This is a continuation thread, the old thread is Here
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Fan Bingbing
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S/S 17 Campaign Wishlist & Model Casting Discussion, Guesses and Reactions
The S/S 17 collections have recently ended, this thread is to discuss all model casting, including: wish list for the upcoming season, guesses about which models may have been cast, and reactions to casting once the campaigns come out.
Sorry I'm unoriginal and just copied and pasted.
To start:
Sorry I'm unoriginal and just copied and pasted.
To start:
Quote:
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Originally Posted by dsamg
(Post 13745471)
Hanne skipped the end of Paris to go to Hugo Boss in Germany. Stephan Dimu posted a picture on Instagram so I guess it was a campaign.
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Gucci 'Bamboo' Fragrance 2016 : Polina Oganicheva
Fashion Canada November 2016 Digital Edition
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Michel Delarue-Makeup artist
L'Officiel (Russia) #3,December 1997
''Sarah''
Photographer: Andre Rau
Model: Sarah Marshall
Make Up:Michel Delarue/On Air
Hair: Bruno Weppe/Jean-Claude Biguine
My Scans
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''Sarah''
Photographer: Andre Rau
Model: Sarah Marshall
Make Up:Michel Delarue/On Air
Hair: Bruno Weppe/Jean-Claude Biguine
My Scans
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Sarah Marshall
Sarah Marshall is a French model and actress.
Born on 1 June 1981.
1999
Bellazon.com & Kinopoisk.ru
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US Elle November 2016 : The Women In Hollywood Issue by Dan Martensen
AJA Noami King, Amy Adams, Anna Kendrick, Felicity Jones, Helen Mirren, Kathy Bates, Kristen Stewart and Lupita Nyong'o:
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wwd.com
wwd.com
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Who makes this cool knit dress?
Hi!
I am trying to find out who makes this knit vertical striped dress? I have seen it twice while out and about in New York City!
Any help would be greatly appreciated; I love it!
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M
I am trying to find out who makes this knit vertical striped dress? I have seen it twice while out and about in New York City!
Any help would be greatly appreciated; I love it!
M
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Nayara Bernardini
Italian bella signed with Elite Milan :greengrin:
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Facebook- Elite Model Look Italia
Facebook- Elite Model Look Italia
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Vogue Model 2017
Vogue Paris announced the 16 girls who will be facing the jury.
The winner will have the chance to be featured in an issue of Vogue Paris, will be working on a special project with Dior Beauty and will signed a contract of one year with IMG.
The Jury: Emmanuelle Alt, Dominique Caffin-Robert, Julien Clisson, Bella Hadid, Ben Hassett, Olivier Lalanne, Peter Philips, Jérôme Pulis.
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vogue.fr
The winner will have the chance to be featured in an issue of Vogue Paris, will be working on a special project with Dior Beauty and will signed a contract of one year with IMG.
The Jury: Emmanuelle Alt, Dominique Caffin-Robert, Julien Clisson, Bella Hadid, Ben Hassett, Olivier Lalanne, Peter Philips, Jérôme Pulis.
vogue.fr
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Vogue Australia November 2016 : Victoria Beckham by Boo George
No idea why DM cropped the cover image, and not posted the cover in full. :doh: The masthead and colours are gorgeous for Nov.
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dailymail.co.uk
dailymail.co.uk
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UK Elle November 2016 : Amy Adams by Liz Collins
ElleUK's Instagram
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i-D Japan No.2 : Yuka Mannami by Mario Sorrenti
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US Marie Claire November 2016 : Nicki Minaj by Kai Z Feng
thatgrapejuice.net
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Lise Pedersen
Beautiful new face with strong features. To me her look has a referral to her namesake - Louise. Hope to see her in a great print soon :heart:
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Height: 178 cm / 5'10"
Bust: 84 cm / 33"
Waist: 62 cm / 24"
Hips: 88 cm / 35"
Agency: Silent Paris
silentmodels.com
Height: 178 cm / 5'10"
Bust: 84 cm / 33"
Waist: 62 cm / 24"
Hips: 88 cm / 35"
Agency: Silent Paris
silentmodels.com
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US Harper's Bazaar November 2016 : Gwyneth Paltrow by Alexi Lubomirski
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US Vogue Special Edition It Girl Style Fall 2016 : Gigi Hadid by Greg Harris
Snapped by HandbagQueen
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Sofia Kovaleva
HEIGHT: 5′10″
BUST: 33″
WAIST: 24″
HIPS: 34½″
SHOES: 9½
HAIR: Dark Blonde
EYES: Blue
NATIONALITY: Russian
AGENCIES: Andy Fiord (MA) | Elite (Paris/Milan)
INSTAGRAM: @_sofikos_
andyfiordmodels
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Peter Dundas Exits Roberto Cavalli Group
