Rising star menswear designer Craig Green on fame, family and fantastic fabrics
Backstage, on the last day of London Fashion Week Men’s, Green — who confessed he hadn’t slept last night — talked about technique and inspiration for this latest offering that also featured simpler pieces like white shirts, sweatshirts, jeans and a black derby shoe that is a collaboration with Grenson.

“It’s like you’re seeing something in a photo but you don’t know what the clothes are made from,” said Green of the starting point for this collection.

He also spoke about using an old construction technique to create military gig seams and pleats. Though perhaps the best description was his explanation for using the Latex: “It was like you’d taken your mum’s old curtains and tried to make them into a jet ski.”

Just before Christmas, at a café off Piccadilly, I spent an hour talking to Green.

Topics ranged from his embarrassment of liking Abba to zombies, what kind of man wears a thong (conclusion: hopefully none), and a drunken encounter meeting his teen idol Marilyn Manson, one of an increasing number of celebrities who choose to wear Green’s designs (others include Drake and FKA Twigs). He also admits he still finds seeing his clothes worn by people in the street — which I’ve clocked with notable frequency in London of late — as “weird.”

Green, born in Hendon where he still lives one street from his mum, established his label in 2012, which makes his position as one of the most highly regarded talents in menswear impressive. His clothes have hung in the Metropolitan Museum in New York, appeared on Michael Fassbender on the silver screen in Ridley Scott’s Alien Covenant, and have graced the backs of Wayne McGregor’s dancers in a ballet at the Royal Opera House.

Just last month he won British menswear designer of the year at the British Fashion Awards for the second time in a row. He was shocked to win again but concedes this kind of recognition has changed how people see the brand.

In the past critics have referred to his London runway shows as emotional experiences — spring/summer 2015 moved the front row to tears.

“It’s never intentional to make an emotional show, but everyone works on it so intensely. The idea is always a feeling, a concept,” he says before quickly adding “without sounding too arty”. Building on this critical acclaim, Green is taking important steps towards the label’s future.

Having worked in one room for years, he has moved the team into a new space near London City airport. “We’d just run out of room, there were fabrics in the toilets!” He now has his own office, while the team has grown from three to nine. “The team you have around you is the most important thing because this is not a one-man band,” he says in typically humble fashion.

Here’s the thing about Craig Green. He’s somehow managed to create men’s clothes that are both masculine and sensitive, highbrow and wearable, minimalist but joyful. It’s a recipe that seems thoroughly instinctive and natural. His label has the notion of uniform at its heart — and his most recognisable piece is his worker jacket. “Uniforms you do things in,” he calls it. “Not uniforms for status, uniforms for function. There is something romantic about that way of thinking.”

This season will see the launch of the second Craig Green Core collection, a range of clothing launched ahead of the catwalk shows with 12 continuative styles in different fabrics and colours and 11 new designs. It’s a clever way of building on his signatures — such as his popular quilted jacket — while also allowing the catwalk collections pure creative freedom. Notably, 75 per cent of sales now come from this range.

For Core he says if the team can’t think of three people they know who would wear each garment, it doesn’t make the cut. The idea was there would be two different design processes, but the collections have started to blur. A case in point is Japanese denim, designed for Core but which ended up in the spring/summer 2018 show. Available in black, raw indigo and a bleached finish the jeans and jackets feature orange stitching, hand-worked flat-fell seams and one of Green’s signature motifs: a punched circular hole.

“We liked the idea of a badge but we’re not a brand that does logos or names. The hole or circle is something we constantly come back to,” he explains. “It describes everything the brand’s about; a circle of people, spiritual like the sun — it’s like eternity, it’s protective.” He pauses. “I like that it’s a bit sexy too, like a spy hole,” he grins.

In fact, with the jeans you can see the wearer’s boxer shorts beneath. But how would he persuade someone to buy a pair? After looking mildly mortified at the notion of anything resembling a hard sell he offers: “Oh they’re very good. They show your underwear.” And he’s not wrong on either count, obviously.Read more at:http://www.marieprom.co.uk/green-prom-dress | http://www.marieprom.co.uk/pink-prom-dresses-uk
[ 投稿者:makayla at 15:27 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Inside the world of photographer Mary Hilliard
I was always sort of aware of Mary Hilliard. I would see her name next to photographs of people with boldfaced names in Women’s Wear Daily and other publications that I would pore over as a student at Parsons School of Design and, later, as a young designer on Seventh Avenue.

At the few truly fancy New York events that I did manage to worm my way into, I would notice her quietly doing her job, either just inside the entrance, taking pictures of the arriving swells (never me) or gently weaving her way through the crowd until she discovered something worthy of her film and flash.

It wasn’t until more than a decade later that I really got to know Hilliard, when we worked together at a Palm Beach wedding that I helped plan. I was smitten, not only by her easygoing warmth, but by her talent.

Only later, when I inquired about using one of her photographs for the cover of a book I had written, did I realize that so many iconic images that I recognized over the years were hers.

She attended one of my book signings at the Preservation Foundation of Palm Beach, a terrific organization whose mission is to preserve Palm Beach’s architectural and cultural heritage. The book was a success, in part due to the cover photo, and when she came over to hug me I said, “Someone needs to do a book on you, or at least a retrospective. You’ve photographed some of the most famous people and spectacular events in the world!”

“Oh, come on,” she answered. “No one would be interested in that.”

Thankfully, someone was. It was Hilliard who needed further convincing. Suffice it to say that after some significant nagging, she relented, so long as I would help sort through the photos and curate the exhibit.

Going through her photos was like going through yearbooks, but rather than high school, it was high society.

The end result: “Places & Faces: The Photography of Mary Hilliard” will open at the Preservation Foundation of Palm Beach on Jan. 8.

“Fashion and philanthropy have long played a role in the social history of Palm Beach,” says Amanda Skier, executive director of the Preservation Foundation of Palm Beach. “Mary’s work beautifully documents the lives of those who are at the forefront of that culture.”

Though she is often compared to other iconic chroniclers of society such as Slim Aarons and Bill Cunningham, Hilliard will flatly dismiss any such association with her trademark mix of southern charm and genuine modesty. Of Cunningham, she says: “While we all were primarily sent to capture lifestyle and celebrity, Bill was a journalist first, photographer second, and brilliant at both.” He was also a dear friend of hers.

And Aarons? “Slim’s shots were carefully composed. I have always worked more spontaneously, except for maybe a wedding, where you do have to set things up.”

To call Hilliard a wedding photographer would be like calling Coco Chanel a dressmaker. Over a career spanning four decades, she has documented some of the most famous people and extraordinary events imaginable, from Malcolm Forbes’ 70th birthday extravaganza in Morocco to the celebrity circus that is the Metropolitan Museum of Art’s annual Costume Institute Gala.

