Jose Aponte
Wishing You A Happy Stylish & Beautiful 2012
SPRING/SUMMER 2012
There is nothing like a good old style pair of blue jeans… The color is simply beautiful, bold and timeless. I love the hard-working vibe that brings with the classic white tee, but with that edgy twist of the skinny cut, the asymmetric sweater and the golden jewels. Ready for the day…
A couple of days ago I showed the ‘future’ campaign teaser. Now this is the final cut, the complete campaign from the Aussie brand which looks really great. A well done editorial for men’s underwear in hot pink, that for most brands normally comes with kitschy and so called sexy – in the worst way possible – ads. But teamm8 is really something, humoring us with not only a good product but interesting campaigns with a great visual that goes beyond a simple nice body… Check it out, and enjoy THE FUTURE! The latest campaign from teamm8 – FUTURE A film by James Demitri
This brand is really cool. Although men’s underwear is not that special, they have really interesting things, designs and great ad campaigns like this one… Check it out. THE FUTURE IS COMING! Sneak peek of the latest campaign from teamm8 – FUTURE
An article originally written for BlogCritics. This is the original article Jose Aponte For BlogCritics
Illustrations… those beautiful and inspiring visualizations that come as drawings, paintings, photographs or other kinds of art with the idea to deliver sensual information in the most fantastic way possible by providing a visual representation graphically. This kind of information is what makes the fashion world not only magical but possible. Without that, we could not speak about anything in this industry, from designs to cover magazines and editorials, this graphic design could not come any more glamourous and dreamier than the fashion illustration.
For over 500 years, the fashion illustration has been with us, amusing our eyes and wowing our imagination. Ever since there is an idea that needs to come alive there has been, is and will be a need for fashion illustration. And this interventions are not only functional but present themselves as a kind of art, a dazzling and small part of somebody’s essence that comes from the deepest desires and aspirations of the authors and collaborations.
Today’s technology has allowed the industry’s creative teams to find a great bunch of options to express them selves, in such new, easy and unexpected ways that you do not need to be a master with the pencils or the oils to perfectly communicate your idea. From photos, to computer based collages and graphic design softwares as Adobe Illustrator anyone can easily and successfully graphically place any thought on a piece of paper or a computer screen. Thanks to that fantastic technology, there has been a massive decline in the fashion illustration, which began in the late 1930s when Vogue began changing its celebrated and iconic illustrated covers with photos.
According to Laird Borrelli – author of Fashion Illustration Now -: “Fashion Illustration has gone from being one of the sole means of fashion communication to having a very minor role. The first photographic cover of Vogue was a watershed in the history of fashion illustration and a watershed mark of its decline. Photographs, no matter how altered or retouched, will always have some association with reality and by association truth. I like to think of them [fashion Illustrations] as prose poems and having more fictional narratives. They are more obviously filtered through an individual vision than photos. Illustration lives on, but in the position of a poor relative to the fashion”.
The real fashion illustration has become some kind of the Haute-Couture of the representative ideas. Some time ago, great designs came with fantastic images, a lot of hard work had to be done in order to prepare those magnificent pieces that could be classified as art. But these days, design students do not even bother to learn how to draw because of the facility of simple softwares that in some cases come with templates which can easily transformed. Mediocre designers feel like they do not need to find a way to cleverly express their ideas in the the most appropriate way possible. Neither design companies nor magazines feel the need to hire magnificent illustrators, they only need somebody who can run the appropriate software. Which is the natural course of the industry, they have to save money and make everything faster, and in the end it all become disposable work.
So, is it ok for the new creative minds to put aside this kind of work? It should not be… finding the best and most personal way to create and sketch can give an unexpected character and uniqueness to your personal work. Some computer based designs lack of personality and emotions that can only be brought to life when you can feel and enjoy what you are doing when you find your own voice. When you design a t-shirt by hand that special stroke that you have is so great that no computer or other human being could possibly reproduce it, and the outcome could be so magnificent that they could become iconic pieces.
