I just found these two backstage snapshots I did back in 2011. The model wears one of the two costumes I designed along with Maria Mastori's jewellery and headpieces, focusing on Cyprus/Hellenic traditional heritage. The project was titled THE BETROTHED and the original photography for the museum's catalogue was by the amazing Thanassis Krikis. The costumes were exhibited both in Greece and Cyprus as well as in Amsterdam. Styling by Nicholas Georgiou with hair and make-up by Stellar. To see Krikis' photographs go to Vogue Italia, by clicking the link below http://www.vogue.it/people-are-talking-about/vogue-arts/2012/10/beyond-dress-codes
Strip-Project is proud to invite you to the launch party of the Strip Book magazine ♯ 1, featuring:
Alessandro Casagrande// Bernhard Handick // Bouke De Vries// Claudio Cassano// Eric Johnson //Fabio Costì// Filep Motwary// Francesco Baronti// Giulia Caira// Guillermo Turell Yarur// Lionel Bensemoun for Villa Lena// Magnus Gjoen// Manuel Zine// Manuella Martelli// Maurizio di Iorio// Newshine// Plugger// Silvia + Cemin// Sonja Gutschera & Leif Henrik Oshtoff// Stefania Paparelli// Troia Zine// Wonderful Luka// Write & Roll Society//
The Strip Book magazine number 1 will be produced and distributed in limited edition, at the BJORK Florence's bookshop, starting from July 2nd, 2014. These limited copies are free. Also you will meet the founders who took care of this project: Martina Spagnoli and Anna Ka. ☞ From 7 pm to 9.30 pm Slow motion Dj set by Guta
GEORGIA SOUVENIR is a story styled and photographed by Filep Motwary in Tbilisi, featuring young Georgian designers and models, all participants at ART GEORGIA Paris, a project by Sofia Tchkonia. The photos were presented during the “BENEXT INTERNATIONAL FASHION DESIGN CONTEST 2014 last week. GEORGIA SOUVENIR is a project sponsored by Sofia Tchkonia. Make Up by Christine Regini.
Certainly a clear view on menswear and attitude, BOYCOTT magazine was launched in Paris a few days ago. I am happy to share with you the double spread opening of the 12-page feature and interview that focuses on my work and photography.
IFFTI 2015 is going to be one of the most important national and international events of the year in Florence: the cradle of Renaissance will host the training institutes and fashion sector companies belonging to the IFFTI network (International Foundation of Fashion Technology Institutes). The IFFTI ‘WALK & TALK’ conference will be held from 12 to 16 May 2015. Dates were not chosen by chance, as at the same time two other major international events will take place in Italy: the Milan Expo 2015 and the contemporary art expo at the Biennale in Venice. The 2015 edition (17th in the history of the IFFTI Annual Conference) will be open to all professionals and students in the fields of design, fashion, art and architecture, following the example set by other famous expositions and contemporary biennial presentations. IFFTI 2015 will be a time to reflect on the value and perspective of fashion and design in relation to the human body (BODY) and urban space (SPACE), as a place for imagination (IMAGINARY), writing (CALLIGRAPHY), creation (CRAFT) and clothing (DRESS). The central theme of the project is “Momenting the Memento: Connecting Fashion, Education and the City”, taken from the book by the same name that is scheduled for distribution this coming June. Invitations were sent to visionaries, artists, writers, designers, art curators, journalists, entrepreneurs and opinion leaders from different sectors to liven up a “moment” of international conversation and regenerate a cultural context that favors a free exchange of ideas and experiences. It’s a prototype of Florentine Humanism, able to read the signs of the present to imagine and plan the future.
MOMENTING THE MEMENTO – SKIRA – THE BOOK The celebrations of Firenze Hometown of Fashion and Pitti Uomo will also be the ideal setting for the presentation of the book “Momenting the Memento” by Danilo Venturi, (a professor and coordinator for the Business and Communication area at Polimoda, as well as the author of Luxury Hackers) published by SKIRA and curated by Linda Loppa. This book offers food for thought to encourage a proactive reinterpretation of the city’s history to sparkle a moment of intellectual and cultural awakening through fashion – the most important sector of contemporary aesthetics. The goal is to rebuild new forms of interaction with art, design, architecture, and urban planning as Florentines did in the past during the Renaissance, of which the city is still an expression and a representation. The book contains never before published interviews by Filep Motwary with designers, journalists and opinion leaders, from Tim Blanks to Christian Lacroix, Bruce Pask, Robin Schulie, Diane Pernet and Rick Owens.
This June 15th, at Villa Favard, the Fitting Performance will take place. An authentic invasion of tableaux vivant: an original way to display the 80 collections by students in Fashion Design & Fashion Technology. A series of live performances will unfold before the public, to entertain them in the large garden and the rooms of the villa.
On 17 June 2014, Villa Favard will turn into a breath-taking set for the Polimoda Fashion Show, which for the first time will present on the runway the twenty best final collections of graduating students in Fashion Design. This “best of” Polimoda talents will be organized for a double replica show on live streaming on the channels Not Just a Label, Wowcracy, Vogue.it and Diane Pernet’s blog.
