The protagonists are a couple of entrepreneurs: Patrizia Bambi, the
creative and stylistic spirit and Claudio Orrea, head of management and
administration.The Patrizia Pepe brand evolved from another of their creations, the
Tessilform textile manufacturing company. The brand is based on a
particularly successful philosophy; Patrizia Bambi pays great attention
to the fashion universe and the market where she presents her ideal
man and woman.
Her collections manifest well groomed minimalism combined with a
passion for details. Her clothing style is based on harmony,
suppleness, character. Practical and original for every moment of the
day, whilst also being unfailingly elegant and modern for every moment
of the night.
Sequined espadrilles, one of the most 'must-haves' this season ...
W.O.M.A.N. by PATRIZIA PEPE
The project W.O.M.A.N. is more than a collection, she represents a real way of thinking. A
zest for life, an energetic way of living, something for the consummate
multitasker, that never loses sight of the importance of wit.
W.O.M.A.N. Lock Fly Bag by PATRIZIA PEPE
Rocksoul: Yellow and white rockstud bracelet by PATRIZIA PEPE
The perfect match: turquoise W.O.M.A.N. Lock Fly Bag & golden glitter espadrilles
Singer Lykke Li stars in and provides the soundtrack for GUCCI's latest
film, celebrating spring's Lady Web shoulder bag. Shot on location in
Los Angeles, the dreamy short explores how seemingly ordinary moments
lead to creative inspiration.
See all the images from the GUCCI spring campaign and film at the end of this post, to take a closer view on the collection and to shop these fabulous GUCCI items, please click on the highlighted, underlined links. LoL, Andrea
“How you see the world is just a reflection of how you feel on the
inside,” says singer Lykke Li, photographed inside Dawnridge House,
wearing spring’s contrast denim dress and suede Lady Web shoulder bag, all by GUCCI.
Sights
For Swedish electro-pop songstress Lykke Li, traveling is a
big part of life. “It’s taught me the world is one and inspiration is
everywhere as long as you’re open to it.” #ladyweb
An insouciant afternoon at Dawnridge House with Lykke Li, her guitar and her Lady Web shoulder bag, all items by GUCCI. #ladyweb
“I still write lyrics with paper and pen it awakens the mind and makes it real.” Lykke Li, photographed in the Hollywood Hills . #ladyweb
Inspirations
“It starts with an emotion,” says Lykke Li of song
writing. “Then come the words and then heaven lends me the melody.”
#ladyweb
PATRIZIA PEPE presents #STYLEDIARY,
the 2015 spring/summer ad campaign, which takes place in three
different locations and describes the many passions and experiences of a
modern fashionista. We see her cycling or walking her dog during a work-free Sunday
morning, or looking for her favourite vinyl records in a record store,
following her passion for music. We see her in a cocktail bar waiting
for her friends, ready for her favourite kind of night out: no doubt, a
rock concert!
Every outfit is perfect for a different situation, as we see in the spring/summer photoshoot named #STYLEDIARY. Here Patrizia Pepe
expresses the versatility and charm of the new season’s outfits and
accessories, which combine style, comfort and functionality for a
natural and unaffected look. Every situation calls for an outfit that can make our protagonist’s
sensibilities shine through. From her romanticism to her rock’n'roll
spirit, Patrizia Pepe outfits convey her inner world and combine fashion
and functionality: body-hugging shapes and crisp colours meet her
passion for details, and precious fabrics are embellished with prints
and delicate pleats.
For my German-based readers don't miss this wonderful occasion:
To shop the collection, please click on the banner below. LoL, Andrea
She is the only one to have the key to her own diary, which she
guards jealously and locks with her Patrizia Pepe Fly padlock. She is
the one to decide when to reveal its contents and who to let into her
world. As a symbol of Patrizia Pepe values and a recurring theme of the ad
campaign, the padlock steals the show during the new season: it features
in the shoots of both outfits and close ups, telling the tale of the
shapes, materials and vibrant patterns which make up both day and
evening attires.
Today, DIOR unveils the #SecretGarden4 campaign starring Rihanna! It’s been three long months since Dior first
announced that Rihanna would star in the fourth installment of its
“Secret Garden” series, the wait to see the campaign is
finally over. Here we share the first glimpse of the filmswhich are set to be released in full today for your viewing pleasure, are all of the campaign images. Photographed and filmed by Steven Klein in the Palace of Versailles,
this campaign not only marks an important moment in Riri’s career, but
also in fashion history as it’s the first time a black woman has ever
fronted a Dior campaign. Click through, enjoy, and cheers to that! More to be coming today! LoL, Andrea
The images will also be accompanied by a short film by Inez and Vinoodh
for the fashion house's "Secret Garden" series.
Surrounded by the gilt of Versailles, with its sparkling chandeliers and
reflecting mirrors, as Rihanna moves the sequins and patent leather of
the looks she wears from the Esprit Dior Tokyo collection catch
the light that illuminates the night. You’ll have to wait just that
little while longer – until today, to be precise - before getting to
discover the film of the Secret Garden IV campaign, shot by Steven Klein, in its entirety.
