Tiffany & Co. Presents Nike x Tiffany & Co. Air Force 1 1837 & Inspired Tiffany & Co. Sterling Silver Accessories Collection

Tiffany & Co. x Nike debut the Nike x Tiffany & Co. Air Force 1 1837 and inspired Tiffany & Co. limited-edition sterling silver accessories collection, set to release March 7 (US Time). The shoe marks a continued celebration of the Air Force 1’s 40th anniversary and is a first partnership for the brands on a “legendary pair.”

The shoes are crafted in premium black suede, feature a Tiffany Blue® Swoosh and have co-branded silver details above each heel. The Nike x Tiffany & Co. Air Force 1 1837 will be available in sizes ranging from US 3.5M-18M and will retail for USD 400 at two Tiffany & Co. New York City locations: The Tiffany Flagship Next Door and Tiffany & Co. SoHo and via Nike’s SNKRS app and select Nike partner retail stores in North America.

To further celebrate the launch, Tiffany & Co. will release a collection of inspired, limited-edition sterling silver products, available on Tiffany.com in the United States, and ranging from USD 250 to USD 475. The co-branded designs include a sterling silver Whistle, Shoe Horn, Shoe Brush and Dubrae for the Nike x Tiffany & Co. Air Force 1 1837 laces. Tiffany & Co. has offered the world’s finest jewelry since its founding in 1837 and set the current American standard for sterling silver (925 parts per 1,000 parts silver). Each design is as much a celebration of the Nike x Tiffany & Co. Air Force 1 1837 as it is a display of the House’s unparalleled savoir faire and craftsmanship.

 

Alexander McQueen: Mind, Mythos, Muse Curated Exhibition at National Gallery Victoria

Alexander McQueen: Mind, Mythos, Muse
NGV International
11 December 2022 – 16 April 2023

The Los Angeles County Museum of Art (LACMA) partnering with the National Gallery of Victoria (NGV) together they present one of the world most significant, iconic and the largest fashion exhibition in the southern hemispheres - Alexander McQueen: Mind, Mythos, Muse exhibition being  the first major Australian exhibition to explore the work of this boundary-pushing fashion designer.

Offering an unprecedented insight into the mind of this seminal designer, McQueen’s work is presented alongside more than 80 historical artworks including painting, sculpture, photography, decorative arts and works on paper from the collections of LACMA and NGV, that reveal the myriad reference points that influenced his designs.

Alexander McQueen: Mind, Mythos, Muse Curated Exhibition at National Gallery Victoria showcases more than 60 looks drawn from LACMA’s holdings of important works by McQueen, the Melbourne presentation also features more than 50 looks by McQueen from the NGV Collection, as well as key loans from designer Katy England’s personal archive, making this Australian-exclusive presentation especially rich and comprehensive.

Alexander McQueen (1969 – 2010), one of the most significant fashion designers of the late twentieth-century, was lauded for his conceptual and technical virtuosity. McQueen’s critically acclaimed collections synthesised his proficiency in tailoring and dressmaking with encyclopaedic and autobiographical visual references that spanned time, geography, media and technology. 

The juxtaposition of garments and artworks highlights McQueen’s creative process and capacity for storytelling, as well as offering audiences an opportunity to gain a deeper appreciation of his artistic legacy and the nature of inspiration.

Alexander McQueen features examples from some of the designer’s earliest and most acclaimed collections, including the controversial Highland Rape (AW1995/96) and poetic The Widows of Culloden (AW2006/07), which both take inspiration from McQueen’s ancestry and Scottish history. In-depth presentations of Deliverance (SS2004) as well as his final complete collection, Plato’s Atlantis (SS2010), are also a highlight.

The special curated exhibition explores McQueen’s oeuvre across four themes. Mythos explores three collections inspired by mythological and religious belief systems, incorporating visual references to diverse cultures as well as art-historical movements.

Untitled (Angels’ and Demon’s) looked to the art of the Dark Ages ‘to find light and beauty’, borrowing from Italian and northern Renaissance art, while Neptune saw the designer drawing upon imagery from the Classical period.

