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Chopard’s creative genius pays tribute to Nature
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Chopard’s creative genius pays tribute to Nature

Jewelry Official partner to the Cannes International Film Festival since 1998, Chopard annually unveils an Haute Joaillerie collection named Red Carpet. A great lover of Nature, Caroline Scheufele has chosen this subject as the main theme for the 2020 Red Carpet Collection. The first creations provide a foretaste of the 73 models that will compose this precious “jewellery casket” inspired by natural enchantment.        The Red Carpet Collection: an annually reiterated feat: Since the 60th anniversary of the Cannes International Film Festival, Chopard’s Haute Joaillerie workshops have annually achieved the feat of composing a collection that includes as many creations as the year of the Festival's existence. An ambitious challenge proposed by Caroline Scheufele – Co-President and Artistic Director of the Maison – to her Artisans, who represent the combined know-how of more than 30 different crafts. Today, the Chopard ateliers, located in Geneva, are the largest Haute Joaillerie workshops in Switzerland: sculptor-jewellers, lapidaries, gem-setters and polishers. From simple lines to generous volumes, from working on gold to precious stones, these talented craftsmen push back the limits of the possible and, by combining their talents, give life to the jewels in this prestigious collection. Living up to its Red Carpet name, it is destined to sparkle on the Palais des Festivals steps as it adorns the most beautiful actresses during the official presentation of their films.     Celebrating an entrancing natural environment: This year, Caroline Scheufele will unveil a range of 73 treasures. The creative soul of Chopard and initiator of its Journey to Sustainable Luxury, she has decided to celebrate the environment, along with its flora and fauna, by choosing 'Nature' as the main theme of this 13th collection.     Chopard is thus exclusively revealing the first creations stemming from the brilliant talent deployed in its workshops: an “Owl” jewellery watch featuring two dials surrounded by multicoloured sapphires forming the eyes of the nocturnal creature; a pair of “Orchids” earrings featuring incredibly natural-looking sapphire petals and tsavorite buds; “Gingko” earrings and ring composed of pear-shaped emeralds, tsavorites and yellow sapphires in shades evoking the foliage of this majestic tree; as well as a series of “Polar bear” and “Seal” diamond rings. And a “Swan” ring in Fairmined-certified ethical 18-carat white gold set with a 9.1-carat white opal cabochon (Mexico), as well as with ceramic and with brilliant-cut diamonds and sapphires.     Point of sale : Chopard Boutique - P.C. Hooftstraat 53, Amsterdam  Official partner to the Cannes International Film Festival since 1998, Chopard annually unveils an Haute Joaillerie collection named Red Carpet. A great lover of Nature, Caroline Scheufele has chosen this subject as the main theme for the 2020 Red Carpet Collection. The first creations provide a foretaste of the 73 models that will compose this precious “jewellery casket” inspired by natural enchantment.        The Red Carpet Collection: an annually reiterated feat: Since the 60th anniversary of the Cannes International Film Festival, Chopard’s Haute Joaillerie workshops have annually achieved the feat of composing a collection that includes as many creations as the year of the Festival's existence. An ambitious challenge proposed by Caroline Scheufele – Co-President and Artistic Director of the Maison – to her Artisans, who represent the combined know-how of more than 30 different crafts. Today, the Chopard ateliers, located in Geneva, are the largest Haute Joaillerie workshops in Switzerland: sculptor-jewellers, lapidaries, gem-setters and polishers. From simple lines to generous volumes, from working on gold to precious stones, these talented craftsmen push back the limits of the possible and, by combining their talents, give life to the jewels in this prestigious collection. Living up to its Red Carpet name, it is destined to sparkle on the Palais des Festivals steps as it adorns the most beautiful actresses during the official presentation of their films.     Celebrating an entrancing natural environment: This year, Caroline Scheufele will unveil a range of 73 treasures. The creative soul of Chopard and initiator of its Journey to Sustainable Luxury, she has decided to celebrate the environment, along with its flora and fauna, by choosing 'Nature' as the main theme of this 13th collection.     Chopard is thus exclusively revealing the first creations stemming from the brilliant talent deployed in its workshops: an “Owl” jewellery watch featuring two dials surrounded by multicoloured sapphires forming the eyes of the nocturnal creature; a pair of “Orchids” earrings featuring incredibly natural-looking sapphire petals and tsavorite buds; “Gingko” earrings and ring composed of pear-shaped emeralds, tsavorites and yellow sapphires in shades evoking the foliage of this majestic tree; as well as a series of “Polar bear” and “Seal” diamond rings. And a “Swan” ring in Fairmined-certified ethical 18-carat white gold set with a 9.1-carat white opal cabochon (Mexico), as well as with ceramic and with brilliant-cut diamonds and sapphires.     Point of sale : Chopard Boutique - P.C. Hooftstraat 53, Amsterdam 

