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 .....
samedi 17 décembre 2011
mardi 13 décembre 2011
The Belgian Photographer Submerges French Siren Isild Le Besco in his Latest Short
Photographer and filmmaker Pierre Debusschere collaborates with striking French ingenue Isild Le Besco in his latest emotive fashion film, The Lake. Filmed in Templeuve, a picturesque village in northern France, the beautifully crafted montage depicts the actress being enveloped by a pool of water to an ominous countdown courtesy of songwriter Valerie Leclercq from the atmospheric sister duo Half Asleep. Transformed into a mythical sea creature through metallic, opulent and fish scale-y looks dreamed up by stylist Robbie Spencer, Le Besco welcomed the "opportunity to wear magnificent, daring dresses that I would probably never have had the opportunity to wear in cinema movies.” A personal project conceived in honor of his move to Art + Commerce, Debusschere’s decision to cast Le Besco, one of France’s most promising young actresses, stemmed from his desire to evoke both beauty and sentiment. “She is always intriguing in every role that she plays,” he muses. “She has a really particular face, a very recognizable face, and just by looking at her you instantly get emotion.”
(source: http://www.nowness.com/day/2011/11/24/1743/pierre-debusschere-the-lake)
The spirit ofe this video really touch me...
(source: http://www.nowness.com/day/2011/11/24/1743/pierre-debusschere-the-lake)
The spirit ofe this video really touch me...
Molloy & Sons: Heritage Tweed
Reflections On the Emerald Isle Landscapes That Inspire Authentic Donegal WeaveFilmmakers Jamie Delaney and Keith Nally’s beautiful short, made in collaboration with heritage enthusiast and Acne Paper Editor Charlotte Rey, profile one of the last surviving weaving mills, Molloy & Sons. Based in the windswept County Donegal, Ireland, current father and son duo Sean and Kieran Molloy have a pedigree dating back over six generations and weave premium tweed from the famous Donegal yarn. “I think that with old crafts which are indigenous to areas like this, it’s really hard to divorce them from their landscape,” says Delaney. Over the course of three days’ filming, Delaney and Rey captured the family’s impressive artisanal skill and dedication to a dwindling industry. Amidst the bleak but beautiful scenery surrounding the mill, the textile masters explained how their authentic Donegal weaves were inspired by the muted tones and flecks of color in the local heather, bracken and wild flowers. “Tweed is part of the cultural DNA in a sense; it’s been there for generations and it’s a pillar of a fabric industry that is now disappearing,” says Rey. “What should really be shining through is the love and the passion of these people.”
Florence + The Machine - No Light, No Light
The video for Florence And The Machine’s new single ‘No Light, No Light’ is at the centre of a race row after its makers were accused of espousing ‘white supremacist’ views.
A piece entitled ‘White Supremacy all dressed up in a pop video is still White Supremacy’, posted on Racialicious.com, has suggested that the video is packed full of “racist imagery”.
Directed by Icelandic duo Arni & Kinski, the video sees Florence Welch pursued by a man in black body paint, practising ‘voodoo’. Racialicious writes that the video is guilty of “glorifying the white female central character as representing goodness, all while vilifying the evil dark skinned heathen Other".
The piece goes on to say: “Discussions about whether or not Welch is personally responsible for this racist music video have cropped up. When you break it down and imagine the number of people who were behind the storyboarding, choreographing, casting and creative direction around this video, it is slightly astounding that not one person raised concerns about how problematic this video is.”
The video’s depiction of ‘voodoo’ is also highlighted by Jezebel.com, who question the video’s representation of “Vodoo as an evil, primitive version of witchcraft”, explaining that “it's a religion like any other, with a moral code, gods and goddesses. Many ceremonies deal with protection from evil spirits".
Florence’s fans however have rushed to her defence. “I don’t think Florence is racist. She is a woman who loves soul, respects black artists, regularly cites them amongst her hugest influences," writes Getaway Girl on Tumblr.
On the Popjustice.com message board, Rabbit Hearted Girl says: “I think the main flaw in the whole racism argument is that the 'evil black guy' is actually green.” Meanwhile Antonym on Jezebel.com writes: “It seems to be more like lazy music video imagery than a concerted effort to be racist."
(source: http://www.nme.com/news/florence-and-the-machine/60554)
I don't think that's a racist video. I think we should stop thinking that's there are always something bad in the inoffenssive things.... I pretty love this song, and the artistic direction is well done. I love the esotherical's spirits...
mercredi 7 décembre 2011
LONDON, December 7, 2011
By Tim Blanks
For Spring, fashion's rearview mirror reflected the sheen and glamour of the Jazz Age, but with Burberry's new pre-collection, Christopher Bailey dialed forward a few years to the pre-WWII thirties. Not Hollywood escapism, mind you, but true Brit grit, reflected in strict silhouettes, honest fabrics, and modest, almost demure details. For instance, cashmere intarsias featured the humble sparrow and the pigeon. In the spirit of play, all that was missing was a packet of bread crumbs. Elsewhere, the focus was firmly on serious, tweedy tailoring. Jackets had harder, extended shoulders and nipped waists, sometimes with a bell peplum. Knee-length skirts were lean, often flaring into a fluted hem. Polka-dotted chiffon blouses had pussy bows or puff sleeves and covered buttons.
The dark color palette told its own sober story: sage, bracken, lavender, charcoal, pewter. They meant the ruched evening gowns pointed to austerity rather than opulence. But hang on a minute—there's plenty of new documentation about the heady times had by London's demimonde both immediately before and during the war. Those gowns, with their slit bodices and slashed skirts, also had a wanton quality that suggested wingdings at the city's grand hotels. And, at the end of her wild night out, Bailey's pre-war party girl could grab her enameled Deco minaudière, throw a tweed mink over her bare shoulders, and head out into the fog.
