Un viaggio on the road per raccontare il fascino e la seduzione di una donna cosmopolita e cittadina del mondo in cui stampe e texture si mixano tra di loro con dettagli femminili e insoliti traslati dal più autentico esprit de voyage.
Una storytelling che diventa un omaggio alle capitali del mondo che hanno ispirato la collezione Primavera Estate 2016 di Sfizio, riletta in chiave contemporanea e capace di combinare l’anima del brand, ricca di joie de vivre, con un look casual e femminile.
La modella Isabella Andersson interpreta con attitude sofisticata i must have della collezione in cui protagoniste sono le contaminazioni di suggestioni che riprendono i luoghi culto del mondo, in un vero e proprio viaggio all around the fashion.
Vestiti a frange, dress in mussola stampata e stampe pastel jungle cariche di femminilità. E ancora, lunghi abiti plissettati in cui la magia metropolitana si sposa con pattern multicolor.
Una campagna costruita come fotogrammi di un cortometraggio dal fotografo e architetto Vinicio Prior, già autore dell’immagine di Sfizio, in cui il volto della maison ha i tratti della giovane modella Isabella Andersson.
CREDITI IMMAGINI: ©SFIZIO
CREDITI EDITORIALI: ©SFIZIO
Collezione Donna Iceberg P/E 2020
La favola continua: il Direttore Creativo James Long celebra ancora una volta la donna, prendendo spunto dalla poesia Warning di Jenny Joseph.
La collezione Primavera/Estate 2020 è all’insegna della leggerezza, accompagnata da una grinta tutta femminile, quella di una donna che si sente perfettamente a suo agio con sé stessa.
I maxi-abiti “i” in tulle stampato vestono le sirene di , portandole sulla terraferma, mentre l’acqua del mare continua a luccicare sopra le scaglie opalescenti dei pantaloni rivestiti di paillettes.
Gli abiti in stile rash-guard con le maniche bianche si allungano in una morbida pinna plissettata sul davanti, oppure optano per un taglio corto, sportivo e slanciato riprendendo la sovrapposizione tra tulle e paillettes.
Gli accenti gialli fluorescenti si impongono sul bianco dei capi sportivi.
Le paillettes viola piovono su giacche monopetto e slip da bagno abbinati, una felpa di raso in tinta completa l’outfit. L’abito atletico ispirato al nuoto sincronizzato vince la medaglia d’oro.
La collezione va in scena nella meravigliosa cornice dei Bagni Misteriosi, uno storico centro balneare nel cuore di Milano risalente agli anni Trenta e restaurato di recente. I modelli sfilano sulle note del dj set di Siobhan Bell, scortati dalla performance dal vivo dell’artista anglo-nigeriana Tiwa Savage, la regina dell’afrobeat, che presenta il suo nuovo singolo 49-99.
Animata da uno spirito avventuroso, la sirena grunge di ICEBERG si presenta in un pied de poule alternativo a “i”, dove due elementi (un abito monopetto classico con pantaloni a gamba stretta o un paio di bermuda e una muta da surf), un costume da bagno jacquard lavorato a maglia e gli strati di tulle diventano un’ondata di rosso, rosa e giallo, da portare con accessori coordinati. Il classico maglione cartoon di ICEBERG si insinua con nonchalance tra gli strati.
Completamente sommerso dalla metropoli, il look osa ancora di più contrapponendo pinne rosa pallido a un nero cupo, o un costume rivestito di paillettes nere a un bomber di tulle. Il make-up e l’acconciatura strizzano l’occhio alle grafiche dei progetti di Zaha Hadid.
Quando sarò vecchia mi vestirò di viola,
con un cappello rosso che non si intona e non fa per me.
E sperpererò la pensione in brandy e guanti estivi
e sandali di seta, e dirò che non ci sono soldi per il burro.
