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PRADA presents Multiple views for their Spring & Summer 2021 collection
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PRADA presents Multiple views for their Spring & Summer 2021 collection

Fashion Week For Prada Multiple Views SS21, a singular statement is replaced by the perspectives of many: multiple views, by a multitude of global creatives. The collection suggests the approach: different views, for a collection that proposes a myriad interpretations of the Prada man and woman. Congruent yet individually delineated, the collection is proposed in five chapters, which in turn are interpreted by five image-makers and artists. A true conversation.     Terence Nance, Joanna Piotrowska, Martine Syms, Juergen Teller and Willy Vanderperre each propose a film capturing a facet of the Prada collection, distinct and definite in its creative statement and ideology, a point of view on Prada. These inherently and fundamentally echo the traditional fashion show, where each observer has their own physical and ideological vantage-point on the collection, their own opinions, their own observations. It also reflects the reality of this Prada digital presentation: seemingly divergent but again seen by many, this time in their own environments, their own time, their own worlds. This is an embracing and celebration of that multiplicity - when people cannot commune, we can establish a different type of community, united through ideas, goals, beliefs.     Attention is drawn back to clothes - simple clothes, with a use and a value, a longevity and a place within people’s lives. As times become increasingly complex, clothes become straightforward, unostentatious, machines for living and tools for action and activity.     The July 2020 collection focuses on the quintessence of Prada, the meaning. How clothes are worn, where, and why. Often, their meanings are compound and multiplex: simultaneously speaking of sportswear and formality, of classicism and futurism, pieces are paradoxes, situated in multiple worlds - just as their debut here is not only framed by the eye of Prada, but by a panoply of creatives. The silhouette for men is sharp and narrow, fitted, with technologically innovative fabrications of Prada nylon and stretch materials juxtaposed with traditional suiting; for women, the same fabrics are given couture volumes and treatments. Then the reverse: industrial outfits in classic fabrications, leathers, cottons, taffeta, and true sportswear, drawn from Linea Rossa, technically innovative, function dictating form. In simplifying and paring back, a logical conclusion is lingerie: a foundational layer, a vulnerability, a fragility and humanity. Pieces evocative of these clothes in both male and female wardrobes - soft knit, fragile colour, light fabric - are worn as everyday clothing. A coat is clutched over bare skin.     A radicalism is found in purity - simplicity with a complexity, yet an antidote to useless complication in precision and directness. Contradiction is celebrated: in apparent fragility can be found strength, through rigour joy. A sense of lightness not only of physicality but of emotion - the dynamism of sportswear translates throughout, a sense of enjoyment, energy, fun. A reason for fashion. Prada - and fashion - seen with multiple views.     CHAPTER I Willy Vanderperre (b. 1971, Belgium) ‘Prada evolves and changes every season; this season, the part we were shooting and filming felt like an honest collection. Stripped from fashion ideas, which turns that idea into fashion again. It also felt introspective and slightly schizophrenic. A look into the past with the future ahead. I hope that the audience feels that in the movie, a distilled pure and honest presentation of the collection.’     CHAPTER II Juergen Teller (b. 1964, Germany) ‘It was an honour to be asked to photograph and film Miuccia‘s last collection. I thought the men and women looked beautiful, elegant and modern. I enjoyed looking at Miuccia‘s vision and trying to make sense of it as honest and direct as possible.’     CHAPTER III Joanna Piotrowska (b. 1985, Poland) ‘Gesture and physicality are an essential non-verbal form of communication and play a big role in the conceptual and compositional aspects of my work. The finger snap, is a quick and subtle yet attention-demanding action. It is also used to indicate approval or to maintain rhythm. I thought that this short could be an interesting space to work with the snap as a recurring motif that marks the movements and refocuses the viewer’s attention to each new look.’     CHAPTER IV Martine Syms (b. 1988, USA) ‘The video is a collage of multiple formats and features iterative, repetitive movements intercut with beautiful people staring at images of themselves on monitors and screens in Milan and in my studio in Los Angeles. Since the collection pieces have a 60s feeling to them, I tried to include several references to cinema culture and surveillance/sousveillance from that time period to the present. I'm inspired by the way screens have come to make & unmake us, and what it means to be living, breathing, moving fleshy things in a world full of them.’     CHAPTER V Terence Nance (b. 1982, USA) ‘The film that came through was born of speed and play, I have no words through which to decode what the meaning is and was and will be but it may be about ‘time’ - and keeping your organs in that vessel we call a body while it contorts itself to love each second as it goes bye bye.’     #PradaSS21 #PradaMultipleViews For Prada Multiple Views SS21, a singular statement is replaced by the perspectives of many: multiple views, by a multitude of global creatives. The collection suggests the approach: different views, for a collection that proposes a myriad interpretations of the Prada man and woman. Congruent yet individually delineated, the collection is proposed in five chapters, which in turn are interpreted by five image-makers and artists. A true conversation.     Terence Nance, Joanna Piotrowska, Martine Syms, Juergen Teller and Willy Vanderperre each propose a film capturing a facet of the Prada collection, distinct and definite in its creative statement and ideology, a point of view on Prada. These inherently and fundamentally echo the traditional fashion show, where each observer has their own physical and ideological vantage-point on the collection, their own opinions, their own observations. It also reflects the reality of this Prada digital presentation: seemingly divergent but again seen by many, this time in their own environments, their own time, their own worlds. This is an embracing and celebration of that multiplicity - when people cannot commune, we can establish a different type of community, united through ideas, goals, beliefs.     Attention is drawn back to clothes - simple clothes, with a use and a value, a longevity and a place within people’s lives. As times become increasingly complex, clothes become straightforward, unostentatious, machines for living and tools for action and activity.     The July 2020 collection focuses on the quintessence of Prada, the meaning. How clothes are worn, where, and why. Often, their meanings are compound and multiplex: simultaneously speaking of sportswear and formality, of classicism and futurism, pieces are paradoxes, situated in multiple worlds - just as their debut here is not only framed by the eye of Prada, but by a panoply of creatives. The silhouette for men is sharp and narrow, fitted, with technologically innovative fabrications of Prada nylon and stretch materials juxtaposed with traditional suiting; for women, the same fabrics are given couture volumes and treatments. Then the reverse: industrial outfits in classic fabrications, leathers, cottons, taffeta, and true sportswear, drawn from Linea Rossa, technically innovative, function dictating form. In simplifying and paring back, a logical conclusion is lingerie: a foundational layer, a vulnerability, a fragility and humanity. Pieces evocative of these clothes in both male and female wardrobes - soft knit, fragile colour, light fabric - are worn as everyday clothing. A coat is clutched over bare skin.     A radicalism is found in purity - simplicity with a complexity, yet an antidote to useless complication in precision and directness. Contradiction is celebrated: in apparent fragility can be found strength, through rigour joy. A sense of lightness not only of physicality but of emotion - the dynamism of sportswear translates throughout, a sense of enjoyment, energy, fun. A reason for fashion. Prada - and fashion - seen with multiple views.     CHAPTER I Willy Vanderperre (b. 1971, Belgium) ‘Prada evolves and changes every season; this season, the part we were shooting and filming felt like an honest collection. Stripped from fashion ideas, which turns that idea into fashion again. It also felt introspective and slightly schizophrenic. A look into the past with the future ahead. I hope that the audience feels that in the movie, a distilled pure and honest presentation of the collection.’     CHAPTER II Juergen Teller (b. 1964, Germany) ‘It was an honour to be asked to photograph and film Miuccia‘s last collection. I thought the men and women looked beautiful, elegant and modern. I enjoyed looking at Miuccia‘s vision and trying to make sense of it as honest and direct as possible.’     CHAPTER III Joanna Piotrowska (b. 1985, Poland) ‘Gesture and physicality are an essential non-verbal form of communication and play a big role in the conceptual and compositional aspects of my work. The finger snap, is a quick and subtle yet attention-demanding action. It is also used to indicate approval or to maintain rhythm. I thought that this short could be an interesting space to work with the snap as a recurring motif that marks the movements and refocuses the viewer’s attention to each new look.’     CHAPTER IV Martine Syms (b. 1988, USA) ‘The video is a collage of multiple formats and features iterative, repetitive movements intercut with beautiful people staring at images of themselves on monitors and screens in Milan and in my studio in Los Angeles. Since the collection pieces have a 60s feeling to them, I tried to include several references to cinema culture and surveillance/sousveillance from that time period to the present. I'm inspired by the way screens have come to make & unmake us, and what it means to be living, breathing, moving fleshy things in a world full of them.’     CHAPTER V Terence Nance (b. 1982, USA) ‘The film that came through was born of speed and play, I have no words through which to decode what the meaning is and was and will be but it may be about ‘time’ - and keeping your organs in that vessel we call a body while it contorts itself to love each second as it goes bye bye.’     #PradaSS21 #PradaMultipleViews

