Pret-à-porter, after seasons in overdose of street fashion and brainstorm of forgettable influencers, abandons the excesses of catwalks and regains its adequate elegance. Finally we return to rigor: fashionable as a project instead of ephemeral narration, letting style give an unrepeatable value to the wearer. At N21, Alessandro Dell’Acqua celebrates brand’s ten years through the cornerstones of his style: androgyny, lingerie and feathers, thickening in a bourgeois silhouette immersed in a neo punk atmosphere – chains and safety pins frame each oufit – the vision is as superb as the performance. Its possible to breathe the certainty of a renewed honesty as well as the return of designers to product care and less to storytelling.
FROM BEAUTY TO FASHION. SKIN CARE FORMULAS AND NEUTRAL DESIGN SILHOUETTES DEFINE THE THE AESTHETICS OF THE NEW DECADE.
Non-gender as professionals call it is a way of communicating to a male and female audience with products that leverage general aspirations, by passing gender differences. Today it is of great trend in the fields of food (some foods such as yogurt, for example, have often been considered for females and others, such as wines, purely male and communication was declined accordingly) music and furnishings and it touches the territories of cosmetics and fashion.
Editorial from L’Hofficiel Homme Italia MAISON MARGIELA ARTISANAL AW19 designed by John Galliano Photographed by Kito Munoz Styled by Luca Guarini.
Beauty has decided not to deprive itself of this trend that leverages the new relationships established between couples and not even Fashion does it; infact shows androgynous and casual collections with light silhouettes . It is a new lifestyle. Boundaries are blurred. There is masculinity in women and vice versa. It is a form of disguise that affects all fields: from fashion to beauty, to design. A more playful approach is established with one’s own identity: current society requires flexibility, in work, in daily jobs, in relationships with others. Values and recent political and financial crises have called everything into question. Traditional models of eternal male and female do not disappear completely but the expression of identity becomes freer and more open. A new balance is established, in which each sex borrows from the other what finds good and useful.
From left: Emulsion Ecologique by SISLEY PARIS; Him/Her Lip Balm by GIORGIO ARMANI
The cosmetic sector, that has always marked the gender aspect, redesigns borders by widening the offer. The taboo was broken in 2016 by Canadian brand MACCOSMETICS, which proposed a collection of unisex make-up, aimed at an indifferently male and female audience. Giorgio Armani made his voyage into gender free with a Him/Her lip balm. It perfectly matches male needs for the speed and the ease of its application as well as female ones as a base for lipsticks or as a top coat with a satin effect. Another interesting example is Emulsion Ecologique by Sisley Paris, an essential treatment with a plant-based texture. it hydrates and protects skin from stress. Men like it for its light texture and practical bottle design.
From above: Collection AW2020 RANDOM IDENTITIES; Collection AW2020 FENDI
From cosmetic to fashion the step was short. In the latest men fashion shows, from Pittmagine passing from Milano Collezioni to “la ville lumiere”, we have seen the rise of fashion brands that release themselves from too defined models. RANDOM IDENTITIES for example, Stefano Pilati’s label, is, already in its own name, a binomial where Random represents the randomness of existence and Identities comes as a response to this randomness, defining the space in which people can identify the new codes of movement gender. Stefano Pilati’s new project is a ready-to-wear collection designed specifically for the digital age.
From above: Collection AW2020 GUCCI; Collection AW2020 N21; Collection AW2020 DRIES VAN NOTEN;Collection AW2020 GIVENCHY;
The non-gender garments incorporate an original tension towards provocation, skillfully controlled through monochromatic choices and neat details. Even in the collections by GUCCI, FENDI, N21by ALESSANDRO DELL’ACQUA, RICK OWENS, VALENTINO, DRIES VAN NOTEN, CHRISTIAN DIOR, GIVENCHY men could exchange clothes with women and nobody would notice.
From above: Collection AW2020 RICK OWENS Collection AW2020 VALENTINO; Collection AW2020 LOUIS VUITTON
The evolution of current aestheticism is called beauty sharing, true sharing agreements, from cosmetics to fashion collections. Even women use male moisturizers as well as men wear female clothes. He and she sublimate themselves in a neutral two-way identity that acquires in the present a rediscovered rituality for new and old generations in the present. The style of the new decade has been served.
