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Givenchy for Spring & Summer 2021
542

Givenchy for Spring & Summer 2021

Fashion Week “You find the pieces of the puzzle for a collection, building it from symbols and signs, but never forgetting the reality of the person who will wear it and bring it to life. The women and men should be powerful and effortless, equal and joyful, a reflection of who they really are – only more so. It’s about finding the humanity in luxury.” Matthew M. Williams, Creative Director, Givenchy     At Matthew M. Williams’ Givenchy, ‘Hardware’ is key. Eschewing, gendered notions of jewellery and accessories, rather it is hardware that unites the women and men of Givenchy, a symbolic nexus of utility and luxury and the place where this collection began. The Lover’s Lock is a unisex object of utility, decoration, commitment and emotion; a sincere yet playful symbol of Paris – it nods to the lost locks of Le Pont des Arts – it is an object punctuated throughout this initial collection as both decoration and fastenings. It also points to Williams’ commitment to the world of Givenchy in this first proposal as thehouse’s Creative Director.     The Spring-Summer ‘21 collection explores Givenchy in the form of a stream of consciousness for Williams and is a ‘sampler’ of what is to come. Begun in the midst of a pandemic and completed within two months, this is a new beginning, yet is intermingled with elements of the archive and is a utilisation of Givenchy’s distinct lineage, pointing to the past, present and future. Above all, there is a sense of celebration, of the people who have led Williams here and those he wants to wear the clothes. This is expressed in the images that reveals the collection, a photographic study by the creative director together with the artist Heji Shin – a photographer who also gets to the heart of who a person is as much as to the clothes they wear.     From Hubert de Givenchy’s swathes of looped drapery, lighter-than-air transparencies, linear necklines and ‘Jour’ open backs, to the McQueen horn, reborn; both the classical and radical contrasts of Givenchy are embraced and shown to have always been part of the house’s history in the collection. Ultimately, it is a feeling of elegance, playfulness and pragmatism that is key to Matthew M. Williams’ vision for the house.     There is a notion of evolution, both lighthearted and serious, in this play of elements past and present. From the Tryp-toe shoe and stockings, the Horn-heel and hat together with a further examination of the Antigona bag, each is a play on and development of existing objects in the archive. They are joined by the new unisex Cut-out bag in its many iterations, as well as the G chains, objects that are destined to add to the history of the house and are interspersed throughout. Williams’ signature technical material experimentation is balanced by the traditional, natural and opulent. From the use of a cotton Ottoman for both genders in outerwear, technical taffeta in tailoring and structured Punto di Milano jersey to evoke more pure forms in dressmaking, tradition is respected yet refined and re-contextualised. At the same time, an experiment in different densities of injected foam leads to an evolution of the slide, the ultra-comfortable Marshmallow Slide is the footwear that underpins much of the collection, quite literally providing a casual, insouciant foundation for many of the more formal looks. The study of casual archetypes continues throughout the collection, including new technical coatings of denim in both paint and resin, work that is as labour intensive as the collection’s more traditional embroideries. It is a sign ofWilliams’ Californian sensibility transplanted to Europe that he approaches the two sides with equal aplomb and rigour, both classicism and subversion, with a sense of ease and respect for the humanity of the wearer infusing all. “You find the pieces of the puzzle for a collection, building it from symbols and signs, but never forgetting the reality of the person who will wear it and bring it to life. The women and men should be powerful and effortless, equal and joyful, a reflection of who they really are – only more so. It’s about finding the humanity in luxury.” Matthew M. Williams, Creative Director, Givenchy     At Matthew M. Williams’ Givenchy, ‘Hardware’ is key. Eschewing, gendered notions of jewellery and accessories, rather it is hardware that unites the women and men of Givenchy, a symbolic nexus of utility and luxury and the place where this collection began. The Lover’s Lock is a unisex object of utility, decoration, commitment and emotion; a sincere yet playful symbol of Paris – it nods to the lost locks of Le Pont des Arts – it is an object punctuated throughout this initial collection as both decoration and fastenings. It also points to Williams’ commitment to the world of Givenchy in this first proposal as thehouse’s Creative Director.     The Spring-Summer ‘21 collection explores Givenchy in the form of a stream of consciousness for Williams and is a ‘sampler’ of what is to come. Begun in the midst of a pandemic and completed within two months, this is a new beginning, yet is intermingled with elements of the archive and is a utilisation of Givenchy’s distinct lineage, pointing to the past, present and future. Above all, there is a sense of celebration, of the people who have led Williams here and those he wants to wear the clothes. This is expressed in the images that reveals the collection, a photographic study by the creative director together with the artist Heji Shin – a photographer who also gets to the heart of who a person is as much as to the clothes they wear.     From Hubert de Givenchy’s swathes of looped drapery, lighter-than-air transparencies, linear necklines and ‘Jour’ open backs, to the McQueen horn, reborn; both the classical and radical contrasts of Givenchy are embraced and shown to have always been part of the house’s history in the collection. Ultimately, it is a feeling of elegance, playfulness and pragmatism that is key to Matthew M. Williams’ vision for the house.     There is a notion of evolution, both lighthearted and serious, in this play of elements past and present. From the Tryp-toe shoe and stockings, the Horn-heel and hat together with a further examination of the Antigona bag, each is a play on and development of existing objects in the archive. They are joined by the new unisex Cut-out bag in its many iterations, as well as the G chains, objects that are destined to add to the history of the house and are interspersed throughout. Williams’ signature technical material experimentation is balanced by the traditional, natural and opulent. From the use of a cotton Ottoman for both genders in outerwear, technical taffeta in tailoring and structured Punto di Milano jersey to evoke more pure forms in dressmaking, tradition is respected yet refined and re-contextualised. At the same time, an experiment in different densities of injected foam leads to an evolution of the slide, the ultra-comfortable Marshmallow Slide is the footwear that underpins much of the collection, quite literally providing a casual, insouciant foundation for many of the more formal looks. The study of casual archetypes continues throughout the collection, including new technical coatings of denim in both paint and resin, work that is as labour intensive as the collection’s more traditional embroideries. It is a sign ofWilliams’ Californian sensibility transplanted to Europe that he approaches the two sides with equal aplomb and rigour, both classicism and subversion, with a sense of ease and respect for the humanity of the wearer infusing all.

