Born in Sweden, Fannie Åkerblom moved to London at the age of 18 to study tailoring at London College of Fashion, where she later progressed to the BA (Hons) Fashion Design Womenswear course. Having completed several internships alongside her studies for designers including Hussein Chalayan and Giles Deacon, she launched her first collection before graduating in Spring 2009. Browns Focus bought the eponymous collection, and in the same year, she received the prestigious NEWGEN Award from the British Fashion Council. She continued to receive the award for three consecutive seasons.

Before starting working on her brand, Fannie Åkerblom managed to work with famous designers Hussein Chalayan and Giles Deacon.

The Swedish designer received the prestigious British Fashion Council award for her debut collection of metal ACCESSORIES.

No wonder people say that power is in simplicity. Fannie Schiavoni’s metal jewelry is effortless, but it’s worth adding this seemingly simple accessory to an equally simple top or dress, as your whole look will sparkle with new colors.

Today, Fannie Schiavoni’s accessories and clothing are sold in stores all over the world, including Cruvoir. Originally launched as an accessory line, the collection has developed into a ready to wear with unique chainmail dresses. It separates featuring steel tops and dresses that can also be worn over t-shirts, sweaters, and SKIRTS. We hope you enjoy our small selection of the latest collection.

Instead of sketching, FANNY SCHIAVONI takes a more practical approach to design – she selects each line of the pattern, so the garment falls down the body curves perfectly.

Revered globally by press and buyers alike, Schiavoni’s designs have also been embraced by high profile artists including RIHANNA, FKA TWIGS, Alicia Keys, Bella Hadid, Lady Gaga, Miley Cyrus, Cher, and Katy Perry as well as featured in magazines such as Vogue Italia, Harpers Bazaar US, W Magazine, Interview Magazine US, 032C Magazine and Vogue Japan. Notable collaborations include designers Alexandre Vauthier and Matthew Miller, as well as commissioned one-off pieces for Rihanna, Interview Magazine, Lane Crawford, and Diesel Art Gallery.

Until the age of 18, Schiavoni didn’t wear any JEWELRY, and even then, she only wore a simple heart pendant around her neck; Her unique approach to jewelry is what sets Schiavoni apart from other designers. Studying tailoring and then womenswear fashion, she explored and learned to use jewelry to adorn the whole body rather than how jewelry is ordinarily used. Schiavoni personally feels more comfortable wearing a harness as opposed to a necklace or earrings, so when she found her niche, she knew that it was what she wanted to do.

“I try to design pieces that are season-less, and I also don’t agree with the fast fashion of today (do we really need four collections a year?), so my idea with this site was to make my archive pieces available to everyone. I’ve made a selection available of my bestsellers throughout the years. I will also offer a bespoke order section where everyone can make use of a bespoke order service, which I normally only offer to celebrities. This is something I will build on in the future, but for now, I will encourage customers to contact me with their requirements and wishes.”

Born in Sweden, Fannie Åkerblom moved to London at the age of 18 to study tailoring at London College of Fashion

FANNIE SCHIAVONI: THE POWER IS IN SIMPLICITY

The garments for modern women in big cities – this is how Proenza Schouler brand creative directors Jack McCollough and Lazaro Hernandez describe clothing. The designers are not trying to please the new generation, who have ‘invaded’ every other fashion brand today. Proenza Schouler, despite its complex textures, is easy to wear every day. The new collection includes draped midi-skirts, silk dress-shirts, snow-white shirts with a high collar, wide leather trousers: each of these things does not contradict with the office dress code. The shoe line includes sandals with thin straps, shoes with large metal fittings, and marble-colored ankle boots – all with a square toe.

Today’s famous American brand Proenza Schouler present to fashionistas clothes and accessories around the world that are of high quality and sophisticated simplicity, giving special attention to detail and elements.

Proenza Schouler's clothing is elegant and sophisticated, combined with street fashion and modern trends. Today, stylists use wardrobe items from the fashion brand in many fashionable looks. The classic cut allows you to use such clothes for serious and sophisticated bows. An unusual print, original decor, and beautiful little things add simplicity and unobtrusiveness to the image, which is great for everyday wear. Also, Proenza Schouler's clothing is characterized by high-quality materials and incredible comfort. Therefore, many successful women and businesswomen, leading an active lifestyle, prefer the garments of Proenza.

Proenza Schuler offers fashionable women to combine beautiful and comfortable accessories with stylish clothes. Proenza Schouler bags are original, in terms of both, the shape itself and the decor. At first glance, the miniature accessory is quite practical and roomy. Using stylish Proenza Schouler bags, you will not only be distinguished by their original taste, but they also add attractiveness and confidence to your image.

Today’s famous American brand Proenza Schouler present to fashionistas clothes and accessories around the world.

