed to give the effect of crocodile and slid my fingers over the different depths of black. All around me – holding up dresses with inserts of silk and animal patterns; examining lean, body-conscious dresses; and trying on the dangerously pointed shoes, were potential clients – some of the 132 members of the audience who had watched the show, along with a raft of movie stars, at the Park Avenue Armory in Manhattan.

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Tom Ford. His and His looks.

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 2:56pm PDT

“I decided to take some time to think about why I wanted to become a fashion designer and what it was that I loved doing,” he explained. “Consequently, I thought about what I feel men and women really want in their lives. I became a fashion designer because I wanted to make men and women feel more beautiful and to empower them with confidence – of knowing that they looked their best and could then present their best selves to the world. I wanted to make clothes that were flattering; that make one look taller and slimmer and more beautiful or more handsome.”

Even the quiet palette was chosen to “soften the harshness of the world”. And both the men’s and women’s designs were unified “in colour, mood and a certain romance”.

“A softer colour palette seemed right to me this season,” Ford said. “Shades of nude and skin tones look especially beautiful. Flesh colours are sensual and have a warmth and humanity that I think we all crave at the moment. Warm white, powder blue, and the palest of lilacs and blush pink are important. And, of course, black is always a colour that I love working with. Black frames the face of the wearer and emphasises a silhouette. There is a kind of security in black.”

I felt fortunate that losing the impact of a live show was balanced somewhat by Tom’s unexpectedly frank and open descriptions of the clothes, their fabrics, and construction. He had announced earlier this year that he had become a vegan, which gave the introduction of some fake leather an extra frisson.

“Fabrics alternate between the softness and romance of lace, chiffon, georgette and even the lightest stretch leather, and the structure of harder leathers and fabrics, and the sheen of fake crocodile,” he said. “Chiffon, leather, and lace play off each other in this contrast of hard and soft. And in terms of mood, there is a certain languid sensuality and romance to this collection.”

What stood out for me was the bid for a modern elegance, with skirts just past the knee, softer, and asymmetrical. Tom pointed out that the dresses were almost always anchored by a corset, often in leather, to emphasise the waist.

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Tom Ford clients are going crazy ordering this hard-and-soft outfit

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 2:46pm PDT

So has the Tom Ford cheeky sensuality really disappeared? It seems to have slithered down to the feet, where edgy high-heeled shoes with a metal toe-cap and heel looked pretty aggressive.

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this on. But this is the first shoe I have seen with killer heels AND toes!!!

Suzy Menkes (@suzymenkesvogue) on Sep 6, 2018 at 2:29pm PDT

As a prospective client slipped on the super-sharp footwear, a member of staff announced politely that the shoes would probably be going back to Italy so the lethal weapons could be softened up.

L'articolo #SuzyNYFW: Tom Ford – Seducing Clients As Much As The Camera sembra essere il primo su Vogue.it.



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Inaugura domani 19 Settembre, nella nuova location di Palazzo Cusani in via Brera 15,  “Vogue Talents & Who is on Next?”, appuntamento irrinunciabile della Fashion Week di Milano per lo scouting di designer di talento.

Dopo l’opening con un cocktail su invito, la vetrina dello scouting di Vogue Talents sarà aperta al pubblico dal 20 al 22 Settembre dalle 10 alle 19: sarà quindi possibile per tutti gli appassionati scoprire gli stilisti in mostra e toccare con mano le speciali T-shirt in limited edition realizzate nell’ambito di “Design It Possible”, il progetto pluriennale di Huawei nato con l’obiettivo di valorizzare e portare alla luce le idee, il talento e la creatività dei giovani stilisti. Insieme alle T-shirt, saranno esposte al pubblico le cover realizzate dai designer finalisti di “Who is On Next?”.

Si tratta di una iniziativa di Huawei che segue altri progetti dedicati alla valorizzazione della creatività e del talento, nella moda, nella fotografia, nelle arti: tra le ultime iniziative, ad esempio, lo scouting A New Renaissance con Photo Vogue.

Il reportage fotografico della serata di apertura, poi, sarà inoltre realizzato con HUAWEI P20 e HUAWEI P20 PRO: un ulteriore valorizzazione della creatività.

L'articolo Huawei @ Vogue Talents & Who is on Next? 2018 sembra essere il primo su Vogue.it.



