ANDREA JANKE Finest Accessories: Fall 2013

Showing posts with label Fall 2013. Show all posts

Tuesday, 20 August 2013

VALENTINO F/W 2013/14 Ad-Campaign

'Girl with a Pearl Earring' - the VALENTINO collection featuring pearls, midnight blue, blood red, lace and ermine, for Fall/Winter 2013/14 Ready-to-Wear Valentino's creative directors Maria Grazia Chiuri and Pierpaolo Piccioli aimed to bring the paintings of the 'Dutch Golden Age' of Flemish artists like Rembrandt and Johannes Vermeer to life. Inspired by the unsettling beauty of 'Girl with a Pearl Earring' which is one of Vermeer's masterworks, the graceful and restrained collection is unveiled in a new clip which takes us behind the scenes on the campaign, shot by Inez van Lamsweerde and Vinoodh Matadin.

Featuring mostly newcomers including Maud Welzen, Kati Nescher, Magdalena Jasek, Irina Kravchenko, Sam Rollinson, Erika Labanauskaite, Tamara Weijenberg, Laura Kampman, Nouk Torsing and Sasha Luss. The girls pose next to still-life images that reflect the Flemish style including flowers, fruit and feathers surrounding the season’s accessories.

Selections by ANDREA JANKE Finest Accessories

Photo credit/Source: The House of VALENTINO

... by @andreajankeofficial via Instagram

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'The Flavour of Monastic Life by VALENTINO F/W 2013/14'

'This season, as Piccioli explained in a collection preview, the designers had been looking at the “calm and serene portraits of women,” by the Flemish Old Masters (Vermeer in particular) and their reinterpretation by such contemporary artists as Hendrik Kerstens. “We wanted to catch the same spirit of private sensuality,” he explained, “something very spiritual and poetic women as new Madonnas.”'

Glam Rock by Diane von Furstenberg F/W 2013/14

“Be the woman you want to be,” has been Diane von Furstenberg’s mantra from the moment she shook up Manhattan’s fashion landscape with her iconic 1974 wrap dress.

This season, von Furstenberg returned to her roots with a woman-friendly collection set to a disco beat that evoked, as she said, “the girl I used to be,” and proved how refreshing it is, in a season of hard-edged eighties-inspired power dressing and ultra-demanding silhouettes, to see the work of a designer who firmly believes that “your clothes are your friends.”

This meant gently modernized evocations of just the sort of flattering pieces that von Furstenberg wore as a young jet-set princess, like the lamé-flickered chiffons of Saint Laurent and the sleek ultrasuedes of Halston in a monochrome palette spiced with paprika, hot pink, and ultramarine. There was also a nod to the London of a glam rock–era David Bowie, with the androgynous boy-girl effect of a shrunken alligator-stamped golden tuxedo worn with an Op Art–print blouse and liquid pants or a slim black-and-white tweed and leather coat over metallic jeans.

London fashion fantasists Ossie Clark and Bill Gibb were evoked in the swirling appliqué motifs on sensuously cut jersey and georgette dresses, and von Furstenberg also cited the influence of the exotic hippie de luxe world of Nicolas Roeg’s 1968 date movie, Performance, featuring the beauteous Mick Jagger and Anita Pallenberg. “All the prints are going a little bit on an acid trip!” von Furstenberg exclaimed during a preview, and the distorted, overscaled moth and stylized wing patterns, and the designer’s signature chain-link motif, broken up into abstraction, proved her wry point.

As von Furstenberg’s smiling, upbeat girls strode out to the irresistible strains of Donna Summer’s “Love to Love You Baby” and Andrea True’s “More, More, More,” it was easy to get swept up into the party mood, although the designer herself, who called her collection 'Glam Rock', was there to remind us that “it’s not that you are going to a party - life is a party!”

Selections by ANDREA JANKE Finest Accessories

Photo Credit/Source: VOGUE

Runway: Photography by Filippo Fior / InDigitalTeam / GoRunway

Details: Photography by Gianni Pucci / InDigitalTeam / GoRunway

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Ultrafeminine Floral Prints by ERDEM F/W 2013/14

“I’ve always been quite afraid of the color black in my work,” said Erdem Moralioglu backstage before unveiling his ravishing collection, “but I liked the idea of doing ‘uncomfortable,’ reacting against myself, and seeing how many shades of black I could get in my show!”

So he laid black Astroturf and added a cornice of trompe l’oeil Chantilly lace to the gleaming paleness of the White Cube gallery’s Bermondsey outpost, and sent his girls out to music that included a disquieting Hitchcock thriller sound track.

Thinking of Ingmar Bergman’s noirish 1966 movie Persona, “and the idea of duality something soft mixed with something quite dark,” Moralioglu invested his collection with a cinematic quality, and cited offbeat heroines from Wednesday Addams to Janet Leigh’s Marion Crane in Psycho as inspirations.

He mixed textures, and matte and shine, with assurance and imagination, showcasing the elaborate craft for which he is famed. The show opened with charcoal tweeds woven with fronds of ostrich and strips of patent, and formal dresses and coats densely embroidered with different scale sequins to create their own shadow effects, as well as pieces in the densely layered, cutwork velvet foliate lace that Cristóbal Balenciaga loved to use in the sixties. Moralioglu’s signature ladylike dresses were spliced with bands of transparent fabric at the waist or knee to give a hint of the skin beneath and an exciting edge to their otherwise conventional propriety.

The subtle hits of citrus green, and hot or blush pink and Moralioglu’s ultrafeminine floral prints and elaborate multicolored Swiss lace carried punch as accents next to the black. “Dotted fabrics traditionally have connotations of lady and prettiness,” Moralioglu explained, so he “punched in” the spot design instead, or replicated the traditional embroidered net motif in a shining synthetic dot.

Those charming florals were subverted further still when they were perforated (to aerate a bonded satin coat, for instance), or veiled in moody dark net.

That shadowing effect worked especially well in a brace of exquisite dresses of soft pink appliqué silk roses or ostrich feathers caged beneath outer layers of diaphanous dark chiffons and organza, highlights in a collection that confirmed the strength of London as a hotbed of creative, inventive, and desirable fashion.