Features — Page 45

Campaign Spotlight: La Perla’s Spring 2017 Campaign

November 11, 2016 by admin Leave a Comment

Liberation is a reoccurring theme for the La Perla spring 2017 campaign. Iconic photographer Steven Klein used shattered glass, an antiquated corset, and fire to conjure up images that reflect freedom. Think about it, breaking through the glass ceiling, restraint that can be loosened, and burning away the refuse. All these motifs can reference freedom in a variety of forms.

La Perla’s spring 2017 style revolution begins with the body—following its natural movements with luxurious materials, expertly crafted in comfortable stretch and crease-free finishes. Born from La Perla’s deep understanding of how to enhance and celebrate the female form, the spring 2017 collection accentuates with beautiful contours.

Steven Klein and La Perla went to the top of the model pantheon to manifest the liberation motif, Kendall Jenner, Liu Wen, and Isabeli Fontana. For this spring 2017 campaign, Kendall Jenner in the undisputed star. Kendall brings her youthful elegance and contemporary charm to this spring 2017 campaign. And also demonstrates that La Perla has gone beyond lingerie—this collection includes lingerie, ready-to-wear, and beach wear looks—particularly evidenced in some of the jackets with multi-colored lapels.

Isabeli Fontana brings her hot and spicy charisma to this spring 2017 campaign. No one shows off curves better than Isabeli, which especially fitting in the campaign image of Isabeli in a matching black lace bra top and shorts.

Images courtesy of lesfacons.com

Liu Wen continues her role as ambassador of the La Perla lifestyle in the Far East, revealing a more intense and sensual side in figure-framing silhouettes. Kendall, Isabeli and Liu demonstrate brilliantly in this campaign that the La Perla woman is modern, sensuous, sophisticated, and takes no prisoners. In other words the La Perla is kickass diva that does not apologize for her strength and sexiness.

—Staff

Fashion Reverie Interview Exclusive: Miles Ladin’s “Supermodels at the End of Time”

October 15, 2016 by admin Leave a Comment

Is a picture worth a thousand words? That picture is if Miles Ladin photographed the subject. And the image might just get a few chuckles out of you.

Miles Ladin’s photography is never just about the beauty of the subject, his images evoke mood, stimulate conversation, and even shock. With Ladin’s new book “Supermodels at the End of Time,” Ladin documents that heady era in fashion history where supermodels not only ruled the runways and magazine covers, but suddenly had a huge presence in popular culture.

Still, Ladin’s photographic book is not necessarily a beautiful, manicured photographic dissertation on that time, but a hardcore photographic memoir of the darker recesses and excesses of the fashion world of the 1990s. In his classic, film noir–photographic still, Ladin’ “Supermodels at the End of Time” is revealing, nuanced, and strangely poignant.

Miles Ladin

From supermodels Naomi Campbell, Linda Evangelista, Kate Moss, and Claudia Mason to fashion personalities Diana Vreeland, Milla Jovovich, and Chloe Sevigny, “Supermodels at the End of Time” with text by Bret Easton Ellis informs, reveals and tickles the fashion funny bone. On the eve of Miles Ladin’s exhibit of images from the book at the Station Independent Project’s Gallery in New York City, Miles Ladin spoke with Fashion Reverie.

Fashion Reverie: Why did you call this book “Supermodels at the End of Time”?

Miles Ladin: There is a documentary aspect to the images. I was photographing supermodels and fashion celebrities at social events like the Met Gala, the CFDA Awards, documenting notable people and the fashion elite. I created a narrative with these images using Bret Easton Ellis’ text. So, I wanted this book to be a limited edition artist book. The book has a certain quality; there is satire and I merged Ellison’s fiction with pictures that could be looked at as documentary.At these fashion social events my photography is very stylized, a kind of film noir quality for which I am known for. I manipulate the reality in a certain way with my photography. And we know, that is what photography really is; there is a truth, but also a fiction.

So, how I came up with this title, I wanted the new artist book to directly comment on our most recent fin de siècle. Most historians when they refer to fin de siècle they are referring to the 1890s and the Austrian-German Hapsburg Empire that lead up to World War I. However, I used a little artistic license and referred to the end of the 20th Century that for me culminated in the attacks of 9/11 in 2001. The title also eludes to the end of fashion as we knew it at that time and the rise of fashion and entertainment evolved by social media and instant celebrity.

Up until recent times, in my mind, supermodels were more than just beautiful; they had personality and a certain charm. They had so much more to them than the current crop of supermodels—Kendall Jenner and Gigi Hadid. “Supermodels at the End of Time” refers to the end of fashion as we knew it. And the way I like to play around with art meeting fiction meeting science fiction.

FR: Your style of photography is a film noir style. Could you elaborate on that?

Miles Ladin: Film noir refers to cinema. From the 1930s to the 1950s, film noir was at its peak in films like Orson Welles’ “Third Man.” Film noir is mostly in black and white and I shoot in mostly black and white using a handheld flash. I sculpture the reality with my flash and I would get in close to my subject, being short in stature helps in that respect.

