Liya Kebede for Numero China #12 October 2011 cover by Tiziano Magni.

Liya Kebede almost bares it all for the Numero China #12 October 2011 cover photographed by Tiziano Magni.

Blast from the Past: Christy and Louise Vyent, 1987 by Gilles Bensimon

MAMUANI FOR LUNGLEN MAGAZINE SETEMBER 2011 COVER PHOTOGRAPHED BY DINAGRAFIX

This September cover looks really Chic with Computerised Embroidery supposedly coming out of their comfort zone to showcase their workmanship in creating clothes. Everyone was complaining about their Sunday LOOKS that has become their signature style. What I love about this cover is the hair and the dress both of which compliment each other so well. Dina of Dingrafix has yet again perfected his concept of photography in this issue. He seems to become more and more in tune with what he is doing.And of course the make-up artist Taboiha Fanai, a very close friend of mine, has done one heck of a job doing what he is best at. CONGRATS to Lunglen Team...

Magazine: Lunglen
Issue: September 2011
Photographer: Dinagrafix (www.dinagrafix.com)
Make-Up and Hair Stylist: Taboiha Fanai
Fashion Stylist: Ruata
Wardrobe: Computerised Embroidery

"THE DISCIPLINE OF FASHION": VOGUE ITALIA SEPTEMBER 2011 EDITORIAL PHOTOGRAPHED BY STEVEN MEISEL.

Puff embroidered robe bustier with organza petal, paillettes e strass, Giorgio Armani; corset Cadolle. Earrings Lynn Ban; choker Paul Seville; shoes Manolo Blahnik; gaiters David Samuel Menkes

Printed satin dress with boat neckline, Alberta Ferretti; corset Deborah Milner; girdle Paul Seville. On the next page. Double cotton and wool tailleur, Nina Ricci. Belt Paul Seville; calze Agent Provocateur. Earrings and necklace, Lynn Ban; ring Bottega Veneta; ear studs, Fenton; nose rings, Eddie Borgo, Ugo Cacciatori, Tom Binns

Beyond elegance. It was a style choice, but especially one of love (her husband liked her that way) that inspired Ethel Granger (1905-1982) to tighten herself into corsets that modified her waist up to the point of reaching a record measure of thirty-three centimeters, a limit that has not been surpassed to this day.

Polka-dot tweed skirt, Marc Jacobs; bustier Cadolle; girdle Theia. Earrngs Pauline’s Vintage; gloves Carolina Amato; choker Paul Seville; shoes Stella McCartney; laced gaiter, David Samuel Menkes. On the next page. Leather dress with flannel jabot and brooch, Fendi; corset Kunza. Sunglasses Cutler and Gross; earrings Erickson Beamon; nose stud, Fenton; nose rings, Tom Binns, Ugo Cacciatori, Eddie Borgo; choker Theia; black gold and diamonds necklace, Bottega Veneta

A revolutionary woman, who, also to indulge her husband’s tastes, did not hesitate to have dozens of piercings done back in the Fifties. She is the inspiration behind this cover and the fashion shoot interpreted by an intense Stella Tennant. Who, to emphasize Ethel’s decisive and distinctive allure, wears an exclusive perfume, beyond any olfactory stereotype, like Infusion d’Iris by Prada.

Lurex jacquard skirt with drapes, Moschino; slip dress, Stella McCartney; corset Cadolle. Earrings Lynn Ban; choker Forge Fashion; necklace Erickson Beamon; gloves Carolina Amato; suspender gloves LaCrasia; socks Agent Provocateur. Shoes Stella McCartney.

In the bouquet, the precious elegance of the Florentine iris pallida combined with the freshness of the Sicilian mandarin and with a mix of galbanum, mastic, incense, vetiver and cedar wood. Gabardine nattée single-breasted coat with contrasting collar, Prada. Earrings and ear studs, Lynn Ban; pearl studs, Fenton; nose ring, Ugo Cacciatori; corset Deborah Milner. Hair Guido for Redken. Make-up Pat McGrath. Manicure Jin Soon Choi for Jin Soon Natural Hand & Foot Spa. Fashion editor Karl Templer.

