Chapter 2.0

As the plot does thicken, it's time to start a new chapter. ..

Be gracious to me 2010, embrace me like your predecessor did, through long-long miles.
2009 was RAD. The lesson is given.

"If living is seeing, I'm holding my breath,
In wonder I wonder what happens next,
A new world, a new day to see, see, see..."
Björk

Good-bye 2009.
Regards, Miska

Christmas Carol

Before the lights go out, and the festive constellation takes its rightful place in the sky, open your eyes and hear the ingenue jingle of my whispering words, feel the snowy taste of my invisible remembrances, pocket some cinnamon kisses from the shadow of the mistletoe and have peaceful Holidays!

For Christmas I wish You brightness and joy,
as regard the New Year, many miles more!

Regards, Miska

Getting ME(n)TAL

Mirrored photo by Jose Manuel Ferrater, featuring model Luke Worrall from METAL Magazine, retouched by me

Please welcome the latest testimony of my undying love for fashion videos. Please unfold your eyes wide open, dance around the walls and feel the fondling breath of white light.

They say, at the end of a tunnel, there's always a glimmer of blaze... There's no tunnel actually, only the glare of undiscovered beauty.

"Because they are empty, therefore

They don't help neither the remembering nor the forgetting,

The words.

You will be utterly immortal and clean, when light percolates through you,
Because it's even less, which remains."
~ Erika Baglyas


Regards, Miska

December Declaration

I'm circulating in the hectic flow of the shrewd polar wind since weeks. Time has narrowed to a smothery tight straitjacket.

The days seem to accelerate towards the end of the year. As if I had to clear all the missed, forgotten or adjourned affairs before the snake bites into its tail, and the circle closes.

I dedicate this remaining weeks of the first decade of the 2000's to the disposal of all the unrevealed, criptic treasures, that I still carry around, but can't reach the catharsis of a new beginning with them in my pockets. Purgation takes time, and patience...

Soon.

Regards, Miska

Jason Last Interview

An abundance of meaning may be concentrated into one picture. A whale of thoughts can be expressed by an image. The same as with a movement. By putting motion into static pictures, new perspectives open up for the viewer and for the artist as well.

With the current interlocking of fashion and movie, one of the most exciting new trends was born recently. It has evolved in front of our eyes into an entirely new media, a new form of visiual art, by creating an autonomous genre, fashion video.

I was asking one of the major and most exciting talents of the genre, about his works, his vision and the characteristics of fashion video. One of Jason Last's videos was mentioned on "The top 10 fashion videos of the season" list by The Business of Fashion lately. His works for Emanuel Ungaro and Complexgeometries are "classics" already, and his signature shaded aesthetic makes his videos easily recognizable.

Lights, camera, action...

Regards, Miska

Scenes from "119" film by Jason Last, styling and photography by Fabien Montique petrified and mirrored by Miska.

JASON LAST INTERVIEW

Miska
- Tell me your story, how did you become a "fashion video artist"? Do you only create fashion-related short films, or are you interested in experimenting on other fields of motion picture as well?

Jason Last
- I’ve always had a very strong connection to sound and moving image, and the emotion it can carry, or the story it can tell.

Fashion film is something that has come out of my passion for video and filmmaking, as well as my love of fashion imagery. It is a combination of both things and is derived from my mind and sensibility as an artist, a director, and an image-maker. Fashion film combines the mediums with which I want to work and create: art, fashion, & cinema.
It was a natural progression.

For me, it is broader than just something being directly liked to the fashion industry. It is the use of fashion imagery, clothing, models, lifestyle, that can take on a cinematic form, whether it be narrative, experimental, music video, video art, or feature film. I am very open to the blurring of lines between the labels and genres that exist in film and art. I am always interested in experimenting and trying new techniques and expressions related to film and video.

"Skyburial", film by Jason Last, art direction by Jaime Rubiano

- What do you think about the growing spread of fashion videos? Do you think, that video is the future form of fashion editorials?

