UFASHON MAGAZINE FW2020-21

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The myth of Electra as a s between mother and daugh ture Autumn Winter 2020/2 maldi which will be unveiled interpreted and directed by A shoot set in Rome on Mon digital platform Fédération de Mode, and on the IGTV Instag Different expressive ways to bility of organizing a traditio Covid-19 emergency and wh of the new collection in a sh tones directed by Asia Arge together with her daughter A gonists on the scene of the m Greek mythology. A noir and glamourous film th of two symmetrically related in Antonio Grimaldi. Inspired by Rome and fascina Antonio Grimaldi designs an sed on the mother and daugh of contrasting dresses, of and blacks and, therefore, and evil, light and darkness. A psychological investigation revealed not only in the film immortalized in the splendid nal Etruscan Museum of Villa 52

symbol of the relationship hter pervades the new Cou- 21 collection by Antonio Gri- d through a fashion film - Asia Argento - and a photo nday 6 July at 18.00 on the e la Haute Couture et de la gram channel of the Maison. make up for the impossi- onal fashion show due to the hich led to the presentation hort movie with theatrical ento and interpreted by her Anna-Lou Castoldi - prota- most ferocious matricide of hat tells the profound story but rival women, dressed ated by the myth of Electra, nd creates a collection focu- hter relationship: a collection rivalry between whites the contrast between good that goes deep and that is but also in the collection d nymphaeum of the Natio- a Giulia in Rome. 53

Twenty-two dresses (of which three are for children) between absolute white and purest black, interspersed with a thousand shades of pink: from the most pale, to blush pink, from pastel pink to magenta, light and dark. The white dresses are embellished with embroideries in anthracite gray with a dark spirit, in 3D, with small metal studs, stained with interweavings of crystal and platinum jais floating on the body, as do the metal chains. Even the pink dresses are contaminated with anthracite gray embroidery, with glass and silver crystals. While the black dresses present very dark leather embroidery blocked by crystal jais and micro ribbons, also in leather, in relief, with a tricot effect. Together a triumph of feathers: in macro version, lac- quered, painted, sprayed and laser worked, ton-sur-ton and never in contrast, to enhance the sculptural volume of the clothes. Those same sculptural lines, which are asymmetrical and in movement, are interrupted by important ope- nings. In this way the mini dress with voluminous trains alternate with two pieces incorporated together beco- ming a single dress. The trompe l’oeil effect returns: clothes that deceive the eye through a game of cuts, volumes and overlaps and pretend to parade as capes and robe manteau. Heavy fabrics such as the duchess alternating with gazar mix with cady crepe, taffeta together with impalpable or- ganza and chiffon. To complete the look, the jewels created ad hoc by Mar- co De Luca, a Roman craftsman designer, embellish the clothes with bracelets and rings depicting dragon he- ads, a symbol of creative and beneficial strength. WATCH THE VIDEO 54

© ANOTNIO GRIMAL5D5I Ph: Severine Queyras

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MAZZANTI PIUME SMALL PRECIOUS AND REFINED WORKS OF ART 57

Since 1935, MAZZANTI PIUME has been supplying and pro- cessing feathers to make ac- cessories for hairstyles, shoes, boas, bijoux, hats, bags, dres- ses and design objects. They develop and implement feathered projects together with style offices on the international high fashion scene. They restore and reproduce fe- athered masterpieces, plumes of Pontifical Swiss Guards and historical helmets. They have been collaborating for years with the most impor- tant international institutes, or- ganizations and fashion schools to keep their tradition alive and to pass it on to young designers. Their style office invests in innovation and research, in order to offer, in addition to the master tradition, original and cutting-edge ideas. High Fashion Designers turn to MAZZANTI PIUME trusting in their skills and experience of over 80 years of activity. 58