While these collections put McQueen’s impressive breadth of artistic source material on display, they also highlight a practice of external inspiration-seeking that characterized fashion design during his career.

Fashioned Narratives considers McQueen’s penchant for worldbuilding, highlighting four collections that tell original stories or reimagine past events. Rooted in McQueen’s personal history, these romanticised narrative collections explore themes of power, persecution, violence and survival.

In Memory of Elizabeth How, Salem, 1692 (AW2007/08) traced McQueen’s genealogy to colonial Massachusetts to honour a relative, one of the first women to be executed in the Salem witch trials.

The Widows of Culloden (AW2006/07) reflected on McQueen’s heritage and British violence in Scotland during the 1746 Battle of Culloden.

Blending British and Indian history with punk references, The Girl Who Lived in the Tree (AW2008) centred on a fairy-tale narrative written by his friend and muse Annabelle Neilson inspired by an ancient elm in the garden of McQueen’s Sussex home.

Evolution and Existence examines McQueen’s fascination with life cycles and the human condition. The designer’s considerations of nature, evolution and death resulted in collections that explored life’s inherent fragility and found hope in its regeneration.

The Horn of Plenty (AW2009/10) critiqued mass consumerism, which McQueen countered by recycling famous silhouettes from fashion history and his own archive.

The Dance of the Twisted Bull (SS2002) portrayed bullfighting as a metaphor for brutality and beauty.

Deliverance (SS2004) presented an allegorical “dance to the death” inspired by the film They Shoot Horses, Don’t They?

The designer’s final completed collection, Plato’s Atlantis (SS 2010), imagined a world consumed by the ocean, the place where life originated and, as McQueen suggested, would continue.

Technique and Innovation demonstrates McQueen’s masterful abilities in garment construction and approach to the female form across his career through a series of dedicated displays focusing on tailoring, dressmaking, deconstruction and the notion of a dangerous body.

By juxtaposing early and later career works, this section highlights McQueen’s technical agility – from works indebted to his formative years as an apprentice tailor on Savile Row to those that show his capacity for fluid drapery as well as his interest in Western costume history and use of unique surface treatments.

Within this section, Dangerous bodies features some of the earliest McQueen works in the exhibition and the NGV Collection, including works from Banshee (AW1994).

Highland rape (AW1995/96) and The Hunger (SS1996), which speak to his penchant for savage cutting, and ideas of eroticism and empowerment.

McQueen’s use of inventive fabrics, surface treatments, and emerging technologies, such as laser cutting and digital printing, will also feature and highlights the designer’s innovative design approach.

Also featured in the exhibition is extensive video footage from McQueen’s iconic runway presentations; from his 1992 graduate collection, Jack the Ripper Stalks his Victims to the confrontational Voss, SS2001, to the ground-breaking Plato’s Atlantis, SS2010.

These are complemented by large scale photographic prints captured by British photographer Robert Fairer, who spent over sixteen years working with McQueen and who specialises in the art of backstage photography.

The exhibition also features commissioned headpieces by Los Angeles-based artist and designer Michael Schmidt, as well as garments originally owned by McQueen’s muses Isabella Blow and Annabelle Neilson.

The Melbourne exhibition emphasises the contribution of philanthropist Krystyna Campbell-Pretty AM and Family, whose generosity has transformed the NGV’s Fashion and Textiles collection and made its holdings of designs by McQueen the largest and most significant in Australia.

The LACMA exhibition also highlights a substantial gift from Los Angeles-based collector Regina J. Drucker that has greatly enhanced LACMA’s collection of works by McQueen, which is the largest held by a public institution in North America.