(source:http://www.style.com/fashionshows/review/2012PF-BURBERRY/)
By Tim Blanks
For Spring, fashion's rearview mirror reflected the sheen and glamour of the Jazz Age, but with Burberry's new pre-collection, Christopher Bailey dialed forward a few years to the pre-WWII thirties. Not Hollywood escapism, mind you, but true Brit grit, reflected in strict silhouettes, honest fabrics, and modest, almost demure details. For instance, cashmere intarsias featured the humble sparrow and the pigeon. In the spirit of play, all that was missing was a packet of bread crumbs. Elsewhere, the focus was firmly on serious, tweedy tailoring. Jackets had harder, extended shoulders and nipped waists, sometimes with a bell peplum. Knee-length skirts were lean, often flaring into a fluted hem. Polka-dotted chiffon blouses had pussy bows or puff sleeves and covered buttons.The dark color palette told its own sober story: sage, bracken, lavender, charcoal, pewter. They meant the ruched evening gowns pointed to austerity rather than opulence. But hang on a minute—there's plenty of new documentation about the heady times had by London's demimonde both immediately before and during the war. Those gowns, with their slit bodices and slashed skirts, also had a wanton quality that suggested wingdings at the city's grand hotels. And, at the end of her wild night out, Bailey's pre-war party girl could grab her enameled Deco minaudière, throw a tweed mink over her bare shoulders, and head out into the fog.
(source:http://www.style.com/fashionshows/review/2012PF-BURBERRY/)
mardi 6 décembre 2011
CHANEL PARIS-BOMBAY
PARIS, December 6, 2011
By
Karl Lagerfeld has never been to India. "It's much more inspiring not to go to places than to go," he said today after a Chanel presentation that spectacularly evoked the sights, smells, and sounds of the last days of the Raj. OK, Michel Gaubert's sitar-free soundtrack might have been a stretch (unless the Raj was rocking to David Lynch's new album), but the towering tiers of fruits, sweets, and flowers that filled the center of the room definitely had a sense of palatial excess. They were circled by a toy train bearing decanters of…what was it that maharajas drank? scotch?…which rang true as a decadent detail, conveying the notion of a privileged few playing while empires crumbled. Sound familiar?
Lagerfeld resisted such topical insinuations, but he did concede that fashion historically tends to come into its excessively creative own during difficult economic times. A perfect moment for him, in other words. And this collection, an annual salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes.
It's easy to imagine a canny designer making the decision to aim such shine and glitter at an emergent market feeling its fashion oats (I'm talking about India, BTW), but Lagerfeld's post-show declaration that bling was dated made it clear that he had something else on his mind. The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively expensive to make them at home. Lagerfeld's fiendish plan was to flip the equation, so that everything that looked intricately Indian was actually made by Chanel's ateliers in Paris. That was some kind of tour de force.
All that aside, Paris and Bombay blended beautifully in pearl-swagged tweeds, in a raw silk tunic over leggings (they were actually sinuously bootlike, so we should probably call them beggings or loots), in sheer paisleys, or side-draped asymmetry in ivory silk. The elegance of a lightly peplumed jacket and matching skirt in ivory silk had absolutely nothing to do with geography. It was simply French chic. Not everything worked—there was a queen-of-the-fairies moment that felt like a malfunction of Florence's machine—but the sheer prodigious extravagance of the dream world that Lagerfeld pours onto his catwalk collection after collection allows for the flaw—the merest flaw—once in a while.
Lagerfeld resisted such topical insinuations, but he did concede that fashion historically tends to come into its excessively creative own during difficult economic times. A perfect moment for him, in other words. And this collection, an annual salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes.
It's easy to imagine a canny designer making the decision to aim such shine and glitter at an emergent market feeling its fashion oats (I'm talking about India, BTW), but Lagerfeld's post-show declaration that bling was dated made it clear that he had something else on his mind. The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively expensive to make them at home. Lagerfeld's fiendish plan was to flip the equation, so that everything that looked intricately Indian was actually made by Chanel's ateliers in Paris. That was some kind of tour de force.
All that aside, Paris and Bombay blended beautifully in pearl-swagged tweeds, in a raw silk tunic over leggings (they were actually sinuously bootlike, so we should probably call them beggings or loots), in sheer paisleys, or side-draped asymmetry in ivory silk. The elegance of a lightly peplumed jacket and matching skirt in ivory silk had absolutely nothing to do with geography. It was simply French chic. Not everything worked—there was a queen-of-the-fairies moment that felt like a malfunction of Florence's machine—but the sheer prodigious extravagance of the dream world that Lagerfeld pours onto his catwalk collection after collection allows for the flaw—the merest flaw—once in a while.
It was to day! the défilé Chanel for pre-fall s'collection. For the moment, I have some pictures, but I will post the video soon!
lundi 5 décembre 2011
Untitled by Postvernissage
Untitled from post vernissage on Vimeo.
I like the idea of a piece of clothes that you can transformed as you want. I thik that's the future of fashion.
LATVIAN SCIENTISTS DEVELOP PROTOTYPE JACKET WITH ELECTRICAL GENERATOR
By WGSN Newsteam, 21 September 2011
A team of Latvian scientists have developed a prototype jacket embedded with a new technology that uses body movement to generate enough electricity to power electronic gadgets.
The scientists at claim that their innovation uses a reduced wire coil in the sleeves of the jacket which allows electromagnetic induction to generate electricity from the wearer's motion, Deutsche Welle reported.
Some 16 interconnected 1.5cm coils and a microelectronic transformer are placed either side of the jacket with magnets placed at the end of the sleeve. “[Enabling] the natural motions of our hand movements to be transformed into electrical energy,” said Juris Blums, a physicist on the team.
According to Blums, the average person's walking speed is around five km per hour, meaning that a pedestrian can generate 200 to 300 microwatts every 60 minutes, enough to power an iPhone in several hours.
“The more coils there are the faster the jacket can produce electricity”, he added. But there are limitations, since too many coils will start to deform the cloth.
One alternative is to adapt the coils into decorative features of the clothing. “[It] can be hidden in a crocheted apple or in a star made using different embroidery techniques,” said Aumsa Vilumsone, a textile professor at the University, who is also involved in the project.
The team said it would need at least a year before it is released as a commercial product as they are currently researching ways to make the design airtight, which would make the technology water-resistant and the garment washable.
They are also exploring military applications which could potentially allow soldiers to “go into the field without the added weight of rechargeable batteries”.
(source: http://www.wgsn.com)
I like the idea of recharging his ipod am! Finally, I will not have this problem .... However, this will be even better for the environment!
A team of Latvian scientists have developed a prototype jacket embedded with a new technology that uses body movement to generate enough electricity to power electronic gadgets.
The scientists at claim that their innovation uses a reduced wire coil in the sleeves of the jacket which allows electromagnetic induction to generate electricity from the wearer's motion, Deutsche Welle reported.
Some 16 interconnected 1.5cm coils and a microelectronic transformer are placed either side of the jacket with magnets placed at the end of the sleeve. “[Enabling] the natural motions of our hand movements to be transformed into electrical energy,” said Juris Blums, a physicist on the team.