GUCCI LAUNCHES A NEW COLLABORATIVE PROJECT BASED  AROUND THE G-TIMELESS WATCH
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GUCCI LAUNCHES A NEW COLLABORATIVE PROJECT BASED AROUND THE G-TIMELESS WATCH

Watches Gucci has pioneered several collaborative projects, sharing its vision in the digital space. Now, House Creative Director Alessandro Michele has invited a number of visual artists from around the world to bring their personal and idiosyncratic perspectives to bear on the G-Timeless automatic watch.      Alessandro Michele asked different visual artists (illustrators, painters and digital artists) to indulge their imaginations and create artworks featuring various models of G-Timeless automatic watches. All were challenged to creatively interpret the watches in their own way, and to focus in particular on the element that makes the G-Timeless so distinctive: the motif of the bee, first introduced to Gucci in the 1970s,which is the key decorative feature on the stone dials of these timepieces, where it functions as every hour-marking index.     The artists truly represent the global community. While some, like Winnie Chi from China and Kieron Livingstone from the UK, have previously collaborated with Gucci, most are new discoveries for the House: like London-based Oh de Laval and Tishk Barzanji, Balfua from California, David Macho from Spain and Andrey Kasay from Russia. Other artists include the USA’s Margot Ferrick and UK’s Cambo, who have already had their artworks for this project previewed on Gucci’s Instagram as a teaser, together with Winnie Chi, who has presented an animation. Although each artist has brought a deeply personal eye to the project, all the pieces share a dreamy, surreal mood, perfectly in keeping with Gucci’s eclecticism.     The Gucci G-Timeless watch features a stone dial decorated with the House’s famous bees, while the transparent case back gives a glimpse of the automatic movement that powers the timepieces.     There are eight Swiss-made variations of the G-Timeless in all, with a 38mm or a 42mm case. Three models combine an 18kt yellow gold case with a black onyx, brown tiger eye or green malachite stone dial. Five further variants combine a steel case with a blue lapis stone dial or a black onyx stone dial.   #GucciTimepieces Gucci has pioneered several collaborative projects, sharing its vision in the digital space. Now, House Creative Director Alessandro Michele has invited a number of visual artists from around the world to bring their personal and idiosyncratic perspectives to bear on the G-Timeless automatic watch.      Alessandro Michele asked different visual artists (illustrators, painters and digital artists) to indulge their imaginations and create artworks featuring various models of G-Timeless automatic watches. All were challenged to creatively interpret the watches in their own way, and to focus in particular on the element that makes the G-Timeless so distinctive: the motif of the bee, first introduced to Gucci in the 1970s,which is the key decorative feature on the stone dials of these timepieces, where it functions as every hour-marking index.     The artists truly represent the global community. While some, like Winnie Chi from China and Kieron Livingstone from the UK, have previously collaborated with Gucci, most are new discoveries for the House: like London-based Oh de Laval and Tishk Barzanji, Balfua from California, David Macho from Spain and Andrey Kasay from Russia. Other artists include the USA’s Margot Ferrick and UK’s Cambo, who have already had their artworks for this project previewed on Gucci’s Instagram as a teaser, together with Winnie Chi, who has presented an animation. Although each artist has brought a deeply personal eye to the project, all the pieces share a dreamy, surreal mood, perfectly in keeping with Gucci’s eclecticism.     The Gucci G-Timeless watch features a stone dial decorated with the House’s famous bees, while the transparent case back gives a glimpse of the automatic movement that powers the timepieces.     There are eight Swiss-made variations of the G-Timeless in all, with a 38mm or a 42mm case. Three models combine an 18kt yellow gold case with a black onyx, brown tiger eye or green malachite stone dial. Five further variants combine a steel case with a blue lapis stone dial or a black onyx stone dial.   #GucciTimepieces

DIOR PRESENTS THE MEN’S SUMMER 2021 COLLECTION AND THE ARTISTIC COLLABORATION WITH AMOAKO BOAFO
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DIOR PRESENTS THE MEN’S SUMMER 2021 COLLECTION AND THE ARTISTIC COLLABORATION WITH AMOAKO BOAFO

