I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.

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In many cases it wasn’t the clothes themselves that cost a great deal, but the additions of lace that made the item so expensive…” by curator Elly Summers

1805 cream empire-line dress, Photograph: Peter Stone/Fashion Museum Bath

From 16th century luxury craft to modern day catwalk trend, the Fashion Museum Bath’s brand new exhibition is a celebration of lace in fashion.

Lace in Fashion presents 50 exquisite pieces from the Fashion Museum collection showing how lace has been used in fashionable dress from the 1500s to the present day. Jacobean gloves decorated with rich gold metal thread lace and a delicate needle-lace cap back feature alongside dazzling drop-waisted dresses from the 1920s, an elegant lace effect evening gown by Parisian couturier, Balenciaga, and key catwalk looks by British global luxury brand Burberry and award-winning contemporary fashion designers including Erdem and Simone Rocha.

Photograph: Peter Stone/Fashion Museum Bath

Lace has been a sign of style and elegance since the sixteenth century. From fine luxury garments worn by royals and the aristocracy to machine-made fashions for the everyday, our brand new exhibition for 2017 will reveal both the techniques and the top names that have made lace such an enduring fashion trend. Featuring 50 historic treasures and designer dresses, Lace in Fashion draws on the riches of the Fashion Museum collection to showcase the skill and seduction of this fashionable fabric.

Lace in Fashion is the culmination of a two year project to catalogue the Museum’s extensive archives of lace dating from the 1500s to the present day, supported by Arts Council England. Assisted by expert volunteers from the Lace Guild, we have been able to revaluate how lace is used in the Fashion Museum collection and uncover its journey from craft to catwalk.

photo from Twitter by R.Williams

The oldest object in the exhibition will be a smock dating from around 1580 with Flemish bobbin lace on the sleeves and collar, one of the earliest pieces in the Fashion Museum collection. Another of the Museum’s rarest treasures will also appear in the show: the Silver Tissue Dress which dates from the 1660s is trimmed with exquisite parchment lace, a rare and delicate fabric made using tiny strips of parchment or paper wrapped in silk.

Other highlights include a navy blue lace dress worn by actress Lea Seydoux in the James Bond film Spectre, which has been loaned to the Fashion Museum by Australian design duo Lover, as well as elegant evening gowns by top fashion names Balmain, Balenciaga and Molyneux.

Lace in Fashion will be on display from 4 February 2017 to 1 January 2018.



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Exclusive dress by Alessandro Michele for Exhibition

“This is the most rock’n’roll place I have ever been,” said Alessandro Michele, designer of Gucci taking his place as guest of honour at a lunch in the Chatsworth sculpture gallery.

Sponsored by Gucci, Chatsworth House Style is an exhibition exploring five centuries of the fashion worn by the aristocratic residents of stately home Chatsworth in Devonshire. The show runs until October 22, 2017.

Considered one of the great treasure houses of England, set amid the rolling green hills of the Derbyshire Dales, the estate has played host over the last 500 years to some of Britain’s most captivating and infamous women, including: Bess of Hardwick; Mary, Queen of Scots; Georgiana, Duchess of Devonshire; Kathleen Kennedy, known as Kick (sister to John F. Kennedy); and Deborah Mitford, known as Debo.

Gown worn by Stella Tennant, granddaughter of the 11th Duke of Devonshire, for a Vogue photoshoot.

This location has been set design for famous movie like Pride and Prejudice, Chatsworth was used as Pemberley, the residence of Mr Darcy, The Duchess with Kiera Knightley , The Wolfman.

“Hamish Bowles, International Editor-at-Large at American Vogue, has curated this landmark show with creative direction and design by Patrick Kinmonth and Antonio Monfreda, the duo behind some of the most memorable fashion exhibitions of recent years.

Countess of Burlington, dressed in a Victoriana textured-jacquard Gucci ensemble, descends a flight of steps on the grounds of stately Chatsworth.” via Vogue

House Style demonstrates the power of fashion and brings to life the captivating individuals from the Cavendish family, including Bess of Hardwick, one of the most powerful women of the 16th century; the 18th century “Empress of Fashion” Georgiana, Duchess of Devonshire; and Adele Astaire, the sister and dance partner of Fred Astaire. Deborah Devonshire and Nancy Mitford, two of the Mitford sisters. Model Stella Tennant and John F Kennedy’s sister ‘Kick’ Kennedy will also be central to the show.