Paco Rabanne for Spring & Summer 2020
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Paco Rabanne for Spring & Summer 2020

Fashion Week Whether in the galleries or on the runways, as music or as theatre, avant-garde has always signaled a certain radicality, an impulse for experimentation. This concept is innate to Paco Rabanne, dating back to the designer’s first collection in 1966, Twelve Dresses in Unwearable Materials.    But does avant-garde expression serve a purpose when life itself feels so radically different? What if an everyday wardrobe could be reimagined with an avant-garde attitude? Conceived by Julien Dossena, this Paco Rabanne collection is a garde-robe of looks that are instinctive rather than declarative. Individuality surfaces as an extreme remix of wearable pieces. The statement is visibly less formal but technically precise – an undoing of stylistic archetypes to arrive at a deliberately destabilized allure.    Each look suggests an association of ideas that are as likely to be counterintuitive as complementary. Amidst the season’s sparkling head-to-toe geometric and flowery assemblages, leopard motifs and lingerie or baby-doll dresses with lace incrustations tempt a more louche, beguiling vision. Bustiers and washed denim recur as wardrobe foundation pieces, often layered with elongated tailored jackets or a relaxed, metal mesh robe. Striped ribbed knits stamped with silver create kinetic curves while metal mesh dresses in gold and silver are newly knotted at the bustline, suggesting a gesture of insouciance. Where moulded tops and jewellery plates around the clavicle and navel accentuate the figure outward, exaggerated jewel prints drape and contour the body with trompe l’oeil glitz. Updated for the times, a classic trench is sheathed in clear plastic as a partial barrier.    On foot, boots set within tubular steel frames have been re-edited from the archive. They showcase the artistic side of Paco Rabanne’s avant-garde spirit – a conceptual, sculptural base for silhouettes drawn from real life.  Whether in the galleries or on the runways, as music or as theatre, avant-garde has always signaled a certain radicality, an impulse for experimentation. This concept is innate to Paco Rabanne, dating back to the designer’s first collection in 1966, Twelve Dresses in Unwearable Materials.    But does avant-garde expression serve a purpose when life itself feels so radically different? What if an everyday wardrobe could be reimagined with an avant-garde attitude? Conceived by Julien Dossena, this Paco Rabanne collection is a garde-robe of looks that are instinctive rather than declarative. Individuality surfaces as an extreme remix of wearable pieces. The statement is visibly less formal but technically precise – an undoing of stylistic archetypes to arrive at a deliberately destabilized allure.    Each look suggests an association of ideas that are as likely to be counterintuitive as complementary. Amidst the season’s sparkling head-to-toe geometric and flowery assemblages, leopard motifs and lingerie or baby-doll dresses with lace incrustations tempt a more louche, beguiling vision. Bustiers and washed denim recur as wardrobe foundation pieces, often layered with elongated tailored jackets or a relaxed, metal mesh robe. Striped ribbed knits stamped with silver create kinetic curves while metal mesh dresses in gold and silver are newly knotted at the bustline, suggesting a gesture of insouciance. Where moulded tops and jewellery plates around the clavicle and navel accentuate the figure outward, exaggerated jewel prints drape and contour the body with trompe l’oeil glitz. Updated for the times, a classic trench is sheathed in clear plastic as a partial barrier.    On foot, boots set within tubular steel frames have been re-edited from the archive. They showcase the artistic side of Paco Rabanne’s avant-garde spirit – a conceptual, sculptural base for silhouettes drawn from real life. 