In between, she began working the mosh pit at runway shows as well as scores of lavish events that were born out of 1980s “Nouvelle Society” and continue to this day.

And while Hilliard maintains that she has never been more than the visual equivalent of a hired hack, her subjects would disagree. Indeed, whenever her name is mentioned, words like “discreet,” “trusted” and “flattering” get repeated over and over again.

Even those who typically avoided the camera rarely said no to her. “I don’t take grotesque pictures,” she said, in a rare profile written about her several years ago.

Rarer still has been access to her archive, which she keeps in the same modest Upper East Side apartment that has been her home for many years. In the 1970s, finding herself a divorced mother with two teenage sons, she matter-of-factly explains, “I needed to work — for me — and also to pay the rent.”

She knew that she had a knack for photography, so she bought a Nikkormat camera and took classes at the Camera Club of New York. Her first published photograph was one of her son’s school field trips to the Little Red Lighthouse under the George Washington Bridge. It is “Item #1” in a collection that now holds more than 100,000 images.

Hilliard’s breakout moment occurred when a friend asked her to shoot a Giorgio Sant’Angelo runway show. The results were so good that they led to subsequent bookings, furthered along by the support of Sally Kirkland, a fashion editor at Vogue and Life magazines.

Through Kirkland, Hilliard was introduced to New York’s fashion elite. Designers such as Bill Blass, Oscar de la Renta and Calvin Klein welcomed Hilliard and her camera into their studios and, more importantly, their shows.

Over time, she became a regular, albeit rare female member of the photographers’ pool. But as a woman as lithe as any model, she used her knowledge of how a dress was constructed — how it moved on the body and how the body moved with it — to capture the fashion in a uniquely informed way. Her pictures were different, more intuitively dynamic yet delightfully relatable, and a career was born. But the next great leap was yet to come.

An editor at a new magazine named Avenue noticed Hilliard’s work and engaged her as a freelancer — not for runway shows, but for parties.

The very same women who were traditionally seated in the front rows of the fashion shows that Hilliard had photographed by day would reappear in their designer gowns by night. She knew them, they knew her, and most importantly, they trusted her. It was the ultimate symbiotic relationship, further compounded by Nouvelle Society’s appetite for publicity — as one socialite after another would scan the room looking for her, knowing that Hilliard’s photos would show them at their very best.

“A long neck helps,” she laughs. But even those who weren’t the least bit swanlike still appeared elegant, svelte and youthful — and the clothes looked terrific.

This combination of well-bred manners and an antenna for beauty and fashion established Hilliard as a New York society insider, and ultimately one of the most sought-after photographers on the scene.

Along with the Metropolitan Museum of Art’s Costume Institute Gala, her recurring coverage of the New York Public Library’s Library Lions awards and the American Ballet Theatre’s Spring Gala appeared regularly in the pages of Vogue, Town & Country, Women’s Wear Daily, and the New York Times Magazine, along with Avenue and Quest, magazines in which her work continues to appear.

While New York City solidly remains her home, she enjoys “too-few visits” to her cozy cottage in West Palm Beach’s Sunshine Park, and she still accepts the occasional booking, but only for longtime clients and friends.

“I always wished to be a fly on the wall, to watch but not participate,” she says. This reluctance to be noticed, along with her patrician Coconut Grove upbringing, is what has defined Mary Hilliard and her body of work.

It is indeed the ultimate irony that the majority of her subjects are some of the most noticed people in the world.Read more at:http://www.marieprom.co.uk | http://www.marieprom.co.uk/one-shoulder-prom-dresses-uk
[ 投稿者:makayla at 15:32 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Cate Blanchett and Chris Hemsworth on success in Hollywood and returning home to Australia
He is Thor, the star of a multibillion-dollar comic franchise, she is the Oscar-winning thespian playing the first female Marvel supervillain. Together Chris Hemsworth and Cate Blanchett represent the quintessential Australian Hollywood success story.

It has been six months since the filming of Thor: Ragnarok wrapped on the Gold Coast, and Chris Hemsworth and Cate Blanchett are barefoot in the backyard of a house, surrounded by eucalyptus trees and facing off across a chess set. Blanchett playfully knocks the pieces off the board, much to the amusement of Hemsworth. “Neither of us have any great skills there,” he quips of the game.

On-screen they play arch enemies – the comic hero Thor, the god of thunder, and his nemesis Hela, the goddess of death – but here they are simply two Australians in Hollywood, hamming it up for the cameras, displaying a firm rapport formed on the film set.

“All I want to do when I see Chris is just goof off,” Blanchett says with a laugh. “He makes me want to vomit, he’s so good-looking.”

For Hemsworth, known primarily for his laconic sense of humour and beefcake good looks (have you seen those biceps?!), it was at first daunting playing opposite a two-time Oscar-winning thespian who is renowned for her extraordinary acting ability and ethereal beauty. But they soon bonded over their shared passions of family, the art of acting, humanitarianism and their true (and blue) sense of humour.

“It was sort of intimidating at first,” he admits. “Especially the lead-up to meeting her, I was like: ‘Okay, this is Cate Blanchett’ ... My nerves were certainly more elevated than usual. She’s godlike, in my opinion, on the screen and off. And then, on the first day on set, she just has a way of putting you at ease, and putting all of those assumptions you may have aside. She is a very grounded, relatable human being, and that makes it so much easier to collaborate and work with. And I know plenty of people in that position who enjoy the intimidation they might give off, and exploit it at times, but she couldn’t be further from that, so that is always comforting and reassuring.

“No matter how many times I tell myself: ‘I’m the lead, I’m the number one on the call sheet’, it still feels like I shouldn’t be; it feels like I’ve cheated somehow. I remember trying to talk myself into feeling better about it, like: ‘Cate Blanchett is coming onto my set’, ‘It’s my film, I’m Thor’ and then another part of me is like: ‘None of that matters!’ But then she comes in and immediately I thought: ‘Oh great, she is wonderful and normal and easy to get along with, and hilarious and has a great sense of humour and all of that. And, to be honest, I think she was asking us a few times, particularly during the fight scenes, which she was working incredibly hard on, how to make them look authentic and real. She was asking: ‘How do you do this?’ and ‘Who do you train with?’ and ‘How do you train?’ She actually ended up using my trainer and worked relentlessly and did a fantastic job.”

