On Monday, February 11th, at Cipriani’s 42nd Street, Dennis Basso debuted its Fall/Winter 2019 collection at New York Fashion Week.
The inspiration for this collection is the “New York City Girl.” I think women around the world all have a desire to be a New York City woman. This allows her to experiment with fashion from high to low with a feeling of freedom, strength, and independence. The original New York City girl is our own statue of liberty that represents this woman from casual days to gala evenings. Our New York City woman never allows the clothes to wear here; she wears the clothes.
The silhouettes include haberdashery coats and jackets with feminine touches. Fabrics include cashmere, fox, sable, mink, chinchilla, shearling, dutchess satin, wool jacquard, mohair, and faux fur. After-five dresses and evening gowns have hand embellished flowers, beaded embroidery, animal print, metallic finishes, feathers, and hand pleating. Classic silhouettes include form-fitting gowns and strapless bodices with ball gown skirts. The color palette for this season is daffodil, café, aubergine, faded pink, and rose gold.
“My vision for my New York City girl is for her to select pieces from the collection, experiment, have fun, and enjoy her fashion freedom.”
On Tuesday, February 12 The Blonds blazed back into NYFW with their signature addiction to glamour and appetite for luxury with “THE WORLD IS BLOND.”
Inspired by iconic gangster movies, the show opened with Phillipe Blond wearing a glamorous oversized, metallic-gold-lined, faux fur ivory coat. What followed were models including Paris Hilton, Karrueche Tran, Mj Rodriguez, Aquaria, Lion Babe and The Clermont Twins adorned in incredibly luxe looks featuring rich jewel tones combined with thrilling tiger prints and gold hardware.
Featuring Paris Hilton, Karrueche Tran, Mj Rodriguez, Aquaria, Lion Babe, The Clermont Twins and performance from Lil’ Kim
After the models stationed themselves at the top of the runway, the music shifted and a surprise appearance by Lil' Kim led to a performance of her new song, GO AWFF to close the show.
On Monday, February 11th, alice + olivia presented the 2019 collection at Angel Orensanz. Inspired by “Fantasia” the magical collection featured an array of colors, flowers and butterflies.
Alice + Olivia by Stacey Bendet Fall 2019 collection is inspired by fantasia, a narrative that is derived from deep inside the imagination. Not based strictly on history or fact, but rather a modern fairytale, a romantic story, a place where magic touches on reality, beauty empowers, and dreams really do come true.
Dreaming of a girl in a world of whimsy and color, Bendet has managed to merge art, fashion, and fantasy with a show that brings her clothes to life through a detailed and imaginative visual experience that speaks to the dreamer in you. For the collection, the clothes evoke surreal beauty and sensual moments, set on stages of magical sparkling snow, and rooms made entirely of red roses and glowing butterflies and sparkling leaves.
Bendet weaves a story of fantasy and reality, creating a magnificent and decadent fall collection. Step into the dream world of alice + olivia through artistic and elaborate sets at the enchanting Angel Orensanz Foundation, where imaginative prints are complimented by a color palette of rich jewel tones in shades of bordeaux, merlot, ruby, and pink mixed with black, white and sparkling metallics.
The Queens of Fantasia are the stand out looks—a pleated bordeaux skirt made with yards of iridescent pleated taffeta is paired with a top created in a new technique of velvet sequin, and a giant rose crown. The snow princess is in a full-length skirt of ivory feathers with a gorgeous white puffer jacket. Prints take a sophisticated turn this season. Engineered burn outs are rich and elegant, while the majestic butterfly print is featured on dresses, kimonos, capes, and pants. Puffer jackets in reversible prints and patterns have a moment, shown over evocative dresses and sequin skirts. Statement T-shirts continue, tying back to the show theme with details such as the female protagonist, and a rainbow fringe sweatshirt embroidered with the word “grateful”.
Signature pants are in a variety of shapes made to juxtapose evening and day—velvet cargo joggers and wide leg pull up styles. The suit of the season is a beautiful merlot satin straight leg pant with an expertly tailored velvet tonal blazer, symbolizing a lux minimalist-meets-maximalist ode to the 90s, while shoulder pads, plunging necklines and short lengths make a statement in the dress world. Animal prints continue into fall, mixing leopard and zebra, featured in mix print and pattern sequin dress and sequin blazer, while rocker t-shirts are cut and sewn and engineered with animal print patterns. Ornate beading comes into play in classic black and white gowns to tie the collection together. Luxurious tailoring of day and evening wear, a vibrant color palette and emotional prints combined to reveal a fall collection that is an empowering wardrobe for the alice + olivia woman.
