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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 bottegaveneta.com

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 Loewe.com

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 wedufashion.com

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

Photography THOMAS WOLFZETTEL. Styling and Creative Direction HANIBALL SALIBA. Production FABRIKA_. Grooming KRISTEL TOMA @ AGENCY BIGOUDI. Model VICTOR VIGNON @ ROCKMEN MODELS PARIS

jacket EMPORIO ARMANI shirt CELINE trousers GIVENCHY t.shirt PRADA boots SAINT LAURANT
trenchcoat BERLUTI shirt LOUIS VUITTON
sacco CELINE shirt KENZO trousers CERUTTI 1881 belt FERRAGAMO
Leathershirt VERSACE t.shirt PRADA trousers DIOR HOMME sunglasses CELINE
leather jacket ERMENEGILDO ZEGNA COUTURE shirt VERSACE trousers BERLUTI boots GIVENCHY
trenchcoat DUNHILL trousers PRADA
sweater ERMENEGILDO ZEGNA COUTURE trousers GIVENCHY boots ALEXANDER MC QUEEN
parker GIVENCHY shirt GUCCI trousers NEIL BARETT boots SAINT LAURANT
sacco CERUTTI 1881 trousers DOLCE AND GABBANA shirt DIOR HOMME shoes BERLUTI socks FALKE sacco CELINE
shirt LOUIS VUITTON

Comeback Kid. A fashion editorial by Celeste Galanda

Photography: Celeste Galanda. Fashion Styling: Francisco Ugarte. Grooming: Mariona Botella represented by Kasteel Artist Management. Model: Adrian at View Management.

Left page: Necklace: Urbain Homme. / Right Page: Cap: Burberry by Sta. Eulalia. Suit: Shoop. Shoes: Aftr Barcelona. Necklace: Urbain Homme.
Left Page: Sweater and jacket: Neil Barret by Notenom. Pants: Shoop. Boots: Eytys. / Right Page: Trench coat: Shoop. T-shirt: Palm Angels by Sta. Eulalia. Pants: Off White by Sta. Eulalia. Shoes: Eytys. Necklace: Urbain Homme.
Left Page: Jeans: Palm Angels by Sta. Eulalia. Boots: Eytys. / Right Page: T-shirt: Palm Angels by Sta. Eulalia.
Left Page: Trench coat: Shoop. T-shirt: Palm Angels by Sta. Eulalia. Necklace: Urbain Homme. / Right Page: Turtleneck: Lacoste. T-shirt: Dsquared2 by Notenom. Jeans: Jaded London.
T-shirt: Palm Angels by Sta. Eulalia. Pants: Off White by Sta. Eulalia. Boots: Eytys.
Shirt: AMI PARIS by Notenom. Pants: Shoop.
Left Page: Cap: Burberry by Sta. Eulalia. Suit: Shoop. Shoes: Aftr Barcelona. Necklace: Urbain Homme.

Santa Eulalia: Creating Barcelona´s luxury trends

What once began as a haute couture workshop has now become a real eye-catcher when it comes to luxury. This space located in the heart of Paseo de Gracia, one of the most luxurious avenues in the city of Barcelona, is currently one of the most influential shops in the market at an international level.

 
This boutique is formed in almost 2000 square meters and has collections of the best international brands and maisons, both men and women.

For years Santa Eulalia has managed to position itself in the highest spheres thanks to its dedication, quality and attention. What certainly seemed impossible as it was a multi-brand place, where brands could compete fiercely, is truly a delicate space where customers are able to live one of the most careful shopping experiences.

In spite of its surface, the attention that all the clients receive is so personalized that you have the sensation of buying from the comfort of your home, which makes Santa Eulalia the preferred place of purchase for those who visit Barcelona and wish to live a luxurious experience. The establishment was designed by New York architect William Sofield, and offers a comfortable and refined atmosphere, blending tradition and avant-garde, and also includes two pop-up stores and a café with a landscaped terrace. 
In recent years has had the honour of being chosen as one of the top 30 men’s stores in the world by Pitti Immagine of Florence and The Business of Fashion. 

Throughout the ages, what Santa Eulalia has demonstrated without any doubt is to remain alive and conscious, without fear of adapting to a new and changing industry and it is perhaps because of that, the reason why it has become the benchmark it is today.

More information: santaeulalia.com 

BARCELONA BECOMES ONE OF THE MOST LUCKY PLACES TO SHOP

Darial returns to Barcelona reopening a multidisciplinary space located on the ground floor of the house Tomàs Roger. The founder and creative director Djaba Diassamidze proposes a unique space that manages to merge modern vibes with the most classic lines, creating a unique place to house the magnificent selection of designers both fashion and art totally characteristic of Darial

An eclectic mixture of eras reminiscent of the Art Deco period, offering a space decorated with pillars of impressive golden palms that divide the different rooms where the meticulous selection is presented.

In terms of furniture and design objects, you can find firms such as Muller van Severen, Impossible Project, Lomography and Bang & Olufsen which in turn are interspersed with an impressive selection of fashion and accessories, among which are Raf Simons, The Row, JW Anderson, Haider Ackerman, Jil Sander, Sacai, Isaac Reina and Mykita.

And it is thanks to this marvellous selection of pieces that make Barcelona and the Eixample district one of the cult lighthouses in terms of shopping and collecting, and Darial understands like no other that fashion and design objects are still true pieces of art and collecting for the most exquisite clients.

On the other hand, through Le Leopard’s own restaurant, the sensory experience is completed, as all guests (guests is a more correct term than client when it comes to Darial and everything it offers) can relax and discover another level of pleasure through a glass of a classic wine or one of its magnificent vegan options.

Do not deprive yourself of discovering and living a new experience in Barcelona under the guidance of Darial.

Carrer d’Ausiàs Marc, 37 08010 Barcelona 

www.darial.com