Prada SS 2012
An example and detail of beetlewing embroidery made in the 1880s in the Hobart School for Mussulman Girls in Madras, India. The design is stitched in gold thread on black muslin net. The wing cases are from Jewel Beetles which shed them naturally throughout their lives. Clothing and accessories containing beetlewing embroidery became extremely fashionable during the Victorian period.
100 Oscar Dresses → 10/100
That period of time where Rooney Mara had an amazing stylist in the wake of “The Girl with the Dragon Tattoo”. Never forget~
Wedding gown designed by Eiko Ishioka for Bram Stoker’s Dracula
'It's a somewhat strange concept, but I loved the look of the Australian collared lizard and felt that it was a fitting image for a woman who had become a vampire. I had never once thought of designing a traditional wedding dress anyway, and when the lizard idea came to me I fashioned a cape, made completely of embroidered lace, based on this idea. Lucy's dress, loaded with embroidery, was created from a stiff net base upon which the dressmakers embroidered my design - all by hand, of course.'
- Eiko On Stage
Schiaparelli buttons inspired by Mae West’s lips
Lean lines | Shalom Harlow by Peter Lindbergh, Aug 1997
Helmut Newton for Absolut Vodka
Model: Kristen McMenamy
Rick Owens S/S 2014
I didn’t think I could love him more, but it happened.
This is beautiful. Not only in it’s vicious rejection of convention, but it’s fucking thrilling to watch. Too often am I bored with runway presentations, save for a small and select few. This is raw, and empowering and fun. Long Live Rick Owens.
ETA: The backlash that he didn’t use “real models” is so god damned stale. The movement and energy brought to this presentation showed off the garments just fine, maybe even better than an average runway model could. I don’t see the cons people can pull to having them shown off this way. I know it’s because: the steppers are not skinny, white, and moving in a way that you think is acceptable for a runway show. Move on.
The temporal relays of modernity were played out in Alexander McQueen’s Spring–Summer 1999 collection that explored the relationship between the 19th century Arts and Crafts movement and what he called ‘the hard edge of technology of textiles’. Segueing between pre-industrial craft imagery and post-industrial urban alienation, the collection combined moulded leather body corsets with frothy white lace, punched wooden fan skirts and Regency striped silk.
The show was opened by the athlete and model Aimee Mullins in a pair of hand-carved prosthetic legs designed by McQueen (the model was born without shin bones and had her legs amputated below the knee at age of one), and closed by Shalom Harlow who revolved like a music-box doll on a turntable as her white dress was sprayed acid green and black by two menacing industrial paint sprayers which suddenly came to life on the catwalk.
Alexander McQueen, No. 13, Spring–Summer 1999
Fashion at the Edge: Spectacle, Modernity and Deathliness by Caroline Evans, Yale University Press
ALEXANDER MCQUEEN FW 1996
"The Final Frontier": Toni Garrn & Raquel Zimmermann by Steven Klein for Vogue US September 2013
Shalom Harlow amongst the neon shimmer @ Versace Spr/Sum 1995, my scan