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Meghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community CookbookMeghan Markle, Together: Our Community Cookbook

Che la Meghan Markle avesse l’hobby della cucina era cosa nota. La Duchessa di Sussex ha infatti più volte condiviso la sua passione culinaria tanto attraverso i suoi social, quanto sul suo blog The Tig e nella sua rubrica a Today Show. Certo, il suo ingresso nella Royal Family ha ridotto drasticamente le sue apparizioni dietro ai fornelli (e le ha fatto chiudere il blog) per questioni di etichetta e, immaginiamo, anche di impegni. Almeno fino ad oggi.

È uscita infatti la notizia, diffusa dal Kensington Palace, che la duchessa prenderà parte e sosterrà il un libro di cucina Together: Our Community Cookbook, volume di ricette scritto dalle donne che sono sopravvissute all’incendio della Grenfell Tower di Londra. A seguito infatti della tragedia che ha scosso la capitale del Regno Unito, le famiglie della Grenfell Tower  si sono trovate a dover vivere lontano dalle proprie case decidendo, quindi, di creare una “cucina comune” per tornare a creare un senso di comunità e cucinare per i propri cari.

 

The Duchess of Sussex is supporting a new charity cookbook, 'Together: Our Community Cookbook', which celebrates the power of cooking to bring communities together. #CookTogether pic.twitter.com/XEclxgQjR4

— Kensington Palace (@KensingtonRoyal) September 17, 2018

L’iniziativa, ospitata dall’Al-Manaar Muslim Cultural Heritage Centre, è andata raccogliendo sempre più adesioni finché non è stata creata ufficialmente la Hubb Community Kitchen (Hubb in arabo significa amore). Meghan ha visitato la cucina collettiva a gennaio 2018 e ora ha deciso di contribuire nella realizzazione di un libro di ricette, scritto dalle cuoche della Hubb Community Kitchen, che aiuterà la cucina a raccogliere fondi per rimanere aperta più delle due volte a settimana attuali. Il libro, infatti, potrà contare su una toccante prefazione della Duchessa di Sussex, che si è anche prodigata a trovare un editore per il libro. Together: Our Community Cookbook arriverà nelle librerie inglesi il 28 settembre ed è acquistabile anche online a questo indirizzo.

 

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I used to call you Meghan (and I still do) but dear Duchess of Sussex your first project “Together” a cookbook bringing women of all cultures together. I could not be more excited about it and proud of you. It’s beautiful – diversity, inclusivity, coming together in grief or joy – there is just so much love. Link in bio to learn more, and how you can get a copy!

Serena Williams (@serenawilliams) on Sep 17, 2018 at 5:45am PDT

L'articolo Meghan Markle prende parte a un libro di cucina sembra essere il primo su Vogue.it.



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Halima AdenHalima AdenHalima AdenHalima AdenHalima AdenHalima AdenHalima AdenHalima Aden

“Non cambiare quello che sei, cambia le cose intorno a te: è questa la mia filosofia di vita,” dice Halima Aden, la prima modella in hijab a firmare un contratto con un’agenzia importante e a finire in copertina su Vogue UK. L’abbiamo incontrata a New York, nella boutique di Calvin Klein in Madison Avenue dove sta facendo il fitting per la sfilata.

Come per ogni modella molto richiesta, la tabella di marcia di Aden è fitta di appuntamenti. Non sono nemmeno le dieci del mattino e ha già fatto varie interviste ed è andata a diversi appuntamenti; alla settimana della moda newyorchese appena conclusa ha presenziato nel front row alla sfilata di Calvin Klein per un Instagram takeover e poi ha partecipato a una cena piena di celeb da Balthazar per festeggiare Women, il primo profumo di Raf Simons per il brand.

“Sono entusiasta e orgogliosa di far parte di tutto questo,” dice con un sorriso radioso e un atteggiamento molto maturo per una ventenne. La giornata di Aden è iniziata alle 5 del mattino quando la sua make-up artist è venuta a chiamarla, e dopo vari appuntamenti in tutta Manhattan si concluderà con un altro party esclusivo. La sua tabella di marcia non prevede molto tempo libero, ma la modella somalo-americana e ambasciatrice UNICEF si gode ogni momento, e prova solo gratitudine. Vogue l’ha incontrata per parlare delle sue frenetiche giornate durante la stagione delle sfilate.