The 80s style. Today, this era inspires designers specialising in clothing for public events and cocktail parties the most. And this means that we have every right to wear a bustier combined with taffeta or velvet and flamboyant rampant sleeves. Add to this some mini transparent black tights, open-toe shoes with thin straps and a […]

FIVE LOOKS THAT GO TOGETHER WITH A LITTLE BLACK DRESS

“What is the most important thing in this collaboration? Turning packaging into a luxury item,” – says the 35-year-old Alexander Wang. – I was always fascinated by the process; one might even call it a ceremony of an expensive purchase: all these beautiful packages, cases, boxes. I decided to give a significant role in these things.” Each of the six models of bags in the “Serpenti through the eyes of Alexander Wang” collection exists in different variations: you can choose the skin of a calf, python or lizard, as well as black, white or mint colors. Shopping Tote resembles a paper bag, while Minaudière looks like a jewelry box. Belt Bag, in a very classical form, has become a transformer of a new generation – in addition to a short handle, it also has a long one with a chain, as well as a belt that allows you to carry the bag on your belt. All of them are crowned with a clasp (and Belt Bag – even with two at once) in the shape of the head of a snake – the Bvlgari brand name.

The romance of an adult American designer, who was recently being considered as a prodigy child, with an old Italian brand began a year and a half ago when Bvlgari invited him to Rome to get acquainted with the archives. “Then, I saw how much we have in common. Bvlgari honors tradition, but values innovation even more. I was infatuated by the story that their iconic snake bracelet was inspired by the gas station hose! I do the same: I take something ordinary and put it in a different context.”

Wang tries to guess the desires of the public and is being upset if it doesn’t work out. “It is important for me to create not just a fashionable and comfortable thing. I want her to carry emotion and maybe even magic. It seems that this time everything has worked out! ”

The year 2000 was the beginning of an increasingly aggressive period of verticalization for Bulgari, with the acquisition of the luxury watchmaking brands Daniel Roth and Gérald Genta, followed by the takeover of the jewelry firm Crova and of other companies that specialized in leather goods and watchmaking. The opening of the first Bulgari Hotel in Milan in 2004 further confirmed the expansion strategy of the brand. It was the result of a joint venture with Luxury Group, a division of Marriot International. In 2009, Bulgari celebrated its 125th anniversary with a retrospective of the brand’s history, held in Rome at Palazzo delle Esposizioni. That same year, the snake—a motif that appeared in Bulgari collections from the 1960s—re-emerged as the emblem of the Serpenti collection. In 2011, Bulgari signed a strategic alliance with LVMH Moet Hennessy Louis Vuitton SA, the world’s leading luxury group. The agreement was based on a stock transfer of the Bulgari family’s shares in Bulgari S.p.A. to LVMH, an all-share deal for €4.3 billion ($6.01 billion), higher than LVMH had offered for any other company. Under the agreement, the Bulgari family sold their 50.4 percent controlling stake in exchange for 3 percent of LVMH, thereby becoming the second-biggest family shareholder behind the Arnaults in LVMH. The takeover doubled the size of LVMH’s watches and jewelry unit, which at the time of the acquisition included Tag Heuer timepieces and De Beers diamond necklaces. The acquisition concluded on 4 October 2011 as Bulgari was delisted from the Borsa Italiana.

The trademark is usually written BVLGARI in the classical Latin alphabet, and it is derived from the surname of the company’s founder, Sotirios Voulgaris (Greek: Σωτήριος Βούλγαρης). The BVLGARI logo was used for the first time in 1934 when its gilded brass letters graced the central doorway of the Via Condotti flagship store. In reference to ancient Rome, the “U” was replaced with the letter “V,” and a logo was born. Since then, the trademark is written BVLGARI in the classical Latin alphabet.

“What is the most important thing in this collaboration? Turning packaging into a luxury item” 

THE MOST INTERESTING FACTS ABOUT THE BVLGARI X ALEXANDER WANG COLLECTION

Today, on December 16, 2019, VETEMENTS x STAR WARS collection went on sale worldwide.

The collaboration was kept in complete secret; it seems that until last week only a few people knew about it. No joke, even shops had to buy the collection blindly. And this is not an exaggeration: VETEMENTS employees described to buyers over the phone what they would eventually get on the shelves of their stores. Disney insisted on such unprecedented secrecy (in 2012 they acquired LUCASFILM, that is in charge of the Star Wars) protecting the secrets of their film projects with the same care – including ‘The Rise of Skywalker’ despite the fact that the movie will be available at the theatres next week, not a single spoiler has leaked.

However, despite the effect of surprise, it is impossible to name this collaboration otherwise than obvious. Over the five and a half years of its existence, VETEMENTS managed to make close friends with pop culture – do you remember the famous hoodie with the Titanic poster? Ironically, a skirt with The Star Wars poster appeared in the same collection. It was not ‘Star Wars’ written on it but ‘Star Girls’ – to avoid the legal issues. “This time, we were able to make it with a real poster and a real monogram,” Gvasalia reports with pride.

