UFASHON MAGAZINE HAUTE COUTURE FALL WINTER 2021-2022

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HAUTE COUTURE FALL WINTER 2021-2022 COUTURE: 50th HAUTE COUTURE COLLECTIOIN BALENCIAGA

© COURTESY OF JUANA MARTÍN

HIGH JEWELRY: REFLECTION OF NATURE DE BEERS’ NEW HIGH JEWELLERY COLLECTION

EXHIBITION: JAPAN: A HISTORY OF STYLE THE MET MUSEUM FIFTH AVENUE - NEW YORK


UFASHON MAGAZINE HAUTE COUTURE 2021-2022 FALL WINTER

CONTENTS

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272-279

AELIS COUTURE AURAS

THE FLOWERR OF NEXT WINTER

SEL NOIR JUANA MARTÍN

WATER & STONE STÉPHANE ROLLAND

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120-123

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ALEXANDRE VAUTHIER

THE OTHERS FARHAD RE

JULIE DE LIBRAN

TINITUS AUGUST GETTY ATELIER

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ALEXIS MABILLE FEMME-FLEUR

FENDI COUTURE

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ANTONIO GRIMALDI THE LADIES CLUB

L’ESPRIT DES LIEUX CHAALIS FRANCK SORBIER

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AZZARO COUTURE

GIAMBATTISTA VALLI

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CHANEL

GEORGES CHAKRA

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HOMMES STUDIO

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LES MAINS LIBRES CHARLES-DE-VILMORIN

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LES DIAPRURES DE L’AUBE CHRISTOPHE JOSSE

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CHRISTIAN DIOR

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JAPAN A HISTORY OF STYLE

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FIRST SQUAD JULIEN FOURNIÉ

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A FOLK HORROR TALE MAISON MARGIELA

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THE LABORATORY OF THE ATELIER

OFFICINA & DESIGN

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VOLUMES OF LIGHTNESS

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LES EXCEPTIONNELS MAISON RABIH KAYROUZ

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THE KEY OF STYLE

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GLOBETROTTER STEEL ARNOLD & SON

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ULYANA SERGEENKO

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DIOR MAKE UP AW 21-22 HAUTE COUTURE COLLECTION

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BREATH VAISHALI S

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THE ELEGANCE OF BOW

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THE NEW ROYALS VIKTOR & ROLF

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SHOEPHORIA! FASHION MUSEUM BATH

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YANINA COUTURE

MICRO MOSAICO MINUTO LE SIBILLE

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EARTHRISE IRIS VAN HERPEN

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GAULTIER PARIS PAR SACAI

BUDS OF HOPE ELIE SAAB

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MOD GEORGES HOBEIKA

A MUST OF WINTER

196-199 THE ITALIAN TALENT FOR TEXTILES

RUFFO COLI

DESTINED MAURIZIO GALANTE

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THE SHAPE OF AIR RAHUL-MISHRA

258-269 —

REFLECTIONS OF NATURE DE BEERS

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EVOKE YUIMA NAKAZATO

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ACH COLLECTION

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In this new edition of UFASHON MAGAZINE HAUTE COUTURE, we witnessed an extraordinary creative and artistic work of the maisons for their Haute Couture Collections for the 2021-2022 Fall Winter season. Each maison presented, as in each season, an exceptional sartorial and craftsmanship work, where research and innovative solutions are the keywords of each collection. And if in the recent past we were used to attend the Parisian catwalks going back in a nostalgic memory to those magical moments with the vision of photographs taken during the shows, today we are witnessing a new of form art, thanks to the integration of the realization of short video films that are realty true film productions. And it is here that the designers have been able, with extreme skill, to offer a true cinematographic show, capable of plunging the viewer in a new dimension, literally captured by the extreme creative ability of each fashion house and the message they wanted to convey. There is no more room for empty thoughts or erased memories for the maison’s collections, but from a worldwide crisis a new creative opportunity has arisen: that of making the spectator live in first person a vision of excellent cinematographic quality that will remain firmly anchored in our memory because, whenever we wish, we could relive those magic moments.

SHINE GIORGIO ARMANI PRIVE’

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50 COUTURE COLLECTION BALENCIAGA th

THE MATADOR SCHIAPARELLI

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EXTRAORDINARY LIGHTS 62 PIAGET


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CHRISTIAN DIOR

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CATWALK


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IN ATELIER

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ULYANA SERKEENKO


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FRANCK SORBIER ©Laurent Stéphane Montfort

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ART

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ARTISANAL

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OFFICINA & DESIGN


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ACCESSORIES


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TEXTILES

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EXHIBITION Shoephoria!

ON DISPLAY UNTIL 24 APRIL 2022

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Fashion Museum Bath

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Golden wedge and plastic heel-less 1950s Made by Rayne


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HOMMÉS STUDIO


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GEORGESCHAKRA.COM

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AELIS COUTURE

“Earth, 114 million years ago, one morning just after sunrise: The first flower ever to appear on the planet opens up to receive the rays of the sun. Much later, those delicate and fragrant beings we call ‘flowers’ would come to play an essential part in the evolution of consciousness of another species.” Eckhart Tolle

“AURAS” Aelis delivers her eco-conscious reflection by embodying the beauty of the plant world. To suggest a harmonious and respectful vision of the planet, she adopts the point of view of a blade of grass, stem of chlorophyll, symbol of life and “renaissance”, which green colour inspired the entire collection. The green ocean of the Tuscan hills surrounding Sofia’s house, retains traces of ancient cultures, such as the Etruscans’, which also nourished the collection. The myth of Catha, the goddess daughter of the sun, and the freedom and refinement of Etruscan women who lived in harmony with nature, inspire and crystallize the very essence

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of Aelis. During a stormy afternoon spent in the company of Jacopo Godani, who directs the film serving as the collection’s virtual show, the idea of shooting in Tuscany came naturally while observing the sea of chlorophyll that lay before them. Jacopo thus films the beauty of the performers’ gesture, who walk nature’s catwalk like models from the plant world, slowly emerging from the ocean of chlorophyll. By guiding the artists-dancers through the fields, as the wind makes the grass dance, Godani captures their interaction with nature and invites them to replicate the movement of a blade of grass, both limited by its own roots and carried by the energy of the wind.


HAND-IN-HAND Each step of Aelis’s creations

Aelis works hand-in-hand with Australian Michael Taylor, who gifted one of the most precious, and absolutely ecological, merino wools in the world. Sof ia pays homage to him by transforming this wool, a true gem of nature, into a necklace dress adorned with unique crystals. Each step of creation at Aelis is guided by an artistic gesture and a quest for beauty, making it possible to transform the world, in the hope for a global ecological awareness. Before the emergence of art, Tolle underlines the key role that flowers have played in the evolution of human consciousness, through their beauty and lack of utilitarian value: they are thus, for humans, the expression in form of that which is most high, most sacred, messengers f rom another realm, like a bridge between the world of physical forms and the formless. Aelis wants to make a flower bloom in every woman.

The organic silk chiffon dresses are so delicate and light that the wild grass wears them and becomes a dancer itself. The chlorophyll blends into the fabric, reinforcing the mimicry between garment and nature. A sleeveless dress with a train, made of silk taffeta, evokes the colours of

the forest. The sun offers an extremely rare sight during f ilming: a sun halo, omen for the Etruscans, opens up a reflection on the rarity and uniqueness of each moment, but also on the garment as a work of art.

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AELIS & NFTS

AELIS UNVEILS LUCE IMMORTALE: A NEW ARTISTIC AND ECO-CONSCIOUS PROJECT OFFERING FOR THE VERY FIRST TIME A COUTURE DRESS IN THE INNOVATIVE FORM OF NFTS

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J A C O P O G O D A N I D E V I S M E S S T Y L I N G : A E L I S . P R O D U C T I O N : P H O T O G R A P H Y : C L E M E N T

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rue to its ecological art-to-wear couture identity, Aelis extends its commitment beyond the borders of reality, and launches the very f irst couture dress in the form of 5 NFTs (non-fungible tokens). The Luce ImmorTale experience, proposed by Aelis, will feature

a dress f rom the Fall-Winter 2021-22 collection, transcending the real world. This dress, hidden in the heart of the f ilm directed by Jacopo Godani, this season’s virtual fashion show, will be revealed through 5 unique NFTs. This event will go on into the real world through the presentation of the dress around the planet, thus forming a bridge between physical and virtual worlds. This will be the f irst cross-marketplace, cross-blockchain operation offering a physical good associated with each NFT, since the birth of this technology. PAGE

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In December 2020, Sof ia was invited by a f riend f rom New York to give her opinion in a talk on the relationship between NFTs and contemporary art. Inspired by this new art form, which extends the conventional artistic gesture, she decided to deliver her eco-conscious message on these new platforms, through Aelis. This approach thus supports Aelis’s desire to reduce consumption in the physical world, in favor of creation in the virtual world. As the f irst couture house to offer its art in the innovative form of NFTs, Aelis testif ies to its ecological art-to-wear couture identity by forging its everlasting desire for a virtuous virtual world through immortal NFTs, which will transcend the ages like an eternal light.

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click here to watch the fashion show


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C R E A T I V E D I R E C T O R : A L E X A N D R E P H O T O G R A P H E R : A L A S D A I R M C

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Alexandre Vauthier

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Alexandre Vauthier has presented his Haute Couture Collection Fall Winter 2021-22 in his atelier in London as a real exhibition for all the looks of the collection without them having their own order of release.

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The collection is entirely black, as if to mark the change of a new era and the black color of the dresses is broken by the glittering metallic materials, rhinestones, embroidered black leather worn over sequined bodysuits, and see-through pleated chiffon capes veiling crystal-embellished bikinis.

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True Glamour His chromatic interpretation becomes a choice of moving shapes and styles inspired by showgirls at Mouline Rouge or rodeo girls at Cyd Charisse.

Extremely long fringes that Alexandre Vauthier creates for these fascinating women and that accompany them in their movements in a perpetual dance, giant feathered headdresses that affirm a very strong feminine personality, a chromatic research well established by the color black that is and will always be a real must in every woman’s wardrobe. For Alexandre Vauthier, black now represents a new beginning and the vibes of rebirth are already in the air. Once again the designer focuses on the crafts of couture making use of pure craftsmanship and sharing with these workers a unique work of true glamour, reaching the most difficult challenges for an excellent result of true Haute Couture.

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ARTISTIC DIRECTOR —

Alexis

Mabille

BIOGRAPHY

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hether playing with traditional codes, giving silhouettes a savvy twist or mixing different eras, with every collection, Alexis Mabille cultivates a spirit that is equal parts chic and fun-loving. In lifting from both masculine and feminine styles, the brand revisits men’s and women’s wardrobes alike. Elegance and a natural casual attitude come together with a sporty-chic attitude. Graphic lines structure the looks; movement suggests sensuality. Borrowing from a very French sensibility, the Mabille style offers a highly contemporary, cosmopolitan allure.

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An official member of the Fédération française de la Couture, the house has become known for light, fluid and precise cuts, a heritage the designer acquired through his training at the Chambre syndicale de la couture parisienne. A native of Lyon, Alexis Mabille developed a passion for style and fashion at a very early age. Later, he worked at the houses of Christian Dior and Yves Saint Laurent before founding his own housebrand which quickly became renowned for the designer’s modern rendering of the traditional bow tie.

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NOTE OF THE LOOKS LOOK 01: Little white dress figuring a colorful bouquet of tulips in casimir and silicone flowers. LOOK 04: Long sheath in a trellis of illusion tulle and black horsehair. Pink duchess satin “rosebud” bag. LOOK 07: Double-breasted smoking in gold lurex and matching satin. Rosebud hood in matching casimir. LOOK 08: Long boatneck sheath with a drop-shaped open back in bronze crepe, “rose flower” sleeves in duchesse satin embroidered with seed beads. PAGE

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NOTE OF THE LOOKS

LOOK 13: Great daffodil bustier dress with a nippedin and ribbed waist in yellow duchesse satin. LOOK 16: Long asymmetrical sheath dress in jersey embroidered in a black caviar, with rose branches curling around the body and a blowsy flower at the shoulder.

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LOOK 17: Stalk jumpsuit in stretch green iridescent sequins, with a rosebud hood in pink casimir.

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LOOK 21: Great cape-skirt in a gradient of amaryllis-toned tulle, worn over a stalk jumpsuit in multicolored sequins. PAG E

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A N TO N I O GRIMALDI THE LADIES CLUB

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minimalist and rigorous space of an unusual and contemporary Rome - far f rom the classic postcard images - is the setting for the digital presentation of the new F/W 202122 Couture collection by Antonio Grimaldi. A private women-only party that tells about a moment of rebirth, an intimate and festive party girl atmosphere in clothes recalling the hedonism and glam of the 80s, all revisited in a personal and dreamlike way by Antonio Grimaldi who f inds in the top model Anna Cleveland the main interpreter of his Haute Couture of this season. 21 looks, in which cocktail and evening dresses alternate, soaring on vertiginous metallic stiletto heels, creating sinuous, feminine and sexy silhouettes.

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FEMININE &SEXY SILHOUETTES The more traditional geometries, dear to the designer, characterized by lines and sculptural necklin, drawing dizzying and asymmetrical openings on the front and plunging necklines on the back, are accompanied by bodysuits embroidered with crystal, covered with feathers, with asymmetrical cuts or one-shoulder. Moreover, there are also dresses that look back

to the 80s with sculptural balloons, made both as capes and skirts giving grace and power to the figure. Trains make the silhouette more regal and majestic; they are either part of the mini dress or become large capes that leave the shoulders uncovered.

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From black to the most Glacial Whites AN EXPLOIT IN COLOR An exploit in color that goes from black to the most glacial whites up to the pinkish colors of the aurora borealis, accompanied by a range of cold, electric and fluorescent tones such as periwinkle, blue and green. As far as fabrics are concerned, the Maison’s warhorses are back: gazar,

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marroquin cady (silk cady) which are accompanied by velvet together with point d’esprit tulle, polka dot organza, laser cut and raw cut, worked with iridescent filaments; as well as organza découpée and white irisé and jacquard organza (with lamé and bouillonné workings).


There are precious metal and silver embroidery while refined crystal fringes, cascading, interwoven with silk cords, mesh and with 3D effects, are meant to diffuse light. They can become iridescent and recall the play of light of the northern lights. A triumph of macro feathers alternates with small versions of the same, to give poetry and grace to the figure of these women with a strong identity, going towards a future to live with grace, determination and color.

A STRONG IDENTITY

A TRIUMPH OF MACRO FEATHERS

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C R E A T I V E D I R E C T O : A N T O N I O G R I M A L D I © C O U R T E S Y O F A N T O N I O G R I M A L D I

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iorgio Armani once ]again brings his Haute Couture Collection to the catwalk, transforming symbols, lines and colors into a new expressive path that cuts across the sense of time. In this show, hosted for the second time in the building that houses the Italian embassy in Paris, the designer has included some garments from the latest Haute Couture Collection in “HOMAGE TO MILAN”,

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R E AT I N G A SUBTLE OMMON THREA D T H AT NDER SC ORE S A DEEP E N SE OF AUTHE NTIC I T Y H AT T R A N S C E N D S EASON S


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he collection is luminous: the brilliance of fabrics that almost seem liquid, the sheen of satins and silks interwoven with ultra-fine metallic thread, which create an impression of joyful levity. Where long evening dresses seem to float, and delicate blouses suggest movement with crinoline ruffles featuring an unusual construction.

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SURPRISING COLORS

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AN UNEXPECTED RANGE OF PINKS THE DRESSES ARE LIKE GIANT BLOSSOMS

The outfits, composed of long skirts and short bodices and jackets, are imbued with evocative elegance. The masculine Armani-style pinstripes tell of a surprising, extremely feminine transformation.

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THE CLASSIC WORLD OF COUTURE PAGE

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mbroideries sparkle, and the dresses are like giant blossoms with a supported yet weightless structure, as if in an enchanted garden. Surprising colors make a statement in the classic world of couture: jade green, mauve, cornflower blue, slate, indigo, and an unexpected range of pinks from blush and powder to kasaya and pomegranate.

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he refined accessories also feature a clean design: unique nude-toned sock-boots studded with crystals, low and elongated shoes, fabric ballet flats, as well as pumps with ultra-slim heels, small clutches covered with stones, and bags made of nearly weightless feathers.

