UFASHON MAGAZINE HAUTE COUTURE FW 2022-23 by ufashon_official

PH: ISSHOGAI STYLIST: AUDREY JEHANNO DRESS: STEFAN DJOKOVICH JEWELS : SHOUROUK

HAUTE COUTURE FALL WINTER 2022-23

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EXPOSITION & DÉFILE HIGH JEWELRY: REBELLES DENTELLES BY BOUCHERON ON AURA TOUT VU “AILLEURS”

HOME: BRABBU “WINTER TRENDS”

ACCESSORIES “ THE HAT: A TOUCH OF STYLE”

IN ATELIER

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EMBROIDERY © GIORGIO ARMANI PRIVE’ 5

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JEWELRY 7

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TEXTILE

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ART © ON AURA TOUT VU PH: AUVÉ PASCAL

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ACCESSORIES © SCHIAPARELLI

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DESIGN

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(Re)belles Dentelles by On Aura Tout Vu

EXHIBITION

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HOME

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THE SOURCE OF REFINEMENT

FRANCK SORBIER LES SALTIMBANQUES

MAISON RABIH KAYROUZ

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BOUCHERON AILLEURS

ALEXANDRE DE PARIS 50 YEARS OF CREATION

PIAGET EXPERIENCE INFINITE RADIANCE

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AELIS COUTURE LOVE TRANSMISSION

CHOPARD RED CARPET COLLECTION

ON AURA TOUT VU (RE)BELLES DENTELLES

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ALEXANDRE VAUTHIER

GEORGES CHAKRA A CINEMATIC INTERPRETATION

SCHIAPARELLI A CREATIVE INNOCENCE

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GIAMBATTISTA VALLI

ACCESSORIES HAUTE COUTURE FW 22-23

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SAMATEX UNIQUE & CREATIVE SOLUTIONS

PUPCHEN A NEW CONCEPT IN FOOTWEAR

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ALEXIS MABILLE —

54-57 ANTONIO GRIMALDI HIGH FASHION IS ETERNAL —

66-67 THE GLAOUR OF WHITE

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JUANA MARTÍN ANDALUCÍA

STEFAN DJOKOVICH TRIANON

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A FLOWER’S SEASON

STÉPHANE ROLLAND “TO BARBARA” —

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CHRISTOPHE JOSSE ARPÈGE STRUCTURAL

OPERA LABORATORI

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ELIE SAAB THE BEGINNING OF TWILIGHT

JULIE DE LIBRAN

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A SENSORY UNIVERSE FENDI COUTURE

JULIEN FOURNIÉ

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THE HAT: A TOUCH OF STYLE

LEANDRO CANO THE DANCE OF THE EXCLUDED

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68-73 CHANEL THE RHYTHM OF COUTURE —

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FOVARI LE PARFUM DES NUAGES

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MAISON MARGIELA CINEMA INFERNO

C L I C K H E R E T O D O W N L O A D U F A S H O N M A G A Z I N E H A U T E C O U T U R E F A L L W I N T E R 2 0 2 2 - 2 3

CONTENTS

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THE ART OF EMBROIDERY —

264-269 YUIMA NAKAZATO COUTURE BLUE —

270-277 ZUHAIR MURAD THE COSMO AND STARS —

278-279 DIOR MAKEUP —

280-283 BRABBU THE WINTER IS COMING

PRINCESS Photographer: Isshogai Model: Rhodé @Onlymodelmanagement Stylist: Audrey Jehanno Assistant Stylist: Maria Guzman 1st Assistant: Yasmine 2nd Assistant: Aurélien Et Romane Headband : Alexandre de Paris Necklace : Mara Paris PAGE 100

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UFASHON MAGAZINE HAUTE COUTURE FALL WINTER 2022-23 W W W . U F A S H O N . C O M

The Art of Savoir-Faire BALENCIAGA

A CREATIVE INNOCENCE SCHIAPARELLI

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THE ALCHEMIST OF LIGHT 148 DE BEERS

THE TREE OF LIFE CHRISTIAN DIOR 74 25

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A CREATIVE ENERGY SURREAL CONTRASTS GIORGIO ARMANI PRIVÉ 166 VIKTOR&ROLF 258

Ph:: isshogai Stylist: Audrey Jehanno Dress : Stefan Djokovich Jewels : Shourouk PAGE

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The Source of Refinement Looking at this year’s Paris Fashion Week it is easy to identify the importance of place in refined fashion creations. Paris is the embodiment of contemporary high fashion, an icon of elegance and the point of convergence for the trajectories of some of the week’s most intriguing courturiers. Georges Chakra is a refined designer whose roots play a distinctive role in his creations. The exquisite lace, the somber Indian red mixed with crimson, the teal blue, the shimmering arabesques, the sheer mystery of his garments harken to his native Lebanon. Ayça Özbank Taskan is the force behind Mara Paris; she hails from Istanbul and reached Paris via Venice, accumulating an exquisite sense of style expressed in the subtle geometry of her jewelry and the luxurious elegance of her creations. Compare this with Stefan Djokovic’s cosmopolitan flair, fanciful combinations rooted in that crossroads which is Serbia, torn between East and West. Significantly the heritage of all three springs from what two centuries ago was the exotic Orient, a western invention created to justify colonial campaigns tracing back to Napoleonic times. Today the concept in revised form can be reproposed to capture a sense of the exotic metabolized through a classical western ideal. That ideal reached modern fashion especially through Italian achievements – another epistemic place - which were funneled into France following the historic invasion of 1494. Over the centuries France has given fashion a peculiar elan in a process of cosmopolitan fusion which preserves the sense of appropriated places while endowing them with the character of a quodlibet, the unspoken dimension at the source of refinement.

Gregory Overton Smith D.Phil. Oxford Temple University Rome

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B O U C H E R O N ©

Cristaux pendants earrings in smoky quartz, paved with round and baguette diamonds in white gold. PAGE

Boucheron

AILLEURS AILLEURS – ELSEWHERE – is where Claire Choisne and her studio are taking us with this new collection. An “ELSEWHERE” where everything becomes possible, without any borders, and where nature is in a raw state. From the deserts to the oceans, the mountains to the rainforests, studio Boucheron has confronted and mixed together worlds and materials one could initially think 31

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are contradictory; where diamonds meet pebbles and burned wood, gold meets rattan and meteorite. In this “ELSEWHERE” there is only one rule: to reveal the beauty and poetry of nature. In telling this story, Claire Choisne has imagined five different worlds, in which anyone can find a piece of themselves. This is the essence of the collection.

SAND WOMAN

A palette of beige, sand, and blond illuminated by the sunlight as the warm wind sculpts a silhouette on the dunes: the sand woman set is an invitation to a dream-like desert, a vast space of harmonious curves, home to extraordinary animals. Here stones meet plants and precious materials meet rattan. On the rotin diamant (diamond rattan) necklace, the natural rattan fiber was humidified before being dried on a brass frame, then a golden rod was inserted in it to maintain its final shape. The high jewelry traditionally gives a suppleness to hard materials, such as metals and stones; here, the craft rigidifies a supple natural material, to create this spectacular association of rattan and diamonds. An art deco style brooch that transforms into a

From this arid landscape, some imaginary animals emerge: a majestic gazelle ring, soft and powerful at the same time. The tenderness of her onyx eyes contrasts with the vigor of her horns, set with baguette diamonds. a 2.15 carat diamond shines proudly on her forehead. The pie (magpie) ring was a challenge: hollowing out a rock crystal block, before inserting a white gold skull set with diamonds. Besides these imaginary animals, a pair of coquillage diamant (diamond shell) earrings completes the sand woman set. Natural shells were chosen and scanned to recreate their texture, curve and shape in gold and diamonds. The result blends natural shell with gold and

necklace associates rattan with 379 brilliant-cut diamonds and gold – both yellow and rose.

diamonds, in an unprecedented manner, which questions the meaning of “precious”. PAGE

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The atmosphere, in this second chapter, is saturated with vibrant tropical colors. The humidity beads down the skin, in a lush untouched rainforest: each piece in this set vibrates to the beat of a dreamy nature. The feuillage diamant (diamond leaf) cuff bracelet is adorned with a 37.97 carat green tourmaline. It plays with the appearance of a plant weaving. Made of aluminum, its intense green color comes from a cataphoresis treatment, which is highlighted by thin lines of diamonds giving it a look that is as imposing as this piece is light. This featherweight effect also applies to a papillon (butterlfy) brooch made of lideopsis vulgaris butterfly wings, which have been treated to be long lasting before being scanned, to create the gold structure holding them, which reproduces their

original curves. The toucan bracelet displays a unique play of volumes and colors. Its powerful beak is sculpted from three distinct citrine blocks that perfectly interlock with one another, creating a gradation of colors. Its eyes made of onyx and blue titanium, on a background of white diamonds and black spinels, help to give the toucan his character. The titanium serpent bracelet is adorned with a shining lime lacquer and tsavorites. The intricate meshwork gives it the suppleness of a snake. At its side, the fleur de paradis (flower of paradise) can be worn as a brooch or as a jeweled head piece. It is made of titanium and mimics the silky aspect of this tropical flower.

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EARTH The solid, grounded earth woman invites us to celebrate the power of nature through a primal geology. The palette of ochre, brown and clay is associated here with organic shapes, both plant and animal. Let us start with the bois diamant (diamond wood) brooch, a magnetic shoulder brooch. Each petal of this imaginary flower has been scanned before being recreated in santos rosewood then set on an openwork gold structure. The titanium pistils vibrate delicately which each movement brought to the brooch, emphasizing the illusion of realism, while the chromatic palette questions the idea of nature. The papillon diamant (diamond butterfly) single earring, delicately resting on the top of the ear,

WOMAN vibrates to the same beat as real beetle wings, while a pear-shaped diamond surrounds the earlobe. Plunging into the heart of telluric forces, the cristaux (crystals) earrings multiply with cubic effects. Halfway between vintage design and scientific research on geometric crystallization, they are interpreted here in rose and white gold, smoky quartz and diamonds. A large jack coquillage (shell jack) brooch, perfectly pairing two flecked conus marmoreus shells, echoes the emblematic boucheron jack design: their subtle beauty is celebrated through a gold and diamond line, underlining their contours, while rock crystal embellishes their ends. PAGE

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PEBBLE WOMAN In this world, a fresh breeze blows from a lunar ocean and its vast astral beaches. Slowness, silence and softness characterize this place. The authentic white pebbles from the galet diamant (diamond pebble) necklace have been scooped out to be lightened and have almost become translucent. Adorned with gold tattoos, pearshaped and brilliant-cut diamonds, these pebbles are pierced and linked one by one to each other, which signs the mineral choreography of this galet diamant (diamond pebble) necklace. The soft shapes of the stone sculpted by the waves bring us to the galet diamant (diamond pebble) earrings and the galet diamant (diamond pebble) ring. At the crossroads of earth and water, a corail diamant (diamond coral) brooch and a corail diamant (diamond coral) single earring take on the organic shapes of white coral: the brooch can transform into a head piece and both these jewels look as if they have been picked from an imaginary beach. An urchin, a fascinating creature from the seabed, was scanned and recreated identically in silver, then treated to give the oursin diamant (diamond urchin) a milky whiteness on which pearls and diamonds dazzle. The oursin diamant (diamond urchin) necklace displays the frosted radiance of a princess-cut diamond and a brilliantcut diamond, and can be worn in six different ways. Two animals live in this singular environment, depicted as an ours polaire (polar bear) ring, set with 246 rose-cut diamonds giving it a unique frosted aspect, and as an elephant ring, whose skin dazzles with full-cut diamonds. 39

