Model: Lucky Blue Smith
Photographer: Sebastian Kim
GQ, January 2016
Model: Lucky Blue Smith
Photographer: Sebastian Kim
GQ, January 2016
From left: Anne (Russia) in dress and hat, Nina Ricci. Blouse, Miguel Adrover. Natasha (former Yugoslavia) in bodice, Imitation of Christ. Blouse, Prada. Petticoat, What Comes Around Goes Around. Jeans, Levi’s. Headscarf, Dolce & Gabbana. Socks, Gaultier Paris. Liliana (Mexico) in jacket, Dolce & Gabbana. Stripped jeans, Christian Dior. Hair pieces, M.S. Schmalberg. Kae (Japan) in kimono Jean-Paul Gaultier. Dress, Salvatore Ferragamo. Aline (Japan and Brazil) in top and pants Gaultier Paris. Audrey (France) in dress Yves Saint Laurent Haute Couture. Stella (UK) in jacket Dolce & Gabbana. Tank Michael Stars. kilt, Gold Label by Vivienne Westwood. Carmen (Estonia) in dress Miu Miu. Alek (Sudan) in pants Giorgio Armani. Jewelry, Craft Caravan. Karolina (Czech Republic) in dress, Marc Jacobs.
From left: Lya (Ethiopia) in dress, Christian Dior Haute Couture. Anouck (Belgium) in jacket and skirt, Veronique Branquinho. Madelaine (Spain) in jacket and dress, Gaultier Paris. Sharon (Israel) in caftan, Missoni. Marcelle (Brazil) in bikini Tom Ford for Gucci. Headdress, Pau Brasil. Rohini (India) in skirt OMO Norma Kamali. Rings, Chanel Haute Couture. Bracelets, Erickson Beamon. Maggie (USA) in top OMO Norma Kamali. Miniskirt, Dolce & Gabbana. Mariacarla (Italy) in dress Dolce & Gabbana. Pin, J.M. Schmalberg. Mini (Sweden) in blouse, Dolce & Gabbana. Corset, OMO Norma Kamali. Skirt, Miguel Adrover. Boots, Prada.
Fashion editorial inspired by John Lennon‘s song. Photos by Patrick Demarchelier. Harper’s Bazaar, December 2001
Tim Walker and actress Tilda Swinton created a series of phantasmagorias inspired by artists Salvador Dalí, Giorgio de Chirico, Remedios Varo, Leonora Carrington, and other muses and collaborators of English eccentric, poet, and surrealist collector Edward James.
Fei Fei Sun made history as the first Asian model to grace the cover of Vogue Italia (January 2013 issue) and fittingly the fashion team lead by photographer Steven Meisel used legendary model China Machado as inspiration for the editorial. China was the first non-Caucasian model to grace the cover of Harper’s Bazaar in 1958.
Leading model Fei Fei Sun enchants in retro-inspired looks, channeling Avedon’s muse. Fashion editor Lori Goldstein did choose a selection of sumptuous pieces from the likes of Valentino, Miu Miu, Gucci and Giorgio Armani for the Chinese beauty to wear. Guido created elegant coifs while makeup artist Pat McGrath was responsible for the brunette’s dramatic eyes.
Franca Sozzani told: “We put Fan Bingbing on the cover of L’Uomo Vogue and we dedicated an entire issue to China. In the past, we’ve done many shoots with Asian girls, with photographers like Peter Lindbergh or Steven Meisel or Craig McDean.” She called this cover by Meisel “extravagant, eccentric, and elegant … showing a new chic mood in fashion and how the Asian girls have a classy and special beauty.”
Fashion: Vera Wang’s silk lace dress. Erdem habit; Early Halloween vintage lace. Beauty: Dolce & Gabbana Perfect Finish Powder Foundation in Warm; Smooth Eye Colour Duo in Cinnamon; Secret Eyes Mascara in Coffee; Classic Cream Lipstick in Petal; Fekkai Advanced Salon Technician Highlight Care Illuminating Cream
Fashion: Gucci’s silk georgette dress. Freire flower.Beauty: SK-II Skin Signature Cream; Dolce & Gabbana Makeup Perfect Finish Creamy Foundation in Ivory; Smooth Eye Color Quad in Femme Fatale; Secret Eyes Mascara in Coffee; Classic Cream Lipstick in Ultra
Balenciaga by Nicolas Ghesquière’s black and tan silk and cotton dress; I.D. Sarrieri’s black silk bra and briefs. Balenciaga by Nicolas Ghesquière hat; Shaneen Huxham gloves; Wolford hosiery; Céline shoes
Photography by Steven Klein
Styled by Edward Enninful
Stefano Pilati’s 2004 debut at Yves Saint Laurent (Brand)—hot on the heels of Tom Ford’s sensational departure from the exalted French house—was one of the most anticipated in fashion history. The debonair Italian, then a relative unknown, was the third in a string of designers-cum-dauphins charged with the seemingly impossible task of maintaining a covenant with Saint Laurent’s epic legacy while creating new codes that would give the label contemporary relevance.
“There is nothing that Saint Laurent didn’t think of first,” Pilati said, upping the ante even further.
So how did the Prada– and Ford-trained designer tackle the challenge? With stubborn individuality. In seasons of hypersexed fashion, he showed polka dots and body-enhancing, ruffled dresses that, he said, “came from a memory of Saint Laurent in the late seventies.” Many critics balked, but time proved that Pilati was simply ahead of the curve. Notable case in point: the much-copied tulip skirt, which exerted a major influence on subsequent seasons’ silhouettes. “I think what maybe people objected to was that it was quite extreme,” said Anna Wintour of Vogue. “But you need the extremes to move people’s eye.” That first collection, she said, “didn’t look like anyone else’s.”
Pilati continued to stand apart, a latter-day Don Quixote pursuing a vision of grown-up, very French elegance. The fall 2007 and 2008 collections, particularly, were considered breakthroughs for their clarity of conception and purity of form. Critics occasionally remarked, however, that his work was too reverential to the past, that it relied too heavily on Yves-isms. “To me,” he countered in 2005, “it’s simply newer to be classic than transgressive.”
Shortly before the fall collections were mounted in 2012—and after months of rumors—the Saint Laurent company announced that Pilati was stepping down. Although his tenure was broadly respected and considered a success, he had failed to reach the starry brilliance of his predecessors.
Within a few months, however, the press was abuzz again (if perhaps at a slightly lower decibel level) with the news that he would pilot the Italian menswear label Ermenegildo Zegna and its sister brand, Agnona. Those truly in the know were probably not terribly surprised that Pilati would make this Lazarus-like return: A onetime heroin addict—who got his start as a teenage usher at fashion shows in Milan—the tattooed designer is clearly a man of considerable grit. “Work is my salvation,” he once said.
‘All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.’
As You Like It
Music wakes us. Music makes us see the hidden, join the broken. Look and listen. See the flowers, how they ray their redness, whiteness, silverness and blue.
We act different parts; but are the same.
Books are the mirrors of the soul
She liked to leave a theatre knowing exactly what was meant…
They never pulled the curtains till it was too dark to see, nor shut the windows till it was too cold. Why shut out the day before it was over? The flowers were still bright; the birds chirped. You could see more in the evening often when nothing interrupted, when there was no fish to order, no telephone to answer. Mrs. Swithin stopped by the great picture of Venice–school of Canaletto. Possibly in the hood of the gondola there was a little figure–a woman, veiled; or a man?
Then the curtain rose. They spoke.
“Between the Acts”
Sabbles woz 'ere
La Via Del Estilo
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