According to Blums, the average person's walking speed is around five km per hour, meaning that a pedestrian can generate 200 to 300 microwatts every 60 minutes, enough to power an iPhone in several hours.
“The more coils there are the faster the jacket can produce electricity”, he added. But there are limitations, since too many coils will start to deform the cloth.
One alternative is to adapt the coils into decorative features of the clothing. “[It] can be hidden in a crocheted apple or in a star made using different embroidery techniques,” said Aumsa Vilumsone, a textile professor at the University, who is also involved in the project.
The team said it would need at least a year before it is released as a commercial product as they are currently researching ways to make the design airtight, which would make the technology water-resistant and the garment washable.
They are also exploring military applications which could potentially allow soldiers to “go into the field without the added weight of rechargeable batteries”.
(source: http://www.wgsn.com)
I like the idea of recharging his ipod am! Finally, I will not have this problem .... However, this will be even better for the environment!
Michel Brisson
Depuis son ouverture en 2002, la boutique Michel Brisson réconcilie les hommes avec la mode grâce à des vêtements chic et tendance qui leur donnent fière allure. Michel Brisson prend la mode masculine très au sérieux. Chaque année, il assiste aux grands défilés de Paris, de New York et de Milan et à d’autres présentations du genre afin d’offrir à sa clientèle les collections des plus grands créateurs et des plus grandes marques de prêt-à-porter masculin. Quel que soit le style recherché, la boutique Michel Brisson tient tous les articles nécessaires pour permettre au mâle moderne d’avoir une garde-robe à ses couleurs, à sa mesure. Complets, cravates, jeans, tenues sport, looks avant-gardistes… Michel Brisson comble tous les besoins avec des fringues exclusives de griffes aussi réputées que Neil Barret, Dries Van Noten, Ermenegildo Zegna, Nudie Jeans, Tiger of Sweden et bien d’autres encore. Au besoin, un tailleur émérite effectue les retouches requises afin que chaque tenue tombe parfaitement et rende séduisant au possible celui qui les porte.
D’ailleurs, il suffit de mettre les pieds dans la boutique rue Saint-Paul, dans le Vieux-Montréal, pour aussitôt apprécier le raffinement du propriétaire. Les espaces, aménagés avec soin par Saucier + Perrotte Architectes, mettent la marchandise en valeur à merveille et procurent aux clients une expérience de magasinage extrêmement plaisante. Primé pour son excellence, leur design a de fait permis à la boutique d’être l’objet d’une belle couverture dans plusieurs publications internationales. Quand il est question de style, indéniablement, Michel Brisson sait faire!
Pull, shirt: 380 à 1350 $
Blazer: 1250 à 3950 $
Coat: 1175 à 12 475 $
Coat: 1175 à 12 475 $
OGILVY- LOUIS VUITTON
(source: http://www.ogilvycanada.com/en/ogilvy-profile.php)
I went to this giant of luxury in Montreal, specifically at Louis Vuitton, which reopened recently. I love the classic brand, I find that in their new space, we note that classic ambiance and warm.
1307 Sainte-Catherine Street West (corner de la Montagne)
Montreal, Quebec, Canada
(514) 842-7711
Shirt, cardigan: 140 à 925 $
Dress: 479 à 999
Skirt: 155 à 425
Pants: 249 à 745
Coat: 379 à 2199 $
Philippe Dubuc
Since his debut in 1993, Philippe Dubuc has had a passion for the dressmaking profession. “I am in a constant evolution with modernism and urban contrasts”, indicates Philippe Dubuc. “The identity of a city begins with its creators and from their free development.” His creativity and versatility are what inspires him to create complex collections. The Philippe Dubuc style is precise and is distinguished by his well-kept finishings, his mineral tones, and his textured and modern textiles that is reminiscent of the urban hunter and the romantic rebel.Philippe Dubuc’s universe is lived by individuals of undisputable labels. The media were first to pay tribute to his work. Celebrities of the artistic world then followed suit by increasing the spotlight on his work. The rewards, recognitions, and invitations from abroad and sponsorships succeeded one another. During this vibrant path, the Philippe Dubuc boutique on St-Denis Street grants this Quebecois designer a privileged space amongst other big names in fashion. He shares with his partner Marie-Claude Gravel the desire to put on the forefront – Quebecois creativity and excellence.
I had never entered the store of Philippe Dubuc on St-Denis. I call this physical experience extraordinary. I have no words to describe this universe. I really love this shop, I recommend to all.
shirt, t-shirt : 380 à 1350 $
Blazer, jacket: 1250 à 3950 $
Coat: 1175 à 12 475 $
Coat: 1175 à 12 475 $
Boutique U&I
For more than 12 years now, Boutique U&I has maintained itself as one of Montreal's premier fashion destinations. Now with 2 locations: One on St. Laurent Blvd and the other in Old Montreal, the shop is a unique blend of heritage brands, Montreal and Canadian designed products, and well known International designers. Have visited this store before, I love this place, I find by cons, the address on St-Laurent longer worth visiting. When I go to the Old Montreal, I was not very impressed. However, the clothes they find there, are exclusive. I recommend this store to include a shopping spree.
Price range:
pull, t-shirt : 160 à 225$
pants and skirt: 199 à 460 $
coats: 350 à 1295 $
dress: 120 à 295 $
St. Laurent Old Montreal
3650 St. Laurent Homme / Femme 215 St. Paul west Homme / Femme
Montreal, Quebec H2X 2V4 Montreal, Quebec H2Y 2A1
Tel 514 844 8788 Tel 514 508 7704
Fax 514 844 6188
Boutique Cahier D'exercices
ABOUT Cahier d'excices
The Cahier d’Exercices ethos is simple – to consistently offer an eclectic and avant garde mix of international runway designers infused with up and coming talent sourced from around the world. Housed in an exceptional retail space located in the heart of historic Old Montreal, designed by Gilles Saucier for Saucier + Perrotte, Cahier d’Exercices is positioning itself as the ultimate women’s fashion destination where outstanding service, unrivalled quality, and an appreciation for the ethereal collide.