Fox and shearling fur with knitted details, Ermanno Scervino; corset and neck corset, Gabriel Moginot. Earrings Lynn Ban; studs Fenton; nose ring, Ugo Cacciatori; lips ring, Eddie Borgo. On the next page. Dress with printed silk veiled lace fringes, Bottega Veneta; neck corset and girdle, Deborah Milner; satin petticoat, Intimissimi. Earrings Erickson Beamon; gloves LaCrasia; socks Agent Provocateur

See-through pvc cloak with leather details, Burberry Prorsum; satin petticoat, Intimissimi; corset Gabriel Moginot. Earrings and bracelets, Lynn Ban; choker Theia; gloves Carolina Amato; shoes Chloé; gaiters David Samuel Menkes. On the next page. Wool and alpaca top and skirt, Céline; neck corset, Contour Corsets; corset Deborah Milner. Earrings Ben Amun; gloves Carolina Amato

Dévorée silk dress, Brioni; girdle Paul Seville. Jewels Lynn Ban; nose stud, Fenton; nose ring, Ugo Cacciatori; socks Agent Provocateur; shoes Chloé; gaiters David Samuel Menkes. Hair Guido for Redken. Maquillage Pat McGrath for Dolce & Gabbana

Leather dress, Fendi; openwork corset, Kunza. Leather laced glove, LaCrasia. On the next page. Draped dress in printed silk mousseline, Dolce & Gabbana; corset Gabriel Moginot. Earrings and necklace, Lynn Ban; nose rings, Ugo Cacciatori e Eddie Borgo

Photographer: Steven Meisel
Stylist: Karl Templer
Stylist Assistant: Elin Svahn, Karen Kaiser, Matthew Tauger, Joshua
Courtney, Gro Curtis
Hair stylist: Hair by Guido for Redken
Make-Up Artist: Pat McGrath for Dolce & Gabbana The Make Up
Manicurist: Jin Soon Choi for Jin Soon Natural Hand & Foot Spa
Set Design: Set Design by Mary Howard
Production: Produced on location by PRODn / Art + Commerce
Location: Location Sandra L. Galuten

Source: (VOGUE ITALIA)

"THE HAUTE COUTURE": VOGUE ITALIA SEPTEMBER 2011 BY PAOLO ROVERSI

Silk tulle pailleted short dress, silver boules and pearls; brodé flower clipped on the shoulder and feathered hat, all by Chanel Haute Couture.

Magazine: Vogue Italia.
Issue: September 2011
Photographer: Paolo Roversi
Fashion editor: Lori Goldstein
Hair and headpiece by Julien d’Ys. Maquillage Stéphane Marais @ Studio 57.

From the left. Drapée silk mousseline full dress with flounces heads and bronze sculpture belt. Two-tone Two-tone ball gown with gros grain bodice and tulle ruffled skirt. All by Giambattista Valli Haute Couture. Gloves Maison Fabre

Chantilly and marabou striped sweater, full-length belted tutu skirt with feathers. Opposite page. Draped jersey dress featuring hands embroidered with iridescent feathers and metal scales. All by Gaul tier Paris. Vintage lace mask, Boudoir Queen; reptile mittens, Imoni @ L’Eclaireur

Full ball gown with scales on the bodice and multi-layered tulle skirt embroidered with silver sequins: Dior Haute Couture. Jewels Lydia Courteille

Silk tulle ombré dress embroidered with small pearls, with cape sleeves: Valentino Haute Couture. Opposite page, draped silk satin long dress with train embroidered with silver sequins; boater hat with feathers: Chanel Haute Cou ture. Jewels Lydia Courteille

Hand-painted silk long dress with flounces and feathers: Dior Haute Couture. Earrings and rings, Lydia Courteille. Opposite page. Small cape featuring vinyl petals lined with patterned silk  and maxi skirt,  with velvet sash, entirely embroidered with sequins: Giorgio Armani Privé. Gloves Sermoneta

Pencil dress with velvet embroidered bodice and multi-layered tulle full skirt with train; velvet shoes with napa ankle straps: Valentino Haute Couture. Hair and headpieces by Ju­lien D’Ys. Maquillage Stéphane Marais @ Studio 57. Manicure Ma­gali Buisson @ Majeure & e Evénements e Akari @ Artlist. Fashion editor Lori Goldstein. Set design by Jean­hugues De Chatillon

Silk tulle dress with bodice piped with ponyskin and embroidered with chantilly motifs and 3D-effect macramé lace: Givenchy Haute Couture by Riccardo Tisci. Opposite page. Sequin embroidered bodice and velvet skirt with knots on the basque and embroidered floral print panel: Giorgio Armani Privé. Tiara, pendant and ring, Lydia Courteille