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EXTRAORDINARY LIGHTS

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s evening becomes night, witness a presentation in three captivating stages. Join a show of Festive Lights as lanterns sweep skywards above gathering crowds. Witness the Magical Lights of the auroras as they mesmerize and surprise, and farewell festivities with a heavenly display of Infinite Lights to remain in your heart forever. At every turn of glamorous revelry, vivid lights dance in myriad ways around the most precious of materials and gems. In a faultless interplay of creativity and chromatic contrasts, light in all its nuances seems captured in time by a collection realized with unrivalled imagination and inventiveness. Come with us to become a part of this unique Piaget night, alight with excitement and emotion, and bask in the radiant glow of jewels that soar high into the stratosphere. PAGE

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At Piaget’s heart lies an enduring devotion to the wonders of gemstones, and a dedication to showcasing the secrets that hide deep within these astonishing creations of nature. As a world master of horology, Piaget is equally inspired by the skilful measurement of time, an age-old profession combining aesthetic beauty and technical skill. With a consistently ground-breaking approach, the Piaget name has long been synonymous with a considered balance between technology and tradition, precision and preciousness. Every Piaget timepiece is as aesthetically pleasing as it is functionally superior, a mastery of art and science in a marriage of equal measure. The great traditions of goldsmithing are proudly upheld as part of the DNA of this esteemed Maison. In every aspect of crafting a jewel, Piaget is informed by the history of jewellery manufacture. Inspiration lies at the heart of every Piaget design. Precision is the means by which each jewel comes to life. In the Ateliers de l’Extraordinaire, rare skills continue to be harnessed and handed down from generation to generation, honed to perfection over decades of goldsmithing, watchmaking and gemsetting excellence. It is this seamless savoir-faire that lies behind the conversion of daring designs into gold, gemstones and precious materials, faultlessly bringing them together into glittering works of wearable art that are at once both modern and yet enduringly timeless. In the rarefied world of coloured diamonds, ‘fancy intense’ colours are gemmological marvels of the rarest order, especially in large-sized very pure crystals and those showing no fluorescence. Found in almost every colour of the rainbow, coloured diamonds are extremely rare. Only a tiny proportion display any discernable fancy colour, and of these, the chances of being graded as ‘intense’ are even more remote. The 10.12 carat intense yellow diamond in the necklace is a superb example whose qualities are set off to their maximum by the radiant cut specifically chosen for this gem. Combining the brilliance of a round cut with the angular purity of an emerald cut, the radiant cut allows the diamond to take in and then reflect a large amount of light, offering better brilliance and creating the brightest of sparkles. In a unique design pioneered by the Piaget Atelier, taking craftsmen more than one year of conception and design development work, and then a further 280 hours to manufacture, this precious diamond is also detachable. It can be transformed into a ring by clipping it into a special mounting using an invisible device whose every detail has been conceived and executed with ingenuity, allowing the necklace to be worn in alternative configurations. This avant-garde approach and inventiveness sits squarely within Valentin Piaget’s motto for the great Maison, echoing his request to keep innovation central to the cr ation of every jewel. Matching radiant-cut intense yellow diamonds also feature in the Blissful Lights earrings and ring, making this exceptional suite of gems across the set almost impossible to replicate or match. With a characteristic eye for detail, the mount for the centre diamond in the Blissful Lights ring has an open-work design, allowing light to flood in and showcase the sheer quality and beauty of this gem as it flares outwards in an explosion of brilliance. PAGE

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In the Blazing Night necklace, 12 magnificent rubies from Mozambique and Thailand are set as a starburst, their pearshaped cuts echoing the graceful arc of the lanterns as they glide skyward, their vivid red hues emoting the passion of the crowd below. Reflecting out in a radiant shape, the necklace design is developed further in the splendid cuff watch, a prime example of Piaget’s triumph over technical functionality as well as aesthetic design. Together with the ring and a distinctive asymmetric ear cuff, the sui generis jewels of the Blazing Night set each stand as virtuoso, one-off creations. The set of rubies used across the suite took several years to source, and represent the finest possible mix of natural, unheated red colour and eyeclean clarity, meeting Piaget’s everexacting standards. The mantra of the Maison’s gemmologist remains that ‘to find better gems they would have to travel to another planet. In the pursuit of perfection, some of the pear-shapes, already the rarest shape for rubies, have been recut to ensure a faultless outline and proportion, while each of the diamond baguettes in the design are also custom cut to fit the dedicated space perfectly. In the realization of these ambitious designs, the necklace alone took expert craftsmen an astonishing 400 hours of work at the bench, and the cuff watch a further 250 hours..

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As the centre stone of the necklace, a magnificent 16.84 carat Colombian emerald, a truly rare, ultra-clean crystal, dazzles and dances in homage to nature’s lightshow, matching its vibrancy and vivacity of in every way. For the finest coloured gemstones, place of origin often holds the key to beauty. Birthplace is a particularly crucial element of any emerald’s quality, and since their discovery in the 1500s, those pulled from the earth of Colombia have long been heralded for their exceptional colour. Emerald’s unique two-phase formation process almost always sets up internal stress within the growing crystal, resulting in inclusions and lower clarity, making this large example of intense colour and superb transparency an exceedingly precious rarity. The most suitable growth conditions requires nature’s blessing, but the technical expertise of the lapidary charged with turning the rough into a substantial, significant gem is no less crucial, and nor is its setting. Given their inherent fragility, only a master craftsman, in this case with more than 15 years experience, will have the skill necssary to securely set the stone without damaging it. With its perfectly proportioned square cut, this emerald presents as the ultimate gem in every respect. The centre emeralds in the ring and earrings, equally endowed with the special qualities of their provenance, combine as a set of stones that took several years to source. Their magical explosions of verdant hues mimicking nature’s aurora overhead.

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The sapphire family exhibits one of the widest range of colours in the gemstone world, occurring in almost every colour one’s imagination can allow. The cascade of 27 sapphires seen in the necklace is a unique collection of natural, graduating hues which took more than two years to assemble in order to match them in size, shade and quality. Included in the set are three ‘padparadscha’ stones with their highly sought after salmon pink or fiery sunset shades, a faultless melding of pink and orange rarely seen in nature. Putting pastel hues together in the unique necklace and earrings in a random mix of cuts and setting styles evokes a subtle, seductive shading effect, reminding us that all these gems share familial qualities and work together in perfect harmony. So clean are the gems that, unusually for sapphires, they are emerald-cut to reveal their inherent beauty. The design is repeated using 14 gems in the cascading waterfall effect of the long earrings, made with a suppleness that belies the extent of expert work needed to achieve this flexibility, while a 6.53 carat pink sapphire, chosen as the centre stone of the ring, shines out in a colour of perfect hue, tone and saturation.

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silhouette with fluid and sophisticated lines permeates the Azzaro night. Olivier Theyskens enhances the couture codes with the perfect balance of opposites where flow and structure, shadow and light, glamour and sobriety combine.

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The PERFECT balance of opposites

Sharp sets of asymmetry cut the silhouette in an interlacing of pure modernist lines. Strong shoulders or a plunging neckline meet a long slit stretching from bottom to top of the dresses.

ASYMMETRY CUT THE SILHOUETTE

Embroideries of pearls, crystals and sequins of all sizes spread out across the collection with their multiple sparkles, rivaling with the brilliance of liquid lamé while necklace and chain embellishments adorn the edges of dark silk crepe styles.


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Feminine and masculine silhouettes echo each other in shiny or icy materials in a sober palette of blacks punctuated with silver, iridescence and pure white. The man’s suit is fully embroidered with microblades of sparkling sequins that are also displayed in a series of micro jewel dresses. PAGE

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AZZARO APPOINTS OLIVIER THEYSKENS AS ARTISTIC DIRECTOR

The House of Azzaro is delighted to announce the appointment of the Franco-Belgian designer Olivier Theyskens as Artistic Director. He is now in charge of the Brand’s Couture collections, Ready-toWear lines, and Women’s and Men’s accessories. Olivier Theyskens will bring into the workshops of rue du Faubourg Saint-Honoré his modern vision and sensibility to the Azzaro silhouette. He will unveil his first collection for the House during Haute Couture Week in Paris in July 2020. “Loris Azzaro left behind a considerable, very inspiring legacy. I am excited, thrilled and honoured to have the opportunity of bringing my vision to this legendary, iconoclastic House, for which freedom and pleasure remain ever-as-contemporary founding values. I would like to carry on this atypical universe through my collections while infusing them with my own perspective,” remarks Olivier Theyskens.

HAUTE COUTURE FW 2021-22 click here to watch the fashion show

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Gabriel de Linage, CEO of the House, adds: “His renowned talent, experience and creative vision will empower the House future with spirit and sparkle. Olivier Theyskens has a unique ability to immerse himself in a legacy and to revisit it in a contemporary verve. His fondness for asserted sensuousness and the flowing contrasts of materials and cuts naturally echo the style of Loris Azzaro and his emblematic muses. We are thrilled to welcome him to our House and to our historical workshops.”


50th COUTURE

COLLECTION

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Balenciaga has presented Couture for the first time since 1967, when founder Cristóbal Balenciaga lef t the fashion industry. Balenciaga Couture Winter 21 is officially the House’s 50th Couture Collection and artistic director Demna Gvasalia’s first.

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ARCHITECTURALLY TRANSFORM THE BODY

THE COLLECTION IS A MIX O F M E N ’S A N D W O M E N ’S MADE-TO-MEASURE PIECES M E T I C U L O U S LY C R A F T E D U S I N G T O D AY ’ S M O S T S O P H I S T I C AT E D T E C H N I Q U E S . P AY I N G T R I B U T E T O B A L E N C I AG A ’S R E V E R E D COUTURE HISTORY, GARMENTS A R C H I T E C T U R A L LY T R A N S F O R M THE

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REINTERPRETING THE SILHOUETTE Contemporary and signature silhouettes are reinterpreted by way of expert construction and state-of-the-art technology, meeting the highest standards of craftsmanship, in collaboration with Couture’s eminent ateliers and manufacturers. These include milliner Philip Treacy, embroidery houses Atelier Jean-Pierre Ollier, Maison Lesage, Maison Lemarié and Atelier Montex; and fabric houses Dormeuil, Jakob Schlaepfer, Taroni and Forster Rohner amongst others. PAGE

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THE HIGHEST STANDARDS OF CRAFTSMANSHIP

S O P H I S T I C AT E D T E C H N I Q U E S

In homage, the initials C.B. are handembroidered on details that speak to Cristóbal Balenciaga’s personal style, like silk ties, poplin shirts, and leather gloves. Tailoring in fresco, mohair, cashmere, and barathea wool is inspired by what he himself wore, made in collaboration with his preferred tailor, Huntsman. Textiles range from fine vicuña, vintage wools, satins, and silks to utilitarian technical fabrics, developing an updated way to wear bespoke clothing. Tops and jackets are made with complex corsetry or reinforced undergirding, PAG E

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Textiles range from fine vicuña, vintage wools, satins, and silks to utilitarian technical fabrics, developing an updated way to wear bespoke clothing. Tops and jackets are made with complex corsetry or reinforced undergirding, while hand - embellished evening attire becomes voluminous using minimal, strategic seams or hand-molded padding. In every item, a delicate balance of structural support and purposeful draping is made to be almost imperceptible. Materiality is questioned by way of unexpected compositions: silks stiffened are with metallic thread and animalesque qualities are synthesized using illusory elements. In the place of fur or feathers, realistic textures are simulated with densely

embroidered loose thread and surface-treated cut-outs. Instead of crocodile, tile, like patches are mapped with a computer program and pieced together by hand, the entire process taking thousands of hours. A cable-knit sweater is interpreted using aluminum chain. A glittering dress is made with intricately Swarovskistoned mesh. Informal concepts are transposed into more glamorous arenas, such as stoles and wrap coats made to resemble terrycloth bathrobes in micro-knifed leather, while themes of casual dressing are recontextualized in tailored tracksuits and hoodies that are lined with cashmere and built to sit away from the body via signature cocoon or swing-

back seams. Japanese denim is woven on antique looms and washed with indigo. Several looks directly reference iconic Balenciaga Couture designs: a dress in twisted lace and tulle; opera gloves and parkas; a polka-dot pattern handprinted on silk chiffon spot for spot to match the original; and decorative embroidery in shantung silk guipure, metallic silk jacquard, beading, and laid sequins. A floral- embroidered gown is inspired by an archival piece originally made for Jacqueline Kennedy. A veiled bridal look the traditional Couture finale is a take on one of Cristóbal Balenciaga’s last designs, presented 54 years ago but appearing to exist outside of time.

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DRESSING ARE RECONTEXTUALIZED

Iconic Balenciaga Couture

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T H E I N S P I R AT I O N

CHANEL

Painting is at the heart of the CHANEL Fall-Winter 2021/22 Haute Couture collection: “It was when I rediscovered these portraits of Gabrielle Chanel dressed up in black or white 1880s style dresses, that I immediately thought about tableaux,” explains Virginie Viard.

DRESSES AND SKIRTS LOOK LIKE PAINTINGS

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Rediscovering the portraits of Gabrielle Chanel

“Works by Berthe Morisot, Marie Laurencin and Édouard Manet. There are impressionist inspired dresses, skirts that look like paintings and a long white satin dress punctuated with black bows like Morisot’s...” It made perfect sense for this show, bursting with colours, to be held at the Palais Galliera, City of Paris Fashion Museum, a veritable institution of art and fashion, where the exhibition dedicated to Gabrielle Chanel continues.

LOVING COLOR IN THE GREYNESS OF WINTER “Because I love seeing colour in the greyness of winter,” continues Virginie Viard. “I really wanted a particularly colourful collection that was very embroidered, something warm.” Mikael Jansson, who took the pictures for the press kit while Sofia Coppola made the film and the teasers for the collection, photographed the actress and ambassador of the House, Margaret Qualley, wearing a jacket and A-line skirt in multicolour tweed over a bustier in pink broderie anglaise.


THE PERFECTION

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ike an Impressionist painting, the sequinned tweed of a coat seems to be made up of a multitude of paint strokes. Blouses embroidered with mauve and pink sequinned motifs, or with little red, blue and yellow daisies on a black background, are tucked into lowwaisted skirts in multicolour striped tweed. Pale pink and yellow tulle pompoms embellish a black paletot jacket, just like splashes of paint…

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TO MIX A TOUCH OF ENGLAND WITH A VERY FRENCH STYLE

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“There are dresses embroidered with water lilies, a jacket in a black tweed crafted from feathers with red and pink flowers,” says Virginie Viard. “I was also thinking about English gardens. I like to mix a touch of England with a very French style. It’s like blending the masculine and the feminine, which is what I’ve done with this collection too. That twist is very much a part of who I am.”

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Falling asleep, dancing, eating, painting nails, chatting with friends, or meditating are just a few of the many things we love to do in the heart of the home. Stormed by the pandemic, our living rooms also became our home gym, home office, and kindergarten. Empty spaces can be suffocating. Every nook becomes alive as we add textures,

layers, natural elements, and crafted homeware. Every nook becomes cozier, and comfort feels good. Hommés Studio FW21 collection is more than furniture: it is solace concealed by muted and neutral colors, geometric and organic shapes, smooth fabrics, natural elements, and relaxed layers.

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A VERTICAL GARDEN HOMMÉS STUDIO FW21 COLLECTION Make the living room a refuge, turn it into the place you visualize when you meditate, embrace comfort and lean into mindfulness in your modern living room. Let natural light invade your space and enhance it with sculptural furniture

pieces. Add plants to every nook or be bolder and design a vertical garden. Use natural materials wood, steel, stone, and leather. Don’t be afraid to try a tropical flair.

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CHARLES DE VILMORIN The only print in his Haute Couture collection is the monogram of his maison: a calligraphy. His name drawn in white chalk as on a school blackboard is printed here ad infinitum.

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A FASHION PRODIGY

V I L M O R I N . F R D E C H A R L E S W W W .

H U G O N N I E R T H E O D O R E : P H O T O G R A P H Y

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The magic blackboard of a fashion prodigy in the middle of a pandemic sailing a mainstream ship. Focused lines, just for the moment of a click.

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he rest of the time, his hands flail about, fumbling dancing on hooks on hangers, nothing resists the man who can create a skirt with 80 metres of pleated tulle, twisting the silk on the thread to make flowers bloom in the shade, shooting a video clip in a sandpit, Colin Solal Cardo behind the camera, with his queens of the night. Reaching for the moon, as if nothing had happened. In his apartment-studio, Charles de Vilmorin deploys his own telescopic hands. Ungueals stretched out in the air swirl free to dive into the charms of the night. Pleated taffeta, twisted sheath dresses, the carnivorous black contrasts with the kaleidoscope, like his first models. Everything swings, everything moves Everything moves, everything is tied together. Spikes, B.O. masks and leaf blades. This black is the line on the white page, it is its shadow, it is the first gesture: “I always start from the neck, from the shoulders”. LVMH Prize finalist, Charles de Vilmorin retraces his story.