The limited collection itself consists of 44 items: not only hoodies and t-shirts, of course, although without them, but the line also would not have been accomplished. This is the base, or a ‘uniform’ VETEMENTS have reinvented in the Star Wars format. “At the finale of our second show, we have had a long white tee with a season written on its back,” says Guram. “In this collaboration, there is one which is the same but with the list of all characters of the saga at the back.”

Does Gvasalia believe that there is too much of ‘collective creativity’ in the modern world? “Yes, a few years ago, there was a period when everyone began to stamp collaborations, not understanding their meaning. After all, what is collaboration? This is what should remain in history. But in the end, it turned out to be a lot of nonsense. And then we decided to retreat for a while. But now the storm has abated. And now, this is the right time for VETEMENTSxSTARWARS. Everything has its time in life.”

The first Star Wars film was released in 1977 and quickly became a pop culture phenomenon, while The Rise of Skywalker is the final film in the new Skywalker trilogy.

The Rise of Skywalker had its world premiere in Los Angeles on December 16, 2019, and was theatrically released in the United States on December 20, 2019. It received mixed reviews from critics, who praised the acting, action sequences, musical score, and visual effects, but criticized the story, pacing, and perceived departures from the plot and themes of The Last Jedi. It has grossed over $1.074 billion worldwide, making it the seventh-highest-grossing film of 2019 and the 32nd highest-grossing film of all time. The film received three nominations at the 92nd Academy Awards (Best Original Score, Best Visual Effects, and Best Sound Editing) as well as three at the 73rd British Academy Film Awards (also Best Special Visual Effects, Best Original Music, and Best Sound).

VETEMENTSxSTARWARS collection went on sale worldwide. The collaboration was kept in complete secret. 

VETEMENTS X STARWARS: PROBABLY THE MOST EXPENSIVE MERCH IN THE WORLD

In jewelry fashion, the sophistication of the 1980s is back. Bangles, necklaces, rings reach size XXL. It can never be big enough. After the epoch of minimalism, delicate rings, and elegant chains, the real statement pieces are taking over. There is again, “bigger is better.” The season for season jewels is becoming more and more exuberant and opulent.

Statement jewelry is inspired by history, films, pop stars, and fantasies of designers. Look at the theatrical jewelry works of Thierry Mugler from the 1980s, or the Jewelry Madonna or other pop stars have worn or are wearing. Designers get their inspiration from their surroundings, Bicycle chains, or other tools from the neighbor's repair shop serve as a template for jewels. Fashion houses such as Loewe, Chanel, and Balmain put their model's enormous chokers around their necks or look at the TV anchors. This fall, massive Jewelry is en vogue as it was in the ’80s.

MUGLER defends a disruptive, avant-garde approach to the world through the prism of Monsieur Mugler’s imagination, influenced by culture. The MUGLER jewelry experience offers everyone the pleasure of transforming themselves, the giddiness of transcending themselves, the power of shaping their image. In both fashion and Jewelry, MUGLER unsettles, inspires, and accomplishes, reconciling the demands of the extraordinary with the surprise of the outrageous.

But reactions to Mugler’s fashion have not always been so light-hearted. Feminists have branded him a misogynist, who turns women into sex objects. Others have accused him of adhering to a Fascist aesthetic. “I want my models to be bigger, stronger, and taller than common mortals,” he once said. “I need superwomen and supermen.” His photos show a preference for monumental sculpture and a world in which buildings or elements of nature dwarf human forms. And Mugler does nothing to dispel any links with Fascist art. Instead, he cites Hitler’s filmmaker, Leni Riefenstahl, as one of his “heroes in real life.” For him, she is “a true artist … who brought an enormous contribution to the development of cinematographic technique.”

Whatever the prevailing trend in fashion, Mugler has retained his vision. “All the top designers fling themselves at every fashion magazine in existence to see what is going on elsewhere and to spot trends,” says Francois Baudot. “Thierry doesn’t look at them. He is in his world, and his obsessions are always the same.”

Whatever the persona, however, Mugler always seems to go to extremes. “When he goes swimming, he’ll swim for miles.” “When he goes on trips, it’s always to somewhere quite extreme – to an immense desert of Greenland.” He also regularly disappears without leaving his close business partners a means of contacting him. He now spends six months of the year in New York, and Paris has a house near the Buttes Chaumont park. As he does not like furniture, it is practically empty.

In the past, Mugler has been compared to Peter Pan, and he seemed thoroughly delighted about this. “Yes, I like that. It’s true that I had a period when I dressed like Peter Pan in tights and the same sort of shoes. I like his naivety, his ability to fly away, and to be free”.

In jewellery fashion the sophistication of the 1980s is back. Bangles, necklaces, rings reach size XXL. 

