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Louis Vuitton presents XS Handbags
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Louis Vuitton presents XS Handbags

Men   This season’s new pattern, the Damier motif is revamped, stretched, mirrored within the black and white checks inspired by Ska, a musical movement that originated in Jamaica in the 50s before becoming all the rage in England. Against a black and white background, the LV logo proudly displays its sa ron shade, like a nod to the brand’s distinctive colours.     As a final touch, the little animals created by Virgil Abloh and his team are tied here and there to the models: Zoooom and its friends – optimistic, mischievous creatures – show up on these miniature versions of the Keepall or Steamer, in a three-dimension knitted version or as embroidered badges on the canvas, making every handbag a unique piece with a distinctive character.   This season’s new pattern, the Damier motif is revamped, stretched, mirrored within the black and white checks inspired by Ska, a musical movement that originated in Jamaica in the 50s before becoming all the rage in England. Against a black and white background, the LV logo proudly displays its sa ron shade, like a nod to the brand’s distinctive colours.     As a final touch, the little animals created by Virgil Abloh and his team are tied here and there to the models: Zoooom and its friends – optimistic, mischievous creatures – show up on these miniature versions of the Keepall or Steamer, in a three-dimension knitted version or as embroidered badges on the canvas, making every handbag a unique piece with a distinctive character.

SAINT LAURENT PRESENTS THEIR NEW MEN'S CAMPAIGN FOR SPRING & SUMMER
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SAINT LAURENT PRESENTS THEIR NEW MEN'S CAMPAIGN FOR SPRING & SUMMER

Men SAINT LAURENT MEN’S SPRING SUMMER 21 #YSL37 BY ANTHONY VACCARELLO Art Direction : Anthony Vaccarello Director : David Sims   #YSL #SaintLaurent #YvesSaintLaurent @anthonyvaccarello @davidsimsofficial SAINT LAURENT MEN’S SPRING SUMMER 21 #YSL37 BY ANTHONY VACCARELLO Art Direction : Anthony Vaccarello Director : David Sims   #YSL #SaintLaurent #YvesSaintLaurent @anthonyvaccarello @davidsimsofficial

VIC MENSA IS OUR NEXT DIGITAL COVER STAR
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VIC MENSA IS OUR NEXT DIGITAL COVER STAR

