eklektika may 2020
c u l t u r a l
t o g e t h e r n e s s
a m o n g
s o c i a l
d i s t a n c i n g
FASHION ACROSS CULTURES,
BORDERS & TIMEZONES
соёл
cultura วั ฒ น ธ ร ร ม
м ә д е н и е т
kultur
সং িত
സംസ് കാരം k u l t t u u r i
c h i k h a l i d w e kulturë
KÜLTÜR
n ề n
v ă n
h ó a
文化
Πολιτισμός CULTUREﺣﻀﺎره kultūra
b u d a y a
SETSO
ﻓﺮﻫﻨﮓ
культурa DHAQANKA문화 ˜ולטור M
e
kultura
m a d a n i y a t
n
n
i
n
g
ַת ְרבּ ו ּת
utamaduni a
s a
kilti
eklek
i m p r e s s u m
CONTRIBUTORS
EDITOR IN CHIEF Karolina Kustusz
CREATIVE DIRECTOR Laura Taglialatela MANAGEMENT TEAM
Karolina Kustusz Laura Taglialatela Elisa Zhou Naima El Khatteeb Mattia Maietti Ingrid Frederichi Assinnata Dorothea Kocjian Zoe Deitering CREATIVE TEAM
Laura Taglialatela Naima El Khatteeb Ingrid Frederichi Assinnata Hala Algharbawi Artur Khliebnikov Marisha Yurkovsky COVER PAGE
Karolina Kustusz Laura Taglialatela Elisa Zhou Naima El Khatteeb Mattia Maietti Ingrid Frederichi Assinnata Dorothea Kocijan Hala Algharbawi Zoe Deitering Arthur Khliebnikov Marisha Yurkovsky Viktorie Pletnickรก Alberta Vaicelionyte Aditya Sharma Leen Sharif Don George Vadakkan Marcela Pilla Vandana Ramani Aya Mourad Nohir Saleh Blanca Crhakova Li Wei Chiara Romaldi HOROSCOPE
Ingrid Frederichi Assinnata Horoscope references: www.stitchfix.com www.beyondfashionmagazine.com www.sunsigns.org
Artur Khliebnikov BACK COVER GAMES
Naima El Khatteeb Hala Algharbawi
Ingrid Frederichi Assinnata
ktika
t a b l e o f c o n t e n t s
EDITOR'S LETTER What does culture mean in 2020? THE WHITE COLOUR 2020 Shades of White: an insight into one of the colours that shaped fashion White: a story of everlasting beauty by Viktorie Pletnická A life in red and white by Alberta Vaicelionyte Interview with Michele Bertozzi by Mattia Maietti
7
CULTURAL APPROPRIATION
20
Should we wear what we wear? The fine line between cultural appropriation and cultural appreciation in fashion by Karolina Kustusz, Ingrid Frederichi Assinnata, Artur Khliebnikov, Marcela Pilla SPOT ON: THE KEFFIYEH Political and cultural connotations by Naima El Khatteeb, Aya Mourad
30
SUSTAINABILITY Our Colleagues “ Know How” Nature & me #WeAreInThisTogether by Elisa Zhou, Marisha Yurkovsky, Nohir Saleh, Blanca Crhakova
39
HOROSCOPE by Ingrid Frederichi Assinnata
49
5
STREET STYLES Across the globe USA - New York Europe - Paris
13
UAE - Dubai China - Shanghai by Aditya Sharma, Leen Sharif, Dorothea Kocijan, Don George Vadakkan TRANSFORMATION POWER by Hala Algharbawi, Vandana Ramani.