The craftsmanship and the hand made work is something that is so distinctive and beautiful that should be appreciated and valued, so should never be forgotten or replaced by new technologies. And, although it seems that the art of illustration is dying, it is only becoming more exclusive and more appreciated by the connoisseurs and therefore is nowhere near to be extinguished. It has only found a more exclusive and demanding clientele, that places it in the same category as art. From the biggest and most exclusive fashion brands to magazines as Vogue working with the most renown illustrators to create special projects that become the epitome exclusivity and fantasy dreams. The illustration has earned a coveted spot in that marvelous world of luxury.
It is a shame that the fashion illustration is not what it used to be, that the hand drawing has been somehow replaced by computer based techniques that sometimes lack of personality and emotion. But this new wind that has come to the industry has forced the creatives of this field to work as artists, pushing the few who dare to work in this ultra competitive world to try their best for the creation of master pieces full of emotion and uniqueness that go beyond the imagination and what we could possibly say in more than a thousand or million words.
It is finally out… Well, at least the photos of the latest and very anticipated H&M capsule collection. And it is simply fantastic, it is pure Versace, pure Gianni Versace with such a decadent luxury in upbeat neon colors, bold prints, rich fabrics and off course ultra sensual looks. It is full of the pieces that have made the house of Versace legendary. Iconic dresses are the focus of the women’s collection, while menswear is centered on sharp tailoring. And, for the first time, an H&M designer collaboration will include homeware pieces, reflecting Versace’s influential home designs. All collections will be available online and in about 300 stores worldwide. The collection will be released in US stores on November 19th.
“The collection for H&M is the essence of Versace. For the collaboration we’ve brought back from the archives, as well as from more recent collections, some of the icons of Versace such as the bright prints, the Greek key and daring cuts. I can’t wait to see how H&M’s wide audience will make these pieces their own.” Donatella Versace.
“Versace’s collection for H&M is a moment in fashion. It is full of strong pieces that stand out, with colours, prints and cuts that are clean and precise. The women’s collection is flattering and full of dresses, while the men’s collection is very sophisticated. When I think about Versace I think of iconic items. With this collection for H&M we’ve got the essence of Versace.” Margareta van den Bosch, creative advisor at H&M.
This is just a glimpse of what is coming to the H&M stores on mid november… And it is just pure glam and luxury, I can not wait for the collection to hit the stores to buy these collectable pieces. Versace at H&M prices? What could be better than that? That is why I love H&M so much. WOW!
The designer has teamed up with the e-store to launch an exclusive line of products that can only be found in Neiman Marcus. Go to pre-order the unique introduction of color, makeup, skin treatment and more. It is Tom Ford, so off course it is pure luxury that comes with such a delightful presentation in the most exquisite and rich color palette. Enjoy this fantastic video with amazing tips from Mr. Ford himself and pre-ordering… definitely a must.
An article originally written for Technorati. This is the original article Jose Aponte For Technorati
The retro lady is coming to these modern times, with such a strong look that everybody is being influenced by her. Thanks to period productions, we can not get enough of those classic and elegant looks that have invaded the small and big screen in such a delightful way that they have become our timeless magical obsession. Just take a look at this year’s Emmy nominated for Outstanding Miniseries or Made for Television Movies: from Mildred Pierce to the Kennedys and Downtown Abbey, we have felt in love with the classic stories and off course the dreamy aesthetic.
The retro look comes accentuated with flirty accessories like the always chic chokers, those close-fitting necklace that so delicately embellish the necks, automatically lifting any look up with an instant dose of glamour. They are not only the must-have piece for this fall/winter 2011, but the spring/summer 2012 has been also seduced by this ultra feminine jewel, making it an investment piece that could last seasons to come… Think the holidays, cocktail parties, office hours, summer in the Hamptons, they are here to stay.
The key to wear them is to find those big statement pieces that scream luxury. In gold or silver, with pearls or rocks, the styles are so versatile that come splashed with notes of vintage, punk, tribal, boho or classic looks. Wear them with modern and perfectly fitted pieces, like a masculine suit and opened-button shirts or over ultra feminine high-collar printed blouses but always with an edgy twist of sensuality like a leather jacker or an ultra tight skirt. Take notes from the designers and find the perfect formula to highlight your cleavage and neck. Be inspired by these looks
Michael Kors Fall/Winter 2011
After more than a year at the head of the McQueen house, Sarah Burton has already stablished her self as one of the most influential and important designers of the fashion industry. With one of the most iconic royal weeding dresses of all times with her signature on it, a duchess – the most followed royal member – and the most photographed people on the planet as her fans, and a very recognizable signature aesthetic that is clearly influenced by the late McQueen, there is no doubt Burton’s fame is rising to new levels of superstardom. And this collection is a living proof of why Sara Burton is got the fashion fans aching for more… it was magical.