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QUEENS OF THE NIGHT « Le papier, nuit blanche. Et les plages désertes des yeux du rêveur. Le cœur tremble ». (Paul Eluard, les Mains libres)

click here to watch the fashion show

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CHRISTOPHE JOSSE A

new season, a new era, the whisper of a new morning and the promise of new dawn. In his latest collection, Christophe Josse invites us to follow him on a journey and immerse ourselves in the agile and subtle kaleidoscope of his imagination. Discover Josse’s universe with its myriad and eclectic influences where absolute modernity and splendour meld with a deceptively vanished past Everything is interconnected like the infinite interplay of mirrors where everything seems possible, where everything is linked and where harmony is the only requirement.

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C R E A T I V E D I R E C T O R : C H R I S T O P H E J O S S E P H O T O G R A P H Y : O L I V I E R S A I L L A N T . M O D E L : K A T H E R I N E A Z B I L L

LES DIAPRURES DE L’AUBE

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Thus, wide-leg trousers are matched with sandals with metal inserts decorated with a dazzling beautiful blown-glass cabochon inspired by a 14th-century artefact that was displayed on an anonymous stand in the British Museum, and with a voluptuous loop mohair garment embroidered with metallic leather to replicate the graphic geometry of vintage guipure lace... In the dreamlike universe of his new collection, Josse dares us to pass through the mirror to connect the most faraway and unconscious possibilities from elsewhere with the most immediate realities.

T H E I N F I N I T E I N T E R P L A Y O F M I R R O R S W H E R E E V E R Y T H I N G S E E M S P O S S I B L E

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THE VA LUE S OF HAUTE C OUT URE

Reclaiming the values of haute couture after this period of restrictions when the Dior collections designed by Maria Grazia Chiuri were mainly presented through film. The materiality of fabric becomes form, while the subversive language of embroidery is expressed in a project that becomes a performance.

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n energy resembling poetic pleasure, at the intersection of style, movement and attitude. Through textile research, a series of pieces, featuring an assortment of checks, tweeds, textures and different dimensions in black and white, showcase innovative warp and weft constructions. This Dior Haute Couture Autumn-Winter 2021-2022 collection by Maria Grazia Chiuri takes place within a singular context. The return to “being present” implies shifting attention to a tactile materiality.

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The SENSES of sight and touch


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Translating this materiality in the virtual age also means reinterpreting embroidery: not just as a decorative ornament, but as an element connected to the senses of sight and touch. Textile artist and curator Clare Hunter’s book Threads of Life has

played a fundamental role in this collection in terms of bringing critical awareness to the indispensable value of weaving and embroidery, two crafts that Maria Grazia Chiuri holds dear as transmitters of memory and gestures of protection, care and protest.


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he work Chambre de Soie, created by French artist Eva Jospin, provides a backdrop for the show, with lifesize embroideries displayed on the walls recalling the Indian-inspired Salle aux Broderies in the Colonna Palace in Rome. This creation serves as a precious décor for presenting dresses with magnificent pleats, trains, and handwoven chains that compose patterns on the body, in colors dear to Monsieur Dior, such as

powder blue or nude. Not forgetting a green dress featuring astonishing embroidery. Couture stirs unsuspected desires and reveals the existence of what we did not know. Isn’t that the role of the avant-garde? To make visible what one does not see. To define, through artistic practice, the longings of a world in the midst of profound transformation.

THE E NERGY OF ELEGANCE click here to watch the fashion show

The collection is composed of wonderful patchworked coats, designed for winter weddings or special occasions, black velvet jackets on silk patchwork skirts, bouclé tweed capes that cover skirts embroidered with feathers, long chiffon dresses with a train, entirely pleated and with a woven bodice, skirts that cinch at the waist to below the breast and widen to a wheel: a collection that rekindles the mood to return, albeit cautiously, to a new normalcy in which the Dior woman resurfaces with all her energy and elegance. P PAAGGE E 1 2 0 2 6


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C R EAT I V E D I R EC TO R: M A R I A G R A Z I A C H I U R I P H:©A D R I E N-D I R A N D

CREATIVE DIRECTOR: ULYANA SERGEENKO PH: NICK SUSHKEVICH

V A L E N T I N O J U L I E N

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ARTISTIC DIRECTOR: PIERPAOLO PICCIOLI © COURTESY OF VALENTINO


C R EAT I V E D I R EC TO R: V I RG I N I E V I A R D P H: M I K A E L JA N S S O N

C R EAT I V E D I R EC TO R: A L E X I S M A B I L L E P H: M A R I E V I C

C R EAT I V E D I R EC TO R: DA N I E L RO S E B E R RY © CO U RT ES Y O F S C H I A PA R E L L I

© CO U RT ES Y O F BA L E N C I A G A

A must of Winter 2021-2022

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THE PERFECT ACCESSORIES FOR A MODERN WOMAN

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IT IS TIME TO ACHIEVE TO PROSPER TO BLOSSOM The time is ripe for a lush beginning, a fresh chapter to be written. It is time to achieve, to prosper, to blossom. Ecstatic flowers and branches reach upward infinitely, determined to paint colorful dreamscapes in whimsical strokes of rebirth and renewal, paving the way for a better tomorrow.

Elie Saab BUDS OF HOPE

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NEW PROSPECTS TO BE NURTURED AND NOURISHED W E

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ach bud emerges and gradually unfolds as a reminder that any and every moment holds the chance for new life, for new prospects to be nurtured and nourished. ELIE SAAB Haute Couture Fall/Winter 2021-22 is a blissful season of flowering

plenty, and every distinct silhouette a promise of growth. An impressionist at heart, ELIE SAAB manifests the world as he sees it, as he wants it to be. Each gown is generously sewn with daring seeds of hope, drawing a future abundant with possibility.

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Feathers of every color of the spectrum flutter together to create grand bouquets ballgowns and bombers that softly rustle and sway, like fields in light wind. Glistening beaded petals organically vine through imaginary gardens of pastel muslins and organza, delicately redefining feminine curves.

Smooth black and red velvets hug contours in alternating waves of opaque and transparency, while chartreuse silk is overlayed in flowing layers of rolling optimism.

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Three-dimensional Flowers NATURE TAKES OVER AND FLORA RUNS WILD Three-dimensional flowers stem out of neck and shoulder lines, taking couture to fresh, new terrains of lavish textures, generous volumes and captivating forms. Nature takes over and flora runs wild, metamorphosing into ornate foliage headpieces and rose-bow belts. Blush plissé is layered, petal upon petal, into defying spherical silhouettes, ready to come to bloom at any moment. Bold taffeta asymmetric gowns with oversized off-the-shoulder in saturated reds, blues, pinks and plum, fade into soft off-white and pastel crepe capes that train in the ethereal moment. The celestial blue bride glides in on cascades of embroidered floral lace, emanating a perennial kind of hope.

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The ELIE SAAB Haute Couture Fall/ Winter 2021-22 is a world where flowers perpetually flourish, reflecting a strong desire for new life. It is a world where dreams are born to take-off and thrive.

AN ETERNAL SPRING A NEW DAY The collection is a bright, hopeful reminder that a new day has N eternal EXT S T Y Lhas E MAGAZINE dawned, that an spring arrived. click here to watch the fashion show

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White, Gold or Red?

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The Flowers of next Winter C H A N E L

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EMBROIDERED OR TAILORED, THE FLOWERS SEEM TO BE BLOOMED INTO A WINTER FULL OF COLORS AND LIGHTS

ARTISTIC DIRECTOR: PIERPAOLO PICCIOLI © COURTESY OF VALENTINO

C R EAT I V E D I R EC TO R: A L E X I S M A B I L L E P H: M A R I E V I C

© CO U RT ES Y O F BA L E N C I A G A

C R EAT I V E D I R EC TO R:G EO RG ES C H A K R A P H: L I S E-A N N E M A RS A L

C R EAT I V E D I R EC TO R: DA N I E L RO S E B E R RY © CO U RT ES Y O F S C H I A PA R E L L I

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CREATIVE DIRECTOR: VIKTOR HORSTING & ROLF SNOEREN PH: MARIJKE AERDEN

C R EAT I V E D I R EC TO R: RO N A L D VA N D E R K E M P P H: M A R I J K E A E R D E N

C R EAT I V E D I R EC TO R: F R A N K S O R B I E R P H: L AU R E N T-S T É P H A N E M O N T FO RT

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Farhad Re takes us into a day dream with his latest couture collection. Warrior, avant-garde, both magician and elf, the woman Farhad Re imposes by her asser-tive character. In a world in upheaval, she drapes herself in her architectural dresses in triple organza silk, with impeccable volumes.

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THREE-DIMENSIONAL FEAT

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AN ASSERTIVE CHARACTER A three-dimensional feat of silk shantung and mikado, which gives his New World Armor a captivating lightness. The Others is the new generation of women, sensitive to hand-made, 100% natural fab-rics, luxury materials, without compromising with originality and controlled eccentricity but always poetic.

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FENDI COUTURE “Pasolini observed Rome become modern and that is what is interesting to me: connecting eras, the old with the new, the past with the present.” Kim Jones

If Kim Jones’ Couture debut traced his transition from England to Rome, then Autumn/Winter 2021 sees him settle in the Eternal City, where the poetics of Roman film director Pier Paolo Pasolini present a lens through which to explore the capital. “Rome is a fascinating city because it has so many pasts and I was drawn to Pasolini because I have always been inspired by his vision of the world,” explains Jones. “He is something of an outsider in Roman history, but one whose voice remains constant.”

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asolini’s perspective on reality is reflected and refracted throughout, with chapters of Rome’s history interwoven and addressed within a contemporary context. In a collection where nothing is quite as it seems, where forms and fabrics introduce infinite illusions, filmmaker Luca Guadagnino frames the show through his own understanding of Pasolini. “I have long admired Luca’s work and, he is someone who, like Pasolini, touches on subjects which are relevant to now,” says Jones. “When a historian peers into history, they do it directly,” Guadagnino explains. “But when a master filmmaker and poet like Pasolini looks into the eyes of history, his gaze is a sublimating one. Through it, history becomes an urgent and delicate possession of now, the past enters the present and breathes our air.”

Overlapping temporalities are most directly expressed within pieces that reanimate antique garments, their furs and fabrics scanned and reprised as ghostly silk jacquards. Inset with Cornely embroidery and crystal beads, they locate a poetic transfiguration of the past within the present day.

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Elsewhere, life is breathed into the Roman statues that surround the FENDI Palazzo, their marble drapery now expressed through trompe l’oeil silks, and the arches they inhabit adapted into the heels of shoes.


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S I L H O U E T T E S O F S T R E N G T H A

The strength of their silhouettes is translated into delicate lace mini dresses, where classic volutes are conjured through intricate embroidery. The immortal allure of Italian stone, and the methods of its manipulation, appears as a constant conceit. Pietra dura inlays become supple leather intarsia; pressed leather pleats capturing the illusory spirit of Bernini’s sculptures.

Mother of Pearl mosaics are layered across tulle dresses, handbags, and shoes, while a jumper is pieced in Persian lamb.

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Formed from Italian marble, hand-carved jewelry ripples with movement, as if frozen in time.


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THE SPIRT OF FENDI


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THE CULTURAL CROSSROADS OF ANCIENT ROME IS REFLECTED THROUGH A DIVERSE CAST, COMPRISING MODELS OF ALL AGES

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A R T I S T I C D I R E C T O R O F C O U T U R E A N D W O M E N S W E A R : K I M J O N E S A R T I S T I C D I R E C T O R O F A C C E S S O R I E S A N D M E N S W E A R : S I LV I A V E N T U R I N I A R T I S T I C D I R E C T O R O F J E W E L R Y: D E L F I N A D E L E T T R E Z F E N D I F E N D I


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C R E A T I V E D I R E C T O R : F R A N K S O R B I E R P H O T O G R A P H E R : L A U R E N T - S T É P H A N E M O N T F O R T

“L’ESPRIT DES LIEUX” CHAALIS

Franck Sorbier

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“The title sounds like a philosophical fable, a dreamlike tale, a belief shared by believers from all walks of life. But he speaks, above all, despite his backward references, of an increasingly hot topicality on the subject of wealth and poverty. Some time ago, the magazine « L’Histoire » had the headline « The Rich and the Poor, 1000 years of inequality». Far from me the idea of any morality or a trial of intent. I must admit that I had a lot of trouble choosing the direction of this collection. To be honest, I didn’t want to choose and each character finally found its place. The Servant, the Ferryman and the Relic.

“The Rich and the Poor, 1000 years of inequality” P PA AGGE E 1 2 32 6


The inspiratioin

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he Servant embodies a girl of the woods, glades and ponds. A peasant woman who evolves in a bucolic universe which translates my desire for stripping back. A pauperism inspired by a series of photographs by artist Jackie Nickerson who photographed farm workers in Zimbabwe in 1996, and who emphasized the unique and beautiful clothes that the workers themselves made up. A foolproof identity, individuality and modernity. The silhouettes appropriate the traditional influences of Europe but having washed them of any coloristic folklore. Francisco de Zubarán, a great Spanish Baroque

painter and his compatriot, José Ortiz Echagüe, photographer, follower of pictorialism, also accompanied me in this quest for authenticity. White, ecru, ivory, beige and greige make up the range of models. A skirted «Romanian» dress is the basis of the history of the Handmaid’s outfits. We then come to ennoble by layering capes, raincoats, vests, short jackets, shawls ... The materials are raw or rustic in appearance, a blend of linen and silk, silk and cotton, silk and viscose, plasticized organza, frayed jacquard, wick and thread wool, boiled wool, crochet and pleated velvet Mariano Fortuny y Madrazo style.

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The ferryman makes known and propagates a work, a doctrine, a knowledge. He is the intermediary between two cultures and two eras. The ferryman, so named, is also a two-sided mirror. You will discover him blond in a neoclassical white toga but also brown, in a fiery black jumper, draped in a cape floating like a standard. Jean-Jacques Rousseau, who has never left my thoughts, is once again present in Ermenonville, not far from Chaalis. He will live there for the last ten years of his life. Here, he is at the heart of his deep convictions, those related to nature. Among other things, he built the Temple of Modern Philosophy there, overlooking Lake Ermenonville. The places have evocative names, the “writers’ trail”, the “witch stone”, the “sea of sand”, the “dreamer’s walk”. Later, Etienne Pivert de Senancour and Gérard de Nerval made this land, already steeped in spirituality, one of the cradles of French literary romanticism. The Domaine de Chaalis, in the heart of the Ermenonville forest, was the film’s natural setting. Nélie Jacquemart-André, last owner of the Royal Abbey of Chaalis and famous art collector, said « it is one of the most admirable landscapes in France ». This former Cistercian abbey, founded by King Louis VI at the beginning of the 12th century, has undergone many changes since its foundation, but the remains of its abbey church bear witness to its past grandeur. The Abbey of Saint Guillaume was, in the Middle Ages, a powerful economic and intellectual center, close to Paris. Many personalities and kings of France regularly attended the abbey to interact with the monks, like King Saint Louis. After experiencing a period of decline at the end of the Middle Ages, the estate rose from its ashes during the Renaissance. The frescoes of the Italian painter Primatice bear witness to this. Despite the ravages of time, the Domaine de Chaalis has remained a green setting containing many treasures. A place of inspiration which today is the property of the Institut de France. I had, for a long time, in archives, sublime images of Bavarian relics from the magazine F.M.R. A few months ago, in a bookstore, I saw, to my great happiness, a book called « Catacombs’ Treasures ». I find many photographs of these relics. But what is it exactly? P PAAGGE E 1 2 42 0


The author of the book relates that in the 1723s a complete skeleton labeled as that of Saint Albert arrived in a small church in Bavaria. This skeleton was beautifully adorned by a nun named Pontentia Hämmerl. Gold threads, precious stones, fine pearls have been embroidered or encrusted on the bones. The relics were also clothed in precious fabrics and displayed in display cases.

I saw there a dream of eternity and as I longed, too, for opulence, we created our own relic and dressed it with coats in jacquards of floral spirit and vat paper, in mineral brocade, in Greek Orthodox damask, in baroque tones. Pieces embroidered in-between with gold and copper mechanical lace, water pearls, ruched edges and pale gold guipures.