Exclusive editorial starring Mike Gioia
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Exclusive editorial starring Mike Gioia

Men Exclusive editorial, captured by Diane Zhao.     TEAM CREDITS: model: Mike Gioia - Ford Models grooming by: Agata Helena Exclusive editorial, captured by Diane Zhao.     TEAM CREDITS: model: Mike Gioia - Ford Models grooming by: Agata Helena

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Acne Studios Women’s Spring/Summer 2021
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Acne Studios Women’s Spring/Summer 2021

Fashion Week “I am excited by transitional moments, in-between times that are alive with possibility. This collection is about the elevation of an elemental life, about positivity, optimism and light,” says Jonny Johansson, creative director of Acne Studios.   A collection about liberation, transformation and personal rebirth. Gatherings for a spiritual moonrise, the energy of twilight, the darkness before the dawn and the impossible light of a full moon rising.   It’s about the blurring of time, the unceasing cycle of day turning to night, and vice versa; the experimentation it inspires, with clashes and contrasts, and pieces that have both a versatile presence and ease. Materials are a particular focus, with fabrics that interact and change with the light; cracked leather, pearlized cotton, metallic thread organza, iridescent paper. What may appear matt when the sun has set takes a luminescent shine after the moon rises.   Acne Studios has collaborated with the LA artist Ben Quinn, whose work is rooted in his experiences with the supernatural. His painting of a pulsating star is printed on an oversized metallic thread organza tunic, a washed linen top and wrap skirt, and tops in cotton voile or embroidered paillette top. Quinn’s image is also turned into a patchwork for sheer dresses and skirts.   Fabrics of di erent weights, weaves and textures are worn together to evoke a poetic silhouette. Crochet knits are like shing nets for bandeau tops, knickers or skirts, worn as layering pieces.Often, it’s under a translucent layer, while other times the crochet gives contrast, like under a raw-cut leather sleeveless dress.   Slouchy tailored jackets are as soft as can be, with no internal construction, even made from suit lining. Raw cut leather and suede provide moments of structure.   Luminescence is everywhere. A dip-dyed trench is in pearlescent organza, cut wide and loose. Cracked leather raw cut apron tops throw back the light, while a metallic shift dress is in crinklediridescent paper. Metallic cu s and earrings are re ective and delicate, as if hand-stamped, decoratedwith shells and stones. Transparent framed glasses let the light pass through them and are oversized enough to take in the whole of the moon.   Leather and suede bags have a weight to them with extreme oversized straps, mimicked in scale bythe garment dyed du el bags which can transition easily from day to evening to day. Flip ops havestraps of tightly braided leather, contrasting with kitten heels in raw cut fringed hemp. Spiked heels have their own attitude.   The collection represents a place that obeys its own logic and is centred around free gathering and the transition of time. “I am excited by transitional moments, in-between times that are alive with possibility. This collection is about the elevation of an elemental life, about positivity, optimism and light,” says Jonny Johansson, creative director of Acne Studios.   A collection about liberation, transformation and personal rebirth. Gatherings for a spiritual moonrise, the energy of twilight, the darkness before the dawn and the impossible light of a full moon rising.   It’s about the blurring of time, the unceasing cycle of day turning to night, and vice versa; the experimentation it inspires, with clashes and contrasts, and pieces that have both a versatile presence and ease. Materials are a particular focus, with fabrics that interact and change with the light; cracked leather, pearlized cotton, metallic thread organza, iridescent paper. What may appear matt when the sun has set takes a luminescent shine after the moon rises.   Acne Studios has collaborated with the LA artist Ben Quinn, whose work is rooted in his experiences with the supernatural. His painting of a pulsating star is printed on an oversized metallic thread organza tunic, a washed linen top and wrap skirt, and tops in cotton voile or embroidered paillette top. Quinn’s image is also turned into a patchwork for sheer dresses and skirts.   Fabrics of di erent weights, weaves and textures are worn together to evoke a poetic silhouette. Crochet knits are like shing nets for bandeau tops, knickers or skirts, worn as layering pieces.Often, it’s under a translucent layer, while other times the crochet gives contrast, like under a raw-cut leather sleeveless dress.   Slouchy tailored jackets are as soft as can be, with no internal construction, even made from suit lining. Raw cut leather and suede provide moments of structure.   Luminescence is everywhere. A dip-dyed trench is in pearlescent organza, cut wide and loose. Cracked leather raw cut apron tops throw back the light, while a metallic shift dress is in crinklediridescent paper. Metallic cu s and earrings are re ective and delicate, as if hand-stamped, decoratedwith shells and stones. Transparent framed glasses let the light pass through them and are oversized enough to take in the whole of the moon.   Leather and suede bags have a weight to them with extreme oversized straps, mimicked in scale bythe garment dyed du el bags which can transition easily from day to evening to day. Flip ops havestraps of tightly braided leather, contrasting with kitten heels in raw cut fringed hemp. Spiked heels have their own attitude.   The collection represents a place that obeys its own logic and is centred around free gathering and the transition of time.

Welcome to Loubi World!
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Welcome to Loubi World!