MUGLER JEWELRY DISRUPTIVE, AVANT-GARDE APPROACH

As we are all more than well aware, it’s Spring. With that comes many chances to be seen. If you have the right things to pull from your closet, the whole experience can be a breeze. Here are some suggestions that we love for the month ahead. Buy new, or use these suggestions to look at your wardrobe with fresh eyes.

Spring is obviously one of the best seasons. There are lots of excuses for eating cheese and chocolate and plenty of opportunities for drinking wine. Getting dressed is getting more complex as the days get even shorter and shorter. It’s the season when you have to adjust to the temperature, and the phrase “I don’t know why I feel so tired” is uttered by every colleague in every office all over Los Angeles.

To help you be able to roll out of bed that little bit easier, it would be good to have a bank of super chic but simple outfits to have on hand, so there’s one less thing to think about. These looks are more for the times when you’re going to work, meeting friends for brunch, or just going out for a walk. Keep scrolling for the best outfits to wear during Spring.

The long parade of more than 100 fashion shows during the spring 2020 season, which took place a few months ago, has finally come to market. The first order of business is discerning the most impactful trends of the season—from artisanal crochet and graphic polka dots to a look at decades past via disco collars and ’60s wallpaper prints, couture feathers, hot pants, bold neons, and many more. See which designers led the pack for each new mode before you give your wardrobe a refresh. Welcome to what’s now.

And just like that disco’s not dead. The wide collar favored by the Studio 54 set made a surprise comeback on the Spring 2020 runways. Modernized on coats, jackets, and button-downs at Lanvin, Ferragamo, JW Anderson, and beyond, the look is often shown with contrasting colors to make it stand out. Because what’s the point of a super collar if you can’t really see it?

Crochet is getting a cool update come Spring. Think ultra-feminine dresses, polished suiting, and eveningwear that feels modern with a special touch of Grandma’s handmade crochet. As the fashion industry looks for ways to become more sustainable, there’s something special about a “trend” that embraces a slow, handmade technique that can be passed down generation after generation—à la that treasured family heirloom that lasts forever.

Who wears short shorts? A lot of us. Hot pants staged a triumphant comeback on the Spring 2020 runways—from itty bitty knit shorts at Hermès and Ferragamo to denim cutoffs at Rag & Bone and spandex at Brandon Maxwell. For those who’d rather ease into Daisy Duke status, Chanel styled the look with black tights.

Here are some suggestions that we love for the month ahead. Buy new, or use these suggestions to look at your wardrobe with fresh eyes.

FIVE PERFECT OUTFITS TO WEAR THIS DECEMBER

Khalid bin Sultan Al Qasimi (6 April 1980 in Sharjah – 1 July 2019 in London), known professionally as Khalid Al Qasimi, was an Emirati fashion designer in London who founded the Qasimi fashion label. He was the second son of Sultan Bin Muhammad Al-Qasimi, who has been the ruler of the Emirate of Sharjah since 1972. He died after a sex-drug and cocaine binge at his luxury Knightsbridge flat.

A fashion designer died as a result of drug poisoning after taking the drugs GHB and cocaine, an inquest has heard.

The coroner Bernard Richmond QC said a post-mortem report by Dr. Michael Osborn had confirmed that the cause of death was drug-related.

“I am satisfied that Khalid Al Qasimi, aged 39, met his death when he was in his flat sometime between when Yohan left him on 30 June at 9 pm and when he was found by his cleaning lady the next day at 10.05 am,” Richmond said, according to the Mirror.

“It is plain from what I heard there is no suggestion of any third-party involvement or anything untoward being done by anybody else. It is quite clear from the detective I spoke with that the last person who saw him, Yohan, was spoken to and had explained they had been taking strong GHB and cocaine.

“There was nothing else that would account for his death, and he was found in the same place as Yohan had left him.”

Al Qasimi, the owner of British-based fashion label Qasimi Homme, had taken high levels of GHB and a recreational amount of cocaine, the toxicology report confirmed.

Relatives of the prince were reportedly not present. Still, his cleaner Maria Kisaohanyan – who had let herself into the apartment and found him sitting on the floor by a sofa, before raising the alarm – paid tribute to him.

“He was full of life, on top of his career and top of the world, very open-minded and very clever,” she told the court.

Khalid bin Sultan Al Qasimi, known professionally as Khalid Al Qasimi, was an Emirati fashion designer in London.

FASHION DESIGNER KHALID AL QASIMI DIED OF DRUG POISONING

What they’ve done is a capsule collection with Noah, integrating some of the band’s swaggeringly melancholic visuals onto outerwear, T-shirts, scarves, and also the most pristine pair of New Wave shoes, made with Noah collaborator Solovair. The collection borrows heavily from the iconography and music videos produced for their 1990 album Violator, which was the band’s seventh but also a smash breakthrough into mainstream popularity, with “Personal Jesus,” “Enjoy the Silence,” “Policy of Truth,” and “World in My Eyes” as its four singles. “Violator was the album that catapulted them into superstardom,” Babenzien said—a record that was moody and baroque but also massively successful.

