CLO EMOTIONAL DESIGN: Slow Fashion and sustainability

In a world where fashion has become Fast Fashion and it is quite difficult to digest and enjoy everything we wear, CLO Emotional Design is born, a conceptual and conscious retail brand that places craftmanship and sustainability at the heart of their values. CLO defines a holistic and sustainable lifestyle. Their exclusive handcrafted fashion creations include elegant and timeless pieces designed by Covadonga Rodriguez, a Spanish designer who is an advocate of the Slow Fashion sustainable concept. She is inspired by modern cosmopolitan women who favour effortless, yet sophisticated clothes, combined with relaxed tailored shapes. CLO’s portfolio incorporates signature designs such as beautiful and versatile resort wear, as well as high-quality winter pieces made of sustainable leather and shearling. 

Their iconic creations are locally sourced and made in Spain using natural and noble materials, such as silk, napa leather and linen, following only sustainable processes; they are, at heart, a celebration of the ‘savoir faire’ of the most renowned Spanish artisan trades, combined with cutting-edge international artist collaborations. 

Their exclusive and unique clothes are complemented by other elements that help create a coherent lifestyle, including jewellery, home decoration and art, as well as signature aromas and fragrances. 

CLO’s emphasis on emotion is enthused by the idea of conscious buying, focusing on quality-based lasting creations that are purchased because of an emotional connection with the piece rather than being driven by the need to consume. As part of their commitment to the Slow Fashion Movement, CLO inspires us to reconsider our shopping habits with the aim to help create a more ethical fashion industry that benefits, not only the planet, but also all the people behind the manufacturing, as well as their customers. 

Involved with local crafts and art. 

CLO partners with different artists and craftsmen to create some of its iconic products such as its ceramics, made by Spanish ceramists, international graphic designers who create prints, jewellers and metal artisans who create spectacular jewellery or perfumers, who help create CLO’s scented candles for the home. 

Materials that create a balance

CLO believes in balance, as the basis of sustainability and wellbeing. They believe that balance in the selection of their materials is key and its use should be consistent with the relationship between man and nature. 

Their choice of leather and shealing stems solely from the leftovers generated from the meat industry which are then turned into useful by-products, becoming an essential part of the food supply chain. They are then masterfully tanned and dyed by some of the best leather masters in Spain. 

Lamb napa is also one of the materials used regularly in CLO’s collections. With a focus on excellent attention to detail and the quality of the finishing touches, this material ensures great comfort and wearability. 

Balance is also applied to CLO’s selection of textiles where noble fabrics such as silk are combined with natural fabrics such as linen and cotton and even lurex, always following the very essential appreciation of balance and sustainability. 

More information at

Gucci: Aria Collection. 100 years of history.

To celebrate 100 years of Gucci´s history, Alessandro Michele and Floria Sigismondi present the Aria collection, a fusion of brands and styles that make this proposal atypical. 

100 years ago Guccio Gucci founded a small shop in Florence. To celebrate its history, Gucci wanted to do something special, from sending out invitations with riddles and crosswords called GUCCIQUIZ! to attend the virtual presentation, to the unveiling of its most atypical collection. 

Floria Sigismondi, the multidisciplinary artist and videographer created this short film with a setting that fused her signature style seen previously in other works with Michele’s incredible creative flair and managed to reflect references to the entire history of the Italian brand. 

The unexpected surprise that gave a lot to talk about was the appropriation of the classic Balenciaga logo, or rather, the cession that Demna Vasaglia, creative director of Balenciaga, made to Michele to combine both logos and create a supergarment with both brands. Its iconic symbolism and classic Gucci garments set off a time bomb in the fashion world, becoming the garments of choice for all fashion victims. 

Another tribute to Tom Ford, one of the creative directors of Gucci’s history, with tailored suits as one of the star pieces during his career at Gucci. 

Once again Alessandro Michele wins the gold star of the season with this magnificent collection full of surprises. 

Botanical Rainbow: Loewe’s sensorial kaleidoscope.

Jonathan Anderson is clear in positioning Loewe as a free-spirited cultural brand with an eclectic and prismatic identity connected to the fields of art, craftsmanship, popular culture and nature.