"Juxtaposing Alexander McQueen’s designs with artworks in a wide range of media opens up a new perspective on his process and artistic legacy. We are thrilled to share this groundbreaking exhibition with Australian audiences, and we are grateful to Regina J. Drucker for her incredible generosity in making this presentation possible." Said Michael Govan, LACMA CEO and Wallis Annenberg Director,

"Alexander McQueen is beloved for his boundary-pushing and highly conceptual designs that set him apart from his contemporaries. With meticulous craftmanship and an intellectual rigour seldom seen on the runways before or since, he created a new vocabulary for fashion design that still resonates today. Comprising more than 120 works, this showstopping exhibition unites the collections of LACMA and the NGV for the very first time, and celebrates the timeless work of one of the true icons of late twentieth century fashion." Said Tony Ellwood AM, Director, NGV.

CALVIN KLEIN X CARLOS ALCARAZ Presents CALVINS OR NOTHING Campaign

Calvin Klein launches the latest chapter of its Calvins or nothing campaign starring the world No. 1 singles player, Carlos Alcaraz. Continuing the visual narrative that debuted in Fall 2022 with actor and singer-songwriter Maya Hawke and professional footballer Romelu Lukaku, Calvins or nothing has since featured other of-the-moment talent, including top athletes from around the world, in Calvin Klein Underwear.

A record-breaking global sports phenomenon, Carlos is captured in a series of raw, stripped-back portraits and videos shot by Gray Sorrenti. The powerful black and white visuals highlight Carlos’s strength and confidence and recall the innate sensuality the brand is known for.

Carlos is pictured in our signature Modern Cotton, Cotton Stretch and Cotton Classic Underwear, as well as the new Classic Straight denim. He is also seen in select styles from the new Calvin Klein 1996 Underwear collection, which launches next week. Featuring black and white colorways and a selection of bold prints, the 1996 collection offers an energetic twist on the brand’s classics, reimagined for a modern look and feel.

VERSACE SS2023 Men's Advertising Campaign

VERSACE SS2023 Men's Advertising Campaign features Mark Vanderloo and Ivan De Pineda and nearly three decades since they first featured in a Versace campaign. Photographers Mert & Marcus have created a series of studio portraits which echo the original 1996 campaigns in which Mark Vanderloo and Ivan De Pineda made their Versace debuts. This campaign celebrates the two models as the Versace icons they are, now and always. Both men wear fluid satin coats and tailored separates which define Versace’s proposition of modern male opulence.

Models Ottawa Kwami, Anthony Thomason, and Mark Vanderloo Junior also star in the campaign wearing monocolor knitwear, body-fitting tops, diamond-slashed leather, golden jewelry, and ready-to-wear separates and accessories in the Versace Allover motif.  “I love these images of Mark and Ivan. Since the 90’s they have defined what it is to be powerful, sexy, sensitive and caring. They are true Versace men - not afraid of expressing their creativity through clothing and their friendship through the closeness of their relationship.” - Donatella Versace.

Dior Cruise 2023 Advertising Campaign

Dior cruise 2023 collection is a journey of discovery and reflection. The locations chosen provide a spectacular backdrop for a procession of garments that come together to form a défilé,  echoing the history of the House and its desire to seek out original collaborations inspired by their native territories. The icon of this collection is La Capitana, the name given to Carmen Amaya. With her freedom to dance that did not submit to any rule, she represented the essence of Flamenco. An artist with singular, revolutionary movements, she was the first dancer in her field to dress in men’s clothing, combining power and fragility through her art. Expressing the soul of Spain, she continues to embody a conscious and plural femininity.  From the SS1956 haute couture Bal à Séville dress designed by Christian Dior  to the Plaza de España – built for the 1929 Ibero American Exposition to embrace the richness of the cultures that have shaped Spain and represent its multitudes real and metaphorical places abolish borders by rethinking the dress codes that inspire fashion. In this intense atmosphere, depicted in the chiaroscuro of some of Goya’s paintings and through the words of Federico García Lorca, a creative process was born, melding fascination, homage, interpretation and restitution.

