New Year’s Eve outfit ideas

Even the end of a complicated year as 2020 needs to be properly celebrated. There is always a reason why to dress up that is not connected to our surroundings: our relatives, roommates and partners have seen the worst of our hoodies during these months… it is about time to break the comfy/sporty vicious cycle and try to approach positively the new, promising year. Here, few suggestions to gradually step into the party mode without leaving our couches.

Starters: jewelry heels, satin and velvet sandals, embodied and fur slippers. If we admit that, at least once in life we all have worn heels with the absolute certainty that we were not going out. But despite the circumstances (and the short kitchen-living room transit), this New Year’s Eve proposals allow several medium-high heel examples. First of all let’s coordinate. Not just according to the outfit colors and fabrics but shoes, today, could be coordinated to ribbons, gloves and even just nail polish. For an immediate switch to the Great Gatsby mood, crushed jewel heels (medium to high heel) should be a must; even if the shoes are a total black or dark forest green or steady burgundy, the jewel needs to sparkle. In alternative to embedded jewelry can be the lace pumps, the luxury of lace would immediately elevate the look with minimum effort. As for open shoes, not only a choice for summer anymore, glittered, leather sandals could be used to step in the 2021 with a twist of dazzling excitement. Satin and velvet can also be considerate due to the almost infinite associations in terms of style that the Christmas-winter wardrobe offers. One last consideration for our love-hate relationship with slippers. Since they are been worn quite a lot during 2020, a good pause may be allowed during these holidays. But, for the most slipper-affectionate, they can be allowed only if follow the coordination rule: the situation needs to be firmly managed because slippers need to be in harmony both in terms of colors and fabrics.

Main course: Satin dresses, Tie Neck Blouses, Leather Pants and Feathers Pjs. Starting with a classic rendez-vous, satin dresses need to be mentioned. It’s the perfect balance between in and out: with high heels (even velvet sandals for winter) the satin dress is a winning choice for both elegance and audacity outside. The fabric sinuosity and wearability can remember nightgowns; this feeling could be enriched by flat fur slippers or jewelry embedded slippers. To obtain (and eventually elevate) the ‘90s nostalgia vibe, the dress can be associated to “layers” from chunky to turtleneck jumpers or a more traditional open cardigan. For the undecided or last-minute choices, we feel like we can easily suggest tie neck blouses maybe in association to a bold leather pant: to avoid the one-piece effect, accessories should be added to the look. Strong colors could be associated to a matte black look or coral and red pieces could liven up a total beige outfit. The result is an edgy alternative, not so festive as the satin dress but still, eye-catching. As for the parties Pjs, the new mantra should be details: they can be feather or camisole polka-dot in satin or glittery paillettes all around. After months of causality, our suggestion is “BE EXTRA” and wear a PJ in which you won’t be afraid to be seen into. So, wear Paris with your Pj and your best Basque, or wear London with your checked Pj and umbrella earrings.

As Audrey Hepburn’s oversize shirt in “Breakfast at Tiffany’s” and Carrie Bradshaw in “Sex and the City”, pearl necklaces (long or short) could be the final touch to a apparently predictable item of clothing.

Dessert: It bags, earrings, necklaces and hairbands. As for the last sweet slice of Christmas fashion, accessories will probably become your best friends. The New Year’s Eve is the time to justify all the crystal material bought through the years: from crystal pendant earrings, to pearl and rhinestone buckle belts to extra long necklaces. The accessory will break the ice and make you feel immediately into the party, even if it allows no more than 5 people. So pendant, glittery, basic symmetrical or even just a white pearl, they all deserve to join the festive setting. Even the hairbands cannot be forgotten: it is time to banish to common “Happy New Year” band and permanently replace them with sparkly bandeau. As for handbags, they may be the less useful tool especially if you’re only moving from one room to another in your own flat. But, hey- it doesn’t mean that you don’t need to carry anything with you. The best advice is “go petite”. From feather-embellished totes (remember you coordinated PJ), to bracelet tasseled embellished clutches and mini trapezoid crossbody bags: nothing is more effective than your self-confidence.

Fanny Trivigno

Sources:
https://www.whowhatwear.co.uk/new-years-eve-outfit-ideas-2015/slide13
https://www.google.it/amp/s/www.glamour.com/gallery/new-years-eve-outfit-ideas/amp
https://www.google.it/amp/s/www.whowhatwear.com/amp/new-years-eve-accessories

A fashion look at Christmas movies

When it comes to Christmas we will directly start to think about fluffy scarves, extra-large over-decorated jumpers and quite disagreeable socks. So, let’s face it, Christmas is that time of the year when the fashion reputation is suspended.

