UFASHON MAGAZINE HAUTE COUTURE SPRING SUMMER 2020 by ufashon_official

DRESS: STÉPHANE ROLLAND JEWELRY: PIAGET

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CREATIVITY

DRESS: IRIS VAN HERPEN JEWELRY: CHOPARD HAIRBAND: BARBARA GUIDI PAINTING: ALEXANDRA MAS PH: MARCO TASSINI FOR MASTASSINI STUDIIO 3

N ATELIER

GEORGES CHAKRA

MBROIDERIE

GUO PEI

ARTISANAL

TONY WARD PH: MARCO TASSINI FOR MASTASSINI STUDIO

PIAGET

JEWELRY

CAT 12

ATWALK STÉPHANE ROLLAND PH: MARCO TASSINI FOR MASTASSINI STUDIO

ACC 14

CESSORIES DIOR PH: MARCO TASSINI FOR MASTASSINI STUDIO

TEXTILE

RALPH & RUSSO

HOME

VALDERAMOBILI

BAIADERA

EXHIBITIO

FRANCESCO SOMAINI E MILANO PALAZZO REALE MILANO

DRESS: ZUHAIR MURAD JEWELRY: CHOPARD

CONTENT INDEX LOVE ALWAYS WINS ALEXIS MABILLE, THE POWER OF WOMAN ANTONIO GRIMALDI, MODERN NYMPHS ARNOLD & SON, PANORAMIC VISIOIN AZZARO, EPICUREAN AMAZON CHANEL DIOR, PRIMORDIAL GODDESS PIAGET, GOLDEN OASIS ELIE SAAB, A LOST ART FROM A FAR AWAY TIME “BESOTTED...” FRANCESCO SOMAINI E MILANO FRANCK SORBIER, VIVA LA DOÑA GEORGES CHAKRA, A PEACEFUL CHANGE GUO PEI, MYTHOLOGICAL SYMBOL BARBARA GUIDI, EXPLORATION OF FORMS IRIS VAN HERPEN, SENSORY SEAS EGIZIA 1949, ARABESQUE LUXURY JEAN PAUL GAULTIER written by ALEXANDRA MAS JULIEN FOURNIÉ, FEMALE ADVENTURERS PRIMA, DONNA. MARGARET BOURKE-WHITE ON AURA TOUT VU, DES …EQUILIBRUM RALPH & RUSSO,MODERN INTERPRETATION OF COUTURE ICONS VALDERAMOBILI, AURA COLLECTION RONALD VAN DER KEMP, LOOKING TO THE FUTURE STÉPHANE ROLLAND, MOONRISE INFINITE DELICACY TONY WARD, #REVIVEW ULYANA SERGEENKO, A RESTLESS HEROINE VALENTINO, DREAM FREELY ALIDA LIBERALE, ART TO WEAR VIKTOR & ROLF, NOBLE PHILOSOPHY YUIMA NAKAZATO

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DRESS: STÉPHANE ROLLAND HAIRBAND: BARBARA GUIDI

LOVE ALWAYS WINS Lights, color and allure dazzled our eyes in admiring the Haute Couture collections during Paris Fashion Week Spring Summer 2020. Captured and enraptured by such beauty, we abandoned ourselves to a unique, rare, and wonderful elegance. We are proud to have witnessed a lot of work and a lot of research, which every maison scrupulously uses in every inch of a dress, which encompasses hours and hours of work, passion and research to become a true work of art, pure, essential, and unique. UFASHON chose the most beautiful one admired during the Paris Fashion Week Spring Summer 2020, to share, as in every season, how many wonders we are surrounded by. In the making of UFASHON MAGAZINE HAUTE COUTURE SS 2020 dazzled by that light, we immediately set to work to edit a new magazine that can convey to its readers as many emotions as we have experienced personally. We met the designers, the team of some brands and admired together their masterpieces, their collections; we rejoiced, we embraced each other, in the celebration that once again the collections presented are sublime. A hug that did not want to be a simple gesture of affection and approval, but above all the sharing for the great work that every dress, jewel or bag contains. A simple gesture that today seems to be a distant memory. The whole world has been overwhelmed in recent months by a terrible pandemic that has spared no continent. UFASHON, with the publication of UFASHON MAGAZINE HAUTE COUTURE, wants to offer its contribution to testify and show that everybody, in compliance with the law and in helping the weakest, wants to shine those lights, those colors even like those who have never stopped and offered their support in total solidarity and generosity to save lives. Sharing the experience of this pandemic has certainly contributed to a collective reflection, which although epidemics are part of the evolution of genesis, is certainly an event of nature that rebels against an uncontrolled and violent abuse of the earth. In recent years, many designers who are aware of climate change have adopted different attention in the use of natural fibers or the recycling of materials, creating unique and extraordinary garments. Probably also our way of being and dressing in the future will change, just as our soul and our sensitivity have changed in these months where time seems to be suspended. UFASHON MAGAZINE HAUTE COUTURE Spring Summer 2020 therefore does not want to be a light, but the “glow” of a large lighthouse, an awakening that also warms the soul and does not just satisfy the eyes in admiring the beauty of the collections presented. #love always wins and defeats all evil. Therefore, do not be afraid to dare and let yourself be abandoned by reading this wonderful magazine, which is fortunate to be one of the spokespersons of true works of art, because culture and knowledge are the true food of the soul, which nourishes our existence and our emotions, true witnesses of our life.

www.borsalino.com

ALEXIS MABILLE THE POWER OF WOMAN

www.alexismabille.com

Crisp outlines, defined volumes, strong materials, contrasting textures. This season, Alexis Mabille’s Haute Couture craftsmanship is expressed in shades of white, a palette freed of color to better reveal the woman’s power.

ANTONIO GRIMALDI MODERN NYMPHS

Antonio Grimaldi for new Spring/Summer 2020 Haute Couture collection, turns his gaze to and draws inspiration from the Nymphs who inhabit the art world. A recurring theme for both classical and avant-garde artists, the modern nymphs - imagined by Antonio Grimaldi, appear as slender and feminine figures, maidens characterized by an incomparable beauty, mythological and poetic beings, that tell of love and desires as well as beauty in all its forms. With divine powers, protectors of heaven, woods, mountains and springs, they are sensual and sophisticated in silhouettes dominated by pastel shades: wisteria and celadon green makes reference to water and its reflections; bright pink, absolute white and silver recall the celestial atmosphere. Tones that gradually become darker with dresses dominated by fine blacks to purple and metallic colors (lamé, platinum and rose gold) as well as an intense mustard yellow, inspired by the enchanted world of woods and forests. Curved and aerial shapes, chasing lines, architectural asymmetries on the necklines and hems, wave slits. Lightness that stands on elegant silhouettes, thanks to cuts and techniques typical of high fashion and that have become the leitmotif of Antonio Grimaldi’s style. Double silk cady returns (a must for the Maison) which alternates and overlaps fabrics like mikado and taffetà moiré to give life to clothes with volume, body and character. The large volumes that distinguish the silhouettes are dominated by a sensual lightness that gives a dreamy and magical aura. Among the 30 looks proposed on the catwalk, there are trompe l’oeil outfits that deceive the eye by giving dress coats a frock coat effect. To embellish the outfits, feathers, rich and copious, in various colors, sizes and shapes: frayed, painted, laser treated, lacquered, rubberized, ostrich, rooster and pheasant. The embroidery: from works pierced with intertwined woven ribbons with a tricot effect to the jais work and use of crystals that gives transparency and a watery and crystalline effect on lingerie and couture t-shirts. The looks are completed with mini belt bags for the arm and waist with applied feathers; black python and platinum crocodile bracelets and chokers with gold leaf.