THE CULTURE IS OUR WEALTH

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These relics were the object of devotion and wonder. They also had for mission to be the bridges between the wishes the wishes of the priors and the heavens. So, fable, tale, belief or simply allegory. This season is about, above all, a simple intention, that of questioning”. Frank Sorbier

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TO BE AN INTERMEDIARY BETWEEN T W O C U LT U R E S A N D T W O E R A S

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C R E A T I V E D I R E C T O R : F R A N K S O R B I E R P H O T O G R A P H E R : L A U R E N T - S T É P H A N E M O N T F O R T PAG E

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PARIS CRADLE OF HAUTE COUTURE PARIS TO WHICH THIS ART BELONGS. PARIS BURNING WITH ITS RENEWED VITALITY

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n evasive nocturnal walk, with a slight taste for danger in search of the pleasure of reliving these emotions.

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A SENSE OF UNKNOWN PERVADES ONE’S WALK IN THE VILLE LUMIÈRE.

Pieces of present, past and future memories emerge. lts glares, its glamour made up of nights filled with lights reflected on wet asphalt, its promiscuity, its eclectic and voyeuristic aesthetic à la Ryan Murphy.

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AN ECLECTIC AESTHETIC

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A PROMENADE TO MEET THE PEOPLE A Promenade to meet the people entering this voluptuous and provocative night, a ride that will end with an exchange of clothes and the line between day and night fading away.

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PARISIEN GLAMOUR

Extra-ordinary creatures who abandon their sensual garments opting for the attire of men strangers, friends, lovers whom they met in this adventure of Parisian glamour, saturated by the neon lights of a penthouse, a private club, a lounge or a parking lot.

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click here to watch the fashion show

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C R E A T I V E D I R E C T O R : G I A M B C O U R T E S Y O F G I A M B A T T I M A G E R Y A N D V I D E O S H O T A T © N I E M E Y E R , O S C A R / A D A G

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MADE IN ROME PAG E

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Participating in Paris Fashion Week, the Fall Winter 2021-2022 Couture collection of Georges Chakra was launched digitally on the 7th of July in Paris.

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For this collection, Chakra’s muse is reminiscent of the Romanesque era and couture pure accentuated with symmetry, structure and vigor.

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2 0 2 1 - 2 0 2 2 W I N T E R F A L L C O U T U R E H A U T E

Through the exploration of its essence, the muse is depicted as heroic and strong, focusing on rediscovering the code of couture. With realism and realistic depictions at the forefront, the collection looks at the promises that lie at the heart of humanity.

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platea dictumst. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Aliquam non nunc non lacus facilisis bibendum. Phasellus ut purus vulputate, egestas eros sed, molestie urna. Pellentesque a ultricies tortor.

SE VE N YEA R S # 07

ROMANESQUE ERA

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uxury resides in the ref ined fabrics, organza, ethereal raff ia and chiffon, sleek satin and crepe, and supple velvet. Pleats breathe light, and capes and trains flow through this season’s collection. The silhouettes twirl, with mini dresses,

clouds of fleur de tulle, and the delicate cascading gowns. Consumed with majestic calmness, the dresses tell a story through sleeves, capes, and sculpted collars.

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STRIKING PRIMARY COLORS OF VIBRANT ROUGE, MIDNIGHT BLUE, VIVID NOIR AND HALOS OF WHITE. THE COLLECTION EMPHASIZES THE PURITY OF THE HUES AND ON THE AUDAC I T Y OF THEIR PRESENCE. THE CRYSTALS ADORNING THE GOWNS A R E P L A C E D M I N U T E LY , HIGHLIGHTING THE SYMME TRICAL BALANCE OF THE LOOKS.

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ELEGANCE OF FEMININITY PAG E

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T H E P E R F E C T I O N O F S T Y L E

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Japan: A History of Style

Musō Soseki, Japanese, 1275–1351 “Abiding nowhere, the awakened mind arises” Japan, Nanbokuchō period (1336-1392), early 14th century Hanging scroll; ink on paper Image: 39 1/16 × 22 5/8 in. (99.2 × 57.4 cm) Overall with mounting: 71 1/4 × 24 in. (181 × 61 cm) Overall with knobs: 71 1/4 × 25 13/16 in. (181 × 65.6 cm) The Metropolitan Museum, Mary and Cheney Cowles Collection, Gift of Mary and Cheney Cowles, 2018 Photo: Courtesy of The Metropolitan Museum of Art Musō Soseki, Japanese, 1275–1351 “Abiding nowhere, the awakened mind arises” Japan, Nanbokuchō period (1336-1392), early 14th century Hanging scroll; ink on paper Image: 39 1/16 × 22 5/8 in. (99.2 × 57.4 cm) Overall with mounting: 71 1/4 × 24 in. (181 × 61 cm) Overall with knobs: 71 1/4 × 25 13/16 in. (181 × 65.6 cm) The Metropolitan Museum, Mary and Cheney Cowles Collection, Gift of Mary and Cheney Cowles, 2018 Photo: Courtesy of The Metropolitan Museum of Art

Yamamoto Baiitsu, Japanese, 1783–1856 Egrets in a Lotus Pond Japan, Edo period (1615–1868), 1852 Hanging scroll; ink and color on silk Image: 50 × 21 13/16 in. (127 × 55.4 cm) Overall with mounting: 84 × 27 9/16 in. (213.4 × 70 cm) Overall with knobs: 84 × 30 in. (213.4 × 76.2 cm) The Metropolitan Museum, Fishbein-Bender Collection, Gift of T. Richard Fishbein and Estelle P. Bender, 2015 Photo: Courtesy of The Metropolitan Museum of Art PAGE

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Sakai Hōitsu, Japanese, 1761–1828 Cherry and Maple Trees Japan, Edo period (1615–1868), early 1820s Pair of six-panel folding screens; ink, color, and gold leaf on paper Image (each): 62 3/8 in. × 11 ft. 2 5/8 in. (158.5 × 342 cm) Overall (each): 68 7/8 in. × 11 ft. 9 in. (175 × 358.1 cm) The Metropolitan Museum, Purchase, Mary and James G. Wallach Foundation Gift, Rogers and Mary Livingston Griggs and Mary Griggs Burke Foundation Funds, and Brooke Russell Astor Bequest, 2018 Photo: Courtesy of The Metropolitan Museum of Art

JAPAN: A HISTORY OF STYLE TO SHOWCASE TRANSFORMATIVE RECENT GIFTS AND ACQUISITIONS THAT EXPAND THE MET’S COLLECTION OF JAPANESE ART Exhibition Dates: March 8, 2021–April 24, 2022 Exhibition Location: The Met Fifth Avenue, Arts of Japan, The Sackler Wing Galleries, Galleries 223–232 Japanese Opening on March 8 at The Metropolitan Museum of Art, the yearlong exhibition Japan: A History of Style celebrates a decade of remarkable acquisitions of Japanese art. Showcasing more than 300 artworks over the course of four rotations, the exhibition highlights how recent gifts and purchases have transformed the Museum’s ability to narrate the history of Japanese art, by both expanding and deepening its collection. Each of the 10 galleries that make up the Arts of Japan, The Sackler Wing Galleries will explore a distinct genre, school, or style, through a range of artworks representing nearly every medium, from ancient times to the present. The exhibition is made possible by The Miriam and Ira D. Wallach Foundation Fund. PAG E

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Imazu Tatsuyuki 今, Japanese, active early 20th century Peacocks and Cherry Tree Japan, Taishō period (1912–26), ca. 1925s Two-panel folding screen; ink, color, gold, and silver on paper Image: 80 1/8 × 72 13/16 in. (203.5 × 185 cm) The Metropolitan Museum, Purchase, Mary and James G. Wallach Foundation Gift, 2015 Photo: Courtesy of The Metropolitan Museum of Art

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he exhibition will cover a range of topics, with the initial rotation exploring the great diversity of the sacred arts of Buddhism and Shinto, the rich Sino-Japanese artistic dialogue facilitated by Zen Buddhism, major developments in Japanese painting history such as the establishment of the Kano school of painting and revivals of the bold and often abstract Rinpa style, artistic innovations at the dawn of the modern era, and contemporary painting and decorative arts. Subsequent rotations will consider ancient courtly calligraphy, popular Buddhist art, the Maruyama-Shijō school of painting, and modern printmaking. Many of the works will be shown for the first time. Several galleries explore Japanese religious art, with highlights including several large-scale early Buddhist devotional paintings, whose inherent fragility precludes regular exhibiting, and extraordinary examples of Zen-inspired calligraphy by three of medieval Japan’s most celebrated monks: Musō Soseki (1275–1351), Sesson Yūbai (1290–1346), and Zekkai Chūshin (1336–1405). A pair of folding screens by Soga Chokuan (active ca. 1596–1615) showing Tethered Hawks accompanied by Chinese poems boldly inscribed by Zen monk-calligrapher Ittō Jōteki (1533–1606) is one of several works representing artistic collaborations between Buddhist monks and lay patrons and artists. Several major recent acquisitions will be shown alongside groups of rarely shown works that have been at The Met for many decades, demonstrating the way that newly acquired works expand and enrich the stories that can be told through the collection. These include Chinese Sages, an extraordinary pair of screens featuring ink paintings of ancient recluses created by an anonymous master of the Kano school at the dawn of the early-modern era, and Cherry and Maple Trees by Sakai Hōitsu (1761–1828), a colorful pair of gold-leaf screens depicting a blossoming cherry and a crimson maple that shows how Japanese aesthetics took a turn towards stylization and abstraction. In a presentation of Japanese tea ceremony utensils, newly acquired contemporary works are displayed alongside earlier masterpieces, such as a 16th-century Black Seto teabowl and an early 17th-century rare bamboo flower holder made by a Zen monk.

The great diversity of the Sacred Arts of Buddhism and Shinto

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The exhibition will also seek to highlight new avenues of inquiry for Japanese art at The Met, a result of dedicated efforts by curators working with donors and collectors to augment the collection in recent years. Special attention will be given to efforts to extend the Museum’s ability to narrate the later history of Japanese art by expanding its holdings from the 19th, 20th, and 21st centuries, and broadening the scope of the collection by adding new genres of decorative arts, such as bamboo art, exemplified by the finely plaited hanging flower basket by Tanabe Chikuunsai I (1877–1937), and glass, represented by Ikuta Niyoko’s recent glass sculpture Free Essence-131. Recently acquired masterworks of later Japanese painting include the pair of screens Tiger, Tigress, and Cub by Kishi Chikudō (1826–1897), who

embraced both Western realism and traditional Japanese techniques, and the mesmerizing Peacocks and Cherry Tree by Imazu Tatsuyuki (active early 20th century). Also featured is the first-ever installation of a group of contemporary Japanese metalworks at The Met—a gift from Tokyo-based collector Hayashi Kaoru in honor of The Met’s 150th anniversary. The dazzling selection includes a wide variety of artworks, from cast-iron tea kettles to flower vessels and sculptural forms. Nine objects were made by artists designated as Living National Treasures, including Ōsumi Yukie (b. 1945) and Nakagawa Mamoru (b. 1947), while a few works were created by emerging artists. Several objects celebrate the achievements of female masters. More information about the metalworks is available here

Male and Female Shinto Deities Japan, Heian period (ca. 900–1185), 10th century Japanese cypress with traces of color H. 20 5/8 in. (52.4 cm) The Metropolitan Museum, Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 Photo: Courtesy of The Metropolitan Museum of Art PAG E

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Calligraphy by Ittō Jōteki (Shōteki), Japanese, 1533–1606 Soga Chokuan, Japanese, active ca. 1596–1615 Tethered Hawks Japan, Momoyama period (1573–1615), before 1606 Twelve paintings mounted as a pair of six-panel folding screens; ink and color on paper Overall (each screen incl. frame): 68 3/8 in. × 11 ft. 10 3/8 in. (173.7 × 361.7 cm) Image (outer two panels, each screen): 48 1/2 × 19 5/8 in. (123.2 × 49.8 cm) Image (inner four panels, each screen): 48 1/2 × 20 1/2 in. (123.2 × 52.1 cm) The Metropolitan Museum, Purchase, Mary and James G. Wallach Foundation Gift, 2018 Photo: Courtesy of The Metropolitan Museum of Art

The first rotation will include a special display of 35 masterworks of ukiyo-e prints from the collection of Lee E. Dirks, on view through May 31, 2021. All from the first two centuries of Japanese printmaking (1680s to 1850s), the works focus on graphic representations of the human figure, especially actors of the Kabuki stage and courtesans of the Yoshiwara pleasure quarters in Edo (present-day Tokyo). The rotation celebrates the magnanimous gifts and promised gifts from Dirks of several rare early prints, presented in celebration of the Museum’s

150th anniversary. Highlights include the only known surviving example of an early depiction of a Kabuki actor by Torii Kiyomasu I (active 1696–1716); three prints by the master Kitagawa Utamaro (ca. 1754–1806); four bust portraits of Kabuki actors by Tōshūsai Sharaku (active 1794–1795); Spying with a Telescope by Katsushika Hokusai (1760–1849)— only three impressions of this print are known to survive; and colorful triptychs by Utagawa Kunisada (1786–1864) and Utagawa Kuniyoshi (1797–1861). More information about this display is available here

THE EXHIBITION IS ORGANIZED BY JOHN T. CARPENTER, MARY GRIGGS BURKE CURATOR OF JAPANESE ART; MONIKA BINCSIK, DIANE AND ARTHUR ABBEY ASSOCIATE CURATOR FOR JAPANESE DECORATIVE ARTS; AND AARON RIO, ASSOCIATE CURATOR OF JAPANESE ART; ALL FROM THE DEPARTMENT OF ASIAN ART AT THE MET W W W . M E T M U S E U M . O R G

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Ogata Kōrin, Japanese, 1658–1716 Flowers of Spring and Autumn Japan, Edo period (1615–1868), shortly after 1701 Pair of panels; ink and color on cryptomeria wood Image: 54 in. × 7 7/8 in. (137.2 × 20 cm) Overall with mounting: 81 × 13 in. (205.7 × 33 cm) The Metropolitan Museum, Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 Photo: Courtesy of The Metropolitan Museum of Art PAG E

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Georges Hobeika HAUTE COUTURE FALL WINTER 2021-2022

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aison Georges Hobeika builds the leitmotiv of its Couture fallwinter 2021/22 collection on the minimal extravagance and joyful romanticism of the sixties. Inspired by the MOD movement, a host of evanescent silhouettes develops, from coat to sheath, its harmonious lines and delicate details to evoke the happiness of an elegant and festive era. Georges Hobeika’s recognizable heritage and highly desirable vision combines the emanation of a vintage spirit with the evocation of a decade of recklessness to carve unique creations celebrating a way of life dedicated to freedom. The emblematic signature of the Maison is expressed by virtuoso associations of feathers and sparkling crystals, but also by outfits shrouded in mystery and sobriety that carry a fresh and new glance on Couture.

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Providing a new demonstration of their unrivaled expertise, the Maison’s atelier tame precious fabrics that seem illuminated by the soft lights and refined colors of a strong winter sun. Sophisticated embroideries compose sumptuous patterns inspired by nature on majestic waves of organza. This incomparable know-how illustrates a dynamism allowing all variations, between transparency or modesty, simplicity or sumptuousness, modern or classic: a universal hymn to life, grace and lightness, dedicated to all women, of all generations.

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click here to watch the fashion show S T Y L I N G : G E O R G E S H O B E I K A P H O T O G R A P H Y : P A T R I C K S A W A Y A


Le Sibille’s focus is the accurate research to design and achieve both innovative and classic results through handcrafted and unique pieces of high jewelry

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The BLUEHEART Earings is a precious rapresentation of the Virgin Mary, with the symbolism of pink roses and Christ’s thorns, the meaning of life, Roses and Thorns of Love Made in 18kt Gold and Sapphires of Kt 3.20

The BLUEHEART Ring is an arrow of white diamonds pierces a blue heart with more than 20 shades of blue. Made in 18Kt Gold and Diamonds of Kt 0.19

The BEEL Ring is the Japanese CherryBlossom, in a ring that echoes the cowbell of an animal but also a flower bud at the opening. Made in 18Kt Gold, Rubies of Kt 2.55, and Rhodolite Kt 3.77

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Le Sibille is the outcome of three young women’s wish to recreate the spirit and essence of a typical Renaissance workshop. CAMILLA BRONZINI, FRANCESCA NERI SERNERI and ANTONELLA PERUGINI have come together to carefully research and study the Ancient Goldsmith Art. Though they are a team, each has individually specialized professionally in a particular field letting it become her own personal strength. PAG E

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Micro Mosaico Minuto

The GRIFONE Necklace is composed with a Medieval symbolism, the griffin with its wings, made of grisaille so as to recall the marble of a sculpture that dreams of the lion of San Marco in Serenissima blue Made of 18Kt Gold with Sapphires of Kt 0.89 Labradorite ,Apatite, Gray Pearls The Pendant decoration is made of Micro Mosaic Pattern

While being inspired by different styles, Le Sibille have improved their knowledge about the SMALL ROMAN MOSAIC technique, a miniaturized 8th century enhancement of the ancient art form. One of-a-kind jewels are created with this technique that combines the SIBILLE’s Three most famous and exclusive lines: the MICRO MOSAIC and the GIANTS, a contemporary and aristocratic interpretation of the past and LILLIPUT the more cool expression of modern fashion.