The Depeche Mode collection includes graphics created by Noah, like “PERSONAL JESUS” inscribed in a cross, and stills from the band’s hypnotizing music videos. By the Dutch music video director Anton Corbijn, a longtime collaborator with the band who infused their music with visuals worthy of a fantasia Italian Vogue spread. “We really strove to capture how visual they are as a band,” Babenzien said. The capsule also features the Depeche Mode rose, perhaps the group’s most potent symbol, on a black plaid shirt, a varsity jacket, and more.

Perhaps the most surprising piece in the collection is a pair of single-buckle monk strap shoes based on a pair of Doc Martens Babenzien had during the late ’80s and early ’90s. “The buckles, to me, just felt indicative of the time,” Babenzien said. “It felt like when I was a teenager, and there was hardware on the things I was into, and my friends were into.” As a piece in the capsule, “it’s super subtle,” a staple of New Wave style as interpreted by the British manufacturer Solovair, the go-to footwear for English counterculture cognoscenti. To paraphrase the boys themselves, all you ever wanted, all you ever needed.

Noah is an American men’s clothing brand founded by Brendon Babenzien, based out of its flagship store on 195 Mulberry St. in Soho, New York City. Brendon’s free-thinking vision has long been at the heart of the movement merging the rebellious vitality of skate, surf, and music cultures with an innovative appreciation of classic menswear. Noah was created to realize this vision fully in the uncompromising pursuit of quality, integrity, and originality.

As a brand, Noah seeks to take a stand against many of the appalling practices of the fashion industry. Our clothes are made in countries, mills, and factories where tradition, expertise, and human dignity take precedence over the bottom line. We donate portions of our profits to causes we believe in. We speak out on issues we find important, and try to help give voice to the people and organizations we care about. We do this humbly, but with a firm belief that a responsible brand is a healthy one, that putting our values on the line pushes us to do our best.

The interests and influences that inspire our clothing fall under a large, inclusive, cross-generational umbrella. Our ideas come as much from the possibilities we see in fabrics and designs as our commitment to living active, engaged lifestyles. We believe in doing things our own way, with conviction, according to principles, we determine ourselves. That’s the definition of punk rock to us, and we’re interested in the endless ways people from all walks of life manifest this attitude. We invite you to join us, both in our flagship store and online, and tell us how you do it.

The collection borrows heavily from the iconography and music videos produced for their 1990 album Violator

NOAH AND DEPECHE MODE MADE THE ULTIMATE SYNTH-POP WARDROBE

To the average Joe, RICK OWENS pieces are probably head-scratching in their goth-tinged high fashion-ness, but to stylish guys like A$AP Rocky, the designer’s dark, drapey, asymmetrical designs are just damn cool. Owens himself is the living embodiment of his aesthetic, living in a museum of super-stark brutalist furniture, married to his grill-wearing muse Michele Lamy. Even works out (the guy is jacked) in his longline tank tops and drop-crotch shorts. But back in 2008, before his label became the leather-jacket-selling powerhouse it is today ($120- million-dollars-a-year powerhouse, to be exact) Owens launched his “Geobasket” sneaker that Nike thought had more than a few similarities to a certain silhouette of theirs. In fact, the fashion-forward starting called the sneakers by their Nike name: Dunks. In response, the mega-brand reacted the way you might expect, with a cease and desist order. The sneakers were taken off the market, but not before being snatched up by Owens's disciples and sneakerheads alike. So in pure grail form, there are only a finite number of pairs out there. It also means that to get one of your own, you’re going to have to pay anywhere between $800 and $2,500, depending on the condition and colorway. But a grail isn’t a grail if it’s that easy to cop, right?

Don’t get us wrong: minimal white sneakers have a time and place in every closet, but we’re partial to wearing Rick Owens sneakers whenever possible. They’re comfy, they’re cool, and they’re directional (we’re talking chunky rubber soles and seriously oversized tongues). These statement low and high-tops subvert any expectations of what sneakers should be. The Geobasket and Techbasket silhouettes are the brand’s most iconic styles and should be worn with drop-crotch sweatpants or skinny jeans. Focusing on clean designs with a distinct modern edge, the Geobasket is designed with Owens’ love for exaggerated proportions. Constructed with full leather uppers and a full leather lining, they sit on top of a built-up sole unit with an extended toe box and a high stance tongue.

Southern Californian Rick Owens began designing after a two-year stint in pattern cutting school in Los Angeles, where he founded his namesake line in 1994 and remained largely under the radar, with a small but dedicated following in the underground glam rock and grunge communities who prized his slim-fitting leather jackets and destroyed jersey knits. The fashion industry eventually took note of his ability to marry a gothic, distressed sensibility with couture-like sophistication, and in 2001 Owens moved production of his line to Italy and relocated to Paris. With his partner Michèle Lamy, he conceives of collections that marry Classical influences to Brutalist design and an ascetic tribalism. Asymmetrical tunics, sarouel shorts and trousers, elongated t-shirts, and Owens’ signature Geobasket sneakers and frequent collaborations with Adidas present a powerful conception of masculinity at once ancient and futuristic, priestly and profane.