This vision extends to the brand’s perfumes, which have sought to unify and minimise the design of all the bottles in a range of bright colours that together create a botanical rainbow. 

To celebrate the recoding of Loewe’s legendary perfumes, Tyler Mitchell, photographer and filmmaker, has photographed the campaign with a series of images that bring personality, emotion and craftsmanship, showing LOEWE Perfumes as a multi-sensory experience where colour, scent and identity are one.

The nine new faces of the LOEWE Perfumes campaign, with their distinct personalities, are portrayed in relaxed attitudes, along with organic elements that are arranged in Ikebana-like compositions, creating emotions through nature.

The dialogue between the handcrafted multiplicity of the botanical ornaments and the immediacy of the delicate and emotionally faithful portraits conveys a feeling of connection.

Nature shines in its beauty and as a means of creative expression. Humanity is celebrated in its naked, soulful essence, in harmony with nature.

Each fragrance shares the same distinctive bottle shape, but expresses its individual personality through a hue in a kaleidoscope of colour: a bold rainbow of hues reflecting nature’s own vivid colour palette as seen through the prism of human invention.

Bottega Veneta turn Invisible. Or nothing is what it seems.

This is not a mirage, nor a Jeff Koons art piece. It’s a new concept of pop-up in Shanghai’s Plaza 66. The Invisible Store by Bottega Veneta and will be open until July 19th. 

While all brands attempt to be as visible as possible,  Bottega Veneta reveals an almost invisible installation reflecting the surrounding.
The space transcends the idea of physical limitation, reflecting the true essence of Bottega Veneta. Discretion, sensuality, joy.

Subverting the idea of perception, the tension between the seen and unseen is realised in magnificent form. Foregoing loud branding , the made-you-look-twice facade goes almost entirely unseen, camouflaged by the reflections of logoed windows and signs inside the luxury mall’s atrium.
The optical illusion is also a key element inside the store, with reflecting surfaces toying with light and space.

Measuring over 100 square meters, the pop-up store showcases a selection of pieces from the Pre Fall 2020 collection for both men and women including ready-to-wear, bags, small leather goods, shoes, jewellery and eyewear.

To celebrate the launch of The Invisible Store, Bottega Veneta will host a party on July 3rd at Plaza 66.

More information at

Loewe Men´s F/W 2020 Collection

Stripping things to technique to let the grain of the material dialogue with the couture opulence of the shapes

The LOEWE Fall Winter 2020 2021 collection pairs textures and forms in blunt juxtapositions of opacity and shine, curves and perpendicularity, satin and double face wool, crystals and knit, double-breasted and prom dress, kinetic motifs and plainness.

Creative director Jonathan Anderson works on notions of motion and tension, with a sense of optimism pushed to an obscure edge.

Function is reduced, or twisted; definitions are blurred. A blazer is meant as outerwear, army shorts resemble a skirt, sleeves are elongated, a cape is morphed into a coat.

Opulence is in the way pieces are constructed — the curve of a sleeve, the Balloon bag in oro suede and calf —or a sudden burst of embroidery— on a bluson, or the jumbo Elephant bag.

In the feel of optimism, felt hats and shoes are infantile presences. 

An idea of scorched glamour comes to the fore.

More info at

Why WeDú is the next step into global fashion

Founded by Coréon Dú, Wedú is the trademark of this multidisciplinary artist of Congolese origin who, thanks to his particular aesthetic and the union of two great worlds: music and fashion, has managed to form the bases of a great and excellent project.

Beginning his career behind the scenes of music videos and fashion projects, in 2012 Coréon finally gives shape to his discourse and creates WeDú by Coréon, a brand of the same name that seeks to transmit through the label that blend of culture and experiences so unique.

True to its roots, the materials, textures and use of color reflect a great cultural background that has allowed it to captivate the publishing world on the international scenario.

WeDú continues to breathe the same strength that is characteristic of a young and enthusiastic label that wants to continue to travel the industry little by little.