What we may look for, especially after this difficult year, is a little sense of self-concentration where the primping is little but constant work to avoid blues and negativity. Taking care of ourselves passes also through our imagination: the ability to create new scenarios in which it is possible to “redecorate” our dreams and fill in with concrete premises…what a better way to deal will all these suggestions if not by watching a Christmas movie?

Since we like it fashion, here is a list of classy and timeless options to avoid the mushy effect.

The first movies that should be mentioned is “Meet me in St. Louis” edited in 1944. Even if it does not apply to the classical definition of Christmas themed performances, it is necessary to put the attention on the magic vibe expressed by the motion picture and its cast.

A marvelous Judy Garland’s performance with “have yourself a merry little Christmas” is meant to be listened to over and over again through the ages; together with her vibrant character there’s Margaret O’Brien, Mary Astor, Tom Drake, Lucille Bremer and Marjorie Main. Apart from the musical features, the attention is caught by the extravagant costumes; a must for the fashion addicted are the evolution of the wardrobe according to the development of the story and particularly of Judy Garland’s Esther character. The designer Irene Sharaff is not afraid to toss some lady-like gloves on the young girl-next-door-character for the central “The Trolley song” and also, puff sleeves allowing, she adds more definition to the feminine waistline of the Garland even if the character is not completely ditching her tomboy tendencies along the story developing.

Another holiday classic “need to be” is the Frank Capra’s “A Wonderful Life”, 1946. Starring Donna Reed and James Stewart, the picture style says “vintage festive attire”. The most iconic costumes are, no doubts allowed, Mary Hatch’s Christmas dress, Mary’s dress that wins over George and Ruth Dakin’s family meeting outfit. As for the first one, in a duck blue egg color (as possible to see from the remastered color version), the costume designer felt the urge to impress the audience by introducing historically moderated dresses; that’s why the mentioned dress edited in 1946 for a time-story set in 1928 looks very up-to-the-minute. The second one, the dress that wins the man, should be seen as a fundamental step in the story: the two lovers finally together with Mary wearing a full-skirted silk dress in a shady, somber pink. As a reflection of the character purity of heart and goodwill, the dress is elegantly embodied around the neckline and the hem. The last outfit belongs to Harry Bailey’s wife, who’s able to exhibit a glamorous silhouette in a black pencil skirt, checked jacked with capped sleeves and a large decorated corsage. A pre-pin up vibe.

Carrying on the movie marathon, “White Christmas” (1954) represents as well as a good example of stylish holidays. The film is cheerful, frisky comedy where the joy is displayed since the very first moment: colors and bright lights,  perfectly 50s-ish are successfully capturing the atmosphere. The costumes here are more “traditional”: despite a good dose of “well-embedded Santa Suit”, the Judy Hayne’s turquoise lace and pink full-skirted nightgown are divinely winning the attention. Apart from the women outfits, the costume designer Edith Head expresses her gratified enthusiasm for the men dressing in White Christmas, including the Danny’s charcoal gray suit.

To end up with two gems of the golden age of Hollywood, we propose: “Desk Set” and “Bell, Book and Candle”. The first one, “Desk Set ” edited in 1957, is a first (mild) step on the feminist debate starring Katherine Hepburn, an actress remarkable not only for her talent but also for her dashing, foreseeing attire in terms of clothing choices. The costume designer is the Oscar winner Charles Le Miane and the doozy piece that everyone would probably remember is Dina’s purple cocktail dress, a flare cut typical 50sish.

The last movie is “Bell, Book and Candle” directed by Richard Quine in 1958 and starring Kim Novak, James Stewart, Jack Lemmon, Ernie Kovacs, Hermione Gingold, Elsa Lanchester and Janice Rule. A fantastic comedy in which destiny twists and witty but hilarious stereotypes, the Greenwich Witch casts a love spell.

Another link to Christmas-Halloween movies like Tim burton’s “Nightmare before Christmas” would do. But here the focus is on the chic outcomes of Kim Novak: from classy black trousers and high-necked cardigans, red-Christmas coats and bright gloves to the sleeveless green romantic dress, the pink gown and the bold deep-low line black dress for the evening that makes the costume designer Jean Louis choices extremely actual.

