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Chanel Spring-Summer 2019 Haute Couture

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This season, the Grand Palais becomes the vast Mediterranean garden of a beautiful, big house. A pool of water is surrounded by trees and Southern plant species in a harmony of neat lines. Pathways are almost “à la française“, like 18th century gardens. Indeed, it’s this period, his favourite, that has inspired Karl Lagerfeld, and in particular the talents of the marchands-merciers and the savoir-faire of the artisans of French luxury. Among the artistic themes of that century, flowers play an important role. Now, they are at the heart of CHANEL’s Spring-Summer 2019 Haute Couture collection, embroidered, painted, in lace, in feathers, in resin and also in ceramic, they appear even as hair jewels. They explode in bouquets of pastel pink, prairie green and sky blue, and in games of black, white, beige, navy blue, iridescent gold and silver. “It’s a serene, ideal, timeless collection, that’s absolutely now, with new shapes”, says Karl Lagerfeld.

Two silhouettes stand out, perched on strappy pumps revisiting an 18th century shoe. The first is long and slender: the head held high above wide boat necklines and supported by shoulders split with a hollow fold, both slightly rounded and pointed, highly graphic. Following the line of the body, lengths run to mid-calf. The second is more flowing with voluminous bell and corolla shapes, full skirts and the bust enveloped with straight or balloon sleeves. Sometimes, the fullness of a bust crosses the tubular line of a skirt or trousers and vice versa.
Like a central theme, one construction detail comes up every time: a collar or panel of a dress turned inside out, a rounded fold adorning a jacket, a skirt or a neckline, creating trompe-l’oeil and new volumes.

The dresses and the suits are very refined. On shouldered jackets with boat necklines and on the zip-up skirts that fall to mid-calf, or wraparound skirts cut to the knee, the braid quite literally melts into the fabric: embroidered into the tweed, the lamé wool or the grain de poudre, it further amplifies the pure line of what Karl Lagerfeld is calling “the new CHANEL“. Certain jackets are lengthened like tunics, while others with no collar but a folded lapel, geometric or asymmetric, adopt a double row of buttons. Some, belted high, are extended from a peplum or, conversely, shortened like spencer jackets or aged leather jackets, occasionally warmed with feathers.

On the dresses, reversed collars give the impression of a bolero. Here the braiding highlights the hyper graphic structure of the silhouette. The reversed pleat reappears on the bust and the hem of the dresses with big bell skirts in matt satin: pulled to the waist, opening like petals at the front or over the hips, they are lined with a second colour or with floral seedlings. Other dresses in sequinned silk faille are adorned with a lateral train inversed and flounced in lace, raised to the waist. A big dress with a pink lace skirt painted by hand has balloon sleeves finished with flat bows and ruffles cut into the serrated edge of the lace. Another in hand-painted blue lace is embroidered with ribbons laid like stripes. A flounced godet lengthens a skirt worn with a peplum top. The skirt of a suit in crêpe lamé is embellished with a burst of torn tulle.

In tune with the frivolity of 18th century style, the “lingerie” dresses in white pleated chiffon are interspersed with ennobled lace, ruffles and ladder lace. A dress in pleated chiffon slit with entre-deux lace is worn with a very structured leather jacket, for a contrasting and ultra-graphic silhouette. On the same principle a sequinned tweed skirt is coupled with a little cape covered with feathers and fastened at the neck with a leather bow.

The ateliers reveal here the treasures resulting from such patience and savoir-faire: on these dresses, every horizontal blind tuck is completed by hand, taking up to 350 hours of work. On one organza dress embroidered with flowers made from feathers, the organ pleats that animate the ruffles are gathered thread by thread. The smocked lozenges of a silk blouse are sewn by hand and held in place by 650 beads. A black leather dress cut in spirals is aerated by ladder lace. An entirely sequinned white suit embroidered with patterns inspired by the porcelain of the Manufacture de Vincennes is a veritable work of art. An organza dress with a bolero effect is embroidered with real flowers immortalised in resin. Finally, a long green sequinned dress is embroidered with hand-painted ceramic flowers.