Louis Vuitton presents the new men's Spring & Summer 2021 collection in Shanghai
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Louis Vuitton presents the new men's Spring & Summer 2021 collection in Shanghai

Fashion Week Resurgence is the mantra of our moment in time. Carried by hope, it conveys the act of surging: rising up, uprising, progressing. Some solve crossword puzzles. Nuance is my game. The term “manifesto” comes from the Latin word for “obvious”. Stating the obvious is not in my nature, but I am a believer in the power of documentation. As I restart my engines at Louis Vuitton and take off for a future of new possibility, I look back at my port of departure. Under my artistic direction, I see my Louis Vuitton Men’s collections as my platform of nuance. I strive to employ fashion to reflect and affect ideals of inclusivity, unity and humanity. Through nuance, I believe in making my mark with poise, style and grace.        It’s my desire to imbue the traditional codes of luxury with my own progressive values. Nuance, like sarcasm, can be difficult to understand. Every season, my team updates The vocabulary according to Virgil Abloh: A liberal definition of terms and explanation of ideas. Under ‘I’ for ‘Irony’: “The presence of Virgil Abloh at Louis Vuitton.” For all intents and nuances, I have often spelled out the interceptive reality of myself as a black man in a French luxury house. I am well aware of my responsibilities. Rather than preaching about it, I hope to lead by example and unlock the door for future generations.       Using the language of nuance, I hope the imagery speaks for itself: Dorothy from The Wizard of Oz as an ironic parallel to my journey into the fashion establishment (and a pendant to The Wiz, which re-appropriated the film with an all-black cast); Black musical icons as humanitarians whose appeals unify race, gender, culture and creed; Flower fields as a metaphor for diversity and a symbol of traditional Parisian confection ; Heaven on Earth as a surreal concept of time and progress in society. I use these images to trick the spectator’s preconceived ideas, overwrite embedded race associations, and tackle prejudice on a subconscious level. I would like it to serve as a Trojan horse for the mind. Resurgence is the mantra of our moment in time. Carried by hope, it conveys the act of surging: rising up, uprising, progressing. Some solve crossword puzzles. Nuance is my game. The term “manifesto” comes from the Latin word for “obvious”. Stating the obvious is not in my nature, but I am a believer in the power of documentation. As I restart my engines at Louis Vuitton and take off for a future of new possibility, I look back at my port of departure. Under my artistic direction, I see my Louis Vuitton Men’s collections as my platform of nuance. I strive to employ fashion to reflect and affect ideals of inclusivity, unity and humanity. Through nuance, I believe in making my mark with poise, style and grace.        It’s my desire to imbue the traditional codes of luxury with my own progressive values. Nuance, like sarcasm, can be difficult to understand. Every season, my team updates The vocabulary according to Virgil Abloh: A liberal definition of terms and explanation of ideas. Under ‘I’ for ‘Irony’: “The presence of Virgil Abloh at Louis Vuitton.” For all intents and nuances, I have often spelled out the interceptive reality of myself as a black man in a French luxury house. I am well aware of my responsibilities. Rather than preaching about it, I hope to lead by example and unlock the door for future generations.       Using the language of nuance, I hope the imagery speaks for itself: Dorothy from The Wizard of Oz as an ironic parallel to my journey into the fashion establishment (and a pendant to The Wiz, which re-appropriated the film with an all-black cast); Black musical icons as humanitarians whose appeals unify race, gender, culture and creed; Flower fields as a metaphor for diversity and a symbol of traditional Parisian confection ; Heaven on Earth as a surreal concept of time and progress in society. I use these images to trick the spectator’s preconceived ideas, overwrite embedded race associations, and tackle prejudice on a subconscious level. I would like it to serve as a Trojan horse for the mind.

Exclusive Editorial by Allan Hamitouche
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Exclusive Editorial by Allan Hamitouche

Men Exclusive new editorial captured by the lens of Allan Hamitouche.     TEAM CREDITS: MODEL : DAVID PRINCE @ 16MEN PHOTOGRAPHY : ALLAN HAMITOUCHE STYLIST : JEREMIE CHEGRANE  STYLIST ASSISTANT : GEOFFREY SAUVAGE EDITOR: TIMOTEJ LETONJA Exclusive new editorial captured by the lens of Allan Hamitouche.     TEAM CREDITS: MODEL : DAVID PRINCE @ 16MEN PHOTOGRAPHY : ALLAN HAMITOUCHE STYLIST : JEREMIE CHEGRANE  STYLIST ASSISTANT : GEOFFREY SAUVAGE EDITOR: TIMOTEJ LETONJA