Fashion Week THERE IS THE WESTERN WORLD’S PERCEPTION OF AFRICA AND THEN THERE IS ACTUALLY THE REAL AFRICA. THE AFRICA YOU COME FROM OR HAVE REGULARLY VISITED. KIM JONES AND AMOAKO BOAFO REPRESENT BOTH. BOAFO, A PAINTER BORN IN ACCRA, GHANA; JONES, BORN IN LONDON WITH A CHILDHOOD SPENT IN ETHIOPIA, BOTSWANA, KENYA, TANZANIA AND VARIOUS OTHER PLACES IN AFRICA, INCLUDING BOAFO’S NATIVE GHANA. A HOME I IMAGINE HE WAS REMINDED OF WHEN HE CAME ACROSS AMOAKO’S ART IN 2019 AT THE RUBELL MUSEUM IN MIAMI WHERE HE WAS A RESIDENT ARTIST. AMOAKO’S ART DROWNS THE VIEWER IN THE SHIMMERING LIGHT OF THE BLACK GAZE, WHICH WE SO RARELY SEE IN FASHION OR THE ART WORLD. EACH OF HIS SUBJECTS CELEBRATES BLACK LIFE, BLACK SKIN SHROUDED IN EXUBERANT COLORS SPLAYED ACROSS HIS CANVASES. COMBINING HIS TOOLS WITH AMOAKO’S, KIM BRINGS TO LIFE A WARDROBE INTENDED FOR THE PAINTER’S SUBJECTS. PULLING THESE BEAUTIFUL CHARACTERS OFF THE MUSEUM’S AND COLLECTORS’ WALLS WHERE THESE WORKS NORMALLY DWELL AND BRINGING THEM TO A SPACE WHERE AFRICAN CULTURE IS AT TIMES REFERENCED BUT RARELY FULLY ACKNOWLEDGED IS WHERE KIM’S TALENT AS A DESIGNER EXTENDS BEYOND JUST A GARMENT AND ASCENDS TO WHERE ALL ARTISTS ASPIRE TO GO... TO THE HEART OF A STORY, AND THE MOST POWERFUL STORY IS A STORY RARELY TOLD.     A CORNUCOPIA OF STRIPES, FLORALS AND NEONS. THE COLORS, CUTS, PROPORTIONS, PARING, AND LAYERING OF THE GARMENTS ARE ALL ARTFULLY MANIPULATED BY THE BLACK GAZE OF AMOAKO’S PAINTINGS. KIM DOESN’T HIDE HIS HAND, WHICH GUIDES THIS COLLECTION PURPOSELY, BECAUSE THE HAND IS AFRICA, AND THROUGH THAT, EDUCATION IS GAINED, A STORY IS TOLD AND A PAINTER AND HIS SUBJECTS ARE CELEBRATED IN THE CONTEXT OF A DIOR COLLECTION THAT SHOWS ANOTHER CHAMBER OF KIM’S VAST INFLUENCES AND HIS ABILITY TO HARNESS THE CULTURES HE HAS EXPERIENCED IN HIS LIFETIME. THIS ISN’T JUST A COLLECTION; THIS A SYMBIOTIC RELATIONSHIP BETWEEN TWO ARTISTS THAT GIVES BIRTH TO A COLLECTION OF CLOTHING THAT IS MORE THAN THE SUM OF ITS PARTS. TWO MEN WHO LOVE AFRICA AND ITS PEOPLE, TELLING THEIR STORIES IN SPACES THESE SUBJECTS RARELY GET TO GRACE, AND IN THAT LIES THE POINT OF ALL THIS. THERE IS THE WESTERN WORLD’S PERCEPTION OF AFRICA AND THEN THERE IS ACTUALLY THE REAL AFRICA. THE AFRICA YOU COME FROM OR HAVE REGULARLY VISITED. KIM JONES AND AMOAKO BOAFO REPRESENT BOTH. BOAFO, A PAINTER BORN IN ACCRA, GHANA; JONES, BORN IN LONDON WITH A CHILDHOOD SPENT IN ETHIOPIA, BOTSWANA, KENYA, TANZANIA AND VARIOUS OTHER PLACES IN AFRICA, INCLUDING BOAFO’S NATIVE GHANA. A HOME I IMAGINE HE WAS REMINDED OF WHEN HE CAME ACROSS AMOAKO’S ART IN 2019 AT THE RUBELL MUSEUM IN MIAMI WHERE HE WAS A RESIDENT ARTIST. AMOAKO’S ART DROWNS THE VIEWER IN THE SHIMMERING LIGHT OF THE BLACK GAZE, WHICH WE SO RARELY SEE IN FASHION OR THE ART WORLD. EACH OF HIS SUBJECTS CELEBRATES BLACK LIFE, BLACK SKIN SHROUDED IN EXUBERANT COLORS SPLAYED ACROSS HIS CANVASES. COMBINING HIS TOOLS WITH AMOAKO’S, KIM BRINGS TO LIFE A WARDROBE INTENDED FOR THE PAINTER’S SUBJECTS. PULLING THESE BEAUTIFUL CHARACTERS OFF THE MUSEUM’S AND COLLECTORS’ WALLS WHERE THESE WORKS NORMALLY DWELL AND BRINGING THEM TO A SPACE WHERE AFRICAN CULTURE IS AT TIMES REFERENCED BUT RARELY FULLY ACKNOWLEDGED IS WHERE KIM’S TALENT AS A DESIGNER EXTENDS BEYOND JUST A GARMENT AND ASCENDS TO WHERE ALL ARTISTS ASPIRE TO GO... TO THE HEART OF A STORY, AND THE MOST POWERFUL STORY IS A STORY RARELY TOLD.     A CORNUCOPIA OF STRIPES, FLORALS AND NEONS. THE COLORS, CUTS, PROPORTIONS, PARING, AND LAYERING OF THE GARMENTS ARE ALL ARTFULLY MANIPULATED BY THE BLACK GAZE OF AMOAKO’S PAINTINGS. KIM DOESN’T HIDE HIS HAND, WHICH GUIDES THIS COLLECTION PURPOSELY, BECAUSE THE HAND IS AFRICA, AND THROUGH THAT, EDUCATION IS GAINED, A STORY IS TOLD AND A PAINTER AND HIS SUBJECTS ARE CELEBRATED IN THE CONTEXT OF A DIOR COLLECTION THAT SHOWS ANOTHER CHAMBER OF KIM’S VAST INFLUENCES AND HIS ABILITY TO HARNESS THE CULTURES HE HAS EXPERIENCED IN HIS LIFETIME. THIS ISN’T JUST A COLLECTION; THIS A SYMBIOTIC RELATIONSHIP BETWEEN TWO ARTISTS THAT GIVES BIRTH TO A COLLECTION OF CLOTHING THAT IS MORE THAN THE SUM OF ITS PARTS. TWO MEN WHO LOVE AFRICA AND ITS PEOPLE, TELLING THEIR STORIES IN SPACES THESE SUBJECTS RARELY GET TO GRACE, AND IN THAT LIES THE POINT OF ALL THIS.