Music The African in America is an over the shoulder watcher   a look 4-ways before he cross the street-er   She is a barked command curver   curvy unapologetic hip switcher   He is a long-lost homeland forgetter    amnesiac pain burying law breaker    She is a louisiana gumbo cooker    houseless street walking home maker   The African in America is a stolen jewel, a grave robbed masterwork    beckoning to a past unknown   As we spill our blood in attempts to wash our hands clean of the scars and calluses accumulated from carrying America’s secrets, generation after generation of displaced Africans have radically envisioned Exodus. From Marcus Garvey to Sun Ra to Bob Marley, the innate longing to return has magnetically pulled Black people away from the tainted soil of our Lands of the free, often through the medium of artistic imagination. In our brush strokes, our rhythms and our silhouettes we have retained a cultural identity so intrinsically unbreakable that even we, at times, have been ignorant to its origins. I placed myself in a street scene in Ghana wearing Telfar beneath a sign reading Dignity & Respect as cultural acknowledgement of the synergy between the brand, my identity and the birthplace of my father. Telfar’s impact on the zeitgeist is undeniably African (unsurprising given his Liberian heritage), as well as unapologetically Black, Queer and non-conformist. It is worth noting that a utopian view of Africa eschews reality, and many of the oppressive constructs of American society are also deeply entrenched in the continent; homophobia, misogyny & neocolonialism to name a few. Yet, I believe, visualizing ourselves and our art within the context of our native heritage enables us to inject our ideals and our dreams of freedom into the imperfect present day iteration of the closest thing we know to liberation.    This summer as 47th Street bellowed in flames and Chicago’s Black Belt was once again engulfed in the rage of a caged people, images of Bronzeville’s historic past flashed through my mind like fuzzy white lightning, a beautiful illustration across a tormented sky. Desperation from a world-stopping pandemic, multiplied by traumatizing images of white supremacist terrorism created the conditions of a perfect storm, and widespread looting and rioting ravaged the South Side, where 95% of the population is Black but less than 10% of the business are Black owned. The historical precedent is there, and many of the remnants of the 1968 riots in the wake of Dr. King’s assassination still litter the streets; boarded up, decrepit buildings that look more like a war-torn third world country than America’s third largest city. And yet, things were not always this way. I’ve always marveled over the images of the bustling corners of 47th street, once the epicenter of a community known as the Black Metropolis. One of the most famous images is a black and white photograph of a group of young boys perched on the hood of a 1940’s automobile, dressed impeccably in their Easter best and poised with a regal confidence, if not a haunting dissociation in their eyes, as if they could foresee the troubled times to come. I placed myself at their helm, imagining myself leading a reversed funeral procession to a future where the streets of the Low End clamored not with gunshots and homelessness, but with enterprise and ownership.    Separate but equal; one of America’s many last ditch attempts to maintain her legal stranglehold on the so-called sons of Job in the aftermath of her bitter loss of traditional chattel slavery. Of course we are aware that slavery was never truly abolished, but rather redirected into mass incarceration through the final sentence of the 13th Amendment, however, in the first half of the 20th century the societal chains were far more blatantly visible than they may be now, at least to the naked eye. It is within the very shackles of this social bondage that the predecessors of our current movements learned to thrive, to innovate and to resist. One such figure is Sister Rosetta Tharpe, the lesser known Black musician often credited as the “Godmother of Rock & Roll”, and one of the primary inspirations for my friend Kerby Jean Raymond’s Pyer Moss Collection 3. We imposed an image of me wearing Pyer Moss while drinking from a White Only water fountain to represent both the adversities our forebears overcame to shape the world as we know it, as well as the radical significance of our existence as artists on the highest levels of hierarchies not intended for us.  - VIC MENSA     Team credits: talent: Vic Mensa photography: Ray's Corrupted Mind stylist: Donte Mcguine editor: Timotej Letonja   The African in America is an over the shoulder watcher   a look 4-ways before he cross the street-er   She is a barked command curver   curvy unapologetic hip switcher   He is a long-lost homeland forgetter    amnesiac pain burying law breaker    She is a louisiana gumbo cooker    houseless street walking home maker   The African in America is a stolen jewel, a grave robbed masterwork    beckoning to a past unknown   As we spill our blood in attempts to wash our hands clean of the scars and calluses accumulated from carrying America’s secrets, generation after generation of displaced Africans have radically envisioned Exodus. From Marcus Garvey to Sun Ra to Bob Marley, the innate longing to return has magnetically pulled Black people away from the tainted soil of our Lands of the free, often through the medium of artistic imagination. In our brush strokes, our rhythms and our silhouettes we have retained a cultural identity so intrinsically unbreakable that even we, at times, have been ignorant to its origins. I placed myself in a street scene in Ghana wearing Telfar beneath a sign reading Dignity & Respect as cultural acknowledgement of the synergy between the brand, my identity and the birthplace of my father. Telfar’s impact on the zeitgeist is undeniably African (unsurprising given his Liberian heritage), as well as unapologetically Black, Queer and non-conformist. It is worth noting that a utopian view of Africa eschews reality, and many of the oppressive constructs of American society are also deeply entrenched in the continent; homophobia, misogyny & neocolonialism to name a few. Yet, I believe, visualizing ourselves and our art within the context of our native heritage enables us to inject our ideals and our dreams of freedom into the imperfect present day iteration of the closest thing we know to liberation.    This summer as 47th Street bellowed in flames and Chicago’s Black Belt was once again engulfed in the rage of a caged people, images of Bronzeville’s historic past flashed through my mind like fuzzy white lightning, a beautiful illustration across a tormented sky. Desperation from a world-stopping pandemic, multiplied by traumatizing images of white supremacist terrorism created the conditions of a perfect storm, and widespread looting and rioting ravaged the South Side, where 95% of the population is Black but less than 10% of the business are Black owned. The historical precedent is there, and many of the remnants of the 1968 riots in the wake of Dr. King’s assassination still litter the streets; boarded up, decrepit buildings that look more like a war-torn third world country than America’s third largest city. And yet, things were not always this way. I’ve always marveled over the images of the bustling corners of 47th street, once the epicenter of a community known as the Black Metropolis. One of the most famous images is a black and white photograph of a group of young boys perched on the hood of a 1940’s automobile, dressed impeccably in their Easter best and poised with a regal confidence, if not a haunting dissociation in their eyes, as if they could foresee the troubled times to come. I placed myself at their helm, imagining myself leading a reversed funeral procession to a future where the streets of the Low End clamored not with gunshots and homelessness, but with enterprise and ownership.    Separate but equal; one of America’s many last ditch attempts to maintain her legal stranglehold on the so-called sons of Job in the aftermath of her bitter loss of traditional chattel slavery. Of course we are aware that slavery was never truly abolished, but rather redirected into mass incarceration through the final sentence of the 13th Amendment, however, in the first half of the 20th century the societal chains were far more blatantly visible than they may be now, at least to the naked eye. It is within the very shackles of this social bondage that the predecessors of our current movements learned to thrive, to innovate and to resist. One such figure is Sister Rosetta Tharpe, the lesser known Black musician often credited as the “Godmother of Rock & Roll”, and one of the primary inspirations for my friend Kerby Jean Raymond’s Pyer Moss Collection 3. We imposed an image of me wearing Pyer Moss while drinking from a White Only water fountain to represent both the adversities our forebears overcame to shape the world as we know it, as well as the radical significance of our existence as artists on the highest levels of hierarchies not intended for us.  - VIC MENSA     Team credits: talent: Vic Mensa photography: Ray's Corrupted Mind stylist: Donte Mcguine editor: Timotej Letonja  

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Valentine’s Day campaign Savage X Fenty features Rihanna, Miguel, Nazanin Mandi, Alek Wek, Chinqpink and Lulu Bonfils
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Valentine’s Day campaign Savage X Fenty features Rihanna, Miguel, Nazanin Mandi, Alek Wek, Chinqpink and Lulu Bonfils