(source:http://cahierdexercices.com/about-us)
I was surprised by the disign of the shop, I think that's a factor that pushes me to go shopping in this area. I think he stands out from other area where you can find designer's clothes. I was also surprised by the exclusivity that gave us the store: Balenciaga, Maison Michel, Dries Van Notten....Really a place to discover.Shirt, T-shirt: 310 à 840 $
Pants: 190$
skirt: 350 à 420$
Dress: 460 à 1350 $
369 St. Paul O
Montreal, Quebec
H2Y 2A7
Montreal, Quebec
H2Y 2A7
Boutique DUO
A Few Words About Duo
Duo opened its doors in March 2003. We quickly emerged as the premier destination for men's fashion and masculine design in Montreal. Duo is now recognized as a one-stop destination for suits, denim and accessories.We are renown for our exclusive lines, unique pieces and hard-to-find items. A comfortable shopping environment, the boutique was selected as a 2004 Commerce Design Montreal Winner for store design / concept.
Duo's commitment to personal service keeps its loyal clientelle coming back again and again. This attention to detail has even been known to attract a celebrity or two...
(source:http://www.boutiqueduo.com/about)
I fell in love with this store on Prince Arthur Street. However, I was a little disappointed with their website. However I have found several things that I put on my shopping list.
Boutique Duo
30, rue Prince-Arthur O, Montréal, QC H2X 1S3 http://www.boutiqueduo.com/
Cardigan, Shirt, T-shirt: 140 à 925 $
Blazer, Jacket: 479 à 999
Pants: 249 à 745
Coat: 379 à 2199 $
vendredi 2 décembre 2011
Lady Gaga - Marry The Night (Official Video)
I think Lady Gaga touching in her role, I find it brings a new life in this medium (clips) with his fans ... It provides a very theatrical experimental side. I have the atmosphere of the video, and the references it brings. It operates perfectly self-fiction.
jeudi 1 décembre 2011
Rankin launches new magazine and digital platform The Hunger
Supported by the Dazed Group, The Hunger, and its counterpart The Hunger TV, is a new, self-published,biannual fashion and lifestyle magazine which aims "to incite the creative hunger inside us all", while providing a platform for emerging creative talent.With a strong visual style, The Hunger will feature individuals from the worlds of art, fashion, music, design and drama who are excelling in their areas in interesting and unusual ways.Articles on art, design, architecture, entertainment, literature, travel and world affairs will be featured alongside imagery shot mainly by Rankin himself.Issue one includes interviews with stars such as Rhys Ifans, Terence Stamp, Ray Winstone, Danny Dyer, Hayley Atwell, Plan B, Michael Sheen and Sally Hawkins, as well as fashion stories featuring Kelis, Kelly Rowland, Sky Ferreira, Milla Jovovich, Erin O’Connor and Heidi Klum.Each issue is set to be published with a choice of male or female cover star. For issue one, a choice of Rhys Ifans or Sky Ferreira is available.Online, The Hunger TV will be updated weekly with exclusive content, including documentaries, filmed interviews and fashion films.“The Hunger is an idea that was born from the realisation that, more than two decades into my career as a photographer, I am still inspired by what I do every day. I named my first retrospective exhibition Visually Hungry – that’s how I felt. In a lot of ways, it is how I think I’ll feel until I die,” said Rankin.To coincide with the launch, an exhibition is being held at Rankin's Annroy gallery, showcasing the photographer's latest work. It will open towards the end of November and run for four weeks.The Hunger and The Hunger TV launched on November 17 2011. For more information visit http://www.hungertv.com/
(source:WGSN)
mardi 29 novembre 2011
Evanescent Metamorphoses
Evanescent Metamorphoses is a film created by Karl Lagerfeld for the Fall-Winter 2011/12 Pre-collection.
Karl Lagerfeld plays on the ambiguity between masculine and feminine. In a dreamlike atmosphere, he films model Kristina Salinovic, whose initially androgynous look becomes increasingly feminine as her numerous metamorphoses take place.
Karl Lagerfeld plays on the ambiguity between masculine and feminine. In a dreamlike atmosphere, he films model Kristina Salinovic, whose initially androgynous look becomes increasingly feminine as her numerous metamorphoses take place.
LA SEINE- Vanessa Paradis et M
Chanson extraite de la bande son originale du film « Un Monstre à Paris »
Vanessa Paradis porte une robe de la collection Prêt-à-Porter Printemps-Été 2011 spécialement réalisée par Karl Lagerfeld.
Vanessa Paradis porte une robe de la collection Prêt-à-Porter Printemps-Été 2011 spécialement réalisée par Karl Lagerfeld.
lundi 28 novembre 2011
Chanel | Spring Summer 2012 | Focus on Acessories/Details
Voici les close up de la collection Chanel S|S 12. Ces details sont directement reliés à mon thème des fonds marins.
A Villa with Relating Architecture and Nature
Carl-Johan Smedshammar cooperates with Andres Holmberg Architects to design this villa. The villa is located in Vallentuna, Sweden. The villa shows its beauty by relating architecture and nature. The villa is surrounded by oak trees and sits a top of a small hill, with views nearby lake. The exterior of the villa is very interesting. Then the interior are bright and large and has nice decoration. The bookcase with many storage places gives calm sensation to the entire rooms. The outdoor balcony is really good for meditation.
It's really mysterious to see that the more a man is being modernized, the more it gets closer to nature in itself. It is quiet small houses that are built to move away from the city, the city short of its own corruption, because in the words of Jean Jacques Rousseau: "Man is born naturally good, it the society that corrupts. "
Inspiring video
Oscar ZabalaAfter high school I spent a couple years on the road touring in a band called Rodeia with my best friends.. I got to see the world and meet a lot of amazing people. Then I ran away to the circus... I graduated from The Creative Circus in Atlanta, GA on June 2009. While I was there I also scouted for new artist at Columbia Records. At school I was awarded the AAA Art Director Scholarship, and over 40 Gold, Silver, and Bronze awards including Best of Show, and the Student Choice Award. I was snatched up by an agency called Baldwin& so the school graduated me a little earlier than planned. I was asked to come to Baldwin& as one of four founders, and spent a year learning from one of the most awarded, and nicest creatives in the business, David Baldwin. I wore many many hats while I was there, and am thankful for it. Now I'm pursuing that whole "dream" thing in NYC. Overall, it's been good times thus far.
Inspiring video
Model turned jewelry designer Nicole Trunfio debuts her latest collection in a film directed by Jenna Elizabeth and Oscar Zabala modeled by Zen. Shot on location at Seth Sabal studio.
(source:http://fashiononfilm.wmag.com/fashion-films/1/14/eight-and-a-half)
GLORIFICATION OF THE NATURE-S O M E T H I N G E L S E - C A S T A W A Y
Something Else - Castaway from Lorin Askill on Vimeo.
