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Anna is wearing Oscar De La Renta
ADR for H&M trolley,
jewels and sunglasses
jewels and sunglasses
Anna is wearing Caterina Gatta
ADR for H&M hat and jewels
ADR for H&M collection
ADR for H&M jewels
ADR for H&M jewels and sunglasses
Anna is wearing Roberto Cavalli
Alan Journo hat, ADR for H&M jewels
Oscar De La Renta S/S 2012 gown
Caterina Gatta F/W 2012 outfit
Roberto Cavalli S/S 2012 dress
Alan Journo hat
Photo Credit: Tommy Ton
Source: Vogue Russia Sept 2012 issue
See you in September with
a great surprise:
ADR Factory’s new Blog!
Chanel surf
Illustration by Lula
On October 4th, the ADRforH&M
ACCESSORIES collection will be out!
Here my 10 TOP Rules:
1. ACCESSORIZE ME, Color me, Shock me!
2. Choose only OFF-scale, HUGE,
OVER-size, accessories.
3. Flashy jewels personalize your STYLE!
4. Amazing accessories ‘ll renew
your ASLEEP closet:
Your old, so beloved, little black dress
‘ll be reawakened by the impact of
a chunky GOLDEN necklace.
5. Don’t want to give up your old
consumed, shabby black coat?
At least shake it with a THIGH-HIGH
leather boots and a MASSIVE METAL clutch.
6. Bijoux are SEASONLESS!
Contrary during the heavy, rainy, graying,
boring winter, wear TURQUOISE
CORAL and GOLD,
and the sun ‘ll rise again.
7. The BLING-BLING of jewelry drive away
the ghosts and the bad thoughts.
8. Put bracelets in pairs:
the simmetry of the TWINS-CUFFS
emphasizes your Silhouette.
9. Wear the evening-jewels in daytime.
It’s UNEXPECTED!
10. And then, if you have to travel,
store all your accessories in a turquoise TROLLEY
decorated by gold baroque frames.
Make SHINE the airport against the
anonymity of all those gray suitcases.
OVER-size, accessories.
your ASLEEP closet:
Your old, so beloved, little black dress
‘ll be reawakened by the impact of
a chunky GOLDEN necklace.
consumed, shabby black coat?
At least shake it with a THIGH-HIGH
leather boots and a MASSIVE METAL clutch.
Contrary during the heavy, rainy, graying,
boring winter, wear TURQUOISE
CORAL and GOLD,
and the sun ‘ll rise again.
the ghosts and the bad thoughts.
the simmetry of the TWINS-CUFFS
emphasizes your Silhouette.
It’s UNEXPECTED!
store all your accessories in a turquoise TROLLEY
decorated by gold baroque frames.
anonymity of all those gray suitcases.
Photo Credit: Pierpaolo Ferrari
Louis Vuitton’s new collection withYayoi Kusama,
includes an extensive range of shoes, bags, dresses, and scarves,
all reflecting Kusama’s distinctive aesthetic. Both the collaboration
- Vuitton’s most extensive with an artist ever – and the fashion
house’s sponsorship of Kusama’s retrospective art show at the
Whitney (which has also been seen in Madrid, in Paris, and at
the Tate Modern in London) came out of that meeting
of the obsessive minds back in 2006.
“Marc Jacobs’s sincere attitude towards art is the same
as my own,” Kusama told the Cut from her studio in
Tokyo recently. “I respect him as a wonderful designer. Louis Vuitton
understands and appreciates the nature of my art. Therefore there
isn’t much difference from my process of making fashion.”
The first global window installation in the flagship in New York City,
will be followed by similar installations in
all 453 Louis Vuitton stores worldwide.
Private house in Taormina
through ADR’s eyes
A voyage with Dolce & Gabbana Alta Moda
“Two or three days before Garibaldi entered into Palermo, I was
introduced to two English naval officers, who resided on those
boats moored near the coast just to witness what was going on.
One of them asked me what were these Italian volunteers really
doing in Sicily. ‘They are coming to teach us good manners’
I answered. ‘But they wont succeed, because we are gods”
(The Leopard, Giuseppe Tomasi di Lampedusa, July 1958).