Sources:
www.google.it/amp/s/alisonkerr.wordpress.com/2010/12/02/style-on-film-bell-book-and-candle/amp/
[https://clerkenwellvintagefashionfair.co.uk/our-favourite-outfits-from-its-a-wonderful-life/
https://www.google.it/amp/s/birthmoviesdeath.com/2017/02/17/irene-sharaffs-transformative-costumes-in-meet-me-in-st.-louis/amp
https://vmagazine.com/article/the-10-most-fashionable-christmas-movies/

Fanny Trivigno

La storia della Maison 100% Made in Italy

Chi è la Maison Celestino e quali sono le sue origini, lo scopriremo qui di seguito riportando alcuni cenni sulla nascita e sull’evoluzione del brand totalmente Made in Italy. Nata agli inizi del ‘900 dal Maestro Eugenio Celestino, la Celestino s.r.l. si è evoluta nel corso delle generazioni, dall’attività di tessitura artistica, alla creazione di prodotti tessili per l’arredo casa e corredo, fino alla creazione di vere e proprie collezioni di alta moda italiana. Al Maestro va il merito di aver saputo amare e valorizzare ma soprattutto conservare l’attività della tessitura in una produzione di eccellenza. Nel corso degli anni della sua carriera, gli sono stati conferiti diversi riconoscimenti istituzionali, partecipazioni ad esposizioni di notevole prestigio, a mostre di mercato e di immagine. Di illustre importanza è la visita a Roma nel 1936 della Principessa Maria Josè di Savoia all’esposizione Celestino. 

Oggi, Caterina Celestino, è la portavoce della storica azienda tessile Celestino Tessuti e della Maison Celestino, nipote del maestro Eugenio, che riprende in mano il timone della passarella. Con la sua forte volontà, passione, fiducia nell’azienda della sua famiglia, con dedizione e sacrificio rende un’antica sapienza ancora più affascinante, glamour e moderna.

Curiosando tra le origini si scopre inoltre che la Maison Celestino è una storica casa di moda italiana, marchio amato dal jet set internazionale, dalla regina Maria José di Savoia ad Ava Gardner. Nota per i tessuti preziosi che vengono utilizzati nella realizzazione degli abiti, per i disegni sofisticati delle stoffe e nello stesso tempo per le linee essenziali.  La ricerca appassionata della qualità di cui sono intrise la natura e la composizione dei filati, la loro artigianalità e la trama fitta e preziosa di storia e d’identità che i preziosi disegni, realizzati dalla sapiente esperienza di maestre tessitrici su telaio artigianale, rievocano e plasmano ad ogni creazione gli elementi che determinano il 100% del prodotto italiano.

La cicogna è il logo inconfondibile della Maison Celestino, omaggio al territorio Jonico la cicogna bianca, che secondo il mito di Antigone è il simbolo dell’amore e della fedeltà, e rappresenta, peraltro, una specie della famiglia delle Ciconidi che da qualche anno ripopola i cieli calabresi.

L’evoluzione della Maison segna il passaggio dal telaio all’alta moda. Dall’arte del telaio di antica tradizione longobucchese, centro montano della Sila, dove è stato di recente inaugurato un museo ad hoc che custodisce tra gli altri anche lavorazioni dell’Azienda, la CELESTINO è stata capace di evolversi, valorizzando il patrimonio, innovando, abbracciando e facendo proprie le tendenze fashion della moda di oggi. La maison crea una rielaborazione stilistica e concettuale dei tessuti in pura fibra naturale (il lino, la canapa, il cachemire, la seta, il cotone) e dei disegni della tradizione che, anche grazie all’ausilio di importanti stilisti e fashion designer, vengono presentati in capi di abbigliamento e preziosi accessori che incontrano il gusto della modernità.

Sin dalla prima collezione presentata sulla scena italiana attraverso il fashion happening promosso a Roma, nella sontuosa cornice di Palazzo Ferrajoli, in seguito la partecipazione alle Fashion Week istituzionali come ALTAROMA e MILANO FASHION WEEK sino ad arrivare all’ultima presentazione mozzafiato avvenuta a settembre 2020 in una cornice da sogno dove il sole al tramonto, il vento tra gli ulivi scolari, il verde intenso di una natura madre di creazioni superbe legate inscindibilmente alla loro appartenenza evoca la emozionante rassegna degli abiti proposti da Maison Celestino con la Collezione P/E 2021 nella sfilata svoltasi presso la storica e elegante Vaccheria Foti di Rossano, terra d’origine del brand. Hanno sfilato capi haute couture in rigorosa fibra naturale, in cui la ricerca del bello accessibile sposa senza compromessi il lusso della qualità. Impossibile non restare ammaliati da cotanta sensualità ed eleganza, doti che caratterizzano tutte le collezioni della Maison Celestino, il capo firmato CELESTINO non è caratterizzato solo da un design moderno e suggestivo ma riesce a conferire un senso di importanza e di emozione in chi lo indossa.

