UFASHON MAGAZINE SS2020

101

DRESS: IRIS VAN HERPEN
JEWELRY: CHOPARD
HAIRBAND: BARBARA GUIDI
SHOES: BOTEGA23

DRESS: RONALD VAN DER KEMP
HAIRBAND: BARBARA GUIDI

HANDBAG: BOLDRINI SELLERIA
SHOES: CARLA FOCA

DRESS: ANTONIO GRIMALDI
JEWELRY: DAMIANI
PERFUME: ALYSONOLDOINI PARFUMS
SHOES: NORMA J. BAKER

104

105



”Besotted ...”

special thanks to

MASTASSINI STUDIO

for

DRESS: STÉPHANE ROLLAND
JEWELRY: DAMIANI

HAIRBAND: BARBARA GUIDI

107

FRANCESCO SOMAINI E MILANO
La scultura

17th June - 6th September 2020

The artist’s relationship with the city of Milan in an exhibition
at Palazzo Reale, Milan.

108

Archive Francesco Somaini - “Lotta con il mostro” 1950, Bronze

Francesco Somaini (1926-2005) is a protagonist of the sculpture of the late twentieth century, known
worldwide. In Milan is preserved extensive documentation of its activity The exhibition aims to focus
on the sculptor’s figure and the kind of relationships he had over the years with the City of Milan and its
cultural environment.
The exhibition is curated by Fulvio Irace, Luisa Somaini and Francesco Tedeschi.

Palazzo Reale Milano

110

www.prosperine.it

FRANCK SORBIER

112

Ph: Amaury Voslion

PH: AMAURY VOSLION

VIVA LA DOÑA

115

Plus connue sous
Maria Felix est née
Son père est proprié
rivaliser avec les gar
A 16 ans, elle est él
passait par là.
Elle le quittera, non
Enrique Alvarez F

et souvenirs de
Augustin Lara,
sera, en son h
Jorge Negrete
dix ans aupa
“Le Rocher
Jorge N
roses.
Elle ép
Elle a
de la ru
Elle pass
Elle sera
partenaires
gués”, G
Sasla
Le

PH: PIERO BIAISON

116

s le nom de Maria Felix, La Doña est l’une des figures centrales de l’âge d’or du cinéma mexicain.
e à Alamos, dans l’état de Sonora, au Nord du Mexique, d’un Indien Yaqui et d’une descendante d’Espagnol.
étaire d’un modeste ranch, d’où sont amour pour les chevaux. Petite fille, elle préfère grimper aux arbres et
rçons, plutôt que d’apprendre la broderie et les prières.
lue Reine de Beauté de sa province et échappe à l’emprise parternelle en épousant Enrique Alvarez qui

n sans qu’il lui ait fait le plus beau cadeau du monde.
Felix sera l’ enfant unique de La Doña. Il deviendra, lui-même, acteur et ne cessera de collectionner photos

sa mère.
, “l’homme à la voix d’or”, grand mythe de la chanson latino-americaine, est son deuxième époux. Il compo-
honneur, en 1947, “Maria Bonita”, qui deviendra un autre de ses surnoms.
e, gloire de la chanson et du cinéma mexicain, devient son troisième mari, en 1952. Ils s’étaient rencontrés
aravant, sur le tournage
r des âmes perdues”, non sans heurt ! Car, entre temps, Maria Felix est tout simplement devenue actrice.
Negrete, que l’on dit aussi laid que séduisant, a fait tapisser la chambre de leur rendez-vous de pétales de
.
pouse, après, Alex Berger, un financier français qui lui offrira ses chevaux de course, ses bijoux.
aussi vécu un amour passionné avec Suzanne Baulé, dite Frede, qui dirigeait alors “Le Carrolls”, un cabaret
ue de Ponthieu. Leur idylle s’achèvera en procés.
sera la fin de sa vie en compagnie du peintre Antoine Tzapoff, entre Paris et Mexico.
la vedette de 47 films, elle tourne au Mexique, en Argentine mais aussi en France et en Italie. Elle aura pour
s européens : Jean Gabin dans “French Cancan” de Jean Renoir, Yves Montand dans “Les héros sont fati-
Gérard Philippe dans “La fièvre monte à El Pao” de Buñuel, Vittorio Gassman dans “La courrone noire” de Luis
avsky, sur une histoire de Jean Cocteau.
es films mexicains dont elle est la vedette s’intitulent: “La Devoradora”, “La Mujer de todos”, “La Mujer sin

