L'Officiel Middle East. Issue 126

ISSUE 126 October 2016

SPECIAL BIRTHDAY ISSUE

95 YEARS OF STYLE & FASHION

Cover: Bvlgari High Jewellery

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CELEBRATE & SPARKLE 11/5/16 10:46 AM

L’OFFICIEL MIDDLE EAST

Editor’s letter — page 14

CONTENTS

95 Years — page 18

Fabric of society — page 60

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Parisian and proud — page 64

The permanence of the muses — page 68

NEWS

Future perfect — page 68

Fashion in reverse — page 73

Winning duo — page 74

Valentino garavani rockstud spike bag — page 75

BEAUTY

Far from here 77

Stardust Memories — page 78

Far from here — page 84

La Femme Prada — page 85

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The poetry of precision — page 80

Gucci’s new hub — page 82

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L’OFFICIEL MIDDLE EAST

CONTENTS

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JEWELLERY

Cream of the crop — page 48

Mutual Attraction…

— page 88

The midas touch — page 92

Ritual pleasures — page 94

Faith in the future — page 94

Green fingers— page 100

Pure sensations — page 101

Collector’s choice — page 102

Some enchanted evening — page 104

Take it higher — page 108

Magnificent inspirations — page 120

Girl on the go — page 130

The great cover up — page 138

FA S H I O N

Deep Emotion — page 145

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Horoscopes — page 152

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L’Officiel Middle East

Editor’s Letter

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This is a milestone year for L’Officiel.

Celebrating our 95th birthday L’Officiel

EDITOR’S LETTER

has been documenting and decoding fashion for nearly a century and in the process delighting readers with insightful features and inspiring photo shoots.

This issue is no different.

We bring you a bumper edition focussing on the

past, present and future of fashion with archive material, exclusive interviews and of course what’s trending now. In keeping with birthday celebrations our exclusive Bulgari cover shoot brings some sparkle. Thank you for your support and for sharing the journey with us.

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SOUHA ABBAS

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95 Y E A R S

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Iconic face of beauty house

Lancôme

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Portrait Alexi Lubomirski for Lancôme

Isabella Rossellini

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Isabella Rossellini, the Italian actress, filmmaker, author, philanthropist, and model, is back to being Lancôme’s beauty ambassador. Nevertheless, she continues to engage in the protection of nature and animals, by operating a small organic farm in Long Island.

The best time of your life so far? All ages have their beauty. But we always talk about aging as a negative process, without ever talking about the greater freedom it brings.

What did you enjoy doing when you were a child?

I loved playing with animals. Today I love beekeeping, and caring for different endangered species of hens. I have realized my childhood dream living with animals. Would you have preferred to live in a certain era from last century? No, this century is best for women. Before, we had no rights; we could not vote and had to wear corsets! A woman who inspires you most? That would be my mother, Ingrid Bergman. She had always lived her life to the full. J.M.

Photography Jonas Marguet

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Kenya Kinski Jones

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Photography Richard Kern Styling Erica Pelosini

Kenya Kinski Jones is graduate of English literature and journalism, she is also one of the four faces of Pop, the new fragrance by Stella McCartney. Daughter of actress Nastassja Kinski and musician Quincy Jones, Kenya defends animal rights through her work for “Last Chance for Animals�, an NGO advocating against suffering in slaughterhouses.

Without forgetting the Instagram page that she had created for Banksy, her beloved French bulldog. Kenya does not do things by halves. J.M.

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Coat in wool with fake fur collar, acetate sunglasses, crocodile printed leather bag “Sailor” and PVC footwear; left, silk blouse and cotton and corduroy pants

Kenzo

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Photography Louis Mahe Styling Vanessa Bellugeon

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Dress and tights, Bonpoint

Louise de Montesquiou

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Caiman crocodile clutch bag with butterfly appliquĂŠ

Nancy Gonzalez

What kind of girl is Louise? DELPHINE VALLOIRE: She’s a passionate little girl, playful and very sociable, with already a sturdy character. She loves her freedom (and her yogurt) above all. What does she likes to do most? She loves to run and to discover the world and move mountains (furniture and toys)!

In which area do you think she would thrive in the future? Probably in politics like the rest of the family. Which age in your opinion will be the most complicated in your mother-daughter relationship? Perhaps teenage. I hope I will be able to listen and be supportive of her in the most difficult moments. Whom does she look like? Louise looks exactly like her father and her grandfather. She has definitely inherited the proud Gasconian genes. J.M

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Lauren Hutton Photography Charlotte Rutherford

Shirt and sweater Brunello Cucinelli

Styling Erica Pelosini

At 72, the aura of Lauren Hutton remains intact. This legendary model of the 70s is also a sublime actress who starred in many memorable movies. Today, she is as radiant as ever, her beauty shining with timeless elegance and class.

What are your hopes for the future? With all the wars and conflicts that surround us, I feel like I have been witnessing the final days of this planet for the last few decades. I have traveled a lot; I saw

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the world being destroyed with bulldozers. The main reason being that we have let one gender rule the world for thousands of years and make decisions on our behalf. This is against nature. We need two brains to go in the right direction. But I am regaining faith, now that we have a comedian facing a wise and compassionate woman.

Most Americans are not crazy... and a woman president will wake up the world!

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Wearing Diane Von Furstenberg

Diane von Fürstenberg

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She is best known for her iconic wrap dress and bold prints.

Diana Von Fürstenberg holds a prominent position on the American and international fashion scene with her eponymous fashion house founded in New York in 1970.

What was the best age in your life so far?

I wouldn’t say there is one age that I prefer, I think living each day to the fullest is the only way to live. What is your most cherished childhood memory? The day I discovered my reflection in the mirror.

I realized the power I had on myself. Would you rather live in an old castle or a modern house? I like to create my own space. How do you see your future ?

A continuation of my present life. I am entirely enjoying every day. J.M.

Photography Jeremy Liebman Styling Erica Pelosini

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Marie–Sophie Wilson 5 5 Y E A R S

Photography Osma Harvilahti Styling Vanessa Bellugeon

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Trench-coat Rochas Earrings Vanrycke

A favourite of Peter Lindbergh and Mario Testino, Marie-Sophie Wilson installed her androgynous beauty on the fashion scene for which she incarnated such a typical elegant and laid-back French girl. A muse and friend to John Galliano, the model is currently busy producing “Different Jones”, a biographical documentary of the life and career of the late artist John Cohen, directed by her husband Robert Carr.

What was the best age in your life so far? My twenties. I was living in New York and it was dangerous and exciting. I was a punk, living my life to the extreme.

Do you have a favorite era in fashion? I love the creative years of Helmut Lang, and Galliano, and the runways that I did on a regular basis. What would you like to keep for the coming 95 years? My dogs, I adopted them to save their lives. I have 4 of them so far, but I’d like to have more. J.M

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Nicole Richie Photography Purienne/Demme

Styling Erica Pelosini

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Dress Valentino Earrings House  of Harlow Jewelry

Nicole Richie is now a fulfilled mother and an accomplished businesswoman. This adopted daughter of Lionel Richie, who often visited the ranch of her godfather Michael Jackson, struggled for years with substance addiction, often shared with her best friend, Paris Hilton.

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The arrival of her two children, Harlow and Sparrow, born of her union with singer Joel Madden, changed the life of the young woman who started her own jewelery line House of Harlow. A success that clearly shows there could be life after reality TV. P.C.

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Hailey Gates

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Born and raised in Los Angeles, Hailey Gates balances her life between modeling and journalism. On Viceland, she directed the second season of States of Undress, a feminist documentary exploring international fashion. In 2017, we will also see her in the next season of Twin Peaks, by David Lynch. The best time of your life so far? When I turned 25. On my birthday I went to Pakistan. I was in a country I never thought I would see in my life. Your best childhood memory?

When I was little, people would always ask me what I wanted to be and I would answer: ‘older’. I hated being young. What do you hope for the future for women? That they behave badly and do everything they are told not to do. J.M.

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Photography Justin Personnaz

Manteau Rochas, bottines Dries Van Noten

Styling Vanessa Cocchiaro

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Saffiano drawstring bucket bag

Lancaster

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Marie– Agnès Gillot

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Marie-Agnès Gillot was 28 years old when she was appointed prima ballerina of the Paris Opera Ballet. She mesmerizes audiences around the world with her exquisite work en pointe.

Her success story was recently told on Backstage, a TV production by France Culture. Until the 9th of October, Marie-Agnès Gillot stars in a creation by Canadian choreagrapher Crystal Pite, a reinterpretation by Max Richter of Vivaldi’s Four Seasons.

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Photography Maxime Leyvastre

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Styling Magali Martin

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What was the best year of your life so far? 38, when my son was born. Giving life is the most beautiful thing we can witness. Have you realized your childhood dream? Yes, by becoming a dancer, and even beyond that, becoming a star.

A childhood memory that you cherish? The life lessons my grandfather used to give me. Your favorite female personality of the last century? Frida Kahlo. J.M.

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Blouse in printed wool crepe, asymmetrical skirt in printed wool, leather boots by Walter Steiger

Akris

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Lou Doillon

Photography Edouard Plongeon

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After a major tour that ended a few months ago, Lou Doillon is busy working on her new album.

What was the best age in your life so far? Adolescence, because it was the worst. Everything was a battle, I had no references at all, and I was consumed with anger and uncertainty. Despite all that, there was this euphoric innocence. I am very touched by those years where you feel like the whole world is against you, but at the same time, it belongs to you.

A childhood memory? I used to hide inside a cardboard box in our garden in the rain, and watch the world go by, like a movie. What would you keep for the 95 years to come? A diary. Writing can save your life. Do you tend to plan ahead? No. I think that pain comes from attachment and planning. It all depends on the perfect harmony between things and the world, so why think of what might happen after two hours? J.M.

Montre et bijoux personnels

Styling Vanessa Bellugeon

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Leather perfecto “Kioly”, silk and lace dress “Root” silk printed scarf “Silky”

Zadig & Voltaire Deluxe

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Alexia Giordano

Wool trousers and jacket

Paule Ka

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Photography Louis Mahe Styling Vanessa Cocchiaro

Dancer, model, actress... young Alexia Giordano recently starred in an international campaign for Uniqlo, she also appears in the first episode of the series Versailles on Canal +. What was the best time of your life so far ? I feel better today in my life than ever before. A happy memory from your childhood? My life on the Reunion Island, when I was between 3 and 6 years old. I felt free in that amazing natural environment. I could walk barefoot, or pick a mango in a tree and take a bite. An object that you would keep for the next 95 years? A picture of my mother. Do you think of getting married? No, it scares me more than anything else. All goes well until people get married, this is perhaps due to the idea of belonging to someone. J.M.

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Gigi Hadid

Photography Jonas Marguet

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All botoxed women want to look like her. However, Jelena Noura (Gigi) Hadid never touched up any of her childlike features.

The same features that made of her the latest muse for Versace.

Donatella does not stop raving about it: “I love Gigi. She makes me laugh out loud. As soon as I met her, I immediately knew we would be friends and that Gigi would become a new icon of the

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Versace family.” The daughter of a Palestinian promoter and a Dutch designer, Gigi began her modeling career when she was 3 years for Guess Kids. “Gigi represents the new wave of top models from the twenty-first century, these young women who follow their own rules”, says Donatella Versace. “She is beautiful, provocative and also very funny. “A passport to the peaks of fashion! P.C.

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Isamaya

Ffrench

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Photography Charlotte Rutherford Styling Erica Pelosini

Specialising in 3D design at Chelsea College of Arts, Ffrench went on to study Product and Industrial Design at Central Saint Martins as well as joining the Theo Adams Company; a London-based collective of artists, dancers, musicians, actors and singers. Pairing that with a weekend job of children’s face painting, she soon realised her love for - in her words - “telling stories” through people’s faces, and a make-up artistry career was born.

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In Marc Jacobs

What was the best age in your life so far? Primary school. I ran around like an idiot for 8 years. A childhood memory that you cherish? Playing Tekken on a Nintendo 64 and watching Terminator 2 with my older brother. What inspires you? In general, ideas come to me when I close my eyes. Do you prefer an old castle or a modern house? An old castle, definitely. I would find enough space for most of my things, and I would keep the ghosts, bats, and vampires. J.M.

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Shoes

Coat Chanel, top La Perla, jeans Levi’s, scarf Chloé

San Marina

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Caroline de Maigret 41 Y E A R S

Photography Osma Harvilahti Styling Donatella Musco

French style icon Caroline de Maigret is no stranger to the spotlight, seeing as she’s dabbled in a great number of things, from modelling to producing music to writing. She has recently upped her game from being a Chanel muse to being the luxury fashion house’s spokesperson and ambassador. Caroline de Maigret is currently working on a book. She is also producing Camille Bazbaz’ new album, in addition to her role as manager of the band FFF. The best time of your life so far? When my son was born, I was 31 years old. I had created my own label, my partner and I were leading a carefree lifestyle. What do you like about fashion? It’s a pleasure easily obtained. I love the world of creators, their way of seeing women and how we reinvent ourselves.

What does aging mean to you? Change. But the older I get, the less I am concerned about the way I look. I am more interested in many other things, very different things. J.M.