Marni is about sharpness, sartorial manoeuvres, elongated silhouettes and graphic color combinations. Since 1994, Consuelo Castiglioni has been growing the company into a worldwide ambassador for Italian design, while also reshaping what we think of when we think of that world. Always distinctive and precise, the Marni aesthetic is based on both emotion and discipline, combining a purist’s approach to material, lines and silhouettes with an emphasis on crafted, luxurious finishing. The week before she presented her menswear collection for spring/ summer 2014, Sig.ra Castiglioni spoke to Filep Motwary about the Marni landscape.
-Marni was launched 19 years ago. How would you define the Marni style today? How has it evolved over the years?
There was, and is, certainly an evolution in style and detail. Inspirations change and conduct one towards new ways of working with material, structure, colour, print and finishing. But while there has to be a constant development in terms of creativity and experimentation for the growth of the brand, the soul of Marni remains. I would define Marni as eclectic, unexpected and timeless. Continuous concentration on research into material and design, and attention to detail and quality, allow us to maintain the brand identity.
-Could I ask you to describe your upbringing? How did you end up running a global family business?
From a very early age I was fascinated by fashion. I star ted my career as a fashion consultant and after I met my husband, Gianni, together we founded Marni. The initial idea was to create a fur collection with a “ fur-to-fabric” approach for my husband’s family business, Ciwi Furs. It developed quickly into a complete ready-to-wear and accessories collection.
-What creative resources do you draw on when you’re designing a collection?
I am a very curious and instinctive person. Everything that surrounds me can turn into an idea. Life itself is inspiring. I collect impressions, colours and materials and star t mixing and assembling them.
-How difficult it is to create collections that speak to both the individuality of the brand and to current trends?
I have never been influenced by fashion trends and always try to remain true to my design principles and style. The aim is to satisfy a woman’s and man’s natural desire for uniqueness and distinction. I wish for my clothes to be worn season after season, along with those of the latest collection, so that they can become timeless favourites—and to create pieces that reveal something new and unseen ever y time they are looked at.
-Your latest menswear collection [autumn/winter 2013] is modular, with boyish charm, and full of pieces that can be combined easily. How difficult it is to achieve such a functional result?
This is par t of my design approach. Every season my aim is to build up a collection of timeless yet modern pieces. This leads me to naturally create a variety of items that can be assembled in many solutions. I do not wish to impose one fixed image for the Marni man, but to create collections that can freely be interpreted by whoever is choosing them.
-At the end, which is more important for you, the product or the process?
I am a perfectionist and the process is very important to me, as every detail of the item has to fit accurately.
-Does the deadline of having to present collections multiple times a year help or hinder your creative process?
I consider my creative process a work in progress, in continuous evolution. In this process, the deadline does not hinder me. It actually helps me to define the pieces and collections I create.
-How do you separate the Marni man and woman? Who are they?
I think that both the Marni man and woman possess their own aesthetic vision. Their approach to fashion is experimentation—not necessarily too fashion-driven, but with a strong identity in terms of style. They both like the contrast between classic items and details with a twist, between formal and informal, subtle and eccentric.
-Design-wise, how do you cope with our era’s obsession with youth?
For me, style and elegance come from inside. It is a feeling, instinctive, that goes beyond age or trends.
-In your opinion, why is the style of Italian men quite bold?
Italy has a long tradition in menswear. Therefore Italian men are open to new proposals, but know how to distinguish elegance as well.
-And what it is that you admire in a man?
In general I admire elegance with a bit of eccentricity in a person.
-Do you think fashion has become too nostalgic?
I can only speak for myself. My approach is continuous evolution. I do not feel nostalgia.
-Do you find beauty in ugliness?
The definition of ugliness is personal. If something becomes ugly, it depends also on the context it is in. Distilled and mixed with other elements, details can change and become different and attractive. In this process, experimentation is very important.
-What about austerity—is it necessary in fashion, in life?
In fashion, for sure. My most recent collection was based on the contra-position of the strict and the romantic.
-What is your attitude toward the dominance of fashion by big corporate groups? How has working with Diesel helped you?
OTB [Only the Brave, Marni’s not-for-profit holding group led by Diesel founder Renzo Rosso] is an Italian company, which is very important to us. They understand our needs and fully respect Marni’s identity.
-Marni is known for its great collaborations with artists. Is there an extent to which art and fashion feed each other nowadays?
I personally like the contamination, the exchange of ideas and aesthetic visions.
-So opposite visions can unite?
Absolutely: sportswear details interpreted with a haute-couture finish; precise masculine lines thrown of f balance with the femininity of corsets; out fits that unite rebellion and conformity in an unexpected mix of elements.
-You have been working closely with art director Dean Langley and photographer Clare Shilland on a book focusing on your current menswear collection. In the book, Marni’s logo is manipulated in provocative ways. As a company, you are known for avoiding advertisement. How can profit be possible without it?
It is important for me to have a recognizable style that remains free to be interpreted. We talk to a niche clientele that is very loyal to us.
All clothes by MARNI. Shoes and foulards model’s own. Fashion by Rossana Passalacqua. Modelled by the fashion agent, consultant, talent hunter and boutique owner, Mr Fabio Gatto.
"Hedi Slimane’s close affiliation with rock and punk culture comes from his genuine love of both, while he continues to siphon off the spirit of Rock’n’Roll in the most effortless way.
Each collection works as a sort of synagogue, in the word’s purest and most ancient meaning, of portraiture; one could call it a fusion of style and acoustic movements for men who exchange parallel experiences and mutual sensations through clothing.And, season after season, you want to be that man.