Body jewelry AW2020 by LUDOVIC de SAINT SERNIN
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
FLASHBACK EDITORIAL BY THE / END MAGAZINE JANUARY 2008
“Quatre fois par an il pourra se charger en l’animal qu‘il voudra, et ensuite se recharger en homme. Quatre fois par an il pourra se changer en l’homme qu’il voudra; plus, concentrer sa vie en celle d’un animal. (…) Ainsi le privilégié pourra quatre fois par a net pour un temps illimité chaque fois occuper deux corps à la fois”.
These singular verses by Stendhal associate the mutation of animal’s hair with changes in male fashion among the four seasons of the year, a metaphor that is resolved as the counterpart of a second personality suspended between man and animal in which this mutation completes and highlights the aspects of a mythological and esoteric creature, whose essence is “artifice”: the mask that, by forming the face, reveals it to itself. In the 7th article by Stendhal, the interaction with nature and the instinctive link to existence, draw the contours of a masculine aesthetic path and it is not surprising that today literature continues to inspire profound investigations into the secrets arcani of beauty and the duration of its time.
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.
Once again MARELLA chooses the creative hand of artist ALESSIO NESI for the BEAUTYLOGIA SIGNATURE CAPSULE AW 19. The new collection comes from all beauty illustrations that the artist has published on his blog over the past 10 years. Powdre, varnish, eye shadow, lipstick, perfumes. Beauty products signed by Marella but non-existent for the collection of silk scarves, 5 degradé prints with decorative patterns coming from different cultures and period of time, overlapping, layered, dedicated to the persistence of beauty. A beauty that implies an education to the eye, a capacity and willingness to be touched and excited by seeing. A standing seeing, offered and shared as source of pure pleasure, bait of seduction that transcends the value of the author and signs the modern myths of originality and recognizability. The collection is completed with a capsule collection of clothes with lipstick and razor blades prints, irreverent neo-punk symbologies as somatic identities of metropolitan territories, for fluid t-shirts and shirts and geometric diamond shape patterns on jackets, pants, skirts and dresses. Make-up products such as perfumes are the most manageable form of intelligence, perfectible design objects, small work of art to take with you at all times.
Irreverent neo-punk symbologies as somatic identities of metropolitan territories for the project BEAUTYLOGIA.
Prints for dresses with MARELLA’s Lipstick and Razor Blades.
Scarf print with MARELLA’s Lipstick BEAUTYLOGIA Signature Capsule by ALESSIO NESI new collaboration with MARELLA for FW19. Blush, eyeshadows, lipstick and perfumes, make-up products, non-existent, signed by Marella, play with graphic decorations and vivid nuances of the underground society. A collection of prints that pay homage to my BEAUTY illustrations published in the last 10 years on PROPRIETEXCLUSIVE.IT.
BEAUTYLOGIA Signature Capsule by ALESSIO NESI.
BEAUTYLOGIA Signature Capsule by ALESSIO NESI.
BEAUTYLOGIA Signature Capsule by ALESSIO NESI.
Scarf print with MARELLA’s Perfume BEAUTYLOGIA Signature Capsule by ALESSIO NESI.
Scarf print with my selfportrait and nail-varnish. BEAUTYLOGIA Signature Capsule by ALESSIO NESI.
“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”.
From fashion to beauty, echoing the fantastic 80s, from excessive forms to bright colors, highlighted above all in make-up collections colors and fragrances, immersed in a general air of assertive sumptuousness.
From left: ROUGEDIOR Red Cap F39; Magnify 5 Couleurs F39 DIOR MakeUp SS19
COVER LIPSTICK all Spring-Summer-19 nuances in a gradual color palette
Phyto-Lip-Twist – Black Rose by SISLEY PARIS
EDP INTENSE Coco Mademoiselle Intense by CHANEL
EDP Joy by DIOR
EDP Intense Black Opium by YSL
“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.