Among other references, the looks evoke the Duchess of Alba, a legendary character who rode horses with Jackie Kennedy in a short jacket, high waisted pants and a wide-brimmed hat worn on an angle. But also, red, black, and mantillas. Elsewhere, the abundance of embroidery that adorns the venerated Madonna della Macarena’s gowns takes on the role of a sacred ritual in a choreography that suspends the body into an iconic image. The emblematic Manila shawl retells the stories and journeys of the communities that created and wore it. The tale of these nomadic objects is narrated using multiple voices: note the men’s pinstripe suits, the pants worn with suspenders, the silk-lined waistcoats; the white shirts; the Andalusian horsemen’s pants; the short jackets adorned with brandebourg closures; the trimmed boleros that make the silhouette even more slender; the sleeves that can flare out like a cape. Shimmering taffeta in red, yellow, ochre, black is sculpted into exuberant skirts that symbolize both Dior and Spain.  Carefully considered volumes elevate the contrasts; lace appears in manifold forms; the Bar jacket is reinvented in black velvet embroidered with various gold threads. This Dior cruise event is thus transformed by Maria Grazia Chiuri into a meeting of emotions and intentions, conveying an idea of fashion that is both of the everyday and of the extraordinary, wherein the creations celebrate the multiplicity of the visions of femininity.

HARRY WINSTON Celebrates Valentine’s Day with New Timepieces

HARRY WINSTON celebrates the Valentine's Day with an exquisite limited-edition timepiece from its iconic Avenue collection. Inspired by the intense feelings of love, beautiful cabochons and precious gemstones perform a delightful dance on the dial, chaperoned by the elegant silhouette of the gleaming diamond and ruby-set Avenue case. Since 2016, the House of HARRY WINSTON has celebrated every Valentine’s Day with an exceptional timepiece. Continuing the tradition, 14 white gold watches from the Avenue Classic series come to light to relay a vibrant and uplifting message of love, written in precious gemstones and mother-of-pearl. Like the merry-go-round of emotions and sensations associated with romance and love, the hearts and brilliant-cut gemstones on the dial of this Avenue Classic Valentine seem to be dancing in time to a musical score. As with many timepieces from HARRY WINSTON, mother-of-pearl plays a leading role in the composition, and this joyful dance of love is performed on a shimmering white mother-of-pearl stage. The prominent, three-dimensional motif rising in the center of the dial is expertly inlaid with shades of red mother-of-pearl. Whether it is interpreted as the twirling skirts of an extravagant red ball gown or, if you prefer, the silhouette of a merry-go-round, the design ripples with motion. Representing love’s manifold expressions, the plump pink and red cabochon mother-of-pearl hearts recreate the blushing tenderness of young love. On the other hand, the luscious pink sapphires and fiery red rubies evoke passionate love, while the eternal brilliance of diamonds symbolizes the glow of everlasting love. The composition delivers a positive boost of energy and is an invitation to seize the moment and live your love every minute of the day. In keeping with the romantic spirit of the timepiece, diamond indexes mark the hours and the signature emerald-shaped HARRY WINSTON white gold applique at noon is filled with glossy red.

Named after New York’s celebrated Fifth Avenue – home to HARRY WINSTON’s Flagship Salon – the Avenue collection embraces the stylish, streamlined geometry of the Art Deco period when Mr. Winston founded his namesake business in 1932. Gently cambered to ensure a perfect fit on the wrist, the classic gem-set arches recreate the famous arched doorway of HARRY WINSTON’s Flagship Salon. Naturally adorned with precious stones, the bezel of the 18-karat white gold case is illuminated with 27 brilliant-cut diamonds. To signal the timepiece as a unique Valentine’s Day creation, 22 brilliant-cut rubies have been expertly set in the flanks of the case and in the crown, while a sumptuous heart-shaped ruby culminates in the arch at noon. The Avenue Classic Valentine is fitted with a highend Swiss quartz movement designed for carefree maintenance and ideal for everyday enjoyment. Matching the color scheme of the dial, the seamless alligator strap is a pearly red color and comes with an 18-karat white gold ardillon buckle set with six brilliant-cut diamonds. Limited to just 14 pieces, the Avenue Classic Valentine is delivered in a beautiful white gift box decorated with hearts.