There were 1960s up-‘dos and ornamented bodies similar to Barbarella’s, but had Fonda made the trek to Brooklyn for the elaborate show, chances are the collection – rooted in snow sports – would have reminded her more of certain James Bond films. (Well, if 007 had had a penchant for gangster rap and Yeti boots.) It’s hard to think of that period of Fonda’s life without thinking of the political activism she engaged in. Watching Plein’s show – where a UFO that hovered over a space filled with artificial snow delivered Irina Shayk to a real robot, who then serenaded her with Frank Sinatra’s Fly Me to the Moon surrounded by Batman-style snowmobiles and Migos and friends rapping away – you wondered if Plein had detected a parallel between Space Age and our current zeitgeist. The 1960s was a time of socio-political upheaval and enough-is-enough movements that changed the world.
October 4th, 2016 – New York, NY- Fresh, light and wildly romantic our Fall/Winter 2018 Bridal collection represents the thrill of discovery. The marriage of artful hand embroideries with contemporary elements - such as a sequin t-shirt and jacquard bomber jacket - is an invigorating find for the elegant bride who is searching for something slightly unexpected. Honored by the privilege to dress women for their most important moments, our fourth bridal collection embodies our passionate pursuit to effortlessly unite timeless elegance with modern romance.
(From the network)
(Photo Credit: Kevin Tachman)
ACTRESS KELLY RUTHERFORD, TV PERSONALITY KELLY BENSIMON, AND MISS UNIVERSE 2018 IRIS MITTENAERE, MISS USA KARA McCULLOUGH, MISS TEEN USA SOPHIA DOMIGUEZ-HEITHOFF SIT FRONT ROW AT SON JUNG WAN’S SPRING 2018 SHOW.
(Photo Credit: Rodin Banica)
SON JUNG WAN debuted her luxurious Spring/Summer 2018 collection inspired by “The French Riviera” which is on the Mediterranean coastline that starts from the southeast corner of France to the west. The bold looks included a playful mix of vivid colors, floral prints, and feminine silhouettes that captured the vivid color palette.
PORTS 1961 SPRING SUMMER 2018 MENSWEAR
The spring-summer Ports 1961 menswear collection is a celebration of diversity, strength and optimism.
Fashion reflects the world around us. In a time of challenge, fear and disillusion, it is the creative person's role to try to deliver a message of love and hope. For the past several seasons, Milan Vukmirovic has been exploring the urgency of love and the importance of fraternity, unity and solidarity.
Inspired by Jean Michel Basquiat’s work and personal style, African cool-setters and the hip-hop scene in New York in the early Eighties, Milan Vukmirovic presents an upbeat collection with a very positive message. Brimming with color and meaning, this collection is a window that opens to the world and defends the richness of difference.
This season, Ports 1961 draws in equal measures on street culture, contemporary dress and local artisans. Embroidery and prints point to far horizons.
This collection is, in its own way, a message of solidarity for the Black Lives Matter movement that began in the street and on social media in 2012. The fight against violence and for justice for black people resonates today in an even wider, bigger way.
Now, more than ever, EVERY LIFE MATTERS. EVERY COLOR MATTERS. ONLY LOVE MATTERS.
PORTS 1961 FALL/WINTER 2017/2018
Army Of Love
The word “love” is the same in traditional Chinese and Japanese characters. For the Ports 1961 fall-winter 2017-2018 collection, Milan Vukmirovic also prints “love” in English, Arabic, French and Russian on sportswear hoodies. Not only is this collection younger than in past seasons, it is also more minimalist. Informed by the artistic director’s early years — the early Nineties, the energy of the London scene, and the music and images of a time when the idea of a new century elicited excitement and a hint of apprehension — it also reflects the lightning changes in today’s world.
Ports 1961 men are armed for whatever the day brings. In the city, they sport protective clothing inspired by urban work wear. Reflective bands stripe parkas borrowed from construction sites, bombers are reversible, coats have slit sleeves, blousons are studded with buckles and harness straps, trousers are piped, sweaters are chunky, hoods removable and shirtfronts quilted. The cuts are clean, ample, transformable and efficient. The wardrobe is assertive, right down to its colors. Two-toned silhouettes, blocked in contrasting shades of black, grey, red and even orange or red, are infused with buoyant energy.
Stripes give the collection its tempo. There’s also the camouflage print motif Milan Vukmirovic has loved forever. Otherwise, materials are primarily sober, solid and thick, often with raw edging. Robust cotton canvas, deep diagonal twills, dense fleece and real nylon underscore the virility of this chic sportswear offering. But for all its masculinity, the collection has lots of charm and heart. The white shirt – a house icon – is embellished with strategically placed red embroidery representing that vital organ, which sits precisely over the breast of young love warriors in search of emotional rescue.