For Blanchett, meeting Hemsworth for the first time was rather more humorous. “Chris really led the tone of the set – he’s a genuine leading man in that role,” she says. “The first time I met him was on the backlot up at the Gold Coast and he was squeezed into a golf cart, so it was comical. It was extraordinary – this hulk of masculinity – squeezed into a golf cart. But he was just so gracious and he puts everyone at ease and he’s so concerned with everyone’s wellbeing. And he’s so irreverent. He and Taika [Waititi, Thordirector] are a match made in heaven in that way. From the minute I met him, I knew it was going to be great.”

Thor: Ragnarok heralds milestones of many parts: for Hemsworth, celebrating a decade in Hollywood by starring in one of the biggest blockbusters in his own backyard; for Blanchett, transforming her chameleonic abilities to become the first female super-villain in a Marvel comic franchise; and the coming together of two of Australia’s biggest, bankable stars in a multibillion-dollar American franchise being made on home turf.

When Blanchett won her first Oscar for playing Katharine Hepburn opposite Leonardo DiCaprio in The Aviator in 2005, Hemsworth was still battling endless melodramatic tragedies and teen pregnancies in Australian soap Home And Away. By then Blanchett had already starred in 20 films and worked alongside some of the best in the business: Martin Scorsese, Philip Seymour Hoffman, Brad Pitt, George Clooney and Dame Judi Dench, to name a few. While Hemsworth’s trajectory has been shorter, it has been somewhat steeper: he moved to LA fresh out of soap school 10 years ago (he is one of those rare talents who can boast starring in both Neighbours and Home And Away), landed the coveted action-hero role of the hammer-wielding Thor in 2011 (famously pipping his younger brother, Liam, to the role; their eldest brother, Luke, is also an actor), and was this year named in the top 20 highest paid actors in Hollywood – and the top Australian – according to Forbesmagazine, earning US$31.5 million and coming in at number 11 ahead of the likes of Matt Damon and Tom Hanks (Blanchett ranked 28th with US$12 million earnings).

It’s a long way from his days as a somewhat insecure actor trying to break into Hollywood. Born and raised on Phillip Island in Victoria via a stint on a cattle station in the Northern Territory Outback, Hemsworth moved to LA in 2007 and, rather than take a room in a share house in the Hollywood Hills and consume himself with the industry like many who forged the path before him, he lived at the beach, hanging out with fellow Home And Away alumnus Chris Egan and “a couple of Irish surfers and boxing trainers”.

“We would surf, box and train, and I would drive up into Hollywood and do my auditions and then drive back, and that was the best thing for me, to be honest, because I didn’t feel consumed by the industry, my head wasn’t overflowing with conversations about the business, and work and what parts to be getting, and so I had a different path in that sense,” he recalls. “I also lived in the guest house of my manager for a while and babysat his kids, and I remember one of my first gigs, getting [2009 film reboot] Star Trek and being on set and like: ‘Wow, this is a big film I’m on, this is it, I’ve made it or I am about to’ and then rushing home and looking after his kids and changing nappies and so on, and I thought: ‘It has got to be more glamorous than this!’”

And how glamorous things have transpired. The day before this, his first Vogue cover shoot, Hemsworth, 34, flew with his best friends (when not with his family, he is often surrounded by his mates, Entourage-style) on Hollywood producer Jerry Bruckheimer’s (Top Gun, Pirates of the Caribbean) private jet to watch the Conor McGregor and Floyd Mayweather Jr superfight in Las Vegas, before flying to LA for our shoot for several hours. Two weeks later he was back to the set of The Avengers in Atlanta.

He says those early days were humbling, and keeping distance enabled him to remain grounded amid the intense pressure cooker of Hollywood. “[Acting] kind of becomes an addiction,” he admits. “Once I open the room where my creativity is stored, once you start on that journey and start exploring [a character], it’s like an avalanche. And it’s like: ‘What if I did this? This could be cool ... what about that?’” he says. “It’s great, it’s definitely a big reason as to why I think I am working, but it also has to be reined in at times, especially coming home to kids now, I’m like: ‘Okay, I have to switch off and change views and go into family mode.’ I love it, but at times it kind of haunts me. I think a lot of people, in this creative, artistic world, they also have that struggle.”

In 2015, after his fourth turn as Thor, and having finally gained more security over his career, Hemsworth made the bold move of relocating to Byron Bay with his wife, Spanish actress Elsa Pataky, and their children, daughter India Rose, now five, and three-year-old twin sons, Tristan and Sasha. It was a smart move on many counts: it has enabled him to remain an in-demand Hollywood star while nurturing a sense of normality (albeit in paradise) for his young family. They even mix business with pleasure: Hemsworth is the face of Tourism Australia, and his seemingly idyllic home life sandwiched between movie shoots is enticing to follow on social media, which is littered with images of surfing, yoga, sunshine and beaches (and film sets, of course). His Hollywood friends even come to him now: Hemsworth and his wife hosted Matt Damon and his family for several days in Byron Bay earlier this year.

While being based in Byron means way more travel for himself, Hemsworth says the benefits outweigh the air miles. “Moving [back] to Australia was a far more healthy, truthful existence and I feel more confident my kids will grow up to be healthy human beings,” he says. “It is paradise. You feel guilty at times – like, what’s the catch here? It’s too good to be true. But I think distancing myself from it does allow me to creatively explore scripts and characters without all the distraction.”

It was Hemsworth who convinced Marvel and director Taika Waititi to make Thor: Ragnarok on the Gold Coast, a canny move for personal reasons; primarily so he could take his kids to school before going on set.

“It was my sixth film working with Marvel and we had shot in London, Albuquerque, Atlanta,” he says. “And Disney had just done Pirates of the Caribbean in Australia and I was like: ‘Why can’t we shoot in Australia?’ So I brought it up, and I thought it would never happen, and they said they would look into it. I had my doubts about whether that was true, but, to their credit, they did. And then we ended up shooting an hour from where I live, and that just made it much easier for all the obvious reasons. That’s the first time I’ve shot back in Australia since Home And Away, I think. So there was this moment of: ‘There have been some changes.’”

Hemsworth admits that filming at home, combined with the fresh, humorous and collaborative direction of Waititi (the New Zealand-born director behind Boy and Hunt for the Wilderpeople) and addition of inspirational cast members such as Blanchett, Jeff Goldblum and Mark Ruffalo, helped him break a cycle he had fallen into with his previous characterisations of his titular role.