www.antoniogrimaldi.com

YOUR WORLD TIMES

PANORAMIC VISION 42

Beneath a large sapphire crystal dome, an arch supports a half-globe in shades of grey and blue. It depicts the continents, the seas and the lights of the large cities located north of the equator. On the edge of the planet, a sapphire ring breaks down the 24 hours of a day. Transparent between 6 am and 6 pm, a metal treatment has been used to darken it, indicating the night-time hours. Together, the hemisphere and ring display the time in one part of the world, represented in a highly original way. In the absence of a dedicated hand or city disc, The time is read geographically in accordance with the continents.

www.arnoldandson.com

AZZARO EPICUREAN

AMAZON

The flamboyant has stood the te celebrates the w assertive epicur her uniqueness. Wreathed in my tro-futurist aeww vement are used dow, opacity an Combining the references with out of another c a fleshy, graphic and the illusion less, the waistlin open and asse ves offer a num to accentuate th shape to cover Feminine in its e piece of this co dress is adorned ats, with cut-ou ves, made more stellation of bea appears in the d are adorned wit ght-cut black sa jewellery pieces The opacity of wool broadclot the daintiness o dered with crys In the image of o – in metal bead irregularly sprink a precious spa leather-effect la the emblematic This light, captu and silver, is en and punctuated crimson, purple The men’s ward echoes this new ned by incandes imaginary marin fringed embroid patterns inspired broidered with c This collection t ture in a new w and the sophisti www. azzaro-couture.com

t sensuousness of the Azzaro female est of time, and this season the Brand woman of this new world: a liberated, rean Amazon who draws strength on . ystery, the designs cultivate a rewsthetic where structure and mod to delineate plays on light and shand transparency, matte and shine. Brand’s festive, sensuous Couture h a one-of-a-kind universe straight constellation, the collection explores c futurist flora with generous volumes of simplicity. The tailoring is relentne high and nipped-in, the V-necks ertive, the sleeves low-cut. The sleember of effects: here balloon-shaped he build, there a more fluid pagoda the hands or reveal the shoulders. essence, the dress remains the key ollection. Long or extra-short, the d with ruching, draping or sunray pleuts that subtly reveal the body’s cure exquisite there with a zip and a conads and crystals. This elegance also design of trousers, of which the legs th a succession of flounces or straiatin enhanced with pleats; or in the s, featuring irregular crystal stones. f a long double-breasted coat in th and silky eco-fur interacts with of diaphanous chiffon, mesh embroistals or aluminium-laminated leather. otherworldly foliage, fine embroidery ds, crystalline stones or sequins – is kled across the designs, providing arkle that enhances the shine of a aminate, crepe, satin or jersey, one of c materials of the Azzaro brand. ured by the omnipresence of gold nhanced by the depth of the black d with flamboyant colours such as e and cobalt yellow. drobe, driven by the same inspiration, w world with its flawless cuts brightescent lurex, straps embroidered with ne flora in beads and metal, celestial deries, or jacquard featuring abstract d by the moon’s relief, entirely emcharcoal grey stones. travels between the past and the fuworld where the attitude is liberated ication iconoclastic. 47

www.samatexsrl.com

CHANEL

For the CHANEL Spring-Summer 2 ster garden of the Abbey of Auba nourish the stylistic grammar of dows and their geometric interla the boarding pupils… All these and affirmed allure, shoed On straight dresses in tw in cotton piqué or Berth windows of Aubazine, e share the same spirit. Fastened with jewelled collar, the suits in beige emphasised with fine Graphic motifs inspire matte pastel sequin rity of lines is also s collar, others in cr Peter Pan and p bons, forming a in silk, sequinn Gradually, the navy blue taff entirely with top and ski skirt in twe painted by spired by blazer jac Plays of tran white silk tull cigaline em cross patte strips, or i dress in as well Echoin pleate flower of the ab flounces. M dered bouquet The wedding dress comes in crê red with branches of wisteria. The s avant-gardist, daring and timeless. The CHANEL Spring-Summer 202 ambassadors Caroline de Maigret and G-Dragon, as well as the a

2020 Haute Couture show, Virginie Viard invites us into a décor inspired by the cloiazine. A place, where Gabrielle Chanel spent a part of her childhood, which would CHANEL: the floor paved with different motifs such as stars, the stained glass winacing patterns, the rigour of the black and white habits, the collars and smocks of elements are subtly embedded into the silhouettes in this collection with a young d in sock or lace up booties and worn with white tights. wo-tone wool or tweed, the flat pleats, braided belts sported high on the hip, collars ha collars embellished with embroidery echoing the paving stones or stained glass evoke the attire of schoolgirls. Double-breasted pea coats with their tweed skirts

d buttons set with stars or flowers, trimmed with braids, with a high or folded back e tweed are worn alternately with skirts that are flared or veiled in tulle. Sometimes woven cords, in natural colours, they exude a countryside charm. ed by the stained glass windows envelop a dress and suit entirely embroidered with ns, while paving stones in matte ivory sequins are embroidered over suits. The pusketched out over long coats: one in tweed finished with an embroidered flounced rêpe completely adorned with an ecru floral guipure lace. Another, fastened with a pelerine collar, is entirely woven from white plain-weave and gingham organza riba herringbone pattern. The freshness of gingham returns on a little two-tone dress ned over the back. e elegant austerity gives way to a graceful lightness: a large ivory taffeta cape over a ffeta dress, a tiered dress in crêpe enhanced with a trompe-l’oeil belt embroidered h sequins by the House of Lesage worn with a bolero jacket with kimono sleeves, a irt in ivory flocked silk embroidered with a matte sequin paving-stone effect. A full eed is accompanied by a cropped jacket embroidered with tiny pieces of rhodoid, by hand like shards of stained glass window and a cape embroidered with motifs iny the paving stones at the abbey. A long skirt is paired with a black sequinned tweed cket with a Bertha collar in cotton piqué. nsparency are apparent in featherweight dresses. Between their layers of black and le petticoats, they reveal a refined and very light construction, just like this dress in mbroidered with little flowers. Dresses in floral lace, occasionally adorned with a crissern, another with long sleeves and a petticoat embellished with graphic sequinned in pale pink floral-embellished lace, further diffuse this delicacy. It also appears on a navy blue crêpe chiffon warmed with a tulle stole, on a full skirt with apron pockets l as a backless dress in black chiffon with a pelerine in lace. ng the garden at Aubazine, flowers are reinterpreted in colourful motifs over a long ed and buttoned dress in lace and illusion tulle. As if in an herbarium, these delicate rs are caught inside the tulle of dresses embroidered with the intertwining circles bbey’s stained glass windows, and blossom as embroideries beneath the organza Multicoloured pansies flourish over a strapless dress in blue chiffon while embroits bloom on a blue-grey organza skirt worn with a blouse in poplin and lace. êpe georgette, enhanced with a triple Peter Pan collar in tulle and a veil embroidesimplicity of this short dress reveals a pure modernity. That of the CHANEL woman,