Riesci a mangiare sano durante la Fashion Week? “Mi piace bere succhi a base di carbone e di curcuma. Sono cresciuta in Kenya e lì non esistono cibi industriali, niente OGM, non si va nei negozi, tutto è naturale e questa cosa per me è innata. Mia mamma mi cucinava sempre tutto, e mangiavo molto bariis e baasto, i principali piatti tradizionali in Somalia, davvero molto sani. Oggi mi ‘premio’ con il sushi, l’ho scoperto facendo la modella, è la mia fissazione! Il tapis roulant è il mio migliore amico, faccio sessioni di 45 minuti sul tappeto inclinato, fa benissimo alle gambe! La palestra mi intimorisce un po’, però, sono entrata da Life Time e c’era questa macchina che sembrava un’astronave. Mi sono detta, ‘Come funziona questa cosa?’ Preferisco una routine semplice, senza tutte queste macchine complicate. E poi cerco sempre di muovermi, di essere attiva, mi piace camminare”.

Parlaci della tua beauty routine. “Durante la Fashion Week bevo molta più acqua del solito, e cerco di pulire sempre bene il viso: mantenere il viso sempre idratato e pulito (e, spero, senza imperfezioni) è essenziale. Idrato la pelle continuamene (The Cream by Augustinus Bader e Intense Hydrating Mask di Moroccanoil sono i miei prodotti preferiti) e cerco di andare a dormire sempre struccata. Per quanto riguarda i trattamenti viso mi piacciono gli ingredienti naturali come la curcuma, che è ottima per illuminare la pelle e uniformare il colorito, l’aloe vera, idratante, e il miele, che rende la pelle liscia, luminosa e combatte l’acne.”

E come ti rilassi nei momenti liberi? “Mi piace ascoltare i podcast delle SuperSoul Conversations di Oprah. Sono di grande ispirazione per me, e i suoi consigli sono fantastici! Credo che tutto quello che è riuscita a fare nella sua vita è incredibile. La cosa più bella che ha detto è stata:  ‘Anche un aereo si ferma un attimo prima del decollo.’ Un concetto semplice che mi tocca nel profondo. Per me vuol dire che nella vita devo cercare ogni tanto di fermarmi per apprezzare con lucidità quel che ho. Anche quando le cose vanno benissimo e hai ingaggi ovunque, e tutto funziona alla grande nella tua vita personale, è importante fermarsi per apprezzare quello che hai”.

Che cosa pensi dei social network? “Sono sicurissima che tutte le altre modelle vi diranno che ci piacciono molto i social perché possiamo far vedere come siamo davvero. Possiamo mostrare anche la nostra parte più eccentrica, è una cosa che mi piace moltissimo! Sono brava a postare sui social, ma so anche che è importante vivere il momento, e per questo non porto mai il cellulare a uno shooting  (lo porto se proprio devo). Il mio non è come un lavoro d’ufficio, non vedo ogni giorno le stesse persone, quindi mi piace chiacchierare e conoscere meglio la gente intorno a me”.

di Amy Louise Bailey

L'articolo Intervista con Halima Aden, la prima modella in hijab sembra essere il primo su Vogue.it.



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TrenchTrenchTrenchTrenchTrenchAnimal PrintAnimal PrintAnimal PrintPleated skirtPleated skirtFoulardFoulardFoulardBeige-nudeBeige-nudeBeige-nudeBeige-nudeBeige-nudeBurberry logo textureBurberry logo textureCounter CultureCounter CultureCounter CultureCounter CultureLong dress total blackLong dress total blackLong dress total blackLong dress total blackLong dress total blackLong dress total blackLong dress total black

Con l’arrivo di Riccardo Tisci, Burberry vede un nuovo inizio, a partire dal logo e dal trench. Vista la sfilata primavera estate 2019 alla London Fashion Week, vi segnaliamo alcuni dettagli, emblema del nuovo british style.