To the average Joe, RICK OWENS pieces are probably head-scratching in their goth-tinged high fashion-ness

Beardsley was a young aesthete with a literary imagination. In his short career—he died at the age of 25—he illustrated many of the works of Edgar Allan Poe, the forefather of the American Gothic. Beardsley also famously illustrated Oscar Wilde’s infamous drama, Salome in 1893, to the surprise of its author, who later inscribed an illustrated copy with the words, “For the only artist who, besides myself, knows what the Dance of the Seven Veils is, and can see that invisible dance.” Beardsley’s drawings first appeared in an art magazine called The Studio, then the following year in an English publication of the text.

Beardsley and Wilde’s joint creation embraced the macabre and flaunted Victorian sexual norms. After an abrupt cancellation of Salome’s planned opening in England, the illustrated edition introduced British readers to the play’s unsettling themes. The British Library quotes critic Peter Raby, who argues, “Beardsley gave the text its first true public and modern performance, placing it firmly within the 1890s – a disturbing framework for the dark elements of cruelty and eroticism, and of the deliberate ambiguity and blurring of gender, which he released from Wilde’s play as though he were opening Pandora’s box.”

Wilde’s play was ostensibly banned for its portrayal of Biblical characters, prohibited on stage at the time. Furthermore, it “struck a nerve,” writes Yelena Primorac at Victorian Web, with its “portrayal of a woman in extreme opposition to the traditional notion of virtuous, pure, clean and asexual womanhood the Victorians felt comfortable living with.” Wilde was at first concerned that the illustrations, with their suggestively posed figures and frankly sexual and violent images, would “reduce the text to the role of ‘illustrating Aubrey’s illustrations.’”

In December 1896, Beardsley suffered a violent hemorrhage, leaving him in precarious health. By April 1897, a month after his conversion to Roman Catholicism, his deteriorating health prompted a move to the French Riviera. There he died a year later, on 16 March 1898, of tuberculosis at the Cosmopolitan Hotel in Menton, France, attended by his mother and sister. He was 25 years old. Following a Requiem Mass in Menton Cathedral the following day, his remains were interred in the Cimetiere du Trabuquet.

In the 1982 BBC Playhouse drama Aubrey, written by John Selwyn Gilbert, Beardsley was portrayed by actor John Dicks. The drama concerned Beardsley’s life from the time of Oscar Wilde’s arrest in April 1895, which resulted in Beardsley losing his position at The Yellow Book, to his death from tuberculosis in 1898. Beardsley is also featured on the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

A BBC documentary, Beardsley and his Work, was made in 1982. For Beardsley’s centenary in 1972, Sussex University student Titus Alexander wrote a one-man play, The Legend and True History of Aubrey Beardsley, produced by Alan Smith and performed by Christopher Pope at the Brighton and Edinburgh Festival fringes.

Beardsley was a public as well as private eccentric. He said, “I have one aim— the grotesque. If I am not grotesque, I am nothing.” Wilde said he had “a face like a silver hatchet and grass green hair.” Beardsley was meticulous about his attire: dove-grey suits, hats, ties, yellow gloves. He would appear at his publisher’s in a morning coat and court shoes.

Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. Speculation about his sexuality includes rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.

Beardsley was a young aesthete with a literary imagination.

OSCAR WILDE’S PLAY SALOME ILLUSTRATED BY AUBREY BEARDSLEY IN A STRIKING MODERN AESTHETIC (1894)

Demna Gvasalia is widely credited with popularizing blown-up proportions anew — to the point where Frankenstein shoulders and sleeves dangling past the fingertips invaded runways in all fashion capitals in recent years, not to mention the high street.

“Oversize, it’s my territory,” he said. “I definitely intend to defend what is my design territory.”

Big clothes are part of his personal fashion lore. Growing up poor in Soviet-era Georgia, he wore hand-me-downs from cousins who were five or six years older than him. New clothes were purchased in larger sizes to grow into. Hence, Gvasalia is like a fish out of water when he isn’t swimming in his clothes.

And that’s why he feels so at home in the house Cristóbal Balenciaga first opened in 1937 and helmed until his retirement in 1968. Among the most famous designs of the late Spanish-French couturier, prized for his spare and sculptural designs, are the cocoon coat, bubble skirt, and semi-fit jacket.

“He worked on volumes first and foremost, and not decoration,” said Gvasalia, who in an early collection for Balenciaga transposed the flaring back of the semi-fit jacket into a black sweatshirt. “What I found at Balenciaga was kind of a gift for me. I found Cristóbal Balenciaga’s approach to volume was so perfectly suitable for me with my personal taste for volume.”