20 Haute Couture show created by Virginie Viard was applauded by the CHANEL t, Ellie Bamber, Nana Komatsu, Kristine Froseth, Anna Mouglalis, Pharrell Williams actresses Taylor Russell, Eva Green and Clémence Poésy and the director Ladj Ly.

www.chanel.com

DIOR PRIMORDIAL

GODDESS

PH: MARCO TASSINI FOR MASTASSINI STUDIO

Maison Dior has presented an Haute Couture collection for the SS 2020 season that represents women as a primordial goddess, characterized by her strength and beauty, in a timeless contemporary. Creations with drapes and golden fringes seem to be the golden frame of a hyper-feminine silhouette, where fabrics and plissé become the essential ornament of the body, with all their softness and elegance. The tones of the creations are not only metallic, but also have decisive and elegant candor. The shades range from intense plum to forest green, from white to silver and gold. The head is adorned with a little crown, sometimes with a veil as if to mark the idyllic femininity, of all the beauty and fragility of women. The accessories are gold leaves magnetized by the forest on the body, as if to adore a goddess and delicately resting on the wrists and ears, they complete the dress in its most complete elegance and beauty.

www.dior.com

PIAGET GOLDEN

OASIS

Inspired by the mysterious curves of a breath-taking desert landscape, Golden Oasis captures the vivid light and intense hues from dusk till dawn. It invites a captivating journey across vast desert. In celebration of nature, Golden Oasis channels life into three distinctive facets of this beckoning environment: Play of Lights, Desert Minerals and Native Bloom. Harnessing Piaget’s artisanal craftsmanship and visionary imagination, this collection bursts with energy and splendour in gold and vivid gemstone details. Recognised by its daring vision and celebrated savoir-faire, Piaget remains one of the world’s most prestigious watchmaker-jewellers for over 140 years. Piaget’s high jewellery is the pinnacle of the Maison’s bold style, where master artisans expertly blend precious metals, pure gems and innovative designs into true masterworks of art.

The Golden Hour necklace in platinum and 18K yellow gold features a stunning 6.63 carats fancy vivid yellow diamond. ancy vivid yellow diamonds are rare by nature as only one out of 10,000 diamonds are classified as fancy coloured and of those, only six percent of all yellow fancy coloured diamonds are graded as fancy vivid. The necklace required 450 hours of jewellery work. The necklace features marquise-cut yellow diamonds, each specially cut for this creation, to mimic the sparkling rays of the burning sun.

www.piaget.com

ELIE SAAB A LOST ART FROM A FAR

AWAY TIME

She had a letter in her hand that was embossed with a wax stamp, inviting her to a full weekend of grand events that would gather the greatest minds in one place: Chapultepec Castle in Mexico City. A letter, she thought, a lost art from a far away time. Inspired by her dreams, ELIE SAAB Haute Couture Spring/Summer 2020 intertwines the regal past of both Europe and Imperial Mexico, bringing them together in the present. She took a deep breath and in that moment, she was transported to a grand marble hallway in the 19th century castle on the hilltop. It was late afternoon and the light through the stain-glass windows reflected a golden glow in the sequins imperial embroidery of her pearl tulle dress. She led her fingers down the long sleeves, to the transparent geometric netting weaved throughout the bodice. Then, she playfully swung her hips back and forth to feel the movement of her ruffled mini skirt and its floor length train. In a chartreuse dress, half embroidered with shapes of the imperial emblem and touches of flora at the fitted bodice, she spun around taking in the sheer majesty of the entrance hall, the long flowy skirt and the sleeves of the dress moved with her. She thought of every moment, how she would feel, how she would look, how she would shimmer in the light, fluid fabrics. The crepe mermaid dress in grey-blue with a peplum hip and a front or side slit would be a perfect way to reveal her playful yet poised nature. The knee-length opaque cady dress adorned with sequins and beads mixed with subtle transparent tulle, a plunging neckline and bishop sleeves, calls attention to her confidence. Somewhere in the distance she hears the music of a mariachi band. She isn’t sure if it’s the slight breeze or the way the melody makes her feel, she shivers with delight. This would be the ideal moment for pants coupled with a jacket, beaded with stones and accentuated with peaked shoulders. Or perhaps even a gilded cape so that she could swing the floor-sweeping train as she walked through mazes of floral greenery. She would detail her looks with large organza bows tied at the neck and draping down the crevice of her back, while belts highlighted her waistline and accentuated her soft silhouette. When she threw her head back to laugh, her azalea shantung gown overlaid with a large skirt or voluminous sleeves moved effortlessly with her body. She touched her large jeweled earrings and opened discussions about her favorite poems with some of the guests. She is both daring and charming, bold and graceful, yet always refined. As the weekend came to end she thought to herself, was it all a dream, and led her hand down the banister of the mezzanine stairs. Her bracelets gave out a soft clinking sound. No, she thought, I have just lived a dream.

www.eliesaab.com

”Besotted ...” PH. MARCO TASSINI ART DIRECTOR & PAINTING ALEXANDRA MAS MODELS: ALICIA LINDÉN GUIÑEZ & CORTO AUPETIT MAKE UP & HAIR STYLIST ANNE ARNOLD

DRESS: STÉPHANE ROLLAND JEWELRY: PIAGET

DRESS: JEAN-PAUL GAULTIER DRESS: ANTONIO GRIMALDI JEWELRY: PIAGET SHOES: ALV by ALVIERO MARTINI TEXTILE DECOR SET: SAMATEX

