Topmodels Daria Werbowy and Tyson Ballou have been cast in the new Salvatore Ferragamo Fall/Winter 2013 campaign. Photographed by David Sims the campaign shows the two models in separate shots, posing in a sterile-looking mansion. The stern facial expressions on the models and the very beige setting make this campaign look a little too severe — tFS forum members said it was "too plain."
"I love Daria but something looks a little off. I don't like it," commented Aedlacir.
And Flashbang found that the campaign didn't do the clothes justice: "Honestly disappointing. Massimiliano [Giornetti] created a superb fall menswear collection with so many desirable strong coats that I immediately want to wear anytime, even if I would be sweating bricks. These look very blunt, much like a catalog shoot."
"Daria is so great for this brand. Pity the images look so stiff and bland," wrote anlabe32, who thought the photography might be to blame.
TREVOFASHIONISTO also wasn't wowed by the images saying, "No personality in these ads which is sad because both models are exceptionally excellent at producing captivating images."
I think TREVOFASHIONISTO hits the nail — these images lack personality. One can't help but have high hopes when Werbowy and Ballou are involved, but all we get here is a set of dull catalog-like images that could have featured anyone, and it wouldn't make a difference. If the point here was to portray solitude by not having the models appear beside each other in the same shots, then they successfully executed that concept. But while past Ferragamo campaigns oozed sex appeal and glamour, this looks too mature, conservative and depressing. We definitely expected more from this top notch combination of two brilliant models, one of the best photographers of our time and a consistently convincing luxury brand like Ferragamo.
"Hi, this is Katy Perry and I'd just like to say, thanks for checking out my first-ever US Vogue cover, for the July 2013 issue, which was photographed by Annie Leibovitz on a grassy knoll. I hope you enjoy the on-trendness of my sheer floral dress and the wan, watery expression on my face (this shot was probably chosen to portray how much I've matured as a performer, as a woman, as a fashion role model)."
Dior thought the image on the right would be a good thing to include along with the announcement that Robert Pattinson was the new face of Dior Homme; does not bode well for the forthcoming campaign. [PopSugar]
The Model Alliance wins its first legislative victory: Yesterday New York passed a law which guarantees child models the same protections as other under-18 performers. “Truly, I think the simplest and easiest response to this law is just hire 18-year-olds.” [Buzzfeed Fashion]
Saks welcomes Louboutin with a (wait for it) fashion film. [Fashionologie]
"Young Hollywood was out in full force for last night's Myspace launch event." Yes: Miley Cyrus. [FabSugar]
Happy birthday to the Olsen twins, who have appeared with many different hairstyles over the years, interestingly enough. [BellaSugar]
This headline made me say "LOL" out loud: "Is Prince Harry Dating British Model Cara Delevingne?" [DailyStab]
Jogger shorts: often comfortable, sometimes flattering. [SheFinds]
left via iam.beyonce.com / right via Roberto Cavalli Facebook
To publicize the costumes Roberto Cavalli designed for Beyoncé's Mrs. Carter Show World Tour, the label released an artistic rendering of the pop star draped in a showstopping, multi-colored gown. The dress was beautiful, but the sketch distorted Beyoncé's body, whittling down her curves to cartoonish, rail-thin proportions. "Um, where's the bootylicious babe we know and love?" asked E!
It's not unusual to see fashion sketches take these kinds of liberties with the human body (last year, Barneys got into trouble when they converted Minnie Mouse into a glamazon with skyscraper legs for its holiday windows collaboration with Disney), and the above image is similar in style to other Cavalli illustrations. The designer also created the costumes for The Spice Girls World Tour and you wouldn't accuse those sketches of promoting a healthy body image, either.
Accepting these kinds of drawings as the industry standard and setting aside the question of why designers need to draw clothing intended for real women on alien stick-insects, the weirdest part of the above image is that it's so photorealistic. Beyoncé's face looks no different in the Cavalli sketch than it would in a highly airbrushed publicity photo.
In fact, the label had to release a statement clarifying that the picture was an artistic sketch, not a photograph:
We would like to clarify that the image of the gown created by Roberto Cavalli for Beyoncé is a sketch and not a photo, and therefore it is only meant to be a stylized and artistic vision. Roberto Cavalli loves women and more than anyone else has always exalted and highlighted the female shape with his creations, building his signature style on the glorification of sensuality and femininity.
