Literature and mostly cinema must have forgotten Lewis Carrol second book, “Through the Looking-Glass” the sequel of “Alice’s Adventures in Wonderland”. Nothing looks more contemporary. Female narcisism is its first inspiration in which he places an observation: the mirror makes you dream, it breaks the spatial-temporal limit moving us inside a Magritte-esque world, in a reformed continuum. The mirror is an I-D-O-L of our times and it represents the door to get through and travel in the most hidden corners of our “I”. It’s always the same mechanism capturing our attention, that is the Kantian possibility to pass our bounds: to fly, to love after death, to remain always young… The searching of the white rabbit in the novel was initially given only as a pretext!
Photography ALBERTO PELLEGRINET
Realization ALESSIO NESI
Solid Perfume Daisy MARC JACOBS
Spectacular Extension Mascara HELENA RUBINSTEIN
Opulent Shimmer Powder ESTÉE LAUDER
Eau de Parfum Idole GIORGIO ARMANI
Color Fever Gloss LANCÔME
Some iconographic objects express the individual identities such as essences do, telling the history of whom they dress. They trace portraits, they unveil secrets. The woman using perfume just become another woman. She’s experimenting the thrill of hiding and then inviting the man into a slight game: which secret lies beyond that scent cloud? The perfume choice underlines the perceptible personality of the subject, disclosing the unknown side of the person wearing that scent. Here the female aesthetic investigation expresses a long for narcisism. Even so, as Charles Baudelaire wrote in his Le Peintre de la Vie Moderne: “La femme est bien dans son droit, et même elle accomplit une espèce de devoir en s’appliquant à paraître magique et surnaturelle; il faut qu’elle étonne, qu’elle charme; idole, elle doit se dorer pour être adorée. Elle doit donc emprunter à tous les arts les moyens de s’élever au-dessus de la nature pour mieux subjuguer les c’urs et frapper les esprits. Il importe fort peu que la ruse et l’artifice soient connus de tous, si le succès en est certain et l’effet toujours irrésistible.”
Photography ALBERTO PELLEGRINET
Realization ALESSIO NESI
From Left: Eau de Parfum Idole GIORGIO ARMANI. Eau de Parfum Black Orchid TOM FORD. Eau de Tolilette 3 L’Impératrice D&G. Mascara Hypnôse Drama LANCÔME. Massage Musk DIOR PRESTIGE. SUPREMŸA SISLEY. Cellular Treatment Gold Illusion Line Filler LAPRAIRIE. The Lipliner 5 Fire DOLCE & GABBANA. The Lipliner 6 Platinum DOLCE & GABBANA. Eau de Tolilette Hypnotic Poison DIOR. Nail Colour 499 Gondola CHANEL. Lipstick 57 Cinnamon ESTÉE LAUDER. Lipstick Fire Y.S.L.
Photography ALBERTO PELLEGRINET
Realization ALESSIO NESI
From Left: Glorious Skin COMFORT ZONE. Hydratant Bonne Mine L’HOMME YVES SAINT LAURENT. Rénergy 3D Yeux LANCÔME MEN. Eau de Toilette Gucci by GUCCI pour Homme. Eau de Toilette FERRÉ. Sunglasses TOM FORD.
In 1994, while the end of the eighties was officialy enacted, Corinne Day was shooting a young Kate Moss for British Vogue magazine. In a time ruled by “über-models” – such as Nadia Auermann, Cyndy Crowford, Eva Herzigova and Naomi Campbell – Kate Moss was the perfect nineties embodiment of the teenage’s rage for the older generations: kind of whacky-corrupted youth banner, anorexic and heroin-chic. The popularuty of the young girl from London suburbs, that ephebic and diaphanous aesthetic novel, was automatically reflecting on the male side. Charley Speed, Kris Kramer, Scott Bernhill and the Italian Luca Fedrizzi were only the first ones leading a bony and punky looking models army. Through the clothes silhouette transformation, a new aesthetic course was born in early nineties: the garment was dressing a sharp contemporary cut while becoming clean in the shape. The silhouette thus becomes an instrument for a certain target identity exploration, the size of the persuasion power of a new style acting through volumes and proportions, the unit of measurement to read a pictures inventary that already turned into a semiotic system: a fifteen years visive condensed tale that points out the crucial passages leading to male outiline thinning process, through life style, status and subjective conditions.