DRESS: GEORGES CHAKRA HANDBAG: BAIADERA SHOES: NORMA J. BAKER HAIRBAND: BARBARA GUIDI TEXTILE DECOR SET: SAMATEX

DRESS: IRIS VAN HERPEN JEWELRY: CHOPARD SUNGLASS: LUISSTYLE SHOES: CARLA FOCA

DRESS & JEWELRY: JEAN-PAUL GAULTIER HAT: BORSALINO BAG: BOLDRINI SELLERIA

DRESS: RAUL MISHRA JEWELRY: CHOPARD GLASSES: LUISSTYLE

TOTAL LOOK: SCHIAPARELLI SUN GLASSES: LUISSTYLE

DRESS ANTONIO GRIMALDI JEWELRY: PIAGET

DRESS: GEORGES CHAKRA HAT: BORSALINO SUN: GLASSES: LUISSTYLE SHOES: PROSPERINE VHS FILMBAG: RIVABLANCA

DRESS: RONALD VAN DER KEMP HAIRBAND: BARBARA GUIDI

TOTAL LOOK: SCHIAPARELLI SUN GLASSES: LUISSTYLE TEXTILE DECOR SET: SAMATEX

DRESS: ANTONIO GRIMALDI JEWELRY: DAMIANI PERFUME: ALYSONOLDOINI PARFUMS

DRESS: STÉPHANE ROLLAND JEWELRY: PIAGET TEXTILE DECOR SET: SAMATEX

DRESS: STÉPHANE ROLLAND JEWELRY: DAMIANI HAIRBAND: BARBARA GUIDI

TOTAL LOOK: JEAN-PAUL GAULTIER SILK HAIR SCARVES: ALIDA LIBERALE TEXTILE DECOR SET: RICAMIFICIO PISONI

DRESS: ZUHAIR MURAD JEWELRY: PIAGET HAT: BORSALINO SHOES: NEBULONI TEXTILE DECOR SET: SAMATEX

DRESS: RAUL MISHRA JEWELRY: CHOPARD GLASSES: LUISSTYLE BAG: LEDURAN SHOES: NEBULONI TEXTILE DECOR SET: SAMATEX

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DRESS: IRIS VAN HERPEN JEWELRY: CHOPARD HAIRBAND: BARBARA GUIDI SHOES: BOTEGA23

DRESS: RONALD VAN DER KEMP HAIRBAND: BARBARA GUIDI HANDBAG: BOLDRINI SELLERIA SHOES: CARLA FOCA

DRESS: ANTONIO GRIMALDI JEWELRY: DAMIANI PERFUME: ALYSONOLDOINI PARFUMS SHOES: NORMA J. BAKER

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”Besotted ...” special thanks to

MASTASSINI STUDIO

for

DRESS: STÉPHANE ROLLAND JEWELRY: DAMIANI HAIRBAND: BARBARA GUIDI

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FRANCESCO SOMAINI E MILANO La scultura 17th June - 6th September 2020

The artist’s relationship with the city of Milan in an exhibition at Palazzo Reale, Milan.

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Archive Francesco Somaini - “Lotta con il mostro” 1950, Bronze

Francesco Somaini (1926-2005) is a protagonist of the sculpture of the late twentieth century, known worldwide. In Milan is preserved extensive documentation of its activity The exhibition aims to focus on the sculptor’s figure and the kind of relationships he had over the years with the City of Milan and its cultural environment. The exhibition is curated by Fulvio Irace, Luisa Somaini and Francesco Tedeschi. Palazzo Reale Milano

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www.prosperine.it

FRANCK SORBIER

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Ph: Amaury Voslion

PH: AMAURY VOSLION

VIVA LA DOÑA

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Plus connue sous Maria Felix est née Son père est proprié rivaliser avec les gar A 16 ans, elle est él passait par là. Elle le quittera, non Enrique Alvarez F et souvenirs de Augustin Lara, sera, en son h Jorge Negrete dix ans aupa “Le Rocher Jorge N roses. Elle ép Elle a de la ru Elle pass Elle sera partenaires gués”, G Sasla Le

PH: PIERO BIAISON

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s le nom de Maria Felix, La Doña est l’une des figures centrales de l’âge d’or du cinéma mexicain. e à Alamos, dans l’état de Sonora, au Nord du Mexique, d’un Indien Yaqui et d’une descendante d’Espagnol. étaire d’un modeste ranch, d’où sont amour pour les chevaux. Petite fille, elle préfère grimper aux arbres et rçons, plutôt que d’apprendre la broderie et les prières. lue Reine de Beauté de sa province et échappe à l’emprise parternelle en épousant Enrique Alvarez qui

n sans qu’il lui ait fait le plus beau cadeau du monde. Felix sera l’ enfant unique de La Doña. Il deviendra, lui-même, acteur et ne cessera de collectionner photos sa mère. , “l’homme à la voix d’or”, grand mythe de la chanson latino-americaine, est son deuxième époux. Il compohonneur, en 1947, “Maria Bonita”, qui deviendra un autre de ses surnoms. e, gloire de la chanson et du cinéma mexicain, devient son troisième mari, en 1952. Ils s’étaient rencontrés aravant, sur le tournage r des âmes perdues”, non sans heurt ! Car, entre temps, Maria Felix est tout simplement devenue actrice. Negrete, que l’on dit aussi laid que séduisant, a fait tapisser la chambre de leur rendez-vous de pétales de . pouse, après, Alex Berger, un financier français qui lui offrira ses chevaux de course, ses bijoux. aussi vécu un amour passionné avec Suzanne Baulé, dite Frede, qui dirigeait alors “Le Carrolls”, un cabaret ue de Ponthieu. Leur idylle s’achèvera en procés. sera la fin de sa vie en compagnie du peintre Antoine Tzapoff, entre Paris et Mexico. la vedette de 47 films, elle tourne au Mexique, en Argentine mais aussi en France et en Italie. Elle aura pour s européens : Jean Gabin dans “French Cancan” de Jean Renoir, Yves Montand dans “Les héros sont fatiGérard Philippe dans “La fièvre monte à El Pao” de Buñuel, Vittorio Gassman dans “La courrone noire” de Luis avsky, sur une histoire de Jean Cocteau. es films mexicains dont elle est la vedette s’intitulent: “La Devoradora”, “La Mujer de todos”, “La Mujer sin alma”, “Doña diabla”, “La Bandida”, “La Belle Otero”, “La Pasión desnuda”. Dans ses films, elle a toujours représenté les femmes fortes, fières, hautaines (Ah ! ce sourcil gauche !). Lors d’une interview, elle déclare : “On admirait ma beauté et mon intelligence, je n’étais qu’une femme avec un coeur d’homme. Une guerrière.” D’où un autre de ses surnoms : La Caballera. Avec elle, la réalité et la fiction se confondent. Elle incarne la passion, l’érotisme, un magnétisme certain. Pour parfaire le mythe, La Doña s’est éteinte dans sa maison de Polanco, à Mexico, en plein sommeil, le jour de son anniversaire. Elle avait 88 ans. Avec cette histoire, il faut espérer le retour de ces femmes que l’on voit, sur lesquelles l’on se retourne, qui vous hypnotisent. Avec elle, c’est aussi le retour de la fameuse expression “qui peut le plus, peut le moins”. On l’a vue porter des vêtements folk mais aussi de la Couture, toujours chapeautée et couverte de bijoux. Elle a créé sa propre mode avec une liberté totale et un naturel désarmant. N’est-ce pas cela l’élégance ? J’aurais aimé qu’elle s’approprie certaines de nos créations avec sa propre imagination. N’est-ce pas cela la Haute Couture ? Les Sorbier

www.francksorbier.wordpress.com

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www.normajbaker.com

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GEORGES CHAKRA A PEACEFUL

CHANGE

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For t trib an Le the m sensitiv orges Ch be prese The white r Lebanon. ghout the write new appliqué w the florals A shroud o juxtaposes mic geom along with fi and hand-e energy, ginary r White, b jungle p the fanta and whe Glimmer their pre mes em scent