Chantilly lace mini-dress embroidered with sequins and flowers: Elie Saab Haute Couture. Opposite page, from left. Silk tulle backless long dress embroidered with ombré chantilly lace drops. Silk tulle dress embroidered with pearls and raw cashmere knots. All by Givenchy Haute Couture by Riccardo Tisci. Earrings and ring, Lydia Courteille

From left. Two-tone ball gown with gros  grain bodice and tulle ruffled skirt. Silk muslin draped evening dress with flouncy shoulders and bronze sculptural belt. All by Giambattista Valli Haute Couture. Gloves Maison Fabre

Silk satin draped skirt over printed and embroidered body: Atelier Versace. Rings Lydia Courteille. Opposite page, from left. Washed faille flouncy long dress with embroidered sleeves and quilted effect tulle bodice embroidered with sequins; pleated and draped taffeta dress with feathers appliqué; hats with veils and boots. All by Chanel Haute Couture

Short dress and double silk cape entirely embroidered with organza lilies of the valley: Giambattista Valli Haute Couture. Opposite page. Long burnout velvet dress with floral motifs, thin twisted belt and pleated tulle cape sleeves: Valentino Haute Couture. Jewels Lydia Courteille

From left. Embroidered muslin dress with crystal and embroidered tulle cape with ostrich feather trimming; burnout velvet shirt dress with feather motifs; panne velvet column dress with cable trimming at the neckline and waist. All by Valentino Haute Couture. Jewels Lydia Courteille

Source: (VOGUE ITALIA)

THE GOODWILL AMBASSADOR (FRANCA SOZZANI)'s SPEECH.

When people ask me about my job, they always say "so fun, so glamorous, you are so lucky!". Yes, today I feel very lucky to be here with all of you, with a life-changing challenge not only for me, but for all the people I can help. I asked myself in these few weeks what could be my commitment and what I could really do in this new role.

I will tell you.

I really want to do something important, something that could help changing the life of people.

I'm a dreamer, but even a businesswoman and a creative person and I'm used to achieve what I want. And I don't see any reason for which I couldn't do that this time.


I don't need to have a new honorific name in front of my own name. Today I don't care anymore. I want to do. I want to work. I want to become " the project".

How? To create a method, a system.

If I create a method, that of course could be adapted for the different countries, I can manage to build up a real project. I think fashion will never end and for any woman in the world it is a dream. But we have to make this dream affordable to everyone. How? With work.

I want to consider first who are the new designers who have the possibility of being known internationally and how to help them to get visibility. I have to understand which is the main ability of a Country, as  manufacturing, fabrics, embroideries, printing, coloring, beads, leather, wood, straw and create a sort of school where young people can learn.

Bringing people from Europe, America, India who could teach them how to work.

Opening small laboratories, which could become small factories and employ people and give them a salary and the opportunity to have a life, a real life, through their own work.

I want to collaborate with the government, You, the first ladies, prime ministers, ambassadors, to be sure that  your people are protected in their human rights.

They need to have a salary proportioned to the cost of the life in the Country they live in.

People should have the possibility to have places where they can work in the respect of the dignity of a human being. I need to have the support of the Government. I can do a lot involving designers and creative and technical people.

But I want the respect of the people and environment.

In many countries, where you go as a tourist, you can see how people are able to make wonderful clothes, bags, belts. They don't have a method, a system, and they sell for almost nothing to tourists. I can do more involving professional people.

I want to think big because big is this project.

I'm not a political person. I don't want to make promises that I could never keep.

I want to arrive at the end of 2012 and be seated here with you, and

share our satisfaction to have built up something. It couldn't happen everywhere.

With the good partners, we could start in many places.

I cannot change the world in one year but I can spend a lot of time and creativity to accomplish part of a system. I need you, your help. I need not to be alone because i know that a good group of people can really make a miracle.

I don't think to talk about project is easy. But I know my determination and strength in the fashion world and I want to use at maximum all the possibilities.

I want to make the same success I did with Vogue. You deserve it.

I only believe in culture and work to change the situation of the human being. Fashion can do a lot

I'll do it. Promise. and I think no quote could be better referred to fashion than the one that has been chosen this year by the United Nations " Giving back is  the new luxury".

- Franca Sozzani


(Source: Vogue)