Between 1995 and 2000 fashion gets into a weird atmosphere characterized by fragmented and overlapping trends: minimalism hypocrisy, London’s underground subculture functionalism, Prada’s sport, avant-garde conceptual fashion and retrò revisionism. Some young designers begin to distinguish from the others by following different views. Costume National’s designer Ennio Capasa, Helmut Lang, Carol Christian Poell, Raf Simons and Hedi Slimane melt down different languages inspired by musical icons references: 60s and 70s rock stars, The Velvet Underground, Berliner David Bowie in ’76 The Man Who Fell to Earth and Sid Vicious from the 77’s punk scene. So do many others inspirations like the idea of ethereal beauty coming from the literaly and cinematic imaginary born with Larry Clark’s lost guys, Pier Paolo Pasolini’s “Ragazzi di Vita”, young Tadzio from Luchino Visconti’s movie Death in Venice, the eccentric-dandy style of Michael Jackson in 85’s video We Are The World, the weightless and zippy Rimbaud’s body as Verlaine traced in his drawings, or Delacroix’s dandy silhouette. The attention on the garment moves from the outside to the inside during the nineties: it goes from the subject to the way the subject perceives itself inside that specific dress. Since fashion revolution is a centrimetres matter, blazer’s cuts gradually start to make the waist thinner, in anticipation of reduced size models like in ‘94-‘95 Ennio Capasa’s collections. Helmut Lang is crowned as the standard-bearer of a bare minimalism during this years. The legendary Carol Christian Poell likes to play with leather jackets reducing waist sizes in turn and using transparent tulle sweaters above white shirts, as an attempt to show off slimness, then emphasizing on the importance of the shoulders to ensure the outline uprightness. Suburban and subcultural movements of an unsettled youth are the overriding signs coming from Raf Simons and Hedi Slimane’s investigation. Slimane is the one who will give the propelling impetus to the new male silhouette, thus becoming a sign of the first decade of the 2000, through Yves Saint Laurent’s male collections. The excellent execution of the YSL A/W 00-01 collection shows in particular this silhouette advance, by mixing in an unique formula the teenage androgyny with dandyism, in a deeply existencial poetic with some tastes of rock. At the beginning of the century the only idea that ruled was the success of a young body, rangy as an horse-jockey, one of a neutral and wiry beauty, with an undisciplined and painfull boldness. The kind of boldness coming from these under-21 year old model guys, catched in the middle of nowhere, with no continuity solutions supplied.
Dior Homme by HEDI SLIMANE – Solitaire – F-W- 2001-2002 – ph R. Avedon
REMOVAL AND SYNTHESIS
Silhouette fashion trend radically evolves in the first five years of the decade.While Helmut Lang sells his brand to Patrizio Bertelli and briefly disappear from the scene leaving nostalgic trails of his style, in A/W 04-05 show, Chanel’s creative director Karl Lagerfeld, immediately inspired by the iconic shot of Mademoiselle Coco hooked on his friend, both dressed with theirs fiancés’ clothes, wanted a young model boy to dress some female collection items. Lagerfeld demonstrates two basic points to take into account: “unisex” is a misleading, anachronistic expression belonging to the last century; the androgyny concept is evoking only a sort of Lolita with a gamine, playful complex. He adds: “Some men – and I should say, boys – could wear some of these clothes just as they wear lots of things today, which have abandoned the frontiers between menswear and womenswear.” (from Chanel’s press release “Sens Unique”, Pret-a Porter A/W 2004-2005). French fashion dean reset the unisex concept, evolving the induvidual up to pure shape, just like Roland Barthes predicted in the sixties: “the body is pure shape that doesn’t allow any predicate, and for a sort of tautology refers to the garment in itself: the item doesn’t have to mean a rounded body, slender or tiny, but only through this absolut body, it can mean itself in its generalities.” (R. Barthes, Système de la Mode, Paris 1967; trad. it. Torino 1970, pp. 260-261). The silhouette dressing this clothes evolves in an invisible and ascetic extent. In the pure shape, it acquires gods beings and provides symbolic phantom material to overcome the meaning of the image realting to itself. Through the silhouette sharpening process, the final dissolution of the body as a permament entity, as a gothic vertical line is finally settled. While the investigation on the shape follows removal and synthesis principles, the sartorial cut becomes sharp-edged and rational. The male aesthetism in action foresees a taste on the particular: jackects become smaller, slim pants barely graze the ankles, then the ties, papillon, tiepins and that shoulder-bag which belonged to the female legacy for years, they finally re-acquire a belonged daily ritual, for the young and the old generations.