It’s really exciting. What an effective and beautiful way to present clothing and create fashion images. Moving images allow an audience to somehow interact with the pieces and to understand a brand or an editorial as not only image, but also sound, and dialogue, and narrative. It extends the emotional connection one can have with images. I think fashion videos have, and will continue to have, a strong presence in editorials online, etc for sure.
But yes, it is the future.

- Do you imagine static images or movements while working?

I’m always thinking of how I can push the images I am working with and the potential that exists within video.
When I am planning a shoot or coming up with an idea, it moves. That relates to the choices I make of models, clothing, etc… I’m always thinking in moving image.

"When You're a Star", film by Jason Last, art direction by Jaime Rubiano

- What are the unwritten rules of making fashion video? (Supposing there are...) What are the dedicated special ingredients of the genre?

What’s so exciting about fashion images, is that there aren’t many rules or limitations. I suppose there are trends to think about, but what I believe makes fashion interesting as an art & an industry, is that it is always changing and quite open to being pushed in different directions. Fashion welcomes a fresh and ever-changing perspective and art plays a big role in influencing that. The possibilities are kind of endless.

- As we know, fashion editorials are usually retouched before coming out in print. How much post-production is usually required to complete a video?

A lot. It varies between films, and what kind of campaign it may be, but a lot. The same rules apply to video as to photo, depending on what the desired aesthetic is. The thing about video post-production is that there are endless options, so that can mean a lot of work…





- What are your characteristics, the unique features of your works? How is the signature "Jason Last vision"?

What’s unique about my work and my vision is my perspective. I come from a fine arts, video and film background, but I am very excited and moved by fashion imagery and the depth of it’s particular history, so my work has been informed by many sources and they all meet in the video work I make.

- How is the work with models? Are they difficult to instruct for motion picture? Or there’s no difference?

It depends. But there is definitely a difference…
I’ve been lucky to work with some amazing models who understand their movements and bodies, and who follow direction very well. There is an element of acting involved in modeling, even if they never speak, and any good model understands this. I’m careful with who I work… but for the most part I’ve worked with great subjects who understand and take direction well.

- Which was your favourite, or most exciting project so far? What kind of projects do you work on currently?

The AW09 Emanuel Ungaro films were a lot of fun and a great project to be a part of. I’m working on several projects and fashion films at the moment (and always…). Also collaborations with brilliant art directors & stylists like Jaime Rubiano and Fabien Montique. Experimenting with ways to take the darkness and dramatic nature of my films to the next level.

- If you suddenly supposed to tell a memorable movie scene, what would you say?

Derek Jarman’s The Last of England… simply brilliant... from narrative to imagery.

Maya Deren comes to mind: “Meshes of the Afternoon”.

Or Godard’s Le Mépris, Bardot in the garden in blue. Stunning with that hair, those eyes and that attitude…

Or the scene from Clueless where she goes for her driving test…

- Who are your professional role models in terms of fashion, visual arts and cinema?

Too many to name…. I live for this. And I am continuously moved and influenced everyday by the lives, the stories, and the work of so much brilliance I can only aspire to.

- What are your plans for the future?

Work. And continue to grow and be present within the fashion film genre. It’s the future.

Please, do not copy or quote parts of the interview without permission!

The Ones to Watch : Adel Kovacs

I extinguish an old leeway with this post. The timing is not accidental, but first things first.

In the not so distant past, I had the pleasure to meet a really captivating young talent of textile design. Her vision was very similar to mine, and the subtle humour and freshness behind her ideas was truly refreshing.

These sincere words of mine speak of / speak to Adel Kovacs. When I asked about her inspiration, her ars poetica seemed to be all about convenience; to catch and present a really simplistic and puritan, but still meaningful face of fashion through her designs, by using unusual structural elements as ornaments on her pieces. The latest Adel Kovacs capsule collection, entitled "Lovecarpet", was built upon a naked, make-up colored strange mood, which roots from the simplicity of her stripped down silhouettes. Each piece of the collection is impregnated with the finest touch of technical expertise and unique vision.

Enough said, Adel's work is really worth to discover, and monitor really closely.

And why the timing? With her not-less-talented fellows, Adel was currently working on a showroom, which opens its door tonight.