AN ANCIENT TECHNIQUE IN A MODERN STYLE

High Jewelry

ODALISQUE RING Inspired by an Arab fountain with its jets in

motion and rotation that recall the dance of an ODALISQUE. Made in 18Kt Gold with Diamonds of Kt 0.69 and Brown of Kt 0,5

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LIGHT RAY Pendant is composed from the center, from one, from the eye an intricate design of life, leaves and flowers is born and radiates with its rays to infinity. Made in 18Kt Gold with Brown Diamonds of Kt 0,63 and Diamonds of Kt 1.10

Micromosaic was invented in Rome in the second half of 1700s, and it flourished as an artistic handicraft from the late 1700s to the following century. In the second half of 1500s started a major project for Saint Peter’s Basilica: decorating its vaults with mosaic, and creating mosaics based on the existing paintings, using colored vitreous materials – also known as enamels. The enamels were produced in Venice, but the same production started shortly after in Rome. In that context small micromosaic tiles started to be produced also in the Vatican Mosaic Studio. The glass was spinned on thin sticks, and then divided into tiny tiles. The base onto which micromosaic was put together could be metallic – a copper foil with raised borders, or a hollow stone foil, or some other material; the tiny tiles were then fixed with a proper adhesive. The final works were small-sized, made with great precision and finished with the same care; they could be inserted in objects like small tables with a marble top, snuffboxes, paperweights and so on; or, when used for jewellery, they could be applied to brooches and jewels. (Excerpt taken from Micromosaico: storia, tecnica, arte del mosaico minuto romano, by Chiara Bertaccini and Cesare Fiori, Edizioni del Girasole 2009)

The VESUVIUS Ring is dedicated to the famous volcano of Naples, it represents 2 Neapolitan Gouaches from the 1800s, seen by day and night, of the magnificent Gulf of Naples with the powerful Vesuvius in the background. Made in 18Kt Gold, Rubies of Kt 0.78 with Orange Sapphires of 0.85 kt and Brown Diamond of Kt 0.08 and Prasiolite of Kt 30.69 PAG E

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In parallel to Van Herpen’s drive towards an interconnected approach to fashion, the 19 look collection narrates the circular processes that usher change in their sentient world by weaving a symbiotic thread between artisanal tailoring and organic craftsmanship, derived from the perception of their world as one living and breathing organism.

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Iris van Herpen shows her latest collection ‘Earthrise’ during Paris Haute Couture Week on July, 5th 2021. With their planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body they call home by circling towards the amalgamated awareness to maintain the grandeur of the turning sphere they traverse along.

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AN INDESCRIBABLE SPACE WITH THE TURN OF THE LAST CENTURY CAME THE LAUNC H OF APOLLO 8, THE FIR ST-EVER C R E W E D S P A C E C R A F T T O L E AV E E A R T H ’ S ORBIT AND WITNESS THE EARTHRISE FROM THE MOON’S HORI ZON.

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A COSMIC PERSPECTIVE OF ONENESS

Astronauts looked over our revolving sphere from afar, to see a boundless, indescribable space; a living, breathing organism, unmarred by conflict, borders as well as hierarchies and all of the entrenched partisans that make up the minutiae of our quotidian lives. Against the darkness of the inky black vastness of space, they experienced an emotional shift: a cosmic perspective of oneness.

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Contemplated as a metamorphic realisation, the expedition went beyond scientific headway, remaining a pivotal moment in our evolution as sensitive sapiens. ‘EARTHRISE’ symbolises this shift of an anthropocentric perspective, our discernment of time has never felt so spectral. Tasked to feel, rather than to count, this novel ethos was framed as ‘Earth-gazing,’

to observe the intricacies of this cosmic view and the magnificence of our surrounding mythosphere. To challenge the immensity of space that surrounds our tellurian haven, Iris van Herpen, enraptured by the seductive ancient human dream to fly out into the stratosphere of the unfamiliar, collaborates with the female world-champion skydiver Domitille Kiger.


Capering through the expansive skies, from the age of 15, the designer grew fascinated by the choreographed performance of her craft, fusing two diametrical opposed worlds of artistry and science.

Through Kiger’s graceful skydancing, she embodies a new meaning of earthly freedom, thwarting any fear with the spirit of transcendence.

FUSING TWO OPPOSITE WORLDS BETWEEN ART AND SCIENCE

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Through the extreme speed and Kiger’s choreography, while skydancing, the custom Haute Couture gown reveals the turbulence of the intricate handwork. Made from thousands of blue spheres in colour gradients, embodying our ‘blue marble’ home, the gown spins off in dazzling twists in an array of directions simultaneously.

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GAULTIER PARIS PAR SACAI REMIXING THE HOUSE’S IC ONIC

From the headquarters of the Maison, the collaboration between Jean Paul Gaultier and Sacai reveals its Haute Couture Fall-Winter 2021 collection..... and its most unexpected part. A collection placed under the sign of collaboration, starting with Chitose Abe and Jean Paul Gaultier, but also with Pierre Hardy for Pierre Hardy shoes and the legendary tattoo artist Dr. Woo, who literally injects prints like as a second skin.

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emixing the House’s iconic Chitose Abe puts the Gaultier universe through the SACAI filter with 31 looks worked down to down to the smallest detail. Avant-garde silhouettes, from Madonna’s corset to tennis stripes, followed closely by MA1 bombers in khaki nylon and tangerine lining or the very French trench, everything metamorphoses into a dress, a corset, a skirt or a cape. The queen knit patches and over-oversize waistbands are pleated in a couture accordion. Vintage jeans are sewn together in a petticoat under a replica jacket from the ‘94 fashion show.


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XL WEDGE HEELS

MULTIMATIÈRES

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To accompany these creations, Chitose Abe invited his friend and long-time collaborator Pierre Hardy to work on the shoes of the show. The overstitched boots and thigh-high boots were inspired by the house’s mythical corsets and mirrored the themes of the collection: leather, mesh, denim, jacquard... all on XL wedge heels.

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THEMES OF THE COLLECTION: LEATHER, KNIT, DENIM, JACQUARD

Spread across the collection, the Tattoos prints are calligraphed by Los Angeles-based artist Dr. Woo, also a friend and collaborator of Sacai. Björk’s shadow is suggested between two looks with red Ultimate tribute to the designer, a multi-material sailor dissipates smoothly, passing from opaque satin to the most translucent tulle. The darling tartan of l’Enfant Terrible has been in a ruffled petticoat. Last but not least, the blue of Jean Paul Gaultier himself (worn for his last couture show) turns into an evening gown and voluminous ensemble, closing the story in beauty. jacquard

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A wide range of exclusives fabrics

Ruffo Coli THE ITALIAN TALENT FOR TEXTILES Ruffo Coli believes that the Italian textile tradition is founded on precious values to be nurtured and passed on. The attention to detail at every step, from initial conception to manufacture, and the unceasing quest for quality and the very finest raw materials, are embodied in our vision of textiles not simply as craft but as an art that can convey deep emotions. With each collection, new patterns and colour shades are introduced, adding to an already vast, exclusive catalogue that extends from everyday items to bridal and event wear. Over the years, Ruffo Coli has mastered every weave, from chiffon to crêpe, from satin to duchesse silk, jacquard and shantung. And thanks to the care invested in its sampling service, Ruffo Coli is able to guarantee on-demand delivery of every colour variant.

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QUALITY FIRST, EVERY SINGLE DAY

BESPOKE MADE IN ITALY FABRICS FOR HAUTE COUTURE AND READY TO WEAR

High-end and luxury fashion is a demanding market. That’s why it’s necessary to renew our commitment to quality day in, day out. It’s a constant effort, guided by a precise design vision. Family heritage, the ability to listen and predict future trends; passion, creativity and experimentation; traditional canons of beauty respected, but also reinterpreted; an openness to cross-cultural influences, these are the values that mark out Ruffo Coli’s contemporary, cosmopolitan style.

Our clients come first: that’s why we offer such versatile project planning, making Ruffo Coli a valuable partner for talented fashion designers. The ultimate asset is the synergy with local textile professionals, from artists to photoengravers, jacquard designers, weavers, textile printers, dyers and finishers. The skill and reliability of this network Are the assumption of this partnership with two fundamental aims: flexibility of production, and constant innovation.

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CREATIVE & TECHNOLOGICAL INNOVATION

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JUANA MARTÍN


THE REBIRTH OF A NEW ERA

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he designer Juana Martín presented her new collection “Sel Noir” during the Paris Haute Couture Fashion

Week. The new collection of the Cordovan designer is presented for the consecutive time in digital format, and reflects the rebirth after a complex period. The digital format in which the collection was exhibited brings a great audiovisual impact.

Images are closely linked to nature, which take us directly to where the Fashion Film was recorded, the unmistakable Salinas de la Bahía de Cádiz, which belong to the Cultural Heritage of Andalusia, in the middle of dawn. Symbology is crucial in “Sal Negra”: the dawn represents the rebir- th of a new stage after a turbulent year and the very name of the collection is reinforced by the scenario in which the catwalk takes place. PAGE

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SAL NEGRA The designer’s new collection can be interpreted from two points of view, taking as a reference, the prominence and symbolism of the color black: On the one hand, from the trajectory and the origins of Juana Martín her- self, her roots and her particular and recognized style. And, on the other hand, from a personal vision in which “Sel Noire” reproduces the situation expe- rienced this past year around the world.

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lack Salt is characterized by volume, structure and the binomial and para- dox between black and white, light and dark. In terms of patterns, volumes and exaggerated structures invade the garments, especially on the sleeves. We also find a combination of straight lines to which are also added the curved format in more organic shapes. The main fabrics are embroidered satins, structured organza with whalebones, taffetas, pleats, silk chiffons and a sophisticated crystal mesh coat. Fabrics and textures take an important role in her video-parade, as they make an important contrast with the homogeneous blue sky and the infinite sand that can be seen in the background. The colors of nature that serve as a backdrop merge and are part of the color- ful of this collection. PAGE

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The role of Fabrics

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AN IMPORTANT INFLUENCE OF THE FEELINGS EXPERIENCED

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This reflects the light at the end of the tunnel that we are gradually glimpsing. Although still apparently weak, this light carries a great strength. This is Juana Martin’s latest collection, a tribute to the current situation in the world, through unique fabrics, extreme structures, two unique colors and the personal reflection of the designer since her beginnings until now, more than fifteen years.

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hen talking about the color palette, there is an important influence of the feelings experienced in the last year: black is dominant, although, in a sea of dark tones, a light stands out. In a succession of black looks only one of them is radiant white.

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will be your style

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S T Y L I N G : J U L I E D E L I B R A N P H O T O G R A P H Y : L U C A T O M B O L I N I

JULIE DE LIBRAN

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PARIS: THE WORLD’S FASHION CAPITAL

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aris is justly famous for the endless creativity of its fashion design. But creative ideas are nothing without a small army of highly-skilled artisans who can bring them to life with needle and thread. These artisans get less public attention than the famous designers they work for. But without them and the long tradition behind them, Paris would never have become the WORLD’S FASHION CAPITAL. My current collection is meant to celebrate these“PETITES MAINS,” as they are known in France. Their savoir faire and their dedication amaze and inspire me every day. They represent the most basic values of my brand: quality over quantity, timelessness over trendiness, and the belief that, with a little help, a great piece from the past can live again. In my new collection, I have taken as a starting point several of my previous designs. Then I called upon some of these remarkable ateliers. I have known most of them for two or three decades. working together, we have transformed these pieces into something new, fresh and different. A dress I call GILDA is enlivened with a kind of cotton lace called “BRODERIE ANGLAISE.” PAG E

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My CHARLOTTE dress has been rejuvenated with intarsia lace to create transparency in the neckline that wasn’t there before. My ELIZABETH coat dress is refreshed with jeweled buttons. Seeing how you can add beauty to something by transforming it and make it new has delighted me. In some cases I used dresses already produced for past collections and turned them into new, unique pieces with the help from the savoir faire around me. In other cases, I have returned to a previously-designed pattern and re-imagined it with a new fringe here, sequins there, sometimes feathers. If there is a theme running through the new work it is movement. These new designs now rustle, glitter and flutter. But what is important is that nothing is lost, which is another of my brand’s most important values: AVOID WASTE. I am pleased to see that the fashion industry is increasingly coming to embrace this principle. It is something I have espoused all along. There is another thing I believe in deeply, and that is to do what I can so that these precious artisanal skills do not disappear. They are a fragile treasure and they must be passed on to the next generation. For this collection, I called upon several students of the Instituto Marangoni’s Paris campus to help me. When I was learning my craft many years ago, I was fortunate to study at the Istituto in Milan. I am now the official “godmother” of the school’s Paris branch. One of the embroiderers I work with here in Paris took several students under her wing, and together we worked on a few pieces in this collection. That is the way the transmission of precious knowledge is supposed to work.” JULIE DE LIBRAN

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CIOUS KNOWLEDGE

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INSPIRED BY SUPERHEROES AND VIDEO GAME AVATARS, JULIEN FOURNIÉ AWAKENS HAUTE COUTURE

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Julien Fournié presents once again his Haute Couture collection via an online film. After having explored this media for the past two seasons due to the pandemic situation, he is chosing a film this time to match the theme that has inspired his collection. Merging his lifelong admiration for superheroes and his pioneer spirit in the field of new technologies, Julien Fournié is fascinated by the aesthetics of video games. They have grown more and more popular in the past years and are developing to new levels of creativity.

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ia their avatar in an online video game, the players first test the actions they cannot accomplish in real life. But they continue to play for everything they discover about themselves and how they can relate to other players online, “ says the French couturier. “The dreamlike dimension of style is best expressed today in this area of video games,” declares Julien Fournié. “Why couldn’t we introduce the refinement, the quality and the elegance of Haute Couture as a new vocabulary in the fascinating frame of online games? They are opening up gateways to new worlds for us to conquer. “

FIRST SQUAD

At a time when fashion trends are directing ready-to-wear brands to trivialize their looks, Julien Fournié suggests once again to “Find Your Legend” using a completely different approach. This time, the couturier achieves it through the 16 archetypal characters who embody the values he cherishes for his eponymous house.

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One of his legends, for instance, called The Ballerina, embodies vulnerability, a quality dear to Julien Fournié who declares: “Only when you accept your vulnerability, can you really become stronger”. The Spy, another character in this video, represents strategy, discreet charm and intelligence. The Empress, expresses authority, glamour and power...

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To embody each of these 16 characters, Julien Fournié has included his usual models and muses Michaela Tomanova and Angeliki Tsionou, but also two film actresses and one male athlete. French film actress Audrey Fleurot plays The Empress, the boxer Guillaume Hauet unleashes his power as The Bouncer and the Belgian actress Déborah François transforms into The Fury, in the hands of Julien Fournié, who evolves himself into “ The Wizard”.

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I D E N T I T Y


Transformable looks, precious and raw materials, embroidery and feathers, new day bags and rucksacks, are combined to highlight a group of completely different personalities who come together to give life to the Julien Fournié essential tribe, his “First Squad”.

This is where each person alchemizes with their neo-avatar to give maximum impact to their style and showcase their Transformable looks, precious and raw materials, embroidery and feathers, new day bags and rucksacks, are combined to highlight a group of completely different personalities who come together to give life to the Julien Fournié essential tribe, his “First Squad”. This is where each person alchemizes with their neo-avatar to give maximum impact to their style and showcase their true identity.

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Maison Margiela “A FOLK HORROR TALE” M

artin Margiela was known with high irony as ‘fashion’s invisible man’ owing to his anonymous fashion models and the choice of nondescript locations for fashion shows. John Galliano carries the ironic tradition forward in the splendid short film “A FOLK HORROR TALE’ presenting his 2021 collection. Irony is the qualification of subjectivity. No one can miss the irony of a title hiding the suggestion that one person’s horror can be another’s delight. The sensuous collection is featured in the setting of an iconic horror film harkening to the past while preparing for a cataclysmic future

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THE SENSUOUS COLLECTION IS FEATURED IN THE SETTING OF AN ICONIC HORROR FILM HARKENING TO THE PAST WHILE PREPARING FOR A CATACLYSMIC FUTURE

Time is fashion’s obsession, rooted in the past, projected into the future, poised in a precarious temporal present. Irony is modern fashion’s supreme trope: people cannot afford to take themselves seriously in the constant flux of a world inextricably torn between appearance and substance. Tarot cards juxtaposed against the image of an owl hint at the confluence of fortune and wisdom, rational desire and the appeal of mystery. Fortune governs the world, foregrounded here in a game of morra: a spin of the dice determines the success or failure of all human endeavors. Dancing figures in a full moon express the eerie forces which govern taste and pleasure, never fully knowable. PAG E

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The tree catches fire, the woman screams as if possessed by an evil demon – signs of an apocalypse never far from our waking consciousness. The apocalypse is poised between a crepuscular past and a clearly evident present, a city crumbling under the forces of nature. Carpi diem is the tagline of the day. A voice tells us that maybe a memory maybe a dream puts us in touch with a past which is also here and now. The dream of an impossible utopia in a world of bucrania masks so ancient yet so modern, linking the spiritual to the real allowing us to sort through the complexity of the world, where meaning is always latent and never real.