I would often shoot these fashion celebrities because I was on assignment with W magazine or The New York Times. I didn’t have the regality and grandeur of Bill Cunningham who kind of did what I do or Patrick McMullen who really loves being a part of the scene. I was kind of a hired hand that was invisible which gave me the advantage or capturing some exquisite moments.

My role was not to flatter the fashion elite, but to capture a moment in time. I also used a short lens to get in really close and I intuitively knew how to use the handheld flash to evoke mood and manipulate my subjects. I would have to move the handheld flash around to capture the moments I wanted and simulate drama and suspense.

FR: How did you choose your subjects for the book?

Miles Ladin: I chose supermodels first and then I decided I wanted use images from around 2002 and before that time. I’ve been shooting New York Fashion Week until up to two years ago, so that access give me a lot of material. Still, I didn’t want to use runway images past 2002. I also wanted to include the best pictures that I had, signature pictures that had run in W magazine and images that were used in their anniversary issues. Then, there were pictures that were never published or reproduced that I also included in the book.

There are some supermodels that I would have liked to include just to expand the spectrum of models and model personalities, but often that particular image didn’t match Ellis’ text. Sometimes, I had a great image but the supermodel was in the background, not the foreground, so I couldn’t include the picture. And there were some other constraints. But, there are some great images of Iman, Naomi Campbell, Christy Turlington, Heidi Klum, Claudia Schiffer, and many other supermodels. I also have images of model personalities, meaning actresses that modeled for specific brands but were not necessarily supermodels. I have an image of Chloe Sevigny, who was a muse for Imitation of Christ and walked the runway, as well. So, the image of Chloe Sevigny really fit in with the photo-narrative quality of this book because Chloe is the name of the character in Ellis’ “Glamorama.” Milla Jovovich is the other model personality in the book. So, a lot of my choices had to do with supermodels that fit Ellis’ text.

“Supermodels at the End of Time” is not like Michael Gross’ 1999 book “Model” which is the reality of supermodels. This tabletop book is more massaged and manipulated.

FR: Do you consider yourself a fashion photographer?

Miles Ladin: No.

FR: Well, have to do define yourself?

Miles Ladin: W magazine defined me as a paparazzi photographer. But, I don’t see myself that way because I don’t stalk celebrities like Rob Galella. However, I am always invited to events to shoot celebrities; I don’t scurry to shoot them unless they are coming out the back entrance for New York Fashion Week.

Some people do consider me a fashion photographer, so I don’t correct them. Still, I don’t consider myself a fashion photographer because I am not interested in fashion as it relates to designers and what celebrities are wearing or chronicling fashion. I like to photograph parts of society that are not exposed to everyday folks. I shot New York Fashion Week for 15 years, but more to document that scene, not to promote the clothes.

I call myself a photographic artist. I started photography as a photographic expression, in addition to drawing and painting. My clients like The New York Times, W magazine and more recently WWD, gave me carte blanche to shoot in my photographic style.

FR: You photograph the dark recesses of beauty. Could you explain that?

Miles Ladin: The pictures have humor and there is a satiric element to them. I was never seduced by the glamour of celebrity or the fashion industry, so my perspective on those worlds is quite different. I never try to make my subjects look unattractive; I am just attempting to photograph something that goes beyond external beauty. There is this one photo in the book of Linda Evangelista, Kate Moss, and Naomi Campbell sitting at this table with an ashtray filled with cigarette butts, coffee cups and wine glasses, and all three of them looking very bored. There is a sense of ennui in that image. Of course, one would think who doesn’t want to be any one of those supermodels? But, again the image says something else, maybe. I don’t know if every moment of every day is so fabulous for them, and certainly in that moment in the picture, there is a moment of reality.

My images have a sardonic quality. You have the film noir quality of the pictures in black and white. There are shadows, and shadows visually make things look a certain way.

There is a photograph in the exhibit that did not make it into the book of Tyra Banks posing on the red carpet for Fashion Rocks. Tyra Banks is posing beautifully, but in my shot there is also the publicist telling us to stop taking pictures because the red carpet is over. A PR person might be pissed at that, but this image details how supermodels and celebrities are prodded and pushed, and it is not always so nice and polite.

We are now in this overdrive of celebrity culture, which existed in the 40s and 50s. However, with social media it is really insane now. And what precipitated this current celebrity extreme, in my opinion, were the supermodels of the 1990s. These women were so famous for being beautiful. But, there is a dark side to all of this.

FR: What are some of your favorite photographs in the book?

Miles Ladin: There are some photographs in the book that have never been reproduced. But, my top three photographs are the image of the three supermodels—Kate, Naomi, and Linda—at the table at the movie premiere party at the end of the evening. That photograph had never been published until this book. The other one is of Claudia Mason being made up backstage and the women next to her is looking at this Vogue magazine, hoping she’ll be on the cover one day. The third one is of Lauren Hutton.

FR: Which models did you always hope to photograph at these events?

Miles Ladin: Well, I always had a tip sheet, so I knew who would be at the event. I knew my role at these events was to get the money shot. Obviously, getting an interesting shot of an A-Lister was more important than photographing someone on the C-list. Still, sometimes it was like a dog looking for a bone because occasionally A-Listers didn’t show up so you had to work with who was there. Unlike, everyone having their 15 minutes of fame due to social media, it took a while to get on the A-list, which back then was Linda Evangelista and other supermodels.