“Give me your tired, your poor, your huddled masses yearning to breathe free.”
NEW YORK - Menswear Fashion Designer, Joseph Abboud debuted his Fall 2019 collection in a runway show on Monday February 4th at 6PM during New York Fashion Week. The collection celebrates themes of inclusivity, discovery, and Americana.
During the peak of immigration through Ellis Island at the turn of the 20th century, this phrase, etched onto the Statue of Liberty, welcomed weary travelers after their difficult journeys toward a better life. Written by Emma Lazarus, these words represent the very soul of our country—the American Dream—and they serve as the foundation for the Joseph Abboud Fall 2019 collection.
For over 30 years, the Joseph Abboud brand has stood for inclusionary masculinity, producing American-made clothing for all men. As such, this season, we aim to celebrate the melting pot that is America and those courageous enough to search out a new beginning.
An homage to those early immigrants, the Fall 2019 collection recalls the clothes they wore as they pursued their destiny. Each garment has a story to tell, with washed fabrics, raw edges, and surprising combinations of texture and pattern reflecting homespun wares from around the world. The men who travelled here to forge a new nation were at once modest, proud, and filled with character. So too were their clothes, perhaps handed down from a father or grandfather. Mismatched buttons, sheared shoulders, and patches crafted from remnants of antique Kilim rugs nod to the care with which one might mend his treasured wardrobe, carried from one life to the next.
With a vintage palette and lived-in essence, the Fall collection features noble fabrics like washed tweeds, vintage velvets, and time worn flannels that inspire a workman-like tone. Trousers are full to allow for movement; capes wrap around the body like blankets; purposeful bellows pockets run throughout; and layering, a brand signature, is unstudied and eclectic. Each piece is as individual as the person who wears it. The utilitarian theme carries over to the accessories. Leather bags and duffels are made with functionality in mind; distressed fedoras and caps, designed in collaboration with Albertus Swaenpoel, have a time-worn quality. Eveningwear, too, remains humble, imbued with an heirloom feel and hard-earned confidence.
Leather footwear, the product of our ongoing collaboration with American heritage shoemaker Allen Edmonds, is inspired by sturdy work boots. Allen Edmonds, like Joseph Abboud, encapsulates the American spirit with their time tested lasts and designs. Goodyear welted and handcrafted in Port Washington, Wisconsin, their footwear combines a reliability and quality that men recognize and trust.
Set in the spirit of Ellis Island at Pier 16—part of the South Street Seaport Museum—this show honors who we were and who we are. As the grandson of Lebanese immigrants, it gives me great pride to celebrate America’s rich tapestry and diverse heritage the best way I know how: By making timeless, authentic, and quality clothes for all Americans.
Back to The Future, the fashion house Dior sent models down a moving conveyor belt runway for its Fall 2019 Menswear show in Paris, which brought a runway with no walking required at all. This collection features a collaboration with the U.S. artist Raymond Petition, was shown on static models ferried past guests on a conveyor belt.
Exciting and subtle, Hermès unveils a striking line of classic looks and well-tailored, high-quality pieces for its Fall/Winter 2019 menswear collection in the highly confidential storerooms of the French Mobilier National, the institution responsible for furnishing every official building in France. Throughout, the designer added bits of casualness to the luxurious well-cut wardrobe, including a gray double-breasted pinstriped formal suit worn with a relaxed polo shirt. Camel puffers sported silver linings.
This collection suggests a man with exacting standards and sophisticated, yet unostentatious, tastes. He likes lines that are clean and precise, but unconventional, such as the subtle, rounded shoulder on this voluminous zipped parka or barely structured shoulder on a double-breasted cashmere coat.
The flames that dance over certain pullovers emanate from the dragon that features as a pendant or on a bag. These are bursts of reverie or science fiction that are echoed in the radiant midnight blue which spans the collection.
In Prussian blue, navy and indigo variants, it is complemented by the season’s other colours: black, charcoal grey and cigar brown. But flashes of saffron, sage, turquoise, lilac and vibrant green electrify a trench coat or a short jacket in rubberised canvas. Energy flows.
British luxury brand, Ralph & Russo, return to Paris Haute Couture Week with their Spring/Summer 2019 Couture Collection, marking the eleventh season in which the brand has featured as part of the Chambre Syndicale de la Haute Couture’s official schedule.
