The California 78 takes its name from the birth place of jogging: California, and is one of the masterpieces of the Onitsuka Tiger shoe collection. The 35th anniversary of the shoe and its impact on sport and fashion is celebrated with a limited edition crafted in its original iconic yellow and mid-blue colour way.
Director : Juriaan Booij
Client: Onitsuka Tiger
Producer: Boris Booij
Agency: Blast Radius Amsterdam
Camera: Kevin Kimman
Music: Star Athlete Music & Sound Design
Editor: Mark Whelan at The Quarry
An inside view of the Alexander McQueen: Savage Beauty exhibition including interviews with Claire Wilcox, Katy England and Sean Leane.
Alexander McQueen: Savage Beauty
In partnership with Swarovski
14 March – 2 August 2015
Alexander McQueen was one of the most innovative designers of his generation and celebrated for his extraordinary creative talent. This spectacular exhibition is the only major retrospective of McQueen’s work to be presented in Europe and showcases the best of his creative output of womenswear from his 1992 Central Saint Martin’s postgraduate collection to his A/W 2010 collection which was unfinished at the time of his death.
Supported by American Express
With thanks to M.A.C Cosmetics
Technology partner Samsung
This part that you can see right now, this is the part that they are dyeing now. The part that they do not want to dye now they just put in the pot.
As we see, there are several colours already dyed inside the pot. It seems that at the beginning to make sure to change colours after to see exactly which parts he has to dye in blue and red and … We have also the seam that we can see in there. He has to remove a little bit at the end because of the form of the cloth.
Northamptonshire’s shoemaking legacy has stood strong for well over a century and De Fursac’s dapper Derbys and eye-catching Oxfords will keep you in step with the times. We meet the team behind De Fursac’s first footwear collection.
Peter Lindbergh’s tribute to the late Editor-in-Cheif of Vogue Italia, Franca Sozzani. The film came out of working on a 90-page shoot for Vogue Italia, titled ‘Walking’, that Lindbergh shot around the streets of Manhattan.
For the 2016 Spring/Summer Prada Real Fantasies, AMO graphically reinterprets the Indefinite Hangar as a synthetic sunset fixed within a 3 dimensional blank space. The abstract hangar is populated with geometric objects and furniture. Models move through a neutral scene between the undefined and distilled fragments of daily life. The horizon and scale constantly shifts, manipulating the frame and disrupting a linear sequence: an artificial landscape where fiction and collection collide.
AMO and Prada have been collaborating on the fashion house’s lookbooks since the Spring/Summer 2007 show, merging the collection with graphic and visual imagery through collage and hand-drawn shapes. Since the Spring/Summer 2012 show AMO has turned the project into Real Fantasies, a graphic short movie, introducing animation and music to the lookbooks. The project highlights the attitude of Prada and the conceptual references of the collection, season after season.
This is the 16th edition of the Prada Real Fantasies.
ART DIRECTION by AMO:
Ippolito Pestellini Laparelli,
PRODUCED by APRIL:
DIRECTED by Matteo Frittelli
EDITED by Andrea Favia
ASSISTANT EDITOR by Maria Giovanna Monaco
VISUAL EFFECTS by Giulia Regalini
In June 1999, Alexander McQueen’s Spring/Summer 1999 collection was the subject of the V&A’s very first Fashion in Motion live catwalk event. In this film from the time, the visionary designer discusses his relationship with the Museum and the public’s reaction to his designs.
Fashion in Motion is a series of live catwalk events presented at the V&A. Featuring some of the greatest designers of our time, Fashion in Motion brings catwalk couture to a wider audience by modelling it against the beautiful backdrop of the Museum.
You come from just everything around you, it’s a state of mind, it’s the state of society today. You know, I can’t be so literal with my references. I think it’s a number of references culminating together to make one idea.