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Marie–José Jalou

Photography Maxime Leyvastre

It’s in the late 1970s that Marie-Jose Jalou became Editor in Chief of L’Officiel, but since childhood she had grown within the family business, “Editions Jalou”, founded by her parents Georges and Ully. In 2003, she took over from her brother Laurent Jalou at the head of the group. This iconic fashion figure is also very dedicated to her work, her grandchildren ... and her pets. What was your best time in your life so far? The years between 30 and 50 years old. At this stage you don’t feel that you’re getting older. I would like to relive this period with the experience that I have today. It is an extraordinary asset. A childhood memory?

Our life in the countryside near Paris, the vegetable garden, the fruit jam being prepared. On Saturday, my father would pick us up at school, it was quiet, it was after the war. A woman you admire from last century? Colette. What scares you about aging? The fact that we do not know how we will age.

But I have a strength: I try to enjoy every minute of my life, I store all that is good. A photo, a light, people’s smiles. When the sun rises in the morning, I’m happy. J.M.

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Manteau Miu Miu, pantalon et chaussures personnels

Styling Vanessa Bellugeon

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Camille

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Portrait Hunter & Gati for Mango

Photography Jonas Marguet

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Perfecto in suede leather, dress and T-shirt in mixed cotton

Mango

Camile Rowe-Pourcheresse was born in Paris to an American mother and a French father. She started her modeling career at 19, and in 2011, she was featured on the cover of Jalouse, followed by a cover of L’Officiel in 2014. She is currently spokesperson for Mango. What was the best time of your life so far?

Honestly, now! I feel like I’m all grown up. And I’m confident in who I am. What was the best thing about childhood?

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The lack of responsibilities. Of the past 95 years, which period is your favorite? I would love to go back to the year 1962, and listen to Bob Dylan for the first time. What kind of evolution do you see in the future for women? When they become free without having to put on a mask. All they have to do is follow their own sensibility and feminine appeal. What would you keep for the next 95 years? Music. P.C

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Leather bag “Patricia Shoulder” mini LC

MCM

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Thylane Blondeau Photography Maxime Leyvastre

Robe American Vintage, ceinture Agnès b. Page de droite, foulard Hermès, bijoux personnels

Styling Vanessa Bellugeon

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Since she joined the modeling business by walking the runway for Jean Paul Gaultier at age four, Thylane Blondeau has racked up an impressive amount of editorial and advertising work, posing for Jalouse and L’Officiel, to name just a few. Blondeau has also started acting, debuting in the French movie Belle et Sébastien, l’aventure continue (2015). Invited by L’Oreal Paris, the young model recently made her red carpet debut at the Cannes Film Festival.

Are you realising your chiildhood dreams? Yes,

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totally. I am very lucky. I am aware that I am getting the chance to do what many other kids my age don’t get to do.

What do you like about fashion? The fact that it is timeless. I just love going through all the vintage pieces that my mother keeps in her wardrobe. She has pieces that are still fashionable today: Chanel, Chloé, and many others. It’s great to be able to wear her clothes. What kind of a woman you’d like to be? A good person, like my mom. A woman of real values. J.M.

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Sylvie Vartan 7 2

When she calls back for an interview, Sylvie Vartan does it herslef.

Directly, from Los Angeles. This legendary artist’s motto is to rely on herself in everything. It is probably how she achieved such a huge success in everything that she’s done: acting, singing, dancing, etc. Recently, Vartan is working on her sixth book “Maman”, dedicated to her mother Llona... (Editions XO).

What was the best age in your life so far? My early childhood. At the time, I was living in Bulgaria, surrounded by my family.

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Styling Erica Pelosini

Photography Purienne/Demme

Personal shirt and jewellery

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I was free, and loved. I didn’t see the time passing, happiness seemed eternal. I think that might be the reason why I became an artist, so that I can forget the reality of everyday. Then there is the love that you build around you. People ask me if I long for the sixties, but I don’t, because I was so spoiled then. It is my childhood that remains very present in my life today, it provides me with a real peace of mind. Those memories will always remain vivid in my mind! P.C.

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Lola Le Lann

Jacket, shirt and blouse Miu Miu Platinum and diamond earrings “DB Classic” De Beers

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Photography Osma Harvilahti Styling Vanessa Bellugeon

Lola Le Lann was born into an artistic family. Her father is the famous trumpeter, Eric Le Lann, and her mother is the actress and filmmaker, Valerie Stroh. She appeared in her first film at 19 years old, playing the main role in One Wild Moment (French title: Un moment d’égarement).

Lola is also an accomplished musician, she released her first album in September where she sings in French and plays the piano. What was the best age in your life so far? When I was 18. It was then that

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I started being aware of myself and my life as a responsible person. That year I did my first casting. It was a happy and emotional moment at the same time, although I didn’t know what to expect as I was entering the world of adulthood with no previous experience. What projects do you have planned ahead? I would like to go to London and New York to work on my English accent and my body language. An object to carry for the coming 95 years? My piano. J.M.

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Julia Restoin Roitfeld

Photography Jeremy Liebman Styling Erica Pelosini

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Wearing

Elie Saab

Bijoux personnels

Double georgette top, lace skirt; on the left, lace top, double Georgette and tessles, cady and lace trousers.

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Daughter of one of the most iconic fashion queens of the 1990s and 2000s, now director of her own fashion magazine, CR (for Carine Roitfeld), Julia is also mother of a little 4 year old daughter, Romy.

A model, muse, stylist, designer and art director, Julia chatted with L’Officiel on her life as a kid and growing old. The best years of your life? The secret is to enjoy every moment and every age of life. Each age brings different things to us to make the best! What was good when you were a kid? My travels around the world with my parents. There is no better way to make money.

Are you afraid of growing old? Are there any secrets to stay young?

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Isabel Marant 49 Y E A R S

Photography Raffaele Cariou Wearing Isabel Marant, personal jewellery

A beautiful smile and a slender figure, but those are not the only traits that distinguish Isabel Marant. This very talented and created woman is the creative director of her eponymous brand that she established over 20 years ago. Today, Marant’s fashion label is still going strong, with major store openings in the United States and the launch of her e-commerce website.

What was the best age in your life so far? Forty years old.

That’s when I felt really good about myself. I had a successful career,

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Styling Vanessa Bellugeon

children: flawless. Do you think you have realized your childhood dreams? Even better, it never occurred to me that I was going to become recognized internationally. I never made big plans, just went with the flow. A childhood memory? My father cuddling me in bed on Sunday mornings. What defines fashion today in your opinion? It’s a crazy race that doesn’t allow us anymore to do things more thoroughly. But it is more self centered and accessible to all. J.M.

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Farida Khelfa

Embroidered suit “Commedia Sostenuta” Schiaparelli haute couture

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Before becoming ambassador for Schiaparelli, soon after the relaunch of the legendary fashion house four years ago, Farida Khelfa was known to the public as an actress, as well as a documentary filmmaker. She was also queen of the night during the golden era of the Palace and Bains Douches. What was the best time of your life? I only live in the presen. I don’t miss the past, and I don’t build high hopes for the future. Today, I am enjoying certain level of harmony between my body and my mind. What was the turning point in your life? That would be when I left my parents’ house. I was 16 and afraid of nothing. Have you realized your childhood dreams? What I saw in my life, I did not even know it could exist, so I couldn’t dream of it. K. R.

Photography Osma Harvilahti Styling Vanessa Bellugeon

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Milo Bellugeon & Ully Eymère How would you describe your daughter Ully? Jennifer, her Mom: She has a unique character, funny and deep at same time. She is cheerful, sometimes shy, and fearless!

She’s such a “character”, according to her grandmother.

What are the games she likes to play? She likes to play card games and the game of Black Peter. How close are you two? She is the one who will hold my veil for me when I get married. Does she look like you? She is my mini-me! J. M ..

Ully, left, and Milo, right, both wearing Bonpoint

Photography Justin Personaz Styling Jennifer Eymère

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How would you describe your daughter Milo? Ronald, her dad: She’s funny and cheerful little girl, affectionate and creative. What would she like to be in the future? She wants to be an artist. She always tries to watch the sunset so that she would become a good painter.

But she also wants to become a writer, a tour guide, and a flea market merchant. How close are you? We are very close. Does she look like you? Mainly her smile, but she he looks much more like her mother. J.M.

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Marie–Ange Casta Photography Osma Harvilahti Styling Deborah Reyner Sebag

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Collants Wolford, mocassins Walter Steiger

26 Marie-Ange Casta flourishes both as a model and as an actress. Mother of a little girl of 2 years, she is starring in Edouard Baer’s new movie,​​ Open Night, to be released in January 2017.

Vinyl miniskirt and jacket, mohair cardigan.

Eleven Paris

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Which were the best years of your life so far? At 15, when I was in Corsica, free, going into nightclubs, and not caring about anything.

What do you want to transmit to your own daughter? I want her to be herself, and not afraid to be whoever she wants to be.

Are you more into old castles or modern design houses? An old castle has its own charm, history and things to discover. With a new house, a new story needs to be told. I prefer to continue stories rather than start new ones.

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Photography Justin Personnaz

Wearing Missoni

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The Missoni story is better told as a love story. It starts when fashion fan Rosita Jelmini, met olympic athlete, Ottavio Missoni. She was 16, going on 17, a shy Italian girl in London to improve her English.

He was 27, a tall, strappingly handsome member of the Italian 400 meters hurdles team at the Games where the world was trying to put the devastation of war behind it. Tai and Rosita soon married and created their first knitwear line of tracksuits. On a visit to a neighboring shawl factory, the duo discovered the versatility of the Raschel knitting machine and the signature multi-colored zig-zag pattern was born. Embodying old-world Italian sensibilities with a modern aesthetic, the Missoni family has stayed true to their carefree Italian roots despite their iconic status. The rhetoric behind the brand has a

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refreshing simplicity that refuses to sacrifice the joys of life. The heart of the Missoni brand has always been family. Angela, Rosita and Tai’s daughter had been drawing for the family business since the age of 18, she became artistic director of the house after twenty years working with her mother. While the company has taken great strides during Angela’s reign, there is continued promise for the family’s next generation. Angela’s daughters Margherita and Teresa have both taken on integral roles within the company. Margherita became the brand’s ambassador at the age of 18 and has since taken charge of Missoni’s accessories and collaborations all while designing her own children’s line. Teresa is designing her own clothing line. “It seems the women of the family hold the fashion eye,” jokes Rosita.

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Christie 62 Brinkley Y E A R S

Dress Ralph Lauren Collection

Photography Jeremy Liebman Styling Erica Pelosini

Christie Brinkley is an amazing supermodel with a career spanning over thirty-year during which she was featured on more than 500 magazine covers, and hundreds of TV commercials for diet products or fitness equipement. Yet, this eternally young beauty had originally planned a different path for her life. Having graduated from an art school in Paris, she became an illustrator, but before too long, she was noticed by a photographer in 1973, so she returned to the United States

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and joined top modeling agencies, Ford and Elite. On a personal level, she was married four times, including singer and musician Billy Joel, who dedicated his famous song Uptown Girl to her. Christie Brinkley is known today for her Californian beauty secrets and balanced nutrition. Those advices can especially come in handy for her other personal achievement, her daughter Sailor, who’s starting a successful modeling career on her own. P.C.

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Portrait craig McDean for YSL Beauté

Y E A R S

Photography Jonas Marguet

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Edie Campbell

It was by chance that Edie Campbell became at the age of 15, when she was photographed by Mario Testino. And then everything happened fast, from starring in Burberry’s Fall-Winter campaign 2009/10 alongside Kate Moss, to participating in key runways for Chanel and Prada, not to mention being featured on the covers of major fashion magazines. Eddie holds a college degree in art history, and has a passion for horse riding.

In 2013 she won the top British Fashion Award for Model of the Year, and soon after, became the face of the Black Opium perfume by Yves Saint Laurent. Some say that she owes her success to her Rock’n’roll style, and her charming and mesmerizing gaze, but it is definitely her personality that made her a star model in the fashion sphere. J.M.

Black Opium Perfume Muse

Yves Saint Laurent

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Personal trousers and jewellery.

Iris Apfel

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Photography Jeremy Liebman

Styling Erica Pelosini

Silk brocard coat with polyester lace details

Shiatzy Chen

Fashion icon Iris Apfel is creative as spectacular; textile restoration specialist and fashion collector, she has rare pieces of fashion pieces she never hesitates to show in town. Her latest achievement – a commercial for Citroen – highlights her own philosophy: to escape the trends and rules, bet everything on style. Its worldwide popularity even allows her to have an emoji line of her very eccentric image …

What were the best moments of your life? I am more in

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the present. Each season has its joys and its own challenges. What has changed the most during these 95 years? Everything has changed. The worst part is the technology, which can be terribly dehumanizing. What happened to our curiosity? In our souls? In our relationships? Life was sweet and elegant before. What scares you in the future? I especially fear of not having 95 years before me to be terrified… P.C.

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Fabric of society 1

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Since its very first issues, L’Officiel has been as interested in style as in the fabrics and expertise required for making clothes. It’s a legacy that the magazine is still carrying on 95 years later.

