Elie Saab wrote an ode to the crepuscule, a play of shadows drawn in contrasts between geometric lines and rounded, sun-like forms. Their models emerged from behind translucent panels, their silhouettes underlined by the sun shining through the skylights of the Cairo do Temple site, which ranged from the pale pink and blue hues of the evening sky to the fiery reds or midnight blacks of the evening sky. had appeared in
Needless to say, there were plenty of twinkling stars in his heavily embellished sky, and there were a plethora of red carpet-friendly gowns — and suits, he added pieces of menswear to the collection for the first time, as reported —. In making your customers shine.
Glittering snakeskin ornaments gave sinuous structure to the simple silhouette, while strings of sequins and dangling crystals shimmered on the runway. The zigzag motif of the feathered mermaid skirt in dusky colors was developed into versions done in thousands of chiffon circles, fluttering like innumerable petals.
Playing with royal references, they accentuated and exaggerated the silhouette with long collar necklines, often heavy bezels, plush hats and trains, and boleros that covered the head like giant silk crowns.
In the more interesting silhouettes, a reverse feline motif—spot worked in nude tulle and surrounded by silver beads on a black background—morphed into a symmetrical, brocade-like pattern on a gown’s bodice. Other highlights included an asymmetric second-skin minidress with crystal strands and a jumpsuit in white and blue with a deep sweetheart neckline.
On Wednesday, their record label YG Entertainment confirmed that the popular South Korean all-girl group is gearing up for a return in August, with members planning to shoot a music video in mid-July.
According to Billboard, a press release from YG stated that the group is in “the final stages of recording the new album”, with the album’s launch in August “an ongoing large-scale project that will extend through the second half.” ” year.”
News comes that fans of the group, known as Blinks, are eagerly waiting for new music. Blackpink’s Last Drop was their anticipated debut studio album called “The Album”, which was released in October 2020.
With hits such as “How You Like That” and “Lovesick Girls”, her debut project became a huge commercial success and the bestselling album by a Korean female act of all time.
When it was revealed that Blackpink was making a comeback, Blinks caused an online frenzy on Twitter, racking up millions of tweets discussing the news.
While Blackpink has its roots in South Korea, the group’s global fame has accelerated over the years, becoming an international pop sensation. Since its debut in 2016, the group has broken many records with traction on social media and YouTube.
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When approaching the costume in Marvel Studios’ “Thor: Love and Thunder,” costume designer Mays C. Rubio didn’t shy away from using an ample amount of color, thanks in large part to the film’s director, Taika Waititi.
“Taika is a volcano of eruptions,” she said. “He is a constant fountain of desire to do a lot of new things with new technology. He is very interested in getting into new technologies and he is very precise and well versed. He really takes me on my toes. keeps on. ”
“Thor: Love and Thunder”, which premieres in theaters Friday, is Rubio’s second “Thor” film and the third time he is working with Waititi. They adopted the same kitschy and colorful aesthetic used for the third Thor film, 2017’s “Thor: Ragnarok”, and took it a step further for the fourth film with new costumes for the titular superhero, played by Chris Hemsworth. . Mighty Thor, played by Natalie Portman.
Since “Thor: Love and Thunder” includes flashbacks and moments in the present, Rubio created about 25 costumes for Hemsworth, many of which were various iterations of Thor’s traditional uniform of metal-plated armor and a red cape. He created other versions of Thor’s uniform by incorporating more vibrant colors such as red, blue and metallic gold to match the exaggerated aesthetic of the film.
“It’s like fireworks in the sky with all the colors,” Rubio said of Thor’s costume. “It really is a blast, and I don’t think you can go any louder than Thor’s costume.”
As for Portman, who is returning to the Marvel Studios franchise to reprise her role of Dr. Jane Foster and to take on the new superhero title of Mighty Thor, elements of Thor’s uniform make it unique for a Rubio heroine. wanted to include.
Natalie Portman as The Mighty Thor in Marvel Studios’ “Thor: Love and Thunder.”