  • Il monogramma è stato condiviso sui social dal profilo ufficiale di Burberry mostrando la nuova “B” (e “T”, del fondatore Thomas Burberry), silhouette nata dalla collaborazione con il grafico Peter Saville. Da qui viene creato il pattern che ha “logato” borse e capi, visti in sfilata per la collezione primavera estate 2019.
  • La rivoluzione del marchio vede coinvolto anche il trench. Tisci ha una visione completamente diversa da quella di Christopher Bailey (ex direttore creativo che ha seguito il marchio per 17 anni). Il trench coat si conferma capo icona della maison ma diventa indispensabile per esprimere carattere e femminilità. Si nota la spiccata sensibilità del designer per la femminiltà.
  • Il beige-nude. I colori simbolo di Burberry sono sempre stati quelli presenti nel check: beige, nero e rosso. Riccardo Tisci ha fatto proprio del beige la tonalità principale della collezione, giocando con le diverse sfumature, dal cammello al caramello. Lo abbina al denim, al tartan e all’arancio. Presente in modo continuativo nei primi 44 look, il beige è il fil-nude di tutta la collezione.
  • Nostalgia anni 90. Attenzione, nessuna monotonia. Tisci passa con nonchalance dalle silhouette ladylike a sfumature più dark della sua stessa creatività, legate alla formazione anni 90 presso la Central Saint Martins. I look si contraddistinguono per tonalità più scure, utilizzo di biker jacket, minigonne, t-shirt grafiche, fibbie e sandali baby con “occhietti”.
  • Le nuove “righe”, il motivo animalier. Si abbina ai pois che sono stati proposti in una versione più vibrante, che ricorda le macchie d’inchiostro.
  • fashion items icona: a parte il trench, troviamo la gonna plissé e i foulard; questi ultimi vengono decontestualizzati per trovare una nuova connotazione funzionale come bordo-orlo, coulisse o cintura.
  • Long dress total black, disegnati per la sera. L’ultimo look è impreziosito da frange e catene d’oro che segnano le maniche, i fianchi e il punto vita, ricordando così i body jewel.
  • Importante anche il cambio di location. Abbandonato il quartiere di Kensington con i suoi palazzi e prati verdi,  si passa il fiume per entrare in un ex deposito delle Poste sul Tamigi, proprio di fronte alla nuova ambasciata americana. Le modelle hanno sfilato tra pareti a specchio, seguendo il sound di Robert Del Naja, del gruppo inglese Massive Attack.
  • Le muse di Riccardo Tisci: in passerella troviamo Cat McNeil, Kendall Jenner, Riley Montana, Lily Donaldson, Stella Tennant, Freja Beha Erichsen, Jourdan Dunn, Natalia Vodianova e Irina Shayk. Presente anche Mariacarla Boscono che ha tinto i capelli di rosso per l’occasione.

Nella gallery la nostra selezione di look Burberry Primavera Estate 2019 di Riccardo Tisci

Guardate anche:

London Fashion Week, le borse Primavera Estate 2019 London Fashion Week, le scarpe Primavera Estate 2019 London Fashion Week, i best look Primavera Estate 2019

L'articolo Riccardo Tisci @ Burberry. Che cosa è cambiato sembra essere il primo su Vogue.it.



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Mickey Mouse: a special capsule collectionMickey Mouse: a special capsule collectionMickey Mouse: a special capsule collectionMickey Mouse: a special capsule collectionMickey Mouse: a special capsule collection

Mancano poche ore all’opening di Vogue Talents & Who is on Next? a Palazzo Cusani, vetrina dello scouting mondiale di Vogue Talents in occasione della Settimana della Moda di Milano.

Qui saranno svelati i capi e gli accessori parte della capsule collection per festeggiare i 90 anni di Topolino.

Disney, in collaborazione con Vogue Talents, ha invitato infatti quattro brand della nuova generazione a disegnare una capsule collection dedicata al fascino immortale di Topolino:  Arthur Arbesser, Mirko Fontana e Diego Marquez di Au jour le jour, Maria Sole Cecchi di Les Petits Joueurs e Vivetta Ponti di Vivetta hanno giocato con gli elementi ricorrenti dello stile di Mickey Mouse e con gli archivi della loro memoria per  rmare i total look Disney che saranno in vendita a partire da novembre – in concomitanza con il vero compleanno del topo più famoso del cinema – in selezionati store OVS e online su OVS.it.

Curiosi di vedere i capi dal vivo? Negli orari di apertura di Vogue Talents & Who is on Next? a Palazzo Cusani, dal 20 al 22 settembre, i look completi saranno in mostra e visibili a tutti gli appassionati di moda e ai fan di Topolino.

 

Team Credits

Foto Riccardo Dubitante.

Stylist Fabio Messana.

Make-up Vanessa Geraci @Auraphotoagency using Mac Cosmetics.

Hair stylist Ana Rodriguez @Greenappleitalia using Revlon.

Nail artist Elena Stepaniouk @Facetofaceagency.

L'articolo Topolino: la capsule collection firmata dai Talents sembra essere il primo su Vogue.it.