“I certainly feel like I’ve had handcuffs on these past couple of films with my character,” he admits. “I think there was a huge amount of humility in this film from every angle: from the way it was told, from the way we executed it, the energy on set, that any idea was welcome, there was a really open collaboration, and I think there was a sense of, for me anyway, being like: ‘I’ve come home. I’ve been overseas for years chasing this dream, and now I’ve been able to bring some of it back to my home.’ So it did feel extra-special in that sense and I do think I have great confidence in this film, and how can it be perceived. There was a real passion and commitment from everyone for different reasons than usual, to make it work; I felt like I had something to prove. Cate hadn’t been a part of something like this before, and it didn’t feel like the third part of a franchise where you can become tired and familiar. Every day was about exploring something new. ‘How can we break the mould on this one and just have fun with it?’ And what people are going to get from the film is a sense of fun and excitement and joy.”

Blanchett, 48, shares Hemsworth’s sentiments of character: family is what keeps her grounded, and acting is what keeps her creativity alive. “I think it’s something bigger than myself,” she says of her craft. “And it’s also having a relationship to your work that’s bigger than just you having some internal crisis. It’s got to be about people seeing the work. It’s got to be about an audience. It’s got to be about exploring an idea. I think there’s this cliche that Chris absolutely smashes and destroys – the notion that acting is a solipsistic navel-gazing profession. He does it for people. He is incredibly generous. And that comes through, in his choices and in his work and it comes through in his commitment to his family and his friends – he’s been friends with people basically since in utero. There’s a loyalty to people who have given him things and there’s a give and take with him. It’s rare. I think success loves failure, and they’re often very close to the same experience. They really do reveal who you are. And I mean, the success Chris has had kind of reveals his true character. He’s fabulous.”

She adds: “When I first went to drama school, I really thought I’d give myself five years – because there were a lot of extraordinary actors in the theatre, and I thought: ‘I’m not that strong. My acting itself is not that strong’ to buffer that level of rejection. And all I wanted to do was travel with my work and have the respect of my peers. Now I don’t know whether I’ve got the latter, but I’ve certainly done the former. I think I’m a passionate person who happened into a life of acting. But also, I’m equally passionate about my friends and family, whatever it is I’m reading ... But I happened into a life of acting so it fulfilled a lot of different desires of mine. And I suppose it’s mostly encapsulated when you’re on stage. You do get that feeling of being someone on set, but you should be aware of your audience. You’re not doing it for yourself. You’re actually doing it for other people, because you want to give them an experience.”

Blanchett epitomises the modern star: she is stunning, intelligent and surprisingly funny. Our conversation spans myriad topics from Donald Trump and refugees to female equality and motherhood. Blanchett’s responses are littered with profanities and hilarious stories; she is the kind of person you would want to sit next to at a dinner party. She oozes grace on the red carpet while being known for taking sartorial risks at awards and film premieres as well as various fashion weeks – most recently at the spring/summer ’18 shows in Paris and Milan supporting Armani (a brand for which she has been a long-time ambassador), Givenchy and Louis Vuitton (locally she is a long-standing supporter of Romance Was Born); and as the celebrity face of SK-II cosmetics and Armani Sì perfumes. Yet Blanchett is also fiercely protective of her private life and her family: husband, playwright Andrew Upton – whom she married in 1997 – and their children, sons Dashiell, 15, Roman, 13, and Ignatius, nine, and daughter Edith, three, whom the couple adopted in 2015. Blanchett has said they had been planning to adopt for more than a decade before Edith arrived, and she is clearly besotted with her daughter. “My almost three-year-old will be in my bed in about 45 minutes - she is super-cute," she signs lovingly as our coversation nears its end.

Until Edith came along, Blanchett was the only woman in the all-male Upton-Blanchett household, and I mention that it must be fun having a daughter join her tribe now. “I guess so,” she says. “But you know those people who are really super-focused on having a boy or a girl, or a set of boys or whatever? I don’t perceive my gender firstly – as it enters the room before me – until my gender is pointed out to me. And your gender is usually pointed out to you when a door is about to be closed in your face. So I see a female person and then I go: ‘Oh, yeah, and she’s a girl.’ I always forget to put Edith in the dress and frilly socks and shiny shoes. She doesn’t quite know what to do with them, but she does look gorgeous. But that’s just Edith. I mean, try telling any one of my children what to wear and you would be there for an hour and a half.”

Earlier this year, Blanchett filmed Ocean’s Eight alongside an all-female cast including Sandra Bullock, Anne Hathaway, Dakota Fanning and Katie Holmes, and mention of it brings out her feminist side. “It was so fun,” she says. “I mean, I fucking love those women. I loved spending every single second with them. I loved it. I respect, admire and adore them in kind of an unhealthy way.”

Asked if such a cast in such a movie reflects the ‘new feminism’ continuing to sweep Hollywood, Blanchett sighs. “Look, I’ve been in the industry for a while now, and when I first did the film, a few people were talking about: ‘Oh, this is an extraordinary role for a woman.’ I think the difference is, it’s sort of tectonic, that people are talking about the inequality of pay, the inequality of opportunity, inequality of the way and so they’re also talking about the failure of studio systems. So I feel the issue is being tackled, finally, from a lot of different directions – and that’s the only way change will happen. It’s by public and private erosion, really, I think that’s what’s happening. And it’s not just the film industry. There’s not a single industry in the world where there is equal pay for equal work, or equal opportunity, or equal sense of career development – but everyone talks so much about the film industry because it’s very much in the public eye. That’s fine. But I think what’s really changing is that women are finally waking up and realising that no-one is going to take care of this but us. I find the networking and grouping, mentoring and supporting ... I feel like there’s a lot more active searching out of women, by women. I think that’s where the profound change is going to happen.”

She adds: “You can generalise women, or go into cliche land, but we do have extraordinary stamina. The next decade will be a test of our stamina. What we need to do is pull all stops out and not give up. Not settle, actually. Because how many more millennia do we have to wait for things to get a little bit better? I don’t want my daughter to be dragged by the hair into yet another metaphorical cave.”

Just hours before we speak, Blanchett had returned from Greenland, where she was filming Richard Linklater’s adaptation of Maria Semple’s novel Where’d You Go, Bernadette, about an agoraphobic architect mother who goes missing prior to a family trip to Antarctica. In the space of five days, she saw the Northern Lights, kayaked with a whale, and got caught up in a hurricane. The experience of shooting in Greenland was “life-changing, a magic trip” for Blanchett, a staunch environmentalist who wants to return one day with her own children and show them the effects of climate change: “The sound of an iceberg carving – which they are doing at an alarming rate – is awe-inspiring.”