alma”, “Doña diabla”, “La Bandida”, “La Belle Otero”, “La Pasión desnuda”.
Dans ses films, elle a toujours représenté les femmes fortes, fières, hautaines (Ah ! ce sourcil gauche !).
Lors d’une interview, elle déclare : “On admirait ma beauté et mon intelligence, je n’étais qu’une
femme avec un coeur d’homme. Une guerrière.”
D’où un autre de ses surnoms : La Caballera.
Avec elle, la réalité et la fiction se confondent. Elle incarne la passion, l’érotisme, un ma-
gnétisme certain. Pour parfaire le mythe, La Doña s’est éteinte dans sa maison de Polanco,
à Mexico, en plein sommeil, le jour de son anniversaire. Elle avait 88 ans.
Avec cette histoire, il faut espérer le retour de ces femmes que l’on voit, sur lesquelles
l’on se retourne, qui vous hypnotisent.
Avec elle, c’est aussi le retour de la fameuse expression “qui peut le plus, peut le
moins”. On l’a vue porter des vêtements folk mais aussi de la Couture, toujours cha-
peautée et couverte de bijoux. Elle a créé sa propre mode avec une liberté totale
et un naturel désarmant.
N’est-ce pas cela l’élégance ?
J’aurais aimé qu’elle s’approprie certaines de nos créations avec sa propre
imagination.
N’est-ce pas cela la Haute Couture ?

Les Sorbier

www.francksorbier.wordpress.com

117

www.normajbaker.com

119

GEORGES CHAKRA

A PEACEFUL

CHANGE

120

121

For t
trib
an
Le

the m
sensitiv
orges Ch
be prese
The white r
Lebanon.
ghout the
write new
appliqué w
the florals
A shroud o
juxtaposes
mic geom
along with fi
and hand-e
energy,
ginary r
White, b
jungle p
the fanta
and whe
Glimmer
their pre
mes em

scent

122

the new Spring Summer 2020 Couture collection, Georges Chakra pays
bute to his home country, Lebanon. Far from clichés, he embraces, with
n unwavering sophistication, the complexity of the current reality.
ebanon’s frantic energy, its youth’s desire for freedom and their rights, and
mobilization of the recent months are at the heart of the couturier’s work,
ve to the demands of an entire generation. This engagement affects Ge-
hakra’s own family, the team members of his House and atelier, who will
ent for the first time on the catwalk at the end of the fashion show.
rose given to each guest embodies the support for a peaceful change in
The floral motif, dear to Georges Chakra, is a frame that also runs throu-
e entire collection. Silhouettes, like so many blank pages on which to
stories, meet a mini dress made entirely of ivory petals, a tulle ensemble
with roses, bouquets printed on fluorescent pink Duchess satin, similar to
hand-painted on the silk gazar of an extravagant gown.
of transparencies infuses the collection with an ethereal refinement that
s with the sophisticated work on voluminous layers. The clean algorith-
metry of a bubble dress, origami embroideries and pleated organza run
fitted bustiers, bare backs, fluid capes and fabrics scattered with feathers
embroidered with sequins and pearls. This game of contrasts exudes an
, uplifted by a play on lengths of ultra-long and mini, calling out to ima-
red carpets and disco dance floors of the 1970s.
bright pink, aquamarine, water green, lagoon, sky or glacier, iridescent
prints. The color palette evokes a wild nature, between lush forests and
asy of a tropical island where the weather would always be beautiful,
ere pearls in indefinable hues would shine from under clear blue waters.
rs of gold and silver magnify the vibrancy of the fabrics and compliment
ecious matte shades. This Couture Eden is fierce, illustrated by the fla-
mbellishing a gown with a boat neck framed by gladiator sandals, remini-

of a feminine warrior.