I recommend all the worthwhile pearl fishers to steer their boats towards to the KEPP Showroom in the near future! And before I "KEPP" walking, I'll be with you tonight!

photos from Adel Kovacs

K E P P Showroom
Budapest, Vörösmarty Square. 3. / 2nd floor

Regards, Miska

I Lurve Mirrors

Please welcome my ode to individuality, engraven into fragile symmetry; a geometrically perfect, mirrored illusion.

“Love is too weak a word for what I feel — I lurve you, you know ...” - Annie Hall

photos from Garbage Dress, retouched by Miska

When I feel this stubborn itch, I just can not restrain myself. I have to rummage some beautifully arranged gardens. I'm actuated by egoistic intentions, to personalize beauty at my own pleasure. It's probably a part of the process, to give shape and figure to the visions I see on the back of my eyelids. The easiest way to multiply beauty is smashing a mirror.

This time my victim was Lurve Magazine's editorial, feautring Cole Mohr and the incredible textile garment-sculptures by Ulrik Martin Larsen. The original photos were taken and styled by Zana Bayne, author of the Garbage Dress blog.

Regards, Miska

the Room #10 - Jubilee Issue

According to my personal numerology, 10 is an especially magical number, endowed with miraculous power. It can be divided in many ways, but is an unseparable whole after all.

A very special nr. 10 comes to light tomorrow. With their jubilee issue, the constant creative team of the Room magazine allows us a sort of insight within the walls of their "room", along with guest contributors such as Alnis Stakle, Emilio Tini or Emil Rebek. With no less, than Eniko Mihalik and Kinga Rajzak on two different covers. On about 200 pages... I think this is a very respectable weight for a newborn.

photos from the Room #10

I am waiting you, as a Messiah. On your way, be accompanied by my blessing. Tomorrow night...

Regards, Miska

Ash Metal

As I dig deeper and deeper in the dense mass of fall's menswear editorials, I feel condensing boredom, when any of the studded Prada pieces lodge into my eyes on every second picture.
However, I don't dispute that the above-mentioned numbers are undoubtedly the "heavyweight editorial champions" of this autumn, those pins only stab my hunger for the excitement of diversity already.

Enough cawing, the situation is not hopeless at all. Just add a bit of movement, dramatic edge, and Ash Stymest to the monochrome styling and the result will be rather more fascinating than the slowly rusting leaves and nails.

"Tonight the stars hang vividly..."
Motion editorial featuring Ash Stymest for Metal #17 Issue by Antonina Obrado / Ferrater Studio.

Regards, Miska

September Issue(s)

by Joachim Mueller Ruchholtz for Contributing Editor, mirrored by me

September is a riot of new directions, new ways without number to choose. This lashing of novelties confused me in the past weeks, and took my beloved words away. It's a complicated feeling, when there's so much to say that one idea cancels the other, and finally the labyrinth of thoughts becomes so tangled, that it ropes bound the voice.

I'm still numb, but started to figure out where to turn my head. The compass rose sheds its petals already. Autumn, wreathe your arms round my neck and whisper in my ear!

by Steven Klein for Vogue Homme Japan #3 mirrored by me

Regards, Miska

Private Detective by Mareunrol's

A mood noir.

The veil of the night falls noiselessly on the motionless landscape. Stupor reigns in every corner of the darkness. The unknown man listens numbly to the dead silence. His eyes are burning from haze, fear numbed into boredom in his mind. Reality ravels into imagination. Hours have elapsed since then. Action twirls slowly. Glutinous, ductile dollop.

Film noir is a bunch of confused moments, strung on straggly stills. A whole story concentrated in one black and white picture.

With the advent of the evening, I accidentally ran into an inteview with a Latvian designer duo. The article was illustrated with surreal moody photos, which intrigued me immediately.

I looked up the designers, like a good private detective and found many interesting and inspirational features about them.

They are Mareunrol's Marite Mastina and Rolands Peterkops, double winners of the Festival d'Hyéres in 2009. Their award winning collection, "Private Detective" was inspired by film noir, gangster and detective stories, and was represented with an impressive short film, directed by Latvian video artist, Kristine Kursiaa.

photos by Kaspars Lielgalvis from I Love Fake Spring/Summer '09

For the "Private Detective" short film noir, visit Mareunrol's website. And let's start to memorize the names of the Riga-based duo, I sniff rare excitement associated with them.