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Photos Archives L’Officiel

BY HERVÉ DEWINTRE

L’Officiel was created against the background of a very particular context, and to meet a very specific demand. Let’s not beat about the bush, when the first issue appeared on the shelves in 1921, haute couture (which was also called grande couture) was past its glory days; experts were already commenting on the worrying decline in sales.

Nevertheless, despite these cries of alarm, French fashion was still the stuff of dreams, especially for foreign businesses who bought the rights to make copies in their own country of original models designed by Parisian designers. Before 1914, new collections were presented throughout the year. At the end of the First World War, professional American buyers wanted presentations to be ordered in some way: that’s when L’Officiel was born. The magazine, which was translated into several languages, provided this readership of professionals and wealthy customers with the specific dates of presentations, while describing broadly the upcoming tone of the season’s style and fabrics for each fashion house in turn.

Fabrics were a key part of the magazine. For one simple reason: readyto-wear did not yet exist until the late 1950s, more than half of women

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made their own clothes or had them made by the local seamstress.

Hence the importance for readers to know what to think of “Yvette” crêpe, what the season’s colours were, where to find the best satins, glossy taffetas, moiré velvets and sable sheets. The key questions of the day might have been: “Are the ‘Petite Reine’ fabrics from Châtillon-Mouly-Roussel suitable to make a tennis dress? Are the ‘Crepolux’ knits by Paul Brion still in fashion?”

With the advent of ready-to-wear, these questions became less pressing. The importance of “how” was forgotten to focus on the line, the silhouette of the day. It was remarkable progress since it enabled the entire population to have access to modern fashion at the same time, there was a terrible general loss of skill. Nobody knows any more how to look at a garment in detail, like our grandmothers did. By happy coincidence, large couture houses and leading designers are now turning their attention to these key parts of fashion that had in the past fallen into oblivion. Chanel naturally comes to mind with its active policy of safeguarding “craftsmanship”. The stakes are high: style is easily copied, but skill is inimitable.

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Photos Rodolphe Haussaire, Pottier, Archives L’Officiel

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1 — Chanel fabrics featured in no. 150 of L’Officiel, in 1934.

2 — Rhonel fabrics in our no. 509-510 in 1964.

3 — Rodier fabrics, among the detailed presentation of winter fabrics, in 1948 (no.

317-318).

4 — In 1949, a Marcel Rochas coat in a “thick fabric in a bluebottle hue” by Lesur, complemented by a platinum mink stole (no.

331-332).

5 — A Chanel collection featuring in the Feburary 1980 edition, no. 659.

6 — In August 1935, in L’Officiel no. 168, Chanel revealed its new fabrics.

7 — Advertisement for E. Perrot and Cie fabrics, in no. 323-324, in 1949.

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Parisian and proud

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1 Revered early last century, elegant Parisian women then found themselves portrayed as the caricature of a myth that no longer existed. But have they disappeared?

Don’t bet on it.

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Photos Thierry Mugler, Pottier, Archives L’Officiel

BY HERVÉ DEWINTRE

She isn’t perfect and her weaknesses are sometimes taken to ridiculous extremes. But overall her preferences and prejudices create an immutable character that has become legendary. This heroine is the Parisian woman. L’Officiel is so in awe of her that the magazine proclaimed its love and admiration for her in every edition in the first twenty years of its existence. It has to be said that in the 1920s and 1930s, the Parisian woman was a cherished national treasure, and rightly so, women from all over the world flocked to Paris to get closer to the mysteries of her prestige. Designers were also well aware what they owed to this stylish ambassador and heaped praise on her. Usually, they did so by emphasizing her innate qualities (she was “chic”, “classy”, “charming”, “racy”, “stylish”, had “an instinctive sense of style that made her spontaneously reject the burlesque and the ugly”), and sometimes, more interestingly, by drawing comparisons. These comparisons often had slightly worrying nationalist overtones, but generally avoided humiliating the competition too much, it was mainly a case of minimizing the new-found glory of the couturier and emphasizing the crucial role of their fastidious clientèle. Paul Poiret, for example: “A Parisian woman never buys a garment without making major changes and without customizing it. An American woman chooses from the garments she is shown, she buys it as it is, while a Parisian woman wants it in blue if it’s in green, in garnet if it’s

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in blue, adds a fur collar, changes the sleeves and gets rid of the bottom button.” After World War II, things got a little complicated. It became fashionable to gently mock Parisian snobbery. In 1949, Lucien François explained to a young woman from out of town (L’Officiel no. 329) how to make friends in Paris, it’s funny, almost fierce, yet still accurate enough today: “Agnes, beware of intelligence. It’s not tolerated unless it’s enlightened by genius. Character wins over manners, and chutzpah trumps charm. Agnes, be careful about elegance. No thoughtless babble. Instead say with an audible pout: ‘Pft! That’s fake Dior’. Collect the most bizarre objects. Don’t say: ‘It’s fun!’ Say: ‘It’s divine!’ Don’t hold back any effort or or any kind of attention to be able to be on first name terms with three great women. There’s no point calling Cocteau, Jean is old hat now. On the other hand, you’ll be well on your well if you manage to be invited to Marie-Louise Bousquet’s Thursdays.” In short, to be a Parisian woman, you have to follow a certain recipe. But these recipes will always sell, whether dished out by Louise de Vilmorin, Inès de la Fressange or Caroline de Maigret. There is a poignant constant: all the great women of the last century have at one time or another been Parisian women. They were called Victoire, Paloma, Marisa, Loulou, Elsa, Joséphine, and Marlène. Maybe deep down the real Parisian woman doesn’t just live in Paris but takes refuge there.

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1 and 7 - In 1980, Thierry Mugler photographs his Parisian women in no. 659 of L’Officiel.

2 - In 1957, in no. 427-428.

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3 - “The panther has its fate” headlined the magazine for this series that appeared in no.

427-428.

4 - At the end of World War II, in no. 329-330 in 1949.

5 - In 1925, for L’Officiel, actress Maud Loty embodied the paradox of the Parisian woman.

6 - “Some ideas from Jean Patou, on winter fashion 1923”, article that featured in no. 25.

Photos Archives L’Officiel

8 - In 1946, a sketch of a Jean Patou outfit made the cover of no. 289-290.

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The permanence of the muses 68

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2 From the aristocratic bearing of “someone’s” daughter, to the fame of the “trendsetter”, style icons have evolved over the decades without losing any of their fascination.

Photos Archives L’Officiel

BY HERVÉ DEWINTRE

In her editorial published in December 2001 (L’Officiel no. 861), Amélie Nothomb brilliantly supported the thesis that icons never disappear, except to become legends. Unfortunately this poetic supposition doesn’t withstand serious examination. Who remembers Miss Olga Poufkinne “whose incredibly pure beauty combines with the most stylish elegance”, or Miss Mabel Boll, “queen of emeralds and chinchilla”, or Miss Alice Delysia”the Parisian artist so often applauded in London and New York”? What about Miss Arletty (cover of L’Officiel no. 89, 1929)? Or the Duchess of Windsor (L’Officiel no. 331, 1949)?

They may well ring a bell, but only history buffs will remember the society influence of any of these particular ladies, or be able to confirm the frenzy whipped up by the stars of the music hall. Yet they were all superstars in their time. In reality, if push comes to shove you could say that the only true legend that has maintained its attraction since the beginning of the twentieth century is the radically geometric bottle of the Chanel no. 5 fragrance.

There is one interesting discovery though: right from the first issues of L’Officiel, movers and shakers of high society rubbed shoulders with stars of the emerging silver screen. Covers could just as easily feature Mistinguett, the Rowe Sisters, Baroness Fouquier or the Countess de la

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Falaise. This constant of mixing up aristocracy with pop idols continued throughout the last century without losing its appeal. And even today the public still shows equal interest in pop stars, Instagram “trend-setters”, and the daughters of tycoon and millionaire businessmen - who are in a way the new aristocracy of our time.

Something else worth noting is that beauty alone has never been sufficient or even necessary to become an icon, or to profess yourself to be a judge of elegance. To make it, you need something else: a personality that arouses identification, admiration or confidence. Finally, a je ne sais quoi that Katharine Hepburn sums up perfectly: “Show me an actress who isn’t a personality and I’ll show you an actress who isn’t a star.” As for the fact that idols are sometimes forgotten, it doesn’t really matter, their role is elsewhere. Or in any case that’s how Gilles Lipovetsky sees it in his essay, The Empire of the ephemeral: “The unconscious frivolity of fashion and the celebrity system promotes awareness; their crazes even encourage the spirit of tolerance (which is ambiguous and paradoxical since fashion involves a lot of conformity).” Yes, mimicry is also a way to applaud individuality. In short, the essayist concludes, “the frivolity of fashion and the celebrity system is a breeding ground for human rights”. A bold theory that deserves reflection.

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6 1 - “The Dolly Sisters, the sprites of modern dance”, article in L’Officiel no. 58 in 1926.

2 - In 1976, Catherine Deneuve made the cover of no. 623.

3 - Who remembers Irene Wells, who was “the most Parisian of British Artists” according to L’Officiel no. 47 in 1925.

4 - Pillow Fight with John Galliano in L’Officiel no. 861 published in 2001.

Photos Marcus Mam, Rodolphe Haussaire, Archives L’Officiel

5 - In the same issue, Karl Lagerfeld “zooms in on the future”.

6 - The Duchess of Windsor at Château de la Croë in Cap d’Antibes, in no. 331-332 in 1949.

7 - Before the war, the aristocracy regularly appeared on the covers of L’Officiel. Princess Volkonsky in 1926.

8 - Princess Ira von Fürstenberg in no. 623 in 1976.

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L’Officiel Middle East

Prélude

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FUTURE PERFECT

Winter trends are looking to the future: at Courrèges, Arnaud Vaillant and Sebastian Meyer are launching their first smart clothes, perpetuating a concept born in the 1960s.

Costume by Courrèges for the “La Tradition et la Modernité” show, created in 1993 in Kyoto.

BY MATHILDE BERTHIER

André Courrèges walked on the moon long before Neil Armstrong ever did. In 1964, he unveiled “The Moon Girl” collection in Paris with his eyes fixed firmly on the stars.

This was the beginning of a new era, where woman were taking charge, shortening their skirts and swapping their high heels for “Go-Go Boots”: “Nature didn’t create women with high heels”, Courrèges pointed out.

Fashion has abandoned ready-towear in favour of ready-to-live and is set to conquer a galaxy of surgical white and hybrid proportions.

At the confluence of applied arts and pure art, everything about Courrèges is paradoxical, a constant tension between the everyday and the “cosmic dream”. Since their appointment

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in May 2015, Arnaud Vaillant and Sébastien Meyer have been making their own contribution to the dream: “Clothes should be stronger, more dynamic and more fun. They should follow our rhythm as well as being practical. They should become as intelligent as we are.”

For autumn-winter 2016-17, three wool coats have been provided with discrete yet effective heating patches, designed to work for up to six hours.

And a special knitting technique allows skirts and sweaters to be folded in a trice. The Space Age is leaving the field of dreams and becoming reality. New technologies are helping to dress women who could walk on Mars... www.courreges.com

Photos Marcio Madeira, Archives L’Officiel

Bottom, a “heated” coat from the Courrèges AutumnWinter 2016/17 collection.

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L’Officiel Middle East

Style

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Sonia Rykiel in L’Officiel in 2001.

FASHION IN REVERSE

In “L’Officiel” in 1972.

“Making a garment goes to your head, it’s intoxicating like creating life, it’s a feeling of wonder, magic, the joy of knowing that pleasure is taking on a physical form, taking shape, acquiring meaning”, she said in her 1979 book Et je la voudrais nue. Sonia Rykiel was in a way the Socrates of fashion, she told garments what they had never known, or had long concealed. Thanks to her, black discovered laughter, rhinestone abandoned kitsch and stripes left geometry behind. A Socratic designer who cut her teeth in the 1960s, when May ‘68 was brewing in Paris and women had new-found independence.

Her first revolution, the poor boy sweater, made her an overnight sensation. This short pullover was the predecessor to the crop top, decades before streetwear. While André Courrèges, was shortening skirts on the right bank, Sonia Rykiel was tackling pullovers on the left. The seamstress knew her job inside out: before launching her eponymous label in 1965, she was already making pullovers for Laura, her husband’s store in the 14th arrondissement of Paris. The length of the sleeves and bust, the knit quality, the colour palette..., Sonia Rykiel started again from scratch and sent chunky knit

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Christmas jumpers packing. Legend has it that Audrey Hepburn bought up half a dozen of these short jumpers during a flying visit to avenue du Général-Leclerc.

In 1968 she opened the first store in her own name at 6, rue de Grenelle, which became the dynamic heart of the left bank. All of Paris flocked to buy her bespoke knitwear, with stripes on a black background, of course. The Rykiel woman was born. An immortal creature, like love, she strolled along with a smile playing on her lips, a cup of the devil’s wine in her hand, without any underwear, cheerful and light-hearted in her jaunty hemline. “Elegance is an attitude, a way of being. There’s a way to act in public, to walk down the street with a bag. It’s a natural ability which you just have. Or don’t have... “, explained the designer in L’Officiel in 1998. With her innate ability for spontaneity, Sonia Rykiel always knew how to capture the moment. * In “Dictionnaire déglingué”,

by Sonia Rykiel (Pub. Flammarion, 2011).