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the new Spring Summer 2020 Couture collection, Georges Chakra pays bute to his home country, Lebanon. Far from clichés, he embraces, with n unwavering sophistication, the complexity of the current reality. ebanon’s frantic energy, its youth’s desire for freedom and their rights, and mobilization of the recent months are at the heart of the couturier’s work, ve to the demands of an entire generation. This engagement affects Gehakra’s own family, the team members of his House and atelier, who will ent for the first time on the catwalk at the end of the fashion show. rose given to each guest embodies the support for a peaceful change in The floral motif, dear to Georges Chakra, is a frame that also runs throue entire collection. Silhouettes, like so many blank pages on which to stories, meet a mini dress made entirely of ivory petals, a tulle ensemble with roses, bouquets printed on fluorescent pink Duchess satin, similar to hand-painted on the silk gazar of an extravagant gown. of transparencies infuses the collection with an ethereal refinement that s with the sophisticated work on voluminous layers. The clean algorithmetry of a bubble dress, origami embroideries and pleated organza run fitted bustiers, bare backs, fluid capes and fabrics scattered with feathers embroidered with sequins and pearls. This game of contrasts exudes an , uplifted by a play on lengths of ultra-long and mini, calling out to imared carpets and disco dance floors of the 1970s. bright pink, aquamarine, water green, lagoon, sky or glacier, iridescent prints. The color palette evokes a wild nature, between lush forests and asy of a tropical island where the weather would always be beautiful, ere pearls in indefinable hues would shine from under clear blue waters. rs of gold and silver magnify the vibrancy of the fabrics and compliment ecious matte shades. This Couture Eden is fierce, illustrated by the flambellishing a gown with a boat neck framed by gladiator sandals, reminiof a feminine warrior.

www.gerogeschakra.com

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GUO PEI

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MYTHOLOGICAL

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The Himalaya is the not only the highest mountain range in the world, but it has also been a symbol of Asian sacredness and mythology since ancient times. Guo Pei has chosen to be inspired by the magic of these places for her Haute Couture SS 2020 Collection. The creations are theatrical, beautifully structured with Japanese obi belts, embroidery with sacred Buddhist Thangka motifs and lotus flowers and snowflakes carved on kilometers of tulle. Although the Himalaya does not properly lead to a summer thought for a Spring Summer Collection of creations, the designer has masterfully expressed her unbridled imagination, where she meets the arcane symbolism in wonderful creations that if observed closely, express a sense of pure wonder, admiring the filaments of fabric released in the wind. Guo Pei has interpreted this mysterious and spiritually powerful place. The fabrics of the collection are ancient, as often happens in the designer’s maison, which she reworks with excellent artisanship. Precious silk kimono belts have been used and reassembled on the back, showing the thread in a wonderfully worked fringed weave. The fabric is also cut for tubular capes that gently glide on the floor or with imperial capes embroidered with tulle that give the body the perception of being dressed like white fur that resembles snow. The creative spirit of Guo Pei gives this collection that mysterious feeling of idyllic divinity that the woman expresses in her most complete sacredness, as the Himalayas represent it for Asian culture.

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PH: PIERLUIGI ZOLLI MODEL: MARIA FERRONI

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BARBARA GUIDI EXPLORATION OF FORMS

Barbara Guidi realizes her special creations in a small Atelier in the centre of Rome. Her work is a continuous exploration of forms and volumes harmony. Games, weaves and materials make every single piece a unique piece with unmistakable, unrepeteable style...

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IRIS VAN

HERPEN

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SENSORY SEAS

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For this collection, Iris van Herpen draws inspiration from the sensory processes that occur between the intricate composition of the human body, mirrored with the fibrous marine ecology of our oceans. The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood. He questioned; how does the brain engage in conversation with its counterparts? Exploring our central nervous system in microscopic detailing, Cajal documented his revolutionary findings through anatomical drawings that are considered amongst the world’s greatest scientific illustrations. Hunched over his microscope, he merged science with art and brought to life the threads of our enchanted biology to the human eye. Other inspiration stemmed from diving into the deep depths of the Hydrozoa, a class of delicately branched sea-life organisms. Shifting between a polypoid stage and a medusa stage, the Hydrozoa embroider the oceans like aqueous fabrics, forming layers of living lace. ‘Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in clouded pools of blues and lilac, leaking into one another like marble. Colourful meshworks of cellular geometry are translucently layered to create deep-sea aquarelles. Soft shades of greens, blues and gentle ochres are painted by Shelee Carruthers and juxtaposed with the warming reds of coral reefs. The flickers and curves of Cajal’s anatomical drawings are revealed in the ‘Labrynthine’ technique; 3D lasercut silk dendrites are heatbonded to blossoming leaves of black transparent glass-organza, to then be hand-embroidered onto lasercut pearlescent exoskeletons. The ‘hypertube’ looks are 3D printed from a single-lined web using white silicone thread, that is printed onto black silk-chiffon, twisting down the body. For the ‘Hydrozoa’ technique, cellular aquarelles of dark purples and turquoise were oil-painted and multi-layered into hundreds of transparent lasercut PetG bubbles. The glass organza halos were digitally printed, heatbonded and then hand-stitched into voluminous splashes. The file-work of each layer is drawn to hang upwards, blooming aquatically with each movement. The ‘Morphogenesis’ technique is carved by thousands of white screenprinting mesh layers, in collaboration with Philip Beesley. 3D twisted vortex models were created in Rhino software, numbered and sliced into 3mm distance, to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes. Grasshopper scripts smoothened the processes of lofting, slicing and nesting. Each layer was embellished by hand with a grid of minuscule transparent chevrons, creating vibrant coral textures that expand and contract around the body. During the show, the models emerge from three ‘immaterial’ lightwave sculptures, designed by Paul Friedlander. Each sculpture is made from one thread only, that ransforms frequency into shape. Illustrating a sea of structure, they encircle the models by weaving light around them, creating a metaphorical maze of sensory waves. Matching the ebb and flow of arresting sensations from neuron to ocean, changeantsilks ripple buoyantly. Swaying serenely, they are at the liberty of change, regenerating amongst the immensity of the ocean, to the silent, yet eternal chattering of our senses. www.irisvanherpen.com

In 2019 Egizia celebrates its 70th anniversary. In this long period, Egizia has been the interpreter of the manual silk screen printing glass history in Italy. Collaborations with Italian designers and international artists have allowed the company to grow and gain recognition from the world of culture, the press and the market. The production is a synthesis of genius and hand-crafted skill. Currently the responsibility to carry on the challenge of this company passes to Chiara Merlo. She looks toward the world of excellence and luxury as a reference point and to reach the desired standards she relies on the creativity and the competence of the Design department, the new future collaborations with the most famous designers and the experience of the production department. Now the company follows two parallel paths: the quality and the innovation. Selected raw materials and the quality control process assure the creation of unique and inimitable items. Innovation and digitalization bring added value in terms of organization to approach better the market.