26
ART IN AND WITH FASHION Resonating not only with form, but with meaning by Zoe Deitering, Laura Taglialatela, Li Wei, Chiara Romaldi
33
GAMES The Corona Diary by Naima El Khattheb Fashion Crosswords by Hala Algharbawi
48
EDITOR'S LETTER
What does culture mean in Spring/Summer 2020? At a time when people stay home, the global travel industry is at a stand-still and countries look at nationalistic strategies to protect themselves - what does culture mean? Is it where I belong? Is it where I come from? My heritage? my roots? The notion of cultural exchange has been the umbrella for the 2020 Cultural Bazaar of the Rome Business School. Initially intended as a platform to bring together students from all over the world to educate each other and encourage exchange about their culture and its influence on their respective fields of study, the global Covid-19 crisis caused the school to remain closed; and the students? They stayed home. With the coronavirus outbreak we had to rethink cultural togetherness. As students of the Fashion Management and Fashion & Design Management courses, who have never met each other in real life; students who now live across the globe and across all time zones; we have come together to create something that looks at fashion from our cultural point of view. In fact, to salvage a cultural point of view. To give room for cultural exchange despite closed borders. To give our readers the opportunity to retreat from media coverage about Covid-19 and consume cultures that today seem so far out of reach. Eklektika looks at current, partly unseen and disruptive topics from the fashion industry by hopefully giving them a wider, or at least our own cultural point of view. The luxury of working with 26 talented students from 18 different countries has given this magazine a distinctive yet modest perspective on issues such as sustainability or cultural appropriation. Looking at cultures that might not have been in the focus of the industry, such as the Kingdom of Saudi Arabia or Palestine, we have used the unique pool of knowledge from a group of aspiring, newly enrolled fashion students to create something pristine; a blank page, a fresh start; epitomizing our own fresh start at Rome Business School. The blank page is also what we commence this magazine with. A blank page, inspired by the powerful White Cover of Vogue Italia which has risen to fame and is now associated with gratitude and new beginnings. We are grateful for each and everyone who has helped the global population through this, and has been and will be enabling a new beginning. And we wouldn’t be a group of ambitious students, if we didn’t take this opportunity to analyze the white colour in our first article. Eklektika brings you cultural phenomena, street styles and the power of inspiration that lies in arts and culture from a fresh point of view, created in our homes for your homes, hoping that it will give you a moment to come up for fresh air from the current chaos. It’s been a pleasure and an honour working with this team.
Karolina Kustusz EDITOR IN CHIEF
Eklektika | 6
Oscars 1954 Audrey Hepburn wins Best Actress.
the white colour 2020 SHADES OF WHITE:
AN INSIGHT INTO ONE OF THE COLOURS THAT SHAPED FASHION
WHITE , just like all the other
colours, has been associated with certain feelings and traditions. While white is “just” an achromatic tinge generated by a perfect balance between all the different shades on the light spectrum, it is also associated with unique psychological traits and qualities. It is the symbol of pureness and virginity, wholeness and completion. Following the latest events connected with the worldwide outbreak of CoVid-19, the colour white is again showing its powerful agility. Behind such an easy and simple hue hides a whole world of shades and meanings, as seen most recently on the already famous Vogue Italia's “White Cover” in April 2020.
connection between high-income people and colourful clothes. The next step for the white colour was its role in the political arena: because of its many qualities, useful from a propagandistic point of view, it became the trademark of many public figures, from Hillary Clinton to Geraldine Ferrao. Only after many years white was able to claim its main role: that of an everlasting fashion trend. Many acclaimed actresses brought a breath of fresh air to the good-old classic white buttondown:
WHAT IS THE ONE THING, THAT CANNOT BE MISSING IN
YOUR CLOSET AND GOES WITH EVERYTHING?
YES!
THE HOLY WHITE SHIRT! WHY “HOLY” YOU ASK? WELL…
For more than two hundred years, the white shirt has been able to define and represent economical status-wealth and fashion norms. In the Victorian era, where it originated, it was an important symbol of wealth, class distinction and a sign of sobriety, power, masculinity and uniformity for men. For women the white cloth was linked to the notion of purity and was also seen as an iconic symbol of their new independence. The working class at that time was not wealthy enough to keep their clothes snow white, therefore these conditions led to an unconscious
James Dean wearing his iconic fashion statement, the white T-Shirt.
directly from a man’s closet. The 90s added a meaning of intellectual minimalism to the white shirt. Designers were suddenly willing to simplify the lines, the cut and the garment materials and the white shirt but then heavily influenced the 90s aesthetic repeating that same rebellious mood. The “Blue Jeans, White shirt” look was worn by several icons such as Kate Moss, Julia Roberts, Cindy Crawford, Princess Diana and many others. Looking back, it is undeniable that the versatile evergreen white shirt has eventually become the must have in both men and women’s closets.