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VOLCANO MAN

Travelling into the depths of the earth, this fifth chapter explores the magmatic power of an extreme world, where black meets white. The spiral structure of a shell, as viewed through an x-ray, is airbrushed onto the mother of pearl elements of this white gold coquillage (shell) necklace. This airbrushed motif gives the necklace a three-dimensional illusion from “elsewhere”. Burned wood meets the clean lines of the almost minimalistic bois brûlé diamant (diamond burned wood) necklace. This three thousand-year-old marsh oak was charred according to the japanese “chou sugi ban” technique, which confers on it an extraordinary resilience. Its association with diamonds reveals a powerful and unexpected contrast, between materials one could initially think are contradictory the loup (wolf) ring depicts a wolf howling at the moon, roaming the paths of the volcano man’s world. A protective and a unifying animal, its subtle realism is brought to life through meteorite, diamonds, white gold, platinum and onyx. The octopus single earring, designed as a mixture between a tattoo and a sea creature, adorns the head with its white gold arabesques, highlighted by 178 mother of pearl pastilles and 443 brilliant-cut diamonds. P AGE

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The thought that inspires the collection crosses and rests on the perennial movement that generates and regenerates life. By shifting the point of view on balance, aelis finds the key to interpreting the collection faithful to the principles of respect and protection of the environment and of the creative and harmonious gesture of art couture. The mineral world provides, this season, the inspiration that crosses and dialogues with the

fragile and transient beauty of the plant and animal world. The presence of stones such as quartz, rock crystals, lava stone,has a very strong evocative meaning that inspires the collection. Rock crystal appears as one of the magical minerals par excellence with hypnotic and divinatory virtues capable, in some forms of inducing trance in those who stare at it, but also and above all of positively influencing living forms. Quartz is the stone of love.

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LOVE TRANSMISSION

Delicate beauty is the feeling that pervades the creative research of the collection, nothing is more sustainable than the graceful gesture that accompanies our gaze in front of the fragile beauty that produces wonders. The choice to parade in an intimate place, in an “hotel particulier” where art, architecture and nature come together and form a precious casket, is the consequence of the need to maintain an inner relationship that is transmitted without imposing one’s presence. Sofia immerses herself in her own experience as a child and draws inspiration from the mini dolls found intact inside the travel beauty case that accompanied her in her childhood. The forgotten mini-friends keep the game and the creative germ intact through the way they are dressed. Sofia starts from this to create the collection that mixes future and present by dialoguing with history. The Alpha generation and Cyberpunkers meet les années folles generating the Game and the balance of clothes The enigmatic atmosphere of david Lynch’s mullholland drive. Is captured in the palette and suggest the mouvement of the models. The 70’s vintage jeans micro blouson worn” à meme la peau” is chained by a collier made by les Interessants And rests on a gray silver tulle skirt. A men’s jacket in organic merino wool is placed on a dress in embroidered cotton lace and lace “à l’aguille” and, with the 60’s vintage veil worn like a necklace, they become the symbol of marriage of the “self” that does not include the notion of gender ,freeing himself from all constraints and regaining balance. This winter aelis introduce structureted pieces like bomber fly jackets in silk or velvet, padded with light wool made from recycled cashemere. A seawater-colored dress is supported by orange mousseline whose color effect is obtained from the interplay of orange and pink super fin silk yarns. The stones of rock crystal, quartz and lava are the precious material of the colliers-sculptures by S. WeissenBurger intertwined in a hand-woven network of gold and silver threads, illuminate and blend the organic silk organza and mousselines. 4 5

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ALEXANDRE VAUTHIER

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ALEXIS MABILLE Borrowing from a very French sensibility, whether playing with traditional codes, giving silhouettes a savvy twist or mixing different eras, with every collection, Alexis Mabille cultivates a spirit that is equal parts chic and fun-loving. In lifting from both masculine and feminine styles, the brand revisits men’s and women’s wardrobes alike. Elegance and a natural casual attitude come together with a sporty-chic attitude. Graphic lines structure the looks; movement suggests sensuality.

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French Sensibility

Borrowing f rom a very French sensibility, whether playing with traditional codes, giving silhouettes a savvy twist or mixing different eras, with every collection, Alexis Mabille cultivates a spirit that is equal parts chic and fun-loving. In lifting f rom both masculine and feminine styles, the brand revisits men’s and women’s wardrobes alike. Elegance and a natural casual attitude come together with a sporty-chic attitude. Graphic lines structure the looks; movement suggests sensuality.

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ANTONIO GRIMALDI

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High Fashion is eternal

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A return to Rome and to the idea of classical beauty. A symbolic place of Rome’s rebirth, the MAXXI Museum (National Museum of 21st Century Arts), designed by Zaha Hadid, whose sinuous, sculptural lines, - now a symbol of contemporary Rome - dialogue with Antonio Grimaldi’s creations. An inspiration that comes from the 1950s and is linked to atmospheres inextricably united with the sartorial know-how typical of that period, when Rome was a riot of ateliers and handmade craftsmen, and to a lifestyle of rebirth and gentleness, as well as to the affirmation of Italian fashion as an expression of aesthetic sensitivity and craftsmanship. Thus was born a tribute to Rome and to the great lions of Roman haute couture, from Fausto Sarli to Roberto Capucci, from Fernanda Gattinoni to Pino Lancetti: personal icons of mastery for Antonio Grimaldi, who brings to the catwalk a collection inspired by the great Roman couturiers, with lines, shapes and colours revisited according to the stylistic canons of the Antonio Grimaldi Maison.

colours, at times acidic or electric but nonetheless luminous: green, wisteria, indigo, orange, and yellow juxtaposed with grey and in vivid contrast to the black and white dresses, inspired by the glorious era of Roman cinematography.

A tribute to Rome

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On the catwalk 33 looks, full of sartorial virtuosity typical of haute couture that are divided between couture suits, evening mini-dresses, grand gowns and opulent balloon dresses. The colour palette is characterized by soft, cool

Among the leitmotifs of the collection are the lapel found on the necklines of some dresses or on the backs of others. Again, the maxi capes on several outfits drawing huge trains or creating maxi bows that celebrate couture, as well as the large ruffles turning into one-shoulder capes with imposing volumes. Dresses with all-over embellishments ranging from the application of ton sur ton feathers to degradée sequin bangs. As well as satin gold embroideries in warm tones contrasting with metallic embroideries in steel, silver, semiprecious stones and plexiglass. Among the fabrics: taffeta, crêpe cady doubled with gazar giving structure to the dresses, and soft liquid organza with ombré design. Concluding the catwalk is the wedding dress that pays homage to the architectural constructions of Maestro Roberto Capucci, featuring a maxi ruffle and a long tail at the back. Voluminous and sculptural fascinators falling over the face complete the looks. The soundtrack is by composers Vittorio Montalti and Giulia Tagliavia and performed live by internationally renowned pianist Gloria Campaner, considered one of Italy’s greatest interpreters of classical music. P AGE

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The sartorial know-how

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Balenciaga

MADE-TO MEASURE

ON JULY 7TH, 2021, BALENCIAGA PRESENTED COUTURE FOR THE FIRST TIME SINCE 1967, WHEN FOUNDER CRISTÓBAL BALENCIAGA LEFT THE FASHION INDUSTRY. BALENCIAGA COUTURE WINTER 21 IS OFFICIALLY THE HOUSE’S 50TH COUTURE COLLECTION AND ARTISTIC DIRECTOR DEMNA GVASALIA’S FIRST.

The collection is a mix of men’s and women’s made-to-measure pieces meticulously crafted using today’s most sophisticated techniques. Paying tribute to

Balenciaga’s revered Couture history, garments architecturally transform the body and defer to the art of savoir-faire while taking an interest in modern dressing. P AGE

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A DELICATE BALANCE

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Contemporary and signature silhouettes are reinterpreted by way of expert construction and stateof-the-art technology, meeting the highest standards of craftsmanship, in collaboration with Couture’s eminent ateliers and manufacturers. These include milliner Philip Treacy, embroidery houses Atelier Jean-Pierre Ollier, Maison Lesage, Maison Lemarié and Atelier Montex; and fabric houses Dormeuil, Jakob Schlaepfer, Taroni and Forster Rohner amongst others.

In homage, the initials C.B. are handembroidered on details that speak to Cristóbal Balenciaga’s personal style, like silk ties, poplin shirts, and leather gloves. Tailoring in fresco, mohair, cashmere, and barathea wool is inspired by what he himself wore, made in collaboration with his preferred tailor, Huntsman. Textiles range from fine vicuña, vintage wools, satins, and silks to utilitarian technical fabrics, developing an updated way to wear bespoke clothing. 6 1

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50Th Couture Collection Tops and jackets are made with complex corsetry or reinforced undergirding, while handembellished evening attire becomes voluminous using minimal, strategic seams or hand-molded padding. In every item, a delicate balance of structural support and purposeful draping is made to be almost imperceptible.

Materiality is questioned by way of unexpected compositions: silks stiffened are with metallic thread and animalesque qualities are synthesized using illusory elements. In the place of fur or feathers, realistic textures are simulated with densely embroidered loose thread and surface-treated cutouts. Instead of crocodile, tilelike patches are mapped with a computer program and pieced together by hand, the entire process taking thousands of hours. A cable-knit sweater is interpreted using aluminum chain. A glittering dress is made with intricately Swarovski stoned mesh.

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Informal Concepts Informal concepts are transposed into more glamorous arenas, such as stoles and wrap coats made to resemble terrycloth bathrobes in micro-knifed leather, while themes of casual dressing are recontextualized in tailored tracksuits and hoodies that are lined with cashmere and built to sit away f rom the body via signature cocoon or swing-back seams. Japanese denim is woven on antique looms and washed with indigo. Several looks directly reference iconic Balenciaga Couture designs: a dress in

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twisted lace and tulle; opera gloves and parkas; a polka-dot pattern handprinted on silk chiffon spot for spot to match the original; and decorative embroidery in shantung silk guipure, metallic silk jacquard, beading, and laid sequins. A floralembroidered gown is inspired by an archival piece originally made for Jacqueline Kennedy. A veiled bridal look the traditional Couture f inale is a take on one of Cristóbal Balenciaga’s last designs, presented 54 years ago but appearing to exist outside of time.