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Balenciaga will open its newest flagship in Rome
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Balenciaga will open its newest flagship in Rome

Fashion On August 4th, 2020, Balenciaga will open its newest flagship, a largescale store in the heart of Rome. BALENCIAGA PIAZZI DI SPAGNA—located at the foot of the Spanish Steps—introduces a location-specific concept to showcase men’s, women's, and kids’ ready-to-wear, bags, shoes, and accessories on two full floors.     Glass doors and windows facing the street are curved inward, creating convexspaces that reveal a wider view of the store’s interior from outside. Inside, roomsopen up to one another, each a variation of the theme that came before it. The floors of each room are made from a variety of codified textures: asphalt-like, interlocking concrete tile, and logo-carved carpet in cement grey and theatrical red.     Influenced by the culture of preservation and drama that surrounds this newest flagship, its walls are partially obscured behind glass or red curtains, weaving elements from a museum or stage into the brand signatures. Industrial mirrors, lacquered metal, and extruded aluminium round out other details that transpose the signatures of public, civic architecture into a private, retail space.       BALENCIAGA PIAZZA DI SPAGNA ROME 67-69 Piazza di Spagna 00187 Roma Italy On August 4th, 2020, Balenciaga will open its newest flagship, a largescale store in the heart of Rome. BALENCIAGA PIAZZI DI SPAGNA—located at the foot of the Spanish Steps—introduces a location-specific concept to showcase men’s, women's, and kids’ ready-to-wear, bags, shoes, and accessories on two full floors.     Glass doors and windows facing the street are curved inward, creating convexspaces that reveal a wider view of the store’s interior from outside. Inside, roomsopen up to one another, each a variation of the theme that came before it. The floors of each room are made from a variety of codified textures: asphalt-like, interlocking concrete tile, and logo-carved carpet in cement grey and theatrical red.     Influenced by the culture of preservation and drama that surrounds this newest flagship, its walls are partially obscured behind glass or red curtains, weaving elements from a museum or stage into the brand signatures. Industrial mirrors, lacquered metal, and extruded aluminium round out other details that transpose the signatures of public, civic architecture into a private, retail space.       BALENCIAGA PIAZZA DI SPAGNA ROME 67-69 Piazza di Spagna 00187 Roma Italy

Maximilian Missoni on his life as Head of Design at Polestar
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Maximilian Missoni on his life as Head of Design at Polestar