Grace Kelly, Marilyn Monroe and Audrey Hepburn, for example used the power of white and thereby established it in contemporary fashion. Inspired by influential movie stars, white was trending in the 40s. It became refined and elegant, a real symbol of a happy lifestyle. The 60s with Twiggy, and the 70s with Patti Smith: they turned the white bottomdown shirt into an androgen garment, a symbol of new style and female power. The 80s transformed the shirt into a Gabrielle “Coco” Chanel was a sensual and flirty garment. Worn fashion pioneer, showing >> oversized it seemed as taken
Eklektika | 8
Gabrielle "Coco" Chanel.
" FASHION IS NOT SOMETHING
THAT EXISTS IN DRESSES ONLY.
>> qualities of boldness and elegance in her designs and styles. She was and still remains a trailblazer of the industry, embracing both independence and hard-working spirit. She always found a way to turn her dreams and innovative fashion concepts into reality. Her teterrimous past did not inhibit her or break her spirit to go on building a fashion empire. In the 20s, Chanel was acknowledged as one of the greatest fashion leaders and icons not only in Paris, but worldwide. Chic and sportive cuts, flattering linearity and romantic shapes are Chanel characteristics that remain timelessly modern. Adaptation was key to her survival in the fashion world, as she overcame life challenges and unpleasant moments with strength and determination. From abandonment, to her return to society; from the need to leave her county, to the decision to come back home each time stronger and better than before.
9 | Eklektika
FASHION IS IN THE SKY, IN THE STREETS.
FASHION HAS TO DO WITH IDEAS,
THE WAY WE LIVE,
WHAT IS HAPPENING. "
Coco Chanel
Breaking the fashion boundaries and common trends by using fabrics which were considered the opposite of luxurious, such as jersey and rabbit fur, Coco Chanel was not afraid to take risks. Her aim was to become an equal to her male rivals by making her own fashion business a success. It was a revolution not only for her but for the whole fashion world. She became a role model for women at that time and today by overcoming obstacles and using them as steps toward her dreams and goals.
A LIFE IN RED AND WHITE
From your first day in life, your first scratching, your first glimpse into church, your first fear, or emergency situation - your mind and feelings develop two opposite meanings of red and white, and the basics of it are well known. Red is used nearly universally today: the red sky during summer nights, the blush on the skin, or in nature, when a ripe fruit announces its readiness with its red shades. Red catches people's attention, when it’s used in advertising to attract by playing with the love association, or more generally to indicate danger and emergency. Studies show that red causes the strongest reactions among all the colours. It is also used as a symbol of courage and sacrifice – let's just think about the Red Cross. If from one side red plays a leading role, on the other white is its counterpart. In fact, white represents the absence of colour, the basics, the first tinge used in ancient times to display daily life and one’s vision of the surrounding world, by way of using natural resources such as chalk and white calcite. Since then, white has has become omni-present in people’s consciousness, though evoking different associations based on cultural meanings: in Western countries white represents the classic colour for wedding dresses, while in many Asian countries its meaning is linked to grief and loss.