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Isabel Marant Spring Summer 2021 Men’s Collection
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Isabel Marant Spring Summer 2021 Men’s Collection

Fashion Week This summer, the Isabel Marant man escapes from Paris to Pantin. Along the Canal de l’Ourcq, the concrete passagewaysof the CN D echo both the raw energy of the look and the frank geometry of the eece pieces.     Flexibility and freedom come from dancing. This cloakroom of everyday life lives in motion. The long coats’ sleeves as well as those of the shirts and knitwear roll up, revealing the wrists. Multicoloured nylon jackets are tied at the waist, indicating a signature form of irreverence.     Naturally, one print matches another as if they were made for each other. The sportswear codes are mixing with those of ikat pieces which look as though they had been brought back from a trip. On a pastel weave, the bright colours take the wardrobe to the sunny beaches.     He’s there behind the tinted lenses of the rst Isabel Marant sunglasses.     Photo Credits: Photographe : Marton Perlaki Models : Alpha Dia & Braien Vaiksaar Place : Centre National de la Danse à Pantin This summer, the Isabel Marant man escapes from Paris to Pantin. Along the Canal de l’Ourcq, the concrete passagewaysof the CN D echo both the raw energy of the look and the frank geometry of the eece pieces.     Flexibility and freedom come from dancing. This cloakroom of everyday life lives in motion. The long coats’ sleeves as well as those of the shirts and knitwear roll up, revealing the wrists. Multicoloured nylon jackets are tied at the waist, indicating a signature form of irreverence.     Naturally, one print matches another as if they were made for each other. The sportswear codes are mixing with those of ikat pieces which look as though they had been brought back from a trip. On a pastel weave, the bright colours take the wardrobe to the sunny beaches.     He’s there behind the tinted lenses of the rst Isabel Marant sunglasses.     Photo Credits: Photographe : Marton Perlaki Models : Alpha Dia & Braien Vaiksaar Place : Centre National de la Danse à Pantin

Exclusive Editorial in collaboration with CELINE by Jasper Rens van Es
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Exclusive Editorial in collaboration with CELINE by Jasper Rens van Es

Men  Exclusive editorial inspired by hustlers in the 70's, this Numéro x Celine by Hedi Slimane special is shot exclusively for Numéro online in the iconic Soho House Amsterdam.     TEAM CREDITS: All fashion: Celine by Hedi Slimane Photography Jasper Rens van Es Styling & Creative Direction Gino Gurrieri Casting Timotej Letonja Hair & Make-up Wout Philippo Asisstant make-up artist: Mahis Chaitoe Models Masao Dae Parris via Riches MGMT and Nika Jovanovic via The Troopers Special thanks Soho House Amsterdam and Xavier  Exclusive editorial inspired by hustlers in the 70's, this Numéro x Celine by Hedi Slimane special is shot exclusively for Numéro online in the iconic Soho House Amsterdam.     TEAM CREDITS: All fashion: Celine by Hedi Slimane Photography Jasper Rens van Es Styling & Creative Direction Gino Gurrieri Casting Timotej Letonja Hair & Make-up Wout Philippo Asisstant make-up artist: Mahis Chaitoe Models Masao Dae Parris via Riches MGMT and Nika Jovanovic via The Troopers Special thanks Soho House Amsterdam and Xavier

‘The adventures of Zoooom with friends’ Digital Paris Fashion Week, July 2020.
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‘The adventures of Zoooom with friends’ Digital Paris Fashion Week, July 2020.

Fashion Week This season’s story is somewhatunique and calls for a di erentkind of introduction. You see, a motley crew of characters had ar- rived in Paris, one unrulier than the other. Zoooom with friends, they called them, for Zoooom was their guide and time travelled fast in their pace.   In the age-old City of Lights, no stranger to the rebel, our colour- ful characters loaded their LouisVuitton trunks with the nest n-eries they could nd, boarded abarge and sailed into the sun, which always rises in the East...   Through the ve days of fashionweek, the colourful rascals swept through the city’s gilded salons, went wild at Louis Vuitton, and cruised down the River Seine leav- ing behind them a rainbow tracetrans xed across the Paris sky.   And when they left, Paris felt a little empty. Where did Zoooom with friends go? Would they everreturn? Sure they would, but rstthey had a voyage to make. What you had witnessed here could be the end of a particularly riotous story. But it wasn’t. It was the beginning.   “Sacrebleu!” cried the good folk of Paris as Zoooom with friends turned tradition on its head, painting the town and the hallowed halls of Asnières. But fright soon turned to fondness, for unusual as they were, they brought only good intentions. This season’s story is somewhatunique and calls for a di erentkind of introduction. You see, a motley crew of characters had ar- rived in Paris, one unrulier than the other. Zoooom with friends, they called them, for Zoooom was their guide and time travelled fast in their pace.   In the age-old City of Lights, no stranger to the rebel, our colour- ful characters loaded their LouisVuitton trunks with the nest n-eries they could nd, boarded abarge and sailed into the sun, which always rises in the East...   Through the ve days of fashionweek, the colourful rascals swept through the city’s gilded salons, went wild at Louis Vuitton, and cruised down the River Seine leav- ing behind them a rainbow tracetrans xed across the Paris sky.   And when they left, Paris felt a little empty. Where did Zoooom with friends go? Would they everreturn? Sure they would, but rstthey had a voyage to make. What you had witnessed here could be the end of a particularly riotous story. But it wasn’t. It was the beginning.   “Sacrebleu!” cried the good folk of Paris as Zoooom with friends turned tradition on its head, painting the town and the hallowed halls of Asnières. But fright soon turned to fondness, for unusual as they were, they brought only good intentions.