After having successfully branded the collective imagination with
the SS2013 menswear show which had as protagonists seventy young
men, all originally Sicilian, the Dolce and Gabbana duo anoint
their style with the debut of their first ever
Alta Moda collection in Taormina.
The voyage started for me on the Milanese runway on the 24th June.
The scugnizzo [typical Sicilian boy] who vehemently opened the show
with a strong sense of purpose wearing oversize shorts cinched at
the waist with a worn belt and a Pupi [traditional Sicilian puppets]
printed shirt sleeve.
“The Sicilians will never wish to improve, as in their opinion
they believe to be already perfect; their vanity is
stronger than their poverty.”
(The Leopard, Giuseppe Tomasi di Lampedusa, July 1958).
The archetypal archaic man, primitive and proud brought back to the
runway all the certainties of Italian fashion which were lost in the
past few years. Humble fashion, stripped to the bone, expressed an
antique elegance made of iconic pieces, essential and perfect in their
details. The special occasion suit, work clothes, the shirt fro the
free time, the tank top, like underwear, the trousers gathered at the
waist. Archetypes, typologies which go beyond the season, an intelligent
reaction to the fast paced, even crazed tempo, imposed by the web.
Leaving rhetoric behind we’re reverting back to those ancient values,
typical of a neorealist Italy, told to us by visionary
and raw directors like Pasolini.
After two weeks, we were invited to Taormina to hide within one of the
most beautiful Viscontian atmospheres imaginable. It was the 9th July
along the sunny streets of the old town, one could witness a meandering
religious procession which celebrated the Patron Saint Pancrazio. At
the same time, in front of the smoky Etna Volcano, accompanied by the
notes of the Cavalleria Rusticana, Dolce&Gabbana’s first Alta Moda
collection debuted in the ex monastery of San Domenico.
In the same building where the director Michelangelo Antonioni chose
to shoot the final, dramatic scenes of the film “L’Avventura”.
“Today, like yesterday, the whitewash walls, the entrance patio,
with its stone well, the 18th century door, veneered as though it was
lace, the large square cloister, and the smaller older one, the vestry,
with its crumbling frescos, the convent church with its extraordinary
marble altars, the splendid Italian gardens with their rare flowering
plants, continue to create the rare atmosphere of this place,
where the sacred and the profane mix with a past rich
in history and tradition with the future.”
(A voyage with Alta Moda, Domenico Dolce e Stefano Gabbana, July 2012).
At the entrance we were greeted by virgin brides and black widows caged
within gigantic crinolines covered with lace. Hiding behind embroidered
veils they stood still in the courtyard amid burgeoning
bougainvillea and ancient cacti.
We settled into the lager cloister, seated on antique wooden kitchen
chairs or damask armchairs, the seventy-three look show began.
Kate King opened in a black lace dress where you could just see her bra,
and the heavy satin skirt, slightly bell shaped, and her small feet,
like those of a princess, defined the light and slender silhouette.
The suits and tailored coats, black or in double tweed were completely
emptied of any excess, yet masterly structured and rounded on the hips,
were alternated with a blaze of feminine dresses.
The carved organza pale pink balloon dress with matching pumps which
Scarlett Johansson loved so much, the Capodimonte-vase dresses with the
embossed embroidery in 3D effect ceramic, the black bobbin lace dress,
hand made for hours, the white blouse with tatting lace collar, and the
lingerie bodices enveloped by clouds of see-through tulle.
In the middle of all this come Bianca Balti in a carved lace gown.
Round her neck hung a large cross in chiselled gold with emerald and
topaz, another debut for Dolce&Gabbana into Fine Jewellery.
Salvaging ancient crafts with obsolete, almost forgotten names, bobbin lace,
crochet, carving, and intarsia. Nothing was relevant to what will be in
fashion this year, to the seasonal trends, just a true consecration of style.
Superb was the hand printed gown with embossed orange blossoms sweetly
matched to lemon earrings encrusted with precious gems. Fresh flowers also
decorated the hair of the young models. All over embroidery with
shining crystals were present on the shoes and small bags.