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In 2005 the Nanà Firenze brand was refined works of art. born. The historic MAZZANTI PIUME atelier The brand name is inspired by the ni- is located in Florence and has been a ckname of the Mazzanti family’s grand- point of reference and a place of refined mother, Natalina. tradition for many solutions and artistic Nanà is the expression of the experien- expression since 1935, always guaran- ce and creativity of the company Maz- teeing, over the years, research, quality zanti, which gives life to headbands and and innovation. feather hairstyles as small precious and © MAZZANTI PIUM6E3

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AZZARO COUTURE SEEDY TRICKS 67

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To unveil Olivier Theyskens’ first creations for Azzaro Couture during the Haute Couture Digital Week, the House has given carte blanche to musician Sylvie Kreu- sch and director Lukas Dhont. In sync with the rhythm of drums, the portrait of a woman with an incandescent craving, marked by the absence of the one she desires, turns into a feverish hal- lucination. Throughout the sequences of the film, the silhouettes created by Olivier Theyskens are revealed. The designer reinterprets the iconic three-ring motif of the House with embroidered crystals featured on a long slender silver lurex velour dress that is fluidly draped. The signature three-ring motif is also elongated to highlight the natural curves of the body on a long black willowy dress with structured shoulders. The coatdress imposes itself by its perfect tailoring and the sophistication of its ornaments. In triple black crêpe or in a mix of jacquard and lurex lace, it is in both versions adorned by crystals that highlight the collar, the pocket and the cuffs. Inspired by the heritage of Loris Azzaro, Olivier Theyskens embraces the Couture savoir-faire of the House. In a free interpretation, the designer seeks through the apparent simplicity of the cuts, dear to the founder of the House, to give women freedom of movement, glamour and sophistication. Olivier Theyskens infuses his style and a new energy that echoes the striking and singular universe of the artist Sylvie Kreusch directed by Lukas Dhont and Ales- sandro Cangelli, and styled by Tom Eerebout. 69

7W0ATCH THE VIDEO

© AZZARO COUTURE Composed and performed by Sylvie Kreusch Director: Lukas Dhont Creative Direction: Alessandro Cangelli Director of Photography: Kanamé Onomaya Fashion Director: Tom Eerebout 71

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PESTELLI CREAZIONI A PERFECT BALANCE 73

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Tommaso Pestelli collects the artistic, techni- rock crystal, a jasper, an agate....and the noble cal and creative heritage of a historic family of material, gold, silver, carefully shaped or finely Florentine masters, active since 1908. The shop chiseled . and the laboratory in which Tommaso, with the The activity of this dreamer alchemist goldsmi- collaboration of his wife Eva, elaborates the th and a bit of a magician, for his ability to tran- shapes, seeks harmony between them and the sform matter and give it life, takes place in a stones, applying the most sophisticated tech- suggestive atmosphere, animated by zoomor- niques with accuracy and skill, recall the clas- phic models, fish, octopuses, owls, frogs, li- sic Renaissance workshop of the most glorious zards, combined with phytomorphic elements, artisan Florence. elegant and bright jewels, furnishing objects, The city that in the sixteenth century, a century small sculptures, salt shakers. of great events and extraordinary artistic affir- Visiting this shop, present for over a century in mations, reached the highest expressions in the ancient heart of Florence, which since 2011 the Arts. has also been nominated as a National Historic Tommaso Pestelli from that world and from Company by the Unioncamere di Commercio those suggestions has drawn and still draws in- d’Italia, is like entering a precious goldsmith art spiration and the elements that then go on to museum. give life to his creations. It is a world of studied Pestelli Creazioni wins the prestigious Interna- lights, of reflections conjugated with the mate- tional Award “Les Talent du Luxe et de la Créat- rial to produce the perfect balance between a ion” in February 2019 in Paris. 76

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ARNOLD & SON 1764 ULTRATHIN TOURBILLON KOI 81