Blanchett is a passionate humanitarian; in 2015, as a goodwill ambassador for United Nations High Commissioner for Refugees (UNHCR), she took one of her sons to Lebanon to meet with Syrian refugees. Compassion is a trait Blanchett shares with Hemsworth (search for their conversation for UNHCR on YouTube, where the two stars discuss the importance of looking after children and refugees). “White Australia is based on immigration, and these people are so deeply traumatised,” she says, referring to refugees in Australia’s offshore processing facilities. “No-one flees and risks going on a boat [for no reason]; they do it with their children because they feel there is absolutely no other option – these are architects, pharmacists, doctors, physicists. And they have been treated with a level of cruelty that distresses me. Knowing how compassionate and generous Australians are, it doesn’t reflect the best of who we are ... there will come a time, and I hope it’s tomorrow, that we start to deal with it because it’s a source of a national shame.”

Blanchett is so eloquent and passionate about current affairs I ask if she would ever consider entering politics. “We’re all in politics whether we like it or not,” she sighs. “The bigger changes are going to come through the acceptance that we no longer live in a democracy and not-so-benign oligarchy and look towards businesses to change the way they work and function. But in answer to your question, no.”

Given her passion for human rights, does it make her more interested in using her acting choices to tell important stories? “I think it’s a balance. I couldn’t be less interested in agitprop art,” Blanchett says, referring to political propaganda. “[The late Australian playwright] Nick Enright said it best: he said being an actor, being in the arts, is about revealing what it means to be human. And I’ve always thought – it sounds a bit pretentious depending on how you say it, and who you say it to – but I do really basically believe that. Perhaps not in Thor [laughs], but you know ... that’s sometimes really important.”

“Because I don’t always want to watch six hours of sorrow and pity. You know, sometimes I want to watch Avengers: Infinity War. Well, maybe not,” she says, laughing. “But if you’re constantly ingesting the same kind of stimulus, your life becomes thin very quickly. If you’re only reading Nietzsche or Jung, and you don’t read any pulp-trash airline novel or fiction or whatever, then your life becomes very one-dimensional. Part of keeping your finances open as an actor is that you’ve got to throw a lot of different influences at people, no matter what genre you’re in.”

This month, at least, Blanchett’s genre is of the action comic variety in Thor: Ragnarok, and one she admits to having a ball working on. She relished the chance to do her own stunts and play evil Hela, and created the goddess of death’s look herself by experimenting with darkly gothic hair and make-up with her own team and sending photos and videos to Waititi for approval. The director was not surprised, but nonetheless impressed, by Blanchett’s commitment to her character.

“Cate, like Chris, is warm and funny and loving and she can be a clown on set as well,” says Waititi. “But her character is very different to Thor – she’s the villain and wants different things to what the hero wants, and she could turn that on and off just like that. She’s also a chameleon – I’ve spent years watching her in different films and I’m just blown away by how different she can look. She creates these looks from the ground up, and with Hela she would send through a lot of ideas to me asking what I thought. When you know someone takes the role that seriously and wants to spend that much time developing and researching the looks and their wardrobe and their voice even, it’s a godsend.”

There was a moment on set that Waititi realised just how good Blanchett is: “In real life she looks amazing, from another world, but then there’s a shot in the trailer where she is walking out, it’s the first shot of Hela in the movie, and she comes into shot ... and how she looks in that moment is insane – she’s so beautiful, but there’s a character there, it’s not Cate Blanchett. In my mind, that first shot tells you a lot about the character. When we did that shot, I was looking through the camera eyepiece and I looked up and around at everyone else and went: ‘Wow, this is crazy how amazing she looks.’”

To get into shape, Blanchett worked with Hemsworth’s personal trainer, Luke Zocchi, the man responsible for giving the star his enormous Thor biceps, and perfected her villainous moves under the guidance of renowned stuntwoman Zoe Bell.

“I had to manifest all these weapons out of my hands and, of course, being a bit of a girlie girl, I’d make all of the noises: I’d go: ‘Ha!’” she hilariously squeals an action noise. “Taika would say: ‘That was great, but we’ll book sound effects in later!’ Zoe was amazing. She started off by giving me sugar packets so I could physically throw something. And then I was really proud about not having to have sugar packets anymore under her tutelage so I could kind of look like the goddess of death. That’s the reason why I do this stuff – I’ve got no idea how to be the goddess of death, or to be an action villainess. So I got incredibly fit for the movie, but now I’m going to be rolled about with all the bread.”

Blanchett is speaking from London, where her family recently relocated after spending the past decade living in Sydney’s leafy Hunters Hill while Blanchett and Upton shared the job of co-artistic director and CEO of the Sydney Theatre Company from 2008 to 2013. Blanchett believes travel and new experiences are crucial to the development of an actor: “It’s an important part of your career, to work in many different places.” Like Hemsworth’s move to Byron Bay, moving to London was important for Blanchett’s family.“Our two eldest children were born in England and a lot of our formative experiences as a couple were in the UK,” she says. “But we remain incredibly connected to Australia – my mother, my sister and brother are all still there. And, of course, our theatre family is there and Andrew’s work. So we base ourselves in the UK and it’s a constant perk, because Australia is incredibly magnetic. I’ve lived it on a daily basis.”

It is obvious for both Hemsworth and Blanchett that family, a love of their craft, and their down-to-earth nature keeps them grounded no matter how high they go. Hemsworth attributes his amenable character to his upbringing: “I think you advertise what you are for starters.”

“My parents taught us to treat everyone equally and with respect and humility, and being humble allows you to stay open and learn new things and people want to offer you advice and give you support,” he says. “I’ve had that proven over and over again; people wanted to help me and they did, and they thought I was a good person. There are even more examples of people not wanting to help certain people because there is a huge amount of arrogance or lack of respect. I don’t do it just because it’s part of the job, I do it because it feels right and I would have a great sense of guilt and disappointment if I were doing anything else. And it should be fun. I’ve done plenty of other things and thought: ‘I don’t want to spend my life doing this.’ So I’ve got nothing but gratification for what I do.”

It is clear that the making of Thor: Ragnarok was a special experience for both stars, one which began, and ended, rather remarkably: on the first day of filming, Waititi gathered the entire cast and crew together for an indigenous Welcome to Country. The international cast and crew – from Australia, New Zealand, the US, Britain and afar – gathered outside the entrance to the sound studio on the Gold Coast as local Queensland Aboriginal and Maori elders from New Zealand performed a ceremony to pay respects to the traditional owners of the land on which one of the biggest franchise blockbusters in the Marvel comic universe was about to be made. Several months later, on the last day of filming, Maori elders performed a haka to close the set and bring the experience full circle.

“It was incredible,” says Hemsworth. “I lived in an Aboriginal community when I was a kid and I had seen traditional Aboriginal ceremonies, but I had never seen the Maori culture or that sort of ceremony, and the combination of the two was incredibly unique. It was one of the most special experiences on a set I’ve ever had.”

