Wednesday, 30 January 2013

Bejeweled Beauties by DIOR Spring 2013 Couture

Bejeweled Lips And 3-D Cat Eyes For All Backstage At Dior

Last season, the British make-up artist Paul McGrath revealed a little-known fact about newly named Christian Dior creative directore Raf Simons: The king of minimalism's girl "loves makeup." For Spring 2013, that affinity resulted in hand-beaded eyelids that had been treated with colored cream pigments in elongated shapes a form of adornment Simons apparently liked so much, he ordered it up again for Couture, this time leaving the lips to do the talking.

On the face, jauntily topped by a short haircut, it draws all attention: the glossy, luscious mouth, painted in Dior red or in fuchsia pink set with Swarovski crystals, almost in a nod to the embroideries on the clothes. A mouth like the petals of a rose glistening with morning dew, the final touch to Raf Simons' take on flower-women.

A slash of scarlet, vibrant and bright, on skin that's clean and minimal, almost nude. The eyes are now made up with a band of iridescent eyeshadows, stretching as far as the temples, as if set with butterly wings in Tweed and Sequins, then underlined with a delicate swipe of black eyeliner and taupe eyeshadow. Innovative and unexpected, the garconne make-up expresses all the modernity of the colors developed by Tyen, Dior's creative director of make-up.

In contrast to the sophistication of Raf Simons' designs, hair was short and slicked down, inspired by Monsieur Dior's own models and iconic actresses of the 1960s.
"From the very conception of the collection, Raf Simons had a specific idea in mind for the hair: he wanted it short," explains hairstylist Guido Palau. "I was inspired by famous actresses with celebrated garçonne haircuts, like Mia Farrow, Jean Seberg, Janet Leigh, and by Monsieur Dior's models who, for the most part, had short hair. It's a very elegant cut, it elongates the silhouette, and draws attention to the neck and how the head is carried."


  • For the skin: Diorskin Nude Fluid Foundation and Diorskin Nude Compact Foundation
  • For "banded" eyes: Diorshow Mono Tweed 760 applied beneath, Diorshow Mono Sequins 616 applied above
  • For "taupe" eyes: Diorshow Mono Grège 726 applied on the entire lid area, and Diorshow Mono Tweed 760 applied to recreate the halo of the upper eyelid. Diorshow ArtPen Noir Liner to outline lashes brushed with Diorshow Iconic Overcurl Mascara
  • For red lips: Rouge Dior Altesse 999, Dior Addict Gloss Diablotine 643, Red Swarovski Crystals
  • For fuchsia lips: Rouge Dior Fuschia Star 766, Dior Addict Gloss Princesse 553, Fuchsia Swarovski Crystals

Selections by ANDREA JANKE Finest Accessories 

Photo Credit/Source: © The House of DIOR / © Kevin Tachman for VOGUE

Discover the "Chérie Bow" Spring 2013 Makeup Collection by DIOR

Follow Andrea on Instagram @andreajankeofficial


Tuesday, 29 January 2013

Oscar de la Renta Spring/Summer 2013 Ad-Campaign

“What’s the mood?” queried Oscar de la Renta backstage at his show, and laughed “trying to make beautiful clothes!”

Discover the Oscar de la Renta Spring 2013 runway show at the end of this post!  

LoL, Andrea 

Oscar, of course, is not a designer who frets about arcane inspiration or agonizes over capturing the zeitgeist in cloth; he just makes beautiful clothes, beautifully, to make his pan-generational clients look and feel as good as they can. And that is no small feat.

This doesn’t mean that he didn’t hit the key trends of the season: the new mid-calf-length skirt, for instance, and some of the most ravishing lace pieces we’ve seen, including examples in thick cotton, tape-work, and an imaginative re-embroidery of dark ribbons in an abstract scribble motif. Amongst the airy ball gowns and sleek evening sheath dresses he showed a playful quartet of brilliant faille evening shorts one with an ostrich-fronded peplum, another with a slash-neck top crusted with bright colored, shiny-petalled plastic gardenias.

True to his roots, this famed son of the Dominican Republic threw some Caribbean seasoning into the mix, with an upbeat palette of watermelon pink, sunshine yellow, and parrot green. These solids were mixed with vibrant Madras cotton plaids, slashed to ribbons to create multitiered pencil skirts.

Only Oscar can fashion the grandest evening statements and still make them seem featherlight and effortless to wear. There were stately solid-colored faille gowns with a Cristóbal Balenciaga flavor, dangling with the pampilles little baubles wrapped in silk thread of a toreador’s suit of lights, and silvery sheath dresses, including one pleated example that had a Fortuny (the designer who will be the centerpiece of an upcoming exhibition at the Queen Sofía Spanish Institute of which Oscar is Chairman) spirit to it.

And the finale of peacock-skirted ball gowns (high in front, sweeping to a wide train in back), bristling with pleated tulle or dusted with fragile embroidery, proved a master class in Oscar’s superb couture techniques, honed through the decades since his first adventures in fashion in the 1950s.

 "An Illustration can capture the essence of a dress. What is left out is as important as what is drawn." - Oscar de la Renta

Illustration by Jessica Repetto for Oscar de la Renta.
Discover more of here brilliant work here.