“It’s all about femininity and womanhood” said Sarah Burton after her show last Tuesday evening. “It wasn’t really meant to be fetishistic. It’s about embellishment and celebrating women’s beauty”. And it certainly was… pure femininity and romanticism but with that McQueen signature edgy twist in such fabric and silhouettes richness that it was a magical delight. The dramatic ruffles with organic cuts and shapes felt so haute-couture in such fantastic prints and the most delightful and luxurious use of lace in incredibly beautiful dresses, it was a fantasy wonderland.
Sara Burton was not expecting any fetishism in her collection but with the use of lace masks and leather, it screamed S&M. Ultra feminine but with an intense hardcore edge that made it so sensual and beautiful: it was a fantasy of intense desire, decadence, lust and innocence that wast almost pornographic, fulfilling our pleasures of voyeurism with the most alluring creations we could possibly imagine… And those shoes? Wow, fetish objects of desire as usual.
McQueen Spring/Summer 2012 was a magical fairytale in Burton’s fantasy land. Beautiful dresses with ruffles, petals and pearls perfectly contrasted with metallic structured shapes but with an exceptional softness, it felt like an army of goddesses in their most powerful and feminine glam-armors taking over the runway. Sarah Burton has made it very clear that she is not a showgirl, and that is something that we will miss form one of the biggest showmen in fashion history, the set has been almost the same and a couple of giant cameras or ballroom dancers on the runway would be so magnificent to see… a real shame. I am looking forward to see what is next from the british designers as she gets more comfortable in her position and could explore more her own identity, without being so true to the amazing Alexander McQueen aesthetic. It was another success for Burton, simply magnificent and exquisite. Bravo.
Set inside a beautiful all-white sea shell with giant marine sculptures, the “Under The Sea” ultra glam fantasy began in this fashion ecosystem even before the first model walked down the runway in that beautiful white skirt-suit with sophisticated pearls around her. As the models came out, the animal kingdom was taking over the collection to create once a gain, a Lagerfeld’s masterpiece.
“Chanel makes clothes for daily life,” the designer told WWD in a preview. “There are no fish, no mermaids.” And I could not agree more, the aquatic theme was there, but without the obvious kitschiness direction it could take full of cheap marine references and fish-tail red-carpet dresses. It was the sea theme taken to a whole new level of glamour and luxury, with the classic Chanel over the top exquisite and beautiful prints and fabrics, creating fish nets out of crystallized dresses and sea shell of structured and architectonical cuts and embroidery.
It was definitely not obvious but very unexpected and incredibly smart, with all we could think of the submarine life but cleverly translated into fabrics, cuts, a rich palette, glitter, white iridescence, shimmer and PVC. The algae, seashells, foam, corals, mermaids, fishes… the entire underwater biodiversity became part of this fantastic utopia, but not in the Disney fantasy way. Instead, it was Lagerfeld’s expensively chic and magical world that screamed loaded rather than Ariel, with such a magnificent attention to details that included the most decadent and wonderful ways to use pearls: as borders, skinny belts, hair, body and face decorations, even as an exoskeletal spine down a girl’s back… Oh my God! It was sublime.
Karl Lagerfeld gave this underwater fantasy a perfect touch of luxury and timeless glamour. “Right here on the ocean floor, such wonderful things surround you. Under the sea, darlin’ it’s better down where… It is pure Chanel.
“Sorry, sorry,” that is all Nicolas Ghesquière’s lips apparently said during his - off-course – standing ovation after the Balenciaga show ended. Why? The audience had to presence the breath-taking collection standing up, after five benches collapsed and a voice asked the audience in two languages to watch the entire show on their feet before anyone could get hurt, and thank God no one did. After something like that happens you may think: “that is all people are going to be talking about”, but when the first model came out, no one remembered anything about any crash but were mesmerized by the fantastic collection that was about to begin, nothing could shadow something that incredibly beautiful and innovative.