A brand without gender barriers that advocates a more conscious, open and involved industry, something that is always refreshing in a new designer. When it comes to ethical values, Coréon manages to embrace everything that a sustainable, comprehensive company should be: conscious production and craftsmanship, a strong message behind each collection and no barriers of size, gender or ethnicity.
When a label like WeDú speaks for itself it leaves little to say to the rest, the message is clear from the beginning, and we must listen carefully if we want to be part of this wonderful universe.

We must allow ourselves to be drawn in so that we can also be involved in bringing real change.

For more information visit

Wrapped. A fashion editorial by Ector Tre

Photo and sale by Ector Tre @_ectortre
Makeup Artist Rocío Mendoza @rocio.mua
Light Assistant Rocio Campos @rociocampos_
Model Marcell Nembhard @marcell.nbhd

Shirt, Loewe. Necklace, Pablo Erroz
Shirt, Pablo Erroz
Necklace, Pablo Erroz. Shirt, Loewe. Pant, Kabuki
Necklace, Pablo Erroz. Shirt, Loewe. Pant, Kabuki
Coat, Fendi
Top, Kabuki. Pant, Pablo Erroz. Earring, Stylist Own
Dress, Maison Martin Margiela
Necklace, Pablo Erroz
Dress, Maison Martin Margiela
Necklace, Stylist Own
Shirt, & Other Stories. Pant, Kabuki. Blazer, Pablo Erroz
Harness, Albert Perez
Top, Kabuki. Pant, Pablo Erroz

Corinne Day: rawness and beauty

Corinne Day entered the fashion world by chance when she was only a teen who wanted the travel the world but ended up revolutionising it. 2020 marks the tenth anniversary of her death, and the British Photographer is remembered for her raw, intimate and documentary-style images, which defined the 90s, launched Kate Moss’ career, and set a precedent for a new style of fashion photography.

Born in west London on February 19, 1962, Day was raised along with her brother by her grandmother. Their parents had divorced when she was five, and theirs was not a healthy environment for kids to grow up —she claimed her dad was a professional bank robber, and that her mother ran a motel.

She left home at 16, and wanted to go abroad, but had no money, so she started working, first as a bank assistant, and later as an international mail courier. During one flight he met a photographer who suggested her to become a model, and she did, though she got jobs only for catalogues, as her beauty had nothing to do with the beauty seen in runways and fashion magazines.
Kate Moss @ Corinne Day
Kate Moss. 1989 @ Corinne Day
When Day was living in Japan in 1985, she met an Australian guy in a subway, Mark Szaszy, who was at the time also a model, and they never separated since. He had a keen interest in film and photography and taught her to use the camera. They travelled to Hong Kong and Taiwan, and two years later they moved to a cheap pension in Milan, where Day started taking photography seriously.

She experimented and photographed her friends, who were also models, in their everyday lives. She crossed the line and captured what was behind the luxury and the glamour that shaped their jobs. She rather focused on their poor salaries: living in dumps, struggling to pay the rent, dirt, drugs, shabby clothes and scruffy styles. She said of that time that they lived “on bread and wine and spliffs.”

Day’s got her first job as a photographer when she returned to London five years later and went to talk to Phil Bicker, the artistic director of The Face magazine. When he asked her why should they hire her, she was witty and bright: they didn’t have any female photographers.

She hardly knew anyone to photograph in the city, so she approached model agencies in search of fresh faces, and found at Storm a blurry polaroid of a 15-year-old that caught her attention. It was Kate Moss, then an unknown teenager from the suburbs, just like she had been a few years before. They became so close that they even moved together.

When they shoot their first editorial for The Face,  3rd Summer of Love, no one could have expected that the minimalistic pictures taken in the grey beach of Camber Sands —with the slouchy and skinny model laughing in the sand, semi-nude, at the centre of the photograph, with the landscape almost invisible— would propel their careers. But in the nineties, things were rapidly changing, and youth and subculture movements gained an unprecedented force in the art scene and the editorial industry, with magazines like i-D and Ray Gun, where Day found a place for her images. Until Vogue reached her.