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By Maria Christina Rigano

Annalisa Queen, il nuovo fashion brand attento alla sostenibilità

È stata da poco inaugurata a Roma, nel quartiere Monti, la prima boutique monomarca del brand Annalisa Queen della giovane stilista romana Annalisa Caselli. Giovanissima e con un cv invidiabile tra cui le presenze alla Montecarlo Fashion week nel 2018 e la Fiera della Moda Italiana di Kiev nel 2019, la stilista del brand Ethical-Friendly si presenta con un contributo importante e concreto nel mondo green.

Il riciclo rappresenta la vera svolta nelle collezioni della stilista: innovazione, protezione dell’ambiente e la sua salvaguardia investendo sul presente prima ancora che sul futuro. Ogni dettaglio si configura come un’esecuzione perfetta e bilanciata; dai colori alle forme nulla è lasciato al caso persino l’etichetta interna è realizzata con materiale di riciclo. Inoltre, I capi vengono realizzati da un laboratorio, Onlus italiano, che si occupa di ridare lavoro e dignità a donne che provengono da storie difficili.

La collezione in boutique A/1 2020-2021 si presenta come un’iscrizione fiabesca, la breve descrizione di un progetto, un sogno realizzato: “C’era una volta un giardino incantato su un pianeta ancora sconosciuto, tra piante aliene e creature fantastiche, un luogo ancora incontaminato in cui l’uomo ancora non era giunto.”

La boutique, un luogo incantato dove regnano etica, sostenibilità e riciclo. Un luogo dove è possibile trovare qualità ed artigianalità senza dover rinunciare alle nuove tendenze. Un luogo dove i tessuti sono calzanti come una seconda pelle e frizzanti come la vita che portano dentro. Per la collezione F/W 2020 2021 sono stati scelti tre tessuti le cui colorazioni richiamano il cromatismo della stagione: russo ruggine di cotone biologico, un pile in poliestere riciclato con il disegno astratto dagli intrecci tropicali e un tessuto filamentoso con diverse variazioni di colorazione come a richiamare il presagio onirico della tendenza. Tra le altre nuance presenti possiamo trovare: il verde brillante, il viola, la terra bruciata che in boutique si oppongono elegantemente alle pareti soft Pink.

La collezione si compone sia di capi “classici” come pantaloni slim e gonne a ruota sia di capi innovativi e geometrici come i corti destrutturati o i capi in pile dal taglio irregolare fino a capi “composti” vera eccezionalità del brand nati da materiali di scarto di collezioni precedenti. La collezione è inoltre accompagnata da accessori in pelle biologica interamente realizzate attraverso gli scarti dell’ananas come le borse dal design contemporaneo e un bracciale realizzato con scarti di tessuto filamentoso con pochette in coordinato. Completano l’outfit i gioielli in bronzo dove ancora una volta la natura fa da musa ispiratrice con il suo essenzialismo e la sua grazia avvolgente.

La filosofia soggiacente del brand è l’utilizzo sempre maggiore di materiali ecologici e/o riciclati sia per gli abiti che per gli accessori oltre allo stesso arredamento della boutique romana, infatti, piccola oasi eco-sostenibile, è realizzata in materiali di riciclo: dalle vernici Airlite (pittura naturale antibatterica che purifica l’aria) al pavimento FSC (Forest Stewardship Council), marchio di certificazione che garantisce che i materiali legno-cartacei utilizzati derivino da una gestione forestale rispettosa dell’ambiente.

Fanny Trivigno

Sources:
CS Stefania Vaghi Comunicazione “Annalisa Queen brand etico e sostenibile”;
Photo Credits: Justyna Pawlowska;
https://www.annalisaqueen.com;
https://www.facebook.com/AnnalisaQueen.mhf;
https://www.instagram.com/annalisaqueen/

Emily in Paris: the fashion tv series that criticizes les Parisiennes

The Netflix scenario has been surrounded by many news during this year. For the most fashionable viewers the waiting was all concentrated into the new chic comedy-drama, Emily in Paris, by the Darren Star the creator of Sex and the City (also Beverly Hills 90 and Melrose Place).

The plot is set from Chicago to Paris where Emily an industrious and lively girl turns up for a work opportunity in the city of love, and fashion, Paris.

She will be surrounded by a super French chic entourage headed by Sylvie, played by the brilliant Philippine Leroy-Beualieu who seems to be extremely unsympathetic to the American girl since the first day. A meeting of minds one “shouting” in English about the importance of social media for an efficiently marketing approach, the other whispering in French and strongly believing in the “old methods” of marketing.