In a conversation on Wednesday, the designer told WWD… “I don’t know if oversize is the right term for that type of construction. But this famous, and for me, a very functional, concept of Cristobal is the idea of the space between the body and the fabric. The clothes float away from the body. It’s one of the big iconic things of Balenciaga. The fluidity of floating is beautiful, but it is something else. An architectural piece floating around the body is very structural. I think it’s something that Balenciaga invented.”
The new take on Balenciaga’s silhouette was simply delightful, with such an incredible richness of volume and shapes in structured and loose pieces that was magical. Structured jackets, high waisted shorts, oversized scrub-inspired dresses, A-shaped skirts and dreamy patchwork dresses the options were as rich as magnificent. The cinched waist with wide-legged shorts and big-shouldered structured tops gave the models a clever sand-clock silhouette that was so sexy, it felt like Betty Grable was walking down the runway, but the Ghesquière’s version of the Hollywood starlet.
This is pure and real fashion, or even better: the future of it. It was incredibly avant-guard, transforming basic pieces into something so cleverly modern that goes beyond the boundaries of the imagination and what we though of fashion until today. Structured architectonical shapes, with bold shiny prints that beyond the obvious kitschiness that was underneath them turned out to be so incredibly luxurious and glamourous with giant patchy-pockets. The finale came with giant hats, ultra shine skirts and maxi dresses that were devilishly delightful, the wicked witched turned into the most glamourous avant-guard version of the heroine. The playfulness of the opposites was magical, with mate and shine, structured architectonical and flowing shapes, the cinched/tight and loose silhouettes, the neutrals and the bolds, the pails and the jewels tones. And those pants, that new version of the denim… WOW! I do not know how he does it but it was mind-blowing, so many things in a single jaw-dropping collection that was perfectly executed. Just bravo, BRAVO!
Set with big, vivacious and cheerful square seats, oily floor and cartoon car bodies in red, blue, pink and white, in an industrial and architectonical stunning space, you would not know what to expect. Something vulgar and of bad taste could be the first thing comes to mind, but knowing it was for the Prada show it was out of the question, instead you would expect something incredibly clever and luxurious at the same time, and it certainly was. Prada titled the show “Women and Car Engines” and said she saw “an excuse to talk about femininity and what it means today. Women can be feminine, even sweet — a word which today in fashion is almost taboo. It’s not clear why”. And after seeing the show, the space and the concept behind it, all I can say is WOW. I do not know how she does it, but she always manages to combine all this shocking and completely opposite concepts to creates something out of the ordinary, absolutely incredible, luxurious and avant guard in such a magnificent way that just works incredibly good.
The collection was so elegant and clever; pleated skirts, soft-girly blouses and floral guipures in structured coats with a retro feeling that was so feminine but powerful and modern at the same time. Miuccia Prada combined ultra feminine pieces in pastel tones with such clever prints, that could be easily taken from any Nascar race but were simply chic. There was nothing Race-aficionado cheapness about it. It was all smart glamour.
The car prints on embellished bumpers and coats gracefully paired with statement-glamurous joaillerie was magnificent. It was the most decadent and Glamourous race you could possibly dream about, she even took car interiors and pimped cars aesthetic to intervene leather and soft dresses to create such beautiful pieces. The models looked like the most stylish and beautiful card drivers, fans and mechanics you could imagine, it was almost decadent. Something taken form another world, Glam-World where even mechanics wear expensive jewelery to work… What a dream.
But off course Prada always creates some of the most desirable accessories of the season, and this one was no exception. Bags with car imagery and structured shoes cut with more of those adrenaline-inducing flames. “Cheerful and witty,” Prada said. The men have their cars, little kid the miniature cars and the stylish Prada Fans have this new version of the grown up toys, it was simply fantastic.
The show started with a sad note, knowing that this could probably be the last runway for the younger and more affordable line of the italian duo. It was announced that Domenico Dolce and Stefano Gabbana were closing D&G just minutes after the show. So, they decided to give us an interesting, upbeat and very commercial collection that would probably keep everybody happy.