FR: What do you want readers to get out of the book and viewers to get from your exhibit?

Miles Ladin: I think the book is a fun ride. I believe my work, without being mean-spirited, holds a mirror up to society and in this case it is the world of supermodels in the 90s. The 90s was a narcissistic time; however, now the narcissism is beyond reason. It is very disturbing, particularly if you look at who’s running for president. The accepted notion of narcissism that feeds into our selfie culture and everyone having the own sense of self-importance was, perhaps, borne out the 1990s. And this book documents that in a time capsule kind of way. Have we evolved past that time, or not? Hopefully, this book will stimulate the conversation.

Images courtesy of Station Independent Projects

FR: What’s next for you?

Miles Ladin: I have another exhibition opening in December at an alternative space, and the theme of that exhibit is the idea of the American dream. This exhibit will have a much stronger polemic than “Supermodels at the End of Time” exhibit. It is very objective with installations to promote stream of consciousness while viewing the exhibit. Beyond these exhibits, I have been photographing and developing a multimedia piece on zombies. I have been shooting zombies for the past five years.

By zombies, I am referring to people who vote from an emotive headset or people who are so entranced in their Smart phones that they have accidents, get hit by cars, etc. They are so entranced by these devices they hold in their hands that they don’t notice the world around them. They might as well be in the Matrix.

There is also humor in these zombie images, very much like my photographs of 90s supermodels. I am not trying to change the world, just show people things that are all around them that maybe they haven’t notice before. Maybe these images will cause people to elevate the future in a way they hadn’t considered. Or maybe, they will just have a good laugh!!

Miles Ladin’s fashion photography will be on exhibit at the Station Independent Gallery through October 30.

—William S. Gooch

JAKE Dresses the Modern Bride Their Way

October 6, 2016 by admin Leave a Comment

JAKE team of Jake Wall, Blake Patterson, and Nathan Johnson image courtesy of Kelly Pueblo

What does the modern bride want? Well, that depends on which fashion industrial professional you talk to. Some modern brides still pine for traditional bridal fare, with lacy, long bridal trains while others are opting for comfort, ease of movement and utility.

Jake Wall, Nathan Johnson, and Blake Patterson of JAKE have got all the bases covered. Understanding that there was unfilled niche in the bridal market for garments made of interesting, innovative textiles that promote ease of movement and can be repurposed for another special day beyond the bridal ceremony, JAKE has launched a capsule bridal collection that speaks to all those unfulfilled needs.

Having established the brand on the West Coast as a fashion-forward brand that does incredible mens and women’s suiting, one would think that bridal would be uncharted territory. At first glance, perhaps, but at further observation, perhaps not!! For years, JAKE has been known for their customization business, and this customizing expertise has bad the brand fit and ready for the bridal market.

On the eve of New York International Bridal Week, JAKE spoke with Fashion Reverie about his debut bridal capsule collection.

Fashion Reverie: Why a bridal collection as this time?

JAKE: There seemed to be a need from my existing clientele which were women who expressed a need to have a very spectacular day but they also don’t want to look like the top of a wedding cake. Women who aren’t afraid to be noticed and stand out; but want to stand out comfortably the entire day, not just for the wedding ceremony. That said; for the most part what exists in bridal is very much for the aisle, but not for the entire bridal day. Our customer wants something that is appropriate for the bridal day but also something that could evoke the grandeur of a red carpet moment. This is our women’s very special day; however, she is not particularly interested in all the pomp and circumstance one has to come to expect from a wedding. They are celebrating and entertaining. Bridal day is their own personal Met Gala. We wanted to create an offering that was inventive and playful and red carpet worthy.

FR: That said; what is the inspiration for this bridal collection?

JAKE: This capsule bridal collection is heavily influenced by the romanticism of Fellini and other Italian films. Fellini movies, in particular, the women are often femme fatales. So, that was the jumping off point that gave us the sensual motivation to the collection. Then we moved beyond that and embraced old Hollywood films from the 50s and 60s that rendered that Italianate experience. Instead of trying to replicate the design aesthetic of that period we tried to recreate those looks with a modern twist and some defiance. That is why this collection in called “La Dolce Vita,” because each piece in this capsule collection is rich and each garment has an Italian name that is not easily translated into English or any other language. These dresses epitomize feeling and sentiment for that perfect moment.

JAKE Bridal Fall 2017 images courtesy of JAKE

FR: In that this collection was inspired by the mood and sentiment of Fellini films, does that mean that the garments are fitted and corseted to emphasize the feminine silhouette with plunging décolletage ala Sophia Loren?

JAKE: There is a va va voom quality to the collection. But, how that va va voom is delivered in each garment is different. There is mixed elements of corseted pieces and fit-to-flare gowns. There is drama to each garment, and the textile in each garment is different to render dramatic effect. Instead of the traditional lace you find with our wedding gowns we are using a camouflage lace on a tea-length wedding dress which gives an element surprise. We are using a very soft technical neoprene in one of our garments with flared arms and skirt. The reason we are using technical neoprene because this neoprene gives a gown movement with architecture. Our technical neoprene gown evokes those classic silhouettes we tapped into from the Fellini films, but at the same time brings in some modern, architectural feelings. This is perfect marriage of classic Sophia Loren and the modern majesty of the Guggenheim Museum, all melded together.