SIMPLICITY IS KEY
After a cruel war and red blood rivers it comes to the white flag, the common peace. Isn’t that what we face today? Amind the coronavirus pandemic that affected everyone, every company everywhere - in particular in the fashion industry Vogue Italia reacts with its special issue characterized by an entirely white cover. “White is, first and foremost, respect.White is rebirth, light after the darkness, the sum of all the colors. White are the uniforms of those who have saved lives while risking their own. It’s time and space for thinking, and for staying silent too.“White is for people who are filling the present time and space with ideas, thoughts, stories, verses, music and kindness to others” said Vogue Italia's Editor-n-Chief Emanuele Farneti. “It’s a reminder that after the crisis in 1929, clothes turned white, a color chosen to express purity in the present and hope for the future. And above all, white is not surrender; it’s a blank page to be filled, the frontispiece of a new story about to begin.” Vogue Italia chose white as a symbol of a brighter future to come, a blank space for upcoming endeavors. “Above all: white is not surrender, but a blank sheet waiting to be written, the title page of a new story that is about to begin.”Dark days lie ahead for the fashion industry, as the COVID-19 outbreak forces the sector- from factories to retailers- to slow down for an unknown period of time. However, when a sense of normality does re-emerge, colour will be an impactful tool for companies to lift consumers’ spirits and drive them back to their beloved shops.The fashion industry is looking forward to taking the very best out of this pandemic through positive thoughts and white color sketches-full of hope.
Lady D in total white, at the Children Of Bosnia Charity Concert. Milan, 1995.
Eklektika | 10
INTERVIEW WITH AN EXPERT: THE
WHITE WAVE
AND ITS IMPACT ON FASHION
Let's start from a famous quote: “People think of all colours except the absence of colour. I have said that black has it all. White too. Their beauty is absolute. It is the perfect harmony” – Coco Chanel. How do you feel about this quote? Michele Bertozzi Senior Shoe Designer and Fashion Designer of wedding dresses Born in Cesena on 06 th August 1988.
A good part of Coco Chanel's fashion is strictly influenced by her life experiences, and presents an edited natural beauty, purified from all of those typical constraints of the previous period; women are freed from corsets. Her idea therefore referred almost to a natural concept of aesthetics, a mirror of harmony on which nature itself is founded: for every single thing also its contrary exists. This can be what Chanel's “black and white” stands for: the balance between two diametrically opposite realities sharing the same space.
Let's consider fashion then and now: clothes are firstly designed on white canvas, whereas shoes on black leather. According to collective consciousness, both black and white gained the title of eternal colours: just think about the white t-shirt or the black leather jacket. They both managed to send specific messages: from black's drama and sensuality to white's pureness and candor. They are “not-colours” that will never fade. As a designer; what's your overall relationship with white fabrics? What does white evoke in your mind, in particular in the wedding sector?
White relates to concepts such as those behind hope, beginnings, starting points. The first phase of design, as I have already anticipated, is white canvas, heritage of haute couture, in order to verify that all the lines are well drawn and placed before proceeding with the right fabrics and colours. The concept behind the white canvas embraces the idea of a new beginning, ‘the first test’. My project, is all about white - a few years ago a friend of mine asked me to design her wedding dress. Since then, after a bunch of bride-friends, I developed the need of what I would define a “creative urge”: the wedding between my passion and the desire to do something special. In this context white is firmly connected with our culture: the real challenge is to come out the bog-standard idea and find new designs to keep white wide awake. The idea of the wedding dress is now common heritage: women dream the white dress as it is part of our cultural concept, it represents a sort of personal achievement. The wedding dress is ‘The White Dress’. I can feel its force and energy while creating it, and the smile on a bride's face is proof: white is the jewel on the crown of a lifelong dream. What do you think about the recent Vogue cover? Does white identify a blank page in the fashion future which is ready to be filled in?
I think that Vogue's cover is perfect in these times for the message that it sends. It will be recalled for its uniqueness- the magazine whose aim has always been to show beauty stops and bravely calls everything off pressing the “reset” button. Vogue Italia, especially under Sozzani's management, has always strived to be the mirror of society. The idea of a white cover is definitely a brave decision to embody the need to start from scratch: as a designer working in fashion I can tell you that we had lost ‘our creative compass’, especially during the past ten years. Due to our unbearable rhythms, the fashion industry has reached a saturation point >> 11 | Eklektika
>> for which we had no time to do things well and cherish our achievements. The consumer on the other hand did not have the chance to wait for an item and actually enjoying it, as a new collection was soon to be launched. This can be the right moment to stop, think and start again with rebuilt will: Vogue clearly listened and amplified our voices. Can new total-white collections lead to a new clean, easy-to-wear fashion standard?