Right after the first ultra tight, skimpy and short dress walked down the runway, Gianni Versace was the first thing that came to my mind. It was pure 90s glamour with bold prints in an amazing and rich color palette that went from lipstick red to the most delicious cerulean blue, going through all the hues of colors of the rainbow, I think that there is not a single color that the duo did not used for this ode to the foulards.
The show centered in the foulards, it was all about the super versatile and elegant piece. We saw it in tight and loose dresses, pajama pants, mini skirts, halter blouses, high waisted culottes, boxers, baby dolls and even jackets, you name it it was there and it was made by foulards; it felt almost like a class of “one piece a thousand looks”. With so many prints with appliques that included golden embroidery and sequined dresses, the options were endless including ski high wedges, oversized clutches and minaudières; that were magically paired with statement golden earrings, bracelets and necklaces, that felt so expensive it was almost like a Saint-tropez girl who have so much money ,she did not know where to put all that treasure and simply use the gold coins on her.
This was not a ground breaking collection with incredibly inspiring ideas that will be remembered for ages, but was certainly a fun, over the top and luxurious show with really worth-investment pieces that will look good in so many occasions, and will make the D&G fans go to the gym and work out really hard, because they are as beautiful, and expensive as demanding. It was super commercial, but there is no denial that the boho dresses at the end of the show were as divine as usual. It was pure commercial and luxurious business.
Gucci, Gucci, Gucci… Where should I begin? There was so much to look at in this fantastic show, with so many references that somehow Frida Giannini managed to collide in one of the strongest collections of the season. One of my favorite brands did not disappoint and delivered the usual decadent over-the-top luxury that I just love and crave for more, every time I think of Giannini’s Gucci.
Gucci’s version of the Great Gatsby walked down the runway with fantastic “Hard Déco” in black, white and gold with a splash of an intensively bold green in architectural and geometrical shapes and patterns that had the Chrysler building all over it. It was the 20s meets Art Deco but with an interesting wild twist: zebra, tiger and giraffe prints in pure black and white with tropical patterns in green with exquisite golden details and structured clothes, it was pure Gucci.
There were some magnificent and desirable dresses with dropped waists and fringes that were a strongly reminiscent of the Jazz age, but with a strong 80s aesthetic, that it felt like a modern version of the Dallas decadent over the top Glamour, that that somehow Frida Giannini made it work and never felt like it was too much, but actually never enough. The pieces are so magnificent and desirable, and the embellishment was so rich, intense, strong and beautiful that screamed luxury, pure and sinfully delightful luxury.
Burberry is famously known for the coats, the incredibly luxurious and chic coats that were as exquisite and desirable as usual, but for this Spring/Summer 2012, Christopher Bailey amazed us with an interesting twist, he decided to get back in time and dig deep through the history books, get back to the present and then create incredibly modern clothes, with old-fashioned hand craftsmanship and the most modern technology we could possibly think of for this magnificent collection: Beautifully treated hand beading, crocheting, wood, raffia and leather. The richness of fabrics was something else, it was classic and modern luxury-divine.
The color palette was very interesting and rich, but not as high-energy as we saw in New York Fashion Week. It was bold with strong prints, that came in intense cerulean, orange, red and grass but contrasted with olive green, chocolate, and aubergine, the hues that prevailed in the collection and gave it a toned-down upbeat and unique elegance and sophistication. “I wanted the collection to be joyous, happy, upbeat,” said Bailey after the show. “I love the contradiction between this idea of artisanal hand skills, things that take time to make — and digital speed. They can co-exist”. And the outcome could not be any more beautiful, it felt very british, very English-Country with that tribal twist, a craftsmanship that was simply sublime.
But one of the things I got really obsessed about was the front row. It was pure A-List power, with the insanely beautiful Kaya Scodelario there, and Kanye West sitting next to the ultra stylish Sienna Miller who was one person away from Rosie Huntington-Whiteley who was next to Mario Testino… Wow, It was so fantastic.
The models walked to the beat of Joss Stone’s Version of ‘I Put A Spell On you’, and Mr. Bailey certainly did. It became an ‘Everlasting Love’, It was pure glamour and magnificent desirable pieces. The coveted investment pieces for Spring 2012… It is time to start saving some cash, we are going to need it for for sure.