Inspired by Latin American femininity and the stylish legacy of La Doña, the beloved Maria Felix, the collection is a rich samba a la Mexicana of sixties pop colours, layered tassels, decadent pom-pom fringed skirts and wide brimmed sun hats; at once playful, alluring and reminiscent of the unparalleled glamour portrayed by Felix and the stars of the Golden Age of Hollywood Cinema.
Vibrant and vivacious, this season’s collection is a celebration of Latin American femininity and tribute to the stylish legacy of La Doña, the beloved Maria Felix, her empowered persona, daring sensuality and spirit of fashion beyond fear.
Unravelled and reinterpreted, the collection is a rich samba a la Mexicana of sixties pop colours, layered tassels, decadent tulle pom-pom fringed skirts and wide brimmed sun hats; at once playful, alluring and reminiscent of the unparalleled glamour portrayed by Felix and the stars of the Golden Age of Hollywood Cinema.
Embroideries are reptilian, taking the form of coiled serpents and crocodile scales in lieu of Felix’s famous bejewelled choker, whilst graphic ‘pop’ cut-out hearts and beaded bananas adorn ballgowns in tribute to cinematic icons, Carmen Miranda and Josephine Baker.
Tailored safari suits are reimagined in bubble-gum pink and acid green, featured alongside bare-shouldered ballgowns juxtaposed in light floating chiffon and structured double duchesse, embellished with traditional French embroidery but bonded with neoprene.
Exuding glamour, the Spring/Summer 2019 collection leaves onlookers dreaming of a chic South American Summer and La Maria Bonita.
*PHOTO COURTESY OF RALPH & RUSSO
Henrik Vibskov presented yesterday his Fall/Winter 19 show during Parisian Menswear fashionweek.
This collection reflects both the romantic idea about nature and how we interact with it, and the more extreme technology, making it possible to increase and speed up natural processes, like indoor, vertical- and sky farming, green rooftops and urban gardening. The clash between wanting to maintain nature pure as it is and the need to interfere with it, is intriguing and terrifying at the same time.
The idea of farming, nature and technology was the inspiration for the development of the collection. Voluminous silhouettes with details of binding layers together and prints and embroidery which remind of flowers, fruit, vegetables, endless fields, and the long human arms in the agriculture. Humor with a slight touch of melancholy and a reminder of the importance of environmental awareness is present.
A long kinetic installation is slowly moving in waves, while performers dressed like gardeners are walking inside of it. They are carrying ceramic water cans, taking care of the radishes growing inside of it. The radishes are grown in the Henrik Vibskov Studio in Copenhagen and are placed in recycled beer kegs as a part of the urban farming experiment, hence the name of the collection. The installation is a take on the idea of an intriguing future-farming lab.
9th November 2018
Sara Sampaio and Shanina Shaik stunned in Ralph & Russo at the Victoria's Secret Fashion Show After Party last night in New York City.
Victoria's Secret Angel, Sara Sampaio, wears a silver mirrored strapless mini dress featuring hexagonal laser cut stones and square crystals from the Spring/Summer 2019 Ready-to-Wear collection.
Model, Shanina Shaik, wears a petrol satin bustier hand embroidered with silk thread, crystals and glass beads, with a pale pink tulle overlay skirt adorned with metallic floral thread-work from the Autumn/Winter 2017 Couture collection.
What you see is what you get at Chloé, and the tactic seems to work with a new fan base, who rocked up to the show in head-to-toe looks. The collection, Ramsay-Levi explained, was divided into three parts: nomadic (a buzzword this season), “old Ibiza,” and finally the goddess dresses that closed the show, inspired by Pasolini’s Medea. Her de-intellectualisation of fashion is interesting in that it’s in no way uninformed or silly, just miles away from the complicated and sometimes wanky narratives in which so many designers love to indulge. It makes for instantly shoppable fashion that needs no dissecting, analysis, or interpretation. Other, of course, than why Ramsay-Levi chose the reference in the first place? “I love hippies and I think it’s a great counter-culture. It’s inspiring still today because it’s people who reboot to a new zero; an idea of how you can reinvent life, your link to sensuality, to community. I think it’s still very relevant and I want to bring it to the city.”
