Fashion is frivolous, but of a very heavy frivolity. It is constantly changing, it is unpredictable. And yet in its incessant derailment it is penetrating. It reflects and distorts the present, announces the future and not only in the wardrobe. The dress it has always been an inescapable sign of a change taking place in society, it is a Status-Symbol. In particular the “Tailleur”. Created at the beginning of the 1920s by Coco Chanel, it is the symbol of Bourgeoisie’s discreet charm. Of what is aesthetically acceptable for ladies with a capital L: bejeweled with a rich husband and a waitress always following her. In an atmosphere of insidious respectability, Coco Chanel has created a costume revolution that is not entirely came to an end, not even today. Feminine manifesto it represents a will of appearance and a narcissistic desire.
A celebration of fashion and popular culture of the atomic age. Long live ’50’s glamour!
Since its birth our “Tailleur”, has started an evolution of shapes and volumes throughout the decades of the fast century. Geometric and sober in the 1920s. Jacket with geometric shoulders and knee-length skirt in the 1940s. With straight skirts in the Fifties, in contrast to models with mileage lenght fabrics Dior-style. Mini, essential and futuristic in the Sixties. Colorful and irreverent in the seventies. With padded shoulders in the 1980s, to exhibit power in business locations. Anorexic and colorless in the nineties.
Inès de la Fressange poses as COCO CHANEL in Chanel’s own apartment 1981. Photo JEAN-CLAUDE SAUER
Until we arrive to our days with an untouched silhouette. Every female icon that wore it has shaped it according to their own style according to the era in which they lived. In pink for Jacqueline Kennedy. White for Marilyn Monroe. Sulfurous but not funereal Maria Callas. In pastel tones for Grace Kelly. Tailleur, created by Coco Chanel, was born, says Lagerfeld in a 2017 documentary dedicated to him, from a simple four-pocketed jacket bought by a porter in a Hotel in Salzburg where Mademoiselle stayed for a short time.
MOSCHINO SS 1993 / JUNIYA WATANABE FW 2008 / MOSCHINO FW 2011
The transition from work uniform to symbol of feminine emancipation uniform was very short. Chanel’s purpose was to build a uniform or a perfect machine to dress the female body, a true design object ergonomically designed to meet different needs: movement, elegance, flexibility. Made out of materials from jersey to velvet, from lace to muslin, although the one that will go down in history was tweed, to accompany the gentle sex not only in their daily tasks but also social and official commitments.
MOSCHINO FW 2014 /Adv Campaign GIVENCHY by RICCARDO TISCI FW 2016 / MARC JACOBS SS19 / GUCCI by ALESSANDRO MICHELE FW19
It remains to the day of today the dress most commonly used by women who work in offices, editorial offices, parliament, but also a timeless classic, copied and interpreted by many designers in their collections. Here we propose a florilegium of images which elect Chanel’s suit as an indispensable element in the female wardrobe. A sign of timeless elegance. Coco Chanel taught us that fashion, in its heavy frivolity, is basically creation, which can still entertain and make us dream, without giving up thinking. Long life to dreams then, because a laugh will bury us!
CELINE BY HEDI SLIMANE SS20
The word Wunderkammer (Room of Wonders) is an expression belonging to german language, used to indicate particular environments in which, from the sixteenth century to the eighteenth century, collectors used to keep collections of extraordinary objects for their characteristics. My personal idea of ”Wunderkammer” was born from watching movie Marie Antoinette by Sofia Coppola, not a recent film but a master of glamour. A set of decorations, moods, music, looks, colors, frivolities and easy enthusiasms, gathered in a showcase to design the new SS 2020 accessories collection by MARELLA. Four prints divided into four themes which evoke natural elements: Water, Air, Earth and Fire. Butterflies, shells, precious gems, flora and fauna, find their natural disposition in each theme. An element for each one of them.
EARTH OR LANDSCAPE SCARF – WUNDERKAMMER COLLECTION #SS20
AIR SCARF – WUNDERKAMMER COLLECTION #SS20
FIRE SCARF – WUNDERKAMMER COLLECTION #SS20
WATER SCARF – WUNDERKAMMER COLLECTION #SS20
I am happy to introduce BEAUTYLOGIA Signature Capsule FW19 by ALESSIO NESI for MARELLA DUBAI LIMITED EDITION: five limited edition items have been exclusively created for MALL OF EMIRATES and DUBAI MALL.The proposal includes loose pants to be worn with an asymmetrical flowing dress or with a romantic blouse whit puffy sleeves. A printed turban with the same pattern completes the outfit. The motif of the new capsule, lipstick mixed with the geometrical diamond-shaped Art Decò patterns, is inspired by the illustrations of beauty products which have been published on my blog PROPRIETEXCLUSIVE.IT for the last 10 years.