We partnered with Newcastle based retailers END. who looked to rework the vivid imagery achieved by innovative heat map technology. Serving as a two-dimensional representation of the distribution of temperature, this uniquely organic design has inspired a two-piece END. x Filling Pieces pack.
Whilst one iteration of the classic low top silhouette provides a multi-coloured rendition of the heat map design on its sidewall, the collaboration’s second offering translates this composition into a sophisticated greyscale. Both shoes utilise a premium leather construction that cleverly depicts the heat map design on the sidewalls through a series of leather overlays. They’re set on the label’s honeycomb textured GF rubber sole, specially moulded to provide supreme comfort and traction with every step. Constructed with a padded heel and collar along with a full leather lining, the silhouette’s sign-off arrives in the form of the END. logo debossed to the tongue and heel.
To make a journey means to be digging into the landscape. The traveller is,
in fact, able to go deep down “as an archaeologist through different layers of reality, to read even the hidden signs under other signs, to collect as many existences and stories as possible, and save them from the flow of time and from the erasing wave of oblivion” (C. Magris). It is a meticulous and humble work of discovery: a process of knowledge in which it is possible to collect fragments of reality as well as possibilities set aside, banned or removed.
The clothes of the Men’s Spring/Summer 2017 collection are the reflection of this travelling. They keep traces of otherness; echoes of spaces, crossed or imagined; temporalities, plural and thickened. Each suit is a kaleidoscope of signs poetically reassembled to create new meanings. The travel, in fact, can untie the knots of the soul; can harbour wonder and magic; can put a spell back on existence. It’s like falling in love, when the world suddenly unfolds as something new.
To make a journey implies separating, leaving, becoming, moving. It’s an unexpected encounter. Open-mindedness and possibility. But, above all, is a return. In Heinrich von Ofterdingen (Novalis), the wayfarers were asked: “Where are you going?”. And the unequivocal answer was: “Always homeward”. In this sense “the sense of home that everybody, in nostalgia, believes to see in childhood, is instead at the end of the journey. The latter is circular; it starts from home, goes through the world and comes back home, even though it is a very different home, because it gained meaning thanks to the departure, the original split” (C. Magris).
This season, Giorgio Armani took a houndstooth check as his starting point, he enlarged it and abstracted it until it became a jaunty graphic woven into a jacquard and cut into tailored cigarette trousers, capes, and neat, narrow-shouldered jackets. But whether or not these clothes are your thing, this mostly-black collection served as a reminder that Mr Armani is the undisputed king of the red carpet. Not only because Cate Blanchett looked ravishing front row, but because every gown did wonders for the body, and really, when it comes to event dressing isn’t that what any woman really cares about? They just want to look good and there were plenty of options here, from one-shouldered numbers with sweeping bows on the shoulder or sashes knotted at the waist, but the most standout were rendered in black velvet, strapless, or with sweetheart necklines and trimmed in Swarovski crystal ropes. And if the gowns didn’t appeal, the black velvet tux jacket, again, edged in crystal rope, was killer.
Presenting a sylvan scene that emulates the perfection and chaos of nature’s enchanted realms, the Autumn Winter 2016/2017 collection is alive with cascading blossoms, laser-cut butterflies, dewy tulle sheaths and metallic dragonflies. A renewed interpretation of a fantastical wilderness and its binaries, the collection pursues the intersection between dusk and dawn, the romantic and the mystique.
From draped satins and floor-sweeping organza trains with voluminous frills, to shades of 70’s bohemia present in smocking, oversized hats, braiding and fringing; our woodland muse is femininity in motion. A silken silhouette embroidered and delicately hand painted with blooms reminiscent of the 19th century Italian tapestries found in the Villa Necchi Campiglio.
Tailored jackets in ice-white cashmere feature alongside a nightshade satin bomber adorned with hand cut mink pom-poms. Plunging stalactite necklines and cocoon capes are illuminated with bronze, silver and gold, iridescent in the changing light.
Kaleidoscopic and euphoric in tone, autumnal burgundy and midnight blue silk zibelines are infused with a muted, subtle palette of cornflower, apricot, lavender and dusky rose chiffons. Evergreen shades of flora and fauna are ruched and ornately embellished with the finest micro-beads, metallic barley stalks and feathers, intricate glass-beaded bumble-bee and beetle broaches, unifying design and humanity's earthly connection to nature.
Punctuated by laser cut taffeta forms, bold prints and bohemian mini skirts, the Autumn Winter 2016/2017 collection is a fantasia redefining artistry and reinterpreting the eternal cycle of being.