Jason Boland/Marvel Studios
While Portman sports a similar outfit, Rubio chose to use silver metallics and dark reds for the actress’s Mighty Thor outfit. However, the biggest difference between Thor’s costumes is that Portman was teamed with a winged silver headpiece.
Rubio said of working with Portman, “When you have an actor with that ability, he’s really that character before he even comes into the fitting room.” “She already has that character on her mind and she walks into the fitting room knowing exactly what she wants. We’ve created a wonderful, light, dynamic and very ’80s . [headpiece]And this [costumes’] Colors, we wanted to make them look similar to the old Thor, but because Thor has all these new colors, we wanted to do something different for him. ,
On the opposite end of the color spectrum is Christian Bale’s villain, Gore the God Butcher, who contrasts both Thors with his monochromatic white looks. For the character, Rubio wanted to reflect his ancient background, so he referenced old marble sculptures and created an intricately draped costume for Bell.
“It was interesting to make this character [costumes] White because it makes it more terrifying,” she explained. “We didn’t want to get into the villain in black because here the hero side is in black. Color has nothing to do with good or bad. Her draping is inspired by classic statuettes, and we were so happy to find the incredible fabric we treated to. It was an interesting fabric – it was hand woven and it gave it that kind of antiquity and antiquity to this god butcher who comes from a very ancient world. ,
Christian Bale as Gorr the God Burcher in Marvel Studios’ “Thor: Love and Thunder”.
marvel studios
For other characters in the film, such as Tessa Thompson’s Valkyrie and the People of New Asgard, Rubio essentially kept the same aesthetic from warped iterations of the characters, adding modern touches to his costumes to show how he lived life in his new environment. is customized. Still holding some of the traditional style elements that were popular in Old Asgard.
Now with three Marvel Studios projects under her belt — Rubio also designed costumes for Disney+’s “WandaVision,” for which she won an Emmy Award — the costume designer explained that she thinks she’ll love “Thor: Love”. After completion, can take up any type of project. and Thunder. ,
“Having worked on this film in particular, I can tell you that I can be challenged to do anything in costume,” she said. “I am saying this without any guesswork. I am saying this because working in that world many times you must learn something. I am happy to say that I am very good in technology and design I’m on point and know how clothes fall.”
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It’s almost a trope to say that Viktor & Rolf plays with structure and volume. But this season she took it quite literally by undressing a model center stage and changing up the whole look, with a few strategic twists.
What started out as a typical Viktor & Rolf silhouette, with broad, exaggerated lapels that stretched dramatically far beyond the shoulders, turned into a strict, but soft, fringed look.
He rolled up a clothes rack, rolled up his sleeves and began to shred his clothes. The stiff strings that held the clothes up were removed and they took off its dangerously high platforms, pulled the inner ropes and melted the hard edges.
The same changes were underway backstage and the looks that were already in place were redone with a new relaxed fit. The collars were cocooning, and the jackets had long flowing tails. The theme was change, and both declared the new look softer and a bit more romantic. Models crisscrossed each other on the runway, usually a show no-no but the chaos was controlled and gave the show a carefree vibe.
The models walked in the last look in ballet flats. It was fitting then that the designer himself was wearing vegas and Doc Marten sandals. In the end, women were on par.
The show took place just before the launch of their new “Good Fortune” fragrance.
The esotericism provided a rich metaphorical dream scene for Zuhair Murad this season. Tarot signs, an all-seeing eye and horoscope symbols exploded in their colorful collection, providing ample opportunity to play with the gorgeous embellishments they made.
“I’m really attached to this world, and I’m curious to know about the future and this world that’s really mysterious and really old, you know. You don’t know if that’s true, or meaning, and I love signs and symbols,” explained the designer backstage before the show.
The “fortune teller” was decked out in bronze on the front of a gown with a sweetheart neckline, spreading silver-star embroidery over its entire tulle skirt. Less literally, such mysterious characters were referred to in gypsy skirts layered in ruffles of tulle and silk turbans in an array of jewel tones.
