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Vogue Thailand July 2017 : Issa Lish by Natth Jaturapahu
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V Magazine #108 Fall Preview 2017 : Lana Del Rey by Steven Klien
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Louis Vuitton Mens F/W 2017.18 : Luc Defont & Noah Brown by Steven Meisel
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V Magazine #108 Fall Preview 2017 : Lana Del Rey by Steven Klein
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Prada F/W 2017.18 : Jessica Chastain by Willy Vanderperre
prada
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Anna Ross
Have no stats yet, she's not up for the moment
I found her on Jodienextmodels Instagram
She looks pretty amazing ! :heart:
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I found her on Jodienextmodels Instagram
She looks pretty amazing ! :heart:
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Moisés Campelo
models.com
Quote:
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Who: Moisés Campelo, 185 cm / 6’1″, Spanish, born July 2nd. Why: A special face with a strong personality, new Spanish recruit Moises hasn’t been modelling for long but already has the moves down pat. With a youthful yet refined look and good attitude, he may still be at school but señor is serious. We Asked: Which languages can you speak? Spanish and I’m doing my best to learn English… What is one thing people may be surprised to find out about you? I have a strong personality but I´m really humble and kind with everybody. What are your favorite things? My hobbies are football and boxing. Love to spend time with my family and friends. Where: Uno Models (Barcelona – mother agency) New Madison (Paris) |
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Tom Ford 'Noir Anthracite' Fragrance 2017 : Yasmin Wijnaldum & Jon K by Mert & Marcus
LQ preview:
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weibo/C-Oli
weibo/C-Oli
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Stefano Accorsi
I don't understand how is it possible that he does not have a thread yet. I love him, watched him in many movies and he is really handsome.
A little bit about his career
wikipedia
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zimbio
A little bit about his career
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In 1995 he played the lead in Jack Frusciante è uscito dal gruppo, one of his best known films. In 1998 he worked with Daniele Luchetti in I Piccoli Maestri, which competed for the Golden Lion at the Venice International Film Festival. In the same year he won three prizes for his role in Radiofreccia, directed by rock star Luciano Ligabue, including David di Donatello for Best Actor. He was the lead in the successful film L'ultimo bacio (The Last Kiss). He won the leading role in Maria de Medeiros’ Capitães de Abril (April Captains), and has worked with director Nanni Moretti in The Son's Room. In 2001, Accorsi also had the leading role in Ferzan Özpetek's Le fate ignoranti (His Secret Life – Festival Title/The Ignorant Fairies – International Title), which was in competition at the 2001 Berlin International Film Festival. This film was a big success in Italy and in Turkey, and Accorsi, who played the role of a homosexual man, won three awards for his interpretation. He also starred in David Blair's Tabloid TV (UK) and in Marco Ponti's Santa Maradona. Then Accorsi acted in the TV film Il giovane Casanova (it) by Giacomo Battiato. His next film was Un viaggio chiamato amore (A Journey Called Love) which took part in the Venice International Film Festival 2002 and for which he won the Coppa Volpi, the award for best male performance as the Italian poet Dino Campana. He didn't make any more films for about a year, during which time he went to France. He went to the Venice International Film Festival 2003 as a member of the jury. In 2004 he shot two movies: Ovunque sei, directed by Michele Placido, where he plays the role of an emergency care doctor; and L'amore ritrovato, directed by Carlo Mazzacurati. Accorsi worked with Diane Kruger in Les Brigades du Tigre (2005) and with Julie Depardieu in La Faute à Fidel. He was featured in Un baiser s'il vous plaît in 2007 and its sequel Baciami ancora in 2010. |
zimbio
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Miu Miu F/W 2017.18 by Alasdair McLellan
wwd
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For fall, Miuccia Prada cast actress Naomie Harris, as well as Kate Moss, sisters Adwoa and Kesewa Aboah, Missy Rayder, Jean Campbell, Eliza Cumming, Jasmine Daniels, Rose Daniels, Lily Nova and the Preservation Hall Brass Band to capture the mood of the collection |
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Harper's Bazaar Australia August 2017 : Emily Ratajkowski by Pamela Hanson
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Sophie Collis
New Face with MP Paris :heart:
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Height: 181 cm / 5'11"
Bust: 81 cm / 32"
Waist: 59 cm / 23.5"
Hips: 88 cm / 35"
mpparis.fr
Height: 181 cm / 5'11"
Bust: 81 cm / 32"
Waist: 59 cm / 23.5"
Hips: 88 cm / 35"
mpparis.fr
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Love #18 F/W 2017.18 : Hailey Baldwin & Miss Piggy by Alasdair McLellan
there are multiple covers I'm sure.