In an absolute prissiness atmosphere, during the last five years of the period we’re taking into account, everything appears elegant, silent and measured, as the already severe and essential body outline is now identified with a detached purism DNA. Hedi Slimane slided into photography around 2007 when he left Maison Dior, but the phantom of his work was present more than ever in many collections as an uniformity of “style”, above fragmented trends lacking pathos able to provoke some easy and superficial enthusiasms: stained and crumpled wovens, geometric shapes, retrò futurisms, athletic-shaped minimalism, dandy gangster, romantic noir, excentric traveller and then exotisms, country, rocker-chic, classical… well, one for each taste. Costume National, Marni, Giuliano Fujiwara, Jil Sander, Lanvin, Neil Barrett, Prada, Gucci, Tom Ford, Moschino, Raf Simons, Calvin Klein, Trussardi, Gareth Pugh and Etro have in common the severity on proportions for a graphic and neat silhouette, composed by layers of stratifications and inlays, with contrasted colors on trousers, shirts, coats. A perceptible sign of changing on the outline is what appeared most in the last male collections from Costume National, Giuliano Fujiwara, Jil Sander designed by Raf Simons -his personal line included-, Lanvin, Neil Barrett, Prada and Trussardi, above all. Starting from the next Spring/Summer 2010 collections, these designers are pointing out, but in a slithly detectable way, the willing to abandone the stricht sartorial schemes in order to embrace a more essential lifestyle, composed by soft volumes, made fluid to please relaxed postures. The horse-jockey-body model is now confirmed. The next thing for this right future is a deep investigation devoted to details and to tailoring, which is always the good quality distinctive hallmark.
BEING A DANDY TODAY
The images inventory narrates the linguistic invention, as well as the production and the starting of a closed and aside world, which is infinitely reproducible, strictly neat and tidy, but still in his theatrical acceptation. It describes a uniform, a kind of lifestyle concerning an individualism and narcissism culture, both locked to the official beauty effects: it’s the new form of dandyism happening right now. Under the inspiration that leads to aesthetic perfection, the taking of a rigorous “Ego” is going through fashion but also through the cosmetic industry, which commits its strategies to the conservation of the body and prevention on time. The conservation of the perfect body image through the youth ostentation, better known as the Dorian Gray Syndrome, keeps its intentions on the preservation of the aesthetic and moral integrity, in a constant fight between body and soul. Within this target, there are no homogenized images erasing etnical or personal differences, as the variety of faces doesn’t represent any stereotipe. The only concern is converting the body image into an enlightened entity, one higher and more spiritual, that becomes a legendary and transparent narrating object. A body that’s showing off, it’s polished and perfectly overexposed not only in the outfit. The use of cosmetics is now allowed to everybody, so as to let fade away the fear of looking feminine common in most men, who in turn enhance their consumption in many careful even pathological choises. Therefore, the products convey the synthoms for the preservation of the body look in a young and spiritual silhouette also in cosmetology. The new “way of life” of European market are cosmeceuticals, which represent the marriage of cosmetics and pharmaceuticals and have been gaining efficancy between 2005 and 2007 through medical expertise. Dr. Brandt, SkinCeuticals, Ré-Vive, Zelens Cream, Crème de la Mer, Lab Series, Lancôme Men, Dior Homme Dermo Sistem – the last born-, L’Homme di Yves Saint Laurent, are all dermo-professional hi-tech series, better known for their scientific and medical approach giving back a smooth and luminous complexion. Male cosmesis is pushed towards an extremely high technological direction. According to Dominique Leguay, beauty trends specialist at the Parisian agency “Alchimie”, in the very next future we’ll be able to study our DNA to create some ad-hoc treatments for individuals and families, a sort of genealogical skin cream tailored on the tribe genome. However cosmetic products for men must be quick to apply but still high-performing. The Dorian Gray Syndrome is an expanded pathology of normality in which some exasperated features of contemporary culture release: the time obsession, the decline of the recreational spirit, the exhibition and the sacrifice on ourselves that must be on a level with the public role we’ve chosen. Dandyism is the mean by which the Ego is metaphorically reflecting itself in the external world, it’s relating to it tracing narcissims principles. Paradoxically the dandyism, that seems to mock the positive community values, should be proposed as the only protector of the authentical ones against the world that has been losing any memories of them and will be falling soon into the night.