We really took textiles into account for this bridal capsule collection, wanting to use textiles that we hadn’t uses a lot before. Each of these looks has a different point of view when it comes to textile usage. We want to deliver to our clients is that she is subject of the on this very special day, so bow down!!

FR: How are you modernizing the Fellini-esque woman on her bridal day?

JAKE: We really are trying to take into account the wearability of the garment and what is necessary for the bride on her very special day. This gown has to look amazing as she walks down the aisle, and also look really good as she is taking pictures all day. Remember, the wedding ceremony is only three hours of a 9- to 12-hour day and the bride, we feel, wants to be comfortable and look good the entire time. We want the bride to be able to move around comfortably, eat food, sit, stand, dance, or whatever for the entire day. We want our garment to get the bride through her entire day with ease and a reasonable amount of comfort.

Our bridal jumpsuit comes with pockets. We understand that bride is not going to need pockets or use pockets as she would on a regular day. But pockets would be a great thing for a bride to have to put her small compact or lipstick of lip liner for touch-ups. Our client is an alpha woman. And for her very special day, she’s got it all figured out. She wants her friends to enjoy this day as much as she is enjoying it.

Also, we also wanted to create wedding garments that women would be comfortable wearing again. The modern bride thinks a lot about utility and she wants her wedding gown as a dress she might want to wear again, as opposed to brides from a few decades back who looked at the wedding gown as a one time experience. So, we created wedding garments that could be repurposed and worn again for another special occasion. For instance, our mermaid gown has detachable elements and can be repurposed to a beautiful white gown that can be worn again. On the men’s side of our company we have been creating men’s tuxedo jackets that can be used for weddings our other special occasions. Men have been doing this for a while and we want to now break that rule with bridal gowns, making gowns that can be worn again.

Why spend a ton of money on a dress that you are only going to wear once and stash away as a keepsake or pass down to your daughter? With our wedding garments you can revisit that special day by repurposing the garment and wearing it again. And that is something our clients really wanted!! We saw this with a same sexy couple where we designed the gown for the bride and the suiting for the lady groom. The bride was so excited about the wedding gown we made for her because she could wear it again for another event.

Image courtesy of piniterest.com

FR: How many pieces are in this capsule collection?

JAKE: There are only six pieces in this capsule collection. We wanted to keep it small, concise and specific because we wanted each garment to reflect a different mood evidenced in different textiles, coming from the same jumping off point.

FR: What are the textiles used in this capsule collection?

JAKE: We are using technical neoprene, crepe-backed satin, non-traditional layered laces, lace and sequins woven together, silk chiffon, and 3-D organza. We are also using non-traditional lace ideas; that is where the polka-dot lace comes into play.

FR: What are the price points?

JAKE: Price points range from $2995.00 to $5295.00. We are pricing for your big day, but also pricing for your continued use. These are jumping points and with customization prices can go up.

FR: The curvy or plus size market has really expanded in the US, does your bridal capsule collection include those markets?

JAKE: Because we specialize in custom fit, we are always aware that there could be a bride that is interested in garments from JAKE whose size is outside of the traditional sizing that comes from most bridal designers. From our customization market we usually do 48 individual measurements to make a pattern. So, if the bride moves off our traditional off-the-rack sizing, we move that customer over to our customization sector. Honestly, there are a lot of women who don’t fit into traditional sizing because they could be heavier on the top or bottom or both than what fits traditional sizing. A woman could be a 16 on the top, but an 8 on the bottom. If that is the situation, we can give a high caliber experience by going to our customization expertise.

FR: The bridal market is over saturated, what sets your bridal capsule collection apart from other burgeoning bridal brands?

JAKE: Our bridal capsule stands out among the vast amount of bridal noise because our bridal is truly designed to go beyond that special bridal day. More than just that aisle walk, our gowns can fit a lot of occasions. Our course, the bridal day is the focus, but we also want the bridal gown to be a living memory that can be revisited for other special occasions.

JAKE menswear image courtesy of AG Cariboja

FR: Would you ever incorporate your men’s formal suiting as a separate groom collection or just an appendage to your bridal collection?

JAKE: The answer is yes. Some of our formal men’s suiting pieces are being photographed in a bridal mode. They run the gamut from tuxedoes to suits. On the men’s side of the things the question is if you want black tie elegance and just a very formal suit. Some folks want a Kim and Kanye extravaganza to country kitsch. We have lots of options for all the variety of projections and points of view. We like to show diversity!!

—William S. Gooch

Fall 2017 Bridal Sketches

October 4, 2016 by admin Leave a Comment

Image courtesy of harpersbazaararabia.com

I’ve got a secret; I’ve got a secret!! Who doesn’t like to be in on a secret? It makes you feel special to be privy to information before everyone else.