www.gerogeschakra.com

123

124

125

126

GUO PEI

127

MYTHOLOGICAL

SYMBOL

128

129

130

The Himalaya is the not only the highest mountain range in the wor-
ld, but it has also been a symbol of Asian sacredness and mythology
since ancient times.
Guo Pei has chosen to be inspired by the magic of these places for
her Haute Couture SS 2020 Collection.
The creations are theatrical, beautifully structured with Japanese obi
belts, embroidery with sacred Buddhist Thangka motifs and lotus
flowers and snowflakes carved on kilometers of tulle.
Although the Himalaya does not properly lead to a summer thought
for a Spring Summer Collection of creations, the designer has ma-
sterfully expressed her unbridled imagination, where she meets the
arcane symbolism in wonderful creations that if observed closely,
express a sense of pure wonder, admiring the filaments of fabric re-
leased in the wind.
Guo Pei has interpreted this mysterious and spiritually powerful pla-
ce. The fabrics of the collection are ancient, as often happens in the
designer’s maison, which she reworks with excellent artisanship.
Precious silk kimono belts have been used and reassembled on the
back, showing the thread in a wonderfully worked fringed weave.
The fabric is also cut for tubular capes that gently glide on the floor
or with imperial capes embroidered with tulle that give the body the
perception of being dressed like white fur that resembles snow.
The creative spirit of Guo Pei gives this collection that mysterious
feeling of idyllic divinity that the woman expresses in her most com-
plete sacredness, as the Himalayas represent it for Asian culture.

131

132

www.guopei.com

133

PH: PIERLUIGI ZOLLI
MODEL: MARIA FERRONI

134

BARBARA GUIDI
EXPLORATION OF FORMS
Barbara Guidi realizes her special creations in a
small Atelier in the centre of Rome.
Her work is a continuous exploration of forms
and volumes harmony. Games, weaves and
materials make every single piece a unique
piece with unmistakable, unrepeteable style...

www.barbaraguidi.com

135

www.bottega23.it

137

www.alysonoldoiniparfums.com

139

IRIS VAN

HERPEN

140

141



SENSORY SEAS

143

144

For this collection, Iris van Herpen draws inspiration from the sen-
sory processes that occur between the intricate composition of the hu-
man body, mirrored with the fibrous marine ecology of our oceans.
The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal.
He wanted to uncover something that no one had yet understood. He questioned;
how does the brain engage in conversation with its counterparts? Exploring our
central nervous system in microscopic detailing, Cajal documented his revolutio-
nary findings through anatomical drawings that are considered amongst the world’s
greatest scientific illustrations. Hunched over his microscope, he merged science
with art and brought to life the threads of our enchanted biology to the human eye.
Other inspiration stemmed from diving into the deep depths of the Hydrozoa, a class of
delicately branched sea-life organisms. Shifting between a polypoid stage and a me-
dusa stage, the Hydrozoa embroider the oceans like aqueous fabrics, forming layers of
living lace. ‘Sensory seas’ holds a microscope over the indelible nuances between the
anthropology of a marine organism, to the role of dendrites and synapses delivering
infinite signals throughout our bodies. It enchants the attention of how two processes
of torrential messaging exist in an uninterrupted state of flux. The collection consists 21
silhouettes that illustrate portrait of liquid labyrinths, where dresses spill onto the floor
in elegant train and pigments gather in clouded pools of blues and lilac, leaking into
one another like marble. Colourful meshworks of cellular geometry are translucently
layered to create deep-sea aquarelles. Soft shades of greens, blues and gentle ochres
are painted by Shelee Carruthers and juxtaposed with the warming reds of coral reefs.
The flickers and curves of Cajal’s anatomical drawings are revealed in the ‘Labryn-
thine’ technique; 3D lasercut silk dendrites are heatbonded to blossoming lea-
ves of black transparent glass-organza, to then be hand-embroidered onto la-
sercut pearlescent exoskeletons. The ‘hypertube’ looks are 3D printed from a
single-lined web using white silicone thread, that is printed onto black silk-chiffon,
twisting down the body. For the ‘Hydrozoa’ technique, cellular aquarelles of dark
purples and turquoise were oil-painted and multi-layered into hundreds of tran-
sparent lasercut PetG bubbles. The glass organza halos were digitally printed,
heatbonded and then hand-stitched into voluminous splashes. The file-work of
each layer is drawn to hang upwards, blooming aquatically with each movement.
The ‘Morphogenesis’ technique is carved by thousands of white screenprin-
ting mesh layers, in collaboration with Philip Beesley. 3D twisted vortex mo-
dels were created in Rhino software, numbered and sliced into 3mm distance,
to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes.
Grasshopper scripts smoothened the processes of lofting, slicing and nesting.
Each layer was embellished by hand with a grid of minuscule transparent che-
vrons, creating vibrant coral textures that expand and contract around the body.
During the show, the models emerge from three ‘immaterial’ lightwave sculptures,
designed by Paul Friedlander. Each sculpture is made from one thread only, that
ransforms frequency into shape. Illustrating a sea of structure, they encircle the mo-
dels by weaving light around them, creating a metaphorical maze of sensory waves.
Matching the ebb and flow of arresting sensations from neuron to ocean, changeant-
silks ripple buoyantly. Swaying serenely, they are at the liberty of change, regenerating
amongst the immensity of the ocean, to the silent, yet eternal chattering of our senses.