Exclusive dress by Alessandro Michele for Exhibition

Layering art history, fashion, jewellery, archival material, design and textiles, the exhibition is organised by theme. Highlights include exceptional couture designed by Jean Phillipe Worth and Christian Dior, together with influential contemporary garments from designers such as Gucci, Helmut Lang, Margiela, Vivienne Westwood, Erdem, Alexander McQueen, Christopher Kane and Vetements.

The show will also feature personal family collections, including items belonging to the current Duke and Duchess of Devonshire. These pieces are displayed alongside livery, uniforms, coronation robes and fancy-dress costumes, demonstrating the varying breadth of fashion and adornment from the Devonshire Collection throughout the generations. Important artworks are also on display, including rare costume designs from the early 17th century by Inigo Jones, Surveyor to the King’s Works and one of the most notable architects of 17th century England.”




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BLUMARINE CELEBRATES ITS FIRST 40TH ANNIVERSARY: then we remember Anna Molinari through her collaboration with TIM WALKER.

BLUMARINE CELEBRATES ITS FIRST 40TH ANNIVERSARY: then we remember Anna Molinari through her collaboration with TIM WALKER.

Tim Walker for creating a feminine, romantic and sensual world.

I was a young girl and I dreamed in front the advertising campaigns of Tim Walker for Blumarine.

Blumarine this year celebrates its first 40th anniversary with the volume ANNA MOLINARI, BLUMARINE, narrating the history of Anna Molinari and the Blumarine brand. Through a selection of images shot by charismatic photographers of the likes of Helmut Newton, Tim Walker and Craig McDean, fashion editor such as Manuela Pavesi and art director as M/M Paris, some keywords are analysed to extensively explain the elements of Blumarine’s style, edited by Maria Luisa Frisa.

Tim Walker’s pictures are obviously my favorite. I think the photographer has represented Blumarine’s worl wirh a style that is feminine, romantic and sensual, adjectives used by the brand right from the early years of its creation.

It’s no coincidence that the rose is the symbol of the fashion designer.

Blumarine has become synonymous with fashion created for the modern woman, characterized by a sensual femininity and timeless romanticism, with a vibrant edge. Anna Molinari, known as “the queen of roses” because of her love for the flower.

Growth and success on the market have been simultaneous with ongoing development of the brand, increasingly apparent in the latest collections with a higher profile and products tending increasingly towards total luxury and with a development of an entire range of accessories as an addition to the rest of the fashion collection, creating a complete range.

Blumarine was established by Anna Molinari and Gianpaolo Tarabini in 1977, in the town of Carpi, in the province of Modena. The name was inspired by the couple’s favourite colour and their love of the sea. In 1980 they made their first appearance at Modit in Milan. where Blumarine was named Designer of the Year, which led to their first show at Milan Fashion week the following year.

The 1986 Milan Fashion Week saw the first collection wholly designed by Anna Molinari.

Then a review of the various campaigns that Tim Walker has created for the designer.

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John Macfarlane artist and theatre designer: from Maria Stuarda to Cinderella, an incredible visual artist.

John Macfarlane artist and theatre designer: from Maria Stuarda to Cinderella, an incredible visual artist.

I discovered the wonderful work of John Macfarlane while I was studying directors who created the opera Maria Stuarda in the opera house. So I was able to admire the magnificent work as both set and costume designer of this artist. For me, Maria Stuarda and Cinderella are simply the best projects! Only the concepts are small masterpieces.

John Macfarlane was born in Scotland and studied at the Glasgow School of Art. He received an Arts Council of Great Britain Trainee Designer award and spent some time as Resident Designer at the Young Vic Theatre in London.