That access to inside information carries over to New York International Bridal Week fall 2017. Remember, the groom is not supposed to see the bride on her wedding day before she comes down the aisle. Well, Fashion Reverie can do even better than that. We are giving our readers a peek at the bridal collections before the gowns come down the runway. That’s right, your own private showing!!

How can we do that? A few bridal designers have given Fashion Reverie access to some of the sketches to their fall 2017 collections prior to New York International Bridal Week.

Images courtesy of Alfred Angelo

Alfred Angelo has been making beautiful, romantic bridal gowns for over 80 years. Continuing his collaboration with Disney, for fall 2017 Alfred Angelo introduces two Disney characters to his collection, Beauty and Beast’s “Belle” and “Cinderella.”

Image courtesy of brides.com

Monique Lhuillier carries over her red-carpet glamour to her bridal collection this season. Her bridal gowns promise to sparkle and shine for fall 2017 just as much as her red-carpet gowns. Talk about feeling special on that very special day!!

Image courtesy of Persy

“When I design, I escape to a world full of fantasy, where I design dreams,” trumpets the Persy bridal team. And dream you will for fall 2017 in a frothy, ethereal Persy bridal gown.

Images courtesy of JAKE

A newcomer to Bridal this season is the brand JAKE. Mostly, known for men’s suiting this San Francisco-based fashion brand has ventured into bridal with a six-piece capsule collection. Creative director Jake Wall believes a bride should be comfortable and have ease of movement on her very special day and his sexy, Fellini movie-inspired bridal gowns in neoprene, silk chiffon and lace do just, with a little va va voom added in for effect.

—Staff

Wedding Destination Feature: Why Settle for the Backyard When You Can Have a Castle

October 2, 2016 by admin Leave a Comment

Image courtesy of martinskukulis.com

THEIA creative director Don O’Neill, in the throes of fantasy and creativity, is busy getting his THEIA fall 2017 collection catwalk ready for New York International Bridal Week that officially starts on October 7. While his spring 2017 collection featured the “futuristic bride,” for fall 2017 the THEIA bride in O’Neill’s mind is “escaping the frigid cold and heading to a warm tropical island.” He describes it as “simple and easy with a bohemian relaxed vibe.” Sounds like the perfect collection for a destination wedding, right!?

Irish Designer Don O’Neill tied the knot with his long-time partner Pascal Guillermie this summer, heading home to his birthplace in County Kerry, Ireland, where the couple exchanged wedding vows on the grounds of Ballyheigue Castle. “Our vision for the wedding was rustic but elegant and had to incorporate the natural stunning beauty of Ballyheigue,” he says, “having it play a major role in our wedding.”

Don O'Neill and partner Pascal image courtesy of urbanreturns.com

Don O’Neill and partner Pascal Guillermie image courtesy of urbanreturns.com

The castle, once a grand mansion built in the 1800s is now basically in ruins and its grounds now serve as a golf course. But it is the history and romance that is the allure of the castle destination wedding. “The outdoor ceremony at the castle, to which the guests arrived along a sweeping driveway, up to the imposing ruins, was magical,” O’Neill remembers. “Guests sat facing the view over the magnificent bay.”

In 2000 Madonna married Guy Riche in Scotland’s 13^th century old Skibo Castle, kicking off a 21^st century trend which continues to grow for celebrity weddings and gaining traction among mainstream consumers. Tom Cruise and Katy Holmes married in the 15^th century Odescalchi Castle in Florence, Italy. Ciara married Russell Wilson, quarterback for the Seattle Seahawks, this summer in Cheshire, England at Peckforten Castle.

Image courtesy of cdn.com

The 2016 brides and grooms are focusing on incorporating distinct elements and seeking new-to-them locale elements that they can share with loved ones, according to a recent report by the Destination Weddings Travel Group.

Mr. O’Neill can testify to the unique experience. “It was incredible and unforgettable,” he says. “As we walked up the driveway towards the castle, our guests, who had no idea we would be walking, suddenly spotted us and immediately started cheering and whistling. The wave of excitement and love that washed down over us was so unexpected and surprising, so heartwarming and so lovely—yelling and cheering and roars of excitement as we arrived at the castle.”

While celebrities are usually not as cost conscious as the rest of us, destination weddings now offer great economic advantages. “While the price of at-home weddings has increased rapidly over the years, the average cost of destination weddings … has remained under $10,000 for over a decade. When couples take their wedding on the road, they can uncover savings throughout many points in the planning process,” explains Richard Calvert, President and CEO of Destination Weddings Travel Group.

Rustic glam decor, according to the report, is the new shabby chic, with couples are embracing this blend as a way to incorporate luxury accents while still maintaining a down-to-earth vibe. Also, locally sourced foods and florals are on the rise as a cost-effective strategy, showcasing the culture of the chosen destination. Mr. O’Neill’s partner, Pascal, did exactly that for their wedding.

The reception was held under a glass walled marquee with a transparent crystal roof, in the middle of the golf course, looking out on the bay. The decor was what he called “rustic-chic.” As floral designer for Fleur De Pascal, he sent drawings of his vision and to their dear friend Eleanor Groves, an Irish florist. “She recreated everything on the wedding day to perfection.”