In times that can easily feel apocalyptic – global warming, wars and refugees, species dying out – you can understand why people would want to reflect the peace, love and harmony of the original flower children. If a new gang of modernist hippies ever need a symbol for their cause, Ramsay-Levi delivered it in big golden ‘C’ – for Chloé – logo buckles adorning the copious amounts of bags featured in the show. In a Paris Fashion Week that sees the return of Hedi Slimane to the runway tomorrow, when he takes the reins at the newly-styled Celine, it was hard not to think of the C bag he has just launched for that house.
Today’s show was an homage to the mutinists: the non-conformist line-up of faces which John Galliano has appointed to front his new fragrance (Teddy Quinlivan, Sasha Lane, Willow Smith, Hanne Gaby Odiele, Princess Nokia and Molly Bair). But also to the people he now surrounds himself with on daily basis. Contradicting the idea of a designer in an ivory tower, Galliano populates the Margiela atelier with students on work experience placements: the small team of stagiaires who assist on his collections is involved in the entire process of its creation, as well as opening his eyes to their ways of seeing the world. He is a fervid Instagrammer, seeking out young people like Javier de la Blanca to collaborate with – “Obsessed… obsessed!” he exclaims, on his seasonally-released podcast. “The freedom! The shapes he’s throwing!” – and invites them into his world (he flew Javier in from Spain to walk his runway to express the “attitude, individuality and defiance” that Galliano so loves about him).
It is that open-mindedness, that earnest, expressive liberation that permeated this collection so tangibly. John Galliano’s career has been fraught with various difficulties, but since joining Margiela he has reconnected with the excitable spirit of his youth, with the vitality he felt upon arriving at Central Saint Martins and finding his people, both there and in the clubs of Soho. “The whole world changed when I found likeminded people; that’s when I started to connect,” he recalled. “[My mutinists] being who they really are is something that I find really inspiring because for so long I couldn’t be who I wanted to be… That’s why now, when I see such self-expression, it’s a joy for me.”
It’s been 30 years since Jean Paul Gaultier put men in skirts here in Paris, but the image of the male body in a dress is no less stigmatised in the public forum today, even if we like to think so. That’s why the moment when Michele sent out a buzz-cut boy with tattoos and tennis socks in a slinky baroque-print scarf dress and a big backpack felt momentous. In this age of gender fluidity, a man in a dress should be the most insignificant thing to us, but it still got the camera phones going like no other look in the collection. It was great. It helped to fuel Michele’s most sexually loaded collection to date, which had men in super lowcut leotards and leather and rhinestone dance belt cups – in most sinister Clockwork Orange style – and opened with a horror short film that featured a man and a woman torching their tongues with a lighter over a bidet. Must have been Monday.
GUCCI SPRING SUMMER 2019
Gucci moved its presentation to the first evening of the Paris shows to close a French trilogy that started with a pre-fall collection shot in Paris locations significant to 1968 and took out the Alyscamps cemetery in Arles for its cruise show. Alessandro Michele’s choice of venue, the fabled Le Palace nightclub and theatre in Montmartre – so gritty and dusty Gucci had to change the carpet – was a perfectly suitable choice for his underground elves. But it was the noticeable progress of Michele’s plentiful shtick and his bold styling moves that made this collection more compelling than his usual theatre.
It was in homage to Leo and Perla, who didn’t just have the best cat names ever but set Italian experimental theatre on fire with their provocative takes on Shakespeare in the 1960s. Michele’s typically indecipherable show notes came with much ado about Leo de Berardinis and Perla Peragallo, but their impact on the collection seemed to be rooted in the confrontational, the alluring and the highly sexualised. Those tendencies were an unexpected and great move on Michele’s part; more of that, please, sir. “I realised something when I was going back to my room,” he said after the curtain had closed on his theatre and bows were taken.
It was her first time at that rodeo, but not for the fashion industry, which has so often mixed performance art and runway shows to cringeworthy lows. Perhaps that’s what made this one so thrilling. Rarely has any foreign element in a fashion show been so entrancing, or added as much character to a collection as the one Chiuri commissioned from Sharon Eyal’s dance company this afternoon, in a dimmed tent in Bois de Boulogne. Maybe it’s because it wasn’t trying to be poignant. Rather, it was energised, spirited, ravishing and totally transfixing. You could have sat there all day getting shivers watching those racehorse bodies tripping and floating like they were trapped somewhere between underwater weightlessness and on fire, white rose petals dropping from the ceiling in thousand-fold. The soundtrack was amazing and hard to describe.