“I have the need for superfluity by temperament and instinct. The aesthetic education of my spirit irresistibly drags me to the desire and purchase of beautiful things“. This quote explains how the Vate made of his mania of accumulation his raison d’etre and evidently not only his own. This aspect of practical and mental dannunzianism is dedicated to the cult of beauty. Love for beauty as a reason for being in a continuous contamination of art and life: this is the inspiration of ALESSIO NESI for the ANWALLPAPERS project, in a fertile superabundance of figurative and literary references which invade fabrics and silhouettes. Drawings by Nesi, who has been designing MARELLA scarves collections for years, are proper decorative ecosystems between Baroque and Dèco. His imaginary resumes, in a continuous dialogue, the major artistic trends of the early twentieth century revisiting them in a modern way. The emotional and irrational sphere is made visible through an extraordinary graphic vocabulary which transports the visions of symbolist poetry into shapes and colors. A luxurious summer imagery, a silent aquatic world, the vitality and virginity of nature, threatened by the modern world, melt with a primigenial and almost mythological feminine ideal. The idealized femininity of D’Annunzio heroines and the binomial myth-nature, are the main characters of ANWALLPAPERS, a Spring-Summer 2019 capsule that transports all aesthetic emotions of scarves on summer and light dresses, blouses, skirts and wide fluid twill trousers.
ANWALLPAERS scarf prints are an overabundance of figurative and literary references which invade textiles and silhouhettes inspired by heroines of D’Annunzio’s books. This print for instance is dedicated to Elena Muti, feminine charachter of the 1889 novel “Il Piacere”.
Photography LUCA SPREA
Scarf dedicated to Ermione main characterof “La Pioggia nel Pineto” from the collection of lyrics Alcyone published in 1903, with Art Decò decorations coming from Sala della Cheli al Vittoriale degli Italiani.
Still-Life EMMA TEMPESTArt Direction RICCARDO RUINI STUDIO
Scarf print dedicated to La Fornarina feminine charachter of the novel “Il Fuoco”, published in 1900 set in Venice.
Still-Life EMMA TEMPESTArt Direction RICCARDO RUINI STUDIO
Scarf print dedicated to Isabella Inghirami feminine charachter of the last Vate’s novel “Forse che sì Forse che no”, published in 1910 set in Mantova in Gonzaga’s palace between Baroque and Futurism.
Scarf print dedicated to Maria Ferres feminine charachter of the novel “Il Piacere”.
“TURQUERIE” is a term used in western europe which from the sixteenth to the eighteenth century became fashionable as an imitation of the Ottoman Empire’s culture. During the Baroque period, the west showed a growing interest in the exotic and unknown culture of Turkey, at the time center of the Ottoman Empire. This fashion phenomenon became more popular through trade routes and increased diplomatic relations between Ottomans and other European nations, exemplified by the Franco-Ottoman alliance and by Persian embassy with Louis XIV in 1715. Ambassadors and traders often returned to their homeland telling of exotic places and bringing souvenirs of their adventures. This movement was often reflected in the art of the period. Music, painting, architecture and artifacts were often inspired by Ottoman styles and methods. The collection of animal prints for scarves and cushion created for Les Ottomans wiks to the trendy movement of that period with a palette of neon colors very very 80s.
Gucci fashion shows are prefect operations, in which every look is not a set of clothes but a character with a precise character, inserted in an ad hoc environment. The more seasons pass the more fantasy fits into the mix, making it more extreme. Each element of the collection starting from accessories, helps to build a character that lives on its own. A set of elements captured from every where, taken from the history of fashion and custome, made to clash to express hidden energies. Gucci sunglasses 2018 Spring-Summer collection are a classic example. Eyemasks with futuristic shapes and 80s retro inspiration, rounded lines, rectangular cuts that play with contrasts of color, dark, smoky or transparent lenses. Worn by 10 historical figures borrowed from the world of music, Japanese manga, history and costume, make up this collection of 10 illustrated cameos: Simonetta Vespucci, Siouxsie Sioux, Madame Du Barry, Sarah Bernhardt, Nefertiti, Elizabeth I, Coco Chanel, Creamy Mami, Marchesa Luisa Casati, David Bowie. For each one of them, an own model; let yourself be inspired!
SIMONETTA VESPUCCI wears a square monochrome acetate mask with rectangular lenses. Leading detail: a red tear enriched with a bright Swarovski crystal set in the center.
SIUXSIE SIOUX wears asymmetric eyeglasses from the Resort 2018 collection.
MADAME DU BARRY, cat-eye wears sunglasses with Swarovski cristals.
SARAH BERNHARDT wears square sunglasses alone inspired by the shapes of the 60s. The oversized frame is embellished with hand-applied Swarovski stones.
ELIZABETH I, wears sunglasses “D-FRAME”.
NEFERTITI, wears unisex mask with a futuristic shape caracterized by a traingular oversize ciliary embellished by studs and hand applied Swarovski cristals.
COCO CHANEL, wears sunglasses “D-FRAME”.
CREAMY MAMI, cat-eye wears sunglasses with Swarovski cristals.
LA MARCHESA LUISA CASATI, wears GLITTER sunglasses.
DAVID BOWIE, wears squared sunglasses with vintage inspiration. Available in Shiny Black with Solid Grey lenses or in Shiny Ivory with Solid Grey lenses.