Tuesday, 27 November 2012

Le Printemps Christmas Windows by DIOR

 


Christmas windows not to miss! Dior invites you on a Parisian journey through the Christmas windows at the Parisian department store, Le Printemps ... Explore all of the most emblematic places of the 'City of Light' revealing some exceptional pieces of the House of Dior.







This year, Paris department store Printemps Haussmann is marking the festive season with a nod to one of the city's most iconic labels: Dior. The store entrusted the Christmas dressing of its 11 windows to iconic French label Christian Dior, and actress and Dior face Marion Cotillard was on-hand to officially unveil the windows, November 9. Dior's vision of Christmas this year is based around whimsical dolls dressed in classic pieces from the house's history like the Bar suit, set to a backdrop inspired by the French capital featuring the Eiffel Tower ice rink, the winter fairground in the Tuileries, and balloons floating up over the Paris rooftops. A total of 74 specially made dolls were put together by hand in the Dior studio, before being assembled as puppets on-site. Worth braving the crowds for if you're shopping in the area!


Marion Cotillard at Le Printemps


The advertisement was  lensed by Mario Testino for the holiday season. Models Carolyn Murphy and Sui He star in a magical image made with creative direction by Stephen Gan and styling by Carine Roitfeld
















 Le Printemps Haussmann, 64 Boulevard Haussmann, 75006 Paris


Selections by ANDREA JANKE Finest Accessories 

Photo Credit/Souce: © The House of Dior & © Printemps





Friday, 23 November 2012

'A Ruffle Must Be Intelligent' - GIVENCHY




“Pure and light,” said Riccardo Tisci backstage at his transcendently chic and controlled Givenchy Spring/Summer 2013 show. “I went back to the roots of the house,” he explained, “and worked on the sixties of Hubert [de Givenchy] which was the best period for me.” To this, Tisci added his passion for the furniture designs of the enigmatic creative force Carlo Mollino “the geometry and the lightness of the shapes in wood and the metal” and blended in the sobriety of nuns’ habits. 

For your Christmas Wish-List! Enjoy my LYST of GIVENCHY selections at the end of this post. LoL, Andrea













Tisci’s girls, with their hair scraped into tight balletic chignons, and beige eye shadow painted into exaggerated Cleopatra points, moved at a lightning pace on Mollino-inspired shoes with conical heels of wood and metal, anchored with broad straps of clear plastic. The clothes, in a rigorous palette of monastic black and white with touches of light sky blue and pale beige, were mostly lean and tubular, with the emphasis on a dropped waistline.

Givenchy’s own mentor, Cristobal Balenciaga, famously told him that “a ruffle must be intelligent,” and Tisci in turn has absorbed that cryptic mantra, setting controlled flounces to outline the sleeve or neckline to relieve the severity of his lean tunic dresses. Many of these had apron fronts and flying panels in the back, resembling a nun’s scapular, anchored into place with metallic bar clips; sometimes they were layered over narrow pants. Chokers of clear plastic or wood, edged in gleaming metal, suggested clerical collars.












The monastic atmosphere was heightened by Tomaso Albinoni’s eighteenth-century “Adagio in G Minor,” (played by Mathias Lecomte on the giant organ that dominated the center of the runway), but in the DJ booth, Discodromo mixed a pulsing techno beat an example of Tisci’s ability to sample from the past but bring those influences firmly into the present and the future.

Tisci’s research in the Givenchy archives provided echoes of some of Hubert’s most hieratic creations, and the luxurious fabrics the couturier used in the sixties—heavy silk crepes, satins, and thickly textured matelasse damasks, contrasted with airy materials with architectural body to them, including satin organza, gazar, and thick guipure lace. But this wasn’t an exercise in nostalgia, or the thoughtless revisiting of the past that some designers have fallen prey to this season. Instead, Tisci filtered those elements through his own entirely contemporary sensibility and the result was a standout collection that exemplified a new modern way to approach that old-fashioned notion of “elegance.”



















Andrea's GIVENCHY selections at LYST







Selections by ANDREA JANKE Finest Accessories

Photo Credit/Source: © VOGUE
Runway: Photography by © Monica Feudi/Feudiguaineri 
Details: Photography by © Gianni Pucci/GoRunway








Wednesday, 7 November 2012

Alberta Ferretti Spring/Summer 2013




Backstage at Alberta Ferretti, just before the show started, it was easy to spot her, and the clues weren’t just the camera crews, boom microphones, and an interpreter conveying every word  the petite designer spoke to the reporters surrounding her. It was Ferretti’s dress, black, sleek, and understated, that made her stand out a mile amidst the watery palette (silver, aqua, azure, teal, lilac, and the deepest oceanic blue imaginable) that provided her color story for next spring.













Her own dress clearly said “I mean business,” and, you know what, she does. Those Ferretti ateliers have vaulting ambitions as to what they want to achieve, and never more so with this beautifully elegant and refined collection. It eschewed the typical Milan approach of here-come-the-trends-big-and-bold-as-you-like, in favor of an ethereal reflection, if you’ll excuse the pun, on how the liquidity of water can be drawn into her clothes. This is where those nimble-fingered ateliers of hers come in: the intricate piecing of lace into what she called a “tattoo” effect on bias-cut wispy nothings that slip and slide around the body; iridescent embroideries that wave and undulate over organza blouses and shifts, the latter layered over the likes of a fringe-tassel slip dress; and gorgeous 1930s-feeling black-and-nude chiffon and lace evening dresses that, through the interplay of the delicate fabrics, suggested the sea-shifting color at night as moonlight falls on it.












This was as good a meditation on the idea of soft, romantic evening dressing that we’ve seen so far. In fact, correction: It’s the only rendering that we’ve had the pleasure of watching. It’s often the case that in any given season Ferretti provides a corrective to some of the excesses that might be seen elsewhere, and that’s definitely the case for next spring. With so much harder, graphic, intensely colored, sixties-influenced looks playing loud and strong, this collection’s refined spirit only seemed to play that bit louder and stronger. Just don’t go flicking through the runway images searching for clothes that will go to work. (If anyone knows of a chiffon-friendly office, we’d love to hear about it.) But that’s hardly the point. The workmanship elevates these looks to the level of event dressing. Not that that has to mean grand. Ferretti also presented one of the most alluring takes on the decorative-top-over-lean-pants combo that started a couple of weeks back in New York, with hers contrasting the likes of an ivory chiffon pieced and patched dress over shantung trousers.

























Selections by ANDREA JANKE Finest Accessories 

Photo Credit/Source: © VOGUE
Runway: Photography by © Filippo Fior/GoRunway
Details: Photography by © Gianni Pucci/GoRunway




Collection, Fashion Show and Review






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