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The GLAMOUR of WIHITE

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Haute Couture Fall Winter 2022-23

N A K A Z A T O

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D I R E C T O R : C O U R T E S Y

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Chanel

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T h e R h y t h m o f C o u t u re

The CHANEL Fall-Winter 2022/23 Haute Couture collection by Virginie Viard comes to life in graphic silhouettes nuanced with precious tweeds and sophisticated embellishment. Constructivist inspirations invoke geometric statements through optical illusions imbued with lightness and a resolute modernity. Invited by Virginie Viard, Pharrell Williams opened the Fall-Winter 2022/23 Haute Couture show with an exclusive track for the House unveiled in a short film by Xavier Veilhan. Returning to his roots, the musician and CHANEL ambassador exhibited one of his first musical talents – that of playing the drums – in a tweed jacket embroidered with silver geometric motifs. 6 9

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HOT NEWS

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THE NEXT STYLE D I G I TA L M A G A Z I N E T E M P L AT E

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W W W . C H A N E L . C O M

THE TREE OF LIFE

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D I R E C T O R : C O U R T E S Y

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CHRISTIAN DIOR The tree of life is at the heart ol Ukrainian artist Olesia Trofymenko’s work, and the starting point for the Dior autumn-winter 2022-2023 Haute Couture collection designed by Mario Grazia Chiuri. Painting and embroidery give an emotional charge to this image that is a symbol for different far-flung cultures and mythologies. The tree of life connects all forms of creation; it supports the sky and connects it to the earth through its branches and roots.

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Olesia Trafymenko’s emblem is in line with stylistic codes shared by many lands. Mario Grazia Chiuri contemplates fashion through the f ilter of art, exploring this territory of tradition(s) that appear both enduring and revolutionary, just like couture. This Dior collection is thus composed of a series of pieces through which resonate the imagination of different folkloric customs inspiring all cultures in an open dialopue.

H AU T E C O U T U R E FA L L W I N T E R 2 0 2 2 - 2 3 The branches, the trunk, the roots of the tree of life. A vision that features f reely on several garments thanks to the profusion of sumptuous embroideries made of cotton threads, silk threads, and yarn. Beige nuances are sometimes punctuated with a touch of black or blue. These embroideries, requiring The time necessary to achieve ultimate excellence, are deployed on cotton fabrics, wool crepe, silk, and cashmere. The dresses are adorned with patchworks of

THE PROFUSION OF SUMPTUOUS EMBROIDERIES

braids composed of bronze and black lace and guipure. Silk chiffon was selected for the lonp, airy dresses that follow the lines of the body in a virtuoso interplay of smocks. The materials reinterpret the New Look silhouette: the Bar jacket is distinguished by vertically smocked fabric and the skirt is structured by ribbons forming a basque. Hand-loomed fabrics display precious, irregular textures in garments that banish all hems. Elsewhere, wide silk or cotton embroidered trench coats are associated with long dresses. P AGE

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FORMS IN THE SPACE

This is a matter of shaping materials and forms in the space for reflection that the Atelier represents, permeable to the social reality in which we live; a matter of recalling what it means to be human today. Gestures passed on, learned and always perfectible, are repeated. W W W . D I O R . C O M

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The tree of life is a call, a warning, to make traditions and gestures shine through, allowing us to recover a balance, if only momentarily.

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CHRISTOPHE JOSSE Arpège Structural Among the powerful lines and masses of urban structures, the clean lines and subtle strength of the Christophe Josse Fall-Winter Collection mingle and take shape in a sure combination. The architecture of the surroundings and dresses echo each other with palpable skill. Against a background of rough concrete, the harmonious silhouette of a girl in a man’s shirt and high-waisted trousers, with the profile of a greek medallion, stands out in counterpoint to a timeless modernity. Pure lines are underpinned by the expertise of extraordinary craftspeople (embroiderers, accessory artists, glass-blowers and belt-makers) and exquisite materials like satin leather, faille, taffeta, gazar, inlaid antique lace and faille

highlighted with crystals. Everything is a mutual response, with play on contrasts between matt and shiny materials in a elegant, restrained, precise range of meticulously chosen colours. A white crepe dress with a collar and yoke in satin leather; a faille jacket with a contrasting wool, alpaca and mohair trim collar… On magnificent time-worn flagstones, a girl steps out in sandals with blown glass medallions set off by gold-ringed cords. Huge mirrors in the windows reflect the image of her graceful figure. On the back of her shirt, a star sporting iridescent crystals sets the sky ablaze with a myriad sparkling lights. P AGE

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ELIE SAAB THE BEGINNING OF TWILIGHT

The tall reeds softly rustle back and forth in the sultry breeze as the deep vermillion sun makes a hazy descent, bidding a long farewell to a lingering day. The last rays of warm light ripple through the horizon, creating a soft pearlescent sheen across the savannah. It is THE BEGINNING OF TWILIGHT, the last instance of suspended calm before the stars begin to flicker awake. She too f inally rises, bringing with her a midnight mystique and compelling change of tides. Like the vibrant movement of dusk, the ELIE SAAB Haute Couture Fall Winter 202223 stirs an enchanted moment of possibility where fantasies and mystery can manifest. For the spirited woman and the young modern man, a f irst for the Maison, each imperial piece is a distinct impression of a disappearing sun. Ethereal hues, opulent textures and curvaceous lines embody the subtle in between day and night where, if only for a brief instant, the real and imaginary are one.

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AN ENCHANTED MOMENT

Sumptuous fabrics marvelously overlap with intricately embellished embroideries into fantastical dreamscapes that embrace the body in f igure def ining forms. Crepuscular rays paint the clouds in sweeping gradations of vibrant red, pink, blue and grey intensities. Shimmering beads swirl together through nude tulle, as large silver sequins glow

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like moonbeams illuminating f ields of gazar. A spectrum of feathers dance with tapestries of black velvet, and streaks into bodices that alternate between opacity and transparency. Lace tresses rushes across overstated collars and exaggerated necklines, while beaded f ringe swishes and sways down sleeves, captivating the gaze with glistening movement.

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Gemstones and beads cling to the skin like elusive stardust and are given def inition and shape f rom contouring chiffon cutouts. Large braids of gold beads snake around colored stones, morphing into neck ornaments collars and sculptured waistlines of simple off-white mermaid gowns. The indef inable bride shines forth, herself a vision glimmering in a tantalizing pastel spectrum. Cloaked in a fluttering veil of crystals, she ushers in a mesmerizing night full of wild intrigue. Enveloped in mystery, ELIE SAAB Haute Couture Fall Winter 2022- 23 is captivating, exhibiting a brilliant allure that captures the eye in an moment where everything is familiar, yet nothing is quite as it seems. As light gently flows into dark, there is breath for the enchanted.

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Grand, floor-sweeping satin capes with majestic shoulder lines exhibit a masculine dominance in layers of wispy multicolor plumage.

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shoulder like a billowing crown.

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Each awe-inspiring silhouette personif ies the power and grace of the everchanging setting sun. A mosaic of braided silk threads and mirrored gem embroidery come together in voluminous jackets that soar high above

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Enveloped in light, submerged in sonic ambience. Experience a luminous realignment of traditions in the sensory universe of Fendi Couture J O N E S

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The HAT: a touch of STYLE © J U A N A

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Being eco-responsible is no longer an option. Producing while respecting life is impossible: we must change the paradigm, because it is no longer a question of “producing.” Humanity will only be able to survive by placing back at the heart of its activity the only notion that should have guided our lives: art. “Create” instead of “produce.” This is what Fovari wants to remind us through this collection; clouds are the cycle of water, and therefore of life. Their perfume is our soul, that of humanity. Materials are ethereal... Architecture is the red thread of the wardrobe: vaporous cloud sleeves in taffeta, airy skirts in silk and organza, high-waisted satin pants, crepe tops.

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Haute Couture Fall Winter 2022-23

Fovari

THE ART OF “CREATING” From milky white to black with sparkling accents like that of a starry night, f rom the pale pink of dawn to the silver of the zenith, passing through the purple, blue, and orange of a summer rain, the choice of eco-responsible materials emphasizes ref ined elegance and timeless chic.

The lightness of the materials, their aerial, soft, moving beauty underline the impermanence of all life, like fleeting clouds which, through a cycle that we thought was immutable, make life rain down.

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Franck Sorbier

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Yesterday, today and tomorrow

For them, “the right to be different” is a vocation, a duty, a priesthood and not a due. Immediately, we think of the film Les Enfants du paradis, Marcel Carné’s masterpiece, based on a screenplay by Jacques Prévert, shot during the Occupation, where the first scene shows a jubilant crowd, it is the Carnival parade, Boulevard du Crime, today Boulevard du Temple, in Paris, of the Paris at night photos of Brassaï and the bands of Apaches, the bad boys of the time, of Sarah Bernhardt, but also, of Marlène Dietrich on the stage as in the city, of the troubadours, of the funfairs, of the street performances, of the operetta, of the magic, of the poetry, of a Pierrot-Arlequin and of a Phoenix that never ends to rise from its ashes. To which parish to meet, in this troubled period? I would be tempted to answer: “At the parish of the Mounterbanks, of course!”. When we know that the illustrious Molière could have been thrown into the wrong commune, at night and without mass, like all the actors and other artists of the time. We wonder. Acclaimed during their lifetime, they were, at their death, rejected by society and excommunicated by the Church. Today, the tragic end is replaced by honorary tributes. It’s just a fair return. The gleaming and romantic black is essential. Poppy, opera and scarlet reds shine. How not to quote the famous novel by Stendhal, Le Rouge et le Noir. Embroideries are omnipresent in applied guipures, cut-out black lace, recomposed and applied on a red background or in the archives of Maison Worth. Once again, we find nature. It generously flourishes on a “Tree of Life” coat, a refuge for exotic birds and other shimmering insects. Crumpled, breaded and bubbled velvet warms the wint er of our souls. The “Atelier Sorbier” line plays the classic vintage card. The tailored jacket, which was the foundation of the brand from 1991 to 2000, is an updated return to basics that will dress both new generations and timeless aficionados. This collection is a playful and humanist snub t o the current trend. A breath that takes us a little fur ther to be ever closer to who we are. Let’s close our eyes and imagine for five minutes that all the Acrobats of the world take each other by the hand. Frank Sorbier

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50 YEARS OF CREATION, LOVE AND CRAFTSMANSHIP

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“We made the choice of values as we refuse to relocate overseas. We wanted to keep what is best in our French culture: unique know-hows and rare skills”. Fabienne Bailly & Sébastien Bailly Founders of Maison Alexandre de Paris

Relying on more than 75 years of experience with a unique know-how, Alexandre de Paris makes a shift in 2019 as it strengthens its brand’s territory. So does its style, infused with the couture sprit of the Parisian fashion shows and nurtured by its understanding of the youngest generations’ codes. Carried by the talent of its craftsmen, some of them in the Maison for over 36 years, the brand’s artisanal know-how favours the sense of detail and pervades the Jura manufacture with meticulousness at each stage of manufacturing. Likewise, the Parisian sewing workshop, fashioning headbands and textile accessories, meets the requirements of manual Haute-Couture finishes. 1 3 1

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In the wake of its official partnership with the Cannes Film Festival, each year Chopard presents its Red Carpet Collection, an array of Haute Joaillerie creations born of the marriage between its boundless creativity and its incomparable jewellery expertise. For the 75th edition of the Festival, CoPresident and Artistic Director Caroline Scheufele chose the theme ‘Chopard Loves Cinema’ as the inspiration for the collection. She designed 75 pieces of jewellery as an epic saga inspired by the grand adventure that is cinema, from its black and white charms to its dizzying contemporary colours. This creative abundance draws on her own cinematographic repertoire, of which some of the 1 3 3

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most magnificent creations are presented during the Haute Couture Week in Paris. On the occasion of Haute Couture Week in Paris, Chopard – a jeweller member of the Fédération de la Haute Couture et de la Mode – is exhibiting the treasures of its Red Carpet Collection. Nurtured by the gourmet and eclectic tastes of the Maison’s indefatigable Co-President and Artistic Director, Caroline Scheufele, this collection of 75 Haute Joaillerie creations pays tribute to the craftsmanship and creativity of Chopard’s jewellers. Much like a film director, Caroline Scheufele – a keen lover of the seventh art has devised jewellery freely inspired by films that have had a lasting impact on her.