A mood of modesty and restraint played out in the collection, which was an entirely monochrome tribute to Christian Dior’s famous sculpted-waist Bar jacket. The proportions were tweaked, exaggerated sleeves powered the corseted silhouette into the new era. There were skewed hemlines (longer behind than in front) and intricate Fortuny pleats but the distinctive volume of the New Look reined supreme, complete with its familiar modest mid-calf lengths. This ode to supreme simplicity arrived uncluttered by overt decoration. Silk organza and Georgette trains were punctuated by sparse embroidery or while embellishment was in gold with delicate touches of silver. Flat sandals tied with velvet ribbons were in the style of Japanese Bath shoes. Heavy Maria Callas style eye make up in black and gold was combined with natural looking hair held back by rectangular gold clips giving the old-world look a modern ready-to-go edge. Ultimately, this show reiterated that unmistakable meticulous Dior touch, flexing the precision that their atelier can achieve in the details of their tailoring. A sartorial call for a moment of calm amidst the whirring rumour mill.
Today, Karl Lagerfeld put them centre stage in the Grand Palais, transporting his four ateliers - two specialising in tailoring, two in "flou" - to the heart of the capital and in doing so continued what he has accomplished so successfully in his role as creative director of the storied fashion house: offering a treasured insight. Before the show began (amidst the chatter of the audience busily taking their seats), we witnessed dresses being fitted on models; seamstresses sat silently at Singer sewing machines; and long, illustrious bolts of silk and taffeta propped up against the walls where Karl's famous storyboard sketches had been pinned. Welcome to the world of couture.
When Edie Campbell opened the show, with a tousled top knot controlled by a wide leather hairband, the atelier carried on working in the background (a poignant nod to the speed at which the fashion industry moves – “onto the next!”). They did so throughout the presentation of the 32-piece collection in which triangular shapes dominated. Trapeze jackets in signature appliquéd tweed, embellished inserts, and the angular hems on jackets and gowns all had a trilateral aesthetic, offering contrast to the more sculptural tiered lampshade silhouettes which Lagerfeld favours so. Elsewhere suits came double-breasted and buttoned up, while structured collars stood stiff and away from slender necks. Every look was finished off with ruched suede knee-high boots, the detail of which was mirrored in long over-the-elbow gloves.
Full Images of Runway Show:http://www.globefashionrunway.com/#/chanel-haute-couture-2017/
The collection entitled "Vai", named after the West African Tribe by which Ayasa originated, in an opulent interperation of the indigenous wardrobe and foliage of Cape Mount, Liberia; where the Vai tribe derives. Colored with rich tones and cascading with feminine silhouettes, the F/W 2016 collection is the elevated view of culture from the designer's genius.
NewbarK was launched in 2009, by the stylist sister duo - Maryam and Marjan Malakpour.The LA-based luxury brand is best known for elegant, minimalistic, comfortable shoes and handbags. All Newbark products are handmade in Los Angeles, California.
The name NewbarK comes from the saying “My dogs are barking” which means my feet are in pain! The debut collection was a single item - a simple pair of foldable leather shoes that fit into a small carrying pouch. They are a stylish alternative to ballet flats and a perfect item to carry anywhere. They have been described as “Moroccan Babouche meets English gentleman’s slippers”.NewbarK’s collections have since evolved into a complete range of flats, boots and accessories that continue to capture the function and style that the brand’s cult following so adore.
The collection is all about the Melanie loafer. Created now four seasons ago. Inspired by menswear style 70’s loafer, chunky heel, classic with a twist of Rock and Roll. The sleek tuxedo look about it is timeless, looks great worn with iconic tuxedo suit or mini dress or skirt with shnets or tights. The black patent and kid suede combination is a must have in all time favorite.
First out: oversized squashy mohair and boiled tweed coats, cinched in with wire belts. Next, a series of pretty quilted pieces in California orange, tweed, and butter yellow, which slipped coquettishly off shoulders, secured with a series of snap fastenings. The leather pieces were equally palatable, having been bonded with metal to create permanent creasing. Voluminous and, at times, boyish, as in the case of a pillar box red construction workers jumpsuit, they looked the sort of thing the Acne girl, currently clad in its sell-out Velocite shearling jacket, will fall for next winter. The footwear was less compelling - certain flat styles resembled discarded sushi trays, and the models struggling to keep their toes under flimsy straps were an uncomfortable distraction that recalled the seedy side of a dominatrix act - but there was plenty else here that was winning.
It played out in buttermilk, and creamy shades thereof: running to ivory, double cream, and nude; it's a palette that however neutral, is so distinctly instantly recognizable as Celine.
Staged in her usual venue of Tennis Club de Paris, the space was configured as a tiered seating arrangement, with lurid green Perspex chairs organised in rows as aluminum flooring. The tennis court's blue and green flooring remained as the runway, and it was no accident that those colours popped in the collection too via a petroleum blue leather trench and a pair of grass greeen wide trousers, which served to jolt her colour scheme.
Full Images Link:http://www.globefashionrunway.com/#/celine-autumnwinter-201617/