“It sent us on our way with positive energy. There was a bunch of love and support. Normally the first day of shooting is insanely hectic, everyone is running around trying to start on time, they’re nervous about trying to prove their worth. And it could not have felt more different because of this ceremony, to have that blessing, and this beginning, it set the tone for the whole shoot. It has such a laidback, positive, welcoming vibe, which is unlike anything I’ve ever dealt with on a movie set.”

Waititi, who is of Maori descent, said he always organises such ceremonies on his film sets to create “a sense of unity between the crew and feeling like we belonged there, that we had a place in that area while we were shooting”.

“It felt welcomed, it felt good,” Waititi says. “So there was a good vibe the entire time, which went a lot towards this family feel that we like to create on our films. I felt like it was definitely a real coming together of cultures – the Americans and the Australians were there with a local indigenous and a Maori presence as well, which, to me, felt like a really good way of bringing everyone together: starting the right and ending it right.”Read more at:http://www.marieprom.co.uk/purple-prom-dresses-uk | http://www.marieprom.co.uk/yellow-prom-dresses
[ 投稿者:makayla at 20:20 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

What to wear when the dress code says white tie
We break it down.

Perhaps one of the hardest things in life is choosing the perfect outfit. And when there’s a dress code, all of a sudden the stakes are even higher. But it doesn’t have to be, because we’re here to decode all your fears, queries and questions about every single dress code.

White tie is traditionally the most formal of all the dress codes, the ultimate formal outfit for only the fanciest affairs — think, the Met Gala, Oscars, or an extra special wedding.

For men, this one means full suit including a white bow tie, hence the name white tie — but the suit should be black, not white, and shoes should be the proper formal dress, nothing else.

For women, the rules are a little less strict and much more vague, with the criteria really being to wear a long dress. However, as it is the older sister to black tie, we advise to amp it up. Think Blake Lively at Cannes and every old Hollywood star you remember.

Go for structure, a gown and show a little décolletage — couture is ideal. For those of us without access to a French couture house, we’d suggest going with a dress with plenty of body and a shape that ultimately flatters you — look good, feel good.

White tie is ultimately a ball gown dress code, which means a fitted bodice with a full-skirted gown that reaches the ground — think Disney princesses.

White tie can also mean gloves are expected, but depending on your event, we’d keep these for the ultra-high end events — we’re talking the White House or other official night time ceremonies.

For those who like to buck with tradition, we suggest choosing a muted colour and a gown that still fits the long-cut brief, but with a hint of intrigue like Karlie Kloss’s Brandon Maxwell 2016 Met Gala dress.Read more at:http://www.marieprom.co.uk/prom-dress-uk | http://www.marieprom.co.uk
[ 投稿者:makayla at 20:38 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Five fashion photographers from Africa
Behind every photographer is a story. We take a look at some of our favourite fashion photographers who produce magnificent shots we love.

Andile Mthembu

Mthembu is a Johannesburg based photographer from Durban. He holds a National Diploma in Photography obtained from Durban University of Technology. Mthembu has been in the industry for nine years and worked as a junior photographer at a lifestyle family portrait studio in Cape Town while occasionally assisting a commercial photographer.

He started his solo career as a fashion photographer in May 2014.He has worked with magazines such as Bona, Destiny and True Love to name a few.

Josh Sisly

Fashion and beauty photographer Josh Sisily is from Ghana. She specializes in editorial and commercial photography. Her focus is mostly on women and recently, she did a Pink October shoot, celebrating women in the universe.

Anny Robert

Robert is a portrait photographer from Lagos, Nigeria who shoots for a living. With not more than 2 years in professional photographer, his work is amazing. He has worked with one of the best Nigerian musicians, Ice Prince Zamani.

Lyra Aoko

Hailing from Nairobi, Kenya, is the 25 year old Lyra Aoko who is a fashion and lifestyle photographer. “I capture you in your best light and create images from the heart to inspire and make you feel beautiful”. Aoko has worked with big brands such as Nike, Piece & Co and Jack Daniels just to name a few.

Simon Denier

Denier is a Cape Town based photographer specialising in fashion. Denier captures the best at fashion weeks from across the world. From Mercedes Benz Fashion Week, Lagos Fashion Design Week to London Fashion Week, SDR is always there, to shoot those runway moments.Read more at:http://www.marieprom.co.uk/purple-prom-dresses-uk | http://www.marieprom.co.uk/green-prom-dress
[ 投稿者:makayla at 15:43 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

This Charming Pop-Up at Bergdorf Goodman Is Brimming With One-of-a-Kind Party Dresses
“We met four years ago at a vintage furniture fair in Berlin,” Nina Kuhn, one half of the fashion line Rianna + Nina, recalls, remembering the moment she first locked eyes with Rianna Nektaria Kounou, the woman who would become her fast friend and business partner. Everyone else at that furniture show was traipsing around in boho black, while Kuhn and Kounou were clad in their typical garb—a riotous rainbow of magpie hues. According to Kuhn, they looked at each other and said, practically at the same time, “Who are you?”

They were a fashion executive (Kuhn) and the owner of a Berlin vintage shop (Kounou), and it turns out they had more in common than just a penchant for nutty hues. After a fabulous Greek dinner at Kounou’s house, they realized so much chemistry was too good to waste and decided to found Rianna + Nina, an utterly unique collection ensconced, for the next two weeks, in a pop-up on the third floor of Bergdorf Goodman. (Go up there after tomorrow night and you can see the holiday windows!)

The modest, simple word colorful hardly begins to describe the Rianna + Nina offerings, a panoply of kimonos, tiered dresses, and jackets made in many cases from vintage scarves and antique obi fabrics. Foulards that once bore labels like Hermès and Dior, but ended up on flea market tables, have been rescued by this dynamic duo and transformed into the kind of one-of-a-kind fashions everyone craves now.

Admit it—you don’t want something all your friends already have! Parties are coming, and you want to swan around in a gorgeous ensemble—composed of, say, 30 scarves that took seamstresses 10 hours to create. Something that combines jewel-toned stripes and floral bouquets, animal prints and wild abstracts—something luxe and languid, maybe even sprinkled with Swarovski crystals!

But of course, building a business that depends totally on serendipitous flea finds can make it difficult to generate inventory. To meet increasing demand (true story—on the first day of the BG pop-up, one devotee spent $114,000), Kuhn and Kounou have also launched a line called It’s All Greek to Me, made from fabric custom made in Como, Italy, and printed with charming designs unearthed from vintage children’s book illustrations, among other sources.