Quote:
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Peter Dundas Exits Roberto Cavalli Group Dundas was appointed creative director of the Florence-based company in March 2015. No successor has been named. By Luisa Zargani on October 12, 2016 MILAN Roberto Cavalli SpA and Peter Dundas are parting ways. Dundas last collection was for spring 2017, presented in September in Milan. On behalf of Roberto Cavalli and our shareholders, we thank Peter Dundas for his contribution to the brand, and we wish him well for his future, said Gian Giacomo Ferraris, chief executive officer. As Roberto Cavalli goes through a period of transformation, the design team will carry on and the appointment of a new creative director will be made in due course. I want to thank Roberto Cavalli and the group for this valuable experience and wish them success in their future endeavors, said Dundas. Dundas was appointed creative director of the Florence-based company in March 2015. The Norwegian designer had been the artistic director of Emilio Pucci, also based in Florence, since 2008. It was a homecoming for Dundas, who had worked with founder Roberto Cavalli and his wife Eva as head designer from 2002 to 2005. Dundas first collection for Cavalli bowed in Milan in September 2015 for spring 2016 but received mixed reviews as the designer wanted to break with the past by injecting elements of youth, street savvy and touches of the Eighties. In his next collections, Dundas went back to his comfort zone, presenting rich and opulent designs with bohemian airs. Dundas first major solo appointment came in 2005 when he was named artistic director at Emanuel Ungaro. After Ungaro, the designer consulted for Dolce & Gabbana before being appointed creative director of French furrier Revillon in January 2008. Known for his Seventies, rock-sexy designs and knack with prints, Dundas sensibility was perceived to be in sync with Cavallis own feminine and head-turning looks, animal prints and body-hugging silhouettes that have long been red-carpet mainstays. Dundas is no stranger to the party circuit, and is frequently spotted on the arms of It girls and models including Natasha Poly, Poppy Delevingne or Bianca Brandolini DAdda, echoing Cavallis own flamboyant lifestyle and star-studded events on his yacht at the Cannes Film Festival. The designer was responsible for the creative direction of the womens and mens ready-to-wear and accessories collections, as well as all licenses. He was also directly involved in the marketing and communication strategies of the brand. The Cavalli brand has been going through a phase of changes. Italian private equity fund Clessidra bought 90 percent of the company at the end of April 2015, shortly after Dundas arrival. The founding designer retained a 10 percent stake, but has eased out of the fashion industry and never attended a show for the brand. At the end of July this year, Roberto Cavalli SpA appointed Ferraris as its new chief executive officer, succeeding Renato Semerari, who left over strategic differences. Ferraris was previously Versaces ceo. Francesco Trapani, former president of the company, had tapped Semerari at the time of the acquisition of Cavalli. Trapani, a former chairman of LVMH Moët Hennessy Louis Vuittons watches and jewelry division and Bulgari executive, had joined Clessidra in 2014. There, he spearheaded the acquisition of Roberto Cavalli. His departure was expected following Italmobiliares acquisition of Clessidra in May. Trapani was also Clessidras chairman and he left that role in the second half of September. Last year was one of transition for the Cavalli group. In the 12 months ended Dec. 31, net profit totaled 32.7 million euros, or $36.3 million. This compares with a loss of 9.7 million euros, or $13 million, in 2014. The sale of the building housing the brands flagship in Paris Rue Saint-Honoré helped lift the companys profits, as well as its net financial position. The company is renting the space where the store continues to stand. In 2015, revenues were down 14.2 percent to 179.7 million euros, or $199.4 million, compared with 2014. The company attributed the drop mainly to a decrease in orders predating Clessidras acquisition and to the challenges in luxury markets, especially Russia, where the Cavalli brand has been historically strong, as well as a contraction in sales derived from licenses. Dollar figures were converted from the euro at average exchange rates for the periods in question. In addition to the signature brand, the group includes the young casual Just Cavalli, the bridge line Cavalli Class, the Roberto Cavalli junior line and a home collection and a hospitality sector through its network of Cavalli Clubs and Cavalli Cafés, in cities ranging from Miami to Dubai. Cavallis network of stores last year totaled 182. |
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Sylwia Butor
Height: 5'10" / 178 cm
Waist: 23.5" / 60 cm
Hips:35.5" / 90 cm
Agency: Viva Paris
Mother Agency: Division
division.pl
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Gosha Rubchinskiy - The Man Who Made Russian Fashion Cool
Very interesting man. The fragrance has launched in collaboration with CDG - 65 pounds in the UK.