The bride breaks all the rules. Beneath a silver sequinned white veil, she steps out in an embroidered bathing suit and swimming hat.
The CHANEL Spring-Summer 2019 Haute Couture show was applauded by the ambassadors Kristen Stewart, Pharrell Williams, Tilda Swinton, Marine Vacth, Anna Mouglalis, Alma Jodorowsky and Caroline de Maigret, as well as the director Sofia Coppola, the actresses Tessa Thompson, Marion Cotillard and Carole Bouquet and the singer Chris.
#CHANELHauteCouture

Credit Image: @Chanel

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MASU 2025 Spring Summer – grayish tale

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Like Ivy creeping over a wall over the years, as time passes, something that grows familiar without us even realising it. Something we can say that is taken for granted. Sometimes, these signify comfort and satisfaction while embodying the ordinary, resonating with the changes of eras and generations. Occasionally, rigid concepts or styles, though rarely, may cause unexpected friction in people’s hearts. For Shinpei Goto, who regards history as a legacy filled with enchanting codes, one of the elements is the “trad” and “Ivy” styles.

M A S U, while embracing the spirit of the times, has continued to explore a radical path alongside MASU BOYS without distorting history, infusing their designs with novel ideas. M A S U’s extraordinary design approach always begins with questioning rigid thoughts, encouraging “people to let go of what they unconsciously cling to”, and integrating contradictions and combinations repeatedly.

The imagination that questions the existing can weave different stories. The Spring/Summer 2025 collection unveiled on Haussmann Boulevard in Paris is filled with straightforward reinterpretations that directly confront traditional and Ivy styles. With his usual light touch, the designer turned his gaze to the ‘style’ like mature ivy and the items and outfits that symbolise them. He unraveled navy blazers, marine stripes, and argyle patterns, not only slicing through clichés but also technically transforming forms with smocking and deforming classics with accordion pleats, liberating concepts effortlessly. This playful collection, shedding the abstraction of style, can be seen as a meeting of familiarity and artistic dressing. Shinpei truly envisions the beginning of another tale.

Collaborations, for M A S U, represent a contemporary approach that unleashes his vision into a broader territory. Since the 1950s, incorporating American culture and permeating Japan with American traditional style, the VAN JAC by Kensuke Ishizu, who led Japanese fashion trends, we paid homage to Ishizu by creating a sweatshirt printed with his portrait in the style of a Beethoven sweatshirt (Great Man Sweatshirt), not only with a paper bag-style clutch but also revolutionizing Japanese fashion and paving the way for the future. Following the 24FW collection, VERDY depicts MASU BOYS CLUB lettering and emblem, along with ivy graphics wrapping around the arm, while memorial pants are adorned with words related to VERDY and designer John, a friend who connected them.

“While the conventional pattern exists and mavericks of the era, who face criticism, emerge, it sparks enthusiasm. Then it eventually becomes mainstream and classic. Japanese fashion has been cultivated in this manner, but I don’t want to passively accept this environment. Without any hesitation, in a Japan that is becoming increasingly classic, I want to continue to speak through the power of MASU BOYS, connecting the grayish attitude to the future of fashion”. As long as MASU BOYS exist, it’s too early to conclude the Ivy story with ‘Happily ever after’.

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KIDILL – SS25 Show

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The special encounter and years of exchange between Hiroaki Sueyasu with Ho99o9 duo consisting of theOGM(BlueFace) and Yeti Bones(Eaddy) provided inspirations for the 2025 S/S collection was latent.

Fascinating influences from adoration and sublimating to new creations. The constant aesthetic that Sueyasu expresses through
KIDILL became more apparent through a relationship that began almost two years ago. Ho99o9, who embodies a desire for progress and an inimitable sense of beauty through their frenetic appearance, music, performance, and costumes, perfectly encapsulated the style of KIDILL. Sueyasu says, “I was impressed by the essence and attitude that runs through all their styles, and this spontaneous empathy brought unprecedented imagination to KIDILL.”

The iconic wedding dress that eclipse the body, remarkably unique DIY live costumes gives a direct notion of “their usual style” . The imagination bound from the cluster of these facts is not only seen from the graphics and the embroideries of Ho99o9, but in the myriad of the zippers and the padlock fastening front detail, sleeveless denim vests and the symbolical use of the laces heavily infuses the evolution of the customizing spirit.

Interestingly, Sueyasu feels “a Tokyo-ness” from the presence and the frame of mind of Ho99o9. Somewhat a sensory subjectivity that the designer has experienced over the course uniformly linked to the essence of the street style of Harajuku, especially the Lolita style. Hence, it coexists in the collection as an inevitable exhalation appearing through Kae Tanaka’s graphics, dresses and decors, the “philosophy of the consistency in the unity of choosing and wearing clothes” . In addition, Sueyasu uninhibitedly expanded his designs with items deconstructed from vintage metal band T-shirts, a bandolier bag that holds tattered and eroded textures and bullets, sleeveless tailored jackets, and vintage trousers created by the tailors.