In bright red and green, he draped his silk with flair, adding touches of embroidery at the shoulders or waist—a pair of hands that appeared to hang like belt tassels, a nod to palmistry.
A crop top, sequined bodysuit or allover embroidered pant with a central eye offered a vibrant contemporary spin on the look, while a velvet-bodice number with a circular skirt featuring an embroidered astrology chakra in silver would make a statement on the red carpet.
Secondhand Rose: French non-profit organization Renaissance is staging an auction of outfits made from repurposed designer fabrics, including one-of-a-kind looks worn by Philippine Leroy-Beaulieu and Ashley Park, for season two of “Emily in Paris.”
The group, founded by fashion industry veteran Philippe Guillet, provides job-seekers with training through a six-month program that aims to introduce them to the techniques and jargon of haute couture, the top end of the fashion pyramid that runs through production. Depends on highly qualified workers. Measuring clothes.
Renaissance is offering 76 lots at the auction, which will be held on Thursday in Drouet, Paris, to coincide with Paris Couture Week. These include 44 upcycled outfits, accessories, jewelry and photographs, with proceeds going toward funding the training program.
A chain-embroidered cream dress and jacket worn by Leroy-Beaulieu in the popular Netflix series is estimated at 400 to 500 euros. Park’s “Mount Fuji” outfit, created by pairing a Sonia Rykiel outfit with embroidered Yohji Yamamoto combat pants, is expected to cost from 150 to 180 euros.
Upcycled “Mount Fuji” costume by French nonprofit Renaissance.
Courtesy of Lawrence Laborey / C’Renaissance
Based in a low-income housing estate south of Paris, the workshop welcomes participants from as far away as Chechnya, Algeria, Morocco, Ukraine, Turkey, Guinea, Moldova, France, Ivory Coast, Afghanistan and Brazil, and both Includes experienced tailors and complete beginners.
Guillet, who spent nearly a decade working as research director with Jean Paul Gaultier, has capitalized on a growing trend for sustainable fashion, reinforced by the introduction of a French law that allows companies to sell unsold products. prevents destruction. Their “Detox Ton Stock” program aims to help fashion brands find new uses for their inventory.
To showcase his skills, his team created outfits incorporating items including vintage kimonos; a Jean Paul Gaultier suit; a Fendi dress; A Christian Lacroix Haute Couture skirt, and 20 wedding dresses donned by bridal designer Celestina Agostino.
Some were embroidered on site, while others were embellished through a partnership with the Kalahath Institute, an embroidery center in India.
Gillette has managed to attract a number of high-profile backers, ranging from prominent socialites like Jacqueline de Ribes to donors, who donated one of their couture gowns to companies including construction firm Vinci and airport operator Groupe ADP, who have made use of upcycling. Donated uniforms for ,
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Alexandre Vauthier stepped it up and replaced it this season with a collection that played with proportion on suits and peek-a-boo with dresses.
Last season served as the bones of this collection, and they created Art Deco codes and ’30s shapes with an added ’80s edge. Vauthier developed silhouettes in thicker fabrics such as silk and velvet, while silver sequins or bright slashes of blue came out to counteract any lingering sweetness.
“I wanted something strong and sensual, because the previous collection was a bit romantic,” he said backstage after the show. Vauthier, who worked under Jean Paul Gaultier, made it down to his training. “Sometimes people say to me, ‘You’re obsessed with the ’80s, and maybe it’s because this is my generation, but it’s not about an impact, it’s that you have the power to create your own voice. For all the right techniques and the right timing, you have the right voice.”
He nodded in all his pre-girl boss seriousness to a “working girl” power suit, but cut the sleeves and took the waist down less literally. The “Texas Tuxedo” of acid-washed double denim was given a sequined sheen but felt unnecessary because, as always, her gowns are the real star here.
It was a nod to Grace Jones’ “nightclubbing,” which worked perfectly with disco ball bling. The latest look will speak to celebrity stylists who love their gowns for the red carpet.
