Pharrell & Chanel Officially Debut Collaboration in 'Akira'-Inspired Campaign

After teasing the collection in recent appearances — including a new Harper’s Bazaar Korea spread — Pharrell has now officially debuted his full Chanel collaboration. Aptly titled “Chanel Pharrell,” the collection features heavy co-branded detailing including embroidery and sequinned logos.

Stand-out pieces in the collection include the previously-teased yellow bathrobe, brightly-colored hoodies and T-shirts. Other key pieces include the range of accessories, which spans oversized shopper bags, “Chanel Pharrell” diamond jewelry and bucket hats. In terms of footwear, the collection covers sneakers with hand-drawn text and doodles, as well as co-branded loafers and sliders.

The collection also references a personal anecdote from Pharrell. The creative once bet with a friend that he would not work with Chanel. Having lost this bet, Pharrell has printed his response to his friend on a T-shirt.

To coincide with the launch of the collection, Pharrell has released a behind-the-scenes video of the collection. In the video, Pharrell discusses the idea of gender-fluidity, meeting Karl Lagerfeld and the importance of the number 5 as an influence on the collection. Other participants in the video discuss the influence of Akira and motorcycle gangs on the campaign, as well as how the collection fuses streetwear with Chanel’s “devotion to haute couture and artisanship.”

The full “Chanel Pharrell” collection is set to release in Seoul on March 29, before getting a global release on April 4.

Source:HypeBeast

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Celine Fall 2019 Menswear Collection

The received wisdom in menswear always used to be that changes in style were only accepted in minute increments, over decades: a nipped-flare suit in the ’70s (Yves Saint Laurent); a broad shoulder in the ’80s (Armani); a dropped waist in the ’90s (Alexander McQueen); a super-skinny suit in the 2000s (Hedi Slimane). But on the cusp of the 2020s, an entire new culture of clothes for men has exploded as a diverse and very young generation across the globe has become unprecedentedly engaged in expanding the possibilities of their identities through fashion. As Hedi Slimane made his comeback in his first stand-alone menswear show for Celine tonight, it was as if he joined a choir of voices which are competing for new-boy attention. The LVMH menswear shows this week attest to that: Virgil Abloh at Louis Vuitton, Kim Jones at Dior, Jonathan Anderson at Loewe, Kris Van Assche at Berluti (as well as the rest of the vast spectrum of shows we’ve accounted for in Paris and London).

As a rock star of menswear—who made a second mass impact by triggering young men and women to buy during his reinvention of Saint Laurent between 2012 and 2016—Hedi Slimane reentered the boy-specific arena with all the conviction of the awesome marketeer of music-cult heritage styles the industry recognizes him to be. Hedi is Hedi, whatever the name of the brand he’s playing for: He’s trained his audience to expect nothing less.

The question of how he’d shift the needle again began with his opening statement: a black double-breasted suit, white shirt, black skinny tie, and mean New Wave shades. This is a moment when formal tailoring is in play again for the first time in a generation—and those incremental changes of detail still count. Slimane’s bid—by repetition—was to train the eye on specifics. High-waist pleats, cropped-leg length, laced-up flat boots, or the more familiar super-skinny leather/jean thing he’s always done. Then, a vast smorgasbord of layered jackets and coats, iterating a range of ’80s vibes: hints of a boy’s view of dad’s Armani-gray officewear, granddad’s country tweeds, and classic throwback rock-idol leather jackets and leopard-spot drape coats. Slimane can dazzle, no doubt about it. In the glamour stakes on red carpets, the sequined coats and jackets will threaten to outshine any competition.

But as for the real boys—the populist knack that Slimane has that will likely set off an avalanche of copies? The real thing this Celine debut spotlit was the accessories: the sunglasses, the ranges of black leather shoes (hello! No trainers here). And last but not least: the comeback of skinny ties. No Gen Zer has ever worn one of those. It just might prove to be the one affordable item to lasso kids into Celine stores for a look around, ahead of all the others.

Source: VogueRunway

FASHIONADO

Opening Reception: BEYOND THE CATWALK

You’re invited to the opening reception of Beyond The Catwalk on Friday April 12th 7-9PM at the Art Institute of Atlanta. Beyond The Catwalk is an editorial photo essay of fashion and dogs - a creative collaboration between Art Institute students and alumni and industry professionals. The project came to fruition through a series of beautifully staged, styled and created images.