Red Carpet Collection

C H O P A R D

Chopard

FROM FILMS TO JEWELLERY

Boundless Inspiration Established on Place Vendôme, Chopard presents a selection from its Red Carpet Collection featuring necklaces, earrings and bracelets fashioned from unique gemstones. An eye-catching diamond necklace showcases a 70-carat pear-shaped fancy light brownish yellow centre stone, while a long necklace graced with a “Peace and Love” pendant comes to life with flowers in sapphires, amethysts, tsavorites and garnets. An imposing necklace of rubellites and pink sapphires sculpts the look of its wearer, forming a claudine collar. With its lacework of pink stones and meticulous finishing, this creation offers a bold and

contemporary take on a fashion classic. Likewise, this pair of earrings featuring a total of 35 carats of pear-shaped diamonds set in long pendants enhances a majestic bearing. Other treasures in the Red Carpet Collection include a pair of tinted titanium earrings creating the impression that the rosette-set gems, sapphires, amethysts and yellow diamonds, are floating in mid-air. There is also a cuff bracelet whose array of kunzites, sapphires, amethysts and tanzanites creates an enchanted garden around the wrist, as well as a pair of rose and white gold earrings punctuated by a gold motif sculpted by the artisans of the Maison. P AGE

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A Cinematic Interpretation

The GEORGES CHAKRA Couture FALL – WINTER 2022/23 Collection proposes a cinematic interpretation of a romantic youth wandering the streets of Paris. Drawn to a connection to the city, this collection embodies evenings spent on zinccovered rooftops and gazing through lacelike, wrought iron balconies Set against the backdrop of iconic Paris monuments: the Arc de Triomphe and the Eiffel Tower, rich hues of bleu géode, raven, silver, cardamom, chartreuse, brick, royal blue, and iridescent gold contrast the city’s grey and anthracite stones. A jacket made f rom intricate velvet tubes meticulously twisted with tiered silk faille sleeves opened the show. A recurring theme throughout the collection, each band is molded and f itted, and hand woven into elaborate coils, offering a nuance to the graceful ironwork of Paris balconies. The highlight of this Fall Winter collection is a dimensional sculptured ballon, created with f ree standing hand threaded velvet tubes and spiked with feathers, hovering like a protective shell over a delicate Chantilly lace gown. P AGE

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True to Georges Chakra’s aesthetics, the collection puts the savoir-faire of the atelier on display and conveys a collection of 49 looks. From a glistening silver coat in faux leather and sequins swinging open over a mini skirt to sumptuous gowns in patterned silk chiffon, tulle and mousseline organza. The bride closes the show in a column gown of rose gold lace with fluttering tinsel sequins encased in delicately rushed cream tulle with a long train lined in Duchesse satin. Inspired by GEORGES CHAKRA’s romanticized youth in the Ville de Lumière, this FALL – WINTER 2022/23 collection pays homage but never descends into pastiche. It draws inspiration from the colors, shapes and eternal beauty of Paris but more importantly, pays homage to the craftsmanship and originality of the GEORGES CHAKRA Couture atelier.

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De Beers

D E

B E E R S

THE ALCHEMIST OF LIGHT

Light is pure energy, emanating f rom the sun and stars, interacting with the world around us, revealing its many expressions. It can flash with intensity or radiate softness. Highlight shapes or create shadows. Shine with clarity or conjure optical illusions. When it touches a diamond, its colour, cut and the way it is set makes the relationship become even more mesmerising. Following the launch in January of the f irst chapter of The Alchemist of Light High Jewellery collection, De Beers continues to explore the natural, elemental magic of light, unveiling f ive new jewellery sets during Couture Week in Paris. The new chapter reveals the astonishing and diverse Dusk Reflection, Ascending Shadows, Midnight Aura, Optical Wonder and Frozen Capture sets that explore and interpret light in ever inventive ways. The collection comprises a total of 45 one-of-a-kind pieces, with the new sets sitting alongside Atomique, a creative interpretation of diamonds at a molecular level and Light Rays, capturing the moment sunlight radiates across the morning sky. “The Alchemist of Light High Jewellery collection represents the most creatively and technically ambitious collection we have ever conceived and crafted, says Céline Assimon, CEO of De Beers Jewellers. “It incorporates exceptional diamonds in white and fancy colours, including some specially selected f rom our Natural Works of Art collection. Our design studio, collaborating with our specialist craftspeople, has created individual pieces that are truly wearable works of art. There are so many elements that push boundaries. The Dusk Reflection set not only has detachable elements, the magnif icent choker transforms into two cuffs, a masterpiece of artistry and technical execution. Both the Ascending Shadows and Optical Wonder sets use coloured titanium and aluminium in striking pink and blue shades to sublime sculptural effect, showcasing both white and fancy colour diamonds. Midnight Aura, evocative of cosmic stardust, sets diamonds within the green gemstone chrysoprase, while Frozen Capture layers diamonds juxtaposed with rock crystal motifs. Every piece is as exquisite as it is extraordinary.” P AGE

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In a palette of pink and white, the Dusk Reflection set, with four unique designs, is inspired by a sunset radiating a soft glow over the horizon. The design incorporates De Beers’ iconic Enchanted Lotus motif, inspired by the lotus, a flower associated with the sun because it blooms by day, retreats into the water at night, remerging f resh in the morning. The repetitive pattern is suggestive of daily rhythms. Pieces are sensual and feminine, with white round brilliant diamonds woven within alternating rose and white gold settings. Satinée radial f inishing lends the gold a brushed appearance, enhancing its radiance.

The magnif icent choker is beautifully flexible and has a sensuous, tactile quality. A multiplicity of lotus motifs suspend an exquisite 1.13 carat, fancy intense pink radiant-cut diamond f rom De Beers Natural Works of Art collection. A near-invisible mechanical system allows the diamond to be detached and worn as a pendant on a longer necklace. Truly transformative, the choker also divides to create a pair of stunning cuffs. The longline earrings in rose and white gold, featuring white diamond lotus motifs in delicate openwork, can also be worn as studs, or presenting a third styling opportunity, worn asymmetrically. The pendant necklace showcases a beautiful 1.02 carat round brilliant white diamond within a motif that can also be detached – the necklace with its graphic diamond motifs then becomes an elegant sautoir. Completing the set are the bold quadrilateral earrings surrounding a round brilliant diamond at their centres, a fusion of classic and contemporary design. 1 5 1

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Green clouds of stardust are the inspiration for the Midnight Aura set with its five inventive pieces. Black rhodium offers the perfect backdrop to peerless white round brilliant and princess-cut diamonds. These are innovatively set within cabochon-cut green chrysoprase from Africa, a technique that requires incredible precision. The magical necklace is so precisely and delicately articulated, it feels like fabric, with hundreds of bezel-set diamonds creating a flexible mesh. Featuring an extraordinary 20.57 carat pearshaped white diamond from De Beers Natural Works of Art collection, which can be detached, this piece can be worn in three different ways.

The design is echoed in the chandelier earrings with a constellation of round brilliant diamonds cascading from magnificent pear-shaped diamonds that transform into studs. Both rings are inspired by continuity and connection. In the first, pavé-set diamonds follow the symbol for infinity, with two chrysoprase cabochons flanking a 0.7 carat princess-cut white diamond. The second is an open ring with a 4.23 carat pearshaped white diamond opposite a princess-cut diamond inlaid into chrysoprase. The theme of cosmic orbiting is also brought to life in the climber earrings, with a multiplicity of diamond cuts and settings that reflect the mystical cosmos. P AGE

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MIDNIGHT

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Boundary-pushing in style and story, the Ascending Shadows set contains seven spectacular pieces, architectural in shape, striking in shade. Its design cue is the way stepped surfaces dramatically play with light and shade, reminiscent of the spiral staircase in De Beers Jewellers’ new flagship store in Old Bond Street, London. The inspired use of pink, blue and green anodised titanium and coated aluminium creates innovative surfaces on which to highlight rare pink and grey diamonds, as well as green and browny pink roughs. Modern and magnificent in equal measure, the hero piece is the sweeping necklace. Graduating in size and shape, dark blue aluminium steps rise to meet light blue titanium set with white round brilliant diamonds. As these metals cannot be melded, the 142 separate elements have been individually articulated, demanding the application of a new skill in crafting High Jewellery. In fact, ten jewellers and five setters all worked to create this extraordinary necklace. Edged in white marquise-shaped diamonds and green roughs, the focus is an exquisite 3.41 carat fancy light grey pear-shaped diamond.

In the same colour scheme, the dramatic drop earrings feature two fans folding out from 2.10 carat fancy dark grey emerald-cut diamonds. Smaller earrings in intense rose aluminium reinterpret the fan-effect pattern, set with intense pink round brilliant and white marquiseshaped diamonds radiating from a central 1.02 carat pear-shaped diamond. Two incredible rings step up to the theme in intense rose and light green aluminium, each with a plethora of white marquise-shaped and intense pink round brilliant diamonds set in light grey titanium, set with rare fancy coloured diamonds at their centres. To complete the set, and to take High Jewellery into a new direction, a bijou de tete features a sweeping double fan on a headband, set with white marquise and green roughs and a central 2.70 carat fancy grey ovalshaped diamond. This can be detached from the headband to be worn as a brooch. 1 5 5

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Optical Wonder takes its inspiration from geometric patterns that create illusionary effects as seen in the work of Victor Vasarely, an exponent of the Op Art movement. The set contains seven striking pieces in which contrasting bold lines, created from pavéset diamonds and coloured aluminium, cast beams of reflected and refracted light, drawing the eye to the stunning hero diamonds. In keeping with the Op Art feel, some pieces are monochrome while others feature vibrant colours. Dramatic black aluminium brings schematic resonance to the spectacular yellow rough and polished diamonds in the necklace and earrings. With its multiple, striped motifs, the necklace features an astonishing 3.02 carat fancy intense yellow radiant-cut diamond at its centre, a design echoed in the longline earrings that can be transformed into geometric studs. A double open ring decorates the hand with a trio of bold shapes, a 1.7 carat emerald-cut white diamond in the centre. A standout piece is the bangle with its alternating bands of yellow round brilliant pavé-set diamonds and black aluminium, showcasing a 3.02 carat fancy deep greyish green ovalshaped diamond.