Regards, Miska

Autumn Breakfast

Sometimes there are no legs left to stand on, or at least the way runs out from under your feet. It happens. It happened.
After the monotonous days of the past summer, the realization came so sudden, autumn is here, again.

My favourite term of the year, with the ticklingly abundance of colors, lights and options. I'm galvanized by the inconsistency of the upcoming season inevitably. So many new trends, directions have started to emerge in menswear, like never before. No doubt, we live in the age of the great discoveries regarding mens's fashion. I personally hope, this stays a tendency, and not just a passing fancy.

"And yet, beyond, the trees already wave their golden arms to me" - but I will remain close this time.

The featured photos were taken by Thomas Lohr, fashion editor Kim Howells, helmet by Alun Davies. The originals can be found at Contributing Editor, the ones featured here are retouched by me.

Regards, Miska

Aerial by Julia Kim & Bart Kiggen

The '09 collection of Julia Kim was inspired by urbanism and aerial photography, so was Bart Kiggen, who created a short movie to accompany the presentation.

In keywords: vestment-like outfits, razor sharp structures, irresistible details; with this collection the promising designer from Antwerp reiterated, and even outshone her previous ones.
Broad perspectives, unearthly calmness and motionless gestures, planes, windmills and the Milky Way as regard Bart Kiggels's interpretation.
Typical instance of a well-thought-out cooperation, impressive.

Here, you can find a previously published interview I made with Julia Kim about her preceding collection.


Regards, Miska

Topman AW'09 "Wilderness" Necklace

photo from Topman "Wilderness" AW'09

A new kind of passion is in the rollout phase. The latest and sorely needed object of my desires is this piece from the Fall collection of Topman. I was never really in favor of jewels, but recently, this claim has began to revaluate in me. Perhaps Mr T's heavy blings in the "A Team", or Ricardo Tisci's Givenchy Homme accessories lit a spark in my head.

However I feel untameable thirst to get hold of this wondrously austere but excrescently complex necklace.

Like a clutch of metal snakes, entwine my neck and embrace my chest...

Regards, Miska

Burberry Prefall '09

If I'd be asked to mention a timeless piece of clothing, I'd definitely pick the Burberry trenchcoat, because every number has its own history, a perfect synthesis of the past and the future but always fits into the current trends. A pure fix point in the always-changing world of fashion, a modern classic.

In addition to the aforementioned trenches, the prefall collection of Burberry musters up a number of exciting pieces, like eye-strokingly silky knitwear and trousers, which feel like a chilly breath on the skin. Tingling.

photos from Burberry

Regards, Miska

Acceptible in the '80s - Maria Blaisse

I'm feeling the early tingling of the upcoming fall season in my bones, and also dreaming with shoulder pads since last week. The odd thing is, that these dreams are getting sweeter. At first sight I had a kick against the revival of the riotousness and crudity of the '80s, but the initial antipathy seems to calm down, and I'm just getting more and more interested about the characteristics and visions of the decade when I was only a tiny package of life.

Last night I was rambling around with a question in my mind. What is acceptible from the '80s? Why are the '80s stigmatized as the black sheep of style, in spite of that incredibly strong visuality, and look which were represented in those years.

Maybe it ensues from the antagonism between the signature '80s look and the much softer, more sophisticated silhouette of the days that we are used to.

Kuma Guna by Maria Blaisse (1996)

Returning to the question raised above, last night I accidentally tumbled on the inspiring artwork of Maria Blaisse. The iconic sculptures of the Dutch designer have been making an impact on fashion since the early '70s. Her work is an investigation of form and material. Denudative, extremely stylized pulsating vitality resides in every shapes, created by Maria Blaisse. Her spherical foam costumes were revolutionary at the time, and they are still a dazzling visual experience to a man, who has been around a lot.