It’s mainly to do with the end result as an image, and hopefully a lasting image. You know, I don’t like throwaway images, I like things to be stuck in the mind of people. Maybe that’s why my work can sometimes come across as aggressive or violent. Because maybe the world to me is a bit violent.
It’s so big. It’s the sort of place I’d like to be shut in over night. With no tourists…. [laughs} sorry.
When I was at St Martins, studying for a masters degree there, I used to go in there at least once a week to go through the archives. I remember going through rooms to set up the exhibition, and there was things I’d never even saw before. Like colossal statues.
They say “you can’t wear it down Sainsbury’s can you?” is the usual comment. I think they’ve got to really understand that as a designer, it’s not just about what you see on everyday people, its about furthering people’s imaginations into shape, proportion and colour.
For me, my basis for anything I do is based on a craftsmanship, be it tailoring. be it woodwork, or be it anything else, you know. I try to involve a lot of hand-crafted things.
It would be nice to get it across to the general public exactly how a metaphor turns into a reality. Look at the silhouette and think about days before, days in the future, you know, just try to think not so closed-visioned really.
I think the people who see the clothes, see the video and see the mannequin on the turntable just taking reflection that if I gave you Marks and Spencers would you look twice? That’s fashion really. Fashion turns at such a fast pace, that I think you’ve just got to have a bit of an open mind and not be so judgemental, I think. Just educate yourself into the world of Alexander McQueen [laughs]
“The first time I got dressed elegantly was for the wedding of my parents when I was 7 years old. I was very touched by the party, the champagne, the outfits, the mood… I had been looking forward to enjoying it as well ! In love with an angel, tonight is a celebration of what we all appreciate the most in the world : free love. This feeling I do my best to feed all the time motivated me to create a collection around the theme of a wedding. More comfortable in the creation and technically, this eleventh collection is an interpretation of how I see my witnesses. I wish you all a good time.
We’re in heaven,
Directed by dixhuit, music by Gaël Rakotondrabe
Many thanks to my mother Doushka, Adrien Haddad and Thibault Dollet, Kentaro San, les ateliers, the Pigalle team, all the models and agencies, le traiteur l’Etoile du Liban, Thomas Subreville, Christophe Victoor, Marissa Seraphin my love, Lambda Takahashi and his team, Jun Nakamura and his team, Gaël Rakotondrabe and his band, all the worldwide family for the love, Freddy, Jerôme, my family from Pain O choKolat, our partner Nike, as well as RETROSUPERFUTURE and Shiseido
he story of Seattle-based Ebbets Field Flannels. Told by owner Jerry Cohen.
Director / Producer : Andy Mininger
DP : Tadd Sackville-West
Edit : Tristan Seniuk
Composition : Ryan Rumery
Color : Joel Voelker
昔ながらの製法でスポーツウェアを作るブランドEBBETS FIELD FLANNELSのファクトリーの様子と、オーナーでデザイナーのジェリー・コーエンのインタビュー。
For the PRADA 2012 FW Men show, AMO designed a set inspired by palaces of power and grand interiors.
Grand Interior – Void
FW Man 2012
The audience is distributed along the perimeter of the room.
The central void is occupied by a carpet of great extension, measuring 20X35m, assembled with pieces of moquette of different pile lengths and colored in red, white and black. Eleven geometric black flower shapes inspired by modernist rug designs are equally distributed over the red surface. The border of the carpet is defined by a rigid combination of black and white geometries.
Six monumental chandeliers realized with 300 neon tubes each brighten the central scene. Together with the carpet they evoke the grandeur of a palace.
The audience sits in the dark witnessing the spectacle of the show where men walk orderly through the vast interior as if following a secret script.
Since they commenced their creative directorship of Valentino in 2008, Maria Grazia Chiuri and Pierpaolo Piccioli have made a point of opening the exclusive and enigmatic world of couture to a new audience. From conducting atelier visits to clarifying the importance of the relationship between an idea and its making, the duo explain how and why they are presenting a less well-known side to “Made in Italy”.