Concentric shapes, a key pattern of Op Art, inspire the striking drop earrings. A myriad of yellow round brilliant diamonds swirl towards sublime fancy colour pear-shaped diamonds that become the central focus. In the two rings, one dramatic pink, one vibrant blue, white pavé-set diamond lines whirl on undulating, sculptural shapes, converging on the hero diamonds, with the pink ring adorned with no less than a 1.01 carat fancy intense pink radiantcut diamond from De Beers Natural Works of Art collection.

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O P T I C A L

OPTICAL WONDER

W O N D E R L O N G E A R R I N G S , O P T I C A L W O N D E R O P T I C A L W O N D E R D O U B L E O P E N R I N G

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FROZEN CAPTURE

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Ice and diamonds. They share such purity of beauty. And in the Frozen Capture set, inspired by the play of light through frozen rivers, six stunning pieces sparkle with artistic brilliance and diamond expertise. A first for De Beers, the set features rock crystal from Brazil, each individual piece cut solely for this project and even used as a diamond setting. The magnificent necklace is row upon row of pristine perfection. Round brilliant diamonds interspace squares of crystal, all mounted on polished gold to give a translucent, mirror effect. These transition into a fringe of marquiseshaped diamonds, finishing in an astounding 20.10 carat pear-shaped flawless diamond from De Beers Natural Works of Art collection that is detachable. Its layering aesthetic represents 1 59

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how ice gradually gains greater light intensity as compact ice slowly starts to thaw to become more transparent at its edges. The chandelier earrings follow the same design cue as the necklace, dancing with light. The ear cuff and stud make a contemporary statement with crystal squares from which white marquise-shaped diamonds delicately drop. The spectacular, fluid bracelet is created along similar design lines. The two rings, one featuring an internally flawless ovalshaped 8.24 carat diamond, the other, a 10.31 carat round brilliant are both from De Beers Natural Works of Art collection. The round ring is bombé cut from one single piece of crystal, engraved with squares to mirror the aesthetic codes of the immaculate icy theme.

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The Atomique set, with its seven astonishing pieces in pure white diamonds, is a creative interpretation of a diamond at a molecular level, depicted by geometric patterns and abstract motifs. Shapes are bold and modern, becoming as one with the wearer, each piece as powerful as the alchemist who gives it light. P AGE

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ATOMIQUE

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C L I P E A R R I N G S , A T O M I Q U E D O U B L E A T O M I Q U E C O L L A R N E C K L A C E

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LIGHT RAYS

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B R A C E L E T R A Y S L I G H T

A visual interpretation of sunlight radiating through clouds in the sky. Masterfully crafted to be light and supple, these nine one-ofa-kind designs feature a beautiful array of white and fancy colour rough and polished diamonds in warm, sun-drenched tones, and innovative new materials, such as titanium, in pieces that are sublime statements of individuality. 1 6 3

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SAMATEX

ALL THEIR WORKS ARE CARRIED OUT I N T H E I R L A B O R AT O R Y , F R O M T H E G R A P H I C S T U DY T O T H E R E A L I Z AT I O N

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CUSTOMIZATIONS: Unique and Creative Solutions

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Made in Italy

Samatex performs laser cutting and engravings on fabrics, leathers and uppers, threedimensional effects with “EMBOSSING” technique, rivet applications, applications and transfert in rhinestones and top quality studs and Swarovski® crystals, special stitching such as pleats, pleating, strictly manual curling, coupling and coating, hot pressing.

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allowing me to explore a more imaginative and freer dimension of my vision of style. This has also led me to develop and deepen variations of the Armani style, with a strong and positive impact on the whole business – even at the level of global notoriety.”

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“Couture has always been given creative liberty, which is an incentive for a designer: absolute f reedom in the cuts, in the choice of materials, embroideries, f inishes. I believe I have become ever-more comfortable with the world of couture, and I take much pleasure in the opportunities it opens up because of the skill of the craftspeople who work on it. I look forward to continuing to explore these opportunities in the future. Privé has liberated a part of my creative energy,

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GiorgioArmani Privé

An escape into dreams

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The Giorgio Armani Privé Fall Winter 2022-23 fashion show offers an escape into dreams and creativity. Sophisticated, elongated jackets are adorned with embroidery; trousers embrace curvilinear shapes to then tighten at the ankle; long strapless dresses are gleaming and almost weightless. Optical motifs on day suits are broken up by splashes of bright colour that ignite the palette of whites, blacks and blues with hints of intense blues and pinks. The light ref racted by the embroidery takes over in a persistent magical movement that sends a message of pure feminine energy.

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The Cordoba designer makes her debut in the official calendar of Paris Haute Couture Week with a collection inspired on her land and her culture “Andalucía”, a proposal faithful to her flamenco and avant-garde style. Juana Martín makes history in Spanish fashion. The designer participated in the Paris Haute Couture calendar with her first fashion show as a member of the Fédération Française de la Haute Couture et de la Mode . “Andalucía” is a tribute to its land and its culture. With the aim of bringing all the essence of Andalucía to Paris, the designer has once again invited her friend and well-known actress Rossy de Palma and the artists Israel Fernandez and Diego del Morao to musicalize the fashion show. Fernández has been described by the press as “the most important singer of his generation” and del Morao has accompanied great figures of cante throughout his career on the guitar. Both have been nominated for a Grammy Award in 2022 in the category of Best Flamenco Album for their latest work “Amor”. The collection, in which the black and white, that are a designer’s sign, predominate along with orange brushstrokes. Made mainly of wool, natural silk, organza and tulle, including different artisan elaborations in the applications of embroidery, rhinestones and crystals. Crinolines provide the garments with volume, another of Juana’s unmistakable hallmarks. “Andalucia is a way of claiming my culture and my way of seeing fashion. It is a cultural, new, cosmopolitan and urban Andalucia, different from everything that is established” says Martín. She also presented accessories made exclusively for this collection such as Maison Felger shoes by designer Marie Weber, and Vivas Carrión headdresses, with a very characteristic lattice work inspired by the typical Andalucian balconies. 1 75

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The designer Marie Weber imagined a dance between Maison Felger and Juana Martin; between a classic shoe and an Haute Couture piece. Each shoe has been developed as a jewel: a unique piece combining embroidery, engravings and ornaments to create a evident line with the poetic work of Juana Martin.The Mule Maison Felger combines contrasted structured and organic lines reflecting a daring woman with new desires, rules, reinventing her beloved traditions. She finds her inspiration in the men’s wardrobe and changes the codes in an assumed and twisted way. Maison Felger mule is the story of a journey between Brittany and Andalucía and its exceptional knowhows. In addition, the Plata Pura artisan jewelry shows exclusive designs made under the historical knowledge of Cordovan crafts. A fusion of artists that continue to work with good knowledge of the trade and tradition, with a contemporary and vanguardist point of view. Juana Martin reaffirms herself as one of the most important names in Spanish fashion on the international scene, with this fashion show sponsored by the Tourism Department of the Junta de Andalucía, Marqués de Cáceres and cofinanced by the European Union.

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Opera Laboratori

A C O N S E R V AT I O N A N D R E S T O R AT I O N WORKSHOP OF EXC ELLE NC E IN FLORE NC E.

THE CHARM OF FABRIC!

16th Century tapestry, Gallerie degli Uff izi, during cleaning

Opera Laboratori, a company involved in numerous sectors in the world of culture, has been running a large and prestigious centre devoted to the art of preserving and restoring fabrics and textiles in Campi Bisenzio, a stone’s throw f rom Florence, for over forty years. The workshop staff include professional conservationists and restorers alongside highly

qualif ied upholsterers with consolidated and very specif ic experience in the maintenance, conservation, restoration and display of collections of tapestries, clothing, costumes and accessories. Over the years they have also cared for historical upholstery, fabrics and carpets in general f rom public and private museums, collections and institutions. P AGE

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19th Century embroidered hood, Vatican Sacristy, during dusting

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“The Names Gown” gown designed by Sylvia Heisel, during conservation and vestition

“Bellissima” - Palazzo Reale - Monza, Curiel costume, preparation

“Bellissima”, Maxxi - Rome, Curiel costume, during vestition

The workshop’s list of customers includes the Gallerie degli Uff izi –Florence, the Senate of the Italian Republic – Rome, the Sistine Chapel Sacristy – Vatican City, the Museo Ebraico in Florence, the Archivio Centrale dello Stato – Rome, the Museo Nazionale del Bargello – Florence, the Museo di Palazzo Davanzati – Florence, the ViVe - Museo di Palazzo Venezia – Rome, the Museo del Costume di Palazzo Mocenigo – Venice and Italy’s regional Directorates General for historic homes. The workshop meticulously and methodically conducts every phase in a project for the conservation or restoration of a precious item, initially conducting an on-site inspection to assess the item’s condition,then planning operations on the basis of that inspection in such a way as to ensure that the item’s integrity is maintained, and f inally performing conservation or restoration, a process which usually tends to involve cleaning and subsequent consolidation. The scientif ic approach adopted in the analysis and treatment of items requiring conservation includes the production of comprehensive photographic documentation both of the item as a whole and of its details, in support of analytical technical conservation factsheets, graphic surveys and reports illustrating and documenting every single phase of the conservation or restoration process. The workshop is fully equipped to perform specif ic preventive treatment such as, for example, anoxic disinfestation. The pride of Opera Laboratori’s conservation and restoration workshop is its 48m2 washing facility, one of the largest in Europe, which is particularly appropriate for cleaning tapestries. The facility’s cutting-edge basin consists of an integrated plant combining an aerosol spray system with constant aspiration of the washing liquid, while also enabling the operator to immerse the fabric in a traditional bath should that prove necessary. All the phases in the process are performed evenly, simultaneously and in a very short time over the surface of the item as a whole, without having to move it around in any way, for the entire duration of the operation. W W W . O P E R A L A B O R A T O R I . C O M

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The workshop restores all textile and fabric items, tapestries, costumes and historical upholstery with a view to consolidating deteriorated areas through the application of textile supports by needle. In tapestries, for instance, it is of crucial importance to restore the fabric either by reweaving “in colour” or through the “chromatic selection of lacunae”. The workshop also has an internal dyeing lab capable of dyeing both the yarn and the support fabric used to consolidate an item. One section of the workshop has developed a particular skill in the conservation and restoration of both historical and contemporary clothing, as well as theatrical costumes and fashion accessories. This section focuses in particular on caring for clothing both in terms of its conservation in storage, by creating purpose-built supports for the fabric’s structure, and in connection with its display in museum exhibitions or temporary events. In this context the company specialises in “the art of vestition”, a technical method in which the workshop has built up prestige and recognition for itself even in the world of fashion. This operation is designed to return the item of clothing to its original volumetric identity through a meticulous and philological construction of the item’s bodily forms on a tailor’s dummy. The volumetric construction of the forms of the body, tailored to the dimensions of the items of clothing to be displayed, invariably takes into consideration the fact that the item needs to be placed on the dummy in such a way as to avoid jeopardising its condition in any way, also factoring in the duration of the exhibition or event. In connection with the development of preventive conservation, restoration and historical-cumtechnical cataloguing projects for collections of garments and accessories, the workshop, renowned at both the national and international levels, also acts as a consultant in the management of fashion archives for prestigious fashion houses as well as for museums and public and private institutions. For many years now, our prestigious customer list has included such centres of excellence as the Museo della Moda e del Costume in Palazzo Pitti, the Gallerie degli Uff izi – Florence, the Museo Salvatore Ferragamo - Palazzo Spini Ferroni – Florence, Gucci for the ‘Gucci Garden Galleria’ - Palazzo della Mercanzia, Piazza della Signoria – Florence, the Museo Poldi Pezzoli – Milan, the Palazzo Morando - Costume, Moda e Immagine – Milan, the Archivio Storico Versace – Novara and the Archivio storico Fondazione ITS Academy – Trieste.

