Explora et labora 2
Woman Abbey recalls medieval abbeys austerity. Powerful, influential, able to produce elegant and concise eloquence models. The analysis of fashion history's various decades is accurate and transposed through editorials where styling research is deduced. Alessia Caliendo Editor in chief 3
MCMXX The Glorious Age
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Editor's board
Concept & Styling: Alessia Caliendo Ph: Fabio Bozzetti MUA & Hair: Antonella d'Elia Model: Sasha Padalko, Glamour Model Management
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MCMLXXX Black no-nude Newton
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Editor's board
Concept & Styling: Alessia Caliendo Ph: Stella Bonasoni MUA: Isabella Sarti Hair: Valentina Zanerini Model: Zorana, 2morrow models
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MM Pazar
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Editor's board
Concept & styling: Alessia Caliendo Ph: Martina Scorcucchi Hair: Simone Fanari, Tony & Guy Mua: Stefania Gazzi Model: Sasha Padalko, Glamour Model Management
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Tailpiece MCMXX
MCMXC
The Glorious Age
Black no-nude Newton
Ready to sidekick to the notes of the catchiest refrains of the Charleston, transported as if by magic back to the roaring twenties? From the catwalks of the up and coming designers, from accessoris to lingerie, we reach Maxim’s of the belle époque, the period Woody Allen dreamily refers to in his “Midnight in Paris” (2011). It is the prohibition era, the birth of the Hollywood star phenomenon, perfume sold on a wide scale (chanel n° 5 1921), the bra comes into being, mass produced automobiles, exclusive clubs and luxurious picnics as described in Scott Fitzgerald’s “ the Great Gatsby”, a remake of which is coming soon. The concept of couture was transformed by Coco Chanel and Madeleine Vionnet, creating fashions and styles which laid the foundations for contemporary femininity. Following centuries of soft delicate women, the flapper girls with thin almost emaciated figures established an boyish look. The main dress style was without doubt the Charleston, a short shift dress dropping the waistline onto the hips and from there flaring or becoming a fully fringed hem no just to knee length. The Mary Jane peep toe shoes are worn with dark stockings. The cloche hat, long dangly earrings, and long strings of pearls which cannily cover plunging necklines all make up the accessories to be worn with this dress. Unforgettable is the charm exuded by those Icons of the movies of the twenties including: Gloria Swanson, Mildred Harris, Marlene Dietrich who, in her famous suit, celebrated the beginning of the sexual revolution; women began wearing men’s clothes.
The “noir” atmosphere which make films like “Black Dahlia” by Brian De Palma or the Alfred Hitchcock classics come to mind welcome back the return of the dramatic, essential and sensual colour black. Photographically newtonian. Sacred and profane at the same time, as the “little priest” by the Fontana sisters, as worn by Anita Ekberg in Fellini’s “Dolce vita”. The emblematic black of the Yves Saint Laurent tuxedos, achieved in various styles and fabrics, has remained the only radical change in women’s wardrobes since the ‘60s. All this not forgetting the classic little black dress by Coco Chanel, adorned with ample pearl necklaces which characterizes the early postwar period and marks the use of colour, restricted to special occasions also to day wear. In the thirties existentialism with its decadent and nihilistic aesthetism is accompanied by black clothing which embodies melancholy, social
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and institutional rebellion, individualism
and immoral behavior. More often than not extreme forms of behavior which are often self destructive. The same distinctive elements which can be found many years later in the Punk movement which appear quite “light” in contrast with the “Dark” which were to follow on. This group totally rejected any form of mediation or irony. If the former used bright festive colours to dye their hair, which lightened the dark effect of their clothes and all the trappings of piercing such as safety pins, studs, patent leather and laddered stockings, the latter manifested their intransigent attitudes by the exclusive use of black. In the last thirty years, black has taken on a new meaning and has become a symbol of elegance and purity under the influence of
stylists such as Yamamoto, Watanabe, and Miyake and owes it to the extraordinary creativity of Comme des Garçons who has turned around and redefined the language of fashion softening the tones and enriching them by subtraction.
Maisons and international designers
who have dedicated a lot of space to the ”non” colour include Givenchy with Riccardo Tisci’s Gothic creations, Viktor & Rolf with the contemplative grief robes and raf Simons with theatrical cloaks.
MM Pazar Mexico and Frida Kahlo, the embroidery and vivid colours , the fringes e pon pon bows. This fashion releases a vital energy and is inspired by the warm culture and vivacity of Central America to bring spring and summer creations onto the catwalks, Mexican Style.
A unique personality and style which have become even more famous thanks to the full feature film directed by Julie Taymor in 2002, with Salma Hayek in the role of Frida.
Flowers, animals of the preColombian
culture and sacred icons mix with stylized Maya e Aztec motifs turn into the fashion weave on which the designers tell their style prophesies. The most unique aspect of Frida’s style was the way in which she blended different colors, models and textures. Even if the eclectic garments she wore were not particularly well matched, she always somehow managed to create a one-of-a-kind look. Hair by far the most brightly coloured accessory: from the brilliant hues, to the flowers, even the highly creative plaits which were wound the head. Besides, she liked designing her dresses or changing them, adding frills or brocades, the skirts and blouses, creating a very special effect. Frida Kahlo’s style and her clothing were the result of her strong sense of identity, a carefully constructed identity from physical pain, something so evident in her work. Her statement of identity also apparent in her choice to wear traditional Tehuana costumes, pride and a sense of elegance. Two tragedies which brought physical handicaps have influenced
her wardrobe and have become the hinge of her life and her art. This is one of the reasons why Frida started using long skirts and two or three pairs of socks and pointed toe shoes with high heels to hide imperfections.
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