Born in Georgia, in 1981, to a Georgian Orthodox Christian family, Gvasalia fled when he was 12, during the country’s violent civil war, and went on to live in Düsseldorf from 2001 onwards.

Gvasalia studied international economics for four years at Tbilisi State University and later attended the Royal Academy of Fine Arts in Antwerp, where he graduated with a Master’s Degree in Fashion Design in 2006.

In 2006, Gvasalia collaborated with Walter van Beirendonck on his men’s collections.

In 2009, Gvasalia joined Maison Martin Margiela, where he was responsible for women’s collections until 2013. In 2013, he was appointed senior designer of women’s ready-to-wear collections at Louis Vuitton, initially under Marc Jacobs and briefly under Nicolas Ghesquière.

Together with his brother Guram, Gvasalia launched the brand Vetements in 2014, along with a small group of friends, displaying their work in small gay clubs in Paris. Gvasalia has said that his original purpose with the brand was to subvert the high fashion status quo. Vetements’ first women’s ready-to-wear collection was presented at Paris Fashion Week in 2014.

In 2015, Gvasalia became the creative director of Balenciaga, succeeding in Alexander Wang.

In 2019, Gvasalia left Vetements to pursue new artistic ventures, having accomplished his goals with the company, telling Highsnobiety that he had “accomplished his mission of a conceptualist and design innovator.”

Gvasalia developed a unique style as his company, Vetements, grew in size and popularity. Much of Gvasalia’s approach still stems from his initial purpose of creating subversive fashion. Collections such as Fall/Winter 2017 included design inspired by archetypes, diverging from the typical haute couture method of radical redesign and avant-garde appearance. Other common themes include baggy, loose-fitting clothing, and street-style jackets.

Gvasalia won the International Award for Vetements and Balenciaga at the CFDA Fashion Awards in 2017. He also won the Accessories Designer of the Year award at the Fashion Awards 2018.

“Oversize, it’s my territory,” he said. “I definitely intend to defend what is my design territory.” 

BALENCIAGA’S GVASALIA: OVERSIZE, IT’S MY TERRITORY

Kering has made a commitment that the group’s Houses will only hire models aged over 18 to represent adults at their fashion shows and photo sessions, as of 2020 (fall-winter 2020/2021 fashion shows).

“As a global Luxury group, we are conscious of the influence exerted on younger generations in particular by the images produced by our Houses. We believe that we have a responsibility to put forward the best possible practices in the Luxury sector, and we hope to create a movement that will encourage others to follow suit,” declared François-Henri Pinault, Chairman and Chief Executive Officer of Kering.

The charter on the working relations and well-being of models drawn up by Kering and LVMH in 2017 has already led to progress in the Luxury sector, notably by introducing a minimum age of 16 for models. This new step signals further growth in Kering’s continued commitment to women. “In our view, the physiological and psychological maturity of models aged over 18 seems more appropriate to the rhythm and demands that are involved in this profession. We are also aware of the role-model element that images produced by our Houses can represent for certain groups of people,” declared Marie-Claire Daveu, Chief Sustainability Officer and Head of International Institutional Affairs at Kering.

In September 2017, Kering and LVMH published a charter on the working relations and well-being of models. Its principal commitments included:

• The obligation to work only with models in possession of a valid medical certificate, issued within the previous six months and certifying their good health

• The banning of size 32 for women and size 34 for men from casting requirements

• Minimum age of 16 for models representing adults

• The application of specific rules for the working conditions of models aged 16 to 18

• The option for models to make a direct complaint in the case of a dispute with a model agency, a casting director or a brand

• The introduction of numerous advances in working conditions, such as access to a “reserved area” where they can change conveniently and the availability of food and drink that are suited to their dietary needs.

Kering S. A. is a French multinational corporation and conglomerate headquartered in Paris, France, specializing in luxury goods such as jewelry, watches, designer bags, shoes, and clothing. The luxury brands owned by the group include Gucci, Yves Saint Laurent, Balenciaga, Alexander McQueen, Bottega Veneta, Boucheron, Brioni, Pomellato, and Ulysse Nardin.

The company was founded in 1963 by François Pinault. Pinault S.A. was quoted on Euronext Paris in 1988 and has been a constituent of the CAC 40 index since 1995. It changed its name to Pinault-Printemps-Redoute (PPR) in 1994 before adopting its current name in 2014. François-Henri Pinault has been Chairman and CEO of the group since 2005.

The Kering Foundation is committed to defending women’s dignity and rights by combating violence against women and promoting women’s empowerment. Since 2009, the Foundation initiated 47 partnerships with NGOs and supported many social projects oriented towards women’s rights. Many brands have philanthropic projects with the support of the Kering Foundation. Gucci launched its project Chime for Change, an international campaign to raise funds for women’s emancipation, focusing on education, health, and justice. Every year since 2012, the Kering Foundation has contributed to the International Day for the Elimination of Violence against Women with the White Ribbon for Women campaign. The 2018 campaign focused on gender-based cyberbullying. In 2019, for its 10th anniversary, the annual budget of the Foundation was doubled to $2 million.