To me these white collections are probably just transitional-they will lead us to the next step. In this moment, white plays the leading role especially for its capability, just like all soft colours, to embody hope. I firmly believe that once this period is over we will witness a massive urge to celebrate life through bright colours. We may even feel the need of frivolousness, the will to buy something unique, an actual emotion. Now white makes available on the market exactly what the demand requires, which is hope. Probably consumers' approach to collections will change, there will be the will to invest in that special thing which is able to transmit positive vibes, true happiness, something that we lost long ago with our compulsive-buying behavior. Fashion has always answered society's needs: It is more about being able to appreciate what we buy rather that going back to simplicity. The innovative aspect could be being able to find beauty among different beauty standards, without any specific trend. Another point is sustainability: experts suggest that a new era of vintage trends could be upon us, following the one in the 70s and the first at the beginning of the 20th century. Giving a second life to an object that was rejected by someone but could be the future for somebody else represents a possible sustainable way to go. Another example is my collection of wedding dresses: the basic concept is the usage of stock >>
>> materials, thus using materials that have already been produced. You have massive experience in the shoe industry as you worked with internationalrenowned Italian brands. How does white insert into this segment of fashion?
White is the predominant colour especially in the last seasons presented by the companies working in the shoe industry. There is actually something white that we all have in common worldwide: the white sneakers. They represent the element of our closet that makes us all feel part of the same community, regardless of our race or age. I am thinking about the famous Gucci sneakers for example: a white canvas with a particular embellishment. It is definitely strong boundary-breaking movement, something impossible not to talk about.
13 | Eklektika
Eklektika | 14
15 | Eklektika
Eklektika | 16
17 | Eklektika
19 | Eklektika
21 | Eklektika
23 | Eklektika
Eklektika | 24
25 | Eklektika
Why have people turned away from wearing traditional clothes?
The answer is as simple as that: PEOPLE CHANGE and, over time,
the new has replaced the old.
Looking at how the Kingdom of Saudi Arabia’s society has increasingly abstained from wearing traditional gowns, as modernity and western value systems have advanced, one questions if there’s a way that modest traditional clothing can reinvent itself within the world of fashion.
HOW COULD TRADITIONAL CLOTHING BE TRANSFORMED IN ORDER TO ATTRACT PEOPLE TO EMBRACE IT AGAIN?
Historians agree that the social heritage of any country is representative of its originality as it accumulates culture, art and creation inherited by earlier generations, now admired and looked up to in pride by the younger. People around the world still embrace their heritage as well as their culture at large; traditions and customs relating to what people eat, what entertains them and what they wear. For traditional clothes, which play a significant role in the cultural heritage of certain societies, traditions and customs differ in terms of details, colors, ways of knitting and wearing from one country to another and from one person to another.
The heritage is undoubtely there, but what changed?
27 | Eklektika
last century.
Eklektika | 28Â
From all across the globe, workers and highlyskilled professionals came to the Arab countries to participate in the development process. Fortune of petroleum and its return on investment had a significant effect on society, even if this effect was more visible in financial aspects than non-financial ones such as values and opinions about the sexes and division of work. The latter were more influenced by the effect and imitation of western style as seen on television, movies and in magazines. Additionally, the power of some women’s personalities in the eighties and their advocacy for reforms in several fields facilitated a change of costume shape and a general shift away from the traditional custom going towards development and modernization.
Overall, the time marked a significant change in Arab countries accompanied by a change of traditional customs. As the societal mindspace and perception of prosperity and freedom changed, so did traditional clothing. But despite the gradual changes throughout the country and over time, a sense of continuity remains.
Eklektika | 30
31 | Eklektika
Contemporary fashion resonates not only with shapes, but increasingly with their meaning. Viktor & Rolf Haute Couture winter 2015/2016, “The wearable art”.
ART IN&
FASHI Down, Jeff Koons for Louis Vuitton, 2017.
33 | Eklektika
HYBRID FASHION SHOWS, ITEMS CONCEIVED AS ART OBJECTS, ARCHITECTURAL MARVELS FOR STORES AND HEADQUARTERS, LUXURY BRAND'S MUSEUMS:IT'S THIS FUSION BETWEEN ART AND FASHION INDUSTRY THAT HAS BECOME A TRUE EXPRESSIONS OF MULTICULTURALISM.