Under Exposed, the lingerie fashion shot that British Vogue commissioned Day, featured Moss again. This time the images were taken in the model’s apartment, which she shared with her then-boyfriend, the photographer Mario Sorrenti, with whom she’d argued just before the shoot, something that was visible in her expression. The results were fresh and delicate images, but also bitter, and even desolating, of Moss in embroidered underwear in an almost empty apartment.

Vogue had never published something alike. Vulnerability in its purest form, naturality, and no artifice, plus a model opposite to Cindy Crawford, the symbol of the beauty standard that the fashion industry projected. So the images caused a media scandal. They were labelled as “hideous”, and “exploitative”, Day was accused of child pornography, and the term “heroin chic” blew up and put her in the centre of the debate.

After that, both Vogue and Moss stopped working with Day, but she took a step aside from fashion anyway and focused on what people had not seemed to understand: a more realistic and documentary approach of photography. She spent the next seven years photographing her friends and went touring with the band Pusherman. The photographs were published in 2000 in Diary, her first book, an intimate and beautiful chronicle of her surroundings.

Corinne Day was neither interested in the commercial side of photography nor the artificiality, opulence, and perfection values of the fashion industry. Her idea of photography was more inclusive —she found beauty in anyone and any situation, everything could be interesting—. Her style was all about honesty, realism, and intimacy. She formed close relationships with their models and photographed them being themselves, at their places, lying on their couches, with little or no make-up and hairstyling, sometimes using their clothes or second hand. And because she wanted to put the person at the centre, she chose empty and monochromatic spaces like everyday environments: a dull street, a football field, an abandoned building.

When Day discovered Nan Goldin and Larry Clark she found in them someone to admire and whose work could validate hers. “Photography is getting as close as you can to real life, showing us things we don’t normally see. These are people’s most intimate moments, and sometimes intimacy is sad”, she declared, as an answer to the critiques she received for the bleak scenes that she often captured. The camera became a part of her body to the point that when she was diagnosed with brain cancer in 1996, she made Szaszy photograph her in bed, and the images appeared in Diary. After she received surgery and recovered, Day went back to fashion photography and allowed herself more colour, elements, and textures. She worked again for Vogue and with Moss, photographed Sofia Coppola, Natalie Portman, and Tilda Swinton, among others, and her work was exhibited in museums like the Tate Modern, the Saatchi Gallery, and the National Portrait Gallery.

In 2010 the brain tumour returned and Day received treatment, thanks to the fundraising campaign that their friends organised selling limited-edition prints of her photographs, but it was not effective, and she died on August 27, 2010.

Three years later her second book, which featured unseen photographs she had taken for 20 years, was published. “I just do what I love, and I don’ really care what anyone else thinks”, she declared in 2006. “If they like it, that’s just a bonus.”
Linda Evangelista for Vogue May 1992 @ Corinne Day

The New Sensual Bottega Venetta Spring 2020 Campaign

Anchored in sensuality and pure luxury, Bottega Veneta’s Spring 2020 campaign is a vision of hedonistic aspiration. Creative Director Daniel Lee, together with photographer Tyrone Lebon, continue their view of an endless summer. 

The eternal signifier of elevation and luxury. Idly floating through time. Sun. Sea. Pleasure. The faint ‘click’ of a lens shutter in the distance. 

Paparazzi poised for a glimpse. Top deck. Carefree sensuality unfolds. Calm. Casual. Confident. 

Featuring models Mica Argañarazand and Edoardo Sebastianelli.  Cold chains warm against sun kissed skin. Weightless leather staples bend and slouch. Earthy tones and bold pops of colour. Endless blue sky bleeds to coral and violet. Opulent jewels and sequins glitter under evening fireworks. A day of indulgence draws to an end, only to be relived the next. 

Subburban. A Fashion Editorial by Thomas Wolfzettel


trenchcoat BERLUTI shirt LOUIS VUITTON
sacco CELINE shirt KENZO trousers CERUTTI 1881 belt FERRAGAMO
Leathershirt VERSACE t.shirt PRADA trousers DIOR HOMME sunglasses CELINE
trenchcoat DUNHILL trousers PRADA
sacco CERUTTI 1881 trousers DOLCE AND GABBANA shirt DIOR HOMME shoes BERLUTI socks FALKE sacco CELINE