After graduating from Central Saint Martin, Phoebe English partnered with Rose Easton to form English Easton Ltd, which incorporates the Phoebe English label.
She focuses on handwork and engineered surfaces. This attention to surface largely informs how the garments behave in motion and interact with the body. The relationship between materials and motion becomes a key element of the design process.
Nowadays she’s based in East London’s Hackney borough, helming a burgeoning label known for its darkly diaphanous drapes, along with abstract, albeit still wearable silhouettes, rife with the kind of next-gen imaginative prowess. http://phoebeenglish.com/
Little Red Riding Hood, Maleficent, Queen of hearts, White snow, Princesses and Little-match girls, fashion designers are inspired by fairy tales. Theatrical clothing, some beautiful, but those designed by the costume designers for films are wonderful.
1-2-13: Alice in Wonderland by Tim Burton. Costume Designer: Collen Atwood
3: Pan by Joe Wright. Costume Designer: Jacqueline Durran
4-5: Mirror Mirror by Tarsem Singh. Costume Designer Eiko Ishioka
6-7: Snow White & the huntsman by Rupert Sanders. Costume Designer: Collen Atwood
8: Maleficent by Robert Stromberg. Costume Designer: Anna B. Sheppard
9-10: Cinderella by Kenneth Branagh. Costume Designer: Sandy Powell
11-12: Into the woods by Rob Marshall. Costume Designer: Collen Atwood
1:Comme de Garçon 2:Gareth Pugh 3:Maison Margiela 4:Undercover
5:McQueen 6:Vivienne Westwood 7:Betsey Johnson 8:Sibling
Early 900's cotton blouse closed with a pink ribbon on waist, straw hat by Zara, boots by Timberland
Blusa di cotone primi '900 chiusa con un nastro rosa in vita, cappello paglia Zara, stivali montone Timberland
“Fashion is always retro, but always on the basis of the abolition of the past: the spectral death and resurrection of forms. Its proper actuality (its ‘up-to-dateness’, its ‘relevance’) is not a reference to the present, but an immediate and total recycling.”
Jean Baudrillard
CLOSET CASTLE di Annapaola Brancia d'Apricena Renewed findings from the coffer of a castle
Nothing changes, fashion is always stops on the same icons.
This is a post about Cinderella's glass slippers that I made a couple of years ago: http://www.scostumista.com/2013/07/the-cinderella-glass-slippers.html.
Now, for the Kenneth Branagh's movie, some designers such as Ferragamo, Jimmy Choo, Christian Louboutin .. try again the same challenge with very questionable results (some shoes are truly horrendous). Nothing to do girls, we will never forget this poor little orphan that for redeem herself she must to marry a prince.
I recently saw again Hugo Cabret by Martin Scorsese, the story of an orphan boy living in the walls of a train station and to resolve his status of loneliness and poverty does not have to marry a prince, but he succeeds thanks to his skills. Viva Hugo!
Niente cambia, la moda è ferma sempre sulle stesse icone.
Questo il post sulle scarpe di Cenerentola che ho fatto un paio di anni fa:http://www.scostumista.com/2013/07/the-cinderella-glass-slippers.html.
Adesso, in occasione del film di Kenneth Branagh alcuni designer come Ferragamo, Jimmy Choo, Christian Louboutin.... si ricimentano nella stessa originale impresa, per altro con risultati molto discutibili (alcune scarpe sono veramente orrende). Niente da fare bambine, non riusciremo mai a dimenticare 'sta povera orfanella che per riscattarsi deve sposare un principe.
Ho rivisto da poco Hugo Cabret di Martin Scorsese, la storia di un bimbo rimasto orfano che per uscire dalla sua situazione di solitudine e povertà non ha bisogno di sposare un principe, ma ci riesce grazie al suo ingegno. Viva Hugo!
"The clothes for fall are as they have been since Slimane took the creative reigns here in 2012. They tap into a moment in music history. This time it is punk. His gang of models stomped down the runway — which rose from the floor on what appeared to be some sort of chain and sprocket system — wearing black leather motorcycle jackets, leather leggings, lampshade mini-skirts with stiff crinolines, shredded stockings and Technicolor furs. There were tight minidresses in black with metallic shimmer. They bared one shoulder, some adorned with a single giant bow, colorful waist details or nothing at all.
Slimane loves a rock-and-roll homage, and he has transformed pieces of that vernacular into classics within his collection. Time and again, he offers car coats and minidresses, skinny pants and sharp-shouldered blazers. The fabrics and embellishments change, but the silhouettes remain the same.
The aesthetics of Saint Laurent are boozy and sweaty. The clothes do not look expensive on the runway although they most certainly are in stores. There is a certain wanton, tawdriness to them. They reek of rebellion and ennui.
Today, fashion aims to offer a modest aura of cool, a palpable connection to contemporary culture and ease. Luxury has become a perfect white T-shirt worn with wash-and-go hair.
There is nothing evidently intellectual about Slimane’s work. It shouts and rages, curses and moans. His models, with their dark eyeliner and wild hair, stomped down his runway practically breathing fire. His women don’t want to get lost in their head.
They don’t want to overthink or parse.
Slimane has defined modern luxury, in part, as the ability to break free and not care. At a time when everyone is pulled in countless directions, who wouldn’t want to turn away? Slimane’s work taps into that desire and then some. There’s no walking away. There’s no retreat. The collection leans in close. And yells." Robin Givhan, -The Washington Post
SAINT LAURENT PARIS SESSIONS
FALL-WINTER 2015
COLLECTION XVI
JANUARY 25. 2015
MUSIC FROM "MYSTERE", WRITTEN AND COMPOSED IN BRITTANY FOR SAINT LAURENT "PARIS SESSIONS" SHOW. "ME SUIVE" WAS WRITTEN BY MARLON MAGNÉE, SACHA GOT AND SAM LEFÈVRE FOR "MYSTERE" COLLECTIVE.