“I’m lucky to open the week. There’s only another show tonight,” Chiuri said, referring to Paris Fashion Week’s special guest star Gucci, who would have opened the ball had Dior not moved its show to Monday afternoon; not that it wouldn’t look as mesmerising on Tuesday at 2.30. “Because during fashion week the shows go by so fast and sometimes you lose the experience. And now, with the new media, you see the show through a phone. So, it’s important to convey the idea of us living in the moment. I hope that with this performance we can create something that people want to experience and get involved with us. Not behind a phone,” Chiuri paused. “Probably I dream!” (Indeed, putting on a mind-blowing dance performance isn’t exactly the way to make us stop Instagramming.) “I try to speak more about experience and less about just clothes,” she said. “We are speaking about the future of fashion. Something more. Fashion is not the same as when I started out. We are living in another moment.”
Watching one of his runway shows can sometimes feel a little masochistic – who actually looks like that on that holiday?
Jacquemus’ brand has been built off the back of his South of France heritage, and through channeling the insouciant sensuality of the women he grew up admiring. This season hardly rocked the boat - he explored his Riviera fantasy, of women “going to the casino on the seashore, dancing, drinking cocktails” – but it made for as lovely a vision as ever. “I’m a South of France boy; I never want to say anything about Paris. I want to say something about the Mediterranean,” he shrugged. “On the Riviera, you can dress the same to go to the beach as you do the red carpet and that mix is exciting to me.”
The artfully-undone beach-to-bar pieces he presented made a convincing case for his sustained interest – and, paired with glitzy earrings and wedges dangling plastic Js from their soles, were Italo disco through and through. Remember that scene in Call Me By Your Name, when an assortment of beautiful Lombardy teenagers lose themselves to Psychedelic Furs? Camille Hurel, dressed in her hot pink hot pants and slinky silky halter could have been pulled directly from the cast.
Marni Spring Summer 2019
There is no better way of describing what has gone on chez Marni since Risso took the reins there some two years ago. Like a mad scientist, he blows our minds on Sunday mornings in Milan, continuing his gothic stories of eccentric, dystopian creatures in garments that look like they were ripped from the tapestries of fabled old houses. He is a master of his own entirely idiosyncratic game, and that’s the best position any designer could find themselves in. (Huge credit to Renzo Rosso, his boss at OTB, for placing designers like Risso and John Galliano at the fashion houses he owns, Maison Margiela included. We need them.) It’s a treat to the eye, from the truly soulful garments to the fanciful sets. This season, the All Too Humanexhibition at Tate Britain where Risso became enthralled with nudes in bedroom settings by painters like Francis Bacon, Lucien Freud and Jenny Saville, inspired a massive communal bedchamber where beds doubled as seats.
“They felt so strong and so visceral,” he said of the paintings, “and that power to the body suggested sculptures.” He worked those in through said prints, filtering in his Frankenstein reference in ghoulishly-stitched leather bustiers and ripped lace numbers. If it sounds literal it’s because it was, but Risso’s canvas can handle it. There’s no such thing as basic in his world, often for the fact that his garments are so openly unravelling anyway. “It’s classicism with metamorphosis still in progress. You have to imagine the painters work on the canvas: it’s about trials and mistakes before getting to the sculpture and the marble. And that becomes the work itself,” he pointed out. “Drapes that are subtracted, shapes that are added, and vice versa. Fingertips that are throwing living tempera onto the pieces; and so these situates, they become alive. They bloom.”
For this spring collection, unveiled in a week when Etro, in celebration of its 50th birthday, is also putting on an exhibition at Milan’s MUDEC museum, the holiday vibe was literal. Etro took the surfer girl - albeit primed for a 5-star vacation - as her muse, and threw some paisley-patterned surfboards down the catwalk, plus a real life champion surfer, the implausibly beautiful Victoria Vergara, to up the street cred.
Surfer girls seem to have seeped into fashion’s collective consciousness this season, most obviously at Calvin Klein, but also at Prada (those knitted surfer bootie/sandal hybrids) and Michael Kors (sunset printed knits) but none was as literal as Etro’s take. Sun-kissed and ready-salted, this was a holiday wardrobe heading on a Pacific jaunt with pit stops in California, Hawaii, and Japan. It comprised racks of zesty-coloured silk pyjama sets and crochet mini dresses, as well as towelling ponchos and patchwork cardigans to throw over sunburnt shoulders. Shells dripped from earrings and necks, wrists and ankles, lingering above little surf shoes and brocade slides. Evening options abounded - embroidered and patterned wrap dresses plus chiffon pleated ankle-grazers. “Good vibes,” was Etro’s verdict.