www.egizia.it

EGIZIA 1949

ARABESQUE LUXURY

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JEAN PAUL GAULTIER FREAKING 50 Is the curtain down on the terrible child of fashion? He took us down the history of his whole career with a sustainability sens. Simpler said, he reused, changed, modified things from his old couture and ready to wear pieces to offer us his first up-cycling collection. Word of wisdom, fashion is a constant renewal of things and above all, YOU can be your own designer. Handbags become skirts, perfume boxes turn into bracelets, an hommage to his Hermes era with braided scarfs made into dresses. A master-hand playing around his marvellous wardrobe, you name it: jeans, corsets, mariners, lace, tattoos, androgyny, the French bleu blanc rouge (blue white red ) for more than 200 looks applauded frenetically by the guest. His muses and friends from the first day were there. To name but a few Boy George, live on the stage, Mylene Farmer, Dita Von Teese, Karlie Kloss, Winnie Harlow, Irina Shayk, Coco Rocha, Paris Jackson, Yasmin Le Bon, Farida Khelfa, Erin O’Connor, Rossy de Palma, Amanda Lear, and Estelle Lefébure modeling, and iconic Catherine Ringer of Les Rita Mitsouko. After the show he told us about his new project: “I do not feel anymore like the teriible child, next April 24 I’ll turn 68. This is it, I have white hair even though in spirit I am still so young. The wish to continue is still there, so the couture goes on but, with a new concept I made. One I believe suitable for this times. So, why interrupt what I have been doing... there have passed 50 years and also for the young generation is good. But most of all because of “the Freak Show” I really enjoyed doing that. It allows me to do what I initially wanted to, as a child. I loved entertainment.” He shared that moment when he realised fashion is the way, the theatrical lights and movements from the movie that opened his mind to couture. We saw and extract from this iconic film in the beginning of the show: “Qui êtes-vous, Polly Maggoo?” by William Klein. The experience meeting and working with Pierre Cardin, the one he calls a visionary, the one who proved him one can take the freedom to design, manage and be who he wants in the fashion industry. “Fashion is a total reflection of life, in her most chaotic way by the way, as it is with today’s ecology or politics. This is the essence of my work, feeling what is happening in the society.” Alexandra Mas

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TOTAL LOOK: JEAN-PAUL GAULTIER SILK HAIR SCARVES: ALIDA LIBERALE PH: MARCO TASSINI for MASTASSINI STUDIO ART DIRECTOR & PAINTING: ALEXANDRA MAS MODEL: ALICIA LINDÉN GUIÑEZ MAKE UP & HAIR STYLIST: ANNE ARNOLD

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HANDMADE JEWELRY MADE IN ROME

www.lesibille.it

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PH: PACO DI CANTO

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www.alvbyalvieromartini.com

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JULIEN FOURNIÉ FEMALE ADVENTURERS

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Julien Fournié is inspired by great female adventurers who go through the history of humanity and female emancipation. Explorers, ethologists or archaeologists, they prove themselves capable of roaming jungles and dancing waltzes. Their curiosity about the world, their thirst for independence and the quest for their own truth include the courage of disobeying social codes. Whether they are discovering South America’s pre-Columbian civilizations, Africa’s scriptless tribes or the Sahara’s Berber and Tuareg arts, they give up nothing and neither reject the society from which they come, nor contradict the worlds they are exploring. Far from the masculine values that led to predation, via colonizing or evangelizing, their conquests advocate mutual discovery, acceptance of differences, mutual aid, sometimes at the cost of their own life. In addition to the expedition they have planned, organized and financed, they are constantly seeking the hidden meaning of the world, beyond appearances, genders and borders. Combining phlegm, enthusiasm and compassion, they adapt to everything, collect tools, pottery,jewelry let nature transform them, and blend into the landscape without losing any panache. Mastering the cut, the French couturier builds statement silhouettes around more casual attire, adorned with talisman-like embroideries or amulets as if collected from previous encounters and locations. Shapes are often structured with multiple strap belts, including bags or bandoliers which symbolize, for the discoverers of new territories, together with braid, an essential equipment. Far from any precise identification with a single geographic or ethnic origin, these ladies mix the elegance from their original lifestyle together with the fantastic treasures they have found on the way, in a personal interpretation, as far from communitarian ardor as from any indoctrinating spirit. “Haute Couture and female explorers do share a taste for experience, pragmatism and encounters which established dogmas hardly encourage and often despise,” says Julien Fournié. “I am convinced that the search for freedom is our common point in order to imagine the world off the marketing of fame’s overbeaten track, as a way to save the planet and mankind.”

www. julienfournie.com

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PRIMA, DONNA. MARGARET BOURKE-WHITE 18th March - 20th June 2020 Palazzo Reale, Milan The exhibition features, in an entirely new selection, the most extraordinary photographs taken during her long career by Margaret Bourke-White, one of the most representative and emblematic figures of photojournalism. Next to the photographs, a series of personal documents and images, videos and autobiographical texts, tell the personality of an important photographer, a great woman, her vision and her countercurrent life. It will be possible to admire over 100 images, from ‘Life archive in New York, and divided into 10 thematic groups that, in a chronological view, trace the thread of the existential path of Margaret Bourke-White and show her visionary and narrative ability, able to compose dense and dazzling photographic “stories”. The exhibition is part of “I talenti delle donne”, a program promoted by Department of Culture of Municipality of Milan dedicated to the universe of women, focusing the attention of a whole year - 2020 - on their works, their priorities, their abilities. The aim is to make visible the contributions that over time women have made and offer in all areas of collective life, starting with cultural life but also in scientific and entrepreneurial sphere, to the progress of humanity. The objective isn’t only producing a new levels of awareness of the role of women in social life, but also to help concretely and to pursue the principle of fairness and equal opportunities which, from our Constitution, must be able to move into everyday representations and cultures. an exhibition Municipality of Milan – Culture Office, Palazzo Reale and Contrasto curated by Alessandra Mauro in collaboration with Life Picture Collection with the support of Fondazione Forma per la Fotografia catalogue Contrasto

Palazzo Reale Milano

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MARGARET BOURKE-WHITE

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ART SHOES

carlafoca.ufashon.com

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ON AURA TOUT VU DES …EQUILIBRUM

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Combat of the Titans Disarm the Armed soldiers Imaginary conquests Childhood mythologies War play Destroy / Dismember / Deconstruct / Disarticulate As a way to fix reality Create / Gather / Recompose / Reconstruct A way to give birth to another world Reinventing opposing forces The intimate and the apparent The standard and the unique Beyond Good and Evil Feathers and crystals Bright bursts of lightness At the start of dawn Tightrope walker balance on the rainbow Headwind challenge Antagonists Beauty armor Uniforms of seduction Outfits of the sublime

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RALPH & RUSSO MODERN I N T E R P R E TAT I O N