The emotion in the finale was overwhelming, with Monica Bellucci,
Isabella Rossellini, Naomi, Laetitia Casta, Stephanie Seymour, Bianca
Brandolini, Anna Wintour, Franca Sozzani, Grace e Hamish Bowles
(to name but a few of the two hundred guests including eighty of the
griffe’s best clientele from all over the world.) all enthusiastically
bunched up around the designers. Domenico burst into tears,
it was an unforgettable moment.
But the voyage hadn’t come to an end, yet and we all headed towards the vestry.
“On the 9th July in 1943, on the same day as the Patron Saint Pancrazio,
a part of the San Domenico, occupied by the Italo-German army was
bombed by the allies. The vestry, with its carved wooden cupboards,
the streamlined choir, so beautifully whittled, the statues, the
religious vestments, the painted canvasses were swept away in
the explosion and suffered the most damage.”
(A voyage with Alta Moda, Domenico Dolce e Stefano Gabbana, July 2012).
On that day the inebriating smell of the incense made those memories even more
vivid. Outside the vestry, opened for the occasion, with the statue of San
Domenico in full view, and from which the original stood three Papesses dressed
in religious vestments made of Venetian damasked fabrics; hand loomed with gold
thread, encircled by weeping widows in black lace suits and lace handkerchiefs.
Hanging from the neck of the central, austere Papess, the magnified symbol
of Sicily, with each single letter written in diamonds.
And now the last passage, the Leopardesque enormous crinolines with hand painted
flowers in the central cloister, the most ancient one, accompany us to dinner.
In the bay of Taomina, in a windless night, pregnant with the smell of jasmine
and in front of the imposing San Domenico, with lights shining from each window,
protected by white lace tents, the party came to fruition, amongst
tables laden with traditional treats and royalty.
And this is how a wholly Italian dream came to an end.
Source: Swide.com
Anna is wearing Dolce&Gabbana
Dolce&Gabbana jewels
Dolce&Gabbana bag and shoes
Alan Journo hat
Joana Vasconcelos, Lilicoptère, 2012
Joana Vasconcelos, Coração
Independente Vermelho, 2005
Joana Vasconcelos, Marilyn, 2011
Joana Vasconcelos, Coração
Independente Preto, 2006
Joana Vasconcelos, Golden Valkyrie, 2012
Joana Vasconcelos, Le Dauphin
et La Dauphine, 2012
Joana Vasconcelos, Pavillon de Thé, 2012
If Marie-Antoinette could have had that incredibly desirable
object that is the helicopter covered in baby pink ostrich
feathers – aptly named Lilicoptère – with big, sparkling
multi-faceted crystals, upholstered with red morocco
embroidered with gold, which is on display today in her
Versailles palace, she would have undoubtly gone crazy.
It is not hard to picture her, as in the portrait by Elisabeth
Vigée Le Brun that depicts her donning a simple indian muslin
designed by Rose Bertin, among the lively pre-romantics of
her beloved Hameau, flying suavely towards those carefree
and intimate brigades she loved to freely gather at the Trianon,
leaving behind her the dull and boring ceremonial and the
gloomy premonitions of the decline of the
last court of the Ancien Regime.
Joana Vasconcelos, a Portuguese born in Paris, primadonna in
an imaginative exhibition that disturbs and paradoxically
interacts perfectly with the royal opulence and the
extraordinary symbolic significance of the palace of the
Bourbon of France, has figured it all out. Maybe even more
so than some illustrious predecessors like Jeff Koons, Xavier
Veilhan and Japan‘s Takashi Murakami, all of them called in
to subvert the solemn and luxurious series of rooms in the
fairy tale palace – or a golden and unrelenting nightmare –
conceived by Louis XIV as a symbol of his absolute power.
“I have always thought about Versailles”- claims the artist
while she tries to explain her universe, both elengant and
exuberant, precise and iconic like a mantra and
boundless and glowing like a very elaborate
wedding cake or a carnival chariot.
