James, who was born in England in 1906. At the age of nineteen, James opened his first milliner shop in Chicago, using the name of “Charles Boucheron”, as his father forbade him to use that of James.
In 1936, he established the company Charles James (London) Ltd., using his own name officially for the first time. He showed his first collection in the French capital in 1937. That same year, he created a one-of-a-kind white satin quilted jacket described by Salvador Dalí as “the first soft sculpture”.
James moved permanently to New York in 1939 where he established Charles James, Inc. Later Charles James becomes best known for his ballgowns and highly structured aesthetic. James describes fashion as “what is rare, correctly proportioned and, though utterly discrete, libidinous.” James is in the details as well as in the larger shapes. He grants every aspect of his garments — seams, draping, fabric, color — a distinct autonomy, and you see them for themselves and as part of a whole.
James retired in 1958. He died in 1978 of bronchial pneumonia. James inspired many designers, including Christian Dior, who said he was “the greatest talent of my generation”. Since 1982, Charles’ works have been exhibited in the best museums in the world.
Domenico Dolce and Stefano Gabbana presented their latest Alta Moda collection in a venue that has, until now, never hosted a fashion show: St Mark’s Square. They explained their choice of the location: “For us, Venice represents the perfect harmony of opposites that attract: it is romantic and sensual, melancholic and joyful, rational and visionary, luminous and nocturnal, sacred and profane, dark and golden. It is the city of Casanova, of the Carnival, of the historic regatta on the Grand Canal.”
The brand guests included Dame Helen Mirren, Jennifer Lopez, Sean Combs, Doja Cat, Kris Jenner, Kourtney Kardashian, Ciara, Monica Bellucci, Christian Bale, and Kitty Spencer were all there, each dressed in Dolce & Gabbana. The label also cast children of some of the most well-known guests: Jessie James and D’Lila Star, the daughters Sean Combs, Monica Bellucci’s daughter Deva, Christian Bale’s daughter Emmeline and Heidi Klum’s daughter Leni.
There were over 100 different looks at the runway. The Dolce & Gabbana Alta Moda show was a celebration of high craftsmanship, with all pieces rendered in luscious silks, brocades, velvets, glass and crystals, embroidery and special fabrics. Sequined dresses and sculptural gold elements were reminiscent of the Venice’s architecture, and some things were decorated with printed photos of views of te city.
The Dolce & Gabbana Alta Moda collection, as well as the show in Venice with star guests, is quite in the spirit of the brand’s DNA – pretentious, but nothing new or interesting from the point of view of art of costume.
Versace’s style was quite theatrical even in ready-to-wear collections. Versace has a lot of works for the theater, he actively collaborated with choreographers Maurice Bejard, Roland Petit, John Cox, William Forsyth.
In 1982 Versace undertakes his first collaboration with the theatre world, designing the costumes for Richard Strauss’s ballet Josephs legende (The Legend of Joseph) for La Scala in Milan. He does this once again for Gustav Mahler’s Lieb und Leid (Love and Sorrow). In 1984 – for Donizetti’s “Don Pasquale”, Bejard’s “Dionysus”, in 1987 for” Solomea”, in 1990 for “Capriccio” with graphics, based on abstracts by Sonia Delaunay.
Versace in black and white is the closest to elegance, there are no excessively shining rhinestones in all the colors of the rainbow and intense color combinations.
Of course, it is interesting to watch how the sketch turns into a costume, because when you look at the drawing, you figure out how the fashion designer will embody it, and then you see either a silk painting or embroidery and applique.
Fashion Week is dying. This is a global trend that is also evident in Ukraine: in 2018, Kiev Fashion Days disappeared, and the scale of Ukrainian Fashion Week is decreasing every year. We’re keeping up with the world.
The concept of “Fashion Week” is relatively simple: designers present collections nine months before the season. Buyers buy their favorite collections and sell them in stores, and journalists describe what they saw “in all its glory” – so that consumers who are hungry for new products lick their lips, rush to stores and buy, buy, buy. Nine months is a well-established time limit for replicating collections and logistics. But this was the case in the “old world” – before the internet era.
In Ukraine, Fashion Week began in 1997 as an event that gathers fashionistas at one time and in one place, providing designers with an auditorium, lighting, sound and security. There were few designers, even fewer buyers and fashion journalists, but there was a buyer-rich after the Bandit nineties, exhausted by the Soviet deficit, without any special claims to taste and style – someone who wanted “designer” and was hungry for consumer patriotism.
The layer of buyers in Ukraine was almost superfluous – things were easily given away from the catwalk, for an additional payment, the designers even promised not to sew such a thing to anyone else.
Without buyers and mass replication, the fashion age gradually turned into a bloated and outdated Vanity Fair – a parade of narcissism that developed outside the industry. Since 1998, we have been talking about the “Ukrainian fashion industry” as “in the process of formation”. It’s still there.
The industry is not growing, but the “parade of narcissism” is also on the decline – the “Old guests of the show” have aged and look tragic and pathetic.
If everything is so sad, then is it necessary that the Fashion Week in Ukraine continues to exist? For whom (what) is it now? Does organizing Fashion Week match the way people buy clothes today?