For the first fifteen years of his career he worked mainly in dance with many of the major international companies. He collaborated with Jiri Kylian and the Netherlands Dance Theatre (Songs of a Wayfarer, Les Noces, Dreamtime, L’Enfant et les Sortileges, Piccolo Mondo, The Soldier’s Tale, Forgotten Land and Tanzschul); and Glen Tetley, The Fire Bird (Danish Royal Ballet), Weigenlied (Vienna State Opera), La Ronde and Tagore (Canadian Royal Ballet) and Dialogues (Dance Theatre of Harlem). He has also designed for the classical ballet repertoire: Swan Lake in Munich, Giselle (Royal Ballet) and Nutcracker (Birmingham Royal Ballet) both with Sir Peter Wright, and Le Baiser de la fée (Birmingham). Nutcracker has been remounted recently by the Australian National Ballet.

Latterly John Macfarlane has focussed on opera where he designs both sets and costumes. He works regularly with the German producer, Willy Decker, and with Francesca Zambella, David McVicar and Richard Jones.

With Willy Decker John designed A Midsummer Night’s Dream (Cologne Opera); Julius Caesar (Scottish Opera); Peter Grimes (Brussels); La Clemenza di Tito (Paris Opera); Othello (Brussels); Falstaff (Florence); Boris Gudunov (Amsterdam); Bluebeard/Ewartung (Royal Opera House); and Idomeneo (Vienna Opera).With Francesca Zambello he designed Benvenuto Cellini (Grand Theatre, Geneva), Barber of Seville (Santa Fe) and War and Peace (Paris).

John worked with David McVicar on Agrippina (Brussels); Magic Flute (ROH) and Don Giovanni (Brussels). They will do The Rake’s Progress together in Copenhagen in 2009. Hansel and Gretel, his first production with Richard Jones for Welsh National Opera won an Olivier Award and is being re-mounted by the Met in New York at Christmas 2007. Their second production, The Queen of Spades won the Royal Philharmonic Award. They worked together on Euryanthe for Glyndebourne Festival Opera; the second part of The Trojans for English National Opera; Lady Macbeth of Mtsenk and a double bill of L’Espagnol and Gianni Schichhi for the Royal Opera House.

John’s future commitments include Cinderella for Birmingham Royal Ballet, Elektrafor Chicago and Maria Stuarda for the Metropolitan Opera, New York.

In addition to his opera and dance work, John Macfarlane exhibits regularly as a painter and print maker in the U.K and Europe.

Below the gallery I recommend you an interview with him.




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René Lalique and Calouste Gulbenkian: friends for life. “Only the best is good enough for me”.

René Lalique and Calouste Gulbenkian: friends for life. “Only the best is good enough for me”.

In the last exhibition room at the end of the corridors of Lisbon Gulbenkian Museum there is a special collection of small artefacts beautiful enough to be amazed!

“Our sadness on losing a very dear friend is deepened by the profound sorrow we must always feel when a great man leaves us. He stands with the greatest names of all time in the history of art, and his very personal skills and outstanding imagination will be admired by the elite of the future.” Calouste Gulbenkian, businessman and patron of the arts, July 1945.

The name Lalique evokes the brilliance of jewellery, the wonder of transparency, and the brilliance of crystal. Before it became a brand name, it was the name of a man, an artist of genius, René-Jules Lalique and of his heirs who shared his creative flame.

René Lalique (1860-1945) and Calouste Gulbenkian (1869-1955) shared the experience of a time marked by the fascinating transition of the so-called “Belle Époque” – with its particular end of the century spirit, present mainly on the remarkable set of Art Nouveau works. Both men were tied by friendship and mutual consideration, well evidenced in the words of the Collector: “My admiration for his unique work increased throughout the fifty years our friendship lasted… I am proud to own, I believe, the largest number of Lalique’s works…”.

Between 1899 and 1927 Calouste Gulbenkian (1869-1955) acquired eighty of Lalique’s works of art, and amassed the largest collection of his original jewelry pieces in existence. He is noted for saying “Only the best is good enough for me,” in reference to his vast hoard of high quality art.