Lorin is a Sydney based director, editor and creative collaborator who has worked both in Australia and overseas. He has been directing and editing commercials, music videos and other short and long form projects for over 5 years and has worked in the creative world since 2002.
Since graduating from the College of Fine Arts in Sydney, Lorin gained representation as a director with Collider Sydney and more recently Caporal Paris. He has created work for a variety of companies including BMW, Sony Ericsson, XBox, Nescafe, Acne, Sydney Dance Company and many others both as a director and collaborator with brother Daniel Askill. As an editor Lorin has worked freelance with a number of other production and post companies including Radical Media and Animal Logic.
Nature and man will become one for next season. this is what I can conclude with my observation. One can easily see how the theme of nature and the water is recurring this season. It does not involve the only fashionable as can be seen in the video below, one associates it with the decoration, to alcohol, food ... and so on. water is a recurring thread of the season.
Lorin is a Sydney based director, editor and creative collaborator who has worked both in Australia and overseas. He has been directing and editing commercials, music videos and other short and long form projects for over 5 years and has worked in the creative world since 2002.
Since graduating from the College of Fine Arts in Sydney, Lorin gained representation as a director with Collider Sydney and more recently Caporal Paris. He has created work for a variety of companies including BMW, Sony Ericsson, XBox, Nescafe, Acne, Sydney Dance Company and many others both as a director and collaborator with brother Daniel Askill. As an editor Lorin has worked freelance with a number of other production and post companies including Radical Media and Animal Logic.
Nature and man will become one for next season. this is what I can conclude with my observation. One can easily see how the theme of nature and the water is recurring this season. It does not involve the only fashionable as can be seen in the video below, one associates it with the decoration, to alcohol, food ... and so on. water is a recurring thread of the season.
GLORIFICATION OF THE NATURE- Yana Toyber
Hide and seek from yana Toyber on Vimeo.
Yana Toyber doesn't remember the two years she spent in her native Ukraine before her parents moved to Brighton Beach, but her photography nevertheless betrays an outsider's eye, a hard-edged Eastern-bloc poetry. Her sense of grace and form—specifically the female form—was honed in part at the School of American Ballet, which she attended on scholarship as a teenager. A graduate of the School of Visual Arts, Yana has flitted through Manhattan's art and fashion circles for more than a decade, chronicling the city's culture and nightlife for such publications as The Fader and Vanity Fair. Her work has appeared in museums and galleries including the International Center of Photography, Kodak Eastman House, and the Soho photo gallery. She has been profiled in W, Zoo, and Modern Painters. She lives with a monster.
The kings Dollmaker from yana Toyber on Vimeo.
I find this truly brilliant artist, I can also see the trend of glorification of nature in his work. By the atmosphere and environment in which seats are his videos.
ASVOFF BEAUTY PRIZE - Waters de Kira Lillie
“Waters”
The film is born from the understanding of the power, the symbolism and the purification that water portrays throughout religion, and not only religion, but spirituality as a whole. Water, such a precious liquid, perfectly conveys that which is essential, and brings with it immense power. This film is about unifying religions, through the common thread of water, the power of “Self” and self-belief.
Short Director Bio
Kira Lillie grew up in Santa Cruz, California and is currently living in Paris. Kira divides her time between Directing, Photography and VK Lillie- her Jewelry line. She strives to add meaning to her creations; seeing life as an opportunity to bring conscious change.
(source:http://www.labdailyblog.com/?p=38713)
The film is born from the understanding of the power, the symbolism and the purification that water portrays throughout religion, and not only religion, but spirituality as a whole. Water, such a precious liquid, perfectly conveys that which is essential, and brings with it immense power. This film is about unifying religions, through the common thread of water, the power of “Self” and self-belief.
Short Director Bio
Kira Lillie grew up in Santa Cruz, California and is currently living in Paris. Kira divides her time between Directing, Photography and VK Lillie- her Jewelry line. She strives to add meaning to her creations; seeing life as an opportunity to bring conscious change.
(source:http://www.labdailyblog.com/?p=38713)
LADY GAGA IN THE EYES OF MUGLER
After making an erotic video for Fashion Week last man, Nicola Formichetti, the new artistic director of the house Mugler, took another step this Fashion Week Spring-Summer 2012. In fact the creator has used the famous duo of photographers Inez Van Lamsweerde & Vinoodh Matadin to stage the singer Lady Gaga through exclusive short film that aired during the parade Mugler Spring-Summer 2012 in Paris.
VOGUE us-LETTER FROM THE EDITOR
It's crazy to see that I am not mistaken in my direction from my social trend of the glorification of nature. Indeed, one of the editor of Vogue Us confirms my thesis on this trend. This trend turned towards the sea and seabed. In vogue in the month of December you can see Charlize Theron out of the water as a nymph. The editor also support my thesis by asserting that this trend can be found in several collections of top designers.
This is the article:
dimanche 27 novembre 2011
BP de retour dans le golfe du Mexique après la marée noire
Bob Dudley a toujours expliqué l’urgence de la relance de la production dans cette région par son importance dans les comptes du groupe pétrolier.
Dix-sept mois après la catastrophe de Deepwater Horizon (11 morts) et la marée noire qui a souillé les côtes américaines, BP se prépare à retrouver une cadence normale dans ses forages du golfe du Mexique.
Pour y parvenir, BP a, selon l’agence Bloomberg, déjà envoyé deux plates-formes dans la région. La compagnie devrait aussi entreprendre trois nouveaux forages avant la fin de l’année. Une information que le groupe n’a pas souhaité commenter.
Goldman Sachs avait d’ailleurs abaissé la notation du géant pétrolier pour stigmatiser l’absence de progrès dans l’évolution de la situation du forage dans cette région. Le pétrole du golfe du Mexique est au moins deux fois plus profitable que le reste de la production de la compagnie britannique. Or, après la catastrophe, le groupe avait été logiquement contraint d’en limiter la production. En 2010, quelque 250.000 barils/jour avaient été extraits, contre 390.000 barils/jour à la veille de la catastrophe.
Désormais BP, qui avait été contraint de passer une provision de 41 milliards de dollars dans ses comptes pour faire face aux conséquences de l’explosion de la plate-forme, attend la lettre d’approbation pour reprendre les forages.