Warning di Jenny Joseph
A Company presents Their Season IV
For Season IV of A–Company, the brand questioned the archetypal dress, the sheath, to explore our relationship to femininity through clothing. As defined by Merriam-Webster, a dress is:
“1. Apparel, clothing
2. An outer garment (as for a woman or girl) usually consisting of a one-piece bodice and skirt
3. Clothing, adornment, or appearance appropriate or peculiar to a particular time
4. A particular form of presentation.”
Using the definition as a formula to deconstruct, A–Company rearranged the shapes of the sheath to discover new silhouettes. A dress becomes a skirt, and dress pattern pieces become graphic blocking or textured cut outs on other pieces. Overcoats in a more classically feminine style are tailored on the top and at the bottom reveal bound seams, exposed pocket bags and raw edges, examining the presentation and performance of clothing. While sticking to the foundation of the brand, there continues to be strong tailoring throughout, as well as intelligently draped garments. The fabrics took inspiration from associations with traditionally feminine clothing such as lace, brocade, and satin, while juxtaposing them against harder fabrics like suiting, crisp poplin, coating, check wool, and denim.
In the presentation of the collection, A–Company collaborated with director Eva Evans to create a film: A Failed Attempt at Understanding Time, exploring our experience of time through the repetitive tasks of the everyday finding a metronome of gesture in the movements between objects and body, the concrete and the natural.
The oversized triptych installation video follows one woman, performed by Evans, moving through three scenes at three different times. In the first scene, she makes peanut butter and jelly sandwiches using an entire loaf of bread, later appearing again to cut out square shapes of the sandwiches and carefully pack them in her bag, and finally reenters to clean her space. In between Evans in the scene, the camera follows gestures of the objects left behind: the teetering stack of sandwiches, a slow-moving jelly drip, and the Wonder bread bag delicately unraveling. In the second scene, she works to inflate a ball, again and again, eventually allowing the ball to consume nearly the entire frame. She returns to move the ball around a cornered room with her body. And finally comes back, draping her weight over the ball while it slowly deflates, and then leaves.
In the final scene, she copies Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction” on a yellow legal pad at a desk and reenters to make photocopies of her writing. The viewer watches the printer stack of paper overflow and bend with the weight and hear it fall. As the previous scenes, she returns to the space for a third time, to collect her copies, and leave the space as it was before entering. As the viewer experiences the 30 min short film, Evans’ body becomes a sculpture in space, and the clothing acts as a secondary character performing and moving alongside her. The sound, sculpted by Tal Katz, builds on the naturally recorded sounds to layer each movement and texture to create the score for the piece. In a separate room, with an installation of the collection, a video of an egg set to boil plays on an old monitor, creating a tension with time and a play on the idiom ‘a watched pot never boils’.
The film traverses thinking around time, repetition, cycles, and replication. The brand continuously designs to the edges of these themes to question the everyday, the body in space, and clothing production.
Photography: Danielle Alprin
Model: Sarah Abney
Stylist: Shayna Arnold
Hair: Ledora Francis
Makeup: Andrew Colvin
Set Designer: Elysia Belilove
Set Assistant: Eliza Sanchez
Sound Engineer: Vincet Dee
Video Engineer: Scott Hadley
Photographer: Danielle Alprin
Producer: Anouk Colantoni
Director: Eva Evans
Director of Photography: Kevin Hayden
1st AC: Yuya Kudo
Sound Mixer: Turner Curran
Stylist: Malaika Crawford
Styling Assistant: Frederick Miller
Hair: Ledora Francis
Makeup: Andrew Colvin
Production Designer: Elysia Belilove
Set Dresser: David Eardley
Associate Producer: Arielle Berman
Editor: Alex Amoling
Color: Jenny Montgomery at Company3
Sound Designer: Tal Katz
Paris – 31 Rue Camcon 2019/20 Métiers D’art Collection – Chanel
Who hasn’t dreamt of climbing the mythical Art Deco staircase at 31 rue Cambon in Paris, of entering Gabrielle Chanel’s apartment, of discovering this intimate, baroque space filled with her books and favourite objects, before going downstairs to attend a show in the salon? On December 4th 2019, it’s the entire atmosphere of 31 rue Cambon that has been recreated at the Grand Palais, to present the 2019/20 Métiers d’art collection. This emblematic address, the heart of CHANEL’s Fashion creation, was transposed to the nave of the Grand Palais, transformed for the occasion into a timeless space. An extremely refined écrin for a collection that renders the codes and the allure of CHANEL sublime.
“There is a sort of simplicity in going back to Chanel’s ABC. We don’t need to do too much,” confides Virginie Viard, “I didn’t want the usual long-distance travelling of the Métiers d’art collections, I wanted to stay in Paris. So, we had to think of a new way of doing things. And then there are the codes invented by Gabrielle Chanel and made sublime by Karl Lagerfeld, which I like mixing up too. I like the idea of a patchwork. For me, it has to be on the same level as in real life. I always question the context, which has nothing to do with the way we lived decades ago: what would a woman like today? How would she wear it?”