Selections by ANDREA JANKE Finest Accessories

Photo Credit/Source:
© Oscar de la Renta / VOGUE  / TOM FORD by © ANDREA JANKE

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Backstage Beauties by CHANEL Spring 2013 Couture

A dramatic, smudgy eye decked with feathery lashes added a strong contrast to the romantic pieces at the Chanel Spring 2013 Couture runway show at Paris ...

Gothic Smudgy Eye by CHANEL

Even from the front row it might have looked like elaborate eyeshadow, but models on the CHANEL Couture Spring 2013 runway had their eyes decorated with custom fabric cut-outs. Made from the same fabric used in the headpieces, two different snowflake-shaped pieces were affixed around the outer corner of the eye to enhance the otherwise all-black makeup. The result is a fluttering, feathered look that’s so pretty we’re ready to start snipping out pieces of tulle for our own eyes. (After all, if you tried to duplicate this with makeup alone, smudges would certainly soon follow making these appliques all the more genius!)

As for the non-arts and crafts portion of the beauty look at Chanel, Peter Philips began by prepping the skin with Hydra Beauty Serum. Eyes were lined with Chanel Stylo Yeux Waterproof liner in “Noir Intense” (Limited Edition) and throughly covered with Stylo Eyeshadow in “Black Stream” (a new shade due out in May 2013). But it’s the cheek colour that stands out almost as much as the decorated eyes after all, a healthy glow helps balance even the darkest makeup. Phillips used Joues Contraste blush in “Frivole” from the Printemps Précieux Spring 2013 Collection and lips were panted a similar petal-pink shade, Chanel Rouge Allure in “Fantasque.” And, because it isn’t a Chanel show without an exciting new nail colour to look forward to, you’ll be delighted to know that models’ fingers were painted in a pale-coral shade (which is currently on counters!) called “Emprise."

My favourite ...

Selections by ANDREA JANKE Finest Accessories

Photo Credit/Source: © CHANEL / © VOGUE
Photography: ©  Benôit Peverelli for CHANEL / © Kevin Tachman for VOGUE

More CHANEL Couture To Love ... 

'Haute Couture | CHANEL Spring 2013 Couture'

Collection, fashionshow and review

Monday, 28 January 2013

Haute Couture | CHANEL Spring 2013 Couture

Karl Lagerfeld set his Chanel couture show in a Mediterranean beachside forest, alive with birdsong. Sweet-scented pine trees reached high into the monumental dome of the Grand Palais, and guests followed a wooden boardwalk snaking up a sandy hill to discover an amphitheater arranged in a clearing for a performance of A Midsummer Night’s Dream, perhaps?

In Lagerfeld’s collection, a streak of German Romanticism brought a touch of shadowed drama to summer’s lightness. The girls were made up with “birds’ eyes” of fluttering organza eyelashes, and sported Sam McKnight’s punkish asymmetric fall of hair and feathers “as though a branch from the trees had fallen in her hair!” as Lagerfeld exclaimed during the fittings.

Enjoy the CHANEL Spring 2013 Couture show at the end of  this post! Love, Andrea 

The luxurious details revealed the authority of the Chanel workrooms, and the skills of the fournisseurs that the house has acquired in recent years to keep these crafts alive. Pale or charcoal tweeds (some threaded with pale gold or platinum) that had been handwoven on narrow looms from ribbon and woolen strips were used for A-line jackets flaring gently over belling skirts. If the skirts were short, the legs were still covered in very high boots made from lace and snakeskin (and sometimes with the classic Chanel contrast toe fabrication simply removed). Some of those boots had upper panels in a fabric to match the rest of the look, creating the witty illusion of tight-fitting knee breeches.

Off-the-shoulder cape collars and stand-away “horn of plenty” sleeve details (Lagerfeld calls it “the bird sleeve” and it’s a detail that Coco Chanel herself used for some early 1930s evening gowns) framed the shoulders and neckline in a romantic way. Lagerfeld took his inspiration for what he dubbed “reflection dresses” with their pale shoulder detail, from his photo studio, with its gleaming white reflectors throwing flattering light in the subject’s face. For the subtly magnificent evening dresses, Lagerfeld wanted “to use embroidery like a print,” or even a painting, so floral thirties-inspired “prints” of meadow flowers, or graphic kabuki-palette blooms of lacquer red, black, and white turned out, on closer inspection, to have been lavishly embroidered in sequins. Thick black lace bonded with white neoprene was a deft use of couture technique brought firmly into the twenty-first century, but the ravishing finale Titania dresses of shredded tulle, chiffon, and feathers took us back into Shakespeare’s forest of romance.

Selections by ANDREA JANKE Finest Accessories 

Photo Credit/Source: © VOGUE & © CHANEL
Photography by © Marcus Tondo/InDigitalTeam/GoRunway
© Benoit Peverelli for CHANEL

More Paris Couture To Love ...

Giambattista Valli showed his couture collection beneath a ceiling alive with scrolling tendrils of naturalistic plasterwork flowers and foliage in the exquisite Sicilian theater of the Italian ambassador’s residence (built in 1732 as the Hôtel de la Rochefoucauld-Doudeauville). It was a perfect setting for the collection, inspired, as Valli explained, by “flora and fauna.”

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