St: George Antonopoulos
“Women are fighting for power not only in America but all over the world, so I wanted to do something more sensual and more powerful” – Riccardo Tisci, on Dazed Digital.
The new Givenchy SS17 campaign fashion film, directed by fashion photographers Mert and Marcus, features models in a Martian desert. The concept was inspired by the healing power of crystals, and the strength of nature.
As Ricardo Tisci recently explained,
“Being surrounded by women like Marina Abramović who believe in the power of rocks and crystals, and the power of nature to human is something that really inspired me to do this collection. We need to really look after our souls and it’s something that I’m working on myself.”
The fashion campaign fashion film apparently is the story of “a young Parisian girl comes out of a club after a rave party and gets lost on a trip on Mars.”
First, Rizzoli handed us a literary Donatella Versace moment when they published Versace, the book Donatella cowrote with Maria Luisa Frisa and Stefano Tonchi, with contributions from Tim Blanks and Ingrid Sischy. Next, Donatella has been on a promotional book tour consisting of stops in New York, Milan and London, where she recently attended the British Fashion Awards.
Finally, helping us to get our Versace fix is M2M, which is making the 2010 behind-the-scenes documentary available for streaming. See information on the Versace book and documentary, see below.
Written by Donatella Versace, Maria Luisa Frisa and Stefano Tonchi, Contribution by Tim Blanks and Ingrid Sischy
About This Book
A long-awaited and highly intimate visual history of Versace, the glamorous and globally renowned Italian fashion house. Versace—a name that epitomizes Italian opulence, bold sexiness, and a flair for the extravagant—holds its place firmly in the fashion world as a legendary and iconic luxury brand. Taking over the creative artistic direction of the family-run fashion house in 1997, the enigmatic and alluring Donatella Versace has since catapulted the brand into popular culture, cementing Versace as a go-to label for A-list celebrities. This richly illustrated tome chronicles Donatella’s interpretation of Versace in the twenty-first century and her remarkable work as the curator and face of Versace. Versace includes exclusive contemporary and archival imagery from runway and backstage shots to intimate scenes at the Versace atelier, with accompanying original essays penned by fashion’s most authoritative voices. Featuring arresting photography by Richard Avedon, Irving Penn, and Steven Meisel, among many others; images of Versace fashions modeled by the original “supers,” such as Christy Turlington, Naomi Campbell, and Linda Evangelista; and red-carpet coverage of Hollywood’s elite wearing dazzling Versace couture, this glittering volume delivers the magnetic vibrancy, supreme luxury, and glamour quotient that define Versace.
About the Author
Donatella Versace is the artistic director and vice president of Gianni Versace SpA. Maria Luisa Frisa is a professor at IUAV University of Venice, respected critic, and fashion curator. Stefano Tonchi is the editor-in-chief of W magazine. Tim Blanks is the editor-at-large for the Business of Fashion. Ingrid Sischy was a revered writer, critic, and international editor for Vanity Fair and Vogue.
From WWD’s interview with Patrizio Bertelli, CEO of Prada Group:
Patrizio Bertelli Talks Prada and Politics
Let’s move on to the Prada business. During past conference calls in discussing financial results, you spoke about the need to identify the new luxury consumers. Who are they? How do they buy? Are they loyal? How do you think to engage them?
Every 10 years, there is a presentation of a typical consumer. But the consumer today still wants that same luxury as back in the Eighties or Nineties. The difference now is the approach to that consumer. Until the year 2000, the markets that could benefit from luxury were very much limited, one-third of the world. Then came the globalization, the new markets, Brazil, China, India and this brought three billion new consumers, so the market has tripled but the customers are more diversified in terms of habits, ethnically and so on. These are consumers that use tools that are entirely different from the past, the Internet, computers. Before the iPhone came out, and especially the iPhone 6, there wasn’t really a boom of the use of digital images. But after 2014, with the [iPhone 6] it’s a small iPad. Everything changed with the use of images, and the connection of people, the new digital platforms. [Kim] Kardashian, for example, has 80 million followers — 80 million. What a number. Ten years ago it was unthinkable. The approach of consumers changed also toward fashion. The first contact with fashion is the phone, e-commerce or the store equally are the second contact, stimulated by all these digital activities. This means that companies must be prepared.
Do you think some brands are sneaky and may jump on this and focus on products that stand out on social media?
I think so, but I want to add that people’s attention is limited, and speed requires for the images to strike you. And this, whether it’s the image or someone wearing the clothes, changes the identity of the product, so that it is more visible.
I was thinking of each product, focused in terms of photography. Even a big black shopping bag can have an identity be [special] in a context. So it’s not the object but the context. We would almost have to do a video per week. It’s a big problem in terms of organization, the product is almost “less important” than the skill in presenting it. The representation becomes very important. To align product and representation is the winning asset.
Does this imply a special alignment between designer, entrepreneur and communication?
There must be a direction. This is the new communication, totally different from that on paper, which can last a week or a day. It’s the difference between the iPhone and paper, or similarly, between cinematography and the theater. Cinema has a different depth. When you see a movie set, it’s poor, compared with what you see on the big screen. The same is if you try to put a theater representation on film. Communication is changing. The relation with newspapers and magazines is no longer what we were used to. In addition, now there are also the relations with VICs [very important clients]. People expect to see the equivalent of what is on paper on their phones and then on films integrated and expanded. There must be a strong integration and direction. E-commerce and digital stem from this direction, how do we do it, when we do it, it all impacts style and industrial activities.
Find the complete WWD interview with Patrizio Bertelli here.
Alessandro Michele, creative director for Gucci, continues to wow. His Spring/Summer 2017 collection nailed it. Again.
And now he’s launched Gucci 4 Rooms in Tokyo. Artists Chiharu Shiota, Mr., Daito Manabe and Trouble Andrew have designed rooms around Gucci’s fall collection, jewelry and cruise collection.
Naturally, those unable to make it in person to visit Gucci 4 Rooms, will be able to visit the project website, gucci4rooms.gucci.com
Kenzo continues to push boundaries, cleverly. Recently Spike Jonze’s Kenzo World perfume campaign video went fashion viral. Now we have “The Realest Real,” a social media parody from Carrie Brownstein (Yes, love her…). Laura Harrier and Natasha Lyonne star in the fashion film, but Kim Gordon also makes an appearance. Thank you for keeping it real on our ongoing love/hate relationship with social media.