Vasconcelos at Versailles launched into a daring and
unabashed métissage among the events and the historical
baggage of the place, its predominant representative
strength and the thousand references that involve the
camp, representing a formidable masque, crossing
Madame de Pompadour and Gloria Gaynor, with nuances
à la Sofia Coppola, Belle Otero fragrances and Zizi
Jeanmaire en truc en plume YSL 60; and even polychrome
extravagances from the fabulous Bollywood parvenues.
Read the full review on Vogue.it
“Due o tre giorni prima che Garibaldi entrasse a Palermo mi furono
presentati alcuni ufficiali di marina Inglese in servizio su quelle navi
che stavano in rada per rendersi conto degli avvenimenti. Uno di loro mi
chiese che cosa veramente venissero a fare qui in Sicilia quei volontari
italiani. ‘They are coming to teach us good manners’ risposi.
‘But they wont succeed, because we are gods’”.
(Il Gattopardo, Giuseppe Tomasi di Lampedusa, Luglio 1958).
Dopo aver bucato l’immaginario collettivo con la sfilata uomo SS 2013 che
ha messo in scena settanta ragazzi tutti originali provenienti dalla
Sicilia il duo Dolce e Gabbana consacra il proprio stile con il debutto
della prima collezione di Alta Moda a Taormina.
Il viaggio per me ha inizio sulla passerella milanese il 24 giugno.
Lo scugnizzo con veemenza e fare deciso ha aperto la sfilata dell’uomo
indossando pantaloncini oversize strizzati sopra la vita da una cintura
lisa e una camicia a maniche corte con stampa pupi siciliani.
“I Siciliani non vorranno mai migliorare per
la semplice ragione che credono di essere perfetti;
la loro vanità è più forte della loro miseria”
(Il Gattopardo, Giuseppe Tomasi di Lampedusa, Luglio 1958).
L’archetipo dell’uomo arcaico, primitivo, fiero di sè ha riportato in
passerella tutte le sicurezze perse negli ultimi anni del costume Italiano.
La moda povera, ridotta all’osso, ha espresso un’eleganza antica fatta di
capi iconici, essenziali e assolutamente perfetti nei dettagli.
L’abito da cerimonia, il vestito da lavoro, la camicia del tempo libero,
la canottiera intima, il pantalone sbuffato sopra la vita.
Archetipi, tipologie al di là delle stagioni, reazione troppo
intelligente al tempo veloce, impazzito impostoci dal web.
Spazzando via la retorica torniamo alla fierezza dei valori antichi,
anzi arcaici, tipici di un Italia neorealista ma questa volta
raccontataci da visionari registi graffianti come Pasolini.
Dopo due settimane, siamo invitati a Taormina a calarci in una
delle più belle atmosfere Viscontiane che si possa ricordare.
È il pomeriggio del 9 luglio, e per le vie assolate del centro
antico si svolge la processione religiosa del patrono San Pancrazio.
Contemporaneamente, di fronte al fumante vulcano dell’Etna, sulle
note della Cavalleria Rusticana, debutta la prima collezione
Alta Moda Dolce & Gabbana nell’ex Monastero di San Domenico.
È qui che il regista Michelangelo Antonioni decise di girare
le ultime drammatiche sequenze del film “L’avventura”.
“Oggi come allora i corridoi imbiancati a calce, il patio d’ingresso
con il pozzo in pietra, il portale settecentesco finemente intarsiato
quasi fosse un ricamo, il chiostro grande a pianta quadrata e quello
più piccolo e più antico, la sagrestia con i suoi frammenti di affreschi,
la chiesa conventuale con gli straordinari altari marmorei, lo splendido
giardino all’italiana con le sue rare piante in fiore, continuano a
comporre l’atmosfera rarefatta di questo luogo nel quale si mescolano
il sacro e profano, il passato ricco di storia e tradizione e il futuro.”
(In viaggio con l’Alta Moda, Domenico Dolce e Stefano Gabbana, Luglio 2012).
All’ingresso siamo accolte dalle vergini spose e dalle vedove nere
ingabbiate in gigantesche crinoline ricoperte di pizzo. Celate dai
veli intarsiati restano immobili nel cortile assolato tra
bouganville rigogliose e cactus secolari.
Ci accomodiamo nel chiostro grande su sedie di legno da cucina e
poltrone damascate, inizia la sfilata di settantatre looks.