Guardiannews
Morwenna Ferrier
If Moscow, with its punk and skater subcultures, is the next fashion destination, then Gosha Rubchinskiy is its poster boy. The Russian designer is not a household name, but thats hardly surprising. His clothes are tricky, esoteric even: gently oversized utility jackets, high-waist jeans tied with shoelaces; T-shirts emblazoned with the hammer and sickle. Along with Georgian/Parisian label Vetements, he is the hottest designer in menswear; his collections routinely sell out and today, during the interview, there are actual autograph collectors behind us.
Rubchinskiy, like his clothes, is a slave to nostalgia and still styles himself like a 1990s Muscovite. Short, slim with a shaved head, loose jeans and sweatshirt, he looks like the skateboarders he hung around with in Moscow in that decade after the collapse of the Soviet Union. Across his sweater is the Gosha logo Гоша Рубчинский, his name in Cyrillic written in a prosaic font, which has become fashions emblem for disenfranchised youth, a group that defines itself by its rejection of consumerism. Last autumn, his line of red T-shirts with hammer and sickle logos, which sold out almost instantly, were another example of what he is trying to do: subvert the space between catwalk and streetwear. The people who wear them are young, too young, in fact, to understand what the symbol means, but this doesnt matter to Rubchinskiy. In Ukraine last year we noticed kids buying clothes with the symbol thinking it was a fashion thing its almost lost its meaning, he says. So using it, its not that we believe in it, but that we are referencing what is going on in the world.
His latest move is a unisex perfume, and, at the launch in Dover Street Market in London, his fans are exactly as he describes: teenage boys, Gosha-heads, who look and dress like the designer. Shaved heads. White tees. Pocket money in their palms. In high-fashion currency, his stuff is affordable (£20 for socks, less than £100 for T-shirts) which is important to him, to make it more accessible to kids who are like me.
Rubchinskiy, 32, was born in Moscow in 1984, and was in his first year at school when the USSR collapsed: I was six, so I saw the last Soviet moments and the early Putin era. He remembers the army shooting the government building, tanks rolling through the squares. But the biggest impact on this quiet boy who spent most of his time drawing, was what came after the collapse: fashion and culture, dancing in front of his TV to PartyZone, which was like being in a club, and zeitgeisty publications such as Ptyuch and OM, which laid down the blueprint for Russianlifestyle, music and culture in the way that the Face had done in Britain. I am a product of these magazines. We all are.
We refers to his friends, a primordial generation of eastern bloc fashion types including Demna Gvsalia of Vetements and Lotta Volkova, the cult stylist. They come from Georgia and Vladivostok, respectively, and are all roughly the same age. The three met through Lotta, partied in Paris, and model in each others shows: Rubchinskiy opened the Vetements SS16 show in the infamous DHL T-shirt; Lotta styles both designers shows; and both have the capacity and power to fly in skater friends from Russia and Georgia to model. As a result their shows stand out as being decidedly unglam and street-focused. Katerina Zolototrubova, fashion editor of Russian Vogue, describes this look as Gopnik, a problematic term used to describe the bad boys from suburbs in Russia, and aesthetically not dissimilar to what is happening in the UK, with designers such as Caitlin Price and Cottweiller. Rubchinskiys pieces sit in the same frame, except with the skater twist (one of the last subcultures we have), wistfully referring back to the stuff they were wearing in the 1990s, including Tommy Hilfiger, Adidas and Nike. Everything was branded with logos. It was the first time wed had that. Im looking back at that. These are 1990s kids riffing on the nostalgic post-Soviet fashion of the Russian free market. Which, in short, is the very definition of cool at the moment.
It also mirrors the challenge youth faced before the collapse: how to be culturally engaged when commercial fashion was unavailable: We knew about it, the brands, the logos we just couldnt get it. Though Gosha wouldnt define himself as a communist, or talk directly about Putin, he thinks there is some good in most ideologies and, regarding communism, he speaks of the freedom and what it brought. Equally, though, his interest is in reflecting what is having a referential moment in fashion although Id say its more like Marxism and socialism. Its all on the table.
And its true. In the west, there has been a resurgence in youth engagement with leftwing ideologies. This, as in Russia, can be seen as a response to the excesses of capitalism, Putins Russia and the rise of inequality. What could be cleverer than to brand the nostalgia people feel for the Soviet Union, to take a memory of communism and put it into the capitalist sphere? The hammer and sickle has a clear definition but to this new generation, it has lost some of its historical and political context. Rubchinskiy is referencing the punk bands that used it when he was growing up. Its also a bit of humour. I want to provoke people, he says, smiling as a Gosha-head comes over for an autuograph. Rubchinskiy patiently signs. He wants to nip out to stock up on Lonsdale T-shirts, though another brand we couldnt get in Russia and, with that, heads off to Lillywhites.