Design This weekend Polestar, the electric performance car brand from Sweden, opens its first three Polestar Spaces in the Netherlands. In these retail environments in Rotterdam, Eindhoven and Leidschendam, the Dutch public can meet Polestar 2 for the first time. The fourth Space will open later this year near Amsterdam. Polestar is moving forward towards a more sustainable future and believes electric vehicles are a crucial step on this journey.   These ‘physical’ Spaces are designed to match the minimalist and innovative design philosophy of the brand. Customers can discover the Polestar 1 and Polestar 2 in many different ways; through interactive displays with touchscreens or with Varjo virtual reality that matches the resolution of the human eye. For questions they can always contact Polestar Specialists that, interestingly, do not work on commission basis.    The Polestar 2, which will debut in the Netherlands this weekend, is a fully electric performance fastback. It is also the first car in the world with an integrated Android infotainment system, which means access to Google services such as Google Maps and voice recognition. As Polestar is working towards a sustainable future, the brand created it’s interior out of recycled and vegan materials.      Maximilian Missoni is the Head of Design at Polestar. Maximilian Missoni studied Vehicle Design at the Royal College of Art in London then started his career at the Volkswagen Group. In 2018 he became Head of Design for Polestar.     Being Head of Design of a progressive super design brand we are extremely curious: What does a day in the life of Maximilian Missoni look like?   It’s probably more down to earth than you’d imagine. We work on many future car models simultaneously and the development process of such complex technological products – especially when aiming at a mass production volume can be very tedious at times. I spend probably two thirds of my days in dark rooms with life size projections or virtual reality rigs where we assess proposals and designs, implementing improvements. I also spend a lot of time in intense discussions with engineering about how to get to the desired results. The remaining third would split into team development, management meetings and strategic tasks. It feels like there is never enough time to just roam and find inspiration.   How do you keep inspired when handling a brand like Polestar?   The biggest task when setting up the design language for a new brand as a team is to distill philosophy and values into three dimensional objects and ultimately products that people want to live with. I see it as my main task to identify great ideas that emerge within the design team and develop them into a stage where we can present them and convince the rest of the management team to support this vision. I have handpicked the guys and girls in my team and have done so because I believe in their individual talent and unique styles. So, they are actually the ones who often inspire me. Coming into work every morning, knowing there is a bunch of highly skilled and creative people who are all keen to shape the future is probably my biggest privilege. On top of that I immerse myself whenever I can into contemporary art and design. And I try to keep learning – lately everything about electric propulsion and the challenges and opportunities of sustainability or even circularity – our next frontier.   What's your home like? Do you practice what you preach?   I try to surround myself with furniture design classics and art that inspires me. Would I like to expand this collection? Absolutely. The one object which probably reflects my design ethos the most - besides the cars of our own brands which I drive - is my boat, designed by a Swedish boat designer and friend of mine, who I studied with back in the days. Its clever, Scandinavian, minimalistic solutions make me happy time and time again.   3,5 We just have to ask… are you perhaps related to the (fashion) Missoni dynasty?   The name Missoni is generally not very common, and the origins of the wider family tree are in northern Italy, but I wouldn’t go further than that.      This weekend Polestar, the electric performance car brand from Sweden, opens its first three Polestar Spaces in the Netherlands. In these retail environments in Rotterdam, Eindhoven and Leidschendam, the Dutch public can meet Polestar 2 for the first time. The fourth Space will open later this year near Amsterdam. Polestar is moving forward towards a more sustainable future and believes electric vehicles are a crucial step on this journey.   These ‘physical’ Spaces are designed to match the minimalist and innovative design philosophy of the brand. Customers can discover the Polestar 1 and Polestar 2 in many different ways; through interactive displays with touchscreens or with Varjo virtual reality that matches the resolution of the human eye. For questions they can always contact Polestar Specialists that, interestingly, do not work on commission basis.    The Polestar 2, which will debut in the Netherlands this weekend, is a fully electric performance fastback. It is also the first car in the world with an integrated Android infotainment system, which means access to Google services such as Google Maps and voice recognition. As Polestar is working towards a sustainable future, the brand created it’s interior out of recycled and vegan materials.      Maximilian Missoni is the Head of Design at Polestar. Maximilian Missoni studied Vehicle Design at the Royal College of Art in London then started his career at the Volkswagen Group. In 2018 he became Head of Design for Polestar.     Being Head of Design of a progressive super design brand we are extremely curious: What does a day in the life of Maximilian Missoni look like?   It’s probably more down to earth than you’d imagine. We work on many future car models simultaneously and the development process of such complex technological products – especially when aiming at a mass production volume can be very tedious at times. I spend probably two thirds of my days in dark rooms with life size projections or virtual reality rigs where we assess proposals and designs, implementing improvements. I also spend a lot of time in intense discussions with engineering about how to get to the desired results. The remaining third would split into team development, management meetings and strategic tasks. It feels like there is never enough time to just roam and find inspiration.   How do you keep inspired when handling a brand like Polestar?   The biggest task when setting up the design language for a new brand as a team is to distill philosophy and values into three dimensional objects and ultimately products that people want to live with. I see it as my main task to identify great ideas that emerge within the design team and develop them into a stage where we can present them and convince the rest of the management team to support this vision. I have handpicked the guys and girls in my team and have done so because I believe in their individual talent and unique styles. So, they are actually the ones who often inspire me. Coming into work every morning, knowing there is a bunch of highly skilled and creative people who are all keen to shape the future is probably my biggest privilege. On top of that I immerse myself whenever I can into contemporary art and design. And I try to keep learning – lately everything about electric propulsion and the challenges and opportunities of sustainability or even circularity – our next frontier.   What's your home like? Do you practice what you preach?   I try to surround myself with furniture design classics and art that inspires me. Would I like to expand this collection? Absolutely. The one object which probably reflects my design ethos the most - besides the cars of our own brands which I drive - is my boat, designed by a Swedish boat designer and friend of mine, who I studied with back in the days. Its clever, Scandinavian, minimalistic solutions make me happy time and time again.   3,5 We just have to ask… are you perhaps related to the (fashion) Missoni dynasty?   The name Missoni is generally not very common, and the origins of the wider family tree are in northern Italy, but I wouldn’t go further than that.     