OF COUTURE

I C O N S

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In homage to a decade of design, the Spring Summer 2020 couture collection presents a youthful and modern interpretation of Ralph & Russo couture icons. With a special focus on ten treasured looks, this season takes inspiration from the brand archive and simultaneously reimagines each piece with contemporary flair. Abundant with sumptuous draping, illustrious silk crêpe tailleurs, structured florals, hand-painted organza trains and oversized bows,

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The collection reinvents brand signatures, coupling them with newfound elements and light, airy features in kaleidoscopic hues of oceana, pastel pink, chartreuse and cobalt blue. Testament to a continued commitment to the highest echelon of design and craftsmanship, Spring Summer 2020 celebrates not only house values and iconic moments, but all the brand has become known for.

www.ralphandrusso.com

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VALDERAMOBILI A U R A COLLECTION

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The charming appeal of specially selected materials, accurate craftsmanship throughout each phase of production and the dependability of a company which has operated in the furniture industry for over thirty years: these values distinguish Valderamobili, created in 1976 and today a benchmark for elegant classic furniture of superior quality The quest for excellence together with the will to supply products and services which meet the needs of its customers, has enabled Valderamobili to rise above competitors, thus consolidating its market position both in Italy and abroad..

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RONALD VAN DER KEMP

LOOKING

TO THE

FUTURE

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Since 2014, the mission of Ronald Van couture house for the future, creating c cause they believe that what is deeme tomorrows. They capture those discarded fragme ving wardrobe fueling a mindful mov sake of our planet. The collection consists of 38 looks, 6 wardrobes, 7 upcycled items from thei and 25 new styles all made with exist dead stock and leftovers: they did not All materials used for the collection, i are existing materials coming from: o designer and couture leftovers, previo from late Dutch couturier Frans Molena jeans, interior fabrics, leathers and skin vers and discards sustainable horn.

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n Der Kemp to reinvent the notion of a couture out of unwanted materials beed useless today can create beautiful

ents and turn them into an ever-evolvement for the sake of beauty for the

68 garments, 15 pieces from previous ir previous wardrobes, 21 new editions, ting materials coming from overstock, produce any new fabrics or skins. including shoes, hats and sunglasses old couture, stock vintage collections, ous seasons leftovers, fabric archives aar, bridal designers archive, upcycled ns from other brands’ production lefto-

www.ronaldvanderkemp.com.

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STÉPHANE ROLLAND MOONRISE INFINITE DELICACY

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A circle is a symbol of eternity and harmony, with no beginning nor end. It is the balance of life. The circle is also lunar, the way a moon often hints a feminine divinity. The wrist, hand, pencil rotate and glide, sculpting each shape on the body with amplitude and generosity. The curtain rises on a big coat of gazar, like a middle eastern prince’s, worn on an evening pyjama in ivory crepe. Then steps forward a half-poncho made of concentric circles. Later on, a spheric jumpsuit in grainy crepe with silver embroideries transcribes with each step, every shift of the body. The flow is yet again architectural, driven and spectacular. A white jersey sheath dress blooms out of a bouquet of half circles on the ankles, skirts are draped in loops and reveal a hip or a leg, all the way to the waist. The gowns and jackets’ shoulder lines are squared and the lapels, circular. The style is minimal but strong. Stéphane Rolland for this summer 2020 goes to the essential and affirms his gesture. A silver bustier is holding a cage of gigantic orchids made of black and white gazar, an other is entirely covered with topaz or yet, circled by a sculpture of silver and smoked crystals or embroidered with feathers on a big transparent gauze skirt. The allure is soft, milky, cloudy. The aspect remains light, floating, like the sculptures of white sequins embellishing a bust or black Samothrace’s like wings on the hips of a bustier dress in nude iridescent chiffon. The colors are fundamental. Black, white, cream … but punctuated with browns, bougainvillea pink and Klein blue. Metallic embroideries made of silver mirrors, crystals and chrome spheres are shimmering but with the sole purpose of emphasising a curve or finish a movement. The movement, incidentally, is a constant pursuit of a dream and accuracy. Infinite delicacy. www.stephanerolland.com

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TONY WARD #REVIVEW

PH: MARCO TASSINI FOR MASTASSINI STUDIO

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Tony Ward’s Couture Spring/Summer 2020 Collection is built on infinite lines, on circles & Mandala diagrams, on fractalized shapes & “soft” geometry. Following the circular philosophy of life, we’re making new Couture out of vintage pieces, where most of the fabrics & dresses are upcycled & revived in different ways. The palette of this collection ranges from pure white, to green aqua & bright yellow. The designer played with embracing cuts allowing his muse to feel secure & with voluminous shapes symbolizing freedom.

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ULYANA SERGEENKO A RESTLESS

HEROINE

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An enthusiastic herald of the narrative powers of fashion-making, Ulyana Sergeenko keeps telling captivating stories through her collections. Season after season, she follows the adventures of a restless heroine whose hunger for life in its many facets is reflected in the way her wardrobe morphs and evolves as her experiences grow. After last season’s trip to Samarkand, the Ulyana Sergeenko woman celebrates her homecoming with a big, lavish party of pure, undiluted fun. Her character is inspired by Shirley MacLaine in the movie What a way to go (1964), which on its turn was an homage to Countess Mona von Bismarck, who used marriage as a pass to

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high society, befriended Truman Capote and loved pink. The show itself happens in Bismarck’s Parisian mansion, the interiors bathed in pink, and is an amused and amusing ode to love, a force way stronger than money. Ulyana Sergeenko dresses her heroine in airy feathers and fancy dresses, fur coats made with money bills and shoes with cat ears, mixing irony with glamour. A feline theme runs through, naughtily: cat paws are scattered on leopard prints - a first for Sergeenko - or turn into embroidery on gloves and dresses; the image of a cat becomes a structural element on corsets and dresses.

Money is another motif, as banknotes of the Ulyana Sergeenko Bank are printed on organza and gathered on boas, coats, trains, becoming an amusing substitute to fur. Money becomes a print, too, or is rendered in hand-knitted Vologda lace. The season’s flower is the gladiolus - a memory of the bouquets given to the hostess of the party - appearing on jacquard skirts, dresses, and bright green and red pointy shoes. Mohair sweaters are embellished with appliqué of embroidered roses; dresses are entirely covered with colored feathers. Precious material such as silk organza, coated silk, silk crepe, chiffon with a shiny coating, wool and lace come in a voluptuous palette of shades of pink, from

bright to muted, mixed with green, blue, light blue, yellow, gold and silver, plus white and black. Accessories play with the idea of illusion: shoes sprout cat ears, a wine glass becomes a handbag, a diamond tiara becomes a headband with a cat face, and a cocktail glass. High heel shoes are studded with rhinestones. Boas are mandatory, as are diamond-studded tiaras and voluminous hairpins-bows. As the protagonist of the most amusing and glamorous party, the Ulyana Sergeenko woman enjoys life through the sheer joy of dressing up, adventure after adventure.