The result is straightforward: a series of events will confirm Emily as a creative, intuitive ace in the fashion game. but before that many challenges will be faced.

As Emily arrives to Paris, she settles into a perfect artistic little flat and meets several new characters. The firstly charming neighbor, Gabriel, who cooks in the restaurant nearby in the district. The two will immediately find a chemistry but, drama spoiler, the guy is taken.

Soon Emily will meet Mindy, a Chinese who’s escaping from her home in Shanghai to prove her independence and ending up being a nanny (still, a fashionable one).

Then Emily meets Camille, the sweetest Parisienne in the city, who happens to be in a relationship with Gabriel making the potential romance a failure from the beginning.

But, the city is still hers.

Even if the workplace is a chronicles of nightmares and her cultural misadventures make Emily a funny character before making her a fashion influencer, she will eventually end up blossoming into a fierce woman fascinating even the most unlikely-susceptible character, Pierre Cadault the anchor-designer of the season and the lucky star among the Emily’s P.R. agency customers.

Few questions arose during the view of the series and some are deliberately left unanswered for the next season.

1. Is it snob(bish) really cool?

The description of the Parisienne atmosphere at the workplace has left the French public particularly annoyed.  Some argued that the visitors could be “traumatized” by the antiseptic vision that the people who actually live in Paris have in relation of the visitors from abroad. Not guests, not visitors more like strangers here the word we are looking for. This is like an inner circle: if you cannot share the same ideals of the big city, you’re labelled as “out of market”. But from people who once where from abroad and successfully integrated into the city, with struggle of course but not exceptionally atrocious as the series describes, Paris is more opportunities than opportunism. The series has been ironically seasoned by Americans using misunderstandings as a sharp blade cut the, hypothetically, serious atmosphere.

• Is Fashion a debate of generations?

First Emily vs Sylvie then Pierre Cadault (who sound very much like Arnault, very clever) vs Grey Space. The debate is true: from methodology and approach to designer and production. Emily is a fresh, lively twenty-something girl who unexpected turned her life upside by moving to Paris. Her views for promotion are quite different from Sylvie ones’ more related to the vis-à-vis relation with the client and overall against the fast turn of social media, considering them as a tool not exactly an end. But the combinations of the two is that balance we wish to see in season two, a training- supportive adventure that is not far from reality if you think about flourishing firm which constantly invest in their human resources. As for Pierre Cadault and Grey Space the debate is also visual: one reminds the golden age of Paris and the romantic silhouette of Christian Dior (at least at the beginning of the series), the others are street-styled almost futuristic pioneers of a generations that sometimes seems to be a little too contemptuous.

• Is love preventing us from ruling the world?

The hardest question not just from this series I presume. Love and work, carrier and private life. Find the perfect balance is already difficult even if there are not connected in the same field: as Emily exceeds in one this the other seems to be at least damaged. The  city of love will for sure call for many romantic encounters: a fascinating but pedantic teacher, an impossible love story and, for now, the shadow of Mathieu Cadault, heir of Pierre, are the possible “distractions” for our Emily: who’s going to overturn the annoying Parisienne stereotype first?

• Who’s really Pierre Caldault?

The most hunted fashion icon and designer of the season needs of course a personal space.

Even if at the beginning he could seem a gathering of all the worst attributes for French people, during the developing of the season, his character grows as well touching some important aspect of the fashion industry like acceptance, the fear of the failure and the exactment of renovation. Starting like an elegant owner of an “aristocratic” atelier he struggles with the innovative designer of Grey Space represented by two young Americans who believe that the future of Haute Couture is the simplification of the system by using Jumpers and culdoscopies textures in their production.

After several moments of discomfort and almost a resignation, Pierre comes up with a new concept of Haute couture which engage the street wear and the youth of its public. From soft colors and textures to strong and daring overlapping of fluos and tons, tons of tulle. To conclude every dress has some sort of message according to the concept of “think differently”. Pierre creations have something of Jean Paul Gaultier from the pistol dress in velvet in 1984 to the “outrageous” black leather dress of Madonna later on but also something very Italian like the creation of Moschino of the last years, like the icon black dress with the capital white letters “You can dress me up! but  you can’t take me out”.

A dress, a statement.

Fanny Trivigno

Sources

https://www.independent.co.uk/arts-entertainment/tv/reviews/emily-paris-netflix-review-lily-collins-b714646.html

https://www.vogue.it/moda/article/jean-paul-gaultier-momenti-memorabili-sfilate-carriera

https://www.instagram.com/emilyinparis/?hl=en