Spheres by Maria Blaisse (1989)

For more information and visual pleasure visit the official site of Maria Blaisse. And also read a recent interview with the artist on DazedDigital.

Regards, Miska

Woodstock - 40th Anniversary

One of the most iconic photos of the legendary festival.

40 years before I wasn't even a thought. 40 years from now I hope I will still enjoy the freedom of mind.

My "Woodstock" ended last night, when I was running in the middle of a dark highway. I was running to find the way back here. I found it, and finally here I am.
The first chords were already played, and now I continue to compose the repertoire.
It feels good to be back.


Regards, Miska

Damir Doma S/S '10 Runway Videos

He presented my favourite collection for the next spring/summer season in Paris.
He created a smoking new look in menswear.

His designs make me wonder every time I see them.
He is Damir Doma.

I don't talk to the wind, see videos of the whole collection and backstage below.
My review about the collection, can be found here.

In addition to the motion pictures, also read the official press release of the collection. I have to admit, nor could I conceive my thoughts better.

"Between spirituality and philosophy, Doma explores the delicate balance of humanforms and harmonizes the ongoing dialogue between body and soul.

Oversized and almost floating elements are meant to provide space between skin andgarment representing a new spiritual freedom allowing the mind to focus on life’selemental values.

With an understanding of humility and purity, Doma eliminates the unnecessary andconcentrates on the essentials of shapes and forms resulting in a heightened appreciationfor simplicity. No buttons or unnecessary trimmings were added to thegarments to maintain its integrity and mutual respect for the individual and nature.

Our relationship to nature and the things that permit our existence, is spoken throughthe colors, with white symbolizing purity, red the energy that rushes through our veinsand black’s thoughtfulness, the beginning, the end and what is still yet to be discovered.

Doma’s quest to fuse mind, body and spirit, stands as a trinity with fabrics, colors andshades as its loyal disciples."

~ Damir Doma

Regards, Miska

Pure Desire - Rozalb de Mura Unisex Painted Trousers

Perhaps it's a kind of fetishism, who knows... in any event, since I first saw I can't get it out of my head. Have you ever felt unappeasable carving to possess a piece of beauty? I think this feeling might be familiar for everyone in our materialistic world, and come on, fashion is all about that. Awaking the slumbering instincts and let them be free...

"... And do not take us into temptation..."
Why not?

Even if these unisex painted Rozalb de Mura trousers would be the perdition itself, I won't protest against them. They are more like a piece of heaven, fallen down to earth, and got dirty from the sky during the fall.

photos from Not Just A Label, retouched by me

"These statement making painted cotton trousers feature black embroidery on the thighs. "Vitezkotes", the Hungarian for "the string of the brave" is the beautifully embroidered black string that nowadays is a graphic decoration on the traditional Hungarian male costume. This is the symbol that ignited the Transylvanian designer's curiosity and made him delve into XIXth century cutting and assembling techniques." ~ Not Just A Label

Along with other beautiful creations, the pair of delight is available at Not Just A Label's webshop.

Harrowing desire, leave me alone...

Regards, Miska

Je Suis Belle Interview

I think, I can boldly declare, I'm loyal. This virtue of mine can be enjoyed mostly by those around me who are able to maintain my interest, and to acquire my appreciation.

While I circulate in the turnings and twistings of fashion, it always feels well returning to familiar, beloved places. Je Suis Belle is getting to be something like that for me.

I asked one half of the designer-duo about their adventure at the Berlin Fashion Week. Hope to see their brand growing bigger and bigger, fingers crossed.

Regards, Miska

JE SUIS BELLE INTERVIEW

About the premiére in Berlin:

MWM:

How did you gain admittance into the official program of Berlin Fashion Week? Were you looking for the opportunity or it found you?

Tibi Kiss:
- It was a common idea of Collegium Hungaricum Berlin and Kriszitna Csikós (the Room), to feature Hungarian designers at the Mercedes Benz Fashion Week Berlin. Their support and persistence helped us to get into the official program. So, I would say that the opportunity found us, which we can only be really rejoiced by.

How did you prepare for the show? Did you participate in all phases of the organization?