—Francesca Simon

New York International Bridal Week: Fall 2017 Pre-coverage

October 1, 2016 by admin 1 Comment

NY_International_Bridal_week_fall_2017_newyorkbridal

Image courtesy of newyorkbridal.com

Is it that time again!! Yes, it is. It seems only yesterday that Fashion Reverie was posting reviews of the bridal collections from spring 2017. Now, after surviving another New York Fashion Week: The Shows, we are on to New York International Bridal Week fall 2017.

Image courtesy of newyorkbridal.com

New York International Bridal week officially begins on October 8 and extends through October 10. However, true to form, some designers will show a couple of days before. And Fashion Reverie will keep you informed on the latest bridal styles and trends from bridal favorites Theia, Ines Di Santo, Amsale, and Monique Lhuillier to bridal mavericks Austin Scarlett, Inbal Dror, and Romona Kevaza to the more traditional designs of Oleg Cassini, Anne Barge, and Alfred Angelo. And there will be a few new surprises this season, Irina Shabayeva, Perzy Press and the capsule collection of JAKE Bridal.

—Staff

NYFW: The Shows Spring 2017 Interview Exclusive: Anniesa Hasibuan

September 30, 2016 by admin Leave a Comment

Image courtesy of tinypic.com

Indonesian designer Anniesa Hasibuan was calm as she prepared for her moment at NYFW: The Shows (NYFWS). Carefully inspecting her creations, scissors in hand, she clipped loose threads from the collection of silk, chiffon, and jacquard dresses, tops, dusters and pants. Her demeanor epitomized the world view of the Muslim woman―quiet, respectful, humble, and polite. But this woman with the sparkling personality and easy laugh, is indeed a powerhouse of creativity. That talent exploded during her show with an aftermath of roaring applause and accolades during a standing ovation.

Aside from the distinction as the first Indonesian designer to show at NYFW: The Shows, her spring 2017 collection “Jakarta,” influenced by the cultural uniqueness of indigenous tribes and foreign backgrounds of her hometown’s residents, was inspired. The collection lit up the catwalk with vibrant colors, shimmering silks, intriguing patterns, and a glamorous, polished picture of the Muslim woman on the worldwide stage of international fashion. Each piece featured the hijab, a head covering that many Muslim women wear. The piece de resistance was a metallic gown with winged sleeves, a floor length pearl veil with an encrusted hijab.

Anniesa Hasibuan spring 2017 images courtesy of Getty Images/Fraser Harrison

“Creativity is there because you have the passion,” she says. “Restriction makes you more creative.” She truly proved her point, defying all notions of restriction with loose fitting looks alive with a joie de vivre. Dazzling outfits for day and evening incorporated the current trend―layered looks, statement necklaces, wide belts and bows, blinged-out sun shades, and even a bejeweled hijab. The intricate beadwork, incorporating pearls and sequins were breathtakingly beautiful. The rainbow of violets, pinks, greens, golds, and silvers was a visual feast, coupled with sophisticated, yet eye-popping patterns.

“Every woman wants to be pretty, elegant and glamorous regardless of her religious values,” the designer told Fashion Reverie. “That is the very basic instinct of women.” Her contribution to the modest fashion movement, is tied to her personal goal of providing Muslim women with “creative choices” for their wardrobe. “I am trying to show the world that you can express yourself and your passion for fashion, while wearing your hijab and adhering to your religious values,” she said, adding, “that doesn’t mean you can’t be elegant and comfortable with yourself.”

Image courtesy of Anninesa Hasibuan

Historically, there are three types of hijab. The most extreme is the entire face covering burqa, with an eye slit, a nikab which covers the nose and mouth, while the hijab worn in the west, is just a head covering which is generally drawn close around the face. But Mrs. Hasibuan’s style is a flashback to the 50s and 60s when American and European women wore head scarves to keep their hair in place, while riding with car windows rolled down.

Her foray into fashion was initially self-serving. “I desperately needed clothes,” she said, due to traveling with her husband on business. “It started as a hobby,” she explained, since learning to sew at an early age. But after showing in London in 2015, she took design courses, which put her on a path toward NYFWS. “The response has been so tremendously positive. This is the time to enter the US market.”

Image courtesy of styleblazer.com

Modesty, she believes, serves a spiritual purpose. “By actually putting on a simple, elegant cut of fabric and great patterns you feel beautiful, although you are covering yourself. With that kind of model your inner beauty will be revealed.”

―Francesca Simon

Just Drew Spring 2017 Backstage

September 23, 2016 by admin Leave a Comment

Fashion Reverie likes to bring its readers more than reviews of some of the top designers during New York Fashion Week: The Shows. We also bring our viewers in-depth interviews, sketches of current collections, runway videos, and street fashion.

Fashion Reverie was fortunate to be granted backstage access to Just Drew’s spring 2017 presentation. Through all the mayhem and hustle and bustle, we got some very interesting shots. Enjoy!!

So, this is how it all begins!!

It is a cornucopia of hair!!

Pretty is as pretty does.

Images courtesy of Supreme Publicity/Dan Lecca

This beauty makes all the effort worth it!!

