AW2018 Catwalk Hairstyles

1. Messy buns.  

   Chanel made the messy bun to look chic 

 during the runway with special hair accesories.

2. Slicked back ponytails.

Alexander Mcqueen and Bella Hadid followed the trend.

3. Blow dry.

Guido Palau stated " It's about rebellious girls, but not rebellious enough

to now blow her hair out"

4. Side parting.

Forget the middle parting of the 00s. It is now 80's again.

5. Bun with a twist.

Slicked back in the front but a beautiful surprise in the back.

6. Grunge aesthetics.

Max Mara and Marni had a "just woke up" vibe.

7. Jackie O bouffant bobs.

Jackie Kennedy's signature 60's hairlook was in Moschino show.

8. Sharp centre parting with smooth waves.

A hairstyle for the new chic it girls was shown at Alberta Ferreti show

with shiny roots and smooth easy wavy hair behind the ear.

9. 20s vibes.

Not only one era but many in AW2018 hairstyles.

10.  Huge curls.

Dolce&Gabbana's hairstylist Guido Palau used tiara and headpieces

 to give more glam to an ever glamour 

hair texture.

Nephele T.

c/f director

                                                                        

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The unpopular opinion of fashion as a Feminist tool

People often tend to believe that the fashion industry is a cruel world, especially for women. Many of them opinions, I have to admit, they are right. The industry projects unrealistic standards about female body and beauty, and a lot are those who choose to follow them in order to fit in and feel safe and as a result, suffer from eating disorders, extreme plastic surgeries, or mental issues. We have examples of that in celebrity life, many models suffered from anorexia or have been victims of sexual harassment, and from the people around us that absorb every trend. We are all super affected by these world, and we should all know how fashion leave its mark on us, in a positive way.

"The future is female."

Although men still run the industry, statistics show that women's labor, ideas and dollars pop up the industry. Women also dominate the student bodies at schools (like New York's fashion institute of technology), where 85% of students enrolled were female in 2016. A study called " The Glass Runway", by Glamour magazine in partnership with Counsil of Fashion Designer in America, showed that women weren't any less ambitious coming into the industry and that they were 17% more likely than men to aspire to be a top executive. Moreover, women are often the public faces of fashion and its big customers. But for much of the female focused industry which is self promoted as liberal and inclusive, there is a lot of work to be done to get businesses in line with the values they are publicly promoting.

"The suffragette of today."

 You can't fight revolution with silk gloves, but we can make an objection. There were times when a simple glove removed in a particular fashion could cause much a stir. And when women - and now men- figure it our, they didn't hesitate to use the fashion as an instrument of provocation. Personal style is now more fluid that ever. We can easily see men in tights and why not, in heels. People are free to wear whatever they want and how they want. Claire McCardell is often seen as the mother of american fashion , but while se ushered in the idea of sporty chic she also gave women a wardrobe that offered them a sense of freedom. The 80's power suit rejected the question "should a feminist adapt masculine dress or celebrate feminity?" and threw away the narrow definition of what is expected of them. The clothes they wore helped make their intentions known into the world.  After all what causes society to panic isn't different hemlines, but rather women defining for themselves what it means to be a woman. So the power of dress, was an important tool that influenced their standing in society, helping them towards less oppressive gender norms with every snap, zip, and fasten.

A scion of the Prada dynasty once said "It's important that we don't lose our feminity, that we find a way to do what men do, but in a woman's why", and I believe that this line includes it all.

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Architecture in fashion design

High fashion is able to find inspiration everywhere, in any form of art, one of those, architeture.
The connection between them two is visible mostly during a catwalk and not in everyday life due to the extravagant designs, fabrics and weight of the costumes.
Moreover many designers as late Pierre Balmain and Gianfranco Ferre come from an architecture backround. Balmain was the one that stated " dressmaking is the architecture of movement. " and I couldn't aggree more.

Pleating, folding and layering are some of the technics that are used in order to create the right angles, shapes and whole constructions. Omer Asim is also one of many designers that his architectural backround is a career milestone, most visible in his elegance and minimalist designs.


Each designer interprets their inspiration to meet their individual style.


                              1. Dolce & Gabbana S/S 2012 - Notre Dame de Reims, France,

                                 2. Givenchy F/W 2008 - The ceiling of a gothic building.                                                                     

                                3. Balenciaga Spring 2008 - Guggenheim museum, Spain.                                                                    

                                4. Akris Spring 2008 - Holocaust memorial in Berlin.                                                                          

5. Dior haute couture fall 2014 - Esterhazy palace Hungary.

6. Milly S/S 2016 - Zaha Hadid, Heydar Aliyev Center, Baku.

7.  KTZ Spring 2013 - Castle of Sammezzano Leccio in Reggelo , Italy. 

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In the footsteps of Mariano Fortuny.

Where: Palais Galliera, Museum of Fashion.
When: October 4th 2017 - January 7th 2018.