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BevzaBevzaBevzaBevzaBevzaChristian CowanChristian CowanChristian CowanChristian CowanChristian CowanChristopher John RogersChristopher John RogersChristopher John RogersChristopher John RogersChristopher John RogersClaudia LiClaudia LiClaudia LiClaudia LiClaudia LiCollina StradaCollina StradaCollina StradaCollina StradaCollina StradaLinderLinderLinderLinderLinderLRSLRSLRSLRSLRSLuarLuarLuarLuarLuarMaki OhMaki OhMaki OhMaki OhMaki OhMoon ChoiMoon ChoiMoon ChoiMoon ChoiMoon ChoiPH5PH5PH5PH5PH5Sandy LiangSandy LiangSandy LiangSandy LiangSandy LiangSandy Liang

Non è, ovviamente, possibile riassumere oltre 100 sfilate, ma è chiaro che alla New York Fashion Week l’energia in passerella e alle presentazioni era palpabile, e parlava di rinascita e rinnovamento. La critica da parte degli stilisti alla politica americana si è percepita chiaramente, molti di loro hanno infatti utilizzato le collezioni e le presentazioni per lanciare un messaggio di inclusione e diversità. Partendo dai big, gli stilisti Proenza Schouler e Rodarte sono tornati a sfilare alla NYFW , decisione che può essere interpretata come un tentativo di sostenere la moda Made in USA e mantenere alto l’entusiasmo. I designer hanno scelto di mandare il loro messaggio  di inclusione anche attraverso il casting delle modelle, e molti hanno infatti mandato in passerella un mix etnico e di genere: donne, uomini, transgender, modelle plus-size, donne in dolce attesa e modelle disabili. Anche la musica usata in sfilata era rigenerante, con molti ‘bagni sonori’, come a voler ‘purificare’ l’aria dal passato e accogliere il nuovo. Vi presentiamo il meglio dei designer emergenti della NYFW: se non state già seguendo questi designer, dovete farlo assolutamente.

Collina Strada

La designer di Collina Strada Hillary Taymour è nota per le sue presentazioni dense di significato. La scorsa stagione Taymour aveva messo in scena un matrimonio. Per la PE19 ha invece presentato un ‘bagno sonoro’ con protagonisti dei bambini, a simboleggiare in modo molto forte che il cambiamento verrà dai giovani. In reazione alla situazione turbolenta in America, Taymour ha presentato una palette colori quasi tutta bianca, che simboleggia la rinascita.  Come ha detto la  designer, “Dobbiamo ripartire da zero per guarire e ricominciare.” Fra i capi di spicco, indumenti tie-dye (t-shirt, calzettoni, pantaloncini biker trasparenti e body) che strizzano l’occhio allo spirito pacifista dei movimenti hippie e alle controculture degli anni ‘70. I calzettoni con sandali  Tevas sono un trend visto spesso e in molte collezioni nel corso della settimana, ma noi abbiamo un debole per la versione tie-dye di Taymour.

PH5

I designer Mijia Zhang e Wei Lin mescolano moda e scienza nel loro brand, PH5, noto per i capi tricot in tonalità accese e orli giocosi. Questa stagione i due si sono invece ispirati alle tinte audaci dell’ Art Deco di Miami. Zhang e Lin vogliono creare abiti funzionali e, cosa ancora più importante, comodi. Famosi per le jumpsuit e gli abiti a righe, per la PE 19 i due stilisti hanno proposto bellissimi completi in maglia (che non si stropicciano!) ma anche abiti eleganti per il dopo-ufficio. La sostenibilità è un aspetto molto importante per la griffe, che utilizza filati sostenibili  e macchinari che eliminano gli sprechi.

Christian Cowan

Britannico di nascita e newyorchese di adozione, lo stilista Christian Cowan è noto per aver vestito alcune delle artiste più importanti della scena musicale fra cui Cardi B, Lady Gaga, Nicki Minaj, e Beyoncé. Cowan è stato di recente finalista per il CFDA/ Vogue Fashion Fund. Diplomatosi alla Central Saint Martins e alla London School of Fashion, Cowan ha collaborato con il celebre shoe designer Giuseppe Zanotti per la sua collezione PE19. Fra i modelli di spicco, le scarpe senza tacco e dettagli come i cinturini placcati oro che ricordano quelli degli orologi. E moltissime piume e paillettes. Cowan dice di questa esperienza: “La possibilità di studiare i modelli iconici di Giuseppe e dar loro il mio tocco personale è una cosa che porterò sempre con me. I nostri modelli massimalisti, combinati insieme, hanno avuto come risultato una linea di calzature di grande impatto.”