Fashion Savage X Fenty is excited to announce the launch of the Valentine’s Day collection. The highly anticipated drop features 4 playful collections – Candy Hearts, Seamless Fishnet, Linking Hearts and the latest additions to men’s underwear and sleepwear styles – so whether this Valentine’s Day is for you, for bae or for play, Savage X has something for every mood.     With sheer dotted mesh, ruby red lace, satin lace-up ties & open-back styles, the new Candy Hearts collection is red hot. Cheeky candy heart-shaped messages bring a playful and sassy attitude a collection that is a naughty as it is sweet. Dare to bare in the curve hugging Valentine’s Seamless Fishnet mock neck slip in black caviar and goji berry red. No matter what V-Day looks you pair them with, the Linking Hearts Embroidery styles are the perfect match with an unlined balconette bra, garter belt and g-string.     Building on the launch of men’s underwear and sleepwear styles last year, this newest assortment of styles continues to push the boundaries of individuality with versatile pieces that can be worn by every-BODY. Designed to be layered or worn as separates, the latest additions include an oversized satin sleep smoking jacket and matching boxer in the iconic Savage X lavender color, a satin sleep smoking jacket in solid black caviar, satin boxer in solid goji berry red, and woven boxers in monogram prints.     Shot by Dennis Leupold, the Valentine’s Day campaign features Miguel, Nazanin Mandi, Alek Wek, Chinqpink and Lulu Bonfils.     With sizes from 32A – 42DD and XS – 3X, customers can shop the collection at Savage X Fenty Prices for the Valentine’s Day collection range from $12.95 - $79.95.     #SAVAGEXFENTY #XXSAVAGEX   Savage X Fenty is excited to announce the launch of the Valentine’s Day collection. The highly anticipated drop features 4 playful collections – Candy Hearts, Seamless Fishnet, Linking Hearts and the latest additions to men’s underwear and sleepwear styles – so whether this Valentine’s Day is for you, for bae or for play, Savage X has something for every mood.     With sheer dotted mesh, ruby red lace, satin lace-up ties & open-back styles, the new Candy Hearts collection is red hot. Cheeky candy heart-shaped messages bring a playful and sassy attitude a collection that is a naughty as it is sweet. Dare to bare in the curve hugging Valentine’s Seamless Fishnet mock neck slip in black caviar and goji berry red. No matter what V-Day looks you pair them with, the Linking Hearts Embroidery styles are the perfect match with an unlined balconette bra, garter belt and g-string.     Building on the launch of men’s underwear and sleepwear styles last year, this newest assortment of styles continues to push the boundaries of individuality with versatile pieces that can be worn by every-BODY. Designed to be layered or worn as separates, the latest additions include an oversized satin sleep smoking jacket and matching boxer in the iconic Savage X lavender color, a satin sleep smoking jacket in solid black caviar, satin boxer in solid goji berry red, and woven boxers in monogram prints.     Shot by Dennis Leupold, the Valentine’s Day campaign features Miguel, Nazanin Mandi, Alek Wek, Chinqpink and Lulu Bonfils.     With sizes from 32A – 42DD and XS – 3X, customers can shop the collection at Savage X Fenty Prices for the Valentine’s Day collection range from $12.95 - $79.95.     #SAVAGEXFENTY #XXSAVAGEX  

Exclusive editorial by Fabien Montique
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Exclusive editorial by Fabien Montique

Fashion Exclusive new digital editorial, captured by Fabien Montique.     TEAM CREDITS:  Photo: Fabien Montique  Styling: Joana Dacheville Photo Assistant - Jean-Romain Pac Casting Director: Remi Felipe Models: Mahany Pery @Oui , Emma Sainte-Rose @Oui, Marieme @Makers  Movement director: Pierre Podevyn,   Hair: Yumiko Hikage @ASG  Make up:  Yvane Rocher  @ASG  Props: Sylvain Cabouat @Walter Schupfer  Production : William Romeo , Montique & Co “Post-Production & Retouch - ink” fashion assistants :  Léo Rouault , Agathe Philippart and Joana Mahafaly   Exclusive new digital editorial, captured by Fabien Montique.     TEAM CREDITS:  Photo: Fabien Montique  Styling: Joana Dacheville Photo Assistant - Jean-Romain Pac Casting Director: Remi Felipe Models: Mahany Pery @Oui , Emma Sainte-Rose @Oui, Marieme @Makers  Movement director: Pierre Podevyn,   Hair: Yumiko Hikage @ASG  Make up:  Yvane Rocher  @ASG  Props: Sylvain Cabouat @Walter Schupfer  Production : William Romeo , Montique & Co “Post-Production & Retouch - ink” fashion assistants :  Léo Rouault , Agathe Philippart and Joana Mahafaly  

GIVENCHY PRESENTS THE NEW ANTIGONA BY MATTHEW M. WILLIAMS
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GIVENCHY PRESENTS THE NEW ANTIGONA BY MATTHEW M. WILLIAMS