Beyond The Catwalk is a product of Doggies on the Catwalk [DotC], a 501 c3 that supports pet-based organizations. The exhibit runs April 7-May 13th with proceeds from the sales of the images benefitting DotC. The exhibit and opening reception are free and open to the public.

This project and exhibit was made possible through the efforts and support of great partners: photographers Taylor Bareford, Kris Burris and Andrew Segovia, Jenni Lubo Click Models, Nyssa Green The GreenRoom Agency, Atlanta Pet Life Magazine, Brugal 1888, Emerald Hare, The Goat Farm, Tula Arts Center AND a very special thank you to ALL the Art Institute of Atlanta designers, models from Click and all the doggies and their parents!

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Malan Breton Fall 2019 Collection

Opening the doors to The House Of Malan Breton is like stepping through into an immersive theatrical fashion experience . Breton revolutionizes silhouettes in ways that express modern techniques with couture techniques of centuries past. Taiwanese embroidery techniques are deeply sewn and rooted into the seams as well his soul. Gowns are intensely hand-sequined in rich reds and bold burgundies. Leather adorned in Swarovski crystals and Japanese fresh water dying techniques are a few of the masterful formulas used to create the luxuries of this collection. The metaphor of the snake slithers through the collection as a symbol of rebirth, transformation, immortality, and healing.

Malan Breton on his inspiration…. “What if we could know the stories of the mad man, the other side of life as told by victims, what if we could know the pain, the suffering, the loss and abandon that bring the antagonists to madness? What if in this exploration of the psyche we learn that the evil, the unkind, were once pure? What if we knew their joys and could save them before their last moments. This season I try to tell a story of a Norma Desmond type character, before she loses her stability. Before she throws away her freedoms for unrequited love. Before the world knows her as a diva and a has been. A murderess. What if After Death we see the hearts of those who society drove to madness, before their utter demise. That is my vision this season for my AW19 collection.”

Malan Breton’s AW19 collection is a blissful reminder of better days – and the promise of the return of luxury.

FASHIONADO

Diplomacy NYFWM FW Collection

A new urban men’s line hits New York Fashion Week. The Diplomacy Fall collection by designer Eric Archibald offers a variety of cultured-inspired clothes.

The purpose of this clothing line is to keep a fresh reminder of the art of diplomacy and the practice of consideration and courtesy. The brand firmly believes in individuality. Its logo represents the notion of living by your own rules. The brand states that the panda symbolizes peach, friendship, and strength. Its attire is the perfect representation of street culture, and it’s definitely attention grabbing!

Most of the attire is loose fit, oversized hoodies and spandex with various patterns. It’s ranging from solid colored to plaid and other designs. Its color tones range from vibrant yellow to cool tones such as gray and black.

FASHIONADO

CHANEL Fall 2019 Ready-To-Wear

In a show that was somber yet serene, a capturing of airiness and substance, of shrugged-on elegance and insuppressible delight, the farewell to the immense talent of Karl Lagerfeld was framed just as he’d imagined. He took us to a place high in the mountains on a beautiful day. It was a snow-bound haven—a slice of Chanel heaven, viewed from a distance that was poignantly difficult to bear.

There was an icicle-like tinkling on the soundtrack. Models assembled, one by one, on the snow-covered steps of a faux alpine hostelry, the Chanel Gardenia. It was hard, the suppressed anticipation of what was going to happen next. What is the correct form for honoring someone at a fashion show, someone who was always so fixed on waving away vulgar sentimentality, and who always had something hilariously skewering to say about the posthumous hagiographies of anyone he cared to mention? Karl Lagerfeld was the least sentimental of people. He loved his job and always regarded it as the task of continually living in the present. He reveled in letting it be known he had a “contract for life” with Chanel, which he enjoyed to the maximum moment.

Well, this is how it went. There was a minute’s silence. And then, Karl Lagerfeld’s voiceover, from a recent Chanel podcast (this man loved every tech advancement). He spoke in French, until the last sentence, where he burst through in English about his pleasure in imagining the detonation of a surprise on an audience in, “Oh! It’s like walking in a painting!”