INTRODUCING THE SECOND CHAPTER OF #ACCIDENTALINFLUENCER – THE DIGITAL PROJECT DEDICATED TO THE GUCCI TENNIS 1977
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INTRODUCING THE SECOND CHAPTER OF #ACCIDENTALINFLUENCER – THE DIGITAL PROJECT DEDICATED TO THE GUCCI TENNIS 1977

Fashion Gucci announces the second chapter of its digital project #AccidentalInfluencer, the intriguing and playful take on the idea of imitation and replication, seen through the lenses of London based artist, photographer and director Max Siedentopf – which debuted last February.     The focus is once again on the range of Gucci Tennis 1977 sneakers, this time enriched by the recently introduced styles from the Gucci Off The Grid collection, designed by Creative Director Alessandro Michele with motifs of the House and constructed with recycled, organic, bio-based and sustainably sourced materials – including ECONYL®, a regenerated nylon made from nylon offcuts and pre- and post-consumer waste.     For this new chapter, Siedentopf leads us through the every-day life of these eclectic characters accidentally matching furniture pieces and objects in their homes. The result is an array of hypnotical and haunting scenes, where individuals seem to suggest improbable visual coincidences between their looks and settings.     The campaign will be launched on Gucci’s social media platforms, and will also include bespoke videos for TikTok, dedicated clips for Instagram Stories, and a section on the Gucci App that allows customers to virtually “try on” the Gucci Tennis 1977, using the pioneering augmented reality technology the House has introduced in June 2019.     #accidentalinfluencer Gucci announces the second chapter of its digital project #AccidentalInfluencer, the intriguing and playful take on the idea of imitation and replication, seen through the lenses of London based artist, photographer and director Max Siedentopf – which debuted last February.     The focus is once again on the range of Gucci Tennis 1977 sneakers, this time enriched by the recently introduced styles from the Gucci Off The Grid collection, designed by Creative Director Alessandro Michele with motifs of the House and constructed with recycled, organic, bio-based and sustainably sourced materials – including ECONYL®, a regenerated nylon made from nylon offcuts and pre- and post-consumer waste.     For this new chapter, Siedentopf leads us through the every-day life of these eclectic characters accidentally matching furniture pieces and objects in their homes. The result is an array of hypnotical and haunting scenes, where individuals seem to suggest improbable visual coincidences between their looks and settings.     The campaign will be launched on Gucci’s social media platforms, and will also include bespoke videos for TikTok, dedicated clips for Instagram Stories, and a section on the Gucci App that allows customers to virtually “try on” the Gucci Tennis 1977, using the pioneering augmented reality technology the House has introduced in June 2019.     #accidentalinfluencer

Berluti & Brian Rochefort collaborate
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Berluti & Brian Rochefort collaborate

Men Connectivity becomes an art form in the face of separation. For the beginning of 2021, Berluti adapts to the challenges of our moment in time in a long-distance collaboration with the ceramic artist Brian Rochefort for its first creative collaboration on ready-to-wear. Recognising the values of a new era, creative Director Kris Van Assche embraces a desire for communication and concord in a collection of clothing created in partnership with the American sculptor. True to its conception – adigital effort between the designer’s home in Paris and Brian Rochefort’s studio inLos Angeles – the behind-the-scenes of the collaboration was previewed in a video between the two collaborators, screened online as part of Digital Paris Fashion Week on 9 July 2020. The film can be accessed on YouTube.com/Berluti.     The garments and accessories – to be fully unveiled and launched in stores in January 2021 – expand on the new codes established for Berluti under Kris Van Assche. A passionate ceramics collector, the creative Director’s vision is continually informed by the textures and colours related to ceramic art.This, in turn, draws natural parallels to the patina methods practised by Berluti’s own artisans in Italy. In Brian Rochefort oeuvre – an experimental and progressive force in the ceramic arena –Kris Van Assche identified a common thread with the sartorial dialogue between tradition and change embodied by Berluti. Inspired by volcanoes and exotic plants, the artist’s exuberant signature blendsintuitively with the augmented natural texture and colour language exercised at the house.     Berluti approaches the concept of collaborations from a supplementary and illuminating perspective. When, in 2019, Kris Van Assche partnered with the furniture house Pierre Jeanneret, the collaboration illustrated aspects of craft and colour shared by the two parties. For the evolving clientele of Berluti, the approach manifests in curiosity by association: a new proposal within an aesthetic to which the client already relates. In his collaboration with Brian Rochefort, Kris Van Assche builds on the character of Berluti in a gesture of connectivity and communication key to the time in which we find ourselves.     “Right now, collaboration feels like a meaningful way to create something new. As something of aceramics nerd, I have admired Brian Rochefort’s expression for a long time, and am fortunate enough to own one of his works. I couldn’t be more excited to interpret his vision through the lens of Berluti,”comments Kris Van Assche. Creative Director of Berluti. Connectivity becomes an art form in the face of separation. For the beginning of 2021, Berluti adapts to the challenges of our moment in time in a long-distance collaboration with the ceramic artist Brian Rochefort for its first creative collaboration on ready-to-wear. Recognising the values of a new era, creative Director Kris Van Assche embraces a desire for communication and concord in a collection of clothing created in partnership with the American sculptor. True to its conception – adigital effort between the designer’s home in Paris and Brian Rochefort’s studio inLos Angeles – the behind-the-scenes of the collaboration was previewed in a video between the two collaborators, screened online as part of Digital Paris Fashion Week on 9 July 2020. The film can be accessed on YouTube.com/Berluti.     The garments and accessories – to be fully unveiled and launched in stores in January 2021 – expand on the new codes established for Berluti under Kris Van Assche. A passionate ceramics collector, the creative Director’s vision is continually informed by the textures and colours related to ceramic art.This, in turn, draws natural parallels to the patina methods practised by Berluti’s own artisans in Italy. In Brian Rochefort oeuvre – an experimental and progressive force in the ceramic arena –Kris Van Assche identified a common thread with the sartorial dialogue between tradition and change embodied by Berluti. Inspired by volcanoes and exotic plants, the artist’s exuberant signature blendsintuitively with the augmented natural texture and colour language exercised at the house.     Berluti approaches the concept of collaborations from a supplementary and illuminating perspective. When, in 2019, Kris Van Assche partnered with the furniture house Pierre Jeanneret, the collaboration illustrated aspects of craft and colour shared by the two parties. For the evolving clientele of Berluti, the approach manifests in curiosity by association: a new proposal within an aesthetic to which the client already relates. In his collaboration with Brian Rochefort, Kris Van Assche builds on the character of Berluti in a gesture of connectivity and communication key to the time in which we find ourselves.     “Right now, collaboration feels like a meaningful way to create something new. As something of aceramics nerd, I have admired Brian Rochefort’s expression for a long time, and am fortunate enough to own one of his works. I couldn’t be more excited to interpret his vision through the lens of Berluti,”comments Kris Van Assche. Creative Director of Berluti.