Helmut Lang F-W 2004/2005
Dior Homme by Hedi Slimane S-S 2005
Jil Sander S-S 2007
Marni F-W 2007/2008
Fendi F-W 2007/2008
Prada F-W 2008/2009
Neil Barrett S-S 2009
Prada F-W 2009/2010
Neil Barrett F-W 2009/2010
Moschino F-W 2009/2010
Dior Homme by Kris Van Assche F-W 2009/2010
Moschino S-S 2010
Marni S-S 2010
Dior Homme by Kris Van Assche S-S 2010
Prada S-S 2010
On the occasion of Pitti Immagine Uomo 77th Edition, Florence, the Costume Gallery, Palazzo Pitti, will be the perfect location to celebrate the official launch of the book “Walter Albini and his times. All power to the imagination” (Collana Mode, Edizioni Fondazione Pitti Discovery, Marsilio Editori, pp225), on January 12th – 6/8 pm. The book is a Pitti Discovery Foundation project, edited and curated by Maria Luisa Frisa and Stefano Tonchi, who have been tracing Walter Albini’s work through pictures, videos and original materials from his years. It reconstructs a period that lived the establishment of fashion as basic element in representing contemporary society and culture and the definitive decline of the couture atelier with the rise of democratic fashion with the development of high quality series production. PROPRIETEXCLUSIVE realized an interview with the two book curators, who developed the central elements of Albini’s icon accomplishing a wide overview on his time, next to others international protagonists such as Halston, Karl Lagerfeld, Yves Saint Laurent and Ossie Clark.
P. How did the project of the book start?
F-T. The book focuses on the character of Walter Albini and acts like an exhibition: there are some original drawings, magazines pages from that period, photographs, Albini’s statements, besides some pictures of his clothes, here re-interpreted by a young stylist. These different kind of material, brought together in some uncommon ways and graphically treated, let a specific point of view come to surface: not a chronological paraphrase of the designer creative path, but an observation carried out over the decade by Walter Albini, that witnessed the establishment of fashion as a basic element in representing contemporary culture and the final overtaking of the ateliers for a prêt-à-porter overstatement.
P. Which was, in your opinion, Albini’s style formula?
F-T. In 1979 Albini commented on his spring-summer collection: “For me, each outfit tells a story, of love, of anger, of violence. Each one is a moment, a person, a place, and each has a role, like in a theater. To change clothes you have to change your attitude and spirit, and take on a new role. Every time, every season, every collection……”
P. Aesthetically speaking, how would you describe his work?
F-T. Style, pastiche, excess. These are the terms used by Stephen Gundle to define glamour, in his recent study committed to this phenomenon.
P. Which was his relationshisp with colours and how did he intend the relationship between color and matter?
F-T. He used to reconstruct his imagineries. Colors and matters where fuctional elements to draw the scenery, a place of his imagination which could go from the cinema of the 30s, to orient or decò.
P. How could you describe the relation he put between creativity and technology?
F-T. He was experimenting mostly on woven design: making imagery, in particular when he succeded in tranlsating textil patterns into silk prints. He’s more a graphic desginer rather than a fashion designer. Eclectic.
P. Albini’s creations were pretty fanciful, like an art multiple: prints, cuts, silhouette and inner decorations. Albini was… an artist, an artisan or an inventor?
F-T. A designer and a stylist, more than everything. An interpreter of fashion through his obsessions and his sensuality, coincidently nostalgic, pop and post-modern.
P. Which is the most striking thing of his work?
F-T. Some of his collections presented in Milan in art galleries. In particular the spring-summer collection 1977: a “non-collection” composed by outfits all born by assembling other items belonged to designer, journalists and photographers friends. No creation belonging to him. A method statement.
P. After he passed away in 1993, his style lesson kept living in the work of Krizia, Armani, Lagerfeld and more. Which one could be Albini’s proper style heir?
F-T. I would say none of them. And everybody. Albini’s intuitions are many, he tried to develop all of them. Who came after him preferred to concentrate in one direction, to become a brand.
P. Try to divide designers between innovators, who left a clear sign in social behaviour, and other ones who just copied good ideas as adaptors. Which one of these would fit Albini?
F-T. Maybe really “innovative” designers are the ones that know to be excellent “adaptors”. Fashion aims at taking possession of everything, it adopts specific functioning mechanisms that allow to move precisely in that direction. Albini was a master in swinging between innovation and recover, appropriation and interpretation, impulse towards sperimentation and retrò obsession. It’s the kind of characters we should focus on. And this is the attitude to transmit to new designers.
P. If Albini were a perfume, how would it be?
F-T. Old fashioned, with a pinch of acid.
P. Albini guess the total look relevance. What did this mean for the fashion industry?
F-T. The eighties. Brand extension e brand lifestyle, then the proliferation of accessories. And the consequent hard path to demolish, altough partially, the total look project in the following years. But this is a way that fashion, from his inside, was needed to take. To survive.
P. Which is the lesson of style that Walter left us?
F-T. “I’m interisted in giving method directions, both designing and using other’s thing. We must learn the freedom to dress ourselves out of any scheme. Consumerism produces objects, not styles. I look around, I choose, combine and suggest.”. In 1977 he said this. In its precision, it seems a sharp statement to foresee future fashion movements.
Walter Albini – Photography Gian Paolo Barbieri
Vogue Ottobre 1971
Vogue Ottobre 1972
Linea Italiana n°45 1974