Fashion Week To unveil his Women’s & Men’s Spring-Summer 2021 collections, Christian Louboutin will host a virtual event on October 2, 2020 on the Korea-based gaming application Zepeto. Passionate about physical travels since his teenage years, Christian Louboutin - eager to explore new territories and an avid fan of new technologies - invites the international press, his friends and fans to join him for an immersive digital creative experience: Loubi World.   Modelled as a techno-kawaï version of the designer’s eternal muse - Paris - Loubi World recreates places and moments dear to him, from a terrace with an imaginary view of the City of Lights, to the Galerie Véro-Dodat where he opened his first store back in 1991, to a paved round square replete with a classic Parisian bistro, creperie, carrousel, the Morris columns, the new flagship store and the Loubi Disco.   Forever an advocate of self-expression and boundless creativity, Christian Louboutin has ensured that users have free range to be exactly who they’d like in Loubi World without any consideration of gender or style. Users are invited to create their own avatar using either facial recognition and by self-selecting their skin tone, hairstyle and outfit, as well as choose shoes and accessories from the new SS21 collection.   After entering the game, users are teleported into the Loubi Boutique, a virtual version of the newly opened store on rue Saint-Honoré in Paris, where they can try on and play with emblematic styles from the SS21 collection, before adding the final touch to their avatars’ looks: a new leather goods style from the new season.   A tribute to Christian Louboutin’s love of social interactions and his curiosity and excitement for meeting new people, avatars can interact with their friends on the Loubi Terrasse, take selfies with the designer, and shoot, through virtual reality, photos and videos that can easily be shared on Instagram, Facebook, Tik Tok, Weibo & WeChat.   The debut of a new collection calls for celebration. French DJ Zimmer will invite avatars to fire up the dance floor of the Loubi Disco, a nod to the designer’s teenage years at Le Palace. The true highlight of the night will be a special performance by US pop singer King Princess’ avatar.   Get your headphones ready to make sure you will fully experience the music in 8D audio, an innovative recording technology allowing a more immersive listening.   The event will welcome international guests & friends such as AmiAya, Eunse Ki, Julien Granel, King Princess, Koffe (CJI Model), Larsen Thompson, Miss Paris, Nicky Doll, Quincy Brown, Rina Sawayama, Shudu (CJI Model), TK Quann, Yu Yamada and many more, ... To unveil his Women’s & Men’s Spring-Summer 2021 collections, Christian Louboutin will host a virtual event on October 2, 2020 on the Korea-based gaming application Zepeto. Passionate about physical travels since his teenage years, Christian Louboutin - eager to explore new territories and an avid fan of new technologies - invites the international press, his friends and fans to join him for an immersive digital creative experience: Loubi World.   Modelled as a techno-kawaï version of the designer’s eternal muse - Paris - Loubi World recreates places and moments dear to him, from a terrace with an imaginary view of the City of Lights, to the Galerie Véro-Dodat where he opened his first store back in 1991, to a paved round square replete with a classic Parisian bistro, creperie, carrousel, the Morris columns, the new flagship store and the Loubi Disco.   Forever an advocate of self-expression and boundless creativity, Christian Louboutin has ensured that users have free range to be exactly who they’d like in Loubi World without any consideration of gender or style. Users are invited to create their own avatar using either facial recognition and by self-selecting their skin tone, hairstyle and outfit, as well as choose shoes and accessories from the new SS21 collection.   After entering the game, users are teleported into the Loubi Boutique, a virtual version of the newly opened store on rue Saint-Honoré in Paris, where they can try on and play with emblematic styles from the SS21 collection, before adding the final touch to their avatars’ looks: a new leather goods style from the new season.   A tribute to Christian Louboutin’s love of social interactions and his curiosity and excitement for meeting new people, avatars can interact with their friends on the Loubi Terrasse, take selfies with the designer, and shoot, through virtual reality, photos and videos that can easily be shared on Instagram, Facebook, Tik Tok, Weibo & WeChat.   The debut of a new collection calls for celebration. French DJ Zimmer will invite avatars to fire up the dance floor of the Loubi Disco, a nod to the designer’s teenage years at Le Palace. The true highlight of the night will be a special performance by US pop singer King Princess’ avatar.   Get your headphones ready to make sure you will fully experience the music in 8D audio, an innovative recording technology allowing a more immersive listening.   The event will welcome international guests & friends such as AmiAya, Eunse Ki, Julien Granel, King Princess, Koffe (CJI Model), Larsen Thompson, Miss Paris, Nicky Doll, Quincy Brown, Rina Sawayama, Shudu (CJI Model), TK Quann, Yu Yamada and many more, ...

Daily Paper and Van Gogh Museum Reunite for a Second Collaborative Line
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Daily Paper and Van Gogh Museum Reunite for a Second Collaborative Line