FENTY releases 6-20 as third drop
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FENTY releases 6-20 as third drop

Fashion The peak of FENTY’s summer trip, Drop 3 brings the shapes, prints and emotion of the release together in an after-party.     Celebrating the free spirit and curious nature of youth, the psychedelic print hinted at in the previous two drops is in full flow now as a full-bleed digital print on a stretch jersey T-shirt, leggings, and long-sleeved dress with the release’s signature side-slit. Drop 1’s tie-dye pinstripe poplin shirt and pencil skirt are also reborn in the acid flower print, along with the draped white silk shirt and bascule hoodie.     There’s a late 90s/ early 00s undertone to certain silhouettes, evoking nostalgia for the youth culture of that era: a backless top in two colorways, a white bustier top that drops to the floor, and a one-strap asymmetric dress, all in chiffon. Playing to the casual styling common to every youth aesthetic, each piece can be dressed down with jeans or cropped shorts.     Drop 3 is where we introduce our new fashion jewelry offering, in keeping with the theme of casual, multifunctional styling. Psyche flower charms made from resin and strass in red, green, pink, silver and gold adorn various lengths of a brass ball chain necklace with palladium finish. Transforming to suit every mood and outfit, the chain works as a long necklace, belly chain, doubled up necklace, tripled up anklet or bracelet. A single flower earring comes with its own super dangly chain.     That completes our 6-20 release, embodying the free, fun spirit and limitless possibilities of youth. Available now on FENTY.com   The peak of FENTY’s summer trip, Drop 3 brings the shapes, prints and emotion of the release together in an after-party.     Celebrating the free spirit and curious nature of youth, the psychedelic print hinted at in the previous two drops is in full flow now as a full-bleed digital print on a stretch jersey T-shirt, leggings, and long-sleeved dress with the release’s signature side-slit. Drop 1’s tie-dye pinstripe poplin shirt and pencil skirt are also reborn in the acid flower print, along with the draped white silk shirt and bascule hoodie.     There’s a late 90s/ early 00s undertone to certain silhouettes, evoking nostalgia for the youth culture of that era: a backless top in two colorways, a white bustier top that drops to the floor, and a one-strap asymmetric dress, all in chiffon. Playing to the casual styling common to every youth aesthetic, each piece can be dressed down with jeans or cropped shorts.     Drop 3 is where we introduce our new fashion jewelry offering, in keeping with the theme of casual, multifunctional styling. Psyche flower charms made from resin and strass in red, green, pink, silver and gold adorn various lengths of a brass ball chain necklace with palladium finish. Transforming to suit every mood and outfit, the chain works as a long necklace, belly chain, doubled up necklace, tripled up anklet or bracelet. A single flower earring comes with its own super dangly chain.     That completes our 6-20 release, embodying the free, fun spirit and limitless possibilities of youth. Available now on FENTY.com  

Moose Knuckles launches second round of 'Moose Knuckles gives a F*ck' global fundraising initiative
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Moose Knuckles launches second round of 'Moose Knuckles gives a F*ck' global fundraising initiative