A PROJECT FOR THE CONSERVATION OR RESTORATION

“Animalia Fashion”, Museo della Moda e del Costume, Gallerie degli Uff izi, during vestition 1 8 7

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Julien Fournié is happy show his collection on the runway again. Without forgetting the past and recent crises, he presents today his vision for the future. Faced with the foolishness of fashion trends, the French couturier pretends that cut, ref inement and beauty still make it possible to transform our vulnerability into weapons and change our perspective to approach the world. His “First Creatures” propose a variety of aesthetic paths to triumph over gloom. In a world where hope seems to be scarce, Julien Fournié’s creatures never give in to pessimism. They draw f rom past wounds, the strength which turns them into heroines. They keep their spine straight, assume femininity, induce their own authority. Julien Fournié draws his inspiration f rom the open sea: Manta rays are set up as a symbol of grace. They appear on a delicate necklace, f ruit of the collaboration of Julien Fournié with Adrian Colin, the glass artist. The futuristic and organic shape of this animal formerly called “sea devil” is inlaid in silk organza or tulle on dresses and riding- coats. It is also seen on the hemline of certain jackets. It insinuates itself on the bottom of the backside in a black sheath. Everywhere, this shape enhances the anatomy for these half-woman, half-alien silhouettes which are blending in the same graphic outline virtual legend and physical appearance. -Jellyf ish arouses both fascination and dread. Julien Fournié uses its umbrellas and tentacles as splendid and venomous embellishments. The tentacles of cephalopods and the rostrums of sea mammals sensually underline the means of perception in this ecosystem as well as possible exchanges between neighbours be they of different species - in an ocean of borderless circulation.

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In his color palette for the season, Julien Fournié makes shades of black and midnight blue sing. He also chooses to weave metallic colored threads together, moulds bodies into 3D silk jersey, translates the skin of the oceanic creatures he cherishes here into the pattern forming the mesh of a fine jersey, emphasizes the skin with a sheer fish scale embroidery on a “nude” tulle sheath, uses organza to depict the iridescence of light when it is reflected in the pelagic space. “For two years, we have explored new means of expression through original films,” says Julien Fournié. “But nothing can replace the physical presentation in front of a chosen audience… to experience the same emotions together. Seeing our models again on the runway is essential, especially for Haute Couture. ]The matter, particularly in this field, does not go without the substance: that of a personal story told to who can read appearances, that of a resolute cut aimed at highlighting the rough edges that make up a person. »

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Leandro Cano CANO: THE DANCE OF THE EXCLUDED Welcome to The Dance of the Excluded, where the masks stay at home and the dress code is exempt from armor and frills. Here we come to dance openhearted, with our lights and our shadows. Our most absolute, purest “I”… for which we have been rejected and excluded, but for which we come today to celebrate and dance until the sun rises. During the Haute Couture week in Paris the Andalusian designer Leandro Cano presented his artistic collection: ‘CANO: The Dance of the Excluded’ As usual, the designer creates an artistic collection

medieval society, in which those who did not belong to ‘normality’ were excluded. This leads into the creation of 10 models + 1 (one look per year, plus one that includes the others). 11 archetypes, different personalities created through the designs of Leandro Cano. These creations represent different and unique characters, all of them being part of the designer’s personal journey. Leandro Cano presented his most personal and artistic collection through the symbolic language of these garments. In the collection you could see a reinterpretation of the most iconic pieces of his 10-year career in

and a ready-to-wear collection, presented last April. In -Hispania: land of rabbits-, Leandro Cano transported us to an invented space/time that had its roots in the Middle Ages of southern Spain, and which developed a collection in which castles and borders were the common thread, but which was nothing more than a metaphor for the convulsive and agitated times in which we live. It was an analysis of a current society, sometimes advanced and many others with a mentality older than the Middle Ages. With CANO: THE DANCE OF THE EXCLUDED, the designer from Jaén delves deeper and makes a more introspective journey into that fictional

fashion. The most prominent materials in the collection are cotton twill, quilted fabrics, jacquards woven with garment prints, fabrics made on handlooms, leather-based suits, and tailoring wool, gold embroidery, and crochet made with metal chains. Red, blue and gold are the predominant colors in the collection. As for the artisanal techniques that have been used, gold embroidery on gold and in wool stand out, elaboration of fabric made on hand looms, with Spanish merino sheep wool, crochet, crochet with mohair, work with embossed leather, elaboration ceramic fajalauza (traditional Andalusian ceramic) and hand-painted garment.

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MAISON MARGIELA ARTISANAL 2022

Make-believe is driven by instinct. Born out of the subconscious, it is an imaginary expression of our innermost thrills and tribulations. For the 2022 Artisanal Collection, Maison Margiela stages Cinema Inferno at the Palais de Chaillot, an assemblage performance piece conceived in symbiosis with the haute couture collection. Identifying a post-digital desire for physicality, Creative Director John Galliano crafts a multi-disciplinary format: a theatre played out in f ront of live spectators, captured by cameras that integrate with the performance in a f ilm simultaneously broadcast to a digital audience. The narrative was created by John Galliano and brought to life in collaboration with the British theatre company Imitating the Dog. A Southern Gothic tale unfolds in the dark, poetic heart of America as a sandstorm engulfs our story’s ill-fated lovers, Count and Hen. On the run and wounded f rom a gunf ight, they drive through the Arizona desert in a f ilmic haze as their pasts flash before their eyes: the wedding of their abusive single parents that made them involuntary step-siblings, the elation of Hen’s pregnancy, and the subsequent parricide that turned them into outlaws at large. Delirious f rom their getaway, they pull up to an isolated hotel only to discover that it is, in fact, a cinema. Here, as they draw their last breaths, Count and Hen fall into a cinematic loop spun f rom the joys and traumas of their subconscious, their memories echoed in the iconic scenes of classic American f ilms. 22 00 33 PP AA GG EE

Chased by apparitions of the law, they end up where they set out, escaping through the sandstorm forever after. Told through the grammar of haute couture, Cinema Inferno explores representations of the patriarchal abuse of power – parental, legal, educational, religious, medical – in fabric and cutting techniques developed in the Artisanal atelier. Power-cut staples f rom the men’s wardrobe evoke the memory of Geneva Bands, classic haute couture silhouettes are imbued with the language of surgical scrubs, and sorbet-coloured prom expressions appear slashed and spliced. Sandstorming, a new Maison Margiela motif that intricately creates the impression of a sandstorm in a garment or accessory, features in fully engineered fabric weaves, in needle-punching, flocking, or beading. Recicla pieces employ antique 19th century bedlinens and collage original 20th designer pumps into new manifestations.

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MATERIALS Sandstormed garments are partly crafted from jacquards created through a painstaking process in which sand is sprayed out over a fabric and transformed into a print, which is, in turn, engineered as a jacquard. Spectral Cowboy characters appear in the authentic materials of the Western wardrobe: Loden wool, flannel, herringbone, coated felted wool, velvet, coated velvet, and denim. Plaids feature in collaboration with Pendleton and are further interpreted in tulle. Prom dresses are constructed in tulle and double-duchess silk satin, while Teen Band Member characters feature in bark cloth and brocade. Silhouettes imbued with the lines of scrubs draw on the clinical sensibilities of neoprene, piqué, brushed bouclé, nylon, foam and crin. Communal figures emerge in prints depicting florals, horror motifs, and Venues flytraps. Repurposed Recicla pieces include a Pierrot look constructed from 19th century bedlinen, a jacket for the character of Adela made from a 19th century bedcover, and boxer shorts worn by the role of Stanley transformed from vintage handkerchiefs. Underwear is structured in latex. TECHNIQUES The power-cut introduces a way of cutting in which dress codes associated with power – like Geneva Bands – are evoked within a garment. Sandstorming is a new technique which conjures the effect of a sandstorm in fabrication and surface decoration achieved through needle-punch, flocking or beading. Essorage, the up- and down-scaling of garments that brings out the erosion of time, is employed in morning coats and shorts. Placage, the practice of fusing any two garments by deconstructing one and applying each piece to the other, appears in the floating pockets of a bark cloth coat overlaid in tulle. Centre cutting creates a horizontal incision across a tailored garment through which one half of its volume is resized. Slashing appears in coats to imitate a sense of movement. Circular cutting, a way of disrupting the draping of a garment to create a sculptural effect, is employed in a crombie prom coat. Anonymity of the lining, the revelation of a garment’s interior construction, appears in tweed and herringbone coats. Poverino assemblages – single garments spliced from several components into one combined piece, their layers cut away to reveal the structure of the composition – manifest in horrorinspired looks. Bird-pecking cuts up a men’s coated felt coat to evoke a fur stole. Fabric plumage is created from double-organza hacked up to create the illusion of plume. Elbow knitting structures a voluminous trouser created from printed organza. Variations on the memory of appear in techniques throughout the collection, including a trompe l’oeil approach to cutting which imbues a tailoring silhouette with the memory of a smaller volume within its own frame. Embroideries materialise as crystal, beading, net discs, bin bag material, and plume, and as musical notes and graphic character cord embellishments. PALETTE Paintings of American scenery by the 20th century realist Andrew Wyeth inform a palette founded in the desert neutrals of the dark, poetic heartland, with memories of the sand of Arizona: black, anthracite, grey, gold, beige and white, as employed in the wardrobe of Count and the Spectral Cowboys. Prom looks assume the colours of sorbets, from berries and lavender to melon, peach and lemon. In the operating theatre, the clinical hues of scrubs set the tone for medical takes on graphite, green, blue, teal and petrol. Ruby gloves, pumps and bags pay tribute to cinematic glamour.