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A Tourbillon in Still Waters Delicately placed on a mother-of-pearl dial, hand-painted carp and sculpted lotuses surround a flying tourbillon. Arnold & Son presents the Ultrathin Tourbillon Koi, a delicate unique piece that blends fine watchmaking and the artistic crafts. The House showcases its broad spectrum of skil- ls within a red-gold case measuring 8.34 mm thick. Here, the finest craftsmanship builds on tri- ed-and-tested watchmaking technique. Arnold & Son is highlighting its tradition of bespoke watch creations. Ever attentive to the wishes of its customers, the brand is offering them the chance to personalise its collections. Customers can apply substantial changes, making a case, movement or dial unique through engraving, gem-set- ting, miniature painting or sculpted elements. One of the models that is particularly well suited to this exercise is the Ultrathin Tourbillon, with its off-centred dial at 12 o’clock. This arrangement frees up space to provide an empty canvas that can be filled with whatever the customer desires. Beneath the surface In the same vein, the Swiss brand with English roots presents the Ultrathin Tourbillon Koi, a unique piece that depicts two carp gliding between lotus blossoms. Koi are a popular theme in traditional Japanese art and inspire tranquillity. Above and beyond their beauty and serenity, they are a symbol of perseverance in the face of adversity. A Tancho carp, recognisable thanks to the large red mark on its head, swims on the right-hand side of the dial. Peering out from beneath the sleeve, it is the first to be seen when checking the time. The scene continues with another koi in shades of white and orange gracing the other side of the dial. 83

A pond in full bloom Above these ornamental carp float three lotus blossoms. The petals are cut from silver and sha- ped, before being engraved, polished and painted in dazzling white lacquer. Each flower’s pistil is formed separately using the same techniques, then the two parts are combined. The carp and lotus leaves, meanwhile, are painted by hand using incredibly thin brushes that al- low a wealth of details to be added, such as scales, barbels and striped fins. The base of the dial is made from blue-toned mother-of-pearl, its iridescent shimmer evoking the water in which this charming scene unfolds. A ripple of opportunity Beneath this poetic depiction of pond life, Arnold & Son draws on the vast possibilities presented by the calibre A&S8200. Its thickness of 2.97 mm puts it within touching distance of the all-time records for thinness in this category. The movement displays the hours and minutes in an off-centred dial at 12 o’clock. At 6 o’clock, an aperture reveals a tourbillon whose construction is special in more ways than one. Movement in the water First and foremost, the tourbillon is a ‘flying’ variety, meaning that it only has a lower carriage bri- dge. Since the top is not held in place, a few precious millimetres of height can be saved, thus freeing up the view of this timekeeping mechanism. The balance, meanwhile, is off-centred from the carriage axis, creating a dynamic visual impression as the tourbillon rotates. Another distinctive feature is the balance bridge, which is domed and extends slightly from the dial, ensuring that the rest of the movement is unaffected by the total height. This, in turn, makes the tourbillon’s rotation all the more spectacular. The effect is further accentuated by the skeletonised main plate located just beneath the tourbillon. The resulting transparency creates an ethereal impression consistent with the refined theme of the Ultrathin Tourbillon Koi. Finally, this manually wound movement features an exceptional 90- hour power reserve – another technical signature of the House. © ARNOLD & SON 84

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CHANEL A SENSE OF ROMANTIC LIGHTNESS 86

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“I was thinking about a punk princess coming out of ‘Le Palace’ at dawn,” re- veals Virginie Viard. “With a taffeta dress, big hair, feathers and lots of jewel- lery. This collection is more inspired by Karl Lagerfeld than Gabrielle Chanel. Karl would go to ‘Le Palace’, he would accompany these very sophisticated and very dressed up women, who were very eccentric too.” While the Spring-Summer 2020 Haute Couture collection was clearly in- fluenced by the simplicity and rigour of the abbey at Aubazine, where Ga- brielle Chanel had been placed as a child, the thirty looks of the Fall-Winter 2020/21 Haute Couture collection are marked by a desire for shimmering opulence and jewelry. Some are even accompanied with jewels from the CHANEL High Jewelry collections. “I like working like this, going in the opposite direction of what I did last time. I wanted complexity, sophistication.” All of CHANEL’s embroidery partners, including the Métiers d’art Lesage and Montex, as well as Lemarié and Goossens have contributed to the precious tweeds embel- lished with sequins, strass, stones and beads. A diamond-like braiding adorns the ink black trouser suits. Short dresses with cinched waists and corolla skirts rustle alongside long dresses with a very Grand Siècle allure and the noble authority of heroines escaping from 19th century tableaux. “It’s true that I thought about paintings, but it was more German paintings,” says Virginie Viard. “I really had Karl’s world in mind…” Black and anthracite grey tonalities are illuminated with flashes of pink. Painted laces enrich bolero jackets along with tweeds made of silver strea- ked ribbon; a jacket with an entirely smocked waist is worn over tapered bo- ot-trousers in black suede, the ultimate sign of an ultra-rock romanticism. “For me, Haute Couture is romantic by its very essence. There is so much love in each one of these silhouettes.” WATCH THE VIDEO 89