“Et je la voudrais nue”,

by Sonia Rykiel (Pub. Grasset, 1979).

Photos Patrick Bertrand, Marcus Mam/Archives L’Officiel

“Knitting is my destiny.”* A destiny against the tide, woven with stripes, champagne and the right words. Sonia Rykiel may be no longer with us, but the woman she created is still turning heads in Paris. BY MATHILDE BERTHIER

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L’OFFICIEL MIDDLE EAST

EMPLOYEES OF THE MONTH

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WINNING DUO

Your first meeting?

KARLIE KLOSS: “It was in Milan, backstage at the Prada Autumn-Winter 2007/08 runway.

I was 15 and Jourdan was 17 years old.”

What connects you?

JOURDAN DUNN: “Karlie and I were both born on August 3rd! It’s like we were meant for each other.”

What would you have been if you hadn’t been a model?

KARLIE: “A doctor, like my father. He always had a big influence on me.”

JOURDAN: “I would have gone to a school

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BY CÉLESTINE FANGUIN

of performing arts to learn dance and drama. A bit like Fame.”

What is close to your heart?

KARLIE: “The Feed Project, in the United States, which I support through Klossies, my line of cookies.”

JOURDAN: “I’m an ambassador for the Sickle Cell Disease Association of America, who fight against sickle cell anaemia, a genetic disease.”

Your mantra?

JOURDAN: “Strong together: we are definitely stronger together.”

Photo DR

It was in her hometown of London that JOURDAN DUNN met KARLIE KLOSS. This autumn, these two top modes are both the face of the LIU JO campaign, more complicit than ever in their chic, urban wardrobe. Interview under the spotlight.

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L’OFFICIEL MIDDLE EAST

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ANATOMY OF A BAG

VALENTINO GA R AVA N I ROCKSTUD SPIKE BAG WHAT? The new Valentino Rockstud Spike Bag represents the new path of the Maison under the Creative Direction of Pierpaolo Piccioli. It encapsulates the essential values of the brand: on one side the cult of high Italian craftsmanship and the passion for humanity in all its expressions as a source of richness and culture; on the other, the desire of going beyond the tradition and the rules with a bold and contemporary attitude.

HOW? Its shape is the archetype of a bag; the leather rectangle seems to belong to a memory as an already known reminiscence. Thanks to an artisanal quilted technique, a scheme of studs enlightens its surface as if it being a punk dotting. A handle placed between the shoulder strap and the body of the bag, is the adaptable piece that transforms the accessory in a fun and adjustable object.

WHO? Pierpaolo Piccioli worked with photographer Terry Richardson in a new storytelling adventure. Together they explored the streets of lower Manhattan, in New York, to depict the way in which common people, randomly chosen, carry the bag. The Rockstud Spike has been pictured in every day street contexts, iconic spaces that adapt to reality rather than to an aspiration of a dream.

WHERE? The idea has as a point of reference, Humans of New York, a photographic project and human catalogue founded

by Brandon Stanton, that portrays the cosmopolitan inhabitants of the big apple. The same ‘no filter’ gaze is employed by Pierpaolo Piccioli that celebrates the richness of being unique. The Rockstud Spike is without any distinction of gender, race, culture or social belonging.

AND? The Rockstud Spike Bag project will involve a series of viralvideos, stories directed by Terry Richardson. These video stories will narrate the mosaic of cultures and of lives that compose New York, a city chosen as a universal symbol of a society where diversity and uniqueness predominate.

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WINTER FLORALS

The Eclat is an iconic model that was first released in 1985 and is now a key member of Le Coq Sportif’s footwear collection.

Their Winter Floral version features floral jacquard prints in black and pink contrasts. Feminine and eye- catching, this trainer is both comfortable and stylish!

FALL FAVOURITES

Tryano offers an unmatchable selection of designer shoes.

Commes des Garcons’ All Star sneakers and Pierre Hardy’s Wonder Woman pumps are perfect weekend wear while Loeffler Randall’s creations are «understated, elegant and effortless» according to Jessie Randall, the brand’s creative director. With iconic features and a unique setting Tryano boutique is a must-visit for shoephiles.

IN THE FRAME Marni’s sunglasses are modish and minimal. The ME612S offers the juxtaposition of colours to create a sophisticated, playful feel. The transparency of the mask front section in acetate contrasts with the soft, rounded frames. There’s an unusual colour palette offered, with light brown paired with black, sage with ice and ice with green.

Art of the Matter Inspired by Surrealist art, the Olympia Le-Tan X Magritte collection is a playful take on the designer’s signature bags. The collection is an ode to Magritte’s witty work. Le-Tan’s clutches frame her favorite pieces such as La Reconnaissance. “ I like transforming the book-clutch into an art clutch,» says Le-Tan.

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INBRIEF HONOURING HERRERA

Neiman Marcus honoured Carolina Herrera with The Neiman Marcus Award for Distinguished Service in the Field of Fashion during the Crystal Charity Fashion Show and Luncheon. Created in 1938 by Stanley Marcus, the award honours those who have made a distinct contribution to the world of fashion. Previous winners include Miuccia Prada and Coco Chanel.

GLOBAL GO-TO WARDROBE The Fall 2016 CH Carolina Herrera collection comprises rich fabrics and sleek silhouettes, lending itself to uncomplicated dressing. Versatility defines the season with easy to wear separates perfect for layering. Jackets and wool sweaters combine with skirts, printed trousers, and structured A line dresses. Meticulous and modern.

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L’OFFICIEL MIDDLE EAST

BEAUTY

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All Saints Spring/ Summer 2017 collection is debuted in a short film starring Maya Hawke

FAR FROM HERE Evoking the longing to escape the city in search of the space and freedom of summer, the film follows Maya in and around her hometown of Woodstock in upstate New York, expressing the endless possibilities of youth. Called ‘Far From Here’ has Karen Dalton’s ‘Something on Your Mind’, recorded in 1971 in Woodstock’s Bearsville Studios, as a soundtrack and indeed the Studios are a key location in the film.

Maya showcases the Spring 17 collection throughout the film. It is a collection that expresses the codes and vices of the city colliding with the pastoral idyll of the countryside. The imagined wardrobe of an innocent ingénue is juxtaposed with a hard and dangerous city, embodied by the collage of intricate broderie anglaise and patent leather fetish boots.

AllSaints’ creative director Wil Beedle comments: “Anyone who

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THE IMAGINED WARDROBE OF AN INNOCENT INGÉNUE IS JUXTAPOSED WITH A HARD AND DANGEROUS CITY.

spends any time with Maya will tell you that she’s smart, cool and possesses an infectious enthusiasm for new ideas, the creative process, and life in general. And as the title suggests, making this film with Maya is a conscious decision to escape from the city and New York’s increasingly overcrowded fashion week.

Taking a trip up to Woodstock with Maya to capture the collection in the environment that inspired it – and then share it a week later with the world – felt more appropriate, more free, more now.”

If you think there’s something familiar about Maya – you’re right.

She’s the daughter of Uma Thurman and Ethan Hawke and when she is not modelling is currently a student at Julliard.

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L’OFFICIEL MIDDLE EAST

STYLE

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STARDUST MEMORIES

In the pantheon of stars that make up Old Hollywood, Marlene Dietrich is unforgettable. From her arched eye brow and confidence her diva credentials were renowned and she was as able to charm men and women with her assertiveness. Timeless and seductive, Dietrich was the starting point for Santoni’s new collection for FW16/17 that sees masculine elements and the Maison’s signature craftsmanship meld in the refined offering.

The ‘Marlene’ brogues, for instance, are men’s lace ups with perforated piping, in black and white two toned calfskin completed with stitchless leather applications.

Then there is the ‘Victoria’ – a slipper with strap in white and black nappa leather with perforations and piping or the ‘Frenchie’ lace up sandal – reminiscent of a shirt, this stiletto will do wonders for an LBD. While stilettos alternate with flat styles – with suede T-bars, moccasins with double fringe details and cage sandals all in the mix – what unites them are the reinterpretation of style details. Look closely and you’ll find jais embroideries, maxi sequins, crocodile leather and a palette that runs the gamut from monochrome to antique burgundies. Shapes are round or open-toe; there are no half measures.

Capturing the mood of the collection is Olivier Zahm; Art Director and photographer who portrays Caroline Vreeland as a modern day Marlene Dietrich in the advertising campaign. Caroline’s grandmother was the legendary editor Diane Vreeland, and she evokes memories of a bygone era in the images that cement Santoni’s collection as artistic, timeless and eminently fashionable.

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L’OFFICIEL MIDDLE EAST

STYLE

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Santoni Women’s Collection for FW 16/17 is inspired by a legendary actress while its design centres on balancing masculine and feminine elements beautifully.

By Mona Salem

“I really love Olivier Zahm’s aesthetics. He was able to catch the soul of our collection, inspired by Marlene Dietrich iconic and timeless beauty with his sophisticated, sensual and original visual language. The superlative portraits of Caroline Vreeland as well as the Santoni collection are a perfect mix of fashion, sensuality and art.”

Guiseppe Santoni

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Fernweh, 2009, Tacita Dean

THE POETRY OF PRECISION

The Espace Louis Vuitton München continues its celebration of female artistic ingenuity in 2016 with a new monographic exhibition from the critically-acclaimed British artist, Tacita Dean which opens this month and runs until the end of March 2017. Conceived and produced under the artistic direction of the Fondation Louis Vuitton, the “Hors-lesmurs” exhibition programme introduces previously unseen artworks from its permanent collection to audiences of the Espaces culturels Louis Vuitton in Munich, Venice, Beijing, and Tokyo, thus realizing its mission to curate ambitious international art projects and share its collection with a broader public.

Working in a diverse range of media, including film, photography, drawing, painting, sound installation, found objects, and prints, Tacita

Presentation Windows, 2015, Tacita Dean

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The work of English artist, photographer and film maker Tacita Dean will form a new exhibition at the Fondation Louis Vuitton's Hors-les-Murs project in Munich.

By Mona Salem Dean’s practice commemorates the passing of time by documenting its imprints on natural elements, such as rocks and trees, and ageing bodies. Her detective-like interest in seemingly mundane moments results in works that are inquisitive, precise, and poetic.

Her meditative response to the frantic technological changes of the modern age celebrates the fragility of human endeavour, the timeless context of nature, and traces of time left throughout history. Through her meticulous methodology, she instills a quiet depth in her works, where time is the major protagonist. Dean is passionately attached to analogue modes of cinema (16mm and 35mm) and photography (gelatin silver), finding in these a metaphor for the acute awareness of time that informs her work. In parallel to her practice in film and photography, she also produces chalk drawings on blackboards since the 1990s and paintings on postcards and photographs since 2005: all evolving from comparatively slow, complex processes.

Tacita Dean brings together five major works from the Fondation Louis Vuitton collection to illustrate the great diversity of the artist’s oeuvre during the last decade. At the same time, it provides a testimony to Dean’s unique and highly poetic artistic language, with which she plays in a virtuoso manner across all media.

The meditative installation Presentation Windows (2005) is an allegory of an 18th century convent building in Cork, Ireland, whose natural decay aroused the artist’s fascination. The film Human Treasure (2006) focuses on the octogenarian master of traditional Japanese comedy, Sensaku Shigeyama, and his daily ritual of having breakfast in the famous Takaragaike Prince Hotel in Tokyo. Lightning Series I–VII (2007) captures the impermanence of lightning by engraving its image on carbon paper. The painted photograph Hünengrab (2008) depicts a prehistoric stone formation in Cornwall, England, anchored in a nature beyond time. To make The Book End of Time (2013), the artist dipped a J. G. Ballard book in potash and invited the passing of time to immerse it in saline crystals. To complement these works from the collection, the artist has chosen to show Fernweh (2009), a photogravure using four found photographs from the 19th century which embodies the archaic German word meaning ‘a longing to travel to faraway places’.

Tacita Dean underscores the Fondation Louis Vuitton’s commitment to showcasing outstanding artistic positions from diverse backgrounds and several generations at Espace Louis Vuitton München, following the success of the previous Hors-les-murs exhibition Chantal Akerman / Annette Messager: Les Approches.

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The Book End of Time, 2013, Tacita Dean

ABOUT THE ARTIST Tacita Dean was born in Canterbury, England, in 1965. She now lives and works in Berlin. Formally trained as a painter at London’s Slade School of Art, Dean has exhibited internationally in major institutions, including the Hirshhorn Museum and Sculpture Garden, Washington DC (2001), Musée d’Art moderne de la Ville de Paris (2003), Schaulager, Basel (2006), New Museum, New York (2008), Museo Nacional Centro de Arte Reina Sofía, Madrid (2010), Tate Modern, London (2011–12), Australian Centre for Contemporary Art, Melbourne (2014), and Instituto Moreira Salles, Rio de Janeiro (2014). Dean participated in the Venice Biennale in 2003, 2005 and 2013, and in dOCUMENTA (13) in 2012. She has received many international prizes, including the Turner Prize (1998), Hugo Boss Prize (2006) and Kurt Schwitters Prize (2009).