This made the highlight of today’s Tod’s show - a roomy, paper-thin leather shirt dress on the Italian Vittoria Ceretti - an altogether more impressive feat. Leather shirts don’t exactly scream “warm weather staple” but in the handling of the Tod’s team, specifically rendered in a peachy pink and worn with flat sandals, it looked just the thing for the front row, many of whom have been surprised by the sweltering heat this week in sunny Italy.
Elsewhere, the design team majored in a preppy, Italian-who’s-switched-Capri-for-the-Hamptons aesthetic that combined practicality with a modish luxury. Leather pants were cut slim and cropped at the ankle. Suede jackets with energising stripes sat neatly above politely slit pencil skirts. Most of the shoes were flat, acessorized with exuberant sprays of tassels, which lent a no-nonsense air to the collection. Shirt dresses were tailored and cinched at the waist with an attractive Tod’s signature, the double T belt, or wrapped from the waist down. The bags had silver slicks of hardware and plaited loop handles, sometimes in raffia, that perfectly summed up the season’s swoon for handicraft.
What sounds like it could be a recipe for chaos actually appeared thoroughly cohesive: rather than going full Carmen Miranda, Koma simply integrated a new dynamism into his modernist aesthetic and applied top-stitched flounces to scuba-style dresses; explored fishtail silhouettes and plenty of peplums. He is a very good technician, and some particularly good dresses, formed from vertically striped silk tulle, swung at the skirt with remarkable grace; the application of hand-stitched disks offered twinkling glitz to the show-stopping numbers (it’s a skill to make that much embellishment appear so ethereally light).
This season was Koma’s first segue into full-length gowns, and surely his customer base is simply wondering what took him so long – his woman is the sort who has plenty of occasion for them. While they might be more likely to wear them atop a yacht than to a juerga, his dresses packed plenty of punch – and their flocked polka dots will make for a good conversation starter at the inevitably abundant trunk shows to follow.
Vivetta has created a technicolor dream for its SS19 collection, pastel tones with fairytale, visionary fantasy, infused with an eccentric and enchanting glamour, painted in delicate hues with irony and grace.Candid swans rest on small tunics in painted inlay macramé, or on long romantic crocheted dresses; knots of blackberries in Swarovski crystals, glisten on impalpable cape dresses like clouds of degradé tulle; pretty butterflies seem to palpitate on fragile tulle bodices embroidered by hand with fringes of beads and feathers, which bloom on taffeta skirts thickly pleated as corollas of flowers grown in a fabulous greenhouse, or accompany denim trousers richly decorated with precious jewel-like embroidery.A pop rainbow, inspired by Peter Max’s 70s psychedelic graphics, illuminates suits in Nappa leather, inlaid with eccentrically Western flavour; wide skirts in sumptuous taffeta or dust coats with Elizabethan sleeves veiled by a puff of tulle are studded with magical galaxies of shiny stars.Bouquets of hydrangeas bloom on mini-dresses draped in technical organza with a liquid effect, enriched with frills and rosettes, seducing in their theatrical yet simultaneously naive glamour; fanciful blooms decorate fluffy pouf skirts worn with candid poplin shirts or balloon dresses light like meringues.
This collection is an invitation to play together - says Vivetta Ponti, founder and designer of the brand - In my illusory and smiling world grace and fantasy triumph. As if a spell transfigured the reality, making it magical. A surreal short film that never fails the happy ending.A warm, childish sense of humour lies like a breath on the striped poplin dresses in sweet macaron shades; draped tunics are created by transforming classic men’s shirts, whose sleeves become pleated skirts or whose cuffs are wrapped around necklines - as well as contrasting bows on clean poplin blouses or cut-out inlays on palazzo trousers revealing the outline of a face.Vivetta invites us to take part in this game of illusions and smiles, in this world where grace and fantasy triumph, in a reality that, transfigured in some spell, becomes magical and surreal as in a film with a happy ending.
Styling by Georgia Tal
Production & Direction by RANDOM
Casting by Caterina Matteucci @CM Casting
Hair by Beppe D’Elia using l’Oreal Professional for Beautick
Make up by Beautick
Nails by MH artist
Music by Dorian Grey
Sunglasses by Poppy Lissiman