KERING COMMITS TO WORKING ONLY WITH MODELS AGED OVER 18

Proenza Schouler launched its first handbag collection in 2008, including the PS1, a classic satchel that embodies a sense of wearable luxury that has become the brand’s signature.

First released in 2009, the PS1 is a house signature with its relaxed silhouette inspired by traditional workwear satchels. Emphasizing craftsmanship and ease of wear, the PS1 lineup is crafted in soft lambskin or suede and is available in a range of sizes and colors.

Exploring design techniques and pushing the boundaries of fashion since 2002, New York-based brand Proenza Schouler produces unique yet effortless collections season after season. With a cult following and global recognition, Proenza Schouler’s shoulder bags are sought-after around the world. The PS1 satchel quickly became an It bag with iterations appearing every season, while the Courier, Prospect, and PS11 silhouettes have been just as popular.

Launched in 2002 as a senior thesis project, Proenza Schouler has taken luxury fashion by storm. Child of design duo Jack McCollough and Lazaro Hernandez, the label blends youthful, contemporary styling with savvy grown-up flair. Laying claim to one of the hottest standout lines, the New York-based duo has gained a following that includes influential editor-in-chief of Vogue, Anna Wintour. Winner of five CFDA awards and declared a must-have label by bloggers and fashionistas, Proenza Schouler is the ‘It’ girl’s a guilty pleasure. Trendsetting and modern, Proenza Schouler is the label behind the sought-after PS1 and PS11 satchel. Structured and hard-working, both bags feature a minimal design that has an anonymous-meets-cool feel.

A classic satchel that embodies a sense of wearable luxury that has become the brand’s signature. 

With diamond-decked teeth, fingers stained black, Paris-based Michèle Lamy is truly one of fashion’s most revered eccentrics. Entrepreneur, collaborator, producer, wife, and business partner to Rick Owens, she has given life to one of the industry’s most celebrated labels alongside countless collaborations and a Gareth Pugh partnership – all while prevailing as a gothic fashion legend in her own right.

Her teenage years in Paris informed her identity. In the late 60s, during the height of the Parisian students’ unrest, when Michèle was moonlighting as a stripper and working as a defense attorney simultaneously, she found her clan. “At 18, I didn’t look so different from now,” she pauses. “I was hanging out with transvestites like my friend Hélène Hazera but also being inspired by Marlene Dietrich and Jean-Luc Godard, and movies like Pierrot le Fou. They pushed me to do my own thing.”

Lamy is the perfect partner for Owens’s erudite humor. His nickname for her is Hun, as in Atilla. She was born in Jura, France, and refers to her family as mountain folk. She’s very vague about her background. During the 60s and 70s, she worked as a defense lawyer, while studying with the postmodern philosopher Gilles Deleuze. She then worked as a cabaret dancer and toured France before moving to America in 1979.

At the 2016 Venice Biennale, Lamy transformed an old container ship into a floating saloon. The same year, she recorded songs with her good friend, rapper A$AP Rocky. Rocky said about Lamy, “Hardly anyone knows how important you have been behind the scenes for my career. You did not just design my album covers; you took me to art fairs and showed me the art world.”

In 2017, Lamy and Rick Owens were featured in Lou Stoppard’s book about fashion’s most important and iconic duos, titled Fashion Together: Fashion’s Most Extraordinary Duos on the Art of Collaboration. In the book, Owens said that Lamy was more his “mate” than “muse.” And, “I don’t think anyone would ever think of Michèle as a passive muse. I think that’s why she sparks people’s interest—because she doesn’t fit the typical role of a muse.”

Lamy has practiced boxing for 35 years. In 2018, she set up her own boxing gym “Lamyland” in Selfridges, London. The space previously was home to A$AP Rocky’s AWGE Bodega. It is now reinvented every few months. In October 2018, Lamy curated a performance series featuring a tour of “Outsider Art Fair Paris” by British performance artist David Hoyle.

In January 2019, Lamy held an installation art “Genius You” in collaboration with Dutch photographer Paul Kooiker, taking place all around Selfridges, London. From May to November 2019, her boxing installation: “What Are We Fighting For?”, had been shown in Venice Biennale.

Lamy said about her approach to fashion and design, “I like to really be with a lot of people and exchange ideas, and the best way to be is to do something together, so I’m easily seduced… And when it’s the idea, or I want to lead a bunch of people somewhere and do something together, I think that’s generous.”

She has given life to one of the industry’s most celebrated labels alongside countless collaborations.

MICHÈLE LAMY: CLOTHING DESIGNER, PERFORMER, FILM PRODUCER, AND RESTAURATEUR

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