This very contemporary collection of an iconic elegance comes as jumpsuits made of tweed so fine it is as supple as knitwear, and as short suit jackets with rounded edges, worn with low waisted skirts, slit at the front to liberate legs in motion; and on the ribbon of bare skin between the two, a fine belt in chains and pearls.
A little black jacket buttons up the side, a suit becomes a dress with an asymmetric décolletage and a long pointed train attached to one shoulder, flowing down the back. Inspired by a pink tweed suit created by Gabrielle Chanel in 1960, whose lining was tie-dyed in black, blue, pink and mauve, here the tie-dye is on the outside of the tweed of several suits, and all over the chiffon of a long dress cut into a pointe, trimmed with ethereal feathers, as well as on the braids and on the iconic bags of the House, the 11.12 and the 2.55. Finally, the BOY CHANEL and CHANEL’s GABRIELLE become miniature bags which are worn as jewellery.
Emotion vibrates in the air as the models descend the white-trimmed beige steps of the grand staircase and walk through the salon. Straight, double-breasted coats in black fine bouclé cashmere with belts in long chiffon ribbons embroidered with wheat, ribbons and chains in sequins and beads, appear in succession.
Slender silhouettes pass by in a dress of embroidered black lace, neckline framed with feathers, or in a diaphanous dress of pearl-coloured lace sprinkled with tulle camellias embroidered in relief, accessorised with a minaudière in the shape of a golden cage constellated with strass, a reference to the little bird cage present in Mademoiselle’s apartment.
A long dress in white duchess satin with a pure line, worn with a cape, double-breasted black strapless dresses and a champagne-hued lace ensemble – inspired by the legendary portrait of Gabrielle Chanel photographed by Cecil Beaton in 1937 – of a sensual suppleness that swathes the body like a second skin. The silhouette is punctuated with a godet in the same lace that floats like a trail of perfume…
The camellias made by Lemarié become sculptures and completely cover little evening bomber jackets: one is quilted, with flowers made of duchess satin, with strass at their centre, and worn with black sequinned trousers; the other is white with flowers in silk pongee, their centres embroidered like jewels.
The two-tone, another CHANEL code, features on the shoes made by Massaro – like these gold leather pumps embellished with little bows with black toes – and the graphic suits that alternate black with white.
The wheat, the ribbon, the pearls are embroidered by the House of Lesage onto a precious strapless dress accompanied by a tulle coat of an exceptional refinement.
While black and gold are very present, pink appears as one of the key colours of the collection: soft pink, apricot, raspberry and even garnet on the tweed of both skirt and trousers suits, and also on a tweed jumpsuit. The suit is also revisited in a fuchsia pink satin, trimmed with braid made from an intense pink tweed, while the skirt, pleated at the front and straight at the back, imposes a fluid and liberated allure.
Diaphanous and regal, dresses in the colour of weather, as if they’ve been dipped in a summer sky as well as a long dress in silk chiffon with its entirely pleated skirt, streaked with braids made of flowers, halo the show with an otherworldly aura.
Silhouettes are accessorised with an accumulation of costume jewellery: cuff bracelets, plastron necklaces in pearls and strass from which sautoir necklaces and other pendants all seem to spark, chokers with white strass stars, while chain belts are embellished with rows of pearls, bows and camellias.
Behind this collection is the constant creative dialogue between Virginie Viard and the Métiers d’art that has lasted three decades. A vision of pure magic that, on December 4th 2019 at the Grand Palais, within a showcase of Gabrielle Chanel’s talismans, transcended the very notion of fashion to achieve a timeless elegance, allure and beauty according to CHANEL.
The actresses and CHANEL ambassadors Kristen Stewart, Vanessa Paradis, Lily-Rose Depp, Penélope Cruz, Alma Jodorowsky, Marine Vacth and Yara Shahidi attended the runway show, as did friends of the House Sofia Coppola, Marion Cotillard, Isabelle Adjani, Carole Bouquet, Angèle, Margaret Qualley and Sébastien Tellier.
The show was followed by dinner at La Coupole, with a performance by the Belgian singer Angèle and a soirée at the dancing of La Coupole.
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