T
WITH
ON
Versace. Since the tragic death of Gianni Versace 23 years ago, the House of Versace not only kept the great influence of the designer himself, but also his original inspirations from back in the day. Versace’s style was influenced by many artistic characteristics of the past. Broadly speaking, this great fashion designer’s collections reveal his passion for GreekRoman Culture, Byzantine Art, the Renaissance, the Baroque, Neoclassicism, Art Deco and Modern Art, including, of course, American Pop Culture. Besides that, there is the designer’s close relationship with the performing arts – theatre, dance and opera – in which he was involved as a costume designer throughout his career. From his earliest collections, the shapes of classical Greek-Roman art are present in his designs. One of the defining characteristics was that of sculptures in this period in art history, especially within the Hellenistic style. The styling of the clothes, the folds and drapes of cloaks and tunics played a prominent role, often seemingly merging with the body in an attempt to show the shape of the
figures without undressing them. Gianni revitalized this concept, also using metallic fabrics to achieve a dynamic tension never seen before in fashion. Louis Vuitton. In 1990 the luxury house initiated a program to support arts and culture, and since then its involvement with fine arts has only grown stronger. LVMH’s diverse patronage for the arts comprehends many areas worldwide, and it includes the support for the work of contemporary artists, acquisition of works for major museums and restoration of historic monuments.Today, for almost half a century the luxury maison has led the way when it comes to the fusion of art and fashion. Examples include collaborations with Richard Prince and Takashi Murakami or Yayoi Kusama, and the creation of a LV-branded encyclopedia of contemporary arts. The collaboration between the label and fine arts, in fact, has become so powerful that it secured the rights for Louis Vuitton to reproduce works from the Louvre, interpreted by Jeff Koons in 2017— a collaboration that made a Mona Lisa Speedy bag a must-have item. >>
Louis Vitton X in Rodeo Drive, Beverly Hills, California.
Eklektika | 34
>> It was then just a matter of time before the maison opened its very own exhibition, Louis Vuitton X, on June 28, 2019.During the opening ceremony, six new artist collaborations were announced with the likes of Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self and Jonas Wood. Each of those contemporary artists interpreted the label’s Capucines bag, named after the location of its first store in Paris.
BVLGARI - the Serpenti form. Snakes, since ancient times have been a mythological symbol for countless cultures and civilizations, inspiring the imagination and creativity of humans. The Serpenti Form - the shape of their sinuous bodies was on top of that perfectly suited to be wrapped around wrists or necks. That is probably why Bulgari began the serpent theme in the 1940. Since then, being reinvented by the brand time and again, the Serpenti has evolved into a uniquely recognizable symbol for Bulgari. Issey Miyake. On September 27th 2019, the Japanese fashion house Issey Miyake presented its spring/summer collection at the art >>
. Down, BVLGARI SERPENTI in 2009 makes a more geometric form to mark its 125th anniversary.
35 | Eklektika
The ArtyCapucines Collection, Louis Vuitton with Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self, and Jonas Wood.
On the left, BVLGARI SERPENTI model in 1980s - with a two, three or five-wrap bracelet, and in various different mixtures of gold - has remained in continuous production for almost 30 years. On the right, BVLGARI Serpenti Incantati 2016 An entirely gem-set collection in a completely new shape: the snake's body runs around the circumference of the case on a flat plane, ending with the head - reduced to a single, polished gemstone - crossing over the tail. Down, BVLGARI SERPENTI 2017 in a much more casual territory, with the launch of Serpenti Twist.
BVLGARI Serpenti Seduttori 2019 A series of rigid bangle watches, with the dial hidden inside the snake's head.