(source:http://marches.lefigaro.fr/news/societes.html?&ID_NEWS=206041246)
Another link to the theme of my social trend, BP to set the underwater fauna of the Gulf of Mexico at risk. I even think I can make a connection with my previous post on 61 visionary.
Dix-sept mois après la catastrophe de Deepwater Horizon (11 morts) et la marée noire qui a souillé les côtes américaines, BP se prépare à retrouver une cadence normale dans ses forages du golfe du Mexique.
Pour y parvenir, BP a, selon l’agence Bloomberg, déjà envoyé deux plates-formes dans la région. La compagnie devrait aussi entreprendre trois nouveaux forages avant la fin de l’année. Une information que le groupe n’a pas souhaité commenter.
Deux fois plus profitable
Le nouveau patron de BP, Bob Dudley, a toujours expliqué l’urgence de la relance de la production dans cette partie du monde par son importance dans les comptes du groupe: le golfe du Mexique possède les champs pétrolifères les plus rentables de BP. Il s’agit donc non seulement de retrouver le plus rapidement possible les meilleurs niveaux de production, mais aussi de redorer l’image du groupe britannique auprès des investisseurs et accessoirement dans l’opinion publique.Goldman Sachs avait d’ailleurs abaissé la notation du géant pétrolier pour stigmatiser l’absence de progrès dans l’évolution de la situation du forage dans cette région. Le pétrole du golfe du Mexique est au moins deux fois plus profitable que le reste de la production de la compagnie britannique. Or, après la catastrophe, le groupe avait été logiquement contraint d’en limiter la production. En 2010, quelque 250.000 barils/jour avaient été extraits, contre 390.000 barils/jour à la veille de la catastrophe.
Désormais BP, qui avait été contraint de passer une provision de 41 milliards de dollars dans ses comptes pour faire face aux conséquences de l’explosion de la plate-forme, attend la lettre d’approbation pour reprendre les forages.
(source:http://marches.lefigaro.fr/news/societes.html?&ID_NEWS=206041246)
Another link to the theme of my social trend, BP to set the underwater fauna of the Gulf of Mexico at risk. I even think I can make a connection with my previous post on 61 visionary.
Thinking, and Literally Looking, Very Big
PARIS — Imagine Lady Gaga, her slender figure so elongated that she would cover half the width of a road, as measured by her image on the cover of a giant magazineOf all the performer’s covers, this Visionaire production, with its photograph of a slinky, shimmering mermaid Gaga with a tar-covered fish tail, has to be the most flamboyant. The magazine is two meters high and 1.5 meters wide, or 6 feet high and 4.8 feet wide — so large that it has just entered history in the Guinness Book of World Records.
A magazine? Aren’t those paper productions supposed to be going the way of the dodo, an endangered species in the era of the Internet?
Cecilia Dean, one of the three founders of Visionaire back in 1991, has reason to rejoice that the art/fashion combo is celebrating its 20th birthday in such good shape.
“Everyone keeps asking ‘Is print dead?’ It’s been the question of the moment for last five years,” Ms. Dean said. “Print is not dead. But it has to evolve. The challenge for a magazine is to create real physical experience for their audience. Visionaire makes more sense now than it did before.”
The editor and her founding colleagues, Stephen Gan and James Kaliardos, saw the magazine as an interactive experience long before the era of cyberspace. Issues on the subject of “smell” and “taste” literally offered those opportunities to the readers.
When Karl Lagerfeld, as guest editor, helped to develop the tasting issue, a glass vial of liquid re-created the warm smell of freshly baked bread from Paris. To take the concepts past striking visuals, there was a collaboration with International Flavors and Fragrances that included scent strips to accompany the images of the London artist Gary Hume
“The painting depicted life, so the taste was fertile soil about to blossom,” Ms. Dean said. “If there is too much water it tastes like a bog. Too dry and it is like the desert: sand with no fertility. Every morning my desk had taste strips and gel tabs that melt on the tongue. And the issue came out with packets like that.”
Other issues pushing the boundaries of print included a battery-operated “light” magazine, and an issue that had a tray of 10 toys. Rei Kawakubo of Comme des Garçons was the first guest editor, in 1996, with the magazine covered in her signature checked muslin fabric.
Visionaire was as much a student start-up as Facebook. Ms. Dean, a graduate in English and French literature; Mr. Gan, a multitasker who had been creative director and visualizer of Details magazine; and Mr. Kaliardos, who had just left Parsons school of design and was fascinated by makeup and beauty, got together to found what was then a revolutionary meld of art and fashion. But for all its imaginative content, it was still physically a classic magazine.
“When we started in 1991 it is just crazy to think it was pre-Blackberry, pre-Internet, pre-Google and desktop,” Ms. Dean said. “It was a completely different world. We were offering a forum for fashion photographers and illustrators to show their personal work. They were not accepted in art galleries, didn’t have Internet, publishing their own books was expensive and the landscape was very commercial. Yet all these people had personal work tucked in a drawer.” As a model working with photographers like Peter Lindbergh, Mario Testino and Ellen von Unworth, the would-be editor knew that personal work would be carried out after the photo shoot. That was then the source of creative and unpublished work.
“Artists now are so busy and paid so much money, we have to come to them with such a fun idea that it piques creative juices and they will make time for you,” Ms. Dean said.
Since the early days, photographers have been honored to collaborate on projects — not least Inez Van Lamsweerde and Vinoodh Matadin, who did the Gaga image. The Gaga issue, “Larger Than Life,” comes at a price. The deluxe edition is limited to 250 and costs $1,500; the smaller version, more friendly to bookstore shelves, sells at $375.
Only the support from Africa, a Brazilian advertising and media agency and its colorful owner, Nizan Guanaes, allowed it to be produced.
For those who want the joy without the bucks, the Bibliothèque Nationale de Paris has just acquired a complete collection of Visionaires. Does Ms. Dean think of more areas to conquer, like moving images, now that Vmagazine and Vman have already been spun off from Visionaire? “There is no grand plan or mission statement,” she said. “It has to be an organic project and anything creative has to come from a very personal place.”
(source:http://www.nytimes.com/2011/11/22/fashion/22iht-fmagazine22.html?_r=2&src=tp)
This article has been revised to reflect the following correction:
Correction: November 22, 2011
A previous version of this article misspelled the surname of a co-founder of Visionaire magazine. He is Stephen Gan, not Gann.
