31.12.69

What I most devotion about Felipe Oliveira Baptista ’s shows is the soundtrack. A few years ago, the Portuguese draughtsman insisted on hip-hop, crunk and electro beats. This season, the models strutted down to the undamaged of Azealia Banks remixed with Favela booty beats. Honestly a change from the increasing number of Goth-ish collections coming out of Paris this condition.

The clothes were equally packed with sex appeal: the bold, graphic garnering gave a fierce twist to Pierre Cardin-inspired designs. A grey raglan overlay and its matching felt cap was contrasted with vinyl detailing; simple sheath dresses were punctuated by lamé motifs; neo-Mondrian dresses borehole frontal slits or plunging crossover necklines.

As always, the designs had fertility of off-centered zippers and drop waists. This time, the designer’s infatuation of prints was expressed in reductionist zebra print that ran throughout the collection like a gleaming thread. A heavy calfskin trench coat made an appearance, which made everyone fondness Felipe would start designing accessories, too.

Source: Fashionista

31.12.69

“We never saw a glimpse of the woman of Stalin, or Khrushchev, or Brezhnev, or all those Communist rulers,” he said. “In Russia, ballerinas and actresses always represented the embodiment of elegant ladies.”

Bolshoi ballerina Galina Ulanova, whose clothes and accessories fill two rooms, favored ripping pieces imported from London, Paris and Milan. Her more flamboyant choices incorporate a kangaroo-skin purse and a hot pink fur coat. Rival ballerina Olga Lepeshinskaya, who was married to a inclusive and closer to the political establishment, favored more conservative designs and Russian tailors. The most today's looks belong to dancer Maya Plisetskaya, whose minimalist pants and sweaters made her a contemplate for Pierre Cardin.

Revolutionary ideology labeled fashion a bourgeois relic. Undecorated, mass-produced clothing was to accompany women’s new r in the workforce. But from the beginning, Russian clotheshorses found ways around official dictates.

Visitors chance how Western fashions pervaded the clothing of the upper crust throughout the New Commercial Policy of the 1920s: the Charleston drop-waist dresses, cloche hats and women’s manner journals on display would have looked just as at home in Paris as in Moscow.

Source: Tne Moscow News

by BoF Team

"Contemporary Britain, it seems, is not much fussed about the skills and experience that staying alive in the mind, eyes and hands of people who take the powder of execution steal things - our birthright of local life. We love them, in a past tainted with sweet nostalgia of way, but we do not have much to paste them. "

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Source: The Business of Fashion | Blog Archive | BoF Daily Digest | Pierre ...

by MIG

OH MY GOD I Passion THESE FUTURISTIC ACCESSORIES!! So I recently bumped into Pierre Cardin's m by customary to the not-Work but "Togs"apportion in my college library. LOL I find that so queer and pitiful for some aim. Cardin's employment is so good and from A to Z futuristic, I beloved it! He says "The clothes I like vanquish are the ones I design for a mortal that doesn't yet eke out a living: tomorrow." When I comprehend this and saw his business chills ran down my prong like a string on its true watch. I was about to get up from my settle and howl, AMEN! Greeting. My business is to rupture the sorrowful chains aka the unenlightenment that is holding back men's vogue. I poverty to extend the mentality of those "customary beings" who don't see the correct content of mens way. I experience bad for them. We see color, boldness, art. What do they see uninteresting colors? haha I miss to expound the view of the style kingdom so that no door is mute at our faces but for once support that closed door unquestionably bare so that we can evolve. And so...

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