John Galliano's full hour-long interview with Charlie Rose taped yesterday, and is already up online. Rose prefaced the conversation by playing the video that cost Galliano his job at Dior and sent him into rehab — it showed the designer going on a drunken, racist and anti-Semitic tirade late at night at a Paris cafe. The interviewer noted that he was asked to do the interview (as we learned this week, it was at the request of Rose's good friend, Oscar de la Renta), before explaining his approach and condemning, in strong terms, Galliano's original remarks:
"We talk to John Galliano tonight about what made a man of his distinction, in a moment of fury, use some of the most vile, anti-Semitic, racist language one could use. How does one go from the top to the bottom by one's own actions. And what does it take to recover, personally. This conversation is not about rehabilitation or persecution, it is understanding why. It is about accountability and responsibility. It is about great creativity and troubling addiction. And it is about John Galliano, who came from Gibraltar to London to Paris to New York and he took over the world of fashion, only to fall at his own hand."
Rose pressed Galliano on the subjects of addiction, atonement and his downward spiral.
When asked if his creativity was somehow tied to mental instablity and subsequent addiction, Galliano answered in the negative:
"In the early days, I was incredibly creative and productive. I loved the research trips, I loved the creation, finding technical solutions to creative challenges. I didn't need alcohol and the pills for that."
"What changed was … I was afraid to say 'No,' that little word, N-O, because I thought it showed weakness. And with more and more success, I would just say 'Yes' and take more work on. Which took its toll."
Which is why you're sitting here today, explaining the fall.
"'Explaining the fall'… I am so grateful that I am alive, not for what happened but as a result of what happened, I have been able to spend some time on myself, understand these emotions that I couldn't express. The difference between emotions and feelings and how I could change that. Before I would be upset or angry and it would go on for four days or five days. And now I know, I can change that. …
I was emotionally, spiritually, physically, mentally bankrupt. I didn't know it, but I had a very big breakdown."
How did Galliano feel when he heard about Alexander McQueen's suicide?
"I knew Alexander. I knew Lee. I understood."
What did you understand?
"That loneliness. That pain. As addicts, we're in such a perfection, we're setting the bar impossibly high. And people are like, 'Wow, how are you going to top that?' And we're like, 'Well yeah. we're going to, don't worry.' [Unclear] I was very sad."
Towards the end of the video, Rose asked Galliano to address his remarks directly, and apologize for them:
You recognize that what you said was hateful, vile, anti-Semitic. You do?
And you apologize to everybody. For the sight of those words, for the sound of those words?
"I do. I apologize and I am trying to make amends. In the best way that I can."
Later on, Rose asks Galliano for some final words:
What do you want people to understand about you today?
"I'm not an anti-semite and I'm not a racist. I know that."
“Holy unflattering hell!” burst out mistress_f when commenting on the new Givenchy Resort 2014 collection and went on to describe it so fittingly as "a mess." She wondered, “What's with those proportions and shiny fabrics?” Indeed, what is with those proportions and the shiny fabrics and who can wear this? For the nth season in a row we get the Givenchy Pre-Collection presented in a lookbook shot against — or rather, photoshopped into – a street background, signaling exactly what this collection is about: it’s fashionista street style galore. Floral prints, lace panels, peep-toe boots… you name it. Not even the beautiful models in the lookbook can save this. Recycling prints from previous collections, Tisci has splattered them onto oddly shaped dresses and paired those with oversized pants, while also throwing romantic white dresses into the mix.
“I really hate how Riccardo [Tisci] is bringing the florals from his last collection into menswear and NOW into his resort collection… Can we not get something fresh like the old Givenchy?” asked Greenway.
“Ughhh, what a Hideous collection, Riccardo has become the biggest one trick pony in the business. And it looks like Pre-Fall,” wrote Riseup.
And more harsh criticism came from VogueDisciple93 who declared the collection as being “just awful.” He added, “And if this was shot in a studio or in front of a live volcano the clothes wouldn't look any more interesting or less vile. Riccardo, you've grown lazy and your tactics are long tired and need to be taken out back and put down.”
It seems as though tFS forum members are growing tired of Riccardo Tisci’s celebrity and street style-centric collections and I can’t blame them. White lace pants that would be more suited for a Marchesa collection and weird, brightly-colored pattern clashing is not what made us fall in love with Tisci’s Givenchy. There was the dark romanticism, the intriguing ethno-vibe, the flattering and feminine dresses. None of which has found its way into this or other recent Givenchy collections. TFSers are disappointed with what direction Tisci is going into and it is not difficult to see why. When will we next see a Givenchy collection that doesn’t rely on trendy Rottweiler and Bambi prints and lace panel maxi skirts? Pre-Fall collections are nota bene not always a good indicator for what to expect from the main collection, so here is hoping the creative genius in Tisci strikes back with the next Spring 2014 collection!