Thursday, 15 March 2018


Today. March 15th, Benetton raised the curtains on its new flagship store on Oxford Street. Informal, hi-tech spaces and a 'knitwear theatre' offers an ultimate brand experience that goes beyond the traditional idea of a shop

Large LED archways, a lounge area and touchscreen tables offering interactive content.
The 12-metre-high arches recall classical architecture and the innovative LED screen cladding  showcases interactive content curated by Fabrica, playing with colour textures, images and illustrations.

 Designed entirely by Benetton retail design department and furnished with natural materials such as wood, iron and stone, the 1,500 square meter store goes beyond the traditional shop concept to offer an ultimate brand experience.

 There is a 'knitwear theatre', where staff are on hand to present Benetton's vast knitwear collections. In the lounge area, customers can relax while reading books and design magazines. In addition, a series of touchscreen tables allows visitors to interact with the entire collection as well as with the brand's most significant contents.

 Customers will be able to move fluidly across the three levels - dedicated to men's, women's and children's collections - thanks to a "loop" staircase that extends like a ribbon across the shop floors and leads to a series of scattered stations that replace traditional checkouts.

 Located on the east side of Oxford Street, close to the new Tottenham Court Road station on the Elizabeth Line, the store is part of a rapidly developing area

Wednesday, 14 March 2018

Anna-Karin Karlsson 2018 Campaign images

Anna-Karin Karlsson release their campaign shots for SS18
Garden Rose jewellery
The stunning eyewear and jewellery collection is titled:  Girl & The Garden
Sunflower Eyewear
Claw Nest Eyewear

Pantheress Eyewear 
Rose Roue jewellery

NEITH NYER AW18 at Paris Fashion Week

What is bad taste? Neith Nyer’s Fall/Winter 18/19 collection is an attempt to answer to this question. By blurring the lines between vulgarity and elegance, this season seeks to give a higher status to what is commonly considered distasteful.

The Bad Taste Ball season is named after the parties that the designer’s parents were attending in Brazil near the end of the 80s. "It was nothing like Carnival," remembers designer Francisco Terra, "People were not wearing costumes; It was all about fashion, and pushing the limits of the acceptable. Who would have the most ruffles on their dress? Who’d dare to sport the most garish clash of colours?

" As they were out for the night, Francisco recalls watching movies like The Never Ending Story or The Little Mermaid. The dreamy aesthetic of the images was somehow linked for him to the party his parents were going to - A place of mystery and excess.

 The key silhouette of the collection was built by taking in the seams of the clothes and topstitching them to refit the garment, a homemade-looking technique magnified by the use of silk and heavy velvet.

The boots, designed with shoemaker Zeferino using the same process, seem like they have been captured in fabric,

and the cone shaped bras, slit in the middle for a glimpse of the nipple, give a bold and playful aspect to the silhouettes.

The long dresses in liquid velvet and silk embrace the shapes of the body and reveal more than they hide.

 The pink colour, part of the brand’s DNA, is mingled with the traditional carnations of autumn: Orange, black and purple.

 This same palette is also used by the artist Matthias Garcia who created a series of exclusive paintings for the collection. The prints depict a bestiary inspired by fantasy movies

 while the jewellery, designed and created by Florence Tetier, portrays a menagerie of eccentric little sea creatures.

Metallic sunflower buckles adorn broad shoulderd corduroy jackets

Precious and futuristic looking, yet made out of very ordinary fabrics, it is both luxury and trash.

 The sentences printed on the shirts stand as the manifesto of the collection. They are built apropos to the chaotic English grammar that can be seen on some tacky, cheap shirts and sweaters. Those sentences, seen by many as the essence of bad taste, also carry beauty and poetry.

Photography by  Marcio Madeira

QUOÏ ALEXANDER AW18 at Paris Fashion Week

Quoï Alexander AW18/19 is a continued exploration on how clothing manifests without sewing, a tradition more than 20,000 years old. His purpose is to go back to a time before sewing. To allow the evolution of new construction techniques to affect the designs.

Throughout history, the resources and tools utilized by a culture affect its aesthetic. If certain elements or tools are improved or removed, artistic values adapt simultaneously. This is the central concept he is exploring with his work.

 Quoï Alexander strives to work within a process that rejects references in order to achieve a look of unique singularity. Pushing himself to create something he has never seen before each time. It’s the main reason why he doesn't sew.

 This collection is all about the fragmented pieces, pieces of ideas. They can be isolated or mixed to create unexpected elements together.

 The collection contains many a half garments such as one pant leg or one half of a jacket. This allows for more versatility and makes new clothing that is yet undefined through language.

These clothes bring a new thought process when dressing ourselves because language is so critical in identity.

 With this new collection also came the creation of a new language. The symbols and writing embossed onto the clothing which seem to have meaning are actually meaningless. They have no significance to anyone and they further distance the designs from references to specific languages or cultures.

The collection also included accessories

Photography by Alex Huanfa Cheng.

Primary Colour Dressing With F&F

Tuesday, 13 March 2018

Hotter partner with Marie Curie To Create Daffodil Print Shoe

Hotter announce Marie Curie as their first official charity partner and have celebrated the partnership by launching a limited edition Mabel shoe with a signature Marie Curie daffodil print inspired by Marie Curie’s iconic emblem.

2,000 pairs of  Hotter’s popular Mabel shes have been given a Marie Curie daffodil makeover. The Daffodil trainer is practical, pretty and perfect for the transitional season. Made from premium canvas material with lightweight, shock-absorbing soles, Hotter’s everyday shoe is the perfect way to donate, wear the daffodil and show support for Marie Curie all season long. For every pair sold, £20 will go to Marie Curie helping to fund an hour of Marie Curie nursing care for someone living with a terminal illness
The shoe is available to buy for £45 from all Hotter stores nationwide and online to mark the launch of Marie Curie’s Great Daffodil Appeal, the charity’s biggest annual fundraiser.

Throughout 2018, Hotter stores and staff will be working hard to raise as much money as possible for the terminal illness charity by taking part in fundraising danceathons, cycle races and tea parties. Marie Curie are dedicated to helping people living with a terminal illness and their families make the most of the time they have together by delivering expert hands-on care, as well as providing emotional and practical support. Marie Curie fundraise in order to provide care and support to people living with a terminal illness and their families while helping to fund research and campaign for better ways of providing end of life care.

Steventai AW18 at London Fashion Week

To show his AW18 collection to its full potential Steventai brought the neon streets of  his native city of Macau to London Fashion Week through ILM x LAB's performance driven digital augmentation technology.- LiveCGX

As a continuation of the digital street, live models on the stage carried grocery bags as though going about their everyday life..but with one exception...

... these are not your usual everyday clothes. Fabrics are luxurious with colourful jacquards on slim pant suits ...

...and shaggy wool pile coats .

Plush velvet and corduroy in rich shades of russet paired harmoniously on a loose fitted  trouser suit.

In contrast to the vibrancy of the jacquards and velvets was the daintiness of the plum blossom print on a pleated midi dress; the delicacy of the raw edges on a trench coat...

...And the pale dusty hues on simple deconstrusted jackets and dresses

Frayed fabric adorned a bomber jacket and padded overskirt creating texture

whilst a ripped pleated skirt exposing its lining teamed with a cropped trench jacket brought a contemporary twist.

Footwear were of thick corduroy with contrasting frilly corduroy heels.

video of presentation


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