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© CHAN9E3L Ph: Mikael Jansson

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VAN CLEEF & ARPELS PIERRES PRÉCIEUSES 95

As travel ing will remain European this coming months, if your desire takes you to Paris don’t for- get to ad to your must do list the Van Cleef and Arples exhibition. Held at the National Museum of Natural History, the iconic house is presenting more than 250 jewellery pieces. Rough Ruby No, you will not see a brand show, nor a fashio- gh stones, you will be marvelled in front of a nable fad but a deep emersion in Earth history 4.4 milliards years old Australian Zircone, older and, step by step, you will be taken from it’s than the Moon, or a blue topaz bearing 250 mil- bowels to preciously crafted stones. The story lion years. A beautifully cut shell, dated 90 000 of these Van Cleef and Arpels chef-d’oeuvres years ago, will remind you how ancient huma- is told through fire, stars, water, minerals, light nity is and how the encounter between nature and all the possible human emotions. From the and imagination unleashed millenaries of pas- primordial gestation, the emergence of rou- sions and symbolism. 96

Liddicoatte ca. 490 million years old. Blue Topaz gem with Morion quartz ca. 250 milion years old Paleozoic- Anjanabonoina, Vakinankaratra Trias - Murzinska, Urals, Russian Federation You will not only travel through time but you will cover the world. From King Louis XIVth ’s Brazilian diamonds collection to Vietname- se Emperor Bao Dai’s pearls, from Mogok in the Burmese ruby valley and Arizona jasper trees to the first haute joaillerie creation made in 1749 by Pierre-André Jacqmin for King Louis XVth, La Grande Toison d’Or. (displayed, the 2010 reconstruction of the disappeared piece that demander five years of study and exper- tise). 97

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Fuchsia clip 1968 - rubies & pear cut diamonds serti mystérieux - platine, yellow go9ld9

It is a romance of earth and stars, of magma and water, mineral to gem, cut stones to jewellery. With each display you will understand the ode dedicated to this ancestral heritage, a history of shapes And it could only be a love story, one started in 1895 between the daughter of a precious stones marchand, Estelle Arpels and a lapidary and diamond broker’s son, Alfred Van Cleef. In 1906 the house of Van Cleef and Arpels opens at 22 place Vendôme, already symbol of Parisian elegance, address the family business will ne- ver leave. Since the very beginning excellency was privileged. Poetry interlaced with innovation offered to the international clientele in- ventive pieces. The mysterious setting - serti mystérieux- showing only the gems, the changeable pieces are only two of the iconic signatures that attracted royalty and personalities. Remember in bijouterie there is no other limit than your imagination. Since 2003 we have the luxury to consider, legally, all material crafted and embellished by the jewellery technics as precious. Wood and forgotten fine gems reappeared in masters’ hands. The exhibition will show you beauty in so many matters, shapes and co- lours to end with a mysterious sculptural composition crafted especially for this occasion. A fairy - tale inprecious gems. Alexandra Mas Till June 14th 2021 Muséum National d’Histoire Naturelle 57 Rue Cuvier, 75005 Paris 100