CELINE HOMME "THE DANCING KID"
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CELINE HOMME "THE DANCING KID"

Fashion Week     THE DANCING KID: A TEEN ROMANCE.   THE CONCEPT FOR THE DANCING KID TOOK HOLD IN DECEMBER 2019. ATTUNED TO NEW ADOLESCENT CODES, HEDI SLIMANE PHOTOGRAPHED NOEN EUBANKS IN LONDON. IT BECAME THE START OF THE "PORTRAIT OF A TEEN IDOL" SERIES. IN EARLY 2020, THIS COLLECTION WAS BEING PREPARED IN PARALLEL WITH THE WINTER COLLECTION. THE CONFINEMENT CONFIRMED HEDI SLIMANE’S DIRECTION, BUT THE WHOLE OF THE DANCING KID ALREADY HAD COME TOGETHER AND WAS DESIGNED ENTIRELY IN SAINT TROPEZ WELL BEFORE MARCH.   MEANWHILE, CONFINED YOUTH STAVED OFF BOREDOM BY DANCING, AFFIRMING THEIR CREATIVE FLAIR, CONVICTIONS AND CULTURE, NOTABLY MUSICAL. IN AMERICA, BILLBOARD AND THE MUSIC INDUSTRY PIVOTED TO A MAJOR NEW INFLUENCE.   THE DANCING KID IS A "DOCUMENTARY" COLLECTION SPANNING EBOYS AND CURRENT SKATE CULTURE, A CANDID PORTRAIT OF A GENERATION THAT TOOK ADVANTAGE OF  THE CONFINEMENT AND ISOLATION TO ASSERT ITSELF AND EMANCIPATE ITSELF CREATIVELY, SPONTANEOUSLY INVENTING AN INITIATORY LANGUAGE ANCHORED IN DANCE AND TEEN ROMANCE.   HEDI SLIMANE INVITED SIX ARTISTS TO PARTICIPATE IN THE FORM OF THE DANCING KID EDITIONS, IN THE MANNER OF A GROUP SHOW.     THE DANCING KID: A TEEN ROMANCE.   THE CONCEPT FOR THE DANCING KID TOOK HOLD IN DECEMBER 2019. ATTUNED TO NEW ADOLESCENT CODES, HEDI SLIMANE PHOTOGRAPHED NOEN EUBANKS IN LONDON. IT BECAME THE START OF THE "PORTRAIT OF A TEEN IDOL" SERIES. IN EARLY 2020, THIS COLLECTION WAS BEING PREPARED IN PARALLEL WITH THE WINTER COLLECTION. THE CONFINEMENT CONFIRMED HEDI SLIMANE’S DIRECTION, BUT THE WHOLE OF THE DANCING KID ALREADY HAD COME TOGETHER AND WAS DESIGNED ENTIRELY IN SAINT TROPEZ WELL BEFORE MARCH.   MEANWHILE, CONFINED YOUTH STAVED OFF BOREDOM BY DANCING, AFFIRMING THEIR CREATIVE FLAIR, CONVICTIONS AND CULTURE, NOTABLY MUSICAL. IN AMERICA, BILLBOARD AND THE MUSIC INDUSTRY PIVOTED TO A MAJOR NEW INFLUENCE.   THE DANCING KID IS A "DOCUMENTARY" COLLECTION SPANNING EBOYS AND CURRENT SKATE CULTURE, A CANDID PORTRAIT OF A GENERATION THAT TOOK ADVANTAGE OF  THE CONFINEMENT AND ISOLATION TO ASSERT ITSELF AND EMANCIPATE ITSELF CREATIVELY, SPONTANEOUSLY INVENTING AN INITIATORY LANGUAGE ANCHORED IN DANCE AND TEEN ROMANCE.   HEDI SLIMANE INVITED SIX ARTISTS TO PARTICIPATE IN THE FORM OF THE DANCING KID EDITIONS, IN THE MANNER OF A GROUP SHOW.

Exclusive Editorial "Consciousness" in collaboration with Givenchy, photographed by Matthieu Delbreuve
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Exclusive Editorial "Consciousness" in collaboration with Givenchy, photographed by Matthieu Delbreuve

Men Exclusive editorial in collaboration with Givenchy, captured by Matthieu Delbreuve.       TEAM CREDITS: Photographer : Matthieu Delbreuve Photographer assistant : Arthur Jung Stylist : Joana Dacheville @ agence saint germain Stylist assistant : Alexis Landolfi  Hair Stylist : Yumiko Hikage @ agence saint germain Make up artist : Aurelia Liansberg @ wise and talented Casting director : Rémi Felipe  Model : Eli Epperson @ Bananas models Editor: Timotej Letonja     #GIVENCHY #EDITORIAL #NUMERODIGITAL Exclusive editorial in collaboration with Givenchy, captured by Matthieu Delbreuve.       TEAM CREDITS: Photographer : Matthieu Delbreuve Photographer assistant : Arthur Jung Stylist : Joana Dacheville @ agence saint germain Stylist assistant : Alexis Landolfi  Hair Stylist : Yumiko Hikage @ agence saint germain Make up artist : Aurelia Liansberg @ wise and talented Casting director : Rémi Felipe  Model : Eli Epperson @ Bananas models Editor: Timotej Letonja     #GIVENCHY #EDITORIAL #NUMERODIGITAL

Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign
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Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign

Fashion Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign directed and photographed by Nicolas Ghesquière, Artistic Director of Women’s Collections. Representing total creative investment in a very personal collection, the campaign expresses contemporary freedom and the pure pleasure of clothing that is open to all manner of audacity.     To photograph this campaign, Nicolas Ghesquière invited Louis Vuitton’s friends and family to his photography studio, a creative laboratory on the Quai Voltaire in Paris: among them were close friends whose personality inspires him, kindred spirits, and favourite faces. Celebrity friends, beloved models, astonishing artists and athletes include Léa Seydoux, Marina Foïs, Noémie Merlant, Akon Changkou, Stacy Martin, Dina Asher-Smith, Lous and the Yakuza and Sora Choi. In all, 20 personalities he wished to represent in their essence. The same holds true of the House’s iconic bags that accompany this stylistic exercise — the Capucines, the Twist, the Pont 9 and the Dauphine.     With the same candor, Nicolas Ghesquière incorporates the new line “SINCE 1854.” A precious jacquard inscribed with a fundamental date, 1854, sprinkled among Monogram owers in a nod to the year the House was created. Already iconic, this Monogram distills the Louis Vuitton spirit on timeless pieces such as the Dauphine, the Neverfull and the Petit Noé. The signature “SINCE 1854” also gures on a wardrobe of essentials and accessories.     Says Nicolas Ghesquière of the campaign, “I thought it would be interesting to extend my work to photography, to follow through to the end of the creative process and give the collection its nal punctuation. In this portrait gallery, everyone is there for my own personal reasons, and I liked discovering new connections with people. I knew already. I also wanted to bring unity to di erent aspects of the House, a circular vision of what happens here. To give a timeless aspect to creations that are very anchored in the season. For me, moving into photography came from a desire to reflect the feeling we share when we’re working on a collection.”     The campaign will be unveiled in September 2020 publications worldwide. Louis Vuitton is pleased to reveal its Autumn-Winter 2020 campaign directed and photographed by Nicolas Ghesquière, Artistic Director of Women’s Collections. Representing total creative investment in a very personal collection, the campaign expresses contemporary freedom and the pure pleasure of clothing that is open to all manner of audacity.     To photograph this campaign, Nicolas Ghesquière invited Louis Vuitton’s friends and family to his photography studio, a creative laboratory on the Quai Voltaire in Paris: among them were close friends whose personality inspires him, kindred spirits, and favourite faces. Celebrity friends, beloved models, astonishing artists and athletes include Léa Seydoux, Marina Foïs, Noémie Merlant, Akon Changkou, Stacy Martin, Dina Asher-Smith, Lous and the Yakuza and Sora Choi. In all, 20 personalities he wished to represent in their essence. The same holds true of the House’s iconic bags that accompany this stylistic exercise — the Capucines, the Twist, the Pont 9 and the Dauphine.     With the same candor, Nicolas Ghesquière incorporates the new line “SINCE 1854.” A precious jacquard inscribed with a fundamental date, 1854, sprinkled among Monogram owers in a nod to the year the House was created. Already iconic, this Monogram distills the Louis Vuitton spirit on timeless pieces such as the Dauphine, the Neverfull and the Petit Noé. The signature “SINCE 1854” also gures on a wardrobe of essentials and accessories.     Says Nicolas Ghesquière of the campaign, “I thought it would be interesting to extend my work to photography, to follow through to the end of the creative process and give the collection its nal punctuation. In this portrait gallery, everyone is there for my own personal reasons, and I liked discovering new connections with people. I knew already. I also wanted to bring unity to di erent aspects of the House, a circular vision of what happens here. To give a timeless aspect to creations that are very anchored in the season. For me, moving into photography came from a desire to reflect the feeling we share when we’re working on a collection.”     The campaign will be unveiled in September 2020 publications worldwide.

Exclusive editorial "Forces of Nature"
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Exclusive editorial "Forces of Nature"

Fashion Head: Forces of Nature   Exclusive new editorial by Stephanie Galea. Youthful silhouettes and playful layering - natural motifs will forever be fashion’s feel-good trend.     TEAM CREDITS: Photography: Stephanie Galea Fashion Editor: Keanoush Zargham Art editor: Richa Konde   Hair stylist: Sharon Robinson using Oribe   Make-up artist: Anna Payne   Model: Yacine Diop at The Hive Management   Casting director: Miro Raynov   Fashion assistant: Chrissie McKenna   Casting assistant: Naima Labiad Head: Forces of Nature   Exclusive new editorial by Stephanie Galea. Youthful silhouettes and playful layering - natural motifs will forever be fashion’s feel-good trend.     TEAM CREDITS: Photography: Stephanie Galea Fashion Editor: Keanoush Zargham Art editor: Richa Konde   Hair stylist: Sharon Robinson using Oribe   Make-up artist: Anna Payne   Model: Yacine Diop at The Hive Management   Casting director: Miro Raynov   Fashion assistant: Chrissie McKenna   Casting assistant: Naima Labiad