Accessories In 2021, the House of Givenchy embarks on an exciting new chapter for its emblematic Antigona accessories line. Named after the passionate and courageous Greek heroine, the original Antigona last year celebrated its 10th anniversary as the House’s signature women’s handbag. Iconic for its architectural construction, regal lines and effortless mix of feminine and masculine traits, it has become the foundation for a burgeoning family of sleek, urban leather accessories for women and men.     For Spring-Summer 2021, Creative Director Matthew M. Williams reinterprets the icon for a new era, blending his love of industrial hardware with Givenchy hallmarks, subtly infusing the Antigona’s elegant geometry with more generous volumes, a modern attitude and a futuristic edge. Crafted from Box-finish calfskin, the new Antigona salutes its lineage with a scaled-up version of its characteristic pentagonal patch and two signatures — a 4G in front, GIVENCHY lettering in back —evoking the House’s dual character. Luxurious and distinctive 4G padlocks, custom-designed by Matthew M. Williams for Givenchy, are inspired by the celebrated “love locks” of Paris and present an open invitation to further customize the bag as the wearer wishes. Sophisticated enhancements to the Antigona include re-proportioned handles, which are now elongated and anchored lower on the bag’s body to optimize versatility of wear. A roomy central compartment features either a zip or a magnetic closure, both finished with the 4G padlock, while a version of the mini Antigona and the unisex Vertical bag come with a removable strap for cross-body wear, in leather or the new G-link chain respectively.     Matthew M. Williams also brought his visionary aesthetic to the Antigona family’s youngest sibling, the versatile, unisex Antigona Soft bag, and gave it a companion in the form of a sleek shopper tote. Now reconsidered with strong, squared lines, drop-length handles and a 4G padlock, these multi-purpose hybrids make a sophisticated statement whether in the city or on the road.     In the most masculine interpretation of the style to date, the designer presents the nonchalant Antigona U crossbody bag, also in Box-finish leather, featuring a deconstructed version of the 4G padlock that gives this accessory a unique, urban attitude.     The Antigona family of leather handbags will be available in timeless neutral colors or seasonal shades of pink or red. Meanwhile, classic Antigona styles and sizes, in Box-finish or crocodile-embossed leather, are adorned with the new G-link chain. The latest Antigona accessories will be available in Givenchy boutiques and on givenchy.com starting on February 26th, 2021. In 2021, the House of Givenchy embarks on an exciting new chapter for its emblematic Antigona accessories line. Named after the passionate and courageous Greek heroine, the original Antigona last year celebrated its 10th anniversary as the House’s signature women’s handbag. Iconic for its architectural construction, regal lines and effortless mix of feminine and masculine traits, it has become the foundation for a burgeoning family of sleek, urban leather accessories for women and men.     For Spring-Summer 2021, Creative Director Matthew M. Williams reinterprets the icon for a new era, blending his love of industrial hardware with Givenchy hallmarks, subtly infusing the Antigona’s elegant geometry with more generous volumes, a modern attitude and a futuristic edge. Crafted from Box-finish calfskin, the new Antigona salutes its lineage with a scaled-up version of its characteristic pentagonal patch and two signatures — a 4G in front, GIVENCHY lettering in back —evoking the House’s dual character. Luxurious and distinctive 4G padlocks, custom-designed by Matthew M. Williams for Givenchy, are inspired by the celebrated “love locks” of Paris and present an open invitation to further customize the bag as the wearer wishes. Sophisticated enhancements to the Antigona include re-proportioned handles, which are now elongated and anchored lower on the bag’s body to optimize versatility of wear. A roomy central compartment features either a zip or a magnetic closure, both finished with the 4G padlock, while a version of the mini Antigona and the unisex Vertical bag come with a removable strap for cross-body wear, in leather or the new G-link chain respectively.     Matthew M. Williams also brought his visionary aesthetic to the Antigona family’s youngest sibling, the versatile, unisex Antigona Soft bag, and gave it a companion in the form of a sleek shopper tote. Now reconsidered with strong, squared lines, drop-length handles and a 4G padlock, these multi-purpose hybrids make a sophisticated statement whether in the city or on the road.     In the most masculine interpretation of the style to date, the designer presents the nonchalant Antigona U crossbody bag, also in Box-finish leather, featuring a deconstructed version of the 4G padlock that gives this accessory a unique, urban attitude.     The Antigona family of leather handbags will be available in timeless neutral colors or seasonal shades of pink or red. Meanwhile, classic Antigona styles and sizes, in Box-finish or crocodile-embossed leather, are adorned with the new G-link chain. The latest Antigona accessories will be available in Givenchy boutiques and on givenchy.com starting on February 26th, 2021.

  FENDI presents their Men’s Fall/Winter 2021-2022 Collection
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FENDI presents their Men’s Fall/Winter 2021-2022 Collection