Apre Kate King con un abito di pizzo nero da cui si intravede il
reggiseno e la gonna leggermente svasata di raso pesante; i piccoli
piedi da principessa, definiscono una silhouette leggiadra e sottile.
I tailleur e cappotti sartoriali neri e in tweed double completamente
svuotati da ogni eccesso ma magistralmente strutturati e bombati sui
fianchi si alternano ad un tripudio di abiti femminili:
Il Balloon rosa pallido di organza intagliata con le décolleté uguali
tanto adorato da Scarlett Johanson, gli abiti-vaso di Capodimonte con
i ricami sbalzati in 3D effetto ceramica, il vestito nero di tombolo
fatto a mano per tante ore di lavoro, la camicetta bianca con il collo
di pizzo chiacchierino, le guaine lingerie avvolte
in nuvole di tulle impalpabile see-through.
Nel mezzo Bianca Balti sfila con un abito lungo di tulle intagliato.
Al collo da un nastro di velluto pende una grossa croce in oro cesellato
con smeraldi e topazi; un altro debutto Dolce & Gabbana nell’Alta Gioielleria.
Un recupero di antiche lavorazioni artigianali dai nomi obsoleti quasi
dimenticati: tombolo, uncinetto, intaglio, intarsio.
Niente relativo a cosa andrà quest’anno, ai trends di stagione,
ma solamente una vera e propria consacrazione di uno stile.
Superbo l’abito dipinto a mano con i fiori di zagare a rilievo
dolcemente accoppiato agli orecchini di limone tempestati da pietre preziose.
Fiori freschi anche nei capelli raccolti delle modelle giovanissime.
All-over di ricami con cristalli lucenti sulle scarpine
appuntite e le piccole borsette.
Grande emozione per il finale, Monica Bellucci, Isabella Rossellini,
Naomi, Laetitia Casta, Stephanie Seymour, Bianca Brandolini, Anna Wintour,
Franca Sozzani, Grace e Hamish Bowles (solo per nominare alcuni dei duecento
invitati tra cui ottanta clienti provenienti dal mondo intero)
tutti entusiasti intorno agli stilisti.
Domenico Dolce scoppia a piangere, è un momento indimenticabile.
Ma il viaggio non è ancora terminato, proseguiamo tutti verso la sacrestia.
“Il 9 luglio del 1943 sempre nel giorno della festa di
San Pancrazio una parte del San Domenico, occupato dall’esercito
italo-tedesco, fu colpita da un bombardamento alleato.
La sacrestia con gli armadi di legno scolpiti, il coro ligneo superbamente
intagliato, le statue, i paramenti religiosi, le tele dipinte fu travolta
da quel’esplosione riportandone i danni maggiori”.
(In viaggio con l’Alta Moda, Domenico Dolce e Stefano Gabbana, Luglio 2012).
Oggi l’odore d’incenso rende ancora più vivido quel ricordo,
la sacrestia aperta per l’occasione con la statua di San Domenico
in vista da cui provengono le voci originali del film “Il Gattopardo”,
rende spettacolare il penultimo Tableau-Vivant della collezione Alta Moda.
Ci attendono tre papesse con paramenti sacrali in tessuti Veneziani
damascati lavorati a telaio con fili d’oro, circondate dalle vedove preganti
in tailleur rivestiti neri e fazzoletti di pizzo. Al collo di quella
centrale austera il simbolo ingigantito della Sicilia in
oro zecchino con le singole lettere in diamanti bianchi.
E ancora l’ultimo passaggio: le crinoline Gattopardesche giganti con
i fiori dipinti a mano nel giardino del chiostro più antico
ci accompagnano prima di sederci a cena.
Nella baia di Taormina, in una notte senza vento con il profumo
pregnante dei gelsomini nello splendido giardino di fronte
all’imponente San Domenico illuminato nelle singole stanze
riparate da tende di pizzo bianco, si è celebrata la festa
tra tavole imbandite di leccornie locali e teste coronate.
E così finisce un sogno totalmente Italiano che solo il nostro,
tanto amato Bel Paese sa donarci.
Anna
Stylosophy.it
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