Fashion Reverie’s NYFW: The Shows Spring 2017 Dippity Don’ts

September 8, 2016 by admin Leave a Comment

Image courtesy of thewildmagazine.com

Fashion Week is constantly evolving. And if you’ve been covering New York Fashion Week as long as I have from “The Tents” at Bryant Park, “The Tents” at Lincoln Center to NYFW: The Shows most recent incarnation at Moynihan Station, Pier 59, and Skylight Clarkson, you acutely understand that fashion is all about change. This season, the media list is significantly smaller, crowds are not as large and the check-in process is intense. Though things have relaxed about from the introduction of these new directives NYFW: The Shows is not what is used to be. And in honesty, some of the changes are good!!

What hasn’t changed is all the wacky, eccentric fashion that is paraded all the IMG–approved venues. One has to wonder if people actually dress this badly or is all for photo-op.

Bad fashion seems to be here to stay during New York Fashion Week: The Shows. And just for fun, Fashion Reverie every day will present some of this outlandish fashion just for your entertainment. You may have to shield your eyes sometimes, but remember it is all in fun, so just enjoy!!

Thursday, September 8, 2017

Look, darling I am wearing couture rat fur!!

There are no words!!

What can I say, hmm, delusional.

Friday, September 9, 2017

Just trying too hard!!

Is Pepto Bismal the new pantone color for spring 2017?

Saturday, September 10, 2017

We know florals are on trend for spring 2017, but this is way too much!!

A man skirt with skinny chicken legs, not a good look.

Sunday, September 11, 2017

Child, somebody lied to you!!

Hey dude, dress for your body type!!

Monday, September 12, 2016

Is this New York Fashion Week or Dubai Fashion Week?

Girlfriend, a girdle or all-in-one is required for that dress!!

Lost in translation!!

Tuesday, September 13, 2016

But you are Blanche, you are in that dress!!

Don’t let the “Fashion Police” get a hold of this look!!

Wednesday, September 14, 2016

Madonna, has you beat darling, and it was 20-plus years ago!!

Where are you from? This looks is Xanadu meets Space Women from Mars.

—Staff

NYFW: The Shows Spring 2017 Exclusive: Bibhu Mohapatra’s Belle Epoque

September 7, 2016 by admin Leave a Comment

How does a designer or brand each season infuse their collections with an evolving sophistication and chicness, new points of view and a fashion sensibility that embraces the brand’s DNA while keeping the collections relevant and fashion forward? Remember, most major brands are creating five to six new collections every year. So, at some point you would think the well of creativity could run a little dry; particularly, if a brand has been around a few decades.

Bibhu Mohapatra never seems to have this dilemma. Every season he excites consumers and the fashion industry with collections that draw inspiration from a deep well of cultural references and motifs. In a market where designers and brands are desperately scrambling for continued market viability as consumers aggressively move away from brick and mortar stores to e-commerce options, Mohapatra has found a formula that keeps consumers coming back for more.

Fashion Reverie was honored to interview Bibhu Mohapatra before he showed his spring 2017 collection during New York Fashion Week: The Shows.

Fashion Reverie: What is your inspiration for spring 2017?

Bibhu Mohapatra: For spring 2017 my efforts are to look into the unsung muses from the Belle Epoque. These French muses inspired painters, musicians, sculptors and writers and had very special relationships with these women. They were the main source of inspiration for many of these artists; however, we don’t know who a lot of these women were. In a sense, they are unsung. I wanted to investigate these women, and I thought it would be an interesting idea to study these women, many of them worked in brothels, and were outcast, yet they were a part of the demimonde and salon society.

Bibhu Mohapatra: I did not make my Belle Epoque reference specific to any one personality. I made it indicative of the whole era. The relationship between an artist and the muse always spoke to me, whether it was Rodin’s muse or Maude Gonne who was muse to the poet William Yeats; these studies are with different people. Often times the muse grows with the artist, yet there is a distance. Yeats wanted to marry Maude Gonne but she refused, realizing that if they married Yeats would cease to be inspired by her. This was happening when the Art Nouveau movement was gathering steam, and Art Deco was in the pipeline. So in this collection the Belle Epoque references are there, but I am making it more graphic and modern. There are a lot of opulent fabrics in this collection, lots of embroidery and jewels, as well. The collection is sexy glam with lots of lace and the use of diaphanous fabrics.

FR: For your spring 2017 collection how did you reimagine the feminine silhouettes of the Belle Epoque; corseted bodices; cinched-in waists; volume; lots of embellishments, for the modern woman?

Bibhu Mohapatra: There are a lot of fitted bodices and details from that era that I reimagine for today’s women. For instance, I might take inner garments and reverse them, making them the outer garments. I do incorporate some of the fitted elements from the Belle Epoque into this collection; however, for the modern woman I have given those elements more ease. There is a lot draping and combinations of sheer fabrics with heavier fabrics. I like to re-interpret these elements my way without having the garments look very period. That is a challenge I enjoy. I immerse myself in this world and I imagine how that woman lives her daily life and then I extract and make it all my own. My fabrics come from all over the world and the embroideries are still being developed for the collection.

FR: Could you talk about your fabrications and color palette?