Fashion Week The FENDI Men’s Fall/Winter 2021-22 collection designed by Silvia Venturini Fendi is an optimistic adventure framed within a game of illusions. A cinematic sequence directed by the Italian artist Nico Vascellari sets the scene for ‘What Is Normal Today ft. Silvia’ – an exclusive dance-pop track composed by Not Waving. Appearing inside an immersive 360° mirrored tunnel, models are infinitely multiplied whilst entirely alone, as a maze of suspended doorways is framed in coloured neon beneath the pulsating ceiling of a futuristic music video.      One by one, a broad spectrum of menswear classics is twisted with FENDI playfulness, emerging from darkness into full Technicolour. The result is an unabashed celebration of colour and light, and a universal message of solidarity and connection in Surreal times. A jewel palette sees emerald, vermillion, saffron, orange, fuchsia, cobalt and periwinkle colour-blocked against black, camel and charcoal, as linings, inlays and slashed seams flash with contrasting textures and shades.     Throughout the collection, multifunctionality and form unite in reversible workwear and relaxed outerwear silhouettes. Belted overcoat and trench shapes in cashmere flannel, satin, striped fur and shearling are infused with a cozy peignoir attitude, and piped pyjama hemlines bring the indoors out and the outdoors in. Diagonal quilting inflates all manner of silk jacquard separates from a shawl collar lounge coat to pullovers, shirt jackets and bermuda shorts in a luxuriant expression of cocooning comfort, and ‘inside-out’ tailoring features deconstructed panels that expose padded FF logo linings. The conventions of ribbed and cable knitting are reimagined as long johns, cardigan scarves, mitten cuffs, and a wrapped ‘sleeve’ neck sweater for a weird and wonderful take on the ‘new normal’.     An icon of the London underground scene, the multidisciplinary artist and performer Noel Fielding provides a series of psychedelic artworks for the collection, abstracting the FENDI logo and emphasizing the season’s cosmic spirit through his multicoloured, stream-of-consciousness scribble art. Faces and creatures emerge straight out of Fielding’s dreamscape narrative accenting the collection’s straightforward silhouette with moments of Art Brut insanity. Fielding’s outré pop sensibility is the latest evolution in Silvia Venturini Fendi’s playful selection of artistic collaborators, that has previously included British artists John Booth, @HeyReilly and Sue Tilley, to name a few.     The FENDI Men’s Fall/Winter 2021-22 accessories collection revels in the bright promise of the season’s chromatic palette. The all-over treatment of colour-matched leathers, matte satin and hardware creates dipped-effect Baguette and flatpack shopper shapes, and miniature luggage styles reprise an embossed stripe FF monogram leather as backpacks and crossbody pouches. In fancy leathers, the Baguette is scaled up and down as a roomy satchel or a lanyard card holder, whilst Noel Fielding’s graphic art adorns the Peekaboo and an FF buckle tote in grainy calfskin. In ultra-classic menswear tones, shearling FF slippers and slip-on laced or buckle sabots continue the collection’s indoor-outdoor conceit, joining zip-up quilted ‘spats’ ankle boots and the FENDI Force Light FF lug-sole combat styles. The FENDI Men’s Fall/Winter 2021-22 collection designed by Silvia Venturini Fendi is an optimistic adventure framed within a game of illusions. A cinematic sequence directed by the Italian artist Nico Vascellari sets the scene for ‘What Is Normal Today ft. Silvia’ – an exclusive dance-pop track composed by Not Waving. Appearing inside an immersive 360° mirrored tunnel, models are infinitely multiplied whilst entirely alone, as a maze of suspended doorways is framed in coloured neon beneath the pulsating ceiling of a futuristic music video.      One by one, a broad spectrum of menswear classics is twisted with FENDI playfulness, emerging from darkness into full Technicolour. The result is an unabashed celebration of colour and light, and a universal message of solidarity and connection in Surreal times. A jewel palette sees emerald, vermillion, saffron, orange, fuchsia, cobalt and periwinkle colour-blocked against black, camel and charcoal, as linings, inlays and slashed seams flash with contrasting textures and shades.     Throughout the collection, multifunctionality and form unite in reversible workwear and relaxed outerwear silhouettes. Belted overcoat and trench shapes in cashmere flannel, satin, striped fur and shearling are infused with a cozy peignoir attitude, and piped pyjama hemlines bring the indoors out and the outdoors in. Diagonal quilting inflates all manner of silk jacquard separates from a shawl collar lounge coat to pullovers, shirt jackets and bermuda shorts in a luxuriant expression of cocooning comfort, and ‘inside-out’ tailoring features deconstructed panels that expose padded FF logo linings. The conventions of ribbed and cable knitting are reimagined as long johns, cardigan scarves, mitten cuffs, and a wrapped ‘sleeve’ neck sweater for a weird and wonderful take on the ‘new normal’.     An icon of the London underground scene, the multidisciplinary artist and performer Noel Fielding provides a series of psychedelic artworks for the collection, abstracting the FENDI logo and emphasizing the season’s cosmic spirit through his multicoloured, stream-of-consciousness scribble art. Faces and creatures emerge straight out of Fielding’s dreamscape narrative accenting the collection’s straightforward silhouette with moments of Art Brut insanity. Fielding’s outré pop sensibility is the latest evolution in Silvia Venturini Fendi’s playful selection of artistic collaborators, that has previously included British artists John Booth, @HeyReilly and Sue Tilley, to name a few.     The FENDI Men’s Fall/Winter 2021-22 accessories collection revels in the bright promise of the season’s chromatic palette. The all-over treatment of colour-matched leathers, matte satin and hardware creates dipped-effect Baguette and flatpack shopper shapes, and miniature luggage styles reprise an embossed stripe FF monogram leather as backpacks and crossbody pouches. In fancy leathers, the Baguette is scaled up and down as a roomy satchel or a lanyard card holder, whilst Noel Fielding’s graphic art adorns the Peekaboo and an FF buckle tote in grainy calfskin. In ultra-classic menswear tones, shearling FF slippers and slip-on laced or buckle sabots continue the collection’s indoor-outdoor conceit, joining zip-up quilted ‘spats’ ankle boots and the FENDI Force Light FF lug-sole combat styles.