The deep-seated fact found through the multiple collaborations of KIDILL is still showing the power to usher in the punk of the
future. Track jackets, pants, and game shirts in collaboration with UMBRO, ironic one-of-a-kind masks and hats with HIZUME
are just a few examples. “PROTECT MY BASIC” is a straightforward and powerful affirmation that points to the core of the matter.

The code “999” masked in Ho99o9 is a premonition to the next stage of evolution and of an as-yet-unseen setting. This angel number is an inversion of the devil’s number 666, and the boundless context of 1000-1 is loaded with infinite possibilities of q progressing mysticism, representing the current state of mind of Sueyasu.

Show Director: Michio Hoshina *PLANKTON / Stylist : Tatsuya Shimada / Hair Stylist : Kunio Kohzaki /
Make-up: Kanako Yoshida *lga management / Casting : Taka Arakawa, Jose Maria *ALTER / Production: Devi Sok /
Runway Photo: Ko Tsuchiya / Backstage Photo : Ko Tsuchiya, Flo Kohl / Show Coordinator: Azusa Nozaki /
Writer : Tatsuya Yamaguchi / Artwork: HO99O9, KAE TANAKA, ohiana /
Collaboration : HO99O9, UMBRO, HIZUME, RICHMOND KNITWEAR, KIRIN TAILORS, ACUPUNCTURE, Deadly Sweet,
YUUKI IWAMA, NC, rurumu: / International Press : Totem fashion / Japan Press : Sakas PR / Support : Dr. Martens /
Movie Director: Minori Murata / Movie Music: HO99O9

KIDILL Designer: Hiroaki Sueyasu

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DSQUARED2 SS 2025 Coed Collection

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For Spring/Summer 2025, twin creative masterminds Dean and Dan Caten turn up the heat while bringing a renewed sense of focus to their vision of maximal multiplicity for Dsquared2. The brand hones in on a sense of duality – between elegance and edge, softness and strength – but in doing so, creates one of their most unexpected, exciting, and undeniably sexy fashion mashups yet. It is a liberated community of artists, athletes, and aesthetes, an underground milieu that is poetry salon, wrestling league, and kink scene all in one.

As always, the collection’s spirit of freeing multiplicity has its basis in Dean and Dan’s signature penchant for synthesizing innovative material treatments and imaginative details with cross-genre references to fringe fashion subcultures. For Spring/Summer 2025, this practice takes shape as a particularly focused intersection of elegance and edge. Sheer chiffons cascade poetically around the body, but reveal skin-tight bondage harnesses or barely-there bralettes beneath. Denim peels away into sculptural latex. Asymmetrical sheer jersey tanks are treated with laminating techniques, balancing brutalist geometry and soft bodily harmony. Laces coil up legs, holding outer garments together but exposing the skin beneath. Broad-shouldered suits with voluminous pleated pants reference 80s workday ensembles, while leather biker jackets and thick-soled studded creepers suggest that same stylish character’s nocturnal alter ego.

The color palette, too, embodies a spirit of poetic softness anchored by the strength of desire: blush, dust, and powder-blue tones take on further depth and delicacy in translucent fabrics like chiffon and latex, but reworked bondage gear in black leather keeps things tied down. All the while, occasional pops of vibrancy or metallic shimmer punctuate the show’s transitional moments.

As the collection progresses, the subtle sense of restrained athleticism develops into full-blown references to the glamorous, campy, and unintentionally (or is it?) erotic visual language of professional wrestling, playfully celebrating both its bravado and its predilection for skin-on-skin contact. Singlets hug the body in all the right ways as they peek out of sheer shorts, while the lace-up details of luchador regalia are pushed to S&M extremes.

This aspect of bodacious theatricality extends to the runway show’s staging at Milan’s historic Teatro Lirico Giorgio Gaber. As the iconic red velvet curtains raise, latex-clad figures dance in hanging cages to kick off the cabaret. Models emerge, transforming the theater’s stage and aisle into one runway. Fittingly, the heart-pumping soundtrack channels the sensual freak-funk ofLovesexy-era Prince, splicing together glam rock, soul, and sexy R&B to driving club beats.

Amplified by this sonic and visual backdrop, the Spring/Summer 2025 collection from Dsquared2 brings the heat as a soulful and unabashedly sexy celebration of the freedom to embrace multiplicity.

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