Claudia Li

Claudia Li si è sempre ispirata ai ricordi della sua infanzia in Nuova Zelanda per le sue collezioni, e per questa stagione non si smentisce: la collezione è coinvolgente e carica di significato per  Li, mentre si prepara a tornare a casa e per quello che è il suo primo viaggio dopo moltissimo tempo. E la nostalgia è stata la sua ispirazione. Come ha detto lei stessa, “Uno dei miei ricordi è la porta scorrevole che si apriva sul giardino a casa di mia mamma. Quando ero piccola, i fiori mi sembravano enormi.” E sono infatti i fiori a dominare la collezione. “Si tratta di un solo fiore, ma rappresentato in tanti modi diversi,” spiega Li. La stilista ha creato una serie di ricami floreali fatti a mano e ha anche dipinto una stampa. Li sottolinea che, “Se li guardi da lontano, i fiori sembrano nuvole.”

Linder

Sam Linder, lo stilista della griffe di womenswear Linder, (la sua controparte è il designer della linea uomo, Kirk Millar), ha presentato una delle collezioni migliori del suo giovane brand. In un evento ibrido fra sfilata e presentazione, le modelle hanno sfilato su una passerella in un ambiente intimo, in una stanza foderata di boiserie, fermandosi a guardare la loro immagine riflessa in uno specchio che toccava terra,  mentre un voice-over descriveva nel dettaglio i loro outfit. Tutti i look erano molto portabili, e questo era infatti l’intento dei designer. Va sottolineato che la collezione aveva un’eleganza genderless. Fra i capi di spicco dal mood anni 70, c’erano giacche in pelle dai colori accesi, motivi a scacchi vedo-non-vedo, e calzature Made in Italy con tacco in legno. E imperdibili, straordinari accessori: borse con grandissimi manici intrecciati affiancate a gioielli in oro, anch’essi intrecciati (il tutto realizzato a mano da un membro del team). “Le borse in tessuto sono state realizzate su telai del Vermont che hanno 200 anni,” ha spiegato Linder, che così strizza l’occhio alla sua infanzia, dal momento che è cresciuto in un caseificio proprio in quello Stato. Linder e Millar hanno entrambi intrecciato la storia delle loro famiglie nelle collezioni, e, come ha detto Linder, “Non possiamo fare a meno di introdurre l’elemento umano.”

Sandy Liang

Sandy Liang è nota perché da sempre ama distanziarsi dal mood un po’ ‘serioso’ della NYFW presentando le collezioni più divertenti e libere della settimana. E questa volta non si è smentita, scegliendo come location un luogo che le sta particolarmente a cuore: “Sono davvero felice di riuscire finalmente a sfilare nel ristorante di mio padre (il Congee Village) quest’anno. Credo che faccia vedere il quadro completo di quello che è il mio stile di vita, e di come creo. Parlo sempre di come la mia famiglia, i miei amici, la mia comunità mi influenzino, e la presentazione lo spiega in modo chiaro.” Liang ha presentato i suoi ormai noti capi in shearling con bottoni, capispalla colorati foderati in pelliccia, moltissimo chiffon, stampe leopardate o floreali, e capi con paillette argento. Quasi tutte le modelle (Liang ha ingaggiato amici e parenti) indossavano sandali Teva con i calzettoni, cappelli da pescatore rosa e marsupi.

Moon Choi

Non era facile per Moon Choi fare meglio della scorsa stagione e della sua collezione meravigliosa, eppure ci è riuscita. La designer ha presentato la linea per la  PE19 nell’incantevole High Line Hotel, in cui una meravigliosa scalinata,  illuminata da candele conduceva gli ospiti al piano superiore. Gli abiti e le bluse in seta,  le giacche sartoriali e le jumpsuit creavano un contrasto molto deciso con il gusto gotico della stanza in legno scuro. Choi mira a superare la linea che separa maschile e femminile, perché crede che gli abiti non siano definiti dal genere. Choi ha anche presentato per la prima volta gioielli in resina dalle forme eccentriche. Fra i capi di spicco, un abito in seta viola polvere lungo fino alle caviglie, e capi sartoriali azzurro polvere. La PE19 è un’ulteriore prova dell’abilità sartoriale di Choi, del suo senso del colore e dei materiali.

