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Pharrell Williams, a close friend of the House of CHANEL and personal friend of Karl Lagerfeld affirms his attachment to the House and its Métiers d’art.

Last March, a few days after attending the Fall-Winter 2016/17 Ready-to- Wear show at the Grand Palais, the multi-talented artist spent a day with the craftsmen whose expertise and skill are unique to the Métiers d’art of CHANEL.

Through the exceptional work of the embroiderer Lesage, the feathers and flowers maker Lemarié, the pleater Lognon, the shoe maker Massaro and the hat maker Maison Michel, Pharrell Williams was able to plunge to the very heart of their creative processes and take part in the creation of these unique pieces from the Métiers d’art Paris in Rome 2015/16 collection. They will be available in boutiques from June 2016.



Gucci y AC/DC

SIN ROCK NO HAY MODAgucci-y-acdc-juntos-en-una-colaboracin-body-image-1461238751

Portada de T Magazine

La última portada de T Magazine nos ha recordado lo que podríamos considerar una de las colaboraciones menos usuales que hemos visto hasta la fecha —tanto que algunos hasta dudan de su autenticidad—. Hablamos de un vestido diseñado por Alessandro Michele en el que podemos ver el logo original de AC/DC situado en la espalda y que ya pudimos ver en la última edición de la semana de la moda de Milán.

Aunque se ha creado un debate en torno a la legitimidad del uso del nombre de la banda, lo cierto es que Gucci y el grupo han acordado de forma oficial una colaboración para la temporada otoño/invierno’16. Michele ha descrito esta unión como “un renacimiento del rock’n’roll, los 80, el estilo callejero y de la burguesía”.

Por su parte, el momento del lanzamiento de la portada no podría ser mejor, teniendo en cuenta que AC/DC se encuentra de gira mundial en estos momentos. Todos estos hechos reafirman el concepto de renacimiento del que habla el diseñador, ya que Gucci vive ahora mismo una segunda edad de oro y el grupo ha vuelto a los escenarios después de más de 6 años sin salir de gira.

Este es un ejemplo más del eterno affair entre la moda y el mundo del rock. Algo innegable después de ver las constantes referencias a Kurt Cobain y Courtney Love que Hedi Slimane ha hecho en sus colecciones para Saint Laurent o las incontables marcas a las que ha inspirado David Bowie.

Gucci y AC/DC

Watch: The Antidote To Cheap, $15 Sequin Dresses You Only Wear Once

Talking about luxury?

We imagine that there used to be a time when encountering a sequin-covered garment would stop a shopper dead in her tracks. But with fast-fashion factories that have machines that spit out shimmer, it’s common to see a dress covered in thousands of single paillettes that cost just $15. It’s a shame that we, as fashion lovers, are jaded by sparkles. However, it takes a hell of a lot of work to do it honestly, without cutting corners.

For this edition of our partnership with Visionaire, we went to Beirut to go behind the scenes into Elie Saab’s headquarters, where more than 200 sewers, artisans, and workers put together the most recent haute couture 2016 show. For this video, they specifically worked on Look #20, an ethereal putty-hued, long-sleeve dress that’s covered in embellishments. If we’re being exact, it was 7,000 pearls, 5,000 sequins, 900 resin flowers, and 500 silk-organza petals, which helps to explain the multi-digit prices of a Saab gown.

Wooden utensils are used to tack each sequin onto the mesh fabric, and laser precise applicators are used to attach rhinestones — again, one at a time — on top of the sequin islands. Resin is hand poured into molds that are heated over flames, snipped out with scissors, and then pinned, sewn onto organza petals, and then tacked onto the garments. It’s 13,400 bits of stuff that has to be separately attached, and yet, when you see it coming down the runway, it nearly floats.

It’s attention to detail — taken to obsessive heights, extends to the rest of Saab’s business: According to Visionaire’s Lars Petersen, the mannequins stacked on shelves (0:45 in the video) are reproductions of Saab’s couture clients, which is why they’re all different sizes, heights, shapes, and proportions. It’s a fact that makes us feel like we’ve glimpsed a utopian parallel fashion universe, where every body is as important as the one next to it, and clothes are as unique as the person wearing it.

Watch: The Antidote To Cheap, $15 Sequin Dresses You Only Wear Once