A museum in the heart of La Serenissima bears his name. He was a venetian by adoption, but spanish by birth, famous for his fine pleats… The man in question is Mariano Fortuny, and the Palais Galliera, City of Paris Fashion Museum, is devoting a retrospective to his work. With over a hundred pieces from the Galliera collection, Madrid’s fashion museum the Museo del Traje and the Museo Fortuny in Venice, the exhibition will reveal the full diversity of his inspiration. The famous ‘Delphos gown’, designed in 1909, is the quintessential illustration of his originality and inventiveness. It is made entirely from plain silk, and is so finely pleated that it can be rolled up into a ball and still maintain all its flowing lines when unrolled.

Mariano Fortuny y Madrazo (1871-1949) was the son of the Spanish painter Mariano Fortuny y Marsal (1838-1874) and, like his father, he started out as a painter. He moved to Venice in 1888 and his name has always been associated with that city. His highly eclectic tastes encompassed engraving, photography, furniture and lighting design, as well as stage design and stage lighting. In 1906, he turned his attentions to fabrics, with his “Knossos scarf” made of silk, printed with motifs inspired by Kamares pottery from the Minoan period. His dress designs liberated the female form. He reinterpreted the styles and motifs of Ancient Greece, the Middle-Ages and the Renaissance, and he created timeless, unwaisted pieces with soft, straight-hanging lines.

Mariano Fortuny features prominently in the works of Marcel Proust. At one point in Remembrance of Things Past, the painter Elstir tells Albertine: “But I hear that a venetian artist, called Fortuny, has recovered the secret of the craft, and that before many years have passed women will be able to walk abroad, and better still to sit at home in brocades as sumptuous as those that Venice adorned, for her patrician daughters, with patterns brought from the Orient.”

Fortuny would turn every fabric into a uniquely magnificent piece with subtle reflections of light. In the gowns worn by such legendary women as Countess Greffulhe and her daughter Élaine, Eleonora Duse, Ellen Terry, and Oona Chaplin, visitors can admire his carefully researched prints made from metallic powders on silk velvet, with their Byzantine, Japanese and Persian influences. The Mariano Fortuny exhibition is an invitation into the soft, shimmering world of a prolifically inventive designer who was a zealous advocate for liberating the female form, and a believer in the ultimate luxury: comfort.  A total immersion in timeless elegance.

The penchant for Hellenism:

Continuing a traditon born at the beggining of the 19th century, the first decade of the 20th century was obsessed with ancient Greece, a fascination expressed across all forms of creation, from architecture, to dance, to music and fashion.

In England, painting by Lord Frederic Leighton, Lawrence Alma tadema and John William Godward were all characterized by this sense of Hellenistic nostalgia, foreshadowing the Delphos gown. In 1902 the archaeologist Theodore Reinach, built the Villa Kerylos, in Beaulieusur- Mer, a replica of an ancient Villa on the Greek island of Delos. The sculptor Antoinne Bourdelle also took his inspiration from this period of history. Isadora and Reymond Duncan are other examples of well known figures spearheading the Hellenistic revival, a trend also embraced by the choreographer Mariquita and dancer Regina Badet.

This vogue found its full expression in the Russian ballets of Sergei Diaghilev whose innovative and vibrant productions set Paris alight from 1909 onwards. Narcissus, The Afternoon of a Faun and Daphnis and Chloe with sets and costumes designed by Leon Bankst were all programmed at Theatre de Chatelet. The penchant for Hellenism also extended into the private sphere: couturist Paul Poiret for example, organised the Festes de Bacchus (a lavish classically themed soiree) in June 1912. The same year Madeleine Vionet's winter collection featured an antique styled tunic.

In a tribute to Mariano Fortuny, Issey Miyake's "Pleats please" and the Valentino haute couture spring summer 2016 collection close this exhibition.

Robe flying saucer - Issey Miyake, 1994.

Valentino , 2016

You can also find "Peplos", another dress by Mariano Fortuny at the V. Papantoniou Peloponnesian Folklore Foundation ( PPF ) in Nauplio, Greece. 

All info were taken from Palais Galliera website.

Pictures by Nephelie Theofanopoulou.

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Alan Watts: "Falling into love".

"Well now, really when we go back into falling in love. And say, it's crazy. Falling. You see? We don't say "rising into love". There is in it, the idea of the fall. And it goes back, as a matter of fact, to extremely fundamental things. That there is always a curious tie at some point between the fall and the creation. Taking this ghastly risk is the condition of there being life. You see, for all life is an act of faith and an act of gamble. The moment you take a step, you do so on an act of faith because you don't really know that the floor's not going to give under your feet. The moment you take a journey, what an act of faith. The moment that you enter into any kind of human undertaking in relationship, what an act of faith. See, you've given yourself up. But this is the most powerful thing that can be done: surrender. See. And love is an act of surrender to another person. Total abandonment. I give myself to you. Take me. Do anything you like with me. See. So, that's quite mad because you see, it's letting things get out of control. All sensible people keep things in control. Watch it, watch it, watch it. Security? Vigilance Watch it. Police? Watch it. Guards? Watch it. Who's going to watch the guards? So, actually, therefore, the course of wisdom, what is really sensible, is to let go, is to commit oneself, to give oneself up and that's quite mad. So we come to the strange conclusion that in madness lies sanity."

https://soundcloud.com/poiarized/alan-watts-falling-into-love

Zen philosopher Alan Watts.

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