 THE (RE)SET (RE)TAILORING THE MODERN MAN BY ZEGNA
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THE (RE)SET (RE)TAILORING THE MODERN MAN BY ZEGNA

Fashion Week The fabric of human life is woven by adaptability. What makes humans evolve and progress is the ability to hit the button, when necessary, and do it all over again, in a different way, with a diverse mindset yet keeping a memory, an awareness and progressing. This is one of these moments: a leap forward and outwards that is also a leaning inward, doing away with the barriers, separations and distinctions that were there before.      A definition of new categories, mirroring the relentless evolving of times, has characterized from day one the path of Artistic Director Alessandro Sartori within the Zegna world: a move away from utter formality, but not from a thoughtful sartorial approach, for another definition of style.      THE (RE)SET that is now being pushed activates a fluid movement that blends the public and the private, the personal space and the public space, and with that one’s clothed persona, indoors and out, as lounging, living and working collide often in one single activity. In this seamless world that keeps taking shape, new style possibilities arise as Zegna (Re)tailors the modern man.      “We all are experiencing a new reality concerned with new needs, which lead us to previously unseen lifestyles and attitudes. It is precisely at a time like this, when everything is under discussion, that we, at Zegna, have decided to (Re)set. We have looked at our roots to (Re)interpret our style codes and (Re)tailor the modern man. Outdoor and indoor come together and a new way of dressing takes hold, where comfort and style blend to create a new aesthetic”, says Alessandro Sartori.     The collection follows a seamless pace.A new and varied generation of jersey fabrics take center stage at Zegna. Shapes are fluid, comfortable and adaptable. In sync with lifestyles that blend indoors and outdoors, the tropes of stay-at-home dressing - the shawl collars and belted generosity of a robe de chambre, the ease of track pants and the coziness of hand cut jersey slippers - reshape the very idea of formality. Archetypal items get new functions in a switch of forms, weights and materials. Chore coats in cashmere, wrapped as a robe, take up the role of habitual sport codes, hybrid suits are in double cashmere, unreleased groups of knitwear replace shirts, new sweaters made of felted cashmere and knit, or knitted out of leather, are meant as outerwear; trousers and jackets are cut in shearling. Even briefcases, the very epitome of business, are deconstructed.     Ease and personality are the by words: the reimagined suit, either loose or with a blazer tailored close to the body, is not a uniform, but a way of being oneself. It can be as supple as being cut entirely in knitted cashmere or jacquard, and is worn with loose turtlenecks or zip-up tops in place of a shirt. Volumes are relaxed for the dropped shouldered jackets and the shirt jackets matched with full trousers, for the belted coats, the blousons and the double front jumpers.     The seamlessness between inside and outside, thereafter, is already in the garments where the #UseTheExsting mindset continues to be imperative.     The progression is sealed by a chromatic flow that starts with notes of Alpine star white, Autumn foliage beige, Felce green, smoky grey, dense black, forest mud with sudden accents of orange. The overall chromatic solidity is broken by the glitched pied de poule that swarm in optical jacquards, by the diagonal stripes that rhythm full outfits. The collection is presented in the form of a film. Fluid camera movements and uncontrived passages from inside to outside offer a visual narrative full of sudden surprises and ruptures from one situation to the other. Glimpses of a metropolis and the insides of an ideal building flow smoothly as models cross rooms, paths and ambiances until THE (RE)SET finally unveils its meta meaning, the set being in fact the theatrical place where the filming happens.  Life follows fiction as fiction follows life, in an endless (Re)Set.            Credits:   Artistic Direction, Alessandro Sartori   Video Production,4Friends Film   Music, Wladimir Schall   Hair and Make-up, Beppe D’Elia for BEAUTICK  The fabric of human life is woven by adaptability. What makes humans evolve and progress is the ability to hit the button, when necessary, and do it all over again, in a different way, with a diverse mindset yet keeping a memory, an awareness and progressing. This is one of these moments: a leap forward and outwards that is also a leaning inward, doing away with the barriers, separations and distinctions that were there before.      A definition of new categories, mirroring the relentless evolving of times, has characterized from day one the path of Artistic Director Alessandro Sartori within the Zegna world: a move away from utter formality, but not from a thoughtful sartorial approach, for another definition of style.      THE (RE)SET that is now being pushed activates a fluid movement that blends the public and the private, the personal space and the public space, and with that one’s clothed persona, indoors and out, as lounging, living and working collide often in one single activity. In this seamless world that keeps taking shape, new style possibilities arise as Zegna (Re)tailors the modern man.      “We all are experiencing a new reality concerned with new needs, which lead us to previously unseen lifestyles and attitudes. It is precisely at a time like this, when everything is under discussion, that we, at Zegna, have decided to (Re)set. We have looked at our roots to (Re)interpret our style codes and (Re)tailor the modern man. Outdoor and indoor come together and a new way of dressing takes hold, where comfort and style blend to create a new aesthetic”, says Alessandro Sartori.     The collection follows a seamless pace.A new and varied generation of jersey fabrics take center stage at Zegna. Shapes are fluid, comfortable and adaptable. In sync with lifestyles that blend indoors and outdoors, the tropes of stay-at-home dressing - the shawl collars and belted generosity of a robe de chambre, the ease of track pants and the coziness of hand cut jersey slippers - reshape the very idea of formality. Archetypal items get new functions in a switch of forms, weights and materials. Chore coats in cashmere, wrapped as a robe, take up the role of habitual sport codes, hybrid suits are in double cashmere, unreleased groups of knitwear replace shirts, new sweaters made of felted cashmere and knit, or knitted out of leather, are meant as outerwear; trousers and jackets are cut in shearling. Even briefcases, the very epitome of business, are deconstructed.     Ease and personality are the by words: the reimagined suit, either loose or with a blazer tailored close to the body, is not a uniform, but a way of being oneself. It can be as supple as being cut entirely in knitted cashmere or jacquard, and is worn with loose turtlenecks or zip-up tops in place of a shirt. Volumes are relaxed for the dropped shouldered jackets and the shirt jackets matched with full trousers, for the belted coats, the blousons and the double front jumpers.     The seamlessness between inside and outside, thereafter, is already in the garments where the #UseTheExsting mindset continues to be imperative.     The progression is sealed by a chromatic flow that starts with notes of Alpine star white, Autumn foliage beige, Felce green, smoky grey, dense black, forest mud with sudden accents of orange. The overall chromatic solidity is broken by the glitched pied de poule that swarm in optical jacquards, by the diagonal stripes that rhythm full outfits. The collection is presented in the form of a film. Fluid camera movements and uncontrived passages from inside to outside offer a visual narrative full of sudden surprises and ruptures from one situation to the other. Glimpses of a metropolis and the insides of an ideal building flow smoothly as models cross rooms, paths and ambiances until THE (RE)SET finally unveils its meta meaning, the set being in fact the theatrical place where the filming happens.  Life follows fiction as fiction follows life, in an endless (Re)Set.            Credits:   Artistic Direction, Alessandro Sartori   Video Production,4Friends Film   Music, Wladimir Schall   Hair and Make-up, Beppe D’Elia for BEAUTICK 

