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Balenciaga Giant 12 Wrap Bracelet

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Balenciaga Giant 12 Wrap BraceletBalenciaga Giant 12 Wrap Bracelet

Balenciaga Giant 12 Wrap Bracelet in rose, is a timeless piece that you will wear today and the next years to come. It is made of arena lambskin leather with yellow golden hardware that includes a buckle and studs and wraps three times around your wrist.  If you love your arm candy, the Balenciaga leather bracelet is worth the investment.

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Fashion 101: The first Cristobal Balenciaga house of haute couture was founded in 1919 in San Sebastian, Spain. By 1937, Paris became home to the famed couturier. In 1946, the House of Balenciaga launched its first perfume, and soon it attracted the same acclaim as the famous Balenciaga couture pieces, which are today under the skillful guidance of Creative Director Alexander Wang.

Runway

Chloé RTW Spring 2015

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Chloé RTW Spring 2015 Chloé RTW Spring 2015-2 Chloé RTW Spring 2015-3 Chloé RTW Spring 2015-4 Chloé RTW Spring 2015-5 Chloé RTW Spring 2015-7 Chloé RTW Spring 2015-6 Chloé RTW Spring 2015-8 Chloé RTW Spring 2015-9 Chloé RTW Spring 2015-10 Chloé RTW Spring 2015-11 Chloé RTW Spring 2015-12
Chloé RTW Spring 2015 Images & Source WWD

Gaby Aghion founded Chloé in 1952 with a vision to defy the formal haute couture of the time with alluring, feminine clothes made of fine fabrics that required few alterations. Clare Waight Keller could not have known that Aghion would pass away a day before Chloé’s spring show, but the collection beautifully epitomized the founder’s original maxim. Backstage, Keller said her focus was on fabrics that tell a story, “laces that had flowers and birds, and the idea of utilitarian cotton and denim that, as you wear it, it ages and starts to tell the story of your life.”

To open the show, she chose a trio of gauzy maiden minidresses, barely constructed from crafty lace and linen suspended from the skinniest spaghetti straps. That idea progressed into billowing chiffon goddess gowns done in powdery pastels, navy and terra-cotta, some worked with lace. These nodded at the house’s Lagerfeld era. They grazed the body in a soft expression of feminine freedom — fragile though they looked, a dress dependent on the strength of a shoestring requires acute confidence.
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Runway

Dior RTW Spring 2015 Collection

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Dior RTW Spring 2015 Collection Dior RTW Spring 2015-9 Dior RTW Spring 2015-8 Dior RTW Spring 2015-7 Dior RTW Spring 2015-6 Dior RTW Spring 2015-5 Dior RTW Spring 2015-4 Dior RTW Spring 2015-3 Dior RTW Spring 2015-2 Dior RTW Spring 2015-1
Dior RTW Spring 2015 Collection Images & Source WWD

Backstage before his Christian Dior show on Friday, Raf Simons explained that his spring starting point was the couture collection he showed in July. He chose to adapt its elements for two reasons, because of the excess speed of fashion and because many ready-to-wear clients had expressed their desire for clothes in a vein similar to the mood of the couture.

That collection’s ruse was the establishment of a new modernity through examination of historical motifs, particularly 18th-century court attire, cross-referenced with disparate elements, from street to stratosphere.

His approach here was similar. Simons took it all down a notch, as befits the gap from couture to mere luxury. What remained: a focus on cut, inspired by the court coat and because, he said, “you see so many clothes that have so much stuff on them that I started to think more about actual construction. Also because that’s what Christian Dior did so much — an architectural approach.”

Tying the Knot

Amal Alamuddin Wedding Dress

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Amal Alamuddin Wedding DressAmal Alamuddin Wedding Dress Via Vogue

“He is the man every woman wants to hug!” Amal Alamuddin says happily. Surprisingly, the British-Lebanese human-rights barrister is not referring to George Clooney, her groom come September, but rather to the equally debonair Oscar de la Renta, who is designing her wedding dress. “George and I wanted a wedding that was romantic and elegant, and I can’t imagine anyone more able than Oscar to capture this mood in a dress,” she says. “Meeting him made the design process all the more magical, as he is so warm and such a gentleman.”

Indeed, on a warm Wednesday in late July, 36-year-old Alamuddin gambols blithely into de la Renta’s Bryant Park offices on towering wedge sandals, eager to greet the designer with a double kiss. She wears a floral-printed day dress, also by de la Renta. A sand suede Balenciaga motorcycle bag dangles from her forearm. Her long jet-black hair is blown out with just enough volume around the temples to softly frame her minimally made-up face.  Following her into the showroom are her mother, Baria, who lives in London, and sister, Tala, who has come all the way from Singapore for the fitting. Read more at Vogue.com

Runway

Prada RTW Spring 2015

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Prada RTW Spring 2015 Images & Source WWD

Desert bleak? Space chic? Huge purple sand dunes fading into a brownish carpet and a harsh, dissonant soundtrack kept guests at Miuccia Prada’s show on Thursday night wondering. Yet few wondered whether Prada would awe them, only how.

Prada billed her spring collection as a celebration of fabric craft. “Why are people attracted to antiquity more and more?” she mused backstage. “That kind of quality, the ability of the craftsmen, is going to be lost. I want to do my part.” That meant sourcing and reproducing 30 brocades dating from the 19th century through the Sixties. Lavish, intricate, gorgeous — you bet. Yet even buying into Prada’s artisanal philanthropy, her shows are always character studies, the stage persona revealed through the clothes. Here, that study played out ultimately as a slyly weird good-girl, bad-girl inner struggle.

Prada sought to modernize her beautiful, stately fabrics by extracting their preciousness. She injected a tough element that read Western, Prairie, a little Badlands. A Seventies ring? Yes, but only partly and always the opposite of mundane. An unapologetic appropriations expert, Prada evokes an era, a mood, a concept, and creates around it.

She got into her fabric celebration deftly, with dark tailored looks, seams and faux tailor’s markings outlined in contrasting stitching: trim notched-collared coat; skirt suit; tunic over skirt. Then came a high-collared dress with inset-floral brocade yoke, the first indication of fabric fancy, followed by inventive incorporations of the rich brocades: leather car coat strung with diagonal stripes of fabric; skirt with intricately swirling front panel contrasting the yellow varsity sweater vest with which it was shown. Many of the looks were polished to the point of prim. But along the way, things started to unravel in unfinished hems and seams that floated in distinct contrast to the brocades’ inherent hauteur. The accessories indicated the girl’s inner push-pull: coy color-blocked knee socks and dangerous sparkly earrings.

There was a lot going on, but Prada reminded all of the importance of design with her penultimate look: a plain, raw cotton dress with dressmaker markings in black, a reminder that schtick means nothing without clarity of design. Prada’s girl worked this push-pull to a fare-thee-well, unleashing her own — and her clothes’ — powers of sartorial seduction.

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