www.ulyanasergeenko.com

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VALENTINO D R E A M F R E E LY

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The Haute Couture SS 2020 collection by Maison Valentino, cleverly directed by Pierpaolo Piccioli, is a hymn to the liberation of the subconscious, because when we talk about fashion, we talk about dreams and these are the maximum expression of our subconscious, which they release without any code, the will to express oneself. The Maison’s collection is like a journey into the unconscious, which Piccioli unleashes between volumes, color combinations, and transparencies to be the frame of a hyper-feminine woman. The creative director explores his memories, which translates them into “True Couture”; dresses with the extraordinary ability to renew themselves according to the eras and social transformations of women, without ever failing in the iconic style of absolute elegance of the Roman Maison. He was able, with masterful savoir fair, to interpret those dreams that are released in unique volumes and shapes, as unique are the dreams that Pierpaolo Piccioli has been able to shape, with a collection of true Haute Couture. In addition to the iconic Valentino red, there was no lack of shades of pink, mint and a beautiful purple color, which was followed by elegant black dresses. “Trusting oneself” said Piccioli, “free the will to explore shapes and emotions in ways that emphasized a choice and that only Valentino craftsmen are able to achieve.” In this collection, Pierpaolo Piccioli not only frees dreams, but also translates absolute elegance with new shapes. www.valentino.com

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ALIDA LIBERALE ART TO

WEAR

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Passion, creativity, curiosity and the great desire for knowledge; we can bring them together in one person, Alida Liberale. This artist has an extraordinary and inexhaustible expressive vein where creativity finds its realization in different pictorial techniques from oil painting to tapestries to silk painting. It is precisely painting on silk that gave voice to her main passion by reuniting the name of his Brand in “Art on silk”. We are accustomed to admiring a work of art while observing a certain detachment despite emotional involvement. However, the art created by Alida can be worn. Therefore, a painting is no longer just a pure observation, but it envelops our body. Painting on silk becomes art that is worn. The painted silk scarves are unique, exclusive, and unrepeatable works. The colors slide on the silk following the careful hand of the artist who knows how to direct the sign, as describing the nature that accompanies the themes of her paintings. She is inspired by nature and matter; the environment is a subject of great attention for Alida. It is precisely “reserve dyes” through the batik and shibori technique, which exploits the eco-sustainable respect of Art on Silk. The silk scarves, the eco-sustainable pictorial techniques make everything return to nature as an inexhaustible circle where creation is born and turns into painted silks, which, thrilling us like a work of art, know how to respect nature. The softness of silk with its exclusive texture, gives those who touch it very pleasant sensations. However, the silk painted by Alida acquires new awareness of new life, and adds value because the hand that directed it through its pictorial ideas add a new and different consistency giving to the touch a real sensation, the truth of the hands that have been able to transform it.

www.artesullaseta.it

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VIKTOR & ROLF

NOBLE

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Since 2016, Viktor Horsting and Rolf Snoeren have used archival fabrics from their suppliers to make their Haute Couture dresses or they have used samples unsold. Their great skill has always been to revive forgotten fabrics, reinterpreting them in a totally modern key, with style and elegance. They have chosen to create Haute Couture Collection with total respect for the environment and in every season they are surprisingly brilliant in translating into fashion something that in reality no longer had a life of its own. Not only that, thanks to their noble philosophy, they have shown that a “true couture” can be done without damaging the environment and giving the maximum expression to what now seems to have become a conscientious obligation: “recycling”. But this is not enough for them. They need to express their creation with strong messages, not only dictated by expertly sewn fabric cuts or by the choice of fabrics that, thanks to their skill, actually seewm to have been created for this or that dress, their message wants to be clear, direct, reflective, without any margin of error. And here on the catwalk the models are enriched with tattoos, like real messages, which, although very current now in the common costume, also want to be a real reading of a consciousness that can no longer go unnoticed. And so the collection is transformed like a fairytale world that tells and expresses a fragile woman, but at the same time determined and responsible in communicating to anyone who observes her, not only to admire her beauty, but to have the responsible conscience of a new lifestyle, respecting the environment around us. “Patchworks” is therefore the fundamental element of Viktor & Rolf’s Haute Couture SS2020 Collection where accessories also find their most sublime transformation. So Haute Couture can also be created from the recycling of a fabric, without having any impact on the environment, the important thing is knowing how to express your creative art and certainly Viktor & Rolf are an extraordinary example of it in the Haute Couture of our days.

www. viktor-rolf.com

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YUIMA NAKAZATO

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Yuima Nakazato has always aspired to create tailor-made garments that harmonize with the individuality of each wearer. To accomplish this objective, our designs are based around our proprietary “Unit System”, a modular approach inspired by our observations of natural crystal and molecular structures. First announced during the A/W 2019 season, BIOSMOCKING represents a significant evolution of our Unit System technology, and its application in this season’s collection represents a major step forward for our vision. Through our collaboration with Spiber, YUIMA NAKAZATO has developed a textile-modelling method for creating three-dimensional textures. This process—Biosmocking™— works by precisely controlling the supercontraction property of specially-tailored Brewed Protein™ textiles, and makes it possible to bring an entirely new sense of three-dimensionality to our garments. Experimentation with numerous prototypes and production processes has resulted in significant improvements to shrinkage control, resulting in the ability to create three-dimensional textures as well as modify the shape of the material itself . Each of the rectangles printed on the garments’ fabric has a different purpose—some are designed to hug the body, while others are intended to hang freely. Utilizing the latest iteration of Biosmocking in this manner allows us to design reactive garments that incorporate limitless variation. The application of Biosmocking allows us to offer highly personalized pieces which envelop the body without being cut or sewn, and which offer endless potential for customization in terms of sizing and design. The Japanese kimono and Western clothing traditions arise from two different approaches to the body. Made from rectangular patterns, the kimono is not designed to fit any one body in particular but rather has the potential to accommodate a wide variety of body shapes and types. In comparison, Western dresses are cut and sewn using curved patterns and are tailored to fit the shape of the human body. The kimono requires a styling technique called kitsuke to fit it to the wearer, while Western dresses are created from the outset to fit the wearer’s body. For this collection, we have utilized rectangular patterns designed to fit the human body, representing a fusion of the two clothing traditions. The designs for this collection were inspired by the beautiful changes we witnessed as the material shifted and transformed before our eyes during early experimentation with Biosmocking development. We imagine that this experience in some way mirrors that of our ancestors as they went through numerous trials and errors learning to master the use of fire. As a whole, this collection is the result of a unique attempt to blend old and new technologies—to fuse primitive fashion techniques with the latest in biotechnology and digital fabrication.

www.yuimanakazato.com

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UFASHON

HAUTE COUTURE

SPRING SUMMER 2020

DRESS: IRIS VAN HERPEN JEWELRY: CHOPARD HAIRBAND: BARBARA GUIDI SHOES: BOTTEGA23 PAINTING: ALEXANDRA MAS PH: MARCO TASSINI FOR MASTASSINI STUDIIO