Nadia, the Fashion Gymnast

Inspired by Nadia. CR Fashion Book, Issue 2

La Jatee, a travel through past

“I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.” 
― Virginia Woolf

La Jatee is a project assembled in 1962 from photographs taken by Chris Marker.

The sacred fashion

If clerical vestments are known to be seen in particular in holly spaces like the church, Dolce&Gabbana made sure they delivered with their eclectic collection for Autumn/Winter 2013-2014 a new fresh view over the 'sacred garment'. 

With a strong visual impact, the designs brought on the catwalk a mosaic of old symbols translated into a contemporary interpretation, all put together in shapes, rhythmic lines and colours to enchant the eye. Crowns and crosses amplified the feel of divine, making the models to look as if they were fashion priestesses. 

Dolce&Gabbana A/W13
Dolce&Gabbana A/W13 Backstage

Twin Peaks

     The horror soundtrack of my childhood...

AW12 Illustrated

by Christian Lacroix - from Tank Volume 7, Issue 6

Nina Ricci
Mary Katratzou

Neil Barett and Max Mara
Haider Ackerman
Proenza Schouler
Alexander McQueen

The film outside the frame

The cinematic viewing space can interfere with the film experience. More, when the director is present at the scene, modifying live the viewer’s perception over the image it’s undoubtedly a unique way of doing and seeing film.

Malcom Le Grice, major figure in the development of experimental film in the UK set out three of his films at Filmaktion, event organized by Tate Modern. Starting from the idea that a film ‘should’ be presented in a square (the screen), his films are showing the opposite: the projection runs from ‘the square' as if its images want to hide outside the frame. Repetitive symbols like Mona Lisa’s smile, coloured squares or even sounds, mixed together with the film maker’s steps on the cold stone floor offers the spectator a distinctive way to gain its own ‘politics of perception’, this being the only way to decipher the signs.

Is this maybe the reason why most of the times the projection on the wall is seen different from the reality of the self? Film & Action!