It is not difficult to imagine that outside of shows and fashion glosses, there is a different, more real and more relevant world. The internet has changed the perception of not only fashion, but also society, changed self-perception.
The fashion system of seasons and full seasonal collections is a serious financial burden for the designer. In addition to production costs (on average, you need to submit 35 looks), you need to pay for participation in the fashion week (and this is tens of thousands), as well as the work of models, stylists, makeup artists, photographers.In return, you get to content, which freshness and relevance fall hourly – photos and videos, some coverage in the press (which in Ukraine, for the most part, promotes only “their own”).
This whole system can be circumvented by investing money gradually and directly, periodically creating information guides around individual goods (looks). You don’t need to be present at Fashion Week – you pay for articles in Targeted Media, attract suitable opinion leaders, come up with promotions, collaborate with artists, and so on. In Ukraine, there are many examples of brands that entered the international market without showing any collection at Ukrainian Fashion Week (the most famous Vita Kin). Many “permanent and unchanging” participants miss seasons, or even completely leave the game (Podolyan, Gres, Zalevsky, Anisimov and not only them).
Of course, for” Dreamers in Rose-Colored Glasses”, Fashion Week is still an “Event”. Young designers dream of participating, hoping that after that “Grits from the sky” will fall on them. “Fashionistas” still take selfies against the background of banners, considering themselves cool. But does Fashion Week succeed in its main function – moving money from the pockets of customers to the wallets of designers?
In recent years, not so much designers (manufacturers of a fashion product) as Ukrainian Fashion Week (an intermediary between the manufacturer and the buyer) receive taxpayer support in the form of State injections. Can this be considered as an investment in the development of the industry? To answer this question, you need to know when large amounts of taxes will return to the state budget of Ukraine from the additional increase in the profits of the supported organization (return on investment).
Have you ever heard that spending public money in Ukraine is treated as an investment?
As for consumers, two global trends also prevent them from spending money on rags. The first “Bees vs honey” is ecological fashion. Most of the expositions of the latest Ukrainian Fashion Week are some kind of upzycling, recycling and “other second – hand”. For me, this is an assumption that re-stitching garbage reduces the overall blockage. The logic is there: instead of throwing out the trash right away, you will play with it and these amusements will save you from buying new junk. It’s fashionable, but it’s anti-fashion, the “death of fashion” as a constant update.
Read also: USING OF TRADITIONAL UKRAINIAN COSTUME ELEMENTS FOR CREATING MODERN FASHION COLLECTIONS
Ballooning, colorful shapes (turquoise, orange, lilac, pink, red, yellow), vast volumes here, gigantic collars there; flower-power-y prints on 1970s flavored tailoring – all that is about Patou FW2021/2022 collection. Designer Guillaume Henry reinterpret French regional costume, the Provençal embroidery, the Parisan-girl suiting, and the playful, jaunty accessories. In addition collection is about 70 percent organic or recycled.
Ibrahim Kamara was born in Sierra Leone and spent his childhood in Gambia before moving to London at the age of 11. He later landed a position in Central Saint-Martins, where he studied fashion communication and promotion.
Ibrahim has radical and innovative approach to fashion. His work with photographers such as Ruth Ossai, Kristin-Lee Mulman, Campbell Addy, and Tim Walker can be described as “unapologetically black” and it’s filled with the energy and authenticity.
His style and collaboration soon caught the attention of the fashion industry, and after graduating, he began working with many well-known fashion houses, including Stella McCartney, Burberry, and Dior.
Ibrahim has also shared his artistic leadership with the likes of Beyonce, Samfa and Robin, and has worked with a number of publications such as British Vogue and iD.
Matthew Stone is a London-based artist, whose notable projects include the cover work for FKA Twigs’ recent ‘Magdalene’ album. His style is a balance between “traditional brush strokes and digital manipulation,” signifying an interesting technique.
Matthew Stone’s latest work includes an editorial for Korean eyewear brand Gentle Monster who debuted its Spring/Summer 2020 ‘MY MARS’ collection. The styles featured in this launch include the ‘Makina,’ the ‘Kalo,’ the ‘Circle T,’ the ‘Krow’ and the ‘Regina.’ Both Gentle Monster’s products, as well as the creative lookbook by Matthew Stone, betray “surreal and futuristic” vibes, facilitating an interesting aesthetic.
The whole composition brings to mind Hellenistic bas-reliefs, heroic images of the Renaissance. Drawing on the graphic possibilities offered by the latest technology, Matthew Stone breaks the genre divisions and removes the riddle of what the art of the future will look like. It makes painting, sculpture and photography no longer exist, as they are replaced by a spectacular multidisciplinary hybrid.
Maxime Ballesteros is a Berlin based photographer, who was born in Lyon, France. His photos captures fetishism, sex, parties. Maxime Ballesteros said: “My work is really about questioning and interpreting our reality, our time, the world and life we try to create and are destructing. And sexuality definitely plays a key role in it.”
For the presentation of Saint Laurent ss 2021 collection Anthony Vaccarello chose the desert landscapes of North Africa. The collection is an amazing exercise in French chic – light, comfortable and hypersexual. Vacarello feels the DNA of the House of Saint Laurent very well. Vacarello feels the DNA of the House of Saint Laurent very well and convinces us of this with each of his collections.