PRADA FALL/WINTER 2021 MENSWEAR SHOW: POSSIBLE FEELINGS
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PRADA FALL/WINTER 2021 MENSWEAR SHOW: POSSIBLE FEELINGS

Fashion Week The Prada Fall/Winter 2021 Menswear collection by Miuccia Prada and Raf Simons takes as its basis an intimate and personal wish for contact, our urge to exchange and relate. The foundation of all is the individual: the human body, and its freedom.     The need to feel, the pleasure of tactility, results in a panoply of surface texture and textile. Echoing the notion of sensory stimulation, geometric-patterned jacquard knits and leathers are combined with re-nylon, bouclé tweeds and classic pinstripe wool suiting, in both traditional and unanticipated colors. The interplay is projected outwards, to the sequence of rooms the models navigate through the show. Each excites the senses: backdrops brilliantly-hued, the models’ isolated passages underscoredby an original electronic soundtrack by Plastikman aka Richie Hawtin. Devised by Rem Koolhaas andAMO, the show’s ‘non-spaces’ are defined by panes of marble, resin, plaster and faux fur. Inviting andseductive, they can pretend to be both interior and exterior, hard and soft, warm and cold: simultaneously both and neither, they allow absolute freedom of interpretation and expression.     A similar doublespeak is reflected in the depiction of the body itself - via clothes reduced, minimalized in structure. The logical conclusion is to return to the body: jacquard-knit bodysuitscreate a streamlined “second skin”, serving to delineate the figure in dynamic movement. Abstractionof feeling becomes abstraction of freedom. These bodysuits paradoxically reveal while concealing, placing an emphasis on physicality, but also covering the form. Some are proposed alone: in other outfits, they are used to create a base layer under tailoring and outerwear. They denote both protection and exposure, with synchronous connotations of the naive and knowing, intimate and removed, youthful and mature. In the latter, they reflect a passage of time, of life.     To opposite ends, emphasizing the body through a process of reduction results in silhouettes that stand away from the frame, a reduction of shape in the garment. Single and double-breasted coats are constructed on rectilinear lines; bomber jackets are generous. Executed in leather and bouclé, lined in geometric jacquards, garments are sensual - crafting a topography of feeling, enjoyed by the wearer alone. Color and pattern excites the eye; surfaces entice touch.     A NOTE ON THE SET   With the ambition of repurposing furnishing used for the Prada Group’s shows, the materials utilizedin the set of the Prada Fall/Winter 2021 Menswear digital show will be upcycled, finding a new life after the event through special product installations and pop-ups around the world. Finally, these materials will be donated to Meta, a circular economy project based in Milan, which offers sustainable solutions to waste disposal within ephemeral events by collecting and recovering materials for selling and rentals. Meta works in collaboration with La Réserve des arts, an association offering a service of collection and recovery of raw materials and decoration waste from fashion shows, making them available to professionals and students in the cultural sector. The Prada Fall/Winter 2021 Menswear collection by Miuccia Prada and Raf Simons takes as its basis an intimate and personal wish for contact, our urge to exchange and relate. The foundation of all is the individual: the human body, and its freedom.     The need to feel, the pleasure of tactility, results in a panoply of surface texture and textile. Echoing the notion of sensory stimulation, geometric-patterned jacquard knits and leathers are combined with re-nylon, bouclé tweeds and classic pinstripe wool suiting, in both traditional and unanticipated colors. The interplay is projected outwards, to the sequence of rooms the models navigate through the show. Each excites the senses: backdrops brilliantly-hued, the models’ isolated passages underscoredby an original electronic soundtrack by Plastikman aka Richie Hawtin. Devised by Rem Koolhaas andAMO, the show’s ‘non-spaces’ are defined by panes of marble, resin, plaster and faux fur. Inviting andseductive, they can pretend to be both interior and exterior, hard and soft, warm and cold: simultaneously both and neither, they allow absolute freedom of interpretation and expression.     