ABOUT THE FONDATION LOUIS VUITTON The Fondation Louis Vuitton is an institution dedicated exclusively to contemporary art and artists, as well as 20th-century works to which their inspirations can be traced. The Fondation’s own collection and the exhibitions it organizes seek to engage a broad public. The building created by architect Frank Gehry constitutes the seminal artistic statement by the Fondation and is already recognized as an emblematic example of 21st-century architecture. A year after its inauguration, the Fondation Louis Vuitton had already welcomed more than a million visitors from France and around the world.

From its opening in Paris, the Fondation Louis Vuitton announced that it would engage in international initiatives, both at the Fondation and in partnership with public and private institutions, including other foundations and museums. The Fondation itself has cultural spaces in Munich, Venice, Beijing, and Tokyo devoted exclusively to exhibitions of works from its collection. The Fondation is responsible for the artistic direction of these Espaces culturels Louis Vuitton. The exhibitions they organize are open to the public free of charge, and their programs are promoted through specific cultural communication.

Espace Louis Vuitton Munich, Maximilianstrasse 2a, 80539 Munich

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DESIGN

An historic aeronautical factory in Milan is the location of Gucci’s new head office

BY MONA SALEM

GUCCI’S NEW HUB Following a meticulous restoration of the Caproni aeronautical factory (built in 1915) that has taken over three years to complete, the new 'Gucci Hub' brings together the fashion house's Milan offices, worldwide showrooms, fashion show venue and graphics and photo studios in one unique location that is now home to more than 250 employees.

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The interior design reflects Gucci Creative Director Alessandro Michele’s vision and aesthetic. The complex is more than a series of offices: itt is a small campus, and Michele’s vision was applied in all the common areas.

Outfitting these areas was very much like creating a bespoke garment: furnishings and décor were carefully considered, evaluated and sourced. The pieces are oneof-a-kind and cannot be replicated or purchased anywhere. Theatre seating, old bar countertops and vintage screens, armchairs and side tables create a comfortable atmosphere. Yet nothing here is boring. As a result of thoughtful styling, there is an interesting item everywhere you turn.

Marco Bizzarri, Gucci's President and CEO said at the opening: ‘Our Milan location, which we have named the Gucci Hub - as it will be

where we welcome buyers and press from around the world each season - now joins our two other centres of excellence in Italy. Our Florence headquarters with over 1,300 employees, remains the heart of our historic brand and is the centre of excellence for Gucci's renowned craftsmanship and manufacturing, while our Romebased design office represents the centre of excellence for the company's groundbreaking creativity."

Bizzarri continued: "The concept and design of our new Milan location symbolizes every aspect of the new chapter that Gucci opened at the start of last year. This highly contemporary space, rendered from within an historic building, will foster and nurture an open working environment that is at the core of a true learning organization. It will also become a place of cultural exchange, when we present the collections each season."

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B E A U T Y

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CLASSIC

When leather goods manufacturer Hermès took an interest in perfumes, it drew inspiration from the spirit of travel, and of course put the emphasis on leather. Today Galop continues the adventure.

BY ANTIGONE SCHILLING

The current nose at the house, Christine Nagel, has created her first major women’s fragrance for Hermès. Leather is one of the two main scents and is soft and sensual, a calfskin called Doblis (which gave its name to a 1955 perfume) that had a big impact on the designer. This masculine note is combined with exquisitely feminine rose. A charming pairing for a fragrance called Galop. Some charming notes have been added to the composition, saffron and other spices, and quince. This caressing fragrance plays with contrasts that complement rather than oppose each other: animal-floral, masculine-feminine.

collection (amber, pepper, iris, rose), and designed Peau d’Ange, a leather caress in tribute to Giono. He was behind the wonderful men’s fragrance Terre d’Hermès which was very successful. Christine Nagel joined Hermès in 2014. The nose behind For Her for Narciso Rodriguez, Eau de Cartier and Armani Sí, Christine Nagel has been the exclusive perfumer at the house since early 2016. Having created a pretty rhubarb scented Cologne, she came up with Galop, her first major fragrance.

An equestrian tale

The shape of the container echoes the understated modern elegance of the bottle available at the inauguration of the Hermès store in New York in 1930. A glorious dive into the archives resulted in this revamped bottle. Inspired by the stirrup, this elegant bottle with its contrasting leather strap is emblematic of the house’s equestrian past. The beautiful Voyage bottle already borrowed from the equestrian field, also reminiscent of a horse’s stirrup. Today Galop reaffirms the house’s connection with its roots.

The campaign photos are the work of American Jackie Nickerson, while the new fragrance is presented at a gallop by a dance and images choreographed by Angelin Preljocaj. On a dirt floor, a dancer walks, springs, spins and jumps, agile and graceful in her leather coat. And the earth is blown away.

Photos DR

After a first fragrance, Eau Victoria, in 1944, the house perfumery was truly born in 1951 with an Eau d’Hermès inspired by the smell that emanates from inside a bag. Calèche, the first major women’s fragrance, was set to become a classic, with its citrus notes and the use of aldehydes around floral notes of rose, jasmine, lily of the valley, iris and ylang-ylang against a woody background. The bottle features the Hermès horse-drawn carriage. An allusion to the indefatigable horse that also features on the Équipage and Kelly Calèche fragrances. Other fragrances join the Hermès story, like invitations to travel.

In 2004, Jean-Claude Ellena becomes the exclusive perfumer for Hermès. He whisked us away to his delightful gardens (Mediterranean, India, on the Nile), magnified the ingredients with the Hermessence

Modern elegance

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ESSENTIAL A beautiful olfactory story has been written over time based on one number: No. 5 is the absolute reference for Chanel, and is now an ubiquitous fragrance. A new fragrance today reinvents the legend of the most famous perfume in the world.

BY ANTIGONE SCHILLING

Olivier Polge, the house perfumer, has designed the new Chanel creation: No 5 L’Eau. Although it is made up of the main components of the iconic No. 5, he chose to build a new architecture based on freshness. For the aldehydes, the signature of No. 5, Olivier Polge chose to not focus on the more metallic, instead favouring tangier aldehydes, magnifying the citrus notes of orange, tangerine and lemon. Ylang-ylang weaves around the big floral bouquet of rose and jasmine, then comes the greenery. The vanilla base is more discreet, while wood, vetiver and cedar, add depth and soft musks prolong the sillage. A completely separate perfume in its own right, No. 5 L’Eau is the contemporary vision of the Chanel legend.

Geometric shapes

When the bold and determined Coco Chanel launched her first fragrance in 1921, she envisaged a true scent of a woman with the finest, most luxurious ingredients. Ernest Beaux created the first No. 5. Olfactory originality is assured by the presence of aldehydes, which jazz up the bouquet like a lemon squeezed over strawberries. The finest ingredients, May rose and Grasse jasmine, were also chosen to make the extract. Its originality also stems from its name, just a number, lucky number, a martingale synonymous with fame. Launched as a perfume, No. 5 was complemented by an Eau de Toilette in 1924, also by Ernest Beaux. In 1986 Jacques Polge created an Eau de Parfum ending on

Extremely simple, incredibly elegant, the No. 5 bottle is timeless: a clean geometric shape and a cap that has hardly changed through the ages. The white box with black outlined features in the MoMA design collection in New York. For No. 5 L’Eau, the bottle is a reinterpretation of the classic, with a silver piped white band around the neck. The box features the embossed shape of the bottle.

Young Lily-Rose Depp is the face of this fresh fragrance. An emerging talent (she has already got three films under her belt), she takes up the beautiful story between her mother Vanessa Paradis and Chanel (Coco perfume, makeup, fashion).

Photos DR

Through the ages

a note of vanilla. And he devised the first water in 2008, a delicately powdered version.

Since the very inception of Chanel, perfumers have influenced the house. In 1952 Robert Henri took over from Ernest Beaux.

Jacques Polge stepped into his shoes in 1978 and his son Olivier, who joined the house in May 2013, is following in his father’s footsteps. After an outstanding career at IFF where he was responsible for many fragrances, including Spicebomb by Viktor & Rolf, Repetto, Kenzo Power and Dior Homme, Olivier Polge kicked off his time at Chanel with the delicious Misia fragranced with irises (his favourite scent), in the Esclusifs collection.

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FLOWERS IN Dès les débuts de sa maison, Christian Dior s’est voulu couturier-parfumeur. Né en 1947, comme la collection inaugurale du couturier, son premier jus fut Miss Dior. Un nouvel opus, Absolutely Blooming, enrichit cette histoire.

BY ANTIGONE SCHILLING

Original and variations

A floral fragrance echoing the designer’s first collection “Corolle” - that has since become known as the “New Look” - Miss Dior is an ode to the flowers that the designer both grew and loved. From the start, the bouquet was developed around a harmony of flowers, jasmine, rose, iris, carnation, lily, a whole garden intensified by green notes on a background with chypre accents - patchouli, cistus, oak moss, ambergris, sandalwood and vetiver. Today this fragrance is the Miss Dior

Original. Many variations have appeared over time, including the delightful Miss Dior Chérie. Today the Miss Dior fragrances are positively blooming with Blooming Bouquet and the newest addition, Absolutely Blooming. Their names are undeniably English, a nod to the bold choice in 1947 to use the term “Miss”. Many other fragrances have been launched at Dior, always with a floral signature.

François Demachy became the perfumer of the house in 2006, while also overseeing the fragrances for the LVMH group. He learned the trade in Grasse at Charabot then worked at Chanel for many years. He composed the Escales series for Dior (Portofino, Parati and aux Marquises), several fragrances from La Collection Privée - New Look 1947 Gris Montaigne, La Colle Noire, Cuir Cannage, etc. and the latest men’s fragrance: Sauvage.

had to switch to being sold in glass vials, abandoning its curves for strict geometry.

To echo its couture connection, a houndstooth motif was added, which the couturier thought modern. To add femininity, a fabric or metal bow was tied round its neck, now in gleaming metal for Miss Dior Absolutely Blooming, while the historic houndstooth is engraved on the base of the bottle. The link woven between fashion and fragrance at Dior is a common theme, as the designer explained: “I became a perfumer so that you only have to open a bottle to imagine all my dresses.”

Natalie Portman has been the face of various campaigns for Miss Dior, including the one where the bride jilts her fiancé at the altar and flies away into a new life.

For Miss Dior Blooming Absolutely, she worked with Tim Walker again, one of her favourite photographers. Playful and sultry, she lounges on a pink sofa wearing a little black dress, holding the perfume and revelling in the pleasure of life as a flourishing Dior woman.

A crystal amphora The bottle for Dior’s first fragrance, Miss Dior, was originally in small Baccarat crystal amphora. It was so successful that it then

Photos DR

Miss Dior spreads its petals, playing with reverie, lightness, and exuberance around a floral farandole. House perfumer, François Demachy has created a delicious new opulent bouquet. A top note of red fruits, bursting with grenadine, raspberry, and blackcurrant accords, is heightened by spicy pink peppercorn. The magnificent honeyed centifolia rose is in perfect harmony with the Damask rose, and peony completes this choice of natural ingredients, its sweetness accentuated by a white musk background.

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LA FEMME PRADA COMBINING TRADITION AND EXOTICISM WHO? The question of identity is at the heart of La Femme Prada.

Who is the Prada woman? There is no simple answer for Miuccia Prada. Somewhat contrarily, she exercises her fascination with identity and difference through the idea of a singular La Femme Prada fragrance.

WHAT? La Femme Prada is designed to take the wearer on a sensory journey through place, memory and time. A sultry journey is evoked by its Frangipani opening. The note is interwoven with Ylang-Ylang and then Beeswax, Vanilla and Tuberose. A distilled Vetiver finishes the fragrance.

HOW? La Femme Prada utilises the classical, symbolic language of the House. The iconic Prada Saffiano leather wraps the rounded back of the bottle in white and is echoed in the design of the simple, embossed box packaging. The original Prada logo appears raised in gold on the front of the bottle. The House codes of white and gold are applied, reflecting its sultry scent with its amber glass emphasising its exoticism.

WHO? Mia Goth and Mia Wasikowska personify the world of Prada elegance for La Femme Prada. A long-time Prada collaborator, photographer Steven Meisel brings his masterful eye to bear on the campaign images. His painterly approach and chiaorscuro style is striking; the focus remain on the characters. This is a fragrance for strong personalities.

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CHRISTIAN LOUBOUTIN AND THOMAS HEATHERWICK HAVE A SHARED APPRECIATION FOR EACH OTHER’S CRAFT THAT ENABLED THEM TO CREATE A HIGHLY INNOVATIVE, AMBITIOUS FRAGRANCE BOTTLE FOR LOUBOUTIN’S FIRST THREE PERFUMES… BY MONA SALEM Bikini Questa Sera, Tornade Blonde and Trouble in Heaven are all irresistible with their own unique personality. “I wanted to celebrate woman and her desires. I wanted these fragrances to enhance an aspect of her personality, or perhaps reveal something about her that no one knew before, maybe not even her, tell a secret, a story,” says Christian Louboutin of this exciting new creative venture.

