Fall Winter 2016
Vittoria Ceretti, Kiki Willems, Ally Erthel, Bella Hadid & Lorena Maraschi captured by Alasdair McLellan for Self Service.
Styling Benjamin Bruno
Hair Sud Hayes
Make-up Frankie Boyd
Published at GLASSbook Magazine
Photographer : Kei Kondo
Stylist : Yuiko Ikebata
Make up : Ryosuke Yamazaki
Hair : Yasu Nakamura
Model : Jessica F. [Wilhelmina]
Shades of grey? Yes, let’s start by the basis! The Pantone 17-3914 is named Sharkskin and can be combined with almost every colour from the winter palette.
We evaluated its effect in the contemporary light of first garments of the season – already available on online stores. The items of our choice act as a base, not only in shapes and colours but also in its structure, to build your trendy silhouette.
Celebrating 90 years, Fendi is alive and walking on water, casting creative energy for the 90 years to come, thanks to its creative team: Karl Lagerfeld, Silvia Venturini Fendi and Pietro Beccari.
Little Red Riding Hood crossed enchanted forests and walked on water, wearing Fendi from sunrise till darkness. The 40 models walked on a translucent plexiglass runway, closely followed by Neptune’s attentive gaze.
Dressed in transparencies with floral motives, embroideries, and fur details worked with high craftsmanship – “Haute Fourrure”, which follow from a word game between haute couture and fur. All coordinated with ankle boots.
The story of one of the most amazing fashion shows ever seen, started in January 2013, when Fendi announced a €2,5 million project to restore five fountains in Rome, the birthplace of Fendi.
Fontana di Trevi was made famous by Fellini’s La Dolce Vita, in 1960, when Marcello Mastroianni and Anita Ekberg waded through the fountain.
The restoration was completed after 17 months and came to reveal all its full magnificence last night.
Once upon a time… This is how all stories begin, in this same way The DisQuiet takes the first of many steps! The motto comes from tradition, which apparently never goes back to trail the same path again but is where we ground our references. In due course, also tradition has been full of uncertainty and unfathomable. But in small steps it brought us the solid basis we now have.
We are sharing a short film of Coco Chanel’s story, as we might be sharing any other, being all stories so similar amongst themselves when it comes to ground fashion and European style. Each and every one of us draws a story, as human and as a builder of culture. In fashion, stories are usually de depiction of an inconspicuous hero who, at a given time, rises to an extraordinary feat. Elevating him to divinity as a consequence. And this is why the story of fashion and style is always the story of uneasiness. That story, we intend to tell in present tense as it happens. With occasional indentations in the past, searching for the best way to gain insights on the future.
The DisQuiet is dedicated to this constant turmoil, in full extent and not only constrained by dressing but also dedicated to being, as space and place to relentlessly look for renewal. As Eugène Ionesco states, “we have no time to take our time”, because being of our time is being out-dated already. And this also explains what fashion is, a Theatre of the Absurd in which beauty and ugliness coexist; in which triviality is also extraordinary and whose most coherent explanation most likely lives in the imaginary and regulated by the laws of exception world of Pataphysics.
This absurdity is no more than the story of each creator’s solitude and fears, in the eternal quest for transforming banality in singularity. By absurdity, trivial and excessively seen, becomes unusual and never seen again and again… with a twist.
Dreadful and marvelous as it is, this anxious weirdness is the fashion in itself “a form of ugliness so intolerable that we have to alter it every six months”, as Wilde said. Those stories of Empire de L’éphémère and its permanent DisQuiet are what we intend to tell.