Luar

Il designer Raul Lopez, nato e cresciuto a New York, ha mostrato un nuovo lato di sé con la collezione PE19. Lopez, che è nel CFDA/ Vogue Fashion Fund quest’anno (ha anche co-fondato Hood by Air con Shayne Oliver), voleva ripulire la sua palette, in parte a causa del clima intenso di oggi. “Era una sorta di rinascita per me, volevo ‘ripulire’ la mia palette da tutte le stagioni passate, e tornare come nuovo” ha detto Lopez nel backstage. Che ha citato il Rinascimento, la Commedia di Dante e il Purgatorio come le sue ispirazioni per questa stagione. Se la scorsa stagione Lopez aveva presentato una collezione ‘all black’, e se in passato ha detto di sé di avere ‘la scorza dura’, questa volta ha mostrato una parte più morbida di sé. La sua collezione per la PE19 era eterea, tutta in delicato chiffon bianco. Come ha detto lo stesso Lopez, “Una collezione angelica.”

LRS

Raul Solis, il designer nato in Messico ma cresciuto a Los Angeles, prima di lanciare la sua griffe era a capo della linea denim di Proenza Schouler. Non deve quindi sorprendere se i suoi pezzi chiave sono, appunto, quelli in denim. Solis decostruisce la nozione di indumento con mano esperta. Due dei suoi look migliori sono infatti le giacche decostruite in denim o pelle, oltre a un vestito in denim che ricorda un giubbotto jeans ‘distorto’, sproporzionato e messo sottosopra.

Christopher John Rogers

Christopher John Rogers, nato in Louisiana, ha debuttato alla NYFW questa stagione. Il designer, che ha studiato al Savannah College of Art and Design, in realtà è associate designer da DVF. E insieme al suo business partner, che lavora invece da Marc Jacobs, ha creato, nei ritagli di tempo, una straordinaria collezione PE19. “Per me la cosa più importante è fare il meglio che puoi con quello che hai,” ha detto Rogers. Il risultato? Una presentazione abilmente confezionata di colori vibranti, stratificazioni di tulle, cappelli scultorei, toni metal, paillettes, piume e capi con applicazioni Swarovski. I due designer hanno chiaramente ancora molto da offrire,  e il loro futuro è senza dubbio luminoso.

Bevza

Svetlana Bevza ha presentato la sua collezione più originale. “Di solito faccio vedere una donna forte, multitasking, che si è fatta da sé,” ha detto Bevza. Ma per la PES19 ha mostrato il suo lato più soft, forse perché la stilista è da poco mamma di una bambina, a cui dedica la collezione. “Questa collezione la definirei una sorta di intermezzo nelle nostre vite frenetiche.  È un momento in cui abbiamo tutti bisogno di fermarci e riposare, capire cosa è davvero importante.” Bevza, nota per i suoi tocchi di rosso, ha giocato con i toni pastello per la prima volta. Fra i capi di spicco, abiti fluttuanti in seta abbinati a eleganti marsupi, pantaloncini da biker trasparenti, e ornamenti in conchiglia laccata o perle. “La prossima stagione, però, tornerà la donna forte”, ci ha assicurato.

Maki Oh

Amaka Osakwe si è ispirata ai bukas, i ristoranti che si trovano a bordo strada in Nigeria. “Il cibo è molto economico ma buonissimo, è cibo per tutti,” ha detto. “Pensavo a tutte le tipologie di persone che si vedono lì, ci pensavo anche mentre facevamo il casting delle modelle,” ha spiegato Osakwe. La sua collezione è piena di colori vibranti e disegni come le Adire, stampe indaco dipinte a mano.  Osakwe per questa stagione ha collaborato con lo stato di Ogun, una regione in cui sono nate antiche tecniche artigianali. I ristoranti bukas sono in qualche modo un livellatore sociale, e siamo felici di vedere che Osakwe ha voluto enfatizzare la loro natura inclusiva.

L'articolo New York Fashion Week Primavera/Estate 2019 sembra essere il primo su Vogue.it.



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Claire FoyRachel BrosnahanMadeline BrewerAlexis BledelChrissy TeigenEmilia ClarkeAmanda PeetBetty GilpinDakota FanningDakota FanningElisabeth MossEvan Rachel WoodEvan Rachel WoodKirsten DunstPenelope Cruz Gwendoline ChristieHeidi KlumJenifer LewisJessica BielMichelle DockeryPadma LakshmiPoppy DelevingneSarah PaulsonSarah PaulsonZuri HallAlison BrieScarlett JohanssonScarlett JohanssonThandie NewtonTiffany HaddishMillie Bobby BrownTracee Ellis RossVanessa KirbyJoey KingYara ShahidiIssa RaeKristen Bell Michelle DockeryAdina PorterSarah GoldbergTina FeyTina Fey

La 70esima edizione degli Oscar della tv, gli Emmy Awards 2018 che si sono svolti al Microsoft Theater di Los Angeles, ci regala qualche nuova ispirazione beauty per l’autunno.