Eklektika | 36
>> and cultural center Le Centquatre in Paris. The collection was created by their new designer Satoshi Kondo and the show titled “A Sense of Joy”. Directed by Daniel Ezralow, it was a modern iteration of the joyful experience of wearing clothes across different cultures. That day, Issey Miyake took runway fashion to another level, showing a happiness fueled fashion performance. The parachute fabrics that were used in the collection created a flowing visual experience, accelerated by how the models and dancers moved. The highlight of the show involved dresses and hats that were lowered from the ceiling onto the models in a synchronized manner who then ended the spectacle with a cheerful dance. The entire show was perceived as energetic, vibrant and joyful and was celebrated not only by the happy models, but
Chanel - Métiers D'Art, Paris 2019.
37 | Eklektika
Issey Miyake spring/summer 2019.
also by the very cheerful audience. The designer shared with Vogue Australia – “The joy that can be found in this ritual of getting dressed every day, of finding an outfit that can make you happy for the whole day — that’s what inspires me.” Chanel - Metiers D'Art. At Chanel, embroidery has always been a part of the brand’s DNA. The exquisite craftsmanship of iconic French studio ateliers, that over time adopted a rather modern touch, can be seen as contemporary works of art. And this kind of art is in fact celebrated and embodied in the Chanel Metiers D’Art show, which has recently returned to the Paris Grand Palais, after absconding to Hamburg, Germany and then New York for the past two years. The intent of the Metiers D’Art collection is to cherish the fine arts, enriched with Karl Lagerfeld’s contemporary touch. Bright and sparkling crystals, golden strass details on a new dress without sleeves, camellia embroidery on the iconic Chanel jacket with matching pastel colors. The idea of a new woman, very feminine but at the same time contemporary, dynamic and daring; capable of wearing pieces of art every day with ease. It is a great example of how fashion and the arts are related. A dress can carry all that needs to be said in appreciation for the skilled maisons that specialize in different areas and represent outstanding French craftsmanship. Chanel cherishes them all - Desrues buttons, Causse gloves, Lemariè feathers, Massaro shoes and Lesage or Monteux embroideries.
Chanel - MĂŠtiers D'Art, Paris 2019.
Dior. From the very beginning, French fashion house Dior has enjoyed a close relationship with the arts. Before he was a couturier, Christian Dior worked as a curator, introducing Paris to artworks from the likes of Max Ernst, Man Ray, Giacometti and Dali. And it was this passion for the arts that current creative director Raf Simons channeled for his Fall/Winter 2013-2014 show. "The collection is primarily linked to shared passion and a real interest in the arts" he stated. The show was designed to resemble a mood board where past and present unfold in a free creative movement. In a suspended place with huge clouds designed from Magritte, Raf Simons created a mash up between Surrealism and Pop Art that transformed the face of the Dior Maison with new creative infiltrations. For this collection, Raf Simon collaborated with the Andy Warhol Foundation for the Visual Arts, combining several of the artist's sketches on the collection key pieces, and transforming them in stylish embroideries. The effect is that of a drawing on a blank sheet.
, Down, Christian Dior 2013/2014, art as a space between surrealism and pop art, a revolutionary mash up with the classic Dior codes.
41 | Eklektika
Eklektika | 42
43 | Eklektika
45 | Eklektika
Eklektika | 46
:DEEN UOY TAHW
1. an unused garment that has a bit of elasticity 2. a sheet of swiffer 3. a tissue 4. scissors 5. a needle and thread
- take your unused garment and put it in two layers - take MODULE1 and contour it on the fabric - cut it out to have two identical pieces and draw the line where you are going to sew
:OT WOH
- take MODULE2 and do the same on a sheet of swiffer (double sided) - do the same on a tissue (double sided) - now you have two pieces of each material - layer the fabric in this order:Â
. cloth fabric; 2. swiffer; 3. tissue; 4. tissue; 5. swiffer; 6. cloth fabric - sew them together - sew up and down on the sides you previously marked
THE
CORONA DIARY KEEP TRACK OF YOUR PERSONAL
DEVELOPMENT DURING
QUARANTINE
FASHION WORD
SEARCH FIND 6 WORDS
RELATED TO FASHION
Eklektika | 48
49 | Eklektika
Eklektika | 50
51 | Eklektika
Eklektika | 52