The shooting star of an impending new world, or the termination of the old. A reminder of the moment’s urgency, the need to savor the moment in a collection which titillates the senses and embraces the body. A combinatorial orgy, expressing material pleasure in a multilayered world where imagination and reality are fused into a single unit. John Galliano urges us to be reckless enough to gamble all or nothing, to follow our dreams. This extraordinary film is the vehicle for a recklessly sumptuous collection which cannot be taken at face value. Gregory Overton Smith D.Phil. Oxford Temple University Rome

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”ARTISANAL“ 2021 COLLECTION

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DANCING FIGURES IN A FULL MOON EXPRESS THE EERIE FORCES WHICH GOVERN TASTE AND PLEASURE, NEVER FULLY KNOWABLE


Every project is developed in the laboratory of Officina & Design and they take care of all the manufacturing process with extreme care, from the study of the materials to the weaving with the cooperation of people with expert hands and creative touch. They also born and raised in this rich land of Romagna like our ancient artisan manufacturing, excellence of the Made in Italy.

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AN EXCELLENCE OF TH ROBERTA GRAZIANI Roberta Graziani is the soul of Officina & Design. Graduated at the Ceramics Art Institute of Faenza, thanks to her special talent for the design and its details, in 1981 she discovered the world of fashion and the unlimited possibilities to change it. Very enthusiastic and attracted by the fabric decoration, she started to create new styles as well as to experience with innovative materials that were never used in fashion before.

Research, experimentation, contamination soon became Roberta’s motto and a creative blend of styles and non conventional technical reinterpretations made her to be well known and appreciated by the major fashion houses initiating like this valuable and long-lasting collaborations.

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the world of jewellery. Innovative materials, resins with natural elements, sea and land pieces that become a unique collection to be worn: Officina & Design was born this way. The fashion houses have been intrigued by the ease with which Gaia has treated new materials paving the way to new collaborations with international acclaimed designers.

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The other pillar of Officina & Design is Gaia, Roberta’s daughter, from whom she inherited the creative talent and the passion for the world of fashion. The restless creativity of the 90s, the imprinting handed down, the need to avoid conventional schemes, soon pushed Gaia to open her own laboratory and to start an original stylistic path in

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LU X U RY D E TA I LS

Created exclusively using premium materials very carefully selected, our accessories are skilfully made, creating true works of art in which the enchanting harmony of colours and the contrasts of different and unusual materials coexist, contaminated by ancient art and contemporary design. Luxury Details of Officina & Design: an atelier of outstanding craftsmanship that embodies all the personality and the magic of the Made in Italy.

The creativity and passion that we put in the planning and realization of garments with unique craftsmanship is the same that characterize also our line of accessories and exclusive bijoux. Details, unconventional shapes and colours give life to objects of rare beauty, exclusive pieces imagined and created to make everything on which they rest unique and precious. Style, elegance, originality and innovative design join our expert hands and an all-Italian artisan tradition thus creating embellishments aimed to surprise and shine.

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DECORATION LINES AND EXCLUSIVE ACCESSORIES From the passion for the sea and for everything that it evokes and transmits, the idea to create a line of accessories and exclusive fabrics was born, designed specifically to embellish and make non- ordinary spaces unique. Beauty, style, elegance and design blend together to decorate the interiors in an original and at the same time functional way and to enrich them with a never taken for granted creativity which only the excellence of the all-Italian haute couture has. Passion, craftsmanship and design tied down: it is from this alchemy that our nautical and living collections are inspired, stating customized moods as if they were a made-to-measure garment. Roberta Graziani is the creative director of the exclusive collection of Officina & Design dedicated to the textile furnishing of yachts, homes and hotels; her visionary and talented creativity generates in this way refined and unrepeatable lines and colours worthy of the fashionable locations that they will elegantly decorate. Haute Couture, elegant residences, prestigious hotels and exclusive yachts: out of the ordinary settings that become precious thanks to the uncommon and elegant essence created by the refined and personalized details that characterize them. At Officina & Design they plan and give life to these original details made by expert hands that are the expression of the excellence and the craftsmanship of the Made in Italy.

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C R EAT I V E D I R EC TO R: OLIVIER THEYSKENS. S T Y L I S T E G RO C U RT I S. P H: YA N N I S V L A M O S

C R EAT I V E D I R EC TO R: M A R I A G R A Z I A C H I U R I P H:©A D R I E N-D I R A N D

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es Essentiels” lend themselves to the games of Haute Couture and become “Les E xceptionnels”. The jacket in powder grain widens and becomes a tuxedo unveiling the back. The trench coat in double gabardine lengthens and is embroidered with memories. The small hands fray underlining the dress in cotton gauze. The dress in silk tulle reveals locked memories. The cashmere coat is dramatized and the velvet bangs animate it. Clothes, objects, everything is mixed and kept and passed on. click here to watch the fashion show


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C R EAT I V E D I R EC TO R: M A R I A G R A Z I A C H I U R I P H:©A D R I E N-D I R A N D

ARTISTIC DIRECTOR: PIERPAOLO PICCIOLI © COURTESY OF VALENTINO

R V D K © CO U RT ES Y O F M A I S O N M A R I G E L A

C R EAT I V E D I R EC TO R: RO N A L D VA N D E R K E M P P H: M A R I J K E A E R D E N

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“SHOEPHORIA THE LOVE OF SHOES, SNEAKERS, BOOTS OR WHATEVER LETS YOUR HEART PUMP FASTER WHEN YOU SEE IT.”

Following a year-long closure due to the pandemic, the Fashion Museum Bath will reopen on 18 May 2021 with a stunning new exhibition called Shoephoria!. Showcasing 350 pairs of boots and shoes, many drawn from the Fashion Museum’s world-class collection, alongside ‘star’ shoes borrowed for the exhibition, Shoephoria! will illustrate the evolution of shoe style over the last 300 years. Shoephoria! will run into 2022.

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SHOEPHORIA! THE FASHION MUSEUM’S STUNNING REOPENING EXHIBITION

The exhibition will include shoes worn by iconic cultural figures including actors Noel Coward, Ginger Rogers and Margaret Lockwood; music hall star Fred Kitchen; ballerinas Margot Fonteyn and Alicia Markova; and Nicola Adams in Strictly Come Dancing 2020. PAGE

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Shoephoria! aims to present a new way of looking at footwear and its wearers in a show that demonstrates the creativity and style of shoemakers and wearers throughout history. From the oldest shoes in the collection – a pair of red velvet mules from the 1690s – to sneakers and trainers from the 2000s; from shoes belonging to Queen Mary and Queen Victoria to designer shoes by Vivienne Westwood, Manolo Blahnik and Jimmy Choo, Shoephoria! offers a close-up look at the various styles that make up the history of footwear.

FLORA L EMBROIDERED HIGH HEELS-1760S

The exhibition will be presented in three sections: On entering, visitors will encounter a series of 20 ‘interventions’ – shoes grouped within different areas of the A History of Fashion in 100 Objects display, inspired by the fashionable dress on display in that area. Visitors can marvel at 18th-century pattens, delicately embroidered baby shoes, treasured silk wedding shoes and sparkling party shoes. They will walk through periods of austerity, through the 1960s space age and the flamboyance of the 1970s, right up to the rise and rise of the sneaker. There will also be a line-up of designer shoes, including a pair of high platform shiny black shoes by Vivienne Westwood from the early 1990s. The shoes will be presented in a series of creative juxtapositions, bringing out new connections and intersections between the historic footwear and fashions on display. The Wearers’ Walkway will be a photographic presentation of ordinary people and their extraordinary shoes. “The Fashion Museum collection of historic boots and shoes is a springboard for all kinds of personal stories about people and their footwear choices,” said Fashion Museum Manager Rosemary Harden. “We wanted to capture these local and community-based narratives and present them in the galleries in the Wearer’s Walkway, and we really hope that this will in turn encourage visitors to share their own shoe stories on social media channels using #MyShoephoria.” In the main Shoephoria! exhibition gallery, shoes will be presented in a sequence of ten large ‘shop window’ display cases, grouped in themes showing shoes for different activities, alongside footwear inspired by that activity.

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Shoes worn by famous ballerina Margot Fonteyn in the 1940s and 1950s will be set alongside a pair of foldable ballet flats by Cocorose London produced in collaboration with The Royal Ballet, and pairs of pointe shoes by Freed for different skin tones, a recent collaboration with Ballet Black. A pair of thigh-length waders worn fishing in the rivers and streams around Bath will be presented alongside a pair of fishnet fashion boots by American shoemaker Herbert Levine. PAGE

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The most basic purpose of footwear is to help us to walk, and the main exhibition opens with the soles of Roman shoes found in archaeological excavations in Walcot Street in Bath. These are set alongside prostheses and trainers worn by modern-day Bath resident Harmonie-Rose Allen, who lost her limbs after contracting meningitis as a baby. The display follows her progress from Peppa Pig prosthetic limbs to her first blades – which are both leg and shoe in one. The exhibition will look at the materials used in shoemaking, from hand-crafted shoes to modern manufacture. The Fashion Museum is pleased to work with PETA to showcase ‘vegan shoes’, different contemporary options to the traditional use of animal skins for fashion footwear. The exhibition will include a pair of bright red platform sandals by leading vegan shoe brand Beyond Skin, as worn by Miley Cyrus in a 2017 Cosmopolitan cover shoot, which are made of recycled plastic bottle tops. The Fashion Museum is also honoured to work with Manolo Blahnik to present a selection of the famous shoemaker’s signature classics and footwear inspired by his passions, including gardens and Georgian Bath. Rosemary Harden, Fashion Museum Manager, said: “Shoephoria! is a celebration of the Fashion Museum’s fabulous collection of historical footwear. The show will be a joyous re-awakening of the Museum, so stand by for variety, originality, creativity, community, and over 350 pairs of fashionable and extraordinary shoes through the ages. We look forward to welcoming visitors back to the galleries when it is safe to do so – please check our website for details.”

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Councillor Paul Crossley, cabinet member for Community Services at Bath & North East Somerset Council, said: “We can’t wait to reopen the Fashion Museum as soon as possible and we will be following Government guidelines to ensure that our visitors can enjoy the Museum safely. We look forward to welcoming people back to explore highlights from our world-class collection of fashion and see the long-awaited new Shoephoria! display.”

Star objects in the display include: • • • • • • • • •

Dancing shoes worn by Nicola Adams on YELLOW SILK-GOLD FRINGE SHOE C 1990 MANOLO BLAHNICK Strictly Come Dancing 2020 Shoes worn by iconic British ballerinas Margot Fonteyn and Alicia Markova Queen Victoria’s elastic-sided boots from the 1850s, by shoemaker Joseph Box Shoes and prosthetics worn by seven-year-old Harmonie-Rose Allen from Bath, a junior ambassador for Meningitis Now The oldest shoe in the Museum’s collection: a red velvet mule with gold and silver embroidery ca 1690s Noel Coward’s monogram-embroidered velvet slippers ca 1967 A pair of long, green Russian boots ca 1900s worn by Lady Ottoline Morrell (1873 -1938), an English aristocrat on the fringes of the Bloomsbury Group Queen Mary’s diamanté bow shoes ca 1930s, by celebrated British shoemaker Rayne A pair of Dr Martens boots (about 2015) digitally printed with an image taken from famous series of Georgian paintings The Rake’s Progress by Hogarth

The Fashion Museum is one of the world’s great museum collections of historical and contemporary fashionable dress, situated in the beautiful World Heritage City of Bath. Designated as an Outstanding Collection by Arts Council England, the Fashion Museum collection includes fashionable dress for women, men and children, from the 1600s to the present day. S I LV E R S P I K E H E E L S N A K E S H I N S H O E , BY A L E X A N D E R M C Q U E E N , D R E S S O F T H E Y E A R 2 0 1 1

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From hand-crafted shoes to modern manufacture

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Maurizio Galante

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chase. Iconic model Amalia Vairelli interprets the rhythmic sequences in her gestures, pauses, and gaze. The ancients believed that the answers to life’s great questions lay in the sky, in the reading of the stars. The collection thus pays homage to light and movement of the night sky and its constellations, and to those precise moments when the sun dips below the horizon, giving way to the first stars of the evening.

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ntitled Destined, Maurizio Galante’s Haute Couture collection is the second video presentation panel of his triptych celebrating Paris and Parisian women. Staged at the Arab World Institute, (Institut du monde arabe), where the Mashrabiyas’ traditional patterns of artistic Arab geometry on the building’s facade carve shapes and figures in light and shadow, casting a fantastic imaginary forest. Glass elevators transport a magnificent creature while alternating in a hypnotic

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A magnificent Creature

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Small cropped tops in translucent organza are coupled with wide trousers in linen and silk canvas. Cloaks, kaftans and evening dresses sway around the body like passing clouds. Pleated Bermuda shorts comprised of strips of silk canvas. Silk thread crochet bolero embroidered with freshwater pearls. Swirls in jersey for a short dress. Large architectural collars marry with narrow volumes that envelop and wrap around the body. Ethnic shapes and constructions contrast with loose fluid fabrics. Ultralight silks adorned with ribbons and embroideries in oriental motifs.

GALANTERIE HAUTE JEWELLERY A RING COMPOSED OF GOLD BRANCHES IMPRISONS A LARGE CITRINE STONE. LARGE GOLD EARRINGS IN GEOMETRIC SHAPES.

click here to watch the fashion show


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Rahul Mishra T

his Haute Couture Collection of Rahul Mishra renders his artistic expression in couture.

A recollection of the overall experience, of how a physical space is perceived by the eyes and felt by a soul. Five elements, all containing, form a physical space when combined together in right proportions earth, water, fire, air and space. At Rahul Mishra atelier, they have attempted to comprehend the city of Santorini through this point of view and translate those elements into clothing. Intricate details rendered in hand embroidery hand cut and individually tacked on the bright hued, ombre surfaces.

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EMBROIDERIES AND INTRICATE DETAILS

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Pinched, gathered and sheered lengths of tulle representing air and water in their different interpretations gives volume and movement to the otherwise sculptural silhouettes. Some of the other applications include dramatic draping of sheer fabric, so as to create a fluid bubble around the garments.

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Five elements: Earth, Water, Fire, Air and Space PAG E

This season, as they tread further into creative expression through couture, their purpose and founding values of sustainable and slow fashion only seem clearer by the day. With this collection they feel elevated confidence in their intentions and pride, for them entire team of artisans, weavers and embroiderers that wholeheartedly contribute to the realization of our dreams, come what may.


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Ronald Van Der Kemp worked for over 25 years as designer and creative director for high-end international luxury brands such as Bill Blass, Celine/Michael Kors, Guy Laroche and Barneys before launching a label under his own name. RVDK is on a mission to show the world that ethical fashion can be glamorous and exciting, injecting High Fashion with a feeling of nostalgia and a longing for the heydays of Haute Couture. RVDK believes that a form of art can change behaviour which leads to a bigger change in the industry. “The world is full of beautiful things we can’t see anymore. Because we are to busy to considerate them or too rookie to appreciate them. We are fashion alchemists: We capture unused beautiful fragments and turn them into unique work of art. for the sake of beauty. For the sake of our planet.” PAG E

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Each style is ethically made with highend existing materials and leftovers, and crafted by hand by small ateliers and artisans in his native Holland.

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ounded in August 2014, RVDK shuns the fashion system’s wasteful ways, proposing wardrobes consisting of limited-edition statement pieces, that are seasonless and timeless clothes as an expression of a women’s personality underlining her strength and character.

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EMBARK ON A JOURNEY OF IMAGINATION WITH DE BEERS’ NEW HIGH JEWELLERY COLLECTION An invitation to embark on a journey of the imagination and escape to breathtaking locations that reside in the countries close to De Beers’ heart. Inspired by remote and remarkable landscapes, the Reflections of Nature High Jewellery Collection, featuring Okavango Grace, Motlatse Marvel, Namib Wonder, Landers Radiance and Ellesmere Treasure, will launch on 25th January 2021 during Couture Week.

