As a swelling and ominous bass obscured heroic but fading trumpets the lights came up over a Prada set that closely resembled one of Giorgio de Chirico's metaphysical paintings. There were two bare but Palladian proportioned arched piazzas in the middle of each was the statue of a man on a horse on a podium classic 19th century masculine heroism. Except naturally not quite. The horse and rider were constructed like those cardboard dinosaur statues for kids from insertable flat anonymizing sections. Said Mrs. Prada in her post show debrief I wanted an equestrian statue but of course equestrian is not politically correct so I told Rem Koolhaas Lets do an equestrian that is totally non heroic.
Which allows us to canter on to the clothes. These were bookended between the bare armed tank top looks at the top and high notch-collared two button topcoats at the end two particularly Prada-ish chapters in the recent masculine narrative of dress. Between them, even if Mrs. Prada indicated it wasn't the intention we seemed to take a survey of various professionally specific styles of dress seen through a house eye. There were young executives in three piece suits or mismatched tailored separates, portfolios thrust between arm and hip in different volumes of jacket. We transitioned to rural worker in mid-calf boots and oversized corduroy jacket, then onto a more urban kind of Prada hipster freelancer combination of the previous two categories that mixed elements from both and inserted some technical touches and piped sport raised graphics on pocket flaps. Two Macintosh-like rubberized coats matched with baggy pants tucked into beaten leather galvanized sole boots plus rectangular lensed shades were a little scientist fights-contagion. Following those was an absolutely wicked green half-length coat that seemed particularly fashion show reviewer.
Fendis AW20 show was all about strength: the intimidation of luxury the pure power of fashion, its transportative aura the timelessness of glamour. Following straight on from Prada on the Thursday of Milan Fashion Week Fendi neatly echoed Miuccia s take on subversive glamour. Both were about femininity and strength, finding new ways for one to reinforce the other and new joys in old cliches. This was also all about sex though, and power, “from the boardroom to the bedroom” as the show notes put it, and every facet in between. The show, staged a year after the death of Karl Lagerfeld, in a space lined with snaking light pink velvet sofas, seemed to push towards new ideas for the brand, following Karl’s 54-year tenure. Maybe in the expanded influence of Silvia Venturini Fendi, who had been designing the menswear side of the company before Karl’s death.
Her vision has brought a newness and freshness to the brand, a new and personal take on feminism and feminity. It opened with dramatic plays of volume, engorged Juliet sleeves and slinky bodices. It all seemed to erupt from the waist, flowering out in either sexiness or else something more conservative. It was all very glamourous and grown-up, mixing textures and fabrics -- leather and cashmere and lace. The silhouettes came demure, with skirts cut long, enveloping coats, cosy cashmere knitwear. It felt very Roman, very La Dolce Vita, minus the moral collapse. Sex and glamour and power held tightly together. All of this was buttressed by the casting, whic pulled together a diverse clique of supermodels, from Paloma Elsesser to Karen Elson, as well as i-D cover stars Gigi Hadid and Adut Akech . It felt as universal as these things possibly can, which was a show of fierce strength.
Model Niki Geux at Paparazzi Model Management. Hair Tomomi Roppongi using Bumble and Bumble. Make Up Lucy Joan Pearson using BYBI. Set Design Noa Zarfati. All products Fendi.
A return to boyhood dreams full of glitter, transported by disco lights. A kaleidoscopic recontextualisaztion of the old constructing a wider view of the future by revising characteristics of masculinity
Co-created by Peter Philips, Creative and Image Director for Dior Make-up and 3D Make-up Artist Inès Alpha, the filter was developed in order to amplify and enhance the 2020 Dior Holiday Make-up collection. The idea here isn’t simply to mimic reality, but to give life to the imaginary.
“For Dior and the “Happy 2020” collection, I created, in collaboration with Peter Philips, a filter and a 3D make-up to accompany the “IRL” (in real life) make-up look. Makeup3D is inspired by this “explosive” and very festive collection. Glitters, sequins, fireworks were the keywords that helped me in the design of this piece. 3D make-up isn’t just a filter, it’s made with more advanced production software, giving a much more realistic and integrated result in the end. As if the 3D makeup was there in front of us, that we could almost touch it. My ambition with 3D make-up is to offer my vision of the make-up of the future, to make it palpable. That’s why Peter and I decided to develop this teaser film that will allow people, I hope, to project themselves into the future of beauty, explains Ines Alpha.