Fashion For the Fall/Winter 2020 season, Daily Paper and the Van Gogh Museum reprise for a second collaboration which sees a selection of legendary Dutch artist Vincent Van Gogh’s artwork reinterpreted and reproduced on a collection of winter-ready garments. While the first Daily Paper x Van Gogh Museum explored the subject matter of Van Gogh’s art, for this second collaboration we turn our gaze back upon the artist himself. We hope to inspire and educate a generation by connecting the dots between the old and new. Read the full press release and download the assets below. The Daily Paper x Van Gogh Museum collection is priced from €70 - €280 and will be available at Daily Paper and Van Gogh Museum online websites, both storefronts, and selected retailers worldwide from October 2, 2020, 12 PM CET.   Collection: Van Gogh’s Body of Work Translated into Winter Garments: This sophomore capsule sees the evolution of concepts explored in our debut collection, with several of Van Gogh’s most iconic pieces of artwork executed as graphics on street-ready winter outerwear. New silhouettes this season include Daily Paper’s signature puffer jacket adorned with an allover print of the Dutch artist’s The Potato Eaters (1885) alongside some of his floral compositions. Elsewhere, the Daily Paper cold-weather essentials like the reversible bomber jacket, woven beanie and scarf are elevated through the dual-branded logo that is a hallmark of the collaboration. Alongside sportswear staples like tees and hoodies, other highlights include floral printed denim jeans and tote and two-toned split shirting.   For the Fall/Winter 2020 season, Daily Paper and the Van Gogh Museum reprise for a second collaboration which sees a selection of legendary Dutch artist Vincent Van Gogh’s artwork reinterpreted and reproduced on a collection of winter-ready garments. While the first Daily Paper x Van Gogh Museum explored the subject matter of Van Gogh’s art, for this second collaboration we turn our gaze back upon the artist himself. We hope to inspire and educate a generation by connecting the dots between the old and new. Read the full press release and download the assets below. The Daily Paper x Van Gogh Museum collection is priced from €70 - €280 and will be available at Daily Paper and Van Gogh Museum online websites, both storefronts, and selected retailers worldwide from October 2, 2020, 12 PM CET.   Collection: Van Gogh’s Body of Work Translated into Winter Garments: This sophomore capsule sees the evolution of concepts explored in our debut collection, with several of Van Gogh’s most iconic pieces of artwork executed as graphics on street-ready winter outerwear. New silhouettes this season include Daily Paper’s signature puffer jacket adorned with an allover print of the Dutch artist’s The Potato Eaters (1885) alongside some of his floral compositions. Elsewhere, the Daily Paper cold-weather essentials like the reversible bomber jacket, woven beanie and scarf are elevated through the dual-branded logo that is a hallmark of the collaboration. Alongside sportswear staples like tees and hoodies, other highlights include floral printed denim jeans and tote and two-toned split shirting.  

LOEWE WOMEN’S SPRING SUMMER 2021 SHOW-ON-THE-WALL
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LOEWE WOMEN’S SPRING SUMMER 2021 SHOW-ON-THE-WALL

Fashion Week The LOEWE SS21 Show-on-the-Wall will feature a series of online content to expand and enrich the personal experience of putting together and enjoying a paper show. The events will be aired throughout the day on the LOEWE social media channels. The idea is to offer deeper knowledge about the collection, the show concept and the artists involved, as well as entertainment, creating an experience that further enhances the identity of LOEWE as a cultural brand. The content will follow a xed agenda, with additional elements being added throughout the day.   Anthea Hamilton’s Collaboration British artist Anthea Hamilton (b. 1978) has created a unique wallpaper for this collection. Hamilton works in sculpture, installation and performance and is fascinated by the multiple meanings and resonances an image can provoke. Unexpected juxtapositions and surreal collisions of form and material abound in her work, with detours through the worlds of art, music, fashion and popular culture: from postmodern architecture or Japanese Noh and Kabuki theatre. Hamilton’s wallpaper Sr Jeanne Wavy Boots w. Gazanias and Snails (2020) is a collage of a boot and flower motif which frequently reoccur in her work. The wallpaper was designed as the backdrop for the SS21 collection and has been transformed into a textile as part of the collection. Hamilton has collaborated with LOEWE on several occasions, including for her major installation The Squash at Tate Britain in 2018. Her monumental Vulcano Table (2014) is part of the Loewe Foundation Art Collection and is currently installed in the Casa Loewe store on London’s Bond Street. The LOEWE SS21 Show-on-the-Wall will feature a series of online content to expand and enrich the personal experience of putting together and enjoying a paper show. The events will be aired throughout the day on the LOEWE social media channels. The idea is to offer deeper knowledge about the collection, the show concept and the artists involved, as well as entertainment, creating an experience that further enhances the identity of LOEWE as a cultural brand. The content will follow a xed agenda, with additional elements being added throughout the day.   Anthea Hamilton’s Collaboration British artist Anthea Hamilton (b. 1978) has created a unique wallpaper for this collection. Hamilton works in sculpture, installation and performance and is fascinated by the multiple meanings and resonances an image can provoke. Unexpected juxtapositions and surreal collisions of form and material abound in her work, with detours through the worlds of art, music, fashion and popular culture: from postmodern architecture or Japanese Noh and Kabuki theatre. Hamilton’s wallpaper Sr Jeanne Wavy Boots w. Gazanias and Snails (2020) is a collage of a boot and flower motif which frequently reoccur in her work. The wallpaper was designed as the backdrop for the SS21 collection and has been transformed into a textile as part of the collection. Hamilton has collaborated with LOEWE on several occasions, including for her major installation The Squash at Tate Britain in 2018. Her monumental Vulcano Table (2014) is part of the Loewe Foundation Art Collection and is currently installed in the Casa Loewe store on London’s Bond Street.