- We were involved in all phases, but good people have hepled in the organization, work and coordination. Since the Berlin Fashion Week is quite an early one, and we got informed only 3 weeks before the date of the presentation, we knew that the program will be heavy. We prepared here, at home, but had a great help in Berlin, the Institute’s associate, Thea Sóti. We organized the invitations, the lighting, the models, the runway, the styling, the media and the audiance in parallel with the preparation of the collection. It was an enormous gig, but everyone took his part in it.

How were the feedbacks on the part of the profession and the public?

- Great! Susie Bubble and the Kingdom of Style wrote about us, the German Vogue also required our material, so did the Italian Glamour… The press is more interested in us now, but there’s much to be done in order to maintain this attention, there’s no time to sit back.

How did you feel in Berlin? How was the atmosphere of the Fashion Week?

- Berlin is a very good place, although we were only in the Mitte. It’s free, young and it’s fizzing. There was no time to explore the city, but the Collegium Hungaricum, and the place where we lived were in a nice neighborhood, and we were able to sneak out for half hours to sightsee a bit. We couldn’t really feel the atmosphere of the fashion week, because we were working constantly, and had not much time to go back an forth. As we’ve seen, it was very dynamic and fresh, like Berlin itself.

Was this a one-off time, or are you planning to return to Berlin for the following season?

- We plan to go back in January, and to make everything more clear, we’ve already started the negotiations.

About the collection:

Compared to the fall/winter season, you built this collection around a more fluid and less statuesque silhouette. The use of different painted materials gives a montage-like edge to the pieces. What inspired you while designing the collection?

- We were inspired mainly by picturesqueness, nature and personal nostalgia. We wanted to work anyhow with paintings, patch-like, large-scale materials. We wanted to reach nostalgic effects, not for a certain era, rather for something that everyone can find some personal relations with.

How did you work out the idea to collaborate with Attila Szűcs? How did you choose the paintings, that you used on the fabrics?

- We wanted to work together with contemporary painters, and we both already knew Attila’s artworks from the past. I met them in the course of my arthistory studies, and really liked them: like you can easily sink into their specific floating world. The combination of the colors is beautiful, but in the same time there’s something grotesque and a pinch of wry humor in them. Similar to our pieces… isn’t it?

What was the technique of producing the painted materials?

- The materials were prudced in Portugal. We found a great company, who could manufacture digitally printed fabrics at a reasonable price. We blowed up the paintings, slightly redesigned, and then posted them to the manufactory. After they returned the samples, we felt they’re going to be fine, and they can result in an exciting collection

In your opinion, which are the most powerful details of this collection? Which are those key-elements, that characterize Je Suis Belle in the sping/summer ’10 season?

- It was important to ease the cuts. We built the garments almost exclusively of squares, supplemented by delicate, feminine details: ruffles, small strings, draws. We particularly focused on the jewels; corals and turquoise were used. The shoes are our designs as well.

How do you see yourselves through your works? Where are you at the moment, and where are you going? What can we expect from you in the future?

- Since about the past two seasons we feel that our collections have settled down a bit, and they are targeting a little bit older age-group. I think it’s normal, and reflects the changes we are going through. We finished school, moved to the donwtown of Budapest into our showroom. These episodes all act upon our collections. And now that time has already came to give priority to the nature and the relaxation given by nature during designing. What to expect? Hard work, giving rise to thoughts and great clothes.

photos from Je Suis Belle, retouched by MWM

Return of the Wayfarer

photo from Hour of the Wolf (Ingmar Bergman, 1968)

In the past two weeks it happend so, that I was under the necessity of roaming somewhere, very far from here, while actually sitting in one spot, just spun around my axis. It was like some kind of test, a hard observation.

However, it was difficult to experience the lack of everything which bent me here, since the first letter I've carefully placed on these pages; it wasn't in vain.

I'm back. For good. Intended.

Regards, Miska

Qasimi's Higher State S/S '10 Film

Some of the top trends from the spring/summer '10 menswear runways seem to emerge in this short film (directed by Mariano Vivanco, styled by Robbie Spencer, featuring model Marlon Teixeira) to present the new collection of London based brand, Qasimi, entitled "Higher State".