“Rianna does the design, and I do the talking and the writing. We trust each other!” Kuhn says, explaining their congenial separation of powers. Or as Kounou puts it, “I see the fabrics, and I know what I do.”Read more at:http://www.marieprom.co.uk/black-prom-dresses | http://www.marieprom.co.uk/pink-prom-dresses-uk
[ 投稿者:makayla at 15:50 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

To be well-dressed doesn’t mean wearing swanky brands
Rustam, could you tell our readers how the market of fashionable clothes develops in Kazan, please?

Now it's time for social networks, everyone is able to create an account and use it as advertising space. Kazan has many designers, I don't know many of them personally. But I can say they make their accounts in a very beautiful way. And there is an impression that it isn't just a designer but the owner of the whole fashion empire that probably has been existing for tens of years. I don't know what happens in reality. I'm interested in it myself and I try to follow whom we have, what a direction they work in. The city has boutiques that present off-the-peg products of world brands. Clothes of Russian designers also started to appear. The assortment of the offered clothes is very wide. The competition is quite high, and it is fine, it encourages, you understand you can't relax, you constantly need to be up to date, make new collections, develop.

RUSTAM has been existing in the market for a long time already…

Since 2005, the time has passed fast. RUSTAM has been 12 years old this year. We accept orders, sew collections, participate in exhibitions, events.

Your studio had been in one place for many years, and you suddenly moved. Why?

We rented a room above great restaurant Bachelor's Refuge. It is one of my favourite restaurants. It started to develop, grow, and I'm very glad for them. Our former lessor, the owner of the restaurant, offered to move to his another room. But I found my own option, it was more preferable. We found a room that was bigger than we had. And this new place allowed us to organise a showroom here. Our clients like the new format very much. One can find a thing off the peg and look at fabrics, take measurements and sew new clothes. In other words, it became a full cycle.

Do you rent this new room?

Yes, it is almost 200 square metres here.

And how many employees do you have?

Not many, eight people.

''We ''added degrees''

Do people buy clothes off the peg or order?

It depends. It depends on preferences of our clients. Somebody says they never order clothes and buy only ready-made clothes. There are clients who combine the purchase of clothes off the peg and individual orders. There are those who prefer to order clothes made to their own measurements. We have off-the-peg clothes, they're in our showroom. Every client can evaluate our quality and style of work. The range of sizes we make is wide and can reach 3XL.

The range of sizes used to be shorter.

We gradually ''added degrees'' understanding that women are different, we do our best for everybody. We're not afraid of sizes. And even when corpulent women come – with European 48 plus size – we have off-the-peg options that they can try on, and then the client can order clothes easier. Sometimes they immediately find the necessary outfit among the ready-made clothes. But I don't show big sizes in the showroom because they don't look presentable when they are on the hangers. It is a thin aesthetic moment. Even if I show a big size dress to a corpulent woman, she can be afraid, such a dress doesn't look beautiful on the hangers. When such a dress is tried on, it is seen that everything is fine. We need to understand it.

Are your trips to Fashion Weeks in Moscow economically justified?

I started with the Russian Fashion Week (it's Mercedes-Benz Fashion Week now) that provides a platform only for demonstration of collections. Then we started to cooperate with Fashion Week in Moscow that takes place in Gostiny Dvor. This fashion week is more attractive for us because apart from staging shows, a designer can rent an exhibition area and present his collection in the showroom for closer examination. RUSTAM brand has been participating in Fashion Weeks since 2004, and we already had our clients and fans in Moscow. The clientele is big, they wait for us to come with a new collection again. The fashion week doesn't take place often, only twice a year. People manage to miss when we're absent and look forward to seeing us again.

It's difficult to stage, it's expensive. Of course, we look at our financial possibilities and stage shows when we have such possibilities. Personally, when I stage a show, I think about the impact the least. A show is a celebration, it is an image advertising, it is a kind of limit at work, a short-term goal we set and aspire for. There is a desire to show what we can do and create a positive mood for people, present the brand. The show is also important for our employees – the tailors who make clothes. Preparation for a show, first samples – it inspires. People are interested in making this collection.

We recently started to attract partners to shows, for so-called collaboration. There are several companies that are interested in it. For instance, a company that sells glasses, it is important to show them on somebody, companies making jewellery, shows. We create outfits together that we present to the audience later. So it is very beautiful and, on the other hand, mutually beneficial. We agree with partners that we shoot the advertising campaign with their product and demonstrate it in the show. There are partners who would like to demonstrate their culinary skills, they're responsible for catering in the event. Cooperation, communication is very important. It is a way for new ideas and inspiration.

Once you had a desire to sell clothes abroad. Do you have such plans now?

The world changes, we also change, our values change, a philosophic view of life appears. Today I understand that people, they are the same everywhere. Of course, I can't say that ''no, I don't want to sell abroad and I won't do it''. If it happens so, if it is possible one day, why not? But I won't aspire for it at all costs. I'm cool with both Kazan and Moscow. I'm glad that not only citizens of Kazan but residents of other cities of Russia and foreigners visit our studio. Kazan is a tourist city, people who are interested in fashion and want to buy something from local designers, write the question ''designers in Kazan'' in their gadgets and come to me.

So is the Internet the main means of advertising?

Yes, right. Though word-of-mouth marketing has always existed and exists. So people know the address on the Internet, come, acquaint with our work and buy. Our clothes went to Switzerland, America, Canada, China and many other countries, it's difficult for me to remember everything now.

I started as a designer of women's clothes. It was interesting to me at the very beginning and now. From time to time I thought about men, what a product that did not exist I could create. I gradually had a male image of RUSTAM brand, how it should look, what it had inside, how it lived. It became a character of a very active person at the wheel, he travels a lot, he is a smart and creative, a bit Bohemian person. When such a character appeared, I decided I could launch a small collection for men. Time will show because RUSTAM really makes clothes for men. And it needs to be transmitted somehow, so that people will see. There will be men's clothes in the new collection.

How much time does it take to sew a new collection?

Fabrics are selected first, then colours are chosen… Sewing takes about 6 months. It is a term when you work calmly, steadily, without hurry. Probably this term will seem long to somebody. But apart from making a collection, we sew for individual clients. A client's order is the No. 1 priority. We can't say to clients: ''Sorry, we're making a collection now, wait.'' Sometimes we work on a collection faster, for 3-4 months. But 3 months are the shortest term.

Do companies make corporate orders? For instance, kits?

Companies often turn to us. I have to refuse them in many cases because it is a big order, clothes for many people need to be made. Our production format doesn't presuppose such big volumes. I have an acquaintance, she has a factory. I usually send such clients to her. But if we are talking about making 10-15 things, we don't refuse such companies. For instance, we worked with Tatspirtprom in such conditions. We created a corporate style for restaurants – from cooks to waiters. It is an interesting job. It doesn't happen often but it happens.