Le Palais Bulles: A utopian project that encompasses earth, sky and sea,
where the future is built organically from the forms and architecture
of the past. In this Collection Croisiére, Raf Simons, Artistic Director
of Christian Dior, looks to the landscape and memory of the South of
France.
Has a word yet been coined for fashion’s new way of showing resort collections? It needs to be and it might well begin with an e: they’ve turned into events on an extravagant, extreme, exotic, experiential scale. In the last week, editors have literally circled the globe to witness Chanel showing in Seoul, Louis Vuitton at Palm Springs, and all are now in the South of France, boggling over what Raf Simons and Christian Dior have just laid on before their jet-lagged eyes: access to a
mind-blowing 1989 terracotta “bubble” house owned by Pierre Cardin,
blissful views over the sea, and, to cap it off, fireworks vast
fountains of silver and gold cascading across the Mediterranean night
sky.
Strangely enough, this sudden three-brand race to transport esteemed
guests to the furthest-flung and most original of places has ended in a
draw. As it turned out, every one of them chose to set their collections
against the same sort of curviform futuristic backdrops: Chanel under
the spaceship-like hull of Zaha Hadid’s Dongdaemun Design Plaza; Louis
Vuitton, beneath the swooping space-age canopy of Bob Hope’s John
Lautner house; and Christian Dior in M. Cardin’s bubble-shaped dwelling
dreamed up by the Hungarian architect Antti Lovag.
Le Palais Bulles: A utopian project that encompasses earth, sky and sea,
where the future is built organically from the forms and architecture
of the past. In this Collection Croisiére, Raf Simons, Artistic Director
of Christian Dior, looks to the landscape and memory of the South of
France. Gaining inspiration from the colours, textures and light of the
natural world of the Cote d’Azur, together with the style of the people
who have inhabited it, the designer draws on tradition and technique to
realise clothing for today. In so doing, Le Palais Bulles (Bubble
Palace) becomes a metaphor for the approach to the collection overall.
The question is, what effect does all this have on the clothes? Is
there any qualitative difference between showing in the normal confines
of the Paris system, and breaking out into the summery air, somewhere
completely else?
“I like to go out I don’t know why, but it’s more
relaxing,” Raf Simons said, after his show. “I like to go into a real
space. This one is unique in its extremity, I think. It’s not a sort of
mastodon of modernist architecture, but an intimate, feminine, extremely
private place.”
Simons said he had been fantasizing about the idea of having a show there for five years, ever since he was working for Jil Sander.
Now, it’s come to pass, it is Christian Dior’s heritage he’s filtering
through his observations of the southern, sun-drenched landscape and the
people in it.
“You automatically see the sky differently here, and the
earth,” he said. “I think about all the different communities juxtaposed
here: artists, normal people in the markets, festival people, the
jet-set, and how all that all slides together.”
It resulted in a dynamically believable sequence obviously thought
out in Simons’s head, and incredibly worked by Dior’s craftspeople in
glinting fabrics and craft-like embroidery—but not so technically
overthought as to be plodding. He is getting good at overlaying and
contradicting simultaneous ideas in just the way young women like:
sporty things with elaborate things, pretty things with weird things,
and trophy after wantable trophy as earrings, shoes, and bags.
The silhouettes of Christian Dior’s fifties full-skirted coats came
lopped off at the hip to form balloon-sleeved checked jackets or
minidresses, and shown with shorts or rather, what might have been
variations on shorts-cum-skirts. Ribbed poor-boy knit dresses coolly
disintegrated into fluttery, lacy shreds in the skirts, and heads turned
as a couple of laser-cut leather dresses walked by, tantalizingly
showing and then not showing naked skin as the girls walked.
It was the way they walked that grabbed attention, too.
Elegant little, pointy flat ankle boots, with tiny covered buttons and
inserts of rich brocade compressed three references into one: “Roger
Vivier, Siouxsie and the Banshees, and Marie Antoinette!” They allowed
the girls to stride through the room of the bubble house, up and down
the pink marble stairs, and through the tunnel-like corridors with an
ease and naturalness.
In the end? The whole collection looked refreshing and dense with
variety everything from practical tailoring to funny knitted swimsuits,
through to elegant long, bias-cut dresses and all the better for being
seen in the open air. Incredible scenery or maybe just different scenery from the clockwork routine of the runway really does add
something to the perception of clothes. Not every brand or designer is
wealthy enough to airlift audiences half way around the world, but
there’s a shift going on here in the presentation of fashion.
Chanel’s sampling of the high-energy, happy vibe of South Korea’s
fashion-obsessed youth culture was translated into a vast white set
decorated with primary-colored dots, shiny plastic stools in a thicket
of lamps on poles. The immersive synthetic hyperreal environment a
sensation something like being inside a computer-generated 22nd-century
K-pop video created the perfect scenery for looking at the clothes and
watching the other key players in the crowds of young and pretty Koreans
dressed to the nines in Chanel.