UNIQLO Grote Marktstraat Opened Today
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UNIQLO Grote Marktstraat Opened Today

Fashion The Japanese retailer UNIQLO opened the doors of its first store in The Hague and second store in The Netherlands today at 10:00am. UNIQLO announces that it is proud to be able to offer LifeWear to the residents and visitors of this dynamic city.       For the opening of the UNIQLO Grote Marktstraat store, the retailer partnered with various local talents in order to showcase their work. As part of this, two fashion students of the ROC Mondriaan school joined an upcycling project for which they created two entirely new designs using items of the UNIQLO Recycle program. The creations are on display in one of the windows of the UNIQLO Grote Marktstraat store for the month of October. In addition, a Limited Edition Eco Tote Bag has been created incorporating a unique design by local illustrator Wies van der Wal. The Tote Bag is available to purchase at UNIQLO Grote Marktstraat at a price of €1,90.     On the first floor of the UNIQLO Grote Marktstraat store, a seating area has been set up in collaboration with Studio Perspective, who promote Dutch Design furniture items which are all locally produced in a sustainable and socially responsible manner.      Honoring The Hague, known for being one of the greenest cities of the Netherlands, a real garden has been recreated at the heart of the UNIQLO Grote Marktstraat store. Inspired by the traditional Japanese Garden at Park Clingendael, the garden incorporates true Japanese elements such as bonsai trees and green moss.       The Japanese retailer UNIQLO opened the doors of its first store in The Hague and second store in The Netherlands today at 10:00am. UNIQLO announces that it is proud to be able to offer LifeWear to the residents and visitors of this dynamic city.       For the opening of the UNIQLO Grote Marktstraat store, the retailer partnered with various local talents in order to showcase their work. As part of this, two fashion students of the ROC Mondriaan school joined an upcycling project for which they created two entirely new designs using items of the UNIQLO Recycle program. The creations are on display in one of the windows of the UNIQLO Grote Marktstraat store for the month of October. In addition, a Limited Edition Eco Tote Bag has been created incorporating a unique design by local illustrator Wies van der Wal. The Tote Bag is available to purchase at UNIQLO Grote Marktstraat at a price of €1,90.     On the first floor of the UNIQLO Grote Marktstraat store, a seating area has been set up in collaboration with Studio Perspective, who promote Dutch Design furniture items which are all locally produced in a sustainable and socially responsible manner.      Honoring The Hague, known for being one of the greenest cities of the Netherlands, a real garden has been recreated at the heart of the UNIQLO Grote Marktstraat store. Inspired by the traditional Japanese Garden at Park Clingendael, the garden incorporates true Japanese elements such as bonsai trees and green moss.      

HELMUT LANG X ANTHONY VACCARELLO SAINT LAURENT RIVE DROITE
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HELMUT LANG X ANTHONY VACCARELLO SAINT LAURENT RIVE DROITE

Design As part of the Saint Laurent Rive Droite project, Anthony Vaccarello has decided to give his creations to artist Helmut Lang to exert as raw materials for a set of unique sculptures.   In his quest for new partnerships and ideas to expand the identity of Saint Laurent, Anthony Vaccarello has handpicked Helmut Lang, whose body of work in fashion re ect a strict construction that can be seen as an underground in uence upon Anthony’s vision. He has always admired and respected Helmut Lang, who made a name for himself from the late 80s and on by inventing a brand new design language that is still the ultimate embodiment of minimalism, modernity and restrained opulence. Helmut has been part of Anthony Vaccarello’s inspiration as a designer but also as a person who always made the right choice. Also concerned with modern issues like sustainability, durability, lasting power of the ever-shifting nature of fashion collections and cycles, Anthony Vaccarello has found the perfect interlocutor for a project that is also a dialogue.   Helmut Lang questioned the very de nition of luxury and the meaning of the clothes’ function. He initiated with close artists, Louise Bourgeois and Jenny Holzer, which turned into a habit in the 21st century: a collaboration between an artist and a fashion designer. These close links put new interrogations at the forefront of the ever-evolving fashion industry: fashion a form of applied art, the time-frame of fashion creations, its more or less perennial impact on global culture are probably the only two who are still at the heart of today’s discussions. With that background and creative philosophy, it seemed natural for the designer to turn to art full-time in 2005. His unique ability to turn items, either raw or discarded, into pieces of art, made him the perfect partner for this project.   Anthony Vaccarello invited him to work with past collections he made for Saint Laurent, thus contributing, in a sel ess gesture, to the transmutation of his creations for the house into another form of art. Clothing and accessory prototypes, garments and jewels left un nished and deserted, remaining testimonies of Anthony Vaccarello’s creativity has been morphed into a new life. Shredded, mixed with a pigmented resin then molded in aluminum, these former fashion objects will become primal totems with unique textures reminiscing both, a precious past and a promising future. The sculptures will be displayed at Rive Droite, rst in Paris, then in Los Angeles and will be available for sale. As part of the Saint Laurent Rive Droite project, Anthony Vaccarello has decided to give his creations to artist Helmut Lang to exert as raw materials for a set of unique sculptures.   In his quest for new partnerships and ideas to expand the identity of Saint Laurent, Anthony Vaccarello has handpicked Helmut Lang, whose body of work in fashion re ect a strict construction that can be seen as an underground in uence upon Anthony’s vision. He has always admired and respected Helmut Lang, who made a name for himself from the late 80s and on by inventing a brand new design language that is still the ultimate embodiment of minimalism, modernity and restrained opulence. Helmut has been part of Anthony Vaccarello’s inspiration as a designer but also as a person who always made the right choice. Also concerned with modern issues like sustainability, durability, lasting power of the ever-shifting nature of fashion collections and cycles, Anthony Vaccarello has found the perfect interlocutor for a project that is also a dialogue.   Helmut Lang questioned the very de nition of luxury and the meaning of the clothes’ function. He initiated with close artists, Louise Bourgeois and Jenny Holzer, which turned into a habit in the 21st century: a collaboration between an artist and a fashion designer. These close links put new interrogations at the forefront of the ever-evolving fashion industry: fashion a form of applied art, the time-frame of fashion creations, its more or less perennial impact on global culture are probably the only two who are still at the heart of today’s discussions. With that background and creative philosophy, it seemed natural for the designer to turn to art full-time in 2005. His unique ability to turn items, either raw or discarded, into pieces of art, made him the perfect partner for this project.   Anthony Vaccarello invited him to work with past collections he made for Saint Laurent, thus contributing, in a sel ess gesture, to the transmutation of his creations for the house into another form of art. Clothing and accessory prototypes, garments and jewels left un nished and deserted, remaining testimonies of Anthony Vaccarello’s creativity has been morphed into a new life. Shredded, mixed with a pigmented resin then molded in aluminum, these former fashion objects will become primal totems with unique textures reminiscing both, a precious past and a promising future. The sculptures will be displayed at Rive Droite, rst in Paris, then in Los Angeles and will be available for sale.