A similar doublespeak is reflected in the depiction of the body itself - via clothes reduced, minimalized in structure. The logical conclusion is to return to the body: jacquard-knit bodysuitscreate a streamlined “second skin”, serving to delineate the figure in dynamic movement. Abstractionof feeling becomes abstraction of freedom. These bodysuits paradoxically reveal while concealing, placing an emphasis on physicality, but also covering the form. Some are proposed alone: in other outfits, they are used to create a base layer under tailoring and outerwear. They denote both protection and exposure, with synchronous connotations of the naive and knowing, intimate and removed, youthful and mature. In the latter, they reflect a passage of time, of life.     To opposite ends, emphasizing the body through a process of reduction results in silhouettes that stand away from the frame, a reduction of shape in the garment. Single and double-breasted coats are constructed on rectilinear lines; bomber jackets are generous. Executed in leather and bouclé, lined in geometric jacquards, garments are sensual - crafting a topography of feeling, enjoyed by the wearer alone. Color and pattern excites the eye; surfaces entice touch.     A NOTE ON THE SET   With the ambition of repurposing furnishing used for the Prada Group’s shows, the materials utilizedin the set of the Prada Fall/Winter 2021 Menswear digital show will be upcycled, finding a new life after the event through special product installations and pop-ups around the world. Finally, these materials will be donated to Meta, a circular economy project based in Milan, which offers sustainable solutions to waste disposal within ephemeral events by collecting and recovering materials for selling and rentals. Meta works in collaboration with La Réserve des arts, an association offering a service of collection and recovery of raw materials and decoration waste from fashion shows, making them available to professionals and students in the cultural sector.

Louis Vuitton Men's Collection LV Trainer Upcycling by Virgil Abloh Spring-Summer 2021
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Louis Vuitton Men's Collection LV Trainer Upcycling by Virgil Abloh Spring-Summer 2021

Accessories The new Spring-Summer 2021 LV Trainer Upcycling collection draw from the very first LV Trainer, unveiled during Men’s Artistic Director Virgil Abloh’s debut Spring-Summer 2019 show for Louis Vuitton.     A sneaker with striking allure, its unique and highly circular creative production process was developed with Louis Vuitton's dedicated shoe workshop in Fiesso d’Artico according to a sustainable upcycling strategy aiming to optimize the use of existing materials. These new LV Trainers perfectly match the “upcycling ideology” conceived by Virgil Abloh for the Spring-Summer 2021 collection and the House’s commitment to imagine innovative creative circularities to further extend the sustainability of Louis Vuitton products.     The original 2019 LV Trainers have been disassembled, then transformed. Neither exactly the same, nor totally different: this new LV Trainer Upcycling, in supple calfskin and suede, with its tie-dye coloured laces, has been revamped. The low-top version is available in ve bright new shades and features a padded collar. This iconic shoe, featuring an “LV Upcycling” edging on the back, the Louis Vuitton signature on the side and Monogram owers on the sole, as well as a uorescent tag on the right foot, is embedded in House codes.     The new Spring-Summer 2021 LV Trainer Upcycling collection draw from the very first LV Trainer, unveiled during Men’s Artistic Director Virgil Abloh’s debut Spring-Summer 2019 show for Louis Vuitton.     A sneaker with striking allure, its unique and highly circular creative production process was developed with Louis Vuitton's dedicated shoe workshop in Fiesso d’Artico according to a sustainable upcycling strategy aiming to optimize the use of existing materials. These new LV Trainers perfectly match the “upcycling ideology” conceived by Virgil Abloh for the Spring-Summer 2021 collection and the House’s commitment to imagine innovative creative circularities to further extend the sustainability of Louis Vuitton products.     The original 2019 LV Trainers have been disassembled, then transformed. Neither exactly the same, nor totally different: this new LV Trainer Upcycling, in supple calfskin and suede, with its tie-dye coloured laces, has been revamped. The low-top version is available in ve bright new shades and features a padded collar. This iconic shoe, featuring an “LV Upcycling” edging on the back, the Louis Vuitton signature on the side and Monogram owers on the sole, as well as a uorescent tag on the right foot, is embedded in House codes.    

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