The Chanel girls—his crew, the latest generation he’d encouraged and quipped with in the Chanel studio since 1983—were clearly conscious of the ceremonial responsibilities they had. They trod the “snow,” hands in pockets, insouciantly proving what a perfectly considered collection of wide-legged trouser suits these were—with long, swirlingly soft, checked tweed coats he’d envisaged in tandem with his longtime right-hand Virginie Viard.

That section was amazingly poised. Tailoring is a subject du jour, but through the filter of Chanel consciousness, we saw tradition, femininity, and an energetic projection of the shape of today. Let’s put it down here: The opening, some of the wide, pleated trousers, was incredibly on point—a flipping of the Chanel tradition of opening with tweed skirtsuits—with playful snowballs of tulle and crystallized snowflakes thrown into the back of the girls’ hair.

What Karl Lagerfeld never forgot—he was a rare intellectual pragmatist who frequently ridiculed high-concept fashion—is that clothes are nothing unless they are worn. That was Coco Chanel all over, too. It should be remembered that, by the late 1970s, few cared about her legacy. Her canon had been put in the shade by Yves Saint Laurent until Karl Lagerfeld was hired into the house by the Wertheimer family in 1983. It was Lagerfeld who irreverently illuminated the codes of Chanel—irradiating them in the constantly changing sidelights of the events of four decades’ worth of current affairs, the serial revolutions of fax, the Internet, social, and the global reach of fashion to new generations in Asia, and beyond.

He was always up for a topical gimmick and a punning accessory, but he also knew about emotional intelligence—that, and his connection with nature and nuances connecting the dots of his past, came through in his last few collections. The last big break he’d given his audience—the sight of barefoot girls running on a Caribbean beach—was superseded by this immersion in alpine sunlight.

So this collection was Lagerfeld at his uplifting best. No matter how dark the days were, his ability to throw on the icing of a ruffly white organza blouse, to sparkle up embroideries with a deft hand on a Nordic sweater, or to conjure dream dresses within any theme to which his huge imagination traveled. These were the gifts he gave to fashion. Today, as always.

As the models dashed away tears, and the audience stood in gratitude to applaud, the unforgettable memory of Karl Lagerfeld’s elegant, frivolous mind was lifted onto the Olympus of the fashion greats.

Source: VogueRunway

FASHIONADO

THE TURKISH GROUP SHOW – NYFW FALL/WINTER 2019

Photos: Elvia Gobbo

The snow falling outside couldn’t dampen the upbeat, celebratory spirits of those that braved the elements to support three Turkish designers who made their NYFW debut on the runway of Industria Studios in the heart of the West Village.  Under the simple moniker “The Turkish Group Show”, Buket Özkalfalar, Gökhan İldeniz & Firat Neziroglu, each showed strong visions that truly demonstrated their place in the show, which was sponsored by the Turkish Government as well as the Turkish Textile Council, was truly deserved

Buket Özkalfalar – Buket Ozkalfalar seemed to be channeling a Goth version of the Great Gatsby when her pen took to the sketch pad.  Inventive versions of flapper dresses mixed seamlessly with futuristic frocks, many finished off with red carpet worthy Black evening coats.  Feather accents softened the collection & provided an overtone of whimsy & added yet another dimension to the collection of this notable newcomer 

 Gökhan İldeniz – Gökhan İldeniz presented a casual vision of menswear for his Fall 2019 collection NYFW debut.  Based mostly in denim with a serious dose of hand hewn, artisanal detailing like whip-stitching, patch-work, & inventive dying techniques that gave a broken-in, pre-worn, comfortable feel.  The roughly cut, raw pelt-like furs added a rugged, almost costume like fee

Firat Neziroglu – Menswear designer Firat Neziroglu, presented a collection that was pleasantly conflicted between dressy suiting & artsy-craftsy handmade separates.  In some cases, the dichotomy coexisted on one piece such as the rope closures on suit jackets or the yarn-based details on jackets & at other times, the two worlds were artfully mixed in an ensemble like the heavy, hand woven scarves worn over tailored outerwear & giant, open gauge hand knit cardigans over suiting jackets & trousers.

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