Dries Van Noten The collections for Women & Men S/S 2021
530

Dries Van Noten The collections for Women & Men S/S 2021

Fashion Week Bold, optimistic, colourful, light, pure, fun, sculpted, easy, kinetic, frank, joyous, vivid, warm and stark, jubilant, powerful. A minimum od artifice. The visionary films of New Zealand artist Len Lye. He pioneered harnessing motion in art. Filmed in the 1920s–1940s, with colour painted and motives scratched on the celluloid, they were precursors of the psychedelia that would follow only forty years later. A fashion shoot by Viviane Sassen. An homage to the powerful role fashion editorial and imagery has played in fashion. The uplifting joy of a perfect moment. A bright windy, sunny day on the beach. Billowing pure white clouds race across a clear blue sky. Energy is high. The narrative of folklore is evoked with traditional embroidery techniques. A point of view shared for our collections for Women and Men.     FORM: The challenge was to capture movement and optimism in dress. Pure lines that span many attitudes of dress from the sublimation of couture to utility in workwear. From constructed balloon sleeves to a simple patch pocket chino. Many looks for women and men have shorts as a foundation. The lines between traditions of garment structure for men and women are blurred. High waisted skirts and pants. Exaggerated wide scooped necklines on constructed garments are mirrored in shirting. Vivid one-piece bathing suits for women for the first-ever time. Light caftans for the beach. Ties draw scalloped forms on backs.     FABRICS: The crisp and comforting simplicity of cottons. The airy light movement of organza. Contrasts in opacity and hand. Summer suiting and shirting, Large mesh, Silk organza bonded to linen, Casual sweats, chinos, silk cloque.   PRINT & EMBELLISHMENT: All printed motifs are derived from frames captured from the films of Len Lye. A new take on print and embroidery. A graphic play with light and shadow. The reality and illusion of dancing in a projection. Motifs from one printed garment invade another – prints from a skirt move onto the lapel of a jacket. What appear as simple stripes are shards of light cast through a louver shutter captured and printed. Stripes undulating across garments almost bring optical interference. The word ‘You’ is printed orembroidered on tops to encourage an end to the era of ‘Me’. The largecircle of a spotlight in vivid colours seems projected on the wearer. The romance of verdant green palm trees. The traditional craft of needlework in optic white. Laser cuts in leather seem as ‘Broderie Anglaise’ or lace. The exuberance of ruffles. Len Lye’s essay on movement in art is printed in its entirety on garments that will ‘drop’ later in the season.   ACCESSORIES:  Clutches seem caught in a vivid projection of colour and stripes. Shoes and open-toe sandals in Nappa leather mounted on our signature banana heel. Eyewear is colour coordinated with earrings and necklaces in micro beads.   PHOTOGRAPHY: Viviane Sassen   Bold, optimistic, colourful, light, pure, fun, sculpted, easy, kinetic, frank, joyous, vivid, warm and stark, jubilant, powerful. A minimum od artifice. The visionary films of New Zealand artist Len Lye. He pioneered harnessing motion in art. Filmed in the 1920s–1940s, with colour painted and motives scratched on the celluloid, they were precursors of the psychedelia that would follow only forty years later. A fashion shoot by Viviane Sassen. An homage to the powerful role fashion editorial and imagery has played in fashion. The uplifting joy of a perfect moment. A bright windy, sunny day on the beach. Billowing pure white clouds race across a clear blue sky. Energy is high. The narrative of folklore is evoked with traditional embroidery techniques. A point of view shared for our collections for Women and Men.     FORM: The challenge was to capture movement and optimism in dress. Pure lines that span many attitudes of dress from the sublimation of couture to utility in workwear. From constructed balloon sleeves to a simple patch pocket chino. Many looks for women and men have shorts as a foundation. The lines between traditions of garment structure for men and women are blurred. High waisted skirts and pants. Exaggerated wide scooped necklines on constructed garments are mirrored in shirting. Vivid one-piece bathing suits for women for the first-ever time. Light caftans for the beach. Ties draw scalloped forms on backs.     FABRICS: The crisp and comforting simplicity of cottons. The airy light movement of organza. Contrasts in opacity and hand. Summer suiting and shirting, Large mesh, Silk organza bonded to linen, Casual sweats, chinos, silk cloque.   PRINT & EMBELLISHMENT: All printed motifs are derived from frames captured from the films of Len Lye. A new take on print and embroidery. A graphic play with light and shadow. The reality and illusion of dancing in a projection. Motifs from one printed garment invade another – prints from a skirt move onto the lapel of a jacket. What appear as simple stripes are shards of light cast through a louver shutter captured and printed. Stripes undulating across garments almost bring optical interference. The word ‘You’ is printed orembroidered on tops to encourage an end to the era of ‘Me’. The largecircle of a spotlight in vivid colours seems projected on the wearer. The romance of verdant green palm trees. The traditional craft of needlework in optic white. Laser cuts in leather seem as ‘Broderie Anglaise’ or lace. The exuberance of ruffles. Len Lye’s essay on movement in art is printed in its entirety on garments that will ‘drop’ later in the season.   ACCESSORIES:  Clutches seem caught in a vivid projection of colour and stripes. Shoes and open-toe sandals in Nappa leather mounted on our signature banana heel. Eyewear is colour coordinated with earrings and necklaces in micro beads.   PHOTOGRAPHY: Viviane Sassen  