JACQUEMUS Spring/Summer 2021 collection « L’Amour
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JACQUEMUS Spring/Summer 2021 collection « L’Amour

Fashion Week "As an idea for this collection, L’Amour began as something different. I imagined people gathered together celebrating love. Alexander Ekman’s choreography of wheat tossed passionately through the air. Emir Kursturica’s film, Time of the Gypsieswith its enchanting realism. These scenes of ceremony large and small. But what’s so beautiful about L’Amour is how it can endure—sometimes even grow stronger—in the absence of people being together. Not long after my team was separated from each other, we were all in our homes feeling the desire to work, and a new vision of the collection emerged. We became a human chain, every step of the creative process executed with love. In fact, every decision I make concerning JACQUEMUS is motivated first by love and common sense. It’s why we shifted to a more sustainable rhythm last year, with two shows combining menswear and womenswear, held in January and June. This decision ended up saving us this season, since we had received all our fabric orders ahead of the confinement. Deciding to go ahead with our usual collection schedule and with a show is at the heart of our visual identity, our commercial strategy. With this smaller collection, presented mainly to our family and friends, we bring our interior worlds out into the open, interpreting the humble fabrics and objects we live with that have their own poems to tell. Within the home, L’Amour reveals itself in small wonders. Separate but collectively, we realized that the home is a place of endless inspiration. These impressions are what I wanted to recreate in this setting today, where we have been fully sensitive to the circumstances. My team has put in an enormous effort these last few months, and I am so grateful that we arrived here, that we are gathered together in the end. For me, it is important for people to see that a true celebration of L’Amour is universal."     As JACQUEMUS is committed to developing its production in the most progressive, sensitive and sustainable ways, the SS21 collection will be available for pre-order online, exclusively through Jacquemus.com, the morning after the show. Beyond creating a valuable connection with consumers, this helps ensure that production corresponds more directly to demand, ultimately establishing a positive commercial model for all.     Linen is the fabric of L’Amour: Natural, pure, everlasting, honest. It follows the curves of the body as a sensuous dress; it can be tailored with light construction as a pair of high-waisted pants or a summery suit. Linen represents French heritage, family heirlooms, household articles and, through both men’s and women’s collections, a fresh perspective in design. Linen lends itself to surface treatments, spanning delicate and traditional broderie anglaise and jour echelle (ladder stitching) to a tenderly contemporary array of laser-cut hearts. Appliqués and incrustations include borders of braided raffia or cotton herringbone tape and embroideries in micro-beaded wheat sheaves. Pillows are transformed into tops and bags alike—a cushioned nod to comfort beyond the home.     Silhouettes for women continue to explore and integrate notions of lingerie: twisted bra tops and bustier t-shirts; shirts and jackets featuring wraparound straps and delicate metal adjusters. Pencil skirts signal archetypal femininity. Silhouettes for men broaden out beyond workwear, adapting a more sensual attitude conveyed in the women’s looks. Jackets and shirts move through various lightweight volumes: rounded and rustic, reconstructed with asymmetric focus, loose like a deconstructed pea coat. The palette is warm and earthy, with muted yellow, olive and crisp blue conjuring the tones of faded linens and baked ceramics inspired by Peter Schlesinger’s work.     Prints take cue from kitchen tiles, vegetal motifs on ceramics, torchon (dishcloth) checks and the inky abstract drawings of Joan Miró. Painterly still life scenes—a plate of white asparagus, a strainer filled with cherries – float across men’s shirts in linen and crisp cotton. Patterns inspired by Picasso’s frescoes at the Château de Castille stand out playfully, drawn directly on the fabric.     Objects found around the home are reimagined as whimsical accessories: Miniature cutlery and tools crafted in leather dangle from suits, keychains are accented with tiny tablecloths and cuffs are fashioned from old door handles. Real mini Marseille soaps turn up as charms on necklaces and bracelets. Other jewellery pieces signal handcraft through hammered and bent metal shapes, at once artisanal and artistic. Pillows and plates become portable, carried as a tote or secured in a leather harness. In terms of footwear, women wear sandals that wrap around the ankle and flip-flops on a gentle platform; men, an espadrille- style shoe that conjures the countryside.     