The sensual adaptation of reworked traditional male garments by Qasimi, are expressing examples of a new tendency in men's fashion.

Transparency, organza and chiffon, airy drapes fused with tight cuts, gladiators, a touch of exotic inspiration, this time from the deserts. Characteristics of an interesting new look, which we've seen on many runways in the past few weeks. Ricardo Tisci for Givenchy or John Galliano also created their own variations on the theme, which might rule men's fashion next summer.

Regards, Miska

Je Suis Belle at Mercedes-Benz Fashion Week Berlin

I proudly announce, that the promising Hungarian designer duo, Je Suis Belle, is featured in the official program of the Mercedes-Benz Fashion Week Berlin with their SS 2010 collection. The show will be presented as a part of the CHB - Fashion Days event organized by the Collegium Hungaricum Berlin.

Girl in red by Attila Szűcs, 2006.

Je Suis Belle is one of the most prominent representatives of the young Hungarian fashion-scene. They cleverly incorporating their signature style-elements from the very beginning into the evolution of the brand. For the spring/summer season of 2010 the desingners Dalma Dévényi and Tibi Kiss have chosen picturesqueness as the main line of their inspiration, both in abstract and in concrete sense. They collaborated with Attila Szűcs, talented young Hungarian contemporary artist and used four of his artworks, painted on the fabrics. The silhouettes were designed and shaped to emphasize the airy, loose, slightly deformed and effortless grace of the paintings. The result is a nostalgic but innovative collection, which reminds us to the Sundays dressed in glad rags, and keeps this feeling for every day.

Girl in "Girl in red", by Je Suis Belle, SS'10

Date and venue of the event:

Je Suis Belle SS'10 SHOW
July 3rd, 2009, 22.00

Panorama Hall Collegium Hungaricum Berlin
By invitation only.
Street Screening for the public without invitation.

For further information visit CHB's site, as well as for more artwork from Attila Szűcs follow this link.


Regards, Miska

Damir Doma S/S '10

Some will say it's the same, I say it's evolving. Damir Doma's new collection is undoubtedly similar to the previous ones, but his aesthetic world and signature style is so variable, that it has enough opportunities hold for lots of more seasons, without being repetitive or outmoded.

For the recent collection he apparently toned down the excessive draping, which is so characteristic of him, but kept his complex-defined silhouettes, with more structure and volume, than ever before.

The highlights of the collection were the every inch blood-red outfits, which indicated completely new perspectives in the style of Damir Doma.

Like there are so many ways to rumple, ravel or pucker a veil, there are as many possibilities to ring the changes on Damir Doma's pieces. And as we can see, this is exactly what he does.

Until the official runway photos and video appear online, I feature images from Scoute.org.

Regards, Miska

YSL S/S '10 Film by Samuel Benchetrit

It's getting to become a tradition of Stefano Pilati to sum up his recent mood about the upcoming collections for Yves Saint Laurent in short films before the presentations. This year French director, Samuel Benchetrit has written and directed an 8-minutes long black&white adaptation of Pilati's inspiration behind the collection. The film doesn't reflect directly on Pilati's designs, it's an impression of YSL's frame of mood for the next spring/summer season with subtle referencies to the character of the collection.

Regards, Miska

Rick Owens Men S/S '10

Although I didn't find his new collection as impressive, as the previous one, Rick Owens is still Rick Owens.

The jackets are still razorsharp, the shapes are still geometrical, the attitude is still powerful, the execution is still outstanding and still mostly black.

What changed then? I feel this recent collection more "casual" (if I can use this word in the case of Mr. Owens' creations), the whole feels less ethereal, and more cyber-streetstyle, more ready-to-wear. The use of denim for patchwork and the twisted sneaker-boots seems like a bizarre tribute to the basic pieces of today's casual look.

Original photos from SHOWstudio, the ones featured here are retouched by me.

I think though, there's a lot of humour and self-irony in this collection, which might look a little too massive in head-to-toe outfits, but the individual pieces are "easier" than ever. The point is in the right proportions and in the hidden details, as always.

Regards, Miska