Giorgio Armani Men's and women's collections Spring/Summer 2021
528

Giorgio Armani Men's and women's collections Spring/Summer 2021

Fashion Week These are timeless thoughts, as narrated by the voice of renowned and multi-awarded Italian actor Pierfrancesco Favino in the 20-minutes video-documentary that precedes and introduces the Giorgio Armani Spring/Summer 2021 show, and that, through an emotional edit of images, memories and archive interviews spans decades of Armani's dazzlingly consistent style, before making way to the new collection, broadcasted for the first time on television.   In the video-documentary, Giorgio Armani's language evolves relentlessly, whilst staying firm in its roots. It swings in subtle balances between rigour and sensuality, city and exoticism, purity and slight concessions to eccentricity. It is the result of a process of subtraction, which captures time and sublimates it, creating fashion that goes beyond fashion. Each new collection adds headwords to an expanding vocabulary, while reiterating a sense of elegance which puts the person at the centre.   For the Spring/Summer 2021 collection, silhouettes, for both men and women, are essential, soft, fluid: a blend of pure lines and neutral colours —grey, beige, black, blue— that light up with occasional geometries, swarming with rhythmic patterns, following an idea of ton sur ton that is real but also metaphorical, but never prevails over the rest. What emerges is the personality of a woman and a man who are free from aesthetic constraints, careful instead to express themselves through what they wear. Whether everything is matte or shimmering, it is the sense of measure that keeps asserting itself, overcoming time. These are timeless thoughts, as narrated by the voice of renowned and multi-awarded Italian actor Pierfrancesco Favino in the 20-minutes video-documentary that precedes and introduces the Giorgio Armani Spring/Summer 2021 show, and that, through an emotional edit of images, memories and archive interviews spans decades of Armani's dazzlingly consistent style, before making way to the new collection, broadcasted for the first time on television.   In the video-documentary, Giorgio Armani's language evolves relentlessly, whilst staying firm in its roots. It swings in subtle balances between rigour and sensuality, city and exoticism, purity and slight concessions to eccentricity. It is the result of a process of subtraction, which captures time and sublimates it, creating fashion that goes beyond fashion. Each new collection adds headwords to an expanding vocabulary, while reiterating a sense of elegance which puts the person at the centre.   For the Spring/Summer 2021 collection, silhouettes, for both men and women, are essential, soft, fluid: a blend of pure lines and neutral colours —grey, beige, black, blue— that light up with occasional geometries, swarming with rhythmic patterns, following an idea of ton sur ton that is real but also metaphorical, but never prevails over the rest. What emerges is the personality of a woman and a man who are free from aesthetic constraints, careful instead to express themselves through what they wear. Whether everything is matte or shimmering, it is the sense of measure that keeps asserting itself, overcoming time.

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