Calouste Sarkis Gulbenkian (1869-1955) is well-known amongst Armenians. Mr. Gulbenkian was one of the most influential figures in the development of the global oil industry in the early 20th century. Born into a prominent and wealthy Armenian family in 1869, Gulbenkian received his early education in Constantinople (Istanbul), and went on to Marseille and London, specialising in engineering with a degree from King’s College. As a young man, Gulbenkian explored the development of oil in Baku in the Russian Empire (Azerbaijan today), as well as in Mesopotamia in the Ottoman Empire (modern Iraq). In 1927 he settled in Paris, where his house at 51 avenue d’Iéna became famous for his collection of books, coins, manuscripts, paintings, statues and other objets d’art. He also became a private benefactor to the Armenian community across the world.

In 1942 Gulbenkian left France for Portugal where he remained until his death in 1955. In his will he left his collection – a unique mixture of Eastern and Western art – and almost his entire fortune to a foundation to be headquartered in Lisbon and to bear his name. He wanted his Foundation to reflect his interests in arts, science, education and social welfare and told his primary trustee that it should benefit not just Armenian causes but ‘all humanity’. The Calouste Gulbenkian Foundation was established in Lisbon in 1956.

“Gulbenkian was a frequent visitor of Lalique’s atelier and residence near the Champs-Elysées . The Lalique collection in Lisbon contains pieces that were fashioned between 1899 and 1927: diadems and combs; necklaces and chokers; brooches and bracelets. It showcases the artist’s flair for pairing opals, moonstones and chrysoprase with diamonds, sapphires and aquamarines.

The ensemble of 82 pieces show off their sensuous lines and are historic documents in themselves: a number of them featured in the Exposition Universelle (1900) while others adorned some of the greatest female stars of the period, such as Sarah Bernhardt. (“René Lalique and Calouste Gulbenkian : A Golden Friendship by Philippe Bouasse).

Calouste Gulbenkian’s commissioning of 145 jeweled objects made him Lalique’s major patron from 1895 until about 1912. Free of financial concern and able to design at will, Lalique entered the most creative period of his jewelry career. Gulbenkian collection today is the biggest repository of Lalique’s art.

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Daniel Lismore’s Celebration = “Be Yourself; Everyone Else Is Already Taken” and “Theater of Self” Exhibitions.

Daniel Lismore’s Celebration = “Be Yourself; Everyone Else Is Already Taken” and “Theater of Self” Exhibitions            

Daniel Lismore -SCAD

Daniel Lismore -SCAD

This year SCAD (Savannah College of Art and Design ) celebrated with two Exhibitions Mr. Daniel Lismore.

In april the Savannah College of Art and Design’s museum celebrating fashion and film, presents “Be Yourself; Everyone Else Is Already Taken” — the first U.S. exhibition featuring the work of artist, stylist and british designer Daniel Lismore.

SCAD joined VisionaireWORLD in celebrating the opening of “Theater of Self,” with an exclusive film created by VisionaireFILM featuring Lismore, directed by Alice Rosati. The film debuted with a private screening at SCADATMIAMI followed by a dinner. More than 4,000 garments and accessories make up the 20 of Lismore’s eccentric ensembles on show. Each outfit is presented on life-size mannequins, which have faces cast from the artist himself.

Daniel Lismore -SCAD_exhibitions_theater

Daniel Lismore -SCAD_exhibitions_theater

“These life-size sculptural ensembles, each worn by the artist at one time, are reflections of his multidimensional identity and are a tapestry of his journey to his true self,” said president and founder of SCAD, Paula Wallace.

Lismore, who was named “London’s Most Outrageous Dresser” by Vogue for his imaginative and flamboyant wardrobe, transforms outfits into an expression of eccentric, creative energy. Lismore combines the luxurious and the unusual — everything from charity-shop finds, vintage custom fabrics, feathers, chainmail, discarded theatrical props and more — to express his unique sartorial vision.

I have never heard this name before, but I was impressed when I saw pictures of dresses that seemed costumes for opera, for example Turandot. Then I went to read up on him and I discovered interesting things. Daniel is a well known fashion and party icon in London. Previously being a top model, he shifted into desigining his own pieces and wearing them to parties. We conceptualised a flash website that would have fashion sketches of him sitting on an armchair and various clothing items would drop on to him. This would be the introduction animation before going in to his website.

He created incredible look for brand like H&M, MTV, clubs and magazine.