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Leonie Pleuse
New Face from Germany :heart:
Gucci Resort 2018
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vogue.com
Height: 177 cm / 5'9.5"
Agencies: Viva Paris & WhyNot Milan
Mother Agency: AM Modelmanagement
Gucci Resort 2018
vogue.com
Height: 177 cm / 5'9.5"
Agencies: Viva Paris & WhyNot Milan
Mother Agency: AM Modelmanagement
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US InStyle August 2017 : Bella Hadid by Kacper Kasprzyk
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Laura Rakhman-Kidd
Height: 175cm/5'9"
Bust: 81cm/32"C
Waist: 61cm/24"
Hips: 89 cm/35"
Dress: 36EU/6US/8UK
Hair: Brown
Eyes: Brown
Ethnicity: Irish/Indonesian
Agencies: Distinct (Ireland) | TESS (London) | Elite (Stockholm) | Core (Germany) | Unique (Denmark) | Trend (Spain)
Instagram: @laurarakhmankidd
tessmanagement
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The Cynical Realism of Demna, Gosha and Lotta
Business of Fashion Op-Ed by J.E. Sebastian
June 24, 2017
(businessoffashion.com)
CONT.
June 24, 2017
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NEW YORK, United States â Things that take hold as a novelty in the fashion world often feel at once new and entirely familiar. The phenomenon of the three Russian creatives who have recently captured the industryâs attention â Gosha Rubchinskiy, Demna Gvasalia and uber-stylist Lotta Volkova â is a case in point. The three, who come from very different backgrounds â Rubchinskiy, the street-smart Moscow outsider; Gvasalia, the schooled Georgian-turned-European fashion disruptor at the helm of Balenciaga; and Volkova, the Vladivostok internationalist â are collectively seen to represent an aesthetic sensibility that the West has never considered before, a uniquely âpost-Sovietâ take on fashion. But the work this sensibility has produced â an aggressively anti-statement amalgam of purposeful awkwardness, knock-off construction and brand re-appropriation â is also seen as a modern reflection of beloved fashion traditions. It has been referred to as the present-day incarnation of â80s punk contrarianism and the latest fashion evolution in the great chain of artistic self-commentary that began in Duchampian modernism and continued through postmodernism, irony and the pseudo-nihilistic post-irony that has characterised trends of recent years. Some critics place their genesis in sources even further back: a recent New York Times article cast the ânew Russian aestheticâ of the Rubchinskiy, Gvasalia and Volkova as a realistic counterpoint to the folk-fantasy motifs and elaborate costumery of the Ballets Russes, a harsh but understandable wake up from the aesthetic dreaminess of a Soviet past. What these comparisons all have in common is the presumption that fashion is at bottom referential; that there is some reality prior to and outside of it that fashion exists, at least in part, as a commentary upon. Punk, so the thinking goes, was a referential reaction to the political realities of the â70s and â80s; similarly the work of Rubchinskiy, Gvasalia and Volkova is often perceived as a referential reaction to the current political climate. The Ballets Russes referred to a fantasy Russia; Gosha and Vetements refer to a real one. And this presumption is entirely in keeping with the new Russian ethos; for if their peculiar post-ironic take on commercial fashion is one pole of their revolutionary appeal, their brand of so-called Russian realism is the other. The look is most often described as an image of urban life in the Russia of the postâCold War â90s where the designers grew up: a world of danger and poverty, only cautiously beginning to open up to the West; of stoic, no-nonsense toughness and making do with nothing; and â most relevantly for the new aesthetic â of cheap fabrics, loud colours, knockoff brands and ill fits. Whether or not this ideal is in fact expressive of all three of their separate experiences as Russians (they come from very different parts of Russia, and different upbringings both inside and outside of fashion), or of contemporary Russian life in general (all three emphasise the fact that Russia has changed greatly since the era they draw on for inspiration), is beside the point, because whatâs made the new aesthetic popular is not its expressiveness, or any other quality intrinsic to it. It is, rather, its realism as such: a referential vision that has emerged to a world more than ready to accept it as the truth, plain and simple. In short, what has sold Gosha Rubchinskiyâs clothes around the world, granted It status to Lotta Volkovaâs work and put Demna Gvasaliaâs Vetements collective on the map â and Gvasalia himself at the head of Balenciaga â is a vision of Russian life that the three designers have successfully conjured up in the minds of non-Russians. In large part, the success of this conjuring has been due to the fact that the Western world currently happens to be as eager to experience Russian reality as it is unable to ascertain that reality clearly for itself. Taking part somehow in Russian life â sealed behind the âIron Curtainâ until two and a half decades ago, and since then only tenuously revealed â has become very attractive to Westerners lately, for two reasons that have more to do with us than with them: it appeals to our old romanticism, which is