jeudi 26 janvier 2012


A conversation with Pier Paolo Piccioli and Maria Grazia Chiuri before the presentation of their new couture collection for Valentinoquickly took a turn for the metaphysical. "If you don't think about fashion, you just do clothes," said Piccioli. "Fashion needs culture or it becomes empty." The duo found their cultural spine in the finest flowering of French thought, keying in on the eighteenth century's Age of Enlightenment and particularly the return to "real" values that Rousseau endorsed in his State of Nature philosophy. "Couture is a real value," Piccioli added. "It's not superficial."

But it was Marie Antoinette role-playing in her little farm on the grounds of Versailles who provided the collection's ambience. The first model seemed to arrive in the salons of the Hôtel Salomon de Rothschild on a breath of cool country air. Sprigged flower prints covered almost everything. An antique fabric alchemy transformed taffeta into equally antique-looking blurred floral chaîne. The sense of precious old artisanship was also evident in the swirling bouilloné decoration. The volumes were diaphanous, bucolic, like the cloud of point d'esprit scattered with organza lace cutouts. The designers sought a "deep lightness." It was beautifully exemplified in dresses with up to five layers of lace and organza.

Examined up close in the atelier, the workmanship defied comprehension. The stitching was so fine it was invisible. It signaled the heart-stopping delicacy that distinguished the collection. But there was a real resilience, too. Hence the use of cotton amidst the lace, organza, and filigree, as in a coat with tone-on-tone embroidery that felt embossed. Hence also the flat shoes, which loaned their own kind of grace to the purity of an ivory coat dress decorated with tiny spirals (Piccioli compared them to stucco). A chaîne skirt had deep, useful pockets. Smocking was a rustic detail. There was a casual quality that made the clothes ultimately feel more modern than their long-sleeved, high-necked, and lace-gloved propriety would at first suggest. 

Chiuri pointed out that she and Picciolo come from an accessories background, where they learned to tell a big story with a small object. That skill is now writ large in the collections they are designing at Valentino. Today's story was their most exquisite yet. 


One hundred fifty shades of blue. Obviously, everyone is going to jump on that extraordinary stat from Chanel's Couture show today. Why blue? Karl Lagerfeld is too much of a polymath to nail any one reason for anything he does, but he's a wicked player of word association games. Elvis' "Blue Moon," Miles' Kind of Blue, blue-sky optimism…"Anything but the blues," he said post-show. "I don't have the blues."

Hardly. The vision presented by the Chanel show was streamlined, upbeat, and forward-looking, quite the contrast with the decadent-Raj, drowned-world, and scorched-earth scenarios that Lagerfeld arranged around his most recent collections. Today's guests took their seats in a simulacrum of a commercial space shuttle flight that, during the course of the show, left the Earth's atmosphere and headed for space. Toward the finale, the Earth actually passed overhead, across the clear dome that allowed passengers a view of the starry sky outside.

But the collection was scarcely the futurist extravaganza that such a setup promised. The key point in the presentation was a new fashion attitude. It's the sort of lip service notion to which designers often tip their caps, but in Lagerfeld's case, he delivered. How? By elongating his proportion even lower than dropped waist to thigh-top, so that when the models walked with their hands tucked in slash pockets, they looked, the designer said, "like boys whose jeans are slipping off." The boy/girl thing is a Chanel staple, and Lagerfeld has found a contemporary exemplar in Alice Dellal, who today was placed in the peculiar position of watching dozens of women styled to look just like her parading past her front-row perch. Think of stretched-out necks and pushed-up sleeves on sweatshirts and you've got other key components of the silhouette.

The youthful slouchiness of the attitude was a counterpoint to the byzantine complexity of the techniques that created the clothes. "A lot of it isn't even fabric," Lagerfeld said. "It's embroidery." And if it wasn't that, it was cellophane. Or something else unlikely. And yet, there was a classic elegance about the result. The stretched-out neck was a portrait neckline, the pushed-up sleeves were a perfect bell. The long, lean length that ended just above the ankle was culture incarnate. And the cellophane shimmered like the finest silk.

I am not disappointed with this show, but it does not enchant me. I lacated that KarlLagerfeld is one of the greatest geniuses of couture, haute couture with it a change is made​​to a whole new level. Because after all, what is to fashion if it does not go down the street ....

samedi 14 janvier 2012


Hair Glasses is a collection of sustainable fashion eyewear exploring the potential of Human hair.

The UK beauty industry imports 15 million pounds worth of human hair per year. As the world’s population continues to increase, human hair has been reimagined as a viable—importantly renewable–material.

Hair Glasses comprises of human hair with bioresin as a binding agent, the frames are 100% biodegradable and no harmful substances are released during production.

Studio Swine explores how the booming production of hair extensions can be expanded beyond the beauty industry to make other commodities that are equally desirable.


lundi 9 janvier 2012


Apoclypse et fin du monde partie 1/3 par nouveau-monde

Croyance universelle, l’apocalypse continue de hanter les esprits. Ce film troublant fait le lien entre sa dimension historique et religieuse et son visage actuel, celui d’un cataclysme écologique.

Depuis toujours, les hommes vivent dans l’angoisse de la disparition du monde. L’apocalypse, qui signifie « révélation » en grec, porte en elle cette symbolique de la catastrophe redoutée, prélude à l’anéantissement total. Cette croyance universelle, développée par la majorité des religions au cours des millénaires, a considérablement influencé l’histoire des civilisations, entraînant guerres, croisades, colonisations…

Aujourd’hui, les catastrophes naturelles telles que les séismes, les éruptions et les épidémies ne sont plus perçues comme le prélude à une punition divine. Mais le progrès a créé de nouvelles manières d’envisager le monde et sa destruction potentielle : la bombe atomique ou le génie génétique sont autant d’inventions humaines susceptibles de se retourner contre leurs créateurs…

Apocalypse et fin du monde partie 2/3 par nouveau-monde

Apocalypse et fin du monde partie 3/3 par nouveau-monde

This is the new subject of my next collection project ...

vendredi 23 décembre 2011

CHANEL Paris-Bombay Métiers d'Art 2011/12

I always like to find out what's happening behind the «Maison Haute Couture». Honestly, the work done by these "petites mains" is an incredible beauty ... I let you discover this show .....