The Times article, a direct link to the theme of the glorification of nature (collection that I will go out soon). The siren envellopée tar and all the organic matter mentioned Cecilia Dean. I think it addresses the issue enjoy considerable industry of the printing press with a sense of optimism. it is true that this mode of communication is very expensive to produce, however, I love to shop in order to procure the new Dress to Kill magazine or ZINK .... I fully support the thesis of Mrs. when she says to do something physical experience to consumers .... I understand why the name of the magazine is call Visionary61!
Gareth Pugh for M.A.C by Ruth Hogben
Fashion maverick Gareth Pugh collaborates with fashion film director Ruth Hogben on this film to unveil his first make-up range, created with M.A.C. A further development from their electric collaboration for Spring/Summer 2012 and inspired by the contrast of black and white - or light and darkness - this fashion film showcases a selection of specially-fashioned faces for the twenty-first century
(source:http://showstudio.com/project/gareth_pugh_for_mac)
Direction: Ruth Hogben
Fashion: Gareth Pugh
Styling: Katie Shillingford
Make-up: Val Garland for M.A.C
Hair: Martin Cullen
Nails: Marian Newman
Soundtrack: Matthew Stone
Toujours fidèle à son style, le créateur Gareth Pugh sait toujours plaire à ses clientes (clients) que ce soit par les vêtement ou le maquillage. On peut voir dans ce film dirigé par la très talentueuse Ruth Hogben, que Gareth created with M.A.C. A further development from their electric collaboration for Spring/Summer 2012 and inspired by the contrast of black and white - or light and darkness - this fashion film showcases a selection of specially-fashioned faces for the twenty-first century.
vendredi 25 novembre 2011
Toit vert
La membrane bi-couche de bitume élastomère
Au Québec, la membrane de toiture la plus utilisée par les architectes pour les toitures commerciales et les complexes résidentiels est la membrane de bitume élastomère posée en deux couches.On les utilise depuis près de 40 ans pour réduire l'entretien et assurer une qualité plus uniforme de l’étanchéité. Aujourd'hui, plus de 50% des nouveaux toits plats réalisés au Canada sont faits avec de telles membranes. Ce sont des membranes constituées d'une couche de base et d'une membrane de finition avec des granules en surface qui protègent le bitume contre les rayons du soleil.
La technique de pose traditionnelle des membranes élastomères se fait au chalumeau. Il s'agit de faire fondre le dessus et le dessous des membranes par la chaleur pour ensuite les fusionner ensemble et créer une seule membrane continue. Dans les années 90, plusieurs incendies ont été créés par des entrepreneurs qui ne respectaient pas les recommandations des manufacturiers en matière de sécurité. Cependant, cette situation s'est grandement améliorée depuis 10 ans. Il existe des techniques de pose au chalumeau tout à fait sécuritaires. Il s’agit pour les propriétaires d’engager des entreprises qui respectent les règles de l’art recommandées par les fabricants.
La technique collée à froid
Il est aussi possible, pour la construction résidentielle, d’utiliser une nouvelle technique de pose à froid lorsque le pontage du toit est fait de bois. Théoriquement, le toit collé à froid devrait être aussi durable que la membrane soudée, cependant la durée de cette technique n'a pas encore subit l'épreuve du temps.La durée et le coût
Au Canada, la durée moyenne des membranes de bitume élastomère est de 21 ans mais une membrane bien posée sur un toit ventilé peut certainement tenir 30 ans avec très peu d'entretien. La visite automnale sur le toit demeure tout de même importante par précaution. Le coût des membranes élastomères est environ de 10% de plus qu’une membrane d’asphalte et gravier mais compte tenu de sa durée de vie beaucoup plus grande la membrane élastomère est nettement un meilleur investissement. (source:http://www.infotoitsverts.com/fr-category316/Membranes-elastomeres)
FEVER RAY
What would you do if, one decade into your career, you suddenly saw your latest release named album of the year by one of the world’s most influential music websites? If you’re Karin Dreijer Andersson, formerly singer with ‘90s pop hopes Honey Is Cool and now one half of The Knife, the answer is to take a couple of years off and return as a solo artist under a new name.
Fever Ray is the title, of both project and album, an evocation of the music’s sound, intense and anxious, yet luminous. It’s the culmination of work that began in 2007 when Karin and Olof, the brother-sister duo who are The Knife, decided to take time out following a handful of incredible live shows. Their first two albums did well in their Swedish homeland; their third, Silent Shout, went to Number One, won six Swedish Grammys, underlined their reputation as an act capable of the truly extraordinary and was pronounced the best record of 2006 by Pitchfork. Karin needed a break – she was about to have her second child – but couldn’t stop writing.
Small wonder the post-natal period proved so fertile. She composes best in that state any new parent will recognise, awake but exhausted, where reality blurs into imagination and ideas flutter in and out. “Half of what the songs are about is the subconscious,” she says, “ideas of things happening. A lot of it is like daydreaming, dreaming when you’re awake, but tired; a lot of stories come from that world. I try to write when I‘m in that state – I’m very bad at remembering later, so I have to do it right away.”
Eight months of the most productive daydreaming later, Karin had a batch of new songs and the raw materials for the production. Unsure how to get them over the finishing line, she took half to Christoffer Berg (who mixed The Knife’s work), half to Stockholm production duo Van Rivers & The Subliminal Kid for a final brush and tickle.
The result is Fever Ray, an album that, while recognisably the work of the same artist, is dramatically different from The Knife. It’s still constructed on electronic foundations and embellished with traditional instrumentation (guitar here, congas there), but Fever Ray is starker, moodier, in places quite sombre – less an invasion, more a slow process of colonisation. Not that you’ll find anything so literal in the lyrics.
Her distinctive writing process is at its most striking in ‘Seven’, where a succession of stories – some real, some imagined, but all tangentially related to that number – are obliquely referenced. That’s the way Karin writes; just enough detail to sketch the outline and splash some colour without becoming mired in anything too specific. As she says herself in the song: “I know it, I think I know it from a hymn/ They’ve said so, it doesn’t need more explanation.”
“I prefer lyrics that are like that,” she says, “I like to keep it as minimal as possible. I like films the same way, ones with very little dialogue, such as the Finnish director Aki Kaurismäki (Leningrad Cowboys Go America), I think he’s fantastic. It’s very important to keep the magic and the feeling of something you can draw yourself. You don’t want to be too literal.”