''Sometimes I work as a psychologist''

How do you think a well-dressed person looks?

I can't evaluate clothes separately from a person. I always consider a totality. I've been invited on TV many times, they wanted to make a programme like Take It Off Immediately!. I always refuse because the same Fashionable Sentence that I watch sometimes is often interesting, and a heroine is famous in the end. And it's seen sometimes that a woman is in shock, she can't accept herself so. This is why we don't have the right to up and cut a person's hair, change its colour, clothes and say: ''You understand nothing, this is what clothes a person should wear!'' I'm against such forced measures. One needs to treat such a person very carefully, we all have a big number of complexes (or experience), we live with it. When a person comes to a designer asks for help, I understand that clothes are not the main thing. Clothes will be a bonus then. The most important thing is to talk to the person and understand him. Psychology needs to be considered in our work. We need to understand how the person lives, let him express his fears and doubts, externalise the person's virtues. When you work so, the person opens and becomes completely different. I'm for it.

Does it mean that you have to work with clients as a psychologist?

Yes, it is psychology, first of all. I don't like when I'm asked what's in vogue in this season, what trends, I'm not interested in it at all. Probably I'm cunning in part. But before creating a new collection, I ask myself a question: ''What do I want?'' And I start listening to myself – what colour and length I want, what silhouettes I want to introduce now, what a woman I want to see in the new season. I don't start carrying it inside, images and colours come to me. I don't look anywhere, either to the left or the right. Then it turns out I hit the trend – my colours, my silhouettes are on trend. Sometimes I go ahead of a season. The palette I will show in November can be bravely used in spring.

''I adore the mass market''

Where does Rustam Iskhakov dress?

Rustam Iskhakov dresses himself. Of course, I like to dress in Europe, Milan or Paris. Here I'm at work, when you go somewhere, the mood is different, it inclines to go shopping. I do it with pleasure. I used to work as a buyer, I brought collections from Europe to Kazan. I understand that every boutique in Russia makes its own selection, they don't bring the whole collection. They bring what our clients will seem to like. I have both expensive and mass-market brands. I adore the mass market. There is a possibility to mix one thing with another in a great way, I advise everybody to do so. There are brand dependent people, and there are those who mix expensive brands, mass market and vintage. It happens due to the freedom of thought. To be dressed nice and in style doesn't mean being dressed in brands only.

What pitfalls wait for young designers?

Everybody's fate is different. But there is one recipe for success: ''Love!'' Love what you do because if you think how to make money, everything will fail. You need to love and give first to make money. The money will come then.Read more at:http://www.marieprom.co.uk/formal-dresses-uk | http://www.marieprom.co.uk/cocktail-dresses-uk
[ 投稿者:makayla at 17:55 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Russia’s Luxury Department Store
Vika Gazinskaya is considered to be a legendary designer in Russia, and her creative power in the country shows: Last night at Tsum, Russia’s largest luxury department store, she celebrated her 10-year anniversary of being in business. The bash was held on the third floor, centered in It girl and stylist Natasha Goldenberg’s curated corner. A mix of partygoers packed into the space, including one local socialite who arrived with a hulking bodyguard, as well as Muscovite designers Gosha Rubchinskiy and Ulyana Sergeenko. Although they have vastly different aesthetics, Rubchinskiy and Gazinskaya are tight-knit. “It all [our friendship] happened more than 10 years ago,” said Rubchinskiy. “We were all friends who hung out together.”

There weren’t only Moscow natives on the guest list: Longtime international fans of Gazinskaya circled the room, including street style–beloved figures Veronika Heilbrunner and Ada Kokosar, though one of the most buzzed-about guests was Russia native Ksenia Sobchak. For the uninitiated, Sobchak was a reality television host turned fashion editor—a Russian It girl once compared to Paris Hilton—who only a few days before Gazinskaya’s event announced that she would be running for president.

The à la russe and international star–studded turnout isn’t a surprise. Gazinskaya, after all, was the first designer, a pioneer in a sense, to truly break out of Russia into the Western market. “In Russia, she was the first of the Russia designers who got the idea that an atelier isn’t enough. You can’t just make costumes for private clients,” said Goldenberg. “You have to go somewhere and push your brand and your company. She was the first to come to Paris to show her designs and her vision. Then she got Net-a-Porter and Browns.” Gazinskaya’s foray into the fashion industry wasn’t an easy feat. Unlike her social circle of well-heeled Russian It girls, she grew up in a modest household in Moscow. “Once I saw a Barbie doll of my neighbor’s, who was from a rich family. For a Soviet child it was kind of a shock, like something from another planet,” said Gazinskaya. “Then when the 1990s first came, Mattel company came to Russia and started to sell the dolls. I was selling newspapers to have money to buy Barbies so I could have a collection.” Fast forward years later, Gazinskaya, who could not afford to buy designer clothes at the time, attended Paris Fashion Week and wore her own designs during the height of street style photography. She was photographed by the likes of Tommy Ton and Scott Schuman. Shortly after her popularity skyrocketed.

The looks that first caught the eye of photographers were shown at the party in a mini exhibition. Some of the memorable pieces on display included her flamingo-print silk dress from Spring 2014 and her faux fur–stuffed animal scarves. (In a country synonymous with fur production, Gazinskaya is well known for her use of non-fur products.) On the cheeky side, there were also dolls based off of her well-known wearers, including Solange Knowles and Miroslava Duma as well as Goldenberg and Heilbrunner, all donning Lilliputian versions of Gazinskaya’s clothes. The juxtaposed installations seemed to act as an example of just how far Gazinskaya has come. “In the past 10 years of the brand, she’s really developed organically,” said woman-about-town Olya Thompson. “Her success wasn’t really dictated by investors or the market other than her creative vision.” Now that she’s captured both the Russian and international markets, let’s see how Gazinskaya grows next.Read more at:http://www.marieprom.co.uk/backless-evening-dresses | http://www.marieprom.co.uk/long-evening-dresses-uk
[ 投稿者:makayla at 18:33 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Wedding of Mr. and Mrs. James Tallery Geiger
Wedding of Mr. and Mrs. James Tallery Geiger

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[ 投稿者:makayla at 16:36 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]

Nicole Kidman and Miranda Kerr's Dior dresses go on display in Melbourne
Nicole Kidman and Miranda Kerr's Dior dresses go on display in Melbourne

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[ 投稿者:makayla at 16:54 | Makayla Ashbolt | コメント(0) | トラックバック(0) ]