Sunday, July 13, 2014



The kind of Editorials I find intriguing are the ones that highlight the human condition in all of its intricacies, quirks, and truth. They don't have to be beautiful, sometimes I prefer them not to be. As long as they're captivating, and maybe even a bit off putting I am interested.



Some of the Editorials I love the most are the ones where the girl gets to be a bit naughty and show the parts of her personality that are typically frowned upon in society. I like a bit of mischief and rebelliousness. Novembre Magazine does a wonderful job of examining this in their Editorials.




                                                               Photo: Novembre Magazine

Saturday, August 17, 2013

Show Girl!















What a fabulous editorial! Also, I am a huge fan of RuPaul's Drag Race and I was pleasantly surprised (and very thrilled) to see Carmen Carrera starring in the editorial. This, and RuPaul  returning to MAC as the Viva Glam spokesmodel in November tells me that we are moving in the right direction

Full Editorial Here

Tuesday, July 9, 2013

Couture today...


 Is not focused so much on extravagance as it is more forward thinking, and scientific in its design. Innovative methods and fabrics are used throughout the design process. Fabric is researched and sourced throughout the world before being applied, infused, or aligned to a respective item. The Collections are smaller, offerings more simple, and more personal...Closer to the Designer's own sensibilities. What is special about Couture now is not its exclusivity, but its implications. Couture-once a measure of status and of luxury has evolved into a season that is focused less on sales, and the pressures of meeting the demand of the public. We look to Couture as a reflection of the world around us, and what we believe the world will be...through fashion design.




Viktor & Rolf Fall 2013 Couture
Photo: Style.com


Saturday, January 26, 2013

Sensual.

 
 
 

 

 


 

 

 
Kate Moss, Lea T, and Natalia Vodianova for Love Magazine S/S 2011. Absolutely phenomenal editorial. Full Editorial Here

Wednesday, December 19, 2012

Abstract





We tend to think of abstraction when referencing art, but much of the enigma and intrigue that comes from Miuccia Prada's design is due to her abstract touch. None of what she designs is ever a literal interpretation of her given inspiration.  This is what makes her so powerful season after season as a Designer from the audience's perspective, as well as that of the consumer. Miuccia Prada finds an inspiration, an idea, and it is ran through her filter. Season after season we are challenged, and often awestruck. Prada's Spring 2013 Collection was no exception- heavy on the Japanese influence, yet executed in the same dark, slightly moody and introspective way that has become a Prada signature, we saw a dress reminiscent of a Kimono (print of a Japanese flower included) done in an abstract way. Where the Kimono would have yards and yards of fabric twisted and folded into shape, the Prada Kimono was a dress with cocoon sleeves, and two asymmetrical panels of fabric on the dress in the shape of a Kimono. Everything was more sparse, and more scientific. The Tabi sock was worn on its own as a shoe, or when paired with the Geta sandal, the Tabi sock was a hybrid of a sock, the toes and upper part of the foot left exposed (almost taking on the effect of a leg warmer).

 Interestingly enough, the Kimono was almost dissected throughout the entire Collection. Elements of the Kimono were taken and applied to different exits throughout the show. One being the obi; Prada's obi wasn't fabric wrapped and padded around the waist but a top cut away and padded from the body so that the effect of the excess fabric was still present. Also prevalent in the Collection were the use of red and white, colors very significant in the Japanese culture. As the Collection progressed, those patchwork flowers evolved into Prada's beautifully muted and digitized prints.

I wonder who Miuccia Prada designs for. Such a deep, complex thought process always translates into interesting and complex clothing that never feels overwrought, rather intellectual and abstruse. Miuccia Prada's designs are a direct correlation to the formulation of her thoughts,theories, but are never concrete themselves. They seem to come to her just very briefly...


 Prada Spring 2013 Collection
 Photos: Style.com

Friday, December 7, 2012

A Focus







'When you set a path and purpose you can clearly understand the things, relationships, and collaborations that belong in your life and career, and these are the ones you seek... The rest you let go' -Diane Aiello


Photos: Dree Hemmingway
 Sang d'Encre

Saturday, October 20, 2012

A World Apart



So much of Lee McQueen's blood runs through Sarah Burton's veins. Since taking the reign at Alexander McQueen, Sarah Burton has pushed the McQueen house forward, maintaining an enigmatic connection with Lee McQueen's design aesthetic, and presenting collections that have that same other worldly quality as Lee McQueen. Burton's Spring 2013 Collection was no exception; Honeycomb cutouts and patterns ran from the veiled Beekeeper's hats to the patent leather heeled booties and thigh-high boots, and in between on the peplum suit jackets. The patterns weren't just limited to Honeycomb, small Bumblebees were also seen throughout, and the tortoiseshell chokers and cuffs were decorated with Bee pendants. Sound a bit dizzying? Tops were netted, corsets and crinolines were left exposed, the silhouette still very much rooted in the 18th century with variations on a leg of mutton sleeve, or a full skirted dress.

Lee McQueen's legacy lives on through Sarah Burton, yet where at times Lee McQueen's designs were violent, angry, or restless (never misogynistic) while heading McQueen, Burton's design has exhibited a sense of ease, and calm. Her direction has given the company a new life while maintaining the Alexander McQueen DNA.

 A World Apart 
Alexander McQueen Spring 2013
Photos: Style.com


Tuesday, July 31, 2012

Modern Romance








I'll always dream of the world and what it could be, what it once was...what it used to be. 

Wednesday, July 4, 2012

Fusion.



Raf Simons' hand is very obvious in his design for Christian Dior. There was a fusion between the classic Christian Dior elements (his reinterpretation of the Bar jacket, the longer, sleeker New Look dresses Simons sent down the runway) and his more streamlined, futuristic vision-the gold and silver metal inset belts paired with a few of the dresses, the pointed toe pump and cigarette trouser, as well as the models' hair and makeup-a colorful winged liner and sleek, straight hair with a middle part felt very much like Simons. Where the collection felt strongest was in the architectural execution of the pieces. The stiffness of the New Look dress designed by Christian Dior gave way to something softer and more fluid. The fur dresses added beautiful texture to the collection, and while the collection was solid, overall it lacked imagination and excitement, which may be attributed to the fact that Simons attempted to replicate too much of the Christian Dior aesthetic. The set was an homage to Christian Dior's love of flowers, and Simons used the Dior silhouette as a guiding light for his designs, infusing his touch onto the design, but there was no evolutionary approach given to the collection. The themes explored felt repetitive, and missing from the collection was a sense of balance. Simons brings a different energy to Dior than that of Galliano. Where Galliano's excess and exuberance gave the house life, Simons exhibits a quieter confidence and budding strength, which may prolong the vision of Christian Dior, but only if Simons learns to trust in his own vision.

Photos: Style.com




Saturday, June 30, 2012

Let It Be.




Aline Weber for Numero Magazine
Photography by Liz Collins
Full Editorial Here