Thus ‘I’m Not Done’, one of Fever Ray’s more upbeat moments, only reveals its true meaning in its title, a gesture of defiance against Karin’s own thoughts of retirement. “That was the last song I wrote and in contrast to many tracks that are more about anxiety and depression, that one is very full of life,” she says. “Sometimes, when you’re as old as I am now, you think you’re going to quit, and people around you think you’re going to quit. But then you have days when you realise how good music can be, there’s so much left to explore and so much left to do. That’s why I sometimes feel I’ll never quit.”
You can figure out for yourself whether a song such as ‘If I Had A Heart’, which sings of “Dangling feet from window frame/ Will they ever reach the floor/ More give me more give me more”, is inspired by observing her young children. Or if ‘Concrete Walls’, despite its ghostly demeanour (that seemingly masculine vocal is, as always, Karin working the voice transformer) and sense of entrapment, is actually about new motherhood, as revealed in “I live between concrete walls/ In my arms she was so warm/ Eyes are open and mouth cries/ Haven’t slept since summer.” Or whether the regular references to snow reflect anything more profound than the national climate.
One thing’s for sure – in a country with a wealth of leftfield pop artists, Karin Dreijer Andersson sounds like no one but herself. Constantly inventive, restlessly emotive, Fever Ray swaggers, broods, intrigues and dazzles without ever making concessions to the soap opera demands of modern media. “I think the music should be able to stand for itself without interfering, like what the artist looks like. That’s something you find out during the process, it’s a steady ongoing process about how you survive. When you work with music, you have the possibility to create magic.”
Opportunity taken, Fever Ray works its magic. Here’s your chance to fall under its spell.
Words By: Steve Yates
I can feel the organic aspect musqiue in the group. Tribal sound, playing voice transports us. I love this group, it fits into my theme of glorification of nature or by the aesthetic of the videos for the lyrics.
lundi 21 novembre 2011
ALEXANDER McQUEEN-S|S 12
Sarah Burton has done an exceedingly good job at Alexander McQueen. That's not an opinion, it's a fact. Using the McQueen codes of femininity, sharp cutting and catwalk drama, she has not only upheld the legacy of Lee Alexander McQueen, but has given it her own handwriting. It's been exhilarating to watch.
But there's still a part of you that felt something was missing. There's still a part that hankered after the old McQueen danger, the chilling moments when the refined was married flawlessly with the macabre. The moments that gave you goosebumps, that made your hair stand on end with shock and awe. Burton achieved that with her Spring/Summer 2012 collection. She didn't ease up the romance, she didn't compromise the workmanship, but she combined these to a sense of showmanship and an eerie beauty that felt unequivocally McQueen.
Burton looked undersea for her inspiration this season. It's a place McQueen examined himself - his Spring 2010 Plato's Atlantis collection imagined a world of melted polar icecaps, flooded cities and evolved/devolved humanity scrambling to survive. Burton's take was woman as underseas predator. If Neptune were to take a wife, chances are she'd look just like this. 'Siren dressing' is a fashion journo stock-phrase, but Burton's women like sirens in the true mythological sense of the term - oddly alluring, fatally seductive, and utterly terrifying. Each and every one had their heads veiled, some in whisper-fine veils of lace framing the face, some obscured entirely with crystal-crusted barnacles or anemone-alike beading, faces tremblante with bugle-beads standing on end like Hellraiser's Pinhead. It was appalling, but it was also one of the most powerful catwalk statements of the season - and the most beautiful, albeit strange and warped.
I think that
The thrill factor was what was really great about this collection, but Burton is a canny businesswoman too. She didn't let the theme overpower the clothes. Rather it gave an edge to Burton's savage tailoring, exquisite embroidered sheath dresses and tatterdemalion chiffon ball-gowns floating down the catwalk like elegant algae. The latter two looked like private order and red carpet stuff, exquisite couture level (and price) pieces for editorial and the discerning clientele who can see the beauty amidst the menace. But the former was resolutely real: the curvy suiting, intricately seamed and bursting into rippled volume at the hip or hem, in beige wool bound with gold or a blue-hued multidimensional print that looked like a combination of refracted water and some aquatic reptile. They had a retail appeal, but also an engaging complexity. The evening-wear took that complexity and ran with it, producing garments that were unlike anything we've ever seen before. Coral clambered up chiffon, shells tumbled down a torso, beading formed exoskeletons over lace or tulle.
The drama of this show was palpable, but the clothes never felt secondary to the unfolding narrative as McQueen's woman descended into the depths and returned as a different creature entirely. When I say McQueen's woman, of course I mean Burton's woman. The two are now so completely fused that they have become one and the same. For this virtuoso, masterful fashion performance, I can think of no higher praise.
Report by Alex Fury on 5 October 2011.
(source: http://showstudio.com/collection/alexander_mcqueen_paris_womenswear_s_s_2012)
But there's still a part of you that felt something was missing. There's still a part that hankered after the old McQueen danger, the chilling moments when the refined was married flawlessly with the macabre. The moments that gave you goosebumps, that made your hair stand on end with shock and awe. Burton achieved that with her Spring/Summer 2012 collection. She didn't ease up the romance, she didn't compromise the workmanship, but she combined these to a sense of showmanship and an eerie beauty that felt unequivocally McQueen.
I think that
The thrill factor was what was really great about this collection, but Burton is a canny businesswoman too. She didn't let the theme overpower the clothes. Rather it gave an edge to Burton's savage tailoring, exquisite embroidered sheath dresses and tatterdemalion chiffon ball-gowns floating down the catwalk like elegant algae. The latter two looked like private order and red carpet stuff, exquisite couture level (and price) pieces for editorial and the discerning clientele who can see the beauty amidst the menace. But the former was resolutely real: the curvy suiting, intricately seamed and bursting into rippled volume at the hip or hem, in beige wool bound with gold or a blue-hued multidimensional print that looked like a combination of refracted water and some aquatic reptile. They had a retail appeal, but also an engaging complexity. The evening-wear took that complexity and ran with it, producing garments that were unlike anything we've ever seen before. Coral clambered up chiffon, shells tumbled down a torso, beading formed exoskeletons over lace or tulle.
The drama of this show was palpable, but the clothes never felt secondary to the unfolding narrative as McQueen's woman descended into the depths and returned as a different creature entirely. When I say McQueen's woman, of course I mean Burton's woman. The two are now so completely fused that they have become one and the same. For this virtuoso, masterful fashion performance, I can think of no higher praise.
Report by Alex Fury on 5 October 2011.
(source: http://showstudio.com/collection/alexander_mcqueen_paris_womenswear_s_s_2012)
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