Guardiannews
Morwenna Ferrier
If Moscow, with its punk and skater subcultures, is the next fashion destination, then Gosha Rubchinskiy is its poster boy. The Russian designer is not a household name, but thats hardly surprising. His clothes are tricky, esoteric even: gently oversized utility jackets, high-waist jeans tied with shoelaces; T-shirts emblazoned with the hammer and sickle. Along with Georgian/Parisian label Vetements, he is the hottest designer in menswear; his collections routinely sell out and today, during the interview, there are actual autograph collectors behind us.
Rubchinskiy, like his clothes, is a slave to nostalgia and still styles himself like a 1990s Muscovite. Short, slim with a shaved head, loose jeans and sweatshirt, he looks like the skateboarders he hung around with in Moscow in that decade after the collapse of the Soviet Union. Across his sweater is the Gosha logo Гоша Рубчинский, his name in Cyrillic written in a prosaic font, which has become fashions emblem for disenfranchised youth, a group that defines itself by its rejection of consumerism. Last autumn, his line of red T-shirts with hammer and sickle logos, which sold out almost instantly, were another example of what he is trying to do: subvert the space between catwalk and streetwear. The people who wear them are young, too young, in fact, to understand what the symbol means, but this doesnt matter to Rubchinskiy. In Ukraine last year we noticed kids buying clothes with the symbol thinking it was a fashion thing its almost lost its meaning, he says. So using it, its not that we believe in it, but that we are referencing what is going on in the world.
His latest move is a unisex perfume, and, at the launch in Dover Street Market in London, his fans are exactly as he describes: teenage boys, Gosha-heads, who look and dress like the designer. Shaved heads. White tees. Pocket money in their palms. In high-fashion currency, his stuff is affordable (£20 for socks, less than £100 for T-shirts) which is important to him, to make it more accessible to kids who are like me.
Rubchinskiy, 32, was born in Moscow in 1984, and was in his first year at school when the USSR collapsed: I was six, so I saw the last Soviet moments and the early Putin era. He remembers the army shooting the government building, tanks rolling through the squares. But the biggest impact on this quiet boy who spent most of his time drawing, was what came after the collapse: fashion and culture, dancing in front of his TV to PartyZone, which was like being in a club, and zeitgeisty publications such as Ptyuch and OM, which laid down the blueprint for Russianlifestyle, music and culture in the way that the Face had done in Britain. I am a product of these magazines. We all are.
We refers to his friends, a primordial generation of eastern bloc fashion types including Demna Gvsalia of Vetements and Lotta Volkova, the cult stylist. They come from Georgia and Vladivostok, respectively, and are all roughly the same age. The three met through Lotta, partied in Paris, and model in each others shows: Rubchinskiy opened the Vetements SS16 show in the infamous DHL T-shirt; Lotta styles both designers shows; and both have the capacity and power to fly in skater friends from Russia and Georgia to model. As a result their shows stand out as being decidedly unglam and street-focused. Katerina Zolototrubova, fashion editor of Russian Vogue, describes this look as Gopnik, a problematic term used to describe the bad boys from suburbs in Russia, and aesthetically not dissimilar to what is happening in the UK, with designers such as Caitlin Price and Cottweiller. Rubchinskiys pieces sit in the same frame, except with the skater twist (one of the last subcultures we have), wistfully referring back to the stuff they were wearing in the 1990s, including Tommy Hilfiger, Adidas and Nike. Everything was branded with logos. It was the first time wed had that. Im looking back at that. These are 1990s kids riffing on the nostalgic post-Soviet fashion of the Russian free market. Which, in short, is the very definition of cool at the moment.
It also mirrors the challenge youth faced before the collapse: how to be culturally engaged when commercial fashion was unavailable: We knew about it, the brands, the logos we just couldnt get it. Though Gosha wouldnt define himself as a communist, or talk directly about Putin, he thinks there is some good in most ideologies and, regarding communism, he speaks of the freedom and what it brought. Equally, though, his interest is in reflecting what is having a referential moment in fashion although Id say its more like Marxism and socialism. Its all on the table.
And its true. In the west, there has been a resurgence in youth engagement with leftwing ideologies. This, as in Russia, can be seen as a response to the excesses of capitalism, Putins Russia and the rise of inequality. What could be cleverer than to brand the nostalgia people feel for the Soviet Union, to take a memory of communism and put it into the capitalist sphere? The hammer and sickle has a clear definition but to this new generation, it has lost some of its historical and political context. Rubchinskiy is referencing the punk bands that used it when he was growing up. Its also a bit of humour. I want to provoke people, he says, smiling as a Gosha-head comes over for an autuograph. Rubchinskiy patiently signs. He wants to nip out to stock up on Lonsdale T-shirts, though another brand we couldnt get in Russia and, with that, heads off to Lillywhites.
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