Fashion International luxury outerwear brand Moose Knuckles is working with visual artists from around the world to create and sell one-of-a-kind jackets as part of a global initiative to raise funds for those suffering during the pandemic. The project is the latest in a series of global fundraising initiatives by Moose Knuckles to support the ongoing pandemic, including donating profits from online sales and creating masks for hospital workers.     With each artist using a white Moose Knuckles Lead Rider jacket as their canvas, the finished one-of-a-kind wearable artworks from round one’s NYC artists, has completely sold out. Next up are Paris and Milan.    The finished one-of-a-kind wearable artworks from the participating Paris Artists are now available to purchase through the MKGAF landing page on mooseknucklescanada.com and will retail for EU600 each, while the Milan Artists’ works will be available to purchase starting from July 7th.     The program will generate funds for the following local hospitals that have also been supported through net profit donations from the brand’s ecommerce sales during the pandemic: Mount Sinai Hospital, New York Le Centre Hospitalier de l’Université de Montréal (CHUM), Montreal Jewish General Hospital Foundation, Montreal Les Hôpitaux de Paris (Paris’ Hospitals Corporation) San Raffaele Hospital, Milan Artists are currently being chosen in California and Canada to participate in the Moose Knuckles Gives a F**ck campaign and will be announced in the coming weeks.     #MKGAF   The YARD Agency - known for its ingenuity in connecting with the urban generation through its work across music, sports, and fashion–has helped the brand to identify 10 artists from different areas of Paris and will include creators such as Seas5, Kader Diaby, and Taqwa Bintali.     Acapulco - an international communication and brand strategy agency for luxury, fashion, lifestyle, art, culture and design industry leaders based in Milan - has selected 11 of the best local artists such as Giorgia Andreazza, RiffBlast, and Yuri Sata x Solomostry.     Just like New York City, they customized the Lead Rider Jacket, a top-of-the-line raincoat perfect for maneuvering through rainy spring weather, with the only creative guideline being that they embody “positivity in the face of the pandemic.” International luxury outerwear brand Moose Knuckles is working with visual artists from around the world to create and sell one-of-a-kind jackets as part of a global initiative to raise funds for those suffering during the pandemic. The project is the latest in a series of global fundraising initiatives by Moose Knuckles to support the ongoing pandemic, including donating profits from online sales and creating masks for hospital workers.     With each artist using a white Moose Knuckles Lead Rider jacket as their canvas, the finished one-of-a-kind wearable artworks from round one’s NYC artists, has completely sold out. Next up are Paris and Milan.    The finished one-of-a-kind wearable artworks from the participating Paris Artists are now available to purchase through the MKGAF landing page on mooseknucklescanada.com and will retail for EU600 each, while the Milan Artists’ works will be available to purchase starting from July 7th.     The program will generate funds for the following local hospitals that have also been supported through net profit donations from the brand’s ecommerce sales during the pandemic: Mount Sinai Hospital, New York Le Centre Hospitalier de l’Université de Montréal (CHUM), Montreal Jewish General Hospital Foundation, Montreal Les Hôpitaux de Paris (Paris’ Hospitals Corporation) San Raffaele Hospital, Milan Artists are currently being chosen in California and Canada to participate in the Moose Knuckles Gives a F**ck campaign and will be announced in the coming weeks.     #MKGAF   The YARD Agency - known for its ingenuity in connecting with the urban generation through its work across music, sports, and fashion–has helped the brand to identify 10 artists from different areas of Paris and will include creators such as Seas5, Kader Diaby, and Taqwa Bintali.     Acapulco - an international communication and brand strategy agency for luxury, fashion, lifestyle, art, culture and design industry leaders based in Milan - has selected 11 of the best local artists such as Giorgia Andreazza, RiffBlast, and Yuri Sata x Solomostry.     Just like New York City, they customized the Lead Rider Jacket, a top-of-the-line raincoat perfect for maneuvering through rainy spring weather, with the only creative guideline being that they embody “positivity in the face of the pandemic.”

Hermès men's  Spring & Summer 2021 collection
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Hermès men's Spring & Summer 2021 collection

Men Discover the Men's Spring-Summer 2021 collection created by Véronique Nichanian.      A performance designed with the artistic collaboration of Cyril Teste.     more on Hermes.com Discover the Men's Spring-Summer 2021 collection created by Véronique Nichanian.      A performance designed with the artistic collaboration of Cyril Teste.     more on Hermes.com

Ninamounah 006
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Ninamounah 006

Fashion Collection 006 : The Nest. A look at our most intimate surroundings.     For SS21 we looked inwards. Melting together deadstock materials and recalibrated signature silhouettes. Born from a moment of stillness and reassessment, our new collection comes from a feeling of hope for a bright, new future.   Photo @michael_smits Art direction @ferdisibbel Hair @latoyavelberg Make up @janfuite Talent @veronikaqbaron @metropolitanmodelsgroup Collection 006 : The Nest. A look at our most intimate surroundings.     For SS21 we looked inwards. Melting together deadstock materials and recalibrated signature silhouettes. Born from a moment of stillness and reassessment, our new collection comes from a feeling of hope for a bright, new future.   Photo @michael_smits Art direction @ferdisibbel Hair @latoyavelberg Make up @janfuite Talent @veronikaqbaron @metropolitanmodelsgroup

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