drawn to the strange, mysterious and forbidden; and it appeals to our somewhat newer sense of globalism, which would very much like to understand and get along with everybody on our own terms â especially those who we sometimes suspect may hate us. The Russian designers neatly satisfy both of these attractions. In presenting us with a strange, openly antagonistic new idea, they appeal to our curiosity. In presenting it as a unified aesthetic â and more importantly, as a look that we can buy in London, Paris and New York â they make that idea as commercially available to us as an iPhone or a Louis Vuitton bag. That said, because our real attraction is ultimately not to those funny colours and odd fits, but to the idea of Russia itself, it has been crucial to the new aestheticâs success that it be taken as truthful â as Russian realism â and not just as the design idiosyncrasy of one or two isolated people. Mysterious as Russia remains to us, this part of the new aestheticâs appeal has had to rest pretty heavily on an assumption that is common to all referential art today: namely, that the more unpleasant and disordered a reference is, the more real the thing it refers to must be. Beauty, order and proportion (so the assumption goes) are artificial qualities, the presence of which, though enjoyable, always connotes a certain falsehood in a thing, and the absence of which can commend the truthfulness of a given depiction to us, even in the absence of any direct experience of the thing it depicts. It is entirely on the basis of this assumption, for example, that the aesthetic of the new Russian designers is favourably compared with that of the Ballets Russes: as simply another referential vision, the costumes of the new aesthetic may be every bit as fantastical (or realistic, for that matter) as folk costumes; but since the fantasy they represent is grittier and more overtly chaotic â as today we assume reality itself to be â it strikes us not as fantasy at all, but real. This quality of realism seems paramount in the minds of Rubchinskiy, Gvasalia and Volkova, all of whom, whenever they talk about their work â whether discussing the commonalities or differences between their separate approaches â consistently refer to their sensibility as authentically Russian. And with good reason: authenticity is an extremely powerful idol in the design world, as in every other corner of the world today. By evoking it, however purposely, these designers have added considerable force to the not particularly groundbreaking novelty of their work, while at the same time arousing the feeling, so crucial to the success of many an avant-garde trend, that whatever faults may inhere in their work are after all authentic faults, and whatever misgivings the high-fashion world may feel about embracing it are only the incidental failures of that world to recognise a new real thing when they see it. By thus satisfying the referential art¬-loverâs desire for conspicuous disorder, along with the romantic globalistâs desire for a confrontational yet intelligible Russian identity, Rubchinskiy, Gvasalia and Volkova have proven more appealing to the high-fashion world than anyone â perhaps including themselves â imagined they would. This success has been especially striking given the nature of the aesthetic itself â a design sensibility that, under circumstances any less post-ironic or Putin-Trumpian, would seem to have little more than faults. As Gvasalia has said, it embraces ugliness as a principle. Its gratuitous shoddiness, its emulation of the poorly made and out of place, coupled with its re-appropriation of barrel-bottom brand consumerism and crass factory aesthetics, would ordinarily be distasteful to conscientious designers, even if it werenât being sold at couture prices. (How much for a DHL T-shirt?) Its rip-offs of uncool corporate logos and styles, and incorporations of Cyrillic lettering and the word âRussiaâ in its garments, are unmeaning negations of their Western counterparts: the logos are used only for reference to commercial blandness, and the use of the word âRussiaâ â in pointed contrast with, say, âParisâ or âMade in Italyâ â seems meant only to emphasise the non-distinction and un-quality of the clothing emblazoned with it. In this sense the new aesthetic presents a critique without a point, a patriotism oddly lacking in any definable national character. At best, it is thrift-store haphazardness presented as high fashion, with the sheer brazenness of that presentation being its most noteworthy feature. |
CONT.
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Nica Mestres
HEIGHT: 5′9″/176CM
BUST: 31″/78CM
WAIST: 24″/60CM
HIPS: 35″/88CM
SHOES: 6½/38
HAIR: Brown
EYES: Brown
AGENCIES: The Squad (London) | View (Spain)
INSTAGRAM: @nicamestres
thesquadmanagement | viewmanagement
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Zwaan Bijl
HEIGHT: 179
BUST: 84
WAIST: 62
HIPS: 89
SHOE: 40
HAIR: Brown
EYES: Green-Brown
AGE: 18
AGENCY: Elite (Barcelona)
INSTAGRAM: @zwaan_zbt
elitemodels | @zwann_zbt
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Oliwia Sokolowska
Height: 5'10/177
Bust: 31"/79
Waist: 23"/59
Hips: 33"/86
Shoes: 8/39
Hair: Light Brown
Eyes: Blue
Age: 15
Agencies: Wave (Poland) | Sight (Spain)
Instagram: @olivcciia
wavemodels.pl
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