And to portray his new fragrances he knew immediately that it had to be; his god daughter - the actress, model and mother, Elisa Sednaoui, whom Christian has known since she was a child. Indeed, their close relationship was a key part of the collaborative process with photographer Ali Mahdavi. Says Christian, “I needed someone close to me, capable of expressing the nuances of the fragrances. Elisa has the intelligence, she understood, she felt what I was saying and she was generous enough to give back. It was a beautiful synergy.”

As for the fragrances Bikini Questa Sera takes the heat of day and the voluptuousness of the beach into the evening with notes of jasmine and tuberose predominating. Tornade Blonde is a scent of love and adventure with a heart of red roses, sweet violet and cassis that makes it potent and very feminine. As for the mysterious Trouble in Heaven, it is intimate and overt, resonating with oriental amber.

To create the fragrance bottles for these scents, which are in themselves works of art, Christian turned to the designer Thomas Heatherwick to interpret his ideas. The result is a stunning collection of undulating, tactile glassware that capture light and the individuality

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of the perfumes. Here Christian and Thomas discuss their mutual passion and the collaborative process.

CL: I remember that you were interested in the engineering behind shoe design. You were interested in how they were made, and if I was building them myself. That’s how we started talking about shoes and the technical process.

TH: I think it’s because I find shoes underrated; they are very complex. For such a tight and small object, the performance needs to be exceptional. I look at objects and think about how they are made, and I found it difficult to figure out how shoes are made. I couldn’t figure out how the leather is stretched, how the tight object is held together, and then how it’s able to take all the force and weight that’s put on it. I find that quite interesting.

CL: Women carry most things in their wardrobe, but in this instance the shoe carries the woman. So yes there is a very important technical part in creating a shoe. A tiny thing has to carry a lot of weight -- and different weights. Even when the shoe is more complicated and delicate, it still has to follow the same technical specificities.

TH: This has always interested me. For example, when working with paving materials, the most extreme pressure that you ever get is a

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person’s weight concentrated on the point of a stiletto. The whole weight of a person is focused on one tiny point, and that can fracture paving materials. This really stuck with me, especially when we were looking at working with glass pavement.

CL: It’s funny that you say this because the first time I was interested in shoes was exactly because of this problem. I was 10 or 11 and I was visiting this museum next to my parent’s apartment and there was a sketch of a shoe crossed out with a red line. I thought this drawing was so bizarre – this type of shoe didn’t even exist. The museum floors were mosaics so they were afraid that these tiny heels would break them, and so they were forbidden.

Together, it was lovely to think about the strengths and weaknesses of each bottle. We thought about the nuances and about the journey that each direction would take us on. When anticipating the journey of each, that narrowed us down to two options. Then, the next time we met it felt really natural to pursue one rather than the other.

When Pochet finally looked at Thomas’ design and the shape of the mold, they said it would be a big challenge to create this bottle.

To me, it looked easy. I didn’t understand the technical difficulties but I knew I had to trust them. Little by little, they explained why something couldn’t be done, or why it was difficult.

You realize that when all factors accumulate to bring something to life it can be extremely difficult to produce. Pochet was very serious about getting it right. When I realized that it was not so

“FOR ME ELISE IS ONE WOMAN WHO IS MANY WOMEN. SHE HAS ALWAYS FASCINATED ME, NOT JUST BECAUSE OF HER BEAUTY, BUT HER WHOLE WAY OF BEING.”

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easy, I was amazed. For example, the bottle was cut in the middle but the juice needed to be evenly distributed on both sides but this was very difficult to do. You take things for granted when you don’t understand the challenges.

TH: I was always worried that someone was going to cancel the project. It’s delicate when you’re starting out. When you’re meeting with the factory and they are listing all the problems. One by one, your smile fades when you hear about the issues.

For example, there was a problem and we had to make the top of the loop really deep. This wasn’t originally part of the design but we found a solution where we extended a line from the hole upwards to create a visual illusion that made the top look not as deep as it was.

CL: We are very similar in this way. From the drawing to the reality, there is often a change in the quality. Our goal is to remain as close to the primary drawing as possible. You want your fantasy to remain a fantasy but because of technical issues there always needs to be some changes.

TH: It was good for me that you understood development because you’re a designer and a maker. You really understood development and you were part of the process.

THE COLOURS OF BIKINI QUESTA SERA EVOKE THE HEAT AND SENSUALITY OF THE FRAGRANCE WITH COLOURS INSPIRED BY EGYPTIAN SUNSETS

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Bold, fresh and unapologetic; CK One Gold limited edition eau de toilette captures the radiance of youth in a bottle

BY MONA SALEM

THE MIDAS TOUCH

CK One Gold is a tribute to the youth who can do no wrong hence everything they touch turns to gold.

It is a fragrance unconstrained by traditional gender norms, fusing the energy of both sexes in one unisex fragrance. Described as a juicy, fresh, woody scent the top note of fig creates instant fascination with its energetic vibrancy. Neroli is in the mix too while the base note of vetiver gives depth, leaving a sensual warmth on the skin. L’Officiel Middle East talks to perfumers Pascal Gaurin and Bruno Jovanovic about their creation.

What were the sources of inspiration to create this fragrance?

We actually responded to the CK version of exaggeration and ostentation! CK One has a certain sobriety and restraint which is manifested in

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the packaging but CK One gold is opulent in a brilliant and edgy way.

It’s somewhat unexpected for CK to have a gold interpretation and we found this disruption very interesting. We also like the tension between feeling part of a tribe - belonging and collaborating – and wanting to stand out, explode into life like a rock star of creativity. The desires to belong and stand apart cannot always coexist peacefully so this is an exciting duality.

According to you, does this fragrance have similarities with the existing Calvin Klein and CK fragrances?

Yes, it embodies the same gender free or fluid approach of the CK world. The construction of the fragrance is complex in design yet simple to understand, so the consumer will connect readily and deeply.

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THE ICONIC CK ONE FLASK BOTTLE DRIPS WITH GOLD TURNING THE PRECIOUS METAL INTO AN OBJECT OF DESIRE.

THE CK ONE GOLD ADVERTISING CAMPAIGN FEATURES THE MODEL RHIANNON MCCONNELL IN A FREE-SPIRITED EXPRESSION, CAPTURING THE YOUTHFUL MINDSET TOWARDS LIFE.

How would you describe this fragrance in your own words?

A scintillating harmony of gender free notes. A refreshing boldness for creative achievers and risk takers.

Could you explain what each ingredient brings to the fragrance?

Fig brings juiciness to the energetic freshness on top, and adds a mouth-watering quality. Neroli is the ‘sparkling crown’ of the fragrance, adding glistening,

petal-y body to the heart. Vetiver gives a scintillating, vibrant sensuality to the base.

What makes this fragrance unique?

The uniqueness stems from the unisex fresh sensuality. It’s very easy to dive into and wear but completely special and spirited at the same time.

What makes this fragrance appealing to women and men?

It’s a casual yet vital mixture of masculine and feminine ingredients – a bold mix that works harmoniously together. It’s a fragrance that talks to everyone; welcomes, hugs, and inspires and doesn’t segregate.

If you had to present this fragrance to a consumer in one sentence what would you say?

A burst of energy, scintillating woods and provocative sensuality – all in one formula. The bold energy climaxes with a golden sensual tone.

Ck one gold 50ML - AED 215, USD 59

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GH AWA LI CELEBR AT ES T R A DI T ION A ND LU XU RY I N I TS FR AGR A NCE A ND BODY CA R E R A NGE AS W ELL AS A PERSONA LISED SERV ICE

RITUAL PLEASURES

STORE LOCATOR: UAE – DUBAI FESTIVAL CITY, CITY WALK 2 KSA – NOJOUD CENTER (TAHLIA ST) JEDDAH, RED SEA MALL JEDDAH, AKNAZ CENTER (TAHLIA ST) RIYADH

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Rooted in heritage and originating from the early development of perfumes in the region, “Ghalia” was a word used to describe the precious and expensive scents traveling merchants brought to the region, offering the Royal families their own exclusive scents, or “Ghawalis” as they came to be known. Ghawali understands the desire to remain linked with culture and heritage through fragrances, while at the same time offering contemporary creations .

Launched this year, Ghawali’s luxurious collections are specifically designed for the layering ritual, allowing heady scents to envelope the skin at every touch point.

From their Purifying Shower Gels to the final spray of lasting Parfums, skin and senses are treated to layer upon layer of beautiful fragrances and formulas.

Indian Oud, Amber, Damask Rose, Sandalwood and other exotic ingredients have been formulated by expert perfumers who understand the nuances of Arabic fragrancing. In the same way their boutique mirrors this notion offering welcoming service, a luxurious ambiance and memorable scents.

THE RANGE SPANS PERFUMES, OILS, BOKHOUR, PRECIOUS OUD AND ALSO INCLUDES PAMPERING BATH AND BODY PRODUCTS SUCH AS SHOWER GEL, HAIR & BODY OIL AND BODY CREAM TO COMPLETE THE RITUAL.

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Jewellery

FAITH IN Refusing to retreat into nostalgia and self-celebration, jewellery draws inspiration from the contemporary world and boldly explores modern resources to the max.

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BY HERVÉ DEWINTRE

In issue no. 53 of L’Officiel, published in January 1926, Yves Georges Prade was concerned about the turmoil of the stock market and reflected in his editorial: “When columnists of the future write the history of our time, the end of 1925 will be seen as a turbulent time.” History disagrees: what’s remembered about that particular year isn’t the dark turn of events, nor the disturbing vagaries of exchange rates, but an event held in the heart of Paris, between Les Invalides and the Grand Palais, an event which was to have far-reaching consequences: the International Exhibition of Modern Decorative and Industrial Arts. Opinions were divided on the L’Officiel team. Some spoke of “kaleidoscopic chaos” and morosely watched this craze for “semi-barbaric worship of mechanics”, others, on the contrary, eulogised over this artistic movement that echoed in the advances of science and industry: “Geometry is king, the cube, the truncated cone, edges rule.” People were going crazy for jewellery by Jean Fouquet, Paul Brandt, Gérard Sandoz and Raymond Templar, “who first realised what mechanics could bring to the jewellery of today.” It was the triumph of “mechanics”.

It wasn’t until the 1960s that this movement was retrospectively named as Art Deco.

Art Deco was a huge but brief trend, reined in from the early 1930s by public opinion. In a 1933 paper entitled “Where are we? Where are we going?” (no. 138 of L’Officiel) Roger Nalys rightly tempered this backlash: “As a reaction against mechanics , we are once again extolling the virtues of nature, yet at its least natural. Doubt arises, making the pursuit fruitless. Opinion, uncertain of the route to follow, is sketching out a retrograde movement.” With hindsight, it seems that the columnist had put his finger on an important point: despite its relative brevity, Art Deco had such a profound influence on people during the 20th century not because it rejected the swirls of Art Nouveau or advocated a break from previous fashion, but because its

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principle, its very essence, held a fundamental faith in the future and in progress.

These reflections still drive contemporary jewellery. First and foremost for a new generation of independent jewellers who suggest their own reference framework for the present. This reference framework includes observation of themes and reflections in the field of contemporary art. Ana Khouri’s carefully constructed pieces spring to mind, her work is almost sculpture, as do the delightful juxtapositions and sizes that characterize the rings designed by Hadar Nornberg, not forgetting the quest for substance that permeates the jewellery designed by Kova; and the charming infelction of the ethical jewellery designed by Monique Pean, who works with fossilized dinosaur bone and is influenced by the paintings of Mark Rothko. Abstraction, conceptual and transcendental principles: art and jewellery are not so different! You jsut need to visit the Alexander Calder exhibition in London (at the Louisa Guinness Gallery from 27 September to 5 November) to see how the line is often blurred between jeweller and sculptor, designer and artist.

However don’t fall into the trap of thinking that today’s big design houses are isolated from popular cultural and everyday life: De Beers jewellery design studio happily draws inspiration from London architecture while Louis Vuitton channels the questions once posed by the Streamline movement into the curved lines of its new Fine Jewellery collection. Finally, the last word goes to Francesca Amfitheatrof, who visited Paris to present the new Tiffany & Co. “Masterpieces” collection. For the artistic director of the largest jewelleer in New York, the debate between tradition and innovation is more relevant than ever: “What characterizes American design is the art of being able to turn the tables. I like that because I don’t like the idea of ​​letting myself be engulfed by a prestigious but overwhelming legacy.” And indeed, there doesn’t appear to have been much looking in the rear view mirror in the design of this jewellery that combines magnificence and playfulness. It’s got the essential: rhythm, and makes this the very source of emotion.

1 — “Tiffany Masterpieces 2016” bracelet in platinum and white diamonds, “Ruban” collection, Tiffany & Co. 2 — “Tiffany Masterpieces 2016” ring in platinum and yellow gold, Jean Schlumberger for Tiffany & Co. 3 — Earrings in Gilalite and white diamonds, white gold mount, “Signature” collection, Monique Péan.

4 — “Labyrinthe” ring in yellow gold set with diamonds, “Pace” collection, Hadar Nornberg.