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Maison Rabih Kayrouz

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It is noon on a Riviera at the end of the world, the sky is summer blue, A few clouds ... A woman walks, her hair in the wind. She crosses the vestiges of modern times. Elegant, Free, Almost insolent. Her clothes envelop her naturally, f reeing her body. Primary colors recall the South, the imprint of an early painting. The textures are solid. Glossy fabrics match the matte look. Light wool is close to jersey. New archetypes are added to the MRK wardrobe. Jacket, Trench Coat, Windbreaker. The day and evening wardrobe. With a focus on the Movement, Energy, Dynamism. A hymn to f reedom. 2 09

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A HYMN TO FREEDOM

A Focus on the Movement

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Endless Radiance

An Unique Savoir-Faire Endless radiance and unique savoir-faire have been at the heart of Piaget’s DNA since the very beginning. The Maison’s ateliers are the place where light is studied, captured, enhanced, and shaped to perfection, injected into creations that lend their unique radiance to anyone who wears them. This vibrant energy glows from the inside out, radiates desirability, charm and pure shining beauty - qualities shared by our bold and joyful Piaget Society. Today, a set of new creations once again showcases Piaget’s light mastery, both as a jeweler and a watchmaker. Light is bold, light is festive. It draws attention and awe to its source. This almost alchemic reaction is what gives Piaget’s Sunlight Radiant Infinity capsule and Limelight Gala watch their remarkable power of attraction. Their explosive design reminds the unique energy of the sun, through asymmetric movements that enhance their radiance and uniqueness. At the center of these earrings, rings, pendant and bracelet, the motive extends its rays to express the solar warmth in a spectacular play of lights. The asymmetry adds boldness to the creations,

extending beauty into the realm of joy and creativity. In our ateliers, our designers also played with textures, volumes, and forms to render the sun’s unpredictable glow. To achieve this mastery of light that sits at the core of Piaget’s savoir-faire, they use the contrasts of finishes. Polished or decorated, the precious material’s versatility and pure beauty thus shine through, as the unique craftsmanship of the Palace Décor perfectly shows. Each creation is as beautiful as it is unique and require a level of precision and attention usually reserved to High Jewellery creations. On the Limelight Gala watch, the pure, motherof-pearl dial with alternating diamonds-set indexes and pink gold Roman numerals radiates a contemporary aura of femininity. 42 brilliantcut diamonds are set on the rose gold caseusing the intricate technique of “serti descendu” that magnifies the brilliance of each stone. Deeply modern, these creations radiate with the energy of the light, the power of the bolds, and the confidence of the free-spirited. The Piaget Society’s unique qualities shine through each of them, like an invitation to experience infinite radiance. P AGE

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Exposition & Défile ReBelles Dentelles by ON AURA TOUT VU

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Passionate about the lace created in Caudry

The Parisian fashion house On Aura Tout Vu, in partnership with the Caudry lace and embroidery museum, presents an exceptional fashion show specially designed for the exhibition (Re)belles Dentelles, to be seen until the end of January 2023 at the Museum. Passionate about the lace created in Caudry, the creators of On Aura Tout Vu have been using it since their f irst collection. What other city than the world center of Levers lace to celebrate 20 years of couture for their house? For this event, the creators have chosen some forty unique pieces f rom their collections, bearing witness to their singular style, presented in the setting of an emblematic textile factory in Caudry, the CarpentierPreux site, one of the largest complexes built at the end of the XIX’s. still in operation. Scenographed especially for the occasion, the facades of the building are adorned with light, underlining the remarkable character of this vast architectural ensemble, witness to the local industrial heritage. An ode to lace and a tribute to its craftsmen, between tradition and innovation, the Rebelles Dentelles fashion show creates the link between the bicentenary know-how of Leavers lace and the futuristic creations of On Aura Tout Vu... P AGE

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On Aura Tout Vu Unconventional designers faithful to Leavers lace On Aura Tout Vu breaks the codes established by haute couture over the years to give it its own interpretation. Founded in 2002. On Aura Tout Vu is renowned and recognized on the international fashion scene for its crazy style and unbridled universe where diversion of materials, sophistication, artistic craftsmanship and technological innovations come together. Lovers of Leavers lace, its creators have been using it since their first collection, creating exceptional pieces seducing fashion icons such as Lady Gaga, Madonna, Katy Perry, Gwen Stephani and even Beyonce. Hyper-creative, its designers also explore other fields such as ready-to-wear, accessories, object design, but also interior decoration, fine jewelry and perfumery, as well as stage and the scenography of ballets for opera, theater and cabaret ...... 2 21

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UNBRIDLED UNIVERSE WHERE DIVERSION OF MATERIALS, SOPHISTICATION, ARTISTIC CRAFTSMANSHIP AND TECHNOLOGICAL INNOVATIONS COME TOGETHER A fashion show, a performance La compagnie France Artiste A moment of poetry and daydreaming, the show begins with a performance by Emma and Loran, circus artists based in Caudry. Dressed in an On Aura Tout Vu creation, their interpretation expresses all the strength and sensuality that characterize Leavers lace. Emma and Loran are artists with more than 10 years of career in French and foreign cabarets, galas and casinos, notably at the Casino Grand Lisboa in Macau. They are at the origin of the show company France Artiste which creates shows based in Caudry. A site steeped in history for an exceptional fashion show Built in 1899, and still in operation, the Carpentier & Preux factory symbolizes the epic of the Caudry lace industry and the transmission of know-how over the generations. Bearing the name of its two founding families, the Carpentier & Preux factory was also nicknamed the Transvaal f rom the outset, because of the Boer War which broke out in the Transvaal in South Af rica at the time of its construction in 1899. 2 23

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The site , uninhabited, is then located in open country. The construction of the factory will lead to the construction of houses in the surrounding streets in order to accommodate the 400 workers near their work. Despite the vagaries of the Great War and then of a terrible f ire in 1968, the Manufacture survived the decades. Textile materials are still produced there today. The large brick chimney, a remnant of the days when looms were powered by steam, still stands proudly within the grounds of the building. They would like to thank Mr. Antoine Clément, Managing Director of Carpentier & Preux, for making the site available for this fashion show. Lace creations like they’ve never seen before! 2002 marked the presentation of the f irst On Aura Tout Vu couture collection and the beginning of a particularly creative relationship with the Caudresian lace industries. For 20 years, the house’s collections have revisited the spirit of Leavers lace each season through themes that are each more daring than the next.

Dressed in an On Aura Tout Vu CREATION

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In the creations of On Aura Tout Vu, Leavers lace is diverted, lacquered, plasticized, painted, associated with antagonistic materials. Under the scissors of creators, it is reinvented, composed and broken down, applied, encrusted or embedded under other fabrics. Ennobled, re-embroidered, Leavers lace is adorned with a thousand effects to magnify its patterns. Illusion or pretense. The designers of the house play with lace by suggesting it while blurring the viewer’s interpretation.

Thanks also to their team for their investment and the availability they show models, hairdresser, make-up artist, DJ, stage manager, dressers, cameramen. Finally, thank you to the On Aura Tout Vu house for its interest in the know-how of the Caudresian lace industry and its talented ability to restore it through its creations. Creations to discover in the 2nd part of the Rebelles Dentelles exhibition presented until the end of January 2023 at the Caudry museum.

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has in fact led to some extraordinary work, not to mention a reengagement of our industry with the broader culture. But it’s also led to a sometimes dreary selfseriousness, one that foregrounds fashion with sloganeering. It’s easy to be self-serious. The more difficult path is remaining an engaged member of society while also, in one’s work, daring to return to a kind of creative innocence, to the state of wonder and awe we all felt when we saw our first transcendent show.

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“All of us who work in fashion know that much of the rest of the world thinks that what we do is silly. It’s a boring criticism, and we all argue otherwise, but if you think about it, fashion is silly at times. It’s also provocative, upending, challenging, and meaningful. It’s breathtaking. It’s beautiful. In recent years, though, it’s felt like fashion has tried its hardest to prove it actually isn’t silly. The pressure designers feel to make a statement about the current political situation, our ongoing climatic disaster, the inequalities among people of different races and genders, and an age of war

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A creative innocence

I always talk about trying to achieve that state of creative innocence of f ighting to stay close to that person who fell in love with fashion and its possibilities, of not succumbing to cynicism or worldweariness. I hope that spirit comes through in this collection: I hope people who see it can tell what fun the team and I had making it. I hope the joy we felt, of creating things, of getting to make beautiful objects that people will always remember, is evident in every coat, dress, and accessory. P AGE

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FASHION IS PROVOCATIVE, UPENDING, CHALLENGING, AND MEANINGFUL

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I think we sometimes get defensive when our critics accuse us of just wanting to make beautiful things. But what’s wrong with wanting to make beautiful things? It’s not the only important part of life, of course, but it is a part of life. And to make truly beautiful things isn’t actually that easy. But it is a privilege—and I’m grateful for it every day.” Daniel Roseberry

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THEIR AIM IS TO EXPRESS PLAYFULNESS AND JOY IN A STYLISH, CHIC, SUSTAINABLE WAY

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PUPCHEN A new concept in footwear

Pupchen is a brand of sustainable footwear designed in Paris and handmade in Italy, tinkering with classical codes like toys and subverting them with an unsubtle wink. Pupchen is f ree. Pupchen chooses materials that have a lower impact on the environment than conventional options. They doublecheck certif icates. They triple-check our facts. When they don’t choose the sustainable option, they’re committed to telling you the honest reasons behind that choice. And they’ll stay curious and informed on how they might change those decisions in the near future. Pupchen is an outburst f rom, and an invitation into, the unusual, decadent, uncompromising universe of young designer and architect, Duha Bukadi. Pupchen is her aesthetic revenge on the 24 1

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world of resigned adults, tedious routines, and flat personalities. As an architect, Duha always loved navigating the mix of structure, utility, and aesthetics in every building she designed. This is what she likes about building shoes, too: the savoir faire (structure), the comfort (utility), and the fantasy (aesthetics). Duha draws constant inspiration f rom her surroundings: her daughter’s toys, her vivid dreams, and the unexpected poetry of everyday life. She’s a storyteller, and shoes are her medium. They are to an outf it what a signature is to a handwritten note—two essential accessories to the ambitions of any character who wears them. Duha wants shoes to be playful, fun, and, at the same time, the height of chic.

SAVOIR FAIRE SUSTAINABILITY FANTASY

At the start, they were trying to create a luxury, vegan, sustainable footwear brand. They didn’t want to make a single compromise. And that was very naïve. Navigating the already-complicated luxury shoes business, and saying no to all nonvegan, non-sustainable options, was an unrealistic project given what’s available in the market today. They couldn’t reach the quality, the durability, and the style they imagined using only vegan, only sustainable materials. They

came to a point where yhey understood that in order to make change, wthey would have to make some compromises. And that it’s less about being radical than it is about being honest. And they asked ourselves: What is important to them? The answer came in this specif ic order: Savoir faire is important. Quality is important. Details are important. Expertise is important. Durability is important. Fantasy is important. P AGE

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They are imagining a world of our own, and they would like to invite everyone to visit it. It may be for a short time, but that doesn’t take away f rom its magic. Or, hopefully, for a longer time, owning their shoes and stepping into the world they made every time you put them on. The world where they like to play. Sustainability is important. In all them design choices, and in every single component f rom them shoes to their packaging, they always look for materials that have a lower impact on the environment than conventional options. They double-check certif icates. They triple-check their facts.