The Chiquito finds new expression yet again. Chrome-free vegetal tones of vibrant rose, orange and blue show early signs of natural patina, while linen offers an alternative to leather. The Chiquito Nœud features an extra-long top-handle that can be looped or worn on the shoulder. Triangular prism and cube shapes for women, and a toolbox-style case for men expand upon the recognizable references of JACQUEMUS bags. Lastly, as if the Chiquito couldn’t get any smaller, it now appears as a single earring stud. "As an idea for this collection, L’Amour began as something different. I imagined people gathered together celebrating love. Alexander Ekman’s choreography of wheat tossed passionately through the air. Emir Kursturica’s film, Time of the Gypsieswith its enchanting realism. These scenes of ceremony large and small. But what’s so beautiful about L’Amour is how it can endure—sometimes even grow stronger—in the absence of people being together. Not long after my team was separated from each other, we were all in our homes feeling the desire to work, and a new vision of the collection emerged. We became a human chain, every step of the creative process executed with love. In fact, every decision I make concerning JACQUEMUS is motivated first by love and common sense. It’s why we shifted to a more sustainable rhythm last year, with two shows combining menswear and womenswear, held in January and June. This decision ended up saving us this season, since we had received all our fabric orders ahead of the confinement. Deciding to go ahead with our usual collection schedule and with a show is at the heart of our visual identity, our commercial strategy. With this smaller collection, presented mainly to our family and friends, we bring our interior worlds out into the open, interpreting the humble fabrics and objects we live with that have their own poems to tell. Within the home, L’Amour reveals itself in small wonders. Separate but collectively, we realized that the home is a place of endless inspiration. These impressions are what I wanted to recreate in this setting today, where we have been fully sensitive to the circumstances. My team has put in an enormous effort these last few months, and I am so grateful that we arrived here, that we are gathered together in the end. For me, it is important for people to see that a true celebration of L’Amour is universal."     As JACQUEMUS is committed to developing its production in the most progressive, sensitive and sustainable ways, the SS21 collection will be available for pre-order online, exclusively through Jacquemus.com, the morning after the show. Beyond creating a valuable connection with consumers, this helps ensure that production corresponds more directly to demand, ultimately establishing a positive commercial model for all.     Linen is the fabric of L’Amour: Natural, pure, everlasting, honest. It follows the curves of the body as a sensuous dress; it can be tailored with light construction as a pair of high-waisted pants or a summery suit. Linen represents French heritage, family heirlooms, household articles and, through both men’s and women’s collections, a fresh perspective in design. Linen lends itself to surface treatments, spanning delicate and traditional broderie anglaise and jour echelle (ladder stitching) to a tenderly contemporary array of laser-cut hearts. Appliqués and incrustations include borders of braided raffia or cotton herringbone tape and embroideries in micro-beaded wheat sheaves. Pillows are transformed into tops and bags alike—a cushioned nod to comfort beyond the home.     Silhouettes for women continue to explore and integrate notions of lingerie: twisted bra tops and bustier t-shirts; shirts and jackets featuring wraparound straps and delicate metal adjusters. Pencil skirts signal archetypal femininity. Silhouettes for men broaden out beyond workwear, adapting a more sensual attitude conveyed in the women’s looks. Jackets and shirts move through various lightweight volumes: rounded and rustic, reconstructed with asymmetric focus, loose like a deconstructed pea coat. The palette is warm and earthy, with muted yellow, olive and crisp blue conjuring the tones of faded linens and baked ceramics inspired by Peter Schlesinger’s work.     Prints take cue from kitchen tiles, vegetal motifs on ceramics, torchon (dishcloth) checks and the inky abstract drawings of Joan Miró. Painterly still life scenes—a plate of white asparagus, a strainer filled with cherries – float across men’s shirts in linen and crisp cotton. Patterns inspired by Picasso’s frescoes at the Château de Castille stand out playfully, drawn directly on the fabric.     Objects found around the home are reimagined as whimsical accessories: Miniature cutlery and tools crafted in leather dangle from suits, keychains are accented with tiny tablecloths and cuffs are fashioned from old door handles. Real mini Marseille soaps turn up as charms on necklaces and bracelets. Other jewellery pieces signal handcraft through hammered and bent metal shapes, at once artisanal and artistic. Pillows and plates become portable, carried as a tote or secured in a leather harness. In terms of footwear, women wear sandals that wrap around the ankle and flip-flops on a gentle platform; men, an espadrille- style shoe that conjures the countryside.     The Chiquito finds new expression yet again. Chrome-free vegetal tones of vibrant rose, orange and blue show early signs of natural patina, while linen offers an alternative to leather. The Chiquito Nœud features an extra-long top-handle that can be looped or worn on the shoulder. Triangular prism and cube shapes for women, and a toolbox-style case for men expand upon the recognizable references of JACQUEMUS bags. Lastly, as if the Chiquito couldn’t get any smaller, it now appears as a single earring stud.

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