Strana coincidenza quella che ha visto le due regine della serata scegliere un beauty look a “fotocopia”. Chignon basso, trucco occhi naturale definito solo da una sottile linea di eye-liner e da tanto mascara, rossetto rosso sia per Rachel Brosnahan – migliore attrice per “La fantastica signora Maisel” (prodotta da Amazon) – sia per Claire Foy, miglior attrice drammatica per “The Crown”.

Rodarte SS 19 evidentemente docet, sembra infatti che i fiori freschi si stiano imponendo come decor transtagionale delle acconciature. Qui appaiono sullo chignon di Evan Rachel Wood in forma di un bel bouquet multicolore e nel semiraccolto di Madeline Brewer, realizzato dalla hair stylist Mara Roszak con una romantica corolla di rose bianche.

Adir Abergel si è ispirato alle figure femminili preraffaellite nella realizzazione delle onde soft e romantiche di Jessica Biel.

Ricompaiono i fiocchi tra i capelli, questa volta a portarli sul red carpet è Poppy Delevingne. Sono due, neri e piatti, posizionati ad arte su una coda liscia e alta.

Il trucco più sorprendente? Il cat-eye dorato di Scarlett Johansson che ancora una volta ha orgogliosamente sfoggiato il suo tatuaggio che, al centro della schiena schiena, ritrae un agnellino che riposa in un roseto.

Tutti i beauty look degli Emmy 2017

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Quella di Scarlett Johansson agli Emmy 2018 è stata un’uscita pubblica ricca di “belle” rivelazioni. Innanzitutto gli Oscar della televisione sono stati l’occasione per mostrare, grazie a un abito bianco e scollato, il suo ultimo tatuaggio: non un disegno piccolo come voleva la tendenza dell’ultimo anno, ma un grande tattoo sulla schiena che ritrae un agnellino immerso in un roseto.

Se fino ad ora si pensava che il tatuaggio, intravisto dai paparazzi sul set di The Avengers lo scorso anno, fosse finto, il red carpet losangelino ha sciolto ogni dubbio. A colpire di più però è stato il “colpo di testa”: dopo un anno in cui ha portato un pixie cut castano scuro, Scarlett Johansson ha deciso infatti di tornare al biondo caldo con cui l’abbiamo conosciuta.

Per il debutto ufficiale del colore l’attrice ha scelto un taglio più lungo del suo classico pixie: un caschetto al mento con le radici più scure e uno styling leggermente mosso, portato all’indietro. A esaltare il nuovo hairstyle è stato il make-up: ombretto oro luccicante (ben steso anche negli angoli interni degli occhi) e eyeliner nero a virgola.

Risultato: un look extra brillante, da Oscar, che niente poteva completare meglio degli sguardi innamorati al fidanzato Colin Jost, attore e autore televisivo.

L'articolo Emmy 2018: Scarlett Johansson bionda e tatuata sembra essere il primo su Vogue.it.



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Hannah HäsekerMarco ImperatoreMartina ScorcucchiMonia MerloOlga Shpak

Si è concluso a fine agosto lo scouting fotografico “A New Renaissance” lanciato da Vogue Italia e Huawei, mobile partner del Photo Vogue Festival a BASE, per individuare e celebrare il talento fotografico. Tantissimi fotografi hanno preso parte all’iniziativa: tra le numerose immagini caricate le photo editors di Vogue Italia e Vogue.it, Alessia Glaviano e Francesca Marani, hanno individuato le fotografie migliori. Tra gli autori delle foto selezionate ne sono stati individuati 5 a cui sarà data la possibilità di diventare inviati di Vogue Italia durante la prossima Milan Fashion Week. Armati di Huawei P20 e P20 Pro documenteranno la frenetica vita delle sfilate milanesi realizzando street diaries che saranno pubblicati in un book che sarà distribuito durante il Photo Vogue Festival 2018, la rassegna internazionale dedicata interamente alla fotografia di moda che a novembre animerà la città di Milano.

Ecco i nomi dei 5 fotografi selezionati:

Hannah Häseker

Marco Imperatore

Martina Scorcucchi

Monia Merlo

Olga Shpak

Tra questi fotografi sarà Marco Imperatore a firmare uno shooting con protagonista Huawei P20 e P20 Pro per il November issue di Vogue Italia.

L'articolo #anewrenaissance The final selection sembra essere il primo su Vogue.it.



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