THE ROYAL GARDENS

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STEFAN DJOKOVICH The Beauty of Art

Inspired by the gardens of Versailles, back in the days of the magnif icence of the sumptuous feasts celebrated by the king there, Stefan D jokovich introduces us to a collection where each look has been designed as a surprise, like a walk that would make us discover the multi-faceted world of the royal gardens... Stefan D jokovic chooses for this collection a palette of delicate fabrics : Silk (muslin, duchess satin silk, lame) Organza, embroidery on tulle and organza. The Color palette mimics colors of the night/black with silver, gunmetal silver, dark metallic blue and the transition to light blue, light blue and pink, light pink, old gold, to f inish with a royal wedding dress. The cuts are mostly corseted dresses, full lenght ball gowns, ruffles, feathers, embroidery with floral and nature inspired details, f itted fully embroidered dresses. The Hand made silk roses and branches with silver foil details and crystal details were done in the Serbian atelier of Stefan D jokovic . 24 5

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Trianon

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TRIANON IS A JOURNEY The light pink feather dress is made with 3000 hand made feather stitched one by one in order to created this flowing movement. Trianon is a journey into a small world made of groves,

fountains, columns and statues, it is the light of the Sun King radiating a thousand lights f rom ballets and songs, with the sole purpose of the beauty of art... P AGE

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Stéphane Rolland TO BARBARA Barbara, icon. The artist fascinates, surprises. Barbara takes you from the bottom of your heart and walks you through the paths of her life. Barbara, the spirit. Barbara, the style. Immediate attraction towards this stroke of ink in movement. Maurice Béjart used to say that Barbara was his greatest dancer. So if this stroke talks, mine gets defined, energized by the intelligence of this woman, her elegance and infinite grace. As a gift or a prayer, arms wide open and palms open to her audience. Barbara sings. Her voice whispers then propels, flows far like a bottle at sea. A call. Facing Barbara like a living art piece, the path seems traced…in black. But Barbara disrupts, so I imagine her, fantasize her, retrace her. Barbara black. Clear evidence. Jumpsuit in silk velvet. Asymmetrical sweater in alligator. Long tunic in embroidered patent leather. Coat-dress in lamé jeans. 24 9

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Barbara red. Like her stage lights. Jumpsuit with collar in padded satin. Immense jumper with a shawl collar. Bathing suite dress in chiffon with a gigantic gazar sculpture or finally, an oversized poppy dress in satin duchess. Barbara on edge. Pure white, authentic, the roots of Africa inspire me. I scarify gazar and crepe in 3D, on sheath dresses and Masai capes. I cover a breast with gigantic chains in jersey and tattoo to the extreme. Barbara, allure. Barbara, still...

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Barbara takes you from the bottom of your heart and walks you through the paths of her life.

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The Art of Embroidery

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Viktor &Rolf THE CONCEPTUAL GLAMOUR

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Viktor&Rolf is the avant-garde luxury fashion house founded in 1993 by fashion artists Viktor Horsting and Rolf Snoeren after their graduation f rom the Arnhem Academy of Art and Design. Widely recognized and respected for its provocative Haute Couture and conceptual glamour, the house of Viktor&Rolf aspires to create spectacular beauty and unexpected elegance through an unconventional approach to fashion. Staging signature collections for over twenty years during Paris Fashion Week, ever since the f irst Haute Couture collection in Spring/Summer 1998 Viktor&Rolf creations evoke a provocative spirit infused with surreal contrasts. 259

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SURREAL CONTRASTS

With Mariage, Viktor&Rolf presents its luxury bridalwear collections - an exploration of iconic elements inspired by classic couture influences. Conveying the designer’s complementary bond, Viktor&Rolf Mister Mister is an extension of fashion artists’ Viktor Horsting and Rolf Snoeren’s personal style – an intimate reflection with a playful take on formal wear. Viktor&Rolf ’s luxury products include Viktor&Rolf Tulle, exclusive eyewear line Viktor&Rolf Vision, and an addictive catalogue of f ragrances featuring worldwide bestsellers: Flowerbomb, Spicebomb and Bonbon. W W W .

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COUTURE BLUE

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Yuima Nakazato BLUE OF THE PLANET EARTH “Over the past 6 months, I’ve been having a heartache given the news flying around all over the world. Feeling powerless, and all I could do is stop watching my smartphone. Even though, I’ve kept working on my creation. Drawing sketches, pug clay, weaving new fabric f rom old textile, dying with hands… I somehow felt relieved by going against the tide of digitalization, and creating things by using my own hands. Ancient people seemed to seek answers to an incarnation. One small ethnic group believed that birds are the incarnation of god, seeing us mankind f rom above, and let us know all the crises through their voice. Sherman was a voice as well, speaks for something that we can’t see. Imagining their voices that they would convey to us in these day, I’ve devoted my self to my creation. I somehow thought I want to create this collection in blue. Blue of the planet earth. Sky and sea are blue, but it’s not actually blue, it looks like blue as some sort of a phenomenon. You can’t dye your cloth by dipping into the sea. I f ind the blue in the sky and the sea are mysterious, that you can see but somehow doesn’t exists. 2 6 5

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THE MYSTERIOUS BLUE IN THE SKY AND IN THE SEA I thought wearing a blue garment is somehow like wearing the messages that the incarnation sending to us. Lastly, we’ve created this collection based on dead stock materials which lost its use. Materials that were damaged, over produced… There are a lot of types of materials that are left over in the storage. These materials are all wonderful, but in general diff icult to be valued.

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But by changing your perspective, things could transform dramatically.I thought it is possible to create a beautiful things f rom industrial wastes. That is something I wanted to challenge through this collection. Imagining our blue planet earth through the sky I see in the gap of the buildings in Tokyo, this collection was created as I pray”. Yuima Nakazato

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The collection narrates ten chapters, ten successive tales woven with feathers, sumptuous fabrics, embroidery in cosmic shapes, and celestial creatures that herald good tidings. High-cut wrap skirts accompanied by thigh-high boots, Karakou jackets, daring bodysuits, short dresses with removable trains, long sheath gowns with explicit shoulders, ball gowns or draped jumpsuits, bare midriff, accompanied by capes, all of these are the artful foundations on which astonishing motifs are applied, or tattoos embroidered on transparent tulle, the signature look of House Zuhair Murad. 271

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Glimmers, stars in alignment, symbols, a virtuous serpent. Couture is a conspirator of the cosmos and its lucky stars. At times all that’s needed is a gown to attract love, fortune and fame. All the legends assert this as truth, and reality at Zuhair Murad stands as testament to that mythos. For his fall-winter 2023 collection, Zuhair Murad has drawn on all the mystical arts, f rom Tarot and astrology to horoscopes and palmistry, to dispel the concerns of an unsettled age through the allure of their symbols.

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Tarot and Astrology to Horoscopes and Palmistry

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CRYPTIC SYMBOLS Inspired by the ethereal art of Daria Hlazatova, Zuhair Murad engenders a collection in which cryptic and complex symbols prevail. Here immeasurable stars abound; elsewhere, myriad eyes, windows to the soul, draw benevolence and purity. A prominent place is reserved for the eye in a part of the collection, whether allowing moonlight to f ilter through silver embroidery, or centered on the fabrics, gathering its folds with absolute tenderness.

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The signs of the Zodiac bestow an expansive astral theme onto long gowns, with Cancer, the astrological sign of the designer, manifesting on the f ront of a gown as a seal. The snake, symbolizing health and vigor, boldly weaves its way to complete this monumental assortment which represents the sigil of protection.

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Cosmic and Astrological Symbols

WEDDINGS

THE QUEEN SUN

And while the Tarot cards with all their mysteries and enigmas appear lost in geometric adornments, it is the Queen Sun that predominates all cosmic and astrological symbols and elements, illuminating in her grandeur the celestial gowns embellished with golden threads.

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COMPLEXION Peter Philips described the focal point of the look as “A luminous complexion thanks to skin that was hydrated and smoothed with Dior Prestige Micro-Huile de Rose. As a second step, I blurred the complexion with Dior Forever Skin Veil SPF 20, and then I used the Dior Forever Foundation which evens everything out translucently. For touch-ups, I applied a few drops of Dior Forever Skin Correct. As a blush, I twisted Dior Addict Lipstick using Shades 558 Bois De Rose or 720 Icône. I applied the lipstick on the cheekbones and dabbed it to obtain a blended effect with the slightest hint of shine and color. Finally, for the ultimate step of this perfect complexion, I sprayed a light mist of Dior Forever Perfect Fix to set the makeup.”

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EYES Peter Philips commented: “The eyes were brightened by an imperceptible line at the roots of the eyelashes with the 5 Couleurs Couture 519 Nude Dentelle Palette. Then, I accentuated the eyelashes while keeping things natural with Diorshow Iconic Overcurl Mascara. Finally, I tidied the eyebrows with Diorshow On Set Brow 00 Universal.” LIPS Lips looked natural and moisturized with Rouge Dior Satin Balm 000 Diornatural. NAILS Nails looked natural in Dior Vernis 108 Muguet. HAIR Hair was styled in a very long braid tied loosely at the nape of the neck and falling down to the lower back.

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For the Autumn-Winter 20222023 Haute Couture Collection by Maria Grazia Chiuri, Peter Philips, Creative and Image Director for Dior Makeup, created a very pure makeup look that enhanced the complexion. “I created a look where light and a pure complexion dominate. I preferred nude tones that blended subtly with the skin, giving the face a natural glow.”

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Brabbu An Intense way of Living THE COLDEST SEASON OF THE YEAR ARRIVES WITH HOT TRENDS Winter is coming. In this case, it is not a reference to a famous television series. In fact winter is near and the change of season presents new trends in interior design. BRABBU presents you with different products that elevate materials and design ideas. Inspiring all over the world is the mantra.

T E X T U R E Different textures are one of the winter trends. Therefore, environments that mix different materials will be in high demand this season. The bet for a bold design and that has the face of winter is to combine products made of wood, marble, bronze or glass. In the Hallway above they can see the versatility of BRABBU products by combining the wood of the HUANG Sideboard and the glass of the CAY RECTANGLE Mirror. This combination brings everything that reminds them of winter, that is, a mixture of classic and contemporary at the same time that passes the comfort and warmth that winter asks for. 2 8 1

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PH: ISSHOGAI STYLIST: AUDREY JEHANNO DRESS: STEFAN DJOKOVICH JEWELS : SHOUROUK P A2022-23 GE 2 84 CLICK HERE TO DOWNLOAD UFASHON MAGAZINE HAUTE COUTURE FALL WINTER