Bibhu Mohapatra: We have two or three shades of coral, beautiful shades of violet, greens, chartreuse, ivory, sand, navy, and black. The evening garments are composed of this beautiful crepe that comes from Japan that we dyed in a wide variety of colors. The collection has three different types of lace from Japan and Italy. We have a lot of linen stripes that be will used to give a graphic effect with beige and grey and beige and black effects within the stripes. We also have crystal-embossed fabric that is a new textile that we have incorporated this season. We have custom embroideries that are encrusted with crystals and pearls.

Additionally, we have lots of beautiful blouses in Supima cotton in different colors. Supima sponsored the cotton in his season’s collection because I mentor students in the Supima competition. I have some denim in the collection, some jacquard, and we have prints in crepe and chiffon.

FR: This collection compared to some of your other collections is more graphic, why that direction?

Bibhu Mohapatra: Adding the geometric aspect to this collection, makes the collection more current. There are a lot of lines and stripes; and I have never used so many stripes before than in this collection. For me, the human body is all about geometric shapes; I always see the placement of geometric lines on the body, sometimes it’s just seams, sometimes it is just stripped fabric cut on the bias. I wanted to give the collection that clean, modern edge.

Bibhu Mohapatra spring 2017 sketches

FR: I see in this collection, and I’ve have seen in previous collections that you like to use color blocking. Why does color blocking appeal to you so much?

Bibhu Mohapatra: For the day pieces especially, color blocking is a way for us to add shocks of color. If I make a garment in all neutral colors I might add a bold color block going down the side to give a dramatic effect. As we go to the evening pieces things become more tonal.

FR: I did notice some ruffled garments. Were you trying to stay on trend by incorporating ruffles into the collection?

Bibhu Mohapatra: I felt that ruffles add a playful quality to the clothes that find reflected in the Belle Epoque style. This ruffled quality is expressed in opaque and sheer fabrics also incorporated in multi-layered pieces.

FR: Because of the multi-layering, there is almost a reveal or pulling back to show something more. Could you speak to that?

Bibhu Mohapatra: That particular layering effect is something I incorporated last season. It kind of went with the morphing or evolving DNA of the brand. It also allows me to make an important outfit for the evening without making it long which can hinder ease of movement. I can do a high-low garment that can be added to and/or take away elements that can actually be more than one garment.

FR: Who is the Bibhu Mohapatra customer and how has she evolved since you launched the brand in 2009?

Bibhu Mohapatra: She was always a sophisticated, educated woman but because of technology and more global travel she has evolved to an international woman who is comfortable in a lot of different cultures from the Middle East to Asia, Europe, and the States. She is not classified into a wage group. She may have deep pockets or she may use her money with discretion for purchasing very special pieces from my collections. She does not necessarily follow trends, but she is attracted to the individual style and craftsmanship expressed in my collections.

My brand is a premium line so there is a type of price point that is required to purchase the clothes. We are very close to launching some offshoots of the premium line that speak to more affordable price points. I have bridal in the pipeline; I have launched my faux fur collection for fall 2016 which will be in Saks Fifth Avenue and many specialty boutiques. And I recently launched a diamond jewelry line, Artemis, in collaboration with DeBeers.

FR: The “See Now, Buy Now” business model seems to be getting a lot of momentum in the fashion industry. Tommy Hilfiger is on board, as well as Monique Lhuillier, Mara Hoffman, and some other major brands. How are you incorporating this business model into your brand?

Bibhu Mohapatra: We are not using the “See Now, Buy Now” business model at the present time. We have been thinking about it and how it needs to be financed. However, for me my business has always been a balancing act between creativity and commerce.

In order for “See Now, Buy Now” to be an effective business model for a brand, the brand needs incredible resources. And to be able to speculate a certain amount of garments for mass production that you know will sell well to consumers is a huge undertaking. And for my brand we are not in that position to adopt the “See Now, Buy Now” model. We also keep some of our best-selling pieces in stock and we sometimes repurpose those garments for select clients.

I started this brand in 2009 and I have grown this brand very carefully. That said; I have to be careful if the company can withstand any new business model. We have a very healthy direct-client component that has tripled in the past few years. This kind of scale we can manage, but we are not at a mass-market “See Now, Buy Now” model yet.

FR: Is the challenge also sourcing the kind of luxury fabrics and new technology fabrics that you use in your collections?

Bibhu Mohapatra: The fabrics are not the real challenge. Many of the mills that make our fabrics can adjust their schedules and get it done for us. However, the exquisite embroideries and the detailing are much more of a challenge for us that would create an availability issue if we adopted the “See Now, Buy Now” model. It takes about four months to get a lot of the detailing and embroideries done. So we would have to start our process much earlier and compress the cycle.

Image courtesy of huffingtonpost.com

FR: How have you infused your East Indian heritage into this collection?

Bibhu Mohapatra: The color palette alone in this collection reflects my background. Who would use the colors I am putting together but someone from my background? Some of the fabrications and embellishments definitely reflect my East Indian heritage. Those East Indians influences sort of creep into my collections organically because it so intrinsically a part of who I am. I do design for a global audience so some things in the collection are inherently Indian because of the way I think and how I envision my international woman.

—William S. Gooch