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ive spectacular sets. Thirty-nine exceptional pieces inspired by natural beauty.

Each featuring some of the most beautiful diamonds in the world, skilfully combining a beautiful juxtaposition of rough and polished, white and fancy colour, and a plethora of fancy shapes. Statements of design,innovation and time-intensive craftsmanship, each piece is an individual expression of the wearer’s style and personality. Nature’s treasures, our diamonds were forged over billions of years, deep within the earth. Our passion for nature and our belief in the importance of forever are why we are dedicated to preserving the natural world for generations to come. This is one aspect of Building Forever, our long-term commitment to improve people’s lives and protect the planet. One way this comes to life is through the De Beers Diamond Route, a series of rich and diverse sites dedicated to the conservation of natural resources, habitats and wildlife that covers 200,000 hectares of land across southern Africa.

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OKAVANGO GRACE A maze of waterways, floodplains and islands, set among verdant vegetation in north-west Botswana, the Okavango Delta is an oasis attracting one of Africa’s greatest concentrations of wildlife. The tall, slender reeds that stud the water and sway in the breeze have inspired the design of Okavango Grace, with rough and polished diamonds suspended in organic strands, expertly set to move. Its nine styles offer an exuberant selection of rough diamonds in a colour scheme of green, pink, brownish pink, purple and grey diamonds that reflect the untamed character of the Okavango, contrasting with graduating round brilliant white

diamonds, suggestive of water. All are bezel and prong set to artfully articulate and enhance the design’s focus on fluidity. A striking ring features a rare 1.01 carat, fancy dark greyish green diamond at its centre, and the scalloped edges of its design are inspired by the Delta’s lush, verdant beauty. Surrounding the central diamond are round brilliant white diamonds, edged in 12 bezel-set green and pink rough diamonds. To complete the effect of shimmering water, round brilliant white diamonds are set into the upper shank. The ring has a total weight of 5.44 carats. PAGE

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Namib Wonder

The oldest desert on Earth and home to some of the world’s largest sand dunes, the Namib snakes along the coastal plain of western Namibia, its distinctive ochre and red sands glow in the intense heat. A repeated, rippling pattern is the motif for Namib Wonder, echoing the undulating dunes. Round brilliant pavé conveys the texture of sand, while rough diamonds express the desert’s magic and mystery. The colour theme is yellow and white diamonds, set in yellow and white gold, reflecting the dramatic hues. The set is comprised of nine styles, including both climber and drop earrings, featuring roughs with cap settings, a new aesthetic for De Beers that creates a fringe effect.. The large medallion is set with round brilliant pavé edged in oval rough diamonds, culminating in a tassel of overlapping diamonds. Delineating the shape of wings, it appears as if ready to take flight into the clear Namibian skies.

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MOTLATSE MARVEL Situated in South Africa, Motlatse Canyon, with its subtropical flora, is one of the largest canyons on earth. Its towering peaks and cavernous depths create striking vistas, particularly during sunrise and sunset. The intense light sets the rock formations ablaze, contrasting with the gorges that are plunged into dramatic shade. The sun and its interplay with the scenery make up the main motif for Motlatse Marvel. Meticulously re-cut baguette diamonds, channel set into sleek rows, represent the hard, resilient qualities of the canyon’s stone. These are juxtaposed with softer, more feminine cuts, such as cushion, round PAG E

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brilliant, marquise and pear shapes, conveying the suffusion of sunlight at dawn and dusk. The colour theme in its seven styles encompasses warm and cool tones. Red, brown, orange and yellow diamonds suggest the intensity of the sun and the natural colour of the rock, while cooler brown and pink accent diamonds are a nod to the shadows. The bracelet, with its spectrum of fancy colours and multiplicity of cuts, comprises 158 diamonds with a total weight of 26.98 carats. Exceptional sourcing from De Beers means the designers were able to create seamless gradations of colour for each piece.


Landers Radiance An underwater wonderland in South Africa, Landers Reef is abundant with colourful coral and teeming with tropical fish. The scalloped aesthetic was inspired by the surface of thistle coral and forms the central motif. With eight styles, this set has the largest mix of diamond cuts and colours. The round brilliant diamonds evoke the coral, while the tutti frutti scheme of fancy coloured diamonds, in cushions, marquises and pear shapes, represents the reef’s myriad fish. A cornucopia of rough diamonds epitomises the vibrant, vital world of the deep. The designs also incorporate a mix of meticulous

setting techniques, with the spectacle setting framing the diamond within a bezel. It takes six hours for a single diamond to be set this way and can only be achieved through expert craftsmanship. Fluidity is a key feature. In the cuff bracelet, imaginative design meets impeccable technical expertise. A bangle of channel set round brilliant white diamonds is interspersed with quintets of round brilliant yellow diamonds, bezel-set in a scalloped pattern. This suspends multiple yellow rough diamonds, spectacle-set so they not only move freely but can be seen from both sides.

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Ellesmere Treasure

There is a kaleidoscopic feel to the Ellesmere Treasure set, a symmetry reminiscent of snowflakes, with floral and branching motifs forming the patterns within. The set is created from white diamonds, inspired by the pristine wilderness of Ellesmere Island, each one hand-selected for its astonishing clarity. Round brilliant pavé diamonds have been chosen to convey the purity of ice. Marquise and round brilliant accent diamonds are used to exquisite effect as they outline the frosted willow leaves, with central-focus diamonds cushion

cut for maximum impact. Prong and claw settings have been used throughout the six styles to capture the delicacy of the motifs. With its 932 white diamonds, the necklace repeats patterns of frosty Arctic flora, framed by two channels of round brilliant diamonds, conjoined with a petal-like bow studded with a 2.18 carat cushion cut diamond. The ring blooms like a frozen flower and has an unmistakable sense of contemporary grandeur. Historical yet timeless, Ellesmere Treasure is a portrait of glacial glamour.

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or two years, I’ve saying that I didn’t about nostalgia. season, though, it’s where started.

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I found myself wondering, again and again: What if you combined a little Manet; a little Lacroix; a little 1980s; a little 1880s; a little matador; a little space alien; a little Ingres; a little shimmer; a lot of color? Could I do it? And what would it look like?

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The answer is this, my fourth couture collection,

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“The Matador”: A collection that honors Elsa’s vision but isn’t in thrall to it. If last season was about deconstruction, about pushing past the boundaries of what couture was, about trying to upend all its unspoken rules, about doing things we weren’t “supposed” to do, this season, I felt the freedom to make something fiercely, undeniably, unapologetically pretty because sometimes you have to rebel against beauty in order to return to it.

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A RETURN TO INNOCENCE It also represents a return to innocence, to the joy that drove me into fashion in the first place. A year ago, I felt like I was designing for the end of the world. But the world didn’t end. We’re still here. Fashion is still here. Couture is still here. And not only is it still here, but in a world increasingly reliant on the easily replicable and the digitally disseminated, its power—to stop you in your tracks is greater than ever. I wanted to honor the potential and power of the art form by returning to the fashion I loved in my youth. Blind nostalgia isn’t healthy: we can’t romanticize the past, especially when, for so many groups of people, the past wasn’t romantic at all. But the gift of fashion is its ability to allow us to pretend, and that is its promise as well; if we dream hard enough, maybe we can will that beautiful past into existence.

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This collection was conceived in three parts. The first pays tribute to Schiaparelli jackets of the past: you see references to the Maison’s earlier, iconic shapes in the white denim matador-inspired cropped jacket embellished with embroidered barrel sleeves and black silk tassels, worn over a structured tulle skirt. You see it in the black wool crepe curved- sleeve one, heavily embroidered with dozens of shell-pink silk roses - a direct homage to the Jean Cocteau x Schiaparelli masterpiece from 1937. You see most of it in the multicolor peau de soie Look 1, a garment made of vintage Schiaparelli swatches we collaged together and recreated exactly. I think of them all as being in conversation with some of Elsa Schiaparelli’s most irreverent, imaginative creations from the late 30s, all recreated here by Lesage using many of the same techniques

and materials. The second part of the collection focuses on the body and bijoux, a tribute to romance of the house’s visual vocabulary. Here you have dialogs between hard and soft, machine and human, metal and fabric. Here is a delicate pair of human lungs, seemingly crafted from a web of capillaries dipped in gold, worn atop severe black crepe gown. Here are moldings of the torso paired with a stole made of black shredded trash bags that are knit together in pure silk. Also bijoux becomes embroidery: the nose, the stomach, endless pairs of lips and ceramic eyes, hand-patinaed in the house’s signature Giacometti-inspired gold, and set in rococo frames. Here are the accessories: a minaudiere shaped like a giant pair of lips; a belt clasp with a cast hand that seems to hug the wearer across her waist.

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A TRIBUTE TO ROMANCE Finally, there’s a celebration of color, a black stretch velvet dress, perfectly fitted, with a gigantic shocking-pink silk faille rose at its center; a silk velvet dress with soft, semi-conical breasts and, in the back, a crisp fan of Renaissance-blue peau de soie. Everything here feels both over-the-top and intentional: the colors cornflower blues, salmony pinks, terracotta oranges, are as flamboyant and joyous as the shapes themselves. It is unapologetically emotional, this collection, as giddy as falling in love. It is also a tribute to romance, to excess, to dreams, because really, PAG E

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is there anything more urgent today than dreaming big? Than dreaming of a better world? Of grabbing every piece of beauty with both hands? Here’s what I want: No more cookie-cutter fashion. No more pieces that look like they could have been made by anyone. No more cynicism. No more irony. No more timidity. No more coolness. Give me more beauty, more earnestness, more romance, more effort. I hope this collection reminds everyone who encounters it of the sheer delight that fashion can bring us in hard times, and with it, the promise of more joy when the clouds part. Give me more fashion. Give me more hope.


STÉPHANE ROLLAND From water and stone were born the latest Stéphane Rolland creations for this winter 2021/2022 season; the encounter with the French artist Beatrice Serre will make the precious embroidered mineral mosaics bloom. The silhouette is souple, wide, generous. The trapeze line of the tunic dresses and long gilets with train cross the opulent roundness of the sculptural crinolines.

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ell-being in sophistication. A long white sweater in grainy crepe paved with Carrare marble drags wide froth streaks. Limestone pebbles become monumental jewellery sets, worn on long white vegetal leather gloves. A black pleated organza tide flies off a corset covered in rock crystal and white howlite on a gigantic dark night silk skirt. Filmed in the Pays Basque’s dawn light, Nieves Alvarez, absolute muse, evolves on the wide sand stretches and sea walls in Hendaye, Biarritz and Bidart, natural stages.

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NATURAL STAGES

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A mosaic made of amber, marble and citrines flows on a long and wide tunic in golden lamé brocard. An other mosaic splashes with jade and malachite a long metal knit gilet. A gigantic poncho, as a white satin wave, is worn on yellow jersey trousers, punctuated with gold hoops. The sky ignites as the day sets and like an open air opera, a red satin hooded crinoline, embroidered with red and white coral, blends in the last rays of sun.

click here to watch the fashion show

The last rays of Sun

Dawn arrives, the first streaks of light glide on the sea. True solar bubble, the light glistens on an imperial smock jacket in yellow satin duchess embroidered with mother of pearl cabochons.

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C R E A T I V E D I R E C T O R : S T É P H A N E R O L L A N D P H O T O G R A P H Y : P A U L M A R T I N E A N D F R A N C K P E R R O G O N


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AN IMMERSIVE WEB EXPERIENCE

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August Getty Atelier

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ugust Getty Atelier reveals ‘TINITUS’ with fifteen hand-crafted designs in following of last March’ prelude of the world’s first digitalized couture looks developed in collaboration with the Institute of Digital Fashion. Four virtual garments in landscapes of this utopian world created an immersive web experience, referencing Arthurian legend, Roman mythology, and spiritual iconography. This unique digital prelude introduced a bridge and visual pathway to the collection’s physical realm and final reveal captured by legendary artist and photographer Ellen von Unwerth.

DIVERSITY IS WELCOMED

With distinct imaginative design, August Getty -and his Atelier transcend the boundaries of traditional couture symbolizing the acknowledgment of societal shifts and need for positive change. He created ‘TINITUS’ as an inclusive universe where all are accepted and diversity is welcomed, where anxiety turns to artistry, where trauma transforms into expression. In the designer’s own words: “… ‘TINITUS’ is a world within sound the only access is vibration. It’s a world of escape, not escapism … ‘TINITUS’ is about colors so loud that you can hear them. And it’s a place where you can repaint your past where it was once so dark in a new, vibrant color.”

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Getty’s utopian dreamscapes come to life with fifteen exquisite couture garments, including those previously existing only in digitalized form. The collection is comprised of intricate hand embroidered gowns and tailored

suiting in bold colored exclusive fabrics, hand painted Italian silks, French velvet, soft lambskin and molded leather. Each design is an alluring vibrant celebration of fierce expression of individualism that is ‘TINITUS.’


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Globetrotter Steel

Having first made its appearance in red gold, the updated design for the Globetrotter now also featuring a steel case that co-ordinates perfectly with the large bridge spanning the world map of the northern hemisphere. Offering unparalleled aesthetics, this “world time” complication watch harnesses all the design skills and finishing dexterity at Arnold & Son. The Globetrotter adds to the prestigious lineage of marine chronometers that John Arnold created for the British Navy in the 18th century, instruments of precision and time telling renowned the world over.

After revisiting the aesthetic with the Globetrotter Gold, Arnold & Son returns once more with the steel version of its world time watch. The Globetrotter Steel preserves the Earth’s halfglobe and sapphire crystal ring, which together make it possible to read the time north of the equator. A choice of two dials is available. One in tonal blue, lacquered, with sunburst decoration, in an exclusive series of only 88 pieces. The other, in silvery white, also lacquered and with sunburst decoration, with no limit on the number of pieces. PAGE

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rnold & Son has designed a watch with harmonious, sleek lines. The case forms a continuous line from the strap to the sapphire crystal dome suspended above the dial. This large transparent hemisphere follows the line of the steel arch bridge that sets the Globetrotter collection apart from all other timepieces. This arch is openworked with a satin finish on all its flat surfaces, chamfered and polished by hand. The slender chords rest on two feet fixed with screws, like a stylised bridge spanning two banks. Here it reaches across half of the world, the most densely inhabited part of the earth: the northern hemisphere.

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Vast and detailed At 45mm, the Globetrotter Steel has a large case. The hemisphere was the guiding principle for the design, requiring a certain amount of space. Everything resting above the equator, including America, Eurasia and Africa, is all visible in a wealth of detail. The model is a one-of-a-kind sculpture, the continents first rhodiumplated and polished. In contrast, mountain ranges are rendered matt. The oceans are hand-painted with numerous layers of lacquer in blue pigments, enriched with mother-of-pearl powder which imparts exceptional depth and shine. In a lighter tone enriched with Super-LumiNova, the shorelines stand out at night, further accentuating the textured elements of this miniature showcase of manual craftsmanship. Arnold & Son also offer the southern hemisphere and can customise the world map of Globetrotter collection pieces to special order.

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The Ulyana Sergeenko Fall-Winter 2021/2022 Haute Couture collection is the first to be presented by the house as a correspondent member of the Fédération de la Haute Couture et de la Mode. The collection was shown as a film, directed by the bewitching Renata Litvinova, with Natalia Vodianova starring in the leading role.

Ulyana Sergeenko

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A multifaceted Inner World

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he scene is set under the open sky, in a field adjacent to an old estate. The heroine enters a parallel reality, appearing in several forms, reflective of her multifaceted inner world: sometimes she is vulnerable and gentle, and sometimes, mighty and determined. Throughout the creative process, Renata drew her inspiration from Andrei Tarkovsky’s strong female characters as well as René Magritte’s surrealist pieces. Thus, the dark balloons floating above the field were a reference to the painter’s “The Voice of Space”. In the words of the director, these eerie, anxious spheres soaring in the twilight skies peculiarly highlight Natalia’s beauty and fragility.