www.irisvanherpen.com

In 2019 Egizia celebrates its 70th anniversary.
In this long period, Egizia has been the inter-
preter of the manual silk screen printing glass
history in Italy.
Collaborations with Italian designers and in-
ternational artists have allowed the company
to grow and gain recognition from the world
of culture, the press and the market.
The production is a synthesis of genius and
hand-crafted skill.
Currently the responsibility to carry on the
challenge of this company passes to Chiara
Merlo.
She looks toward the world of excellence and
luxury as a reference point and to reach the
desired standards she relies on the creativity
and the competence of the Design depart-
ment, the new future collaborations with the
most famous designers and the experience
of the production department.
Now the company follows two parallel pa-
ths: the quality and the innovation. Selected
raw materials and the quality control process
assure the creation of unique and inimitable
items.
Innovation and digitalization bring added va-
lue in terms of organization to approach bet-
ter the market.

www.egizia.it

EGIZIA
1949
ARABESQUE

LUXURY

147

JEAN PAUL GAULTIER

FREAKING 50

Is the curtain down on the terrible child of fashion?

He took us down the history of his whole career
with a sustainability sens. Simpler said, he reused,
changed, modified things from his old couture and
ready to wear pieces to offer us his first up-cycling
collection. Word of wisdom, fashion is a constant re-
newal of things and above all, YOU can be your own
designer. Handbags become skirts, perfume boxes
turn into bracelets, an hommage to his Hermes
era with braided scarfs made into dresses. A ma-
ster-hand playing around his marvellous wardrobe,
you name it: jeans, corsets, mariners, lace, tattoos,
androgyny, the French bleu blanc rouge (blue white
red ) for more than 200 looks applauded frenetically
by the guest.
His muses and friends from the first day were there.
To name but a few Boy George, live on the stage,
Mylene Farmer, Dita Von Teese, Karlie Kloss, Win-
nie Harlow, Irina Shayk, Coco Rocha, Paris Jackson,
Yasmin Le Bon, Farida Khelfa, Erin O’Connor, Rossy
de Palma, Amanda Lear, and Estelle Lefébure mo-
deling, and iconic Catherine Ringer of Les Rita Mit-
souko.
After the show he told us about his new project:
“I do not feel anymore like the teriible child, next April
24 I’ll turn 68. This is it, I have white hair even though
in spirit I am still so young. The wish to continue is still
there, so the couture goes on but, with a new con-
cept I made. One I believe suitable for this times. So,
why interrupt what I have been doing... there have
passed 50 years and also for the young generation
is good. But most of all because of “the Freak Show”
I really enjoyed doing that. It allows me to do what I
initially wanted to, as a child. I loved entertainment.”
He shared that moment when he realised fashion is
the way, the theatrical lights and movements from
the movie that opened his mind to couture. We saw
and extract from this iconic film in the beginning of
the show: “Qui êtes-vous, Polly Maggoo?” by Wil-
liam Klein. The experience meeting and working
with Pierre Cardin, the one he calls a visionary, the
one who proved him one can take the freedom to
design, manage and be who he wants in the fashion
industry.
“Fashion is a total reflection of life, in her most cha-
otic way by the way, as it is with today’s ecology or
politics. This is the essence of my work, feeling what
is happening in the society.”

Alexandra Mas

148 TOTAL LOOK: JEAN-PAUL GAULTIER
SILK HAIR SCARVES: ALIDA LIBERALE
PH: MARCO TASSINI for MASTASSINI STUDIO
ART DIRECTOR & PAINTING: ALEXANDRA MAS

MODEL: ALICIA LINDÉN GUIÑEZ
MAKE UP & HAIR STYLIST: ANNE ARNOLD

149

150