5 — A Pierre Cardin creation in “L’Officiel” no. 551-552 in 1968.

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Photos 2016 Calder Foundation New York/Estate of Evelyn Hofer, Guégan, Archives L’Officiel, DR

L’Officiel Middle East

6 — Anjelica Huston, in 1976, wearing jewellery created

by Alexander Calder in 1940.

7 — “Dichotomy” necklace in white gold and diamonds, Ana Khouri.

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8 — Chaumet necklace, in “L’Officiel” no.

576 in 1970.

9 — A brooch

by Dusausoy, in “L’Officiel” no.

101 in 1930.

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J E W E L L E R Y

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Plant life blossoms in the fine jewellery collections presented this season by the big Parisian houses. A bucolic reverie with deep cultural references.

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Because it is born of the need for change, fashion follows the rhythm of ephemeral whims and current predilections. Yet this seemingly irrational volatility is often driven by rational passion and issues. At times filled with light-heartedness, the decorative and applied arts naturally turn toward abstraction and formal research. The art deco of the roaring twenties is an obvious example as is the explosion of colour and creativity in the 50s, 60s and 70s. At times of worry and when storm clouds seem to be gathering on the horizon, people instinctively daydream, harking back to the finest achievements of a glorious past. The pre-revolutionary court of France, for example, suddenly initiated a trend for simplicity and nature around 1780. Two states of mind both as interesting as the other, because when it comes to fashion and jewellery, the minimal and the maximum, the understated and the flashy, the classic and the modern all stem from the same principle. Both approaches originate from the same opportunities to understand their peers and to capture the feeling of the time.

Making the most of the calendar of haute couture fashion shows, jewellers now present their fine jewellery collections to customers and editors visiting Paris in the first week of July.

This year, even before setting foot in any of these big name stores, a quick glance around the Place Vendôme is enough to understand the general trend this season: a return to nature. A field of wheat stretches out its golden ears toward the majestic façades designed by Mansart, three centuries ago. One million hand-illuminated ears make up a poetic 2,800 m2 installation designed by the artist Gad Weil. In the artist’s mind, this “openair painting” accessible to everyone, day and night, symbolized “the rebirth of a better society”. The installation was funded by Chanel, which at the same time presented its new fine jewellery collection entirely devoted to wheat, in the Medemoiselle suite fo the Ritz, which had been similarly bedecked. Sixty-two pieces that are almost all figurative, where diamonds, peridot crystals and aquamarines evoke early spring, with yellow sapphires and pearls echoing the warm reflections of the harvest.

This interpretation of a new motif in Chanel fine jewellery springs from the life of Gabrielle Chanel: this eternal symbol of new beginnings, abundance and prosperity was one of the designer’s lucky charms. By chance, wheat was also a key fea4 ture of the new Chaumet fine jewellery collection designed by Claire Dévé-Rakoff. At 12, Place Vendôme, the esteemed jeweller displayed the spectacle of a symbolic herbarium, loyal to the essence of the house. Wheat, laurel, oak, lily - a range of plants with cultural references largely focused on the kindness and generosity - romanticised by curvaceous jewels, movement

Photos Vincent Vulweryck/Cartier, Archives L’Officiel, DR

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and elevation. This all powerful nature was also showcased by Boucheron in its “26 Vendôme” collection: a radiant lily with crystal petals around a 20 carat yellow diamond, golden wheat studded with diamonds, etc. in a performance masterminded by fashion historian Olivier Saillard. A throwback to when Charles Frederick Worth first used live models to display clothing, the director of the Palais Galliera sent models along the runway for one day only flaunting the jewellery in all its glory.

It was all very charmingly Parisian, recalling the customs and traditions of a time when fine jewellery and haute couture were intimately linked. The house of Cartier, meanwhile, presented a remarkable series based on cacti in the Palais de Tokyo. The most famous jeweller in the world, famous for its architectural jewellery, has often explored flora and fauna. A visit to their archives on rue de la Paix is testament to the extraordinary variety of floral motifs designed by the house in the 1930s. A cactus without spikes glimmers with sparkling emerald green in this playful piece. Cartier chose an ephemeral but robust flower to express the inherent duality of all earthly beauty, sometimes sweet, sometimes cruel. The jeweller does with its usual mastery and panache, playing with the geometry, the open-work and the scattered stones of emerald, chrysoprase or carnelian. It’s both glorious and yet meditative. This is serious fantasy, after all.

Photos Roland Bianchini, Jean-Louis Guégan, Pottier, Archives L’Officiel, DR

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1 — “Offrandes d’été” brooch in white gold and diamonds, “La Nature de Chaumet” fine jewellery collection, Chaumet.

2 — “Cactus” bracelet in yellow gold, emerald and diamond, Cartier.

3 — Van Cleef & Arpels jewellery, in “L’Officiel” no. 429-430 in 1957.

4 — Cartier creations, in “L’Officiel” no. 381-382 in 1953.

5 — Cartier necklace, in “L’Officiel” no. 599 in 1973.

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6 — “Blé d’été” ring pave set with diamonds on white gold, “26, Vendôme” collection, Boucheron.

7 — “Fête des moissons” bracelet in yellow gold, with multicoloured and yellow fancy diamonds, “Les Blés de Chanel” collection, Chanel.

8 — Cartier creations, in “L’Officiel” no. 333-334 in 1949.

9 — Chaumet jewellery, in “L’Officiel” no. 648 in 1978.

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“Frost” ring in white gold and diamonds, Ole Lynggaard Copenhagen.

JEWELLERY 95 ANS TRENDS

“L’Épi de blé de Chaumet” ring in yellow gold set with brilliant cut diamonds, Chaumet.

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“Sunflower” ring set with brilliant cut diamonds, Harry Winston.

“Ramage” ring in two engraved golds and diamonds, Buccellati.

“Rose Dior Bagatelle” ring in white gold and diamonds, Dior Joaillerie.

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Nature wraps itself around your fingers in these sophisticated rings.

BY EMILY MINCHELLA

“Angel entre les doigts” ring in yellow gold and diamonds, Messika.

“Adonis Rose” ring in yellow and rose golds, platinum, and set with diamonds, De Beers.

“Blossom” white gold ring with tourmaline indigolite, carved opal and diamonds, Louis Vuitton.

credit photo Photos DR

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“Mini D de Dior Satine” steel watch with diamonds and white mother of pearl, Dior Horlogerie.

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“Premiere” steel watch, black lacquered dial, steel chain strap, Chanel Horlogerie.

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“Tank Française” medium size watch, steel case and strap, matt silver dial, Cartier.

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“Reverso Classic Large Duoface” steel watch, mechanical movement, Jaeger-LeCoultre.

“Cadenas Sertie” watch, white gold case, diamonds, mother of pearl, Van Cleef & Arpels.

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These elegantly understated watches gleam with silver.

BY EMILY MINCHELLA

“Royal Oak” automatic watch, steel case, Grande Tapisserie dial, Audemars Piguet.

“Classique” white gold watch, silvered gold hand guilloched dial, Breguet.

“Serpenti Tubogas” watch, steel case, diamonds, rubellite, silvered opaline dial, Bulgari.

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PURE SENSATIONS

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COLLECTOR’S CHOICE MOUAWAD’S HIGH JEWELLERY PIECES ARE SOUGHT AFTER FOR THEIR CLASSICAL DESIGNS AND CONTEMPORARY CRAFTSMANSHIP. L’OFFICIEL MIDDLE EAST MEETS

PASCAL MOUAWAD

Have you seen any particular trends in how people are collecting high jewellery?

I think that in the category of high jewellery there is a constant search for pieces that will endure in terms of their visual impact and desirability, and this means classic designs remain in demand. However, there is a movement toward coloured gems, although not to the detriment of the demand for diamonds.

What is today’s Mouawad client looking for?

In terms of high jewellery they are looking for something unique that embodies excellence of craftsmanship and fine quality gems in a design that captures attention while reflecting their personality in some way. They

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“BEFORE YOU START THINK CAREFULLY ABOUT WHY YOU WANT TO BUILD A COLLECTION AND HOW YOU WANT TO BUILD IT IN TERMS OF WHETHER YOU WILL FOCUS ON PARTICULAR GEMS, STYLES, PIECES OR THEMES”

are looking, in short, for enchantment.

What would your advice be for someone beginning a high jewellery collection?

Before you start think carefully about why you want to build a collection and how you want to build it in terms of whether you will focus on particular gems, styles, pieces or themes. This will help you make discerning choices that develop into a collection that reflects your aims.

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What are the key pieces in a high jewellery collection?

Mouawad high jewellery sets are crafted as an ensemble of more than one element, and could include necklace, bracelet, earrings, ring, brooch or tiara. Each piece in a set reflects the theme or design direction and evokes a feeling of harmony. In our masterpiece suites, the same is true, but one or two items may be designed to strike the eye with greater impact when using gems of extraordinarily high value or rarity.

Why do you think there’s so much mystery surrounding collectors of high jewellery?

I think that this is similar to collectors of any high value item. When a rare item is bought at auction often the buyer’s name is protected for privacy. Collectors of high jewellery are equally private.

Is there more of a premium on vintage pieces rather than new designs?

Not necessarily. The true value lies in the craftsmanship and the quality of the gems used.

If so, what are the most popular designs with the Mouawad client?

High jewellery is very much about discerning taste and a feeling of the unique so we cannot really talk about popular designs. However, Mouawad’s signature style is to take the essence of the classic and give it a contemporary twist, with the result of timeless sophistication.

Who is your biggest market?

The Middle East, particularly the Gulf, continues to be our biggest market.

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As Damas launches its Sama collection, brand ambassador Penélope Cruz attends the glittering gala at Armani Hotel

A SPECIAL SOIREE The launch of Sama and its association to A-list Hollywood celebrity, Penélope Cruz, marks a significant milestone in Damas’ rich history driving the brand to greater heights and further strengthening its position as a leading player in the market.

Derived from the Arabic word ‘Sumou’ meaning elevation or splendour, the Sama line is named because the pieces represent a ‘higher stage’ of opulence. The unique pieces in Sama are high-end masterpieces with dazzling designs that boast a minimum of 40 carats of natural and beautiful

THE SAMA COLLECTION COMPRISES OF A FANTASTIC ARRAY OF EVENING SETS PERFECTLY HANDCRAFTED FOR THE MOST SPECIAL OF OCCASIONS.

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SAMA ALSO CARRIES EXQUISITE WHITE DIAMOND 4-PIECE BRIDAL SETS - NECKLACE, EARRINGS, BRACELET AND RING - DESIGNED TO OFFER THE BRIDE AN UNMATCHED ELEMENT OF BRILLIANCE AND BEAUTY ON HER SPECIAL DAY.

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precious gemstones that have been magnificently manufactured using the best goldsmiths and the most exquisite of jewels. With radiant rubies, enchanting emeralds, stunning sapphires and both colourless and fancy-coloured diamonds intrinsically embedded with three options of glittering 18K white, rose and yellow gold and platinum, the Sama range exudes glamour and mystery.

Commenting on the new brand, Anan Fakhreddin, CEO of Damas said: “Sama comes as a natural evolution of the great vision we set forth three years ago. It presents not just a product-line but an entire experience and showcases what lies at the

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heart of the brand – what Dubai and the UAE has taught us. It is a premium and luxurious offering that will capture the essence of the brand globally.”

In speaking about the collaboration with Penélope Cruz, Anan continued, “We are thrilled to be working with Penélope, an ambassador whose values and characteristics perfectly fit the heart of the brand. She is one of many celebrities we’ve collaborated with but this is, by far, our most glamorous campaign. With this launch, and the collaboration, we are truly moving from a famous jewellery retailer in Dubai to conceivers of a famous jewellery brand from Dubai.”

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Every piece by Sama is certified by the most prestigious of jewellery labs in the world to ensure the highest quality of perfection. Each Sama piece was conceived by globally-renowned award-winning designers who have also created beautiful jewellery pieces for numerous international brands as well.

Sama is now available at select Damas luxury boutiques across the GCC, all sold by Damas’ team of expert consultants who thoroughly guide customers to make the best-informed decisions on jewellery purchases.

Sama is just one of the major launches Damas has announced this year. Earlier in 2016, the brand partnered with Forevermark, part of De Beers Group, to incorporate the rarest diamonds into their ‘Damas Classics’ collections.

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F A S H I O N

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From major shakeups in the fashion industry to looks that are more inspired this season than ever, the latest trends will keep us literally on our toes.

TAKE IT HIGHER Photography LIONEL GASPERINI Styling MICKAEL CARPIN

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Black polyester dress, Alexandre Vauthier.

Platinium plated brass necklace and earrings, Joanna Laura Constantine

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Embroidered Mikado tank dress and cashmere hoodie, MICHAEL KORS. Rabbit felt cap with metal pins, MAISON MICHEL. Silver metal with Swarovski strass earrings, PHILIPPE FERRANDIS.