MYTHS AND LEGENDS

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A MYSTERIOUS ATMOSPHERE

The mysterious atmosphere and bizarre object combinations perfectly encapsulate the intentions of the painter: “One cannot speak about mystery; one must be seized by it.” The Fall-Winter 2021/2022 Haute Couture collection was inspired by the natural beauty and the rich culture of Karelia, a land of bottomless lakes and dense woods, strewn with myths

and legends. The constrained colour palette is reflective of the hues seen in the Russian North. The cool blue skies, the gray layered marble, the pale coral cloudberries and the silver aspen church domes, which miraculously appear to change colour under different lighting. The dark, intense tones remind one of the forest depths. PAGE

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Clean silhouettes with sharp angles, achieved through corseting, are a reference to the streamlined architecture of ancient wood constructions. Transparent, flowing dresses with elaborate embroidery neighbour more exaggerated garments with enlarged shoulders, rigid leather corsets and thick fabrics. This season, the fashion house continued to incorporate elements of traditional craftsmanship and assimilated new techniques into the atelier, novel forms of embroidery, lacemaking and laser cutting.

TRADITIONAL CRAFTSMANSHIP M Y T H I C A L

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Jewelers from the “Rostovskaya Finift’” factory have created brooch sets in the forms of mythical characters for the collection. Multicoloured details decorating several pieces were carved out at the Maltsov Crystal Factory in Gus-Khrustalny. Yelets lace components, painstakingly hand woven over the course of 4 months by the “Kruzhevnoi Krai” atelier, feature upon corsets and evening dress basques. Floral designs are entirely absent in the Fall-Winter 2021/2022 Haute Couture collection, replaced with more geometrical patterns. Much was based around the shape of a “lemekh”, a scale-like wooden shingle covering the church domes of the “Kizhi Pogost” an architectural ensemble on the Kizhi island. Moreover, ancient drawings of solar symbols, normally placed on the outside of a house to protect against evil spirits, were reinterpreted by the design bureau. References to these elements can be found in lapels, streaming rows of fringe upon a corset or a dress, a unique technique of leather perforation, in the pared back geometry of Yelets lace and in the patterns of knitted pieces. One can also discover pagan myth characters, birds, horses and wolves, traditionally seen in Zaonezh and Pudozh embroidery, among the details of the collection. The image of the bird represents happiness in Slavic cultures, and the horse symbolises a protector. These creatures come alive atop jackets, dresses, in the intricate webs of Yelets lace and in appliques. The looks within the new collection are completed by a range of accessories: jewellery, evening bags, chatelaine belts, balaclavas, gloves, shoes and stocking-boots with garter belts. Necklaces are embellished with keys and drop pendants. Made of white and yellow gold, the pieces are encrusted with coloured semi precious stones. The balaclavas are laboriously produced by hand using several knitting techniques and beaded with river pearls and crystals. The outerwear is fastened using wide leather belts with keyholder-chatelaines with centerpieces shaped as a wolf head. Gartered stocking-boots and long satin gloves with Gus Crystal details add a touch of femininity to the stronger, darker looks. Evening dresses are paired with silk-satin duchesse high-heeled pumps. PAGE

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MULTICOLOURED DETAILS

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PA R F U M S DIOR

C R E AT E D MAKEUP

CHRISTIAN FOR TA J A N SOPHIE

HAUTE COUTURE COLLECTION DIOR

Peter Philips , Creative and Image Director for Dior Makeup, created a makeup look in which the eyes are the focal point, emphasized by a deep blue eyeliner drawn under the lower eyelid, for the Autumn-Winter 20212022 Haute Couture Collection by Maria Grazia Chiuri. “I wanted to create a variation of an “under- liner” in a cool, couture midnight blue that is both dense and soft.”

P H OTO G R A P H Y:

DIOR AUTUMN-WINTER 2021-2022

Make Up A-W 2021-22 Dior Haute Couture Collection

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Make Up AutumnWinter 2021-2022

EYES Peter Philips explains: “I started by applying black eyeliner using Diorshow 24h stylo 091 Matte Black under the lower eyelid, taking it all the way to the inner and outer corners. Next, using a flat brush, I applied this line of very dense, midnight blue eye shadow from the 5 Couleurs Couture 279 Denim palette. Then, to obtain a soft, more smudged effect, I blended the eyeshadow lightly with a brush. I coated the lashes lightly from root to tip with Diorshow Iconic overcurl 090 black in order to give them volume. To finish, I tidied up eyebrows with Diorshow Kabuki Brow Styler .” COMPLEXION Peter Philips describes “…a perfect and luminous complexion thanks to skin prepped using the Dior Prestige routine with the MicroLotion De Rose, the Micro-Sérum de Rose Yeux and the Micro-Huile De Rose Advanced Serum . Then I used the Dior forever foundation which evens the skin out translucently. For touch-ups I applied a few touches of Dior Forever Skin Correct, then I sprayed a light mist of Dior Forever perfect Fix to set the makeup. LIPS lips looked very natural, hydrated with the transparent, Rouge Dior Satin Balm 000 Diornatural. NAILS Nails were natural in Dior Vernis 108 Muguet . HAIR Hair was styled in low ponytails.

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VAISHALI LIFE AS WHOLE

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reath is something that has remained unacknowledged in most of us. Ironically, we all feel it and it is the only thing that is happening every moment, continuously from the moment we were born. And still, its presence is taken for granted. It is the only inevitable exchange that is happening between us and the rest of the world. Why did we stop acknowledging the most prominent, evident and essential process that ensures our existence here? Breath is the only thread that unites everything as one and supports life as whole. Handwoven fabrics from various states of India become a canvas to celebrate life and restore a zero-waste approach, preserving the museum- quality weave in innovative corded texture. This signature cording is braided along with Merino wools and Chanderi silks throughout the collection to remind us of the essence of all living beings around us. Breath gives us the ability to form a connection with ourselves and others. This interplay is like the threads unraveling from a spool to form fabric that blends the weaves of India. A confluence of two worldstraditional and modern on a platform of art and expression. The collection embodies an artistic interpretation of handloom fabrics as our second skin, with a desire to wear ensembles created with nature itself and is timeworn in its quality. With an ageless paradigm of Indian textile vocabulary, every thread and fibre sings the songs of lost tales and soil of the Indian lands. PAG E

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It is essential to pay attention to this one outstanding process because through it, our existence has been challenged and proven. This collection is a statement and celebration of our existence through a simple action of taking a Breath.

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THE ESSENCE OF ALL LIVING BEINGS AROUND US PAG E

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A RT I S T I C D I R EC TO R G AU LT I E R PA R I S S A C A I © CO U RT ES Y O F G AU LT I E R PA R I S PA R S A C A I

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C R EAT I V E D I R EC TO R: V I RG I N I E V I A R D P H: M I K A E L JA N S S O N

C R EAT I V E D I R EC TO R:G I A M BAT T I STA VA L L I C O U RT ESY O F G I A M BAT T I STA VA L L I I M AG E RY A N D V I D EO S H OT AT ES PAC E N I E M E Y E R © N I E M E Y E R, O S C A R / A DAG P, PA R I S, 2021

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C R EAT I V E D I R EC TO R: A L E X I S M A B I L L E P H: M A R I E V I C

CREATIVE DIRECTOR: VIKTOR HORSTING & ROLF SNOEREN PH: MARIJKE AERDEN

PURE STYLE

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VALENTINO F

ashion and art are creative practices that respond to different purposes, one linked to the body and movement, the other completely free from constraints of sorts, which nevertheless find a conjunction in the atelier: the place of making, of thinking with the hands, of translating a desire, an idea, a sensation into a tangible object.

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Driven by the urge to build a community of makers around Maison Valentino, convinced that painting is to contemporary art what Haute Couture is to fashion, Creative Director Pierpaolo Piccioli brings a group of painters of all ages, backgrounds, and aesthetic inclinations into the Atelier, involving them in a dialogue that is written forever on the skin of the clothing, transmuting its surfaces, giving three-dimensionality to what is meant to live on a two-dimensional support, animating in movement what is imagined to be observed and contemplated as something still.

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TRA N SLATING A DE SIRE A SE N SATI ON INTO A TA NGIBLE OB JEC T

THREE-DIMENSIONALITY Relying on the alchemical process of the Atelier work, and therefore on the hands of other makers, focusing on listening and slowness of process, Pierpaolo Piccioli translates the color layering, the signs, the backgrounds, the full and empty portions into lines, cuts, compositional gestures, involving each artist in a conversation entre deux on the dress itself. The result is a collection of dialogues in which a new identity emerges from the confrontation of two, and is captured in the dress. PAG E

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This experimental and metamorphic process rhythms a collection that summarizes the Couture codes of Valentino, from floating hats to grandiose ball gowns, loading them with vibrant colors, fluidifying them in nonchalant draping and movement. The silhouette is long and layered, or short and sculptural. Clothes open up possibilities, for both women and men, in which the virtuosity of the workmanship dissolves in ineffable, effortless lightness. PAGE

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# V a l e n t i n o D e s A t e l i e r s # V a l e n t i n o H a u t e C o u t u r e


The Couture Codes of Valentino

Maintaining their healthy otherness, fashion and art meet in an experiment of translation, in a gesture that expresses unity and community spirit.

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he Viktor&Rolf Haute Couture AutumnWinter 2021 Collection “THE NEW ROYALS” is inspired by the new generation of royals and their attempt to show a human reality behind the facade of an institution. Fashion, like the monarchy has its own hierarchy, its courts, its power alliances and its Kings and Queens.

A HUMAN REALITY

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The world is obsessed with royalty, perhaps even more so than with fashion. Both require putting on a show, and this show must always go on, no matter what. The collection and presentation pay tribute to the survival instinct of an institution that fashion artists Viktor Horsting and Rolf Snoeren have loved and served for almost 33 years: Fashion. At the same time this season addresses the ambiguity of ‘keeping up appearances’, regardless of what happens behind the scenes.

As always, it is done with a positive twist. This season, Viktor&Rolf wanted to show how everyone can become a Queen and how everyone can behave like royalty. No matter if their furs are plastic, their jewels are paste and their gowns patchworked in polyester. A perfectly imperfect juxtaposition between what is real and what is fake. Each look comprises of three layers a dress, coat, and a sash and are adorned with reignited Swarovski crystals. With this season’s styling, Viktor&Rolf introduce an exclusive selection previewing the upcoming MelissaViktor&Rolf shoes and bags. PAGE

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The Power of Alliances


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Everyone can become a Queen or King

Further to the digital presentation which debuted online, Viktor&Rolf has hosting a one day, by invitation only, exhibition at the Chapelle Expiatoire in Paris. The chapel is a historical monument dedicated to King Louis XVI and Queen Marie-Antoinette. It is constructed on the grounds where they had been buried after they had been guillotined at Place de la Révolution in 1793, to be later transferred at the Basilique Saint-Denis. The installation is curated by Thierry-

Maxime Loriot. He explains: “Past, present and future is the essence of creation for fashion artists Viktor&Rolf. By reinterpreting History and reinventing their own codes season after season, their collections are also about universal values beyond fashion. The strong message in their work captures not only the zeitgeist, but also says a lot about the society we live in today, beyond its elegance and humor, it is relevant to all.“ PAGE

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A PERFECTLY IMPERFECT JUXTAPOSITION BETWEEN WHAT IS REAL AND WHAT IS FAKE

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Yanina Couture YANINA’S HEROINE THIS SEASON EMBODIES INDEPENDENCE, SENSUALITY AND SENSITIVITY, WHILST GRACE AND REFINEMENT INFUSE THE COLLECTION.

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or Autumn/Winter 2021, designer Yulia Yanina celebrates femininity, reincarnating the provocative mystic grace of Marie-Antoinette, Queen of France, still haunting our spirits nowadays. YANINA’s heroine this season embodies independence, sensuality and sensitivity, whilst grace and refinement infuse the collection. The main characters this season include corsets, bows, linen styles and 18th century male camisole, all reinterpreted in a modern style. Marie-Antoinette’s favorite flower, the violet, is also depicted, through decorative embroideries used on ball dresses and skirts.

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A SUBLIME GARDEN

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Colors and fabrics resemble the sublime Garden of Versailles on an enchanted night. Black, blue, marrons, silk velvet and weightless gray mesh are mixed and matched with dramatic black lace. Impeccable and strict cuts are complemented by lingerie style foundations, also including loose strap designed using embroidery and lingerielike embellishments.

Yulia Yanina’s play on textures create subtle yet bold looks filled with intrigue and provocation. YANINA Couture styles are an ode to beauty. Yulia Yanina and her Atelier succeed in creating unique looks designed to incite magic. The YANINA woman is eternal, she travels in time and reveals her emotions in the most genuine manner. PAGE

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The celebratory collection marks the brand’s 10th couture collection shown at Haute Couture Week as a guest member.

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The presentation this time is a combination of three different elements: a physical runway show held at Osanbashi Pier in Yokohama, Japan; a film presentation of the show premiered at the official online platform of Haute Couture Week; and a set of editorial photos shot by the photographer Yasunari Kikuma.

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This collection came to fruition as a result of a close collaboration with very special guests: stylist Robbie Spencer, having worked previously with Nakazato on an editorial, marking a creative reunion after 10 years apart; and composer, pianist and activist Ryuichi Sakamoto, offering his ocean-related works for the show and video.

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UNIQUE TECHNOLOGY

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heir unique technology has continued to advance since last season.

For this collection, Yuima Nakazato conjures the voice as a unique characteristic of individuals, focusing on creating a story centered around a non-visual sensory perception. The Biosmocking patterns are based on the frequency of the whales’ voices and are poetic visualization of their unique song. The graphics of whales that are printed on leather use multiple layers of UV inkjet prints in order to give the print a braille-like tactile feeling. PAGE

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The Biosmocking patterns


The use of virgin mate to as low as possible. repaired material, whil ing low impact on the innovation; Brewed P oped by Spiber.Inc.) is tional kimono textile f never-before-seen me Many of the looks fro only with square patt genders, body shapes

A NEW

THE COLLECTION IS UPCYCLED MATERIAL AND THE OTHER MATERIALS ARE ALL NATURAL

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primary source for styling with various obi-belts and layering, giving a strong sense of Japonism to the overall atmosphere. The pre-recorded show was held at Osanbashi Pier. The main international passenger pier at the Port of Yokohama, which was designed by Foreign Office Architects (Alejandro Zaera-Polo and Farshid Moussavi), has a grand design reminiscent of the form of a whale. Four water related works by Ryuichi Sakamoto (FIREWATER, TOWARDS WATER, WHALE, and AQUA), were mixed by Senjan Jansen and played at the show, evoking the awe humanity feels to our planet Earth and suggesting a new step to the next era.

C R E A T I V E D I R E C T O R : Y U I M A N A K A Z A T O Y A S U N A R I K I K U M A , S H O J I F U J I I , Y U I C H I

erials in this collection has been reduced 30% of the entire collection is up-cycled/ le the other materials are all natural, leave environment. Tradition is combined with Protein™ (synthetic protein fabric devels incorporated into Nishijin-ori, the tradifrom Kyoto, producing new fabric with a etallic blue shade. om the collection are, like kimono, made terns provoking the form that covers all s and ages. Figures in Ukiyo-e became the


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ACH Collection ACH, a signature brand by HOMMÉS Studio, designs a line of luxury objects, expresses lifestyle throughout your home. Decorative pieces that carry cultures, stories, and artistic vibes showing off personality in your special room. The PET COLLECTION aims to elevate,

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to adore our best friends’ lifestyle and comfort. Fancy beds and bowls reflect its owner’s lifestyle and home decoration as well-designed as the home furniture. Perfectly suit eclectic styles and complete your home project with special care to our four-legged friends.


DUUO PET BOWLS

Small – W 14.5 cm / 5.7 in, D 14,5 cm / 5.7 in, H 8.5 cm / 3.3 in Big – W 28 cm / 11 in, D 28,5 cm / 11.2 in, H 12 cm / 4.7 in HAND-PAINTED CERAMIC

CLOWN PET BOWL

W 24.5 cm / 9.6 in, D 22.7 cm / 8.9 in, H 11.8 cm / 4.6 in MATERIALS: STAINLESS STEEL

BUBBLES PET BOWL

W 31.5 cm / 12.4 in, D 30.5 cm / 12 in, H 16 cm / 6.3 in MATERIALS: STAINLESS STEEL

COSMIC PET BOWL

W 22 cm / 8.7 in, D 22 cm / 8.7 in, H 12 cm / 4.7 in MATERIALS: HAND-PAINTED CERAMIC PAGE

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From the tabletops decor until your pet spot, curated and refined decor collections continually seek new experiences in design with the philosophy of turning a home into your magical space. Handmade objects crafted by skilled artisans with major attention to details, capable of awakening emotions and collecting memories due to the handcrafted process, making them authentic and one-of-kind. PAG E

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Curated and refined decor collections, from the tabletops decor until your pet spot, continually seeking new experiences in design with the philosophy of turning a home into your magical space. Every single collection and product carries the passion of collecting memories and emotions through objects, driving your home spirit into an exquisite experience of living. WWW.ACHCOLLECTION.COM


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