Daniel Lismore for H&M

Daniel Lismore for H&M

He has an eco-conscious attitude recently saw him chosen by H&M for their Close The Loop campaign, which promotes recycling clothes.

Lismore has collaborated with American rapper Azealia Banks to concept shows and
the artwork of her first album, “Broke with Expensive Taste,” and he was the inspiration behind pop artist Iggy Azalea’s “Glory” EP cover. Additionally, Lismore has been featured in the music videos of Boy George, George Michael and Alexandra Burke, and he has appeared in “Made in Chelsea,” “Britain’s Next Top Model,” “Denmark’s Next Top Model,” “The Kylie Show,” “Styled to Rock” and the upcoming 2016 feature lm “Absolutely Fabulous.”


Daniel Lismore thai-airways-vogue

Since 2012 Lismore has been the creative director of Sorapol, a luxury womenswear label worn by fashion influencers such as Naomi Campbell, Kylie Minogue, Nicki Minaj, Paloma Faith, Cara Delevingne and Debbie Harry. In recent years he has supported organizations such as Vivienne Westwood’s Climate Revolution, climate change charity Cool Earth and New World International Kenya. Lismore also lends his support to the LGBT community, human rights issues and free speech movements. He lives and works in London.”



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Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Sir Cecil Beaton (1904-1980) was best known as a photographer. Beaton also worked as an illustrator, a diarist, and designer for stage and film. He won three Oscars for costume and art direction for the film version of My Fair Lady (1965) and for Gigi (1958).
La Traviata is an opera in three acts with music by Giuseppe Verdi. The producer for the Metropolitan Opera House was Alfred Lunt and was the first production for the opening season of the new Metropolitan Opera House. Cecil Beaton’s designs were praised by the critics for catching the decadence and luxury of the mid-19th century Parisian scene.

Cecil Beaton created glorious gowns for the opening season of the Metropolitan Opera Company’s 1966 La Traviata at Lincoln Center-dressed in the reds and golds of the Met.

For the costumes, Beaton said “I wanted the colours to have a gold light-dark but sparkling, scintillating.” Karinska made the gowns and headresses-scouring about for old laces, jet, tinsel, ribbons to get the effect -a look of-lushness-a heaviness indicative of 1860 that Beaton desired. Alfred Lunt’s stage sets were designed by Beaton as well.

“I have the worst ear for criticism; even when I have created a stage set I like,
I always hear the woman in the back of the dress circle who says she doesn’t like blue. “
Cecil Beaton

Cecil Beaton - Marina Berenson for Vogue september 1966

Cecil Beaton – Marina Berenson for Vogue september 1966

Cecil arrived in New York City in 1928, having achieved early success in his homeland.Trans-Atlantic connections resulted in his near-instant introduction to New York City’s elite, including Elsie de Wolfe and Edna Woolman Chase, the editor of Vogue magazine at the time. What followed is the stuff of legend: a remarkably agile career which spanned fifty years and as many visionary works in which Beaton brought his rarefied vision to bear on fashion photography, illustration and caricature, portraiture (in drawings and photographs), and set and costume design for stage and film.
Cecil Beaton’s stratospheric ambition was nurtured and sustained by mid-20th–century New York, where his career was able to maintain a feverishly high pitch. Society figures, media giants, impresarios, celebrities, actors, artists, writers, and the merely famous passed in front of his camera in an endless parade of glamour and style. The pages of Condé Nast publications—most notably, Vogue magazine—showcased his elaborately staged photo shoots, in which his eye for opulence and drama animated such sitters as Fred (and his wife, Adele) Astaire, Maria Callas, Greta Garbo, Martha Graham, Audrey Hepburn, Katharine Hepburn, and the woman who would become the ultimate 20th-century icon: Marilyn Monroe. He enlivened his photographs with sets in which he borrowed liberally and extravagantly from European art forms, incorporating formal elements of modern (and classical) painting and sculpture into his work, and bringing elements of such major aesthetic movements as impressionism, surrealism, and others into the homes of magazine readers nationwide.

His extraordinary stage sets and costumes for Broadway, the Metropolitan Opera, and the New York City Ballet were masterful evocations of “place” in the extreme.