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Opposite page: Black chiffon silk blouse, green and gold jacquard fil coupe midi silk skirt, green and black print polyester coat, Emanuel Ungaro

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Silk floral fil coupé and python print panel dress, BURBERRY. Acetate sunglasses, SELIMA OPTIQUE. Leather bag with gold pearls, HIBOURAMA. Leather boots with fishnet, CLÉLIA TAVERNIER. Gold-plated bangle, URSUL PARIS. Silver and gold metal bangles, RENÉ TALMON L’ARMÉE.

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opposite page: Polyamide top, nappa leather corset and silk skirt, LOEWE. Patent leather Mini Buckle clutch, ROGER VIVIER. Gold choker and ear cuff with strass, JOANNA LAURA CONSTANTINE.

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Suit, ERMANNO SCERVINO. Shirt, SEE BY CHLOÉ.

Bag, SANDRO. Boot, CHIE MIHARA

Python coat, printed nylon Stargate bomber and python boots with lacquered heels, GIVENCHY. Leather clutch, CHRISTIAN LOUBOUTIN.

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opposite page: Embroidered black silk dress, DIOR. Suede and leather thighhigh boots, CESARE PACIOTTI. Acacia wood clutch, ROCIO. Gold metal ring with white stone, SAMANTHA WILLS. Gold metal ring with amethyst, RENÉ TALMON L’ARMÉE.

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Silk dress and leather jacket, LOUIS VUITTON. Leather shoes with fur, CLÉLIA TAVERNIER. Metal rings, THOMAS V.

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opposite page: Denim dress with lace collar and faille details, MIU MIU. Embroidered Runway bag, CHRISTIAN DIOR. Metal and strass earrings, JOANNA LAURA CONSTANTINE.

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Patent leather jumpsuit, ALEXANDRE VAUTHIER. Calfskin boots, PRADA.

opposite page: Cloqué coat, silk skirt, calfskin corset belt, gaberdine shoes and white cotton stockings, PRADA. Metal Play Me Dior necklace in gold and pink gold finish with pink and black glass; and metal Play Me Dior necklace in gold, pink gold and palladium finish with pink and black glass, and anthracite crystals, DIOR.

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Photographer: Lionel Gasperini @Theartboard Stylist: Mickael Carpin @Nmanagement Make up: Aya Fujita @Koyudo using L’Oréal Paris Hair: Takayuki Nukui using L’Oréal Paris Model: Alexina Graham @Eliteparis

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BVLGARI Diva High End Watch, 39mm, in White Gold with Sapphires (6.24ct), Precious Stones and Diamonds (8.23ct).

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MAGNIFICENT INSPIRATIONS Vibrant colors, audacious volumes, unique gems…

This high jewelry collection from Bulgari dazzles with creativity and the brilliant savoir-faire of the master of gemstones. Our stunning and elegant selection pays tribute to the Italian roots of the House, capturing the vivid light, identity and colors of its homeland, from Mediterranean blues to “the gold of ancient ages”. The designs spring from three inspirations: daring Italian Extravaganza, romantic Mediterranean Eden, and mythical Roman Heritage.

Photography

MAHA NASRA EDDÉ

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Styling

CLAIRE CARRUTHERS

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BVLGARI High Jewelly Costiera Earrings in yellow gold with 2 emeralds (16,84 ct), 2 sapphires (6,67ct,) 4 rubies (7,73 ct), 2 round emeralds (0,25 ct), pear shaped diamonds (2,18 ct) and pavĂŠ diamonds (0,08 ct) BVLGARI Serpenti High End Watch, 40mm, in Pink Gold, Blue Dial & Bracelet, 2 loops, 2 Malachites and Diamonds (4.95ct) BVLGARI High Jewellery Serpenti Bracelet in white gold with round brilliant cut diamonds (49.64 ct) and 2 pear shaped diamonds (0.80 ct)

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BVLGARI High Jewellery Necklace in Pink Gold with 15 mandarin garnet (63.53 ct), 13 tanzanites (65.18 ct), 11 peridots (59.35 ct), 69 round brilliant cut diamonds and pavĂŠ diamonds (34.67 ct)

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BVLGARI High Jewellery Colour Extravaganza Necklace in pink gold with mother of pearl elements and a peridot (21,15 ct), coral, spinels (77,82 ct) and pavèset diamonds (10,85 ct) BVLGARI High Jewellery Colour Extravaganza Earrings in pink gold with 2 peridots (7,62 ct), spinels beads (86,15 ct) and pavèset diamonds (1,50 ct)

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BVLGARI High Jewellery Necklace in yellow gold and turquoises with amethysts (30,22 ct), peridots (29,94 ct), rubellites (23,93 ct), tourmalines (21,24 ct) and diamonds pavé (3,81 ct)

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BVLGARI High Jewellery MVSA Sapphire Earrings in platinum with 2 cushion dressand shapedEmbroidered blue Sri-Lanka VALENTINO, Madagascar sapphires sneakers (7.51 ct -6.46 ct), 4stan round smithbrilliant ADIDAS cut and marquise diamonds (4.44 ct) and 12 tapered cut diamonds (0.70 ct) BVLGARI High Jewellery Sapphire Ring in white gold with 1 Kashmir sapphire (4.00 ct), 4 marquise diamonds (0,35 ct), 4 baguette and 12 trapezoidal diamonds (1,48 ct)

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BVLGARI High Jewellery Serpenti Necklace in white gold with 2 pear shaped diamonds (1,02 ct) and diamond pave (74,65 ct) BVLGARI High Jewellery Serpenti Ring in white gold with 2 pear shaped diamond and pavé diamond (4.00 ct)

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BVLGARI High Jewelly Costiera Earrings in yellow gold with 2 emeralds (16,84 ct), 2 sapphires (6,67ct,) 4 rubies (7,73 ct), 2 round emeralds (0,25 ct), pear shaped diamonds (2,18 ct) and pavé diamonds (0,08 ct) BVLGARI Serpenti High End Watch, 40mm, in Pink Gold, Blue Dial & Bracelet, 2 loops, 2 Malachites and Diamonds (4.95ct) BVLGARI High Jewellery Serpenti Bracelet in white gold with round brilliant cut diamonds (49.64 ct) and 2 pear shaped diamonds (0.80 ct) Photographer: Maha Nasra Eddé Stylist: Claire Carruthers Hair & Make Up: Katharina Sherman Model: Sofia @ MMG Models Fashion: Special thanks to Harvey Nichols (Dubai), Boutique 1, BySymphonie

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GIRL ON THE GO Whether you’re in transit or dashing around town, dial up your wardrobe with these hard-working pieces...

Photography VLADIMIR MARTÍ Styling DANIEL GONZÁLEZ ELIZONDO

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Trench Coat, Chanel.

Shirt, Iro. Skirt Nice Things. Cap, Brixton. Shoes, Chalayan

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Bomber Jacket, Emanuel Ungaro. Top, Ermanno Scervino. Skirt, Emanuel Ungaro.

Shoes, Stuart Weitzman

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Jacket, Chanel.

Dress, Chanel.

Shoes, Jimmy Choo

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Jacket, Polo Ralph Lauren.

Sweater, Blumarine.

Trousers, Blumarine. Belt, Liu·jo. Shoes, Chalayan

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Cape, ELIE SAAB. hirt, THE ROW. Trousers, ELIE SAAB

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Jumpsuit, Amitie

By El Corte Ingles. Bag, Courage

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Coat, Max Mara. Sweater, Maje. Trousers, Sportmax.

Shoes, Paule Ka Make up and Hair: Alizia Moreno for Moroccanoil and Malava Photographer assistant: Luca Montani Style Assistant: Beatriz Chacón Model: Marta Ortiz a ​ t​ LINE UP MODELS Special Thanks: Marc Juan Comunicación marcjuancomunicacion.com

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THE GREAT COVER UP Autumnal dressing invariably means layering up. There’s no need to worry though; here’s how to stay warm and stylish with our edit of the season’s best coats and inspiring ensembles...

Photography LINA TESCH Styling JENNIFER HAHN

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Chaumont coat​,​ Tory Burch. ​Striped sweater، Etro. P​ure silk​shirt with long sleeves​,​ Salvatore Ferragamo. ​ M​ulticolored tweed 11.12 bag silicon braid​,​ Chanel. ​V​ivid skirt, Dorothee Schumacher. ​Crystal blissful earring​,​ Christian Dior

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​G​reen blazer​,​ Emporio Armani​.​ ​K​a ki cashmere peacoat​,​ Christian Dior. ​O​ff white angora knitted zipped top​,​ Dior.

G ​ r​ een​ and ​black skirt, Salvatore Ferragamo.

C​ashmere​ sweater with pattern​,​​ Brunello Cucinelli. ​Polyester​ trousers​,​ Emporio Armani. ​ B​lack​ and ​g reen sandals​,​ Salvatore Ferragamo.

B​lue​and ​black bag with pony effect leather​,​ Dior

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​P​urple ​wool ​coat​ and purple sweater, Michael Kors. ​B​lue​,​​ ​red​, and ​ white dress​,​ ​and jacket, ​Chanel

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C​ashmere​ caban jacket, Brunello Cucinelli. ​S​t riped knitted long vest​,​ Max Mara.

P​ure silk​ dress, Etro.

Polyester pleated skirt​ ,​ By Malene Birger. ​Pe​ acock blue velvet shoes​,​ Santoni

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​L​ong coat​,​ Louis Vuitton. ​ K​nitted ​cashmere ​cardigan, Bottega Veneta. ​D​eep blue metallic floral jacquard pleated shirt dress,​ Burberry Prorsum. ​V​ivid skirt​,​ Dorothee Schumacher

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B​lack silk​ blouse​,​ Fendi. ​ B​rown edgy dress​,​ Dorothee Schumacher. ​ M​utlirow fantasy pearls necklace, Chanel.​ Tousers, Bottega Veneta. ​B​eige, brown​and ​black blouse,

By Malene Birger S ​ ​ilver necklace​,​ Miu Miu ​B​lack velvet high heels with pearls​,​ Miu Miu. ​Geometric pattern turtleneck with sideward slits​, Sportmax

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​Pi​ nk coat, Versace.Botanical​ silk ​print dress, Paul Smith. ​ Purple skirt with feathers, Michael ​ all purple Kors. ​Sm bag​,​ Michael Kors. ​Je​ rsey top, Emporio Armani

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Nylon jacket with orange embellished seams, Prada.

Orange wool cardigan (over the shoulders),

By Malene Birger.

Green striped wool skirt, Prada. Small bag with floral pattern and chain handle, Miu Miu. grey stockings with red check, Prada. Blue, redand gold pumps, Prada Photographer: Lina Tesch Stylist: Jennifer Hahn @ Jen Hahn Model: Eva Staudinger @ Modelwerk Hair & Makeup: Sigi Kumpfmueller @ Kult Artists Styling Assistant: Mareen Bayer @ Jen Hahn

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DEEP EMOTION Photography FILIPPO DEL VITA Styling JENESEE UTLEY

Foundation: Kevin Aucoin Sensual Skin Enhancer in SX 03 Eyes: Dior Eyeliner Long Wear Waterproof in 254Captivating Blue. Shu Uemura False Lashes in Smoky Layers Blush: Yves Saint Laurent Terre Saharienne Powder in 3 Golden Sand Lips: Tom Ford Lip Color Matte Flame Nails: Christian Louboutin in La Favorita nude Pink sequin gown, PREEN by THORNTON BREGAZZI

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Skin: La Mer The Moisturizing Soft Cream Foundation: Diorskin Nude Air Serum in 020 Light Beige Eyebrows: Anastasia Beverly Hills Clear Brow Gel Eyes: Chanel Les 4 Ombres in 79 Spices. Le Volume the Chanel Waterproof mascara in 10 Noir Blush: Estee’ Lauder Genuine Glow in Peachy Keen Lips: Christian Louboutin lipstick in Ron Ron and Miss Clichy White button down shirt, SAINT LAURENT. Striped bowtie, DIOR

Just like an artist on her canvas, you must look at your eyes, lips, contours, cheekbones and even neckline to create your own masterpiece. From glitter eyes to arty liner and neon lips, your makeup will be the one thing other than your clothing itself that stands out the most.

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Foundation: Yves Saint Laurent Youth Liberator Serum Foundation in Beige 10 Conceler: Diorskin nude conceler in 001 Ivory Eyes: Diorshow Mono Lustrous Smoky eyeshadow in 794 Fever Blush: Chanel Joues Contraste in 340 Evening Beige Lips: Rouge Volupte’ Shine oil-in-stick in Night Birds No 47 Beige Blouse Leather hat, lace dress and pearl necklace, CHANEL

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Skin: Touche E’clat Blur Perfector Eyes: Esqido FAlse Lashes in Illumina. Diorshow Maximizer 3d Triple Volume Plumping Lash Primer Eyebrows: Diorshow Brow Chalk in 003 Dark Brown Blush: Tom Ford Night Bloom Powder Black Bloom Lips: Rouge Coco Lipshine Stylo in 208 Roman. Chanel Volume Plumping Gloss Nail: Dior Tra-LaLa Nail Polish Embroidered gown, GEORGINE

Hair, Alberto Guzman for Bumble and Bumble at Raybrownpro NYC. Make up, Janeiro for Mac Pro NYC at Art Department Manicurist marina iwakoshi.

Model, Andrea @ new icon

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