Photos: Pirelli / FotoNostrum Barcelona
Feminine beauty has undergone a historical change in its conception and representation over time, and especially in the last half century. If we talk about beauty portrayed, the famous Pirelli calendar has become a tangible reflection of this transformation, being an everyday object that has played an important role in the representation of women in the world of fashion and photography.
Known for its iconic and sensual images that decorated mechanical workshops, garages and truck cabins in its early days, the Pirelli calendar has evolved over time to reflect social and cultural changes in the perception of femininity and the empowerment of women. . Now, the FotoNostrum gallery in Barcelona exposes this evolution by presenting the largest retrospective ever held of the iconic almanac of the renowned tyre company.
Beauty narrated by the best photographers
Under the title of ‘ L’Eterna Bellezza ‘, the exhibition exhibits more than 450 snapshots captured by 41 masters of fashion photography, who have contributed to making the Pirelli Calendar a legend in the world of photographic art. Masters like Peter Lindbergh, Annie Leibovitz, Helmut Newton, Herb Ritts , Paolo Roversi , Mario Testino , Steve McCurry, Bruce Weber, Patrick Demarchelier and Richard Avedon , among others, have portrayed over the years the sensuality of women, including models such as Gisele Bündchen , Naomi Campbell, Cindy Crawford, Gigi Hadid and Kate Moss; actresses like Monica Bellucci, Sofia Loren, Laetitia Casta, Jessica Chastain , Penélope Cruz, Uma Thurman , Kate Winslet , and Robin Wright, and singers like Cher, Rosalía, and Patti Smith.
Beyond the sensuality that becomes evident in some cases through the nakedness of the body, what draws attention in the exhibition is the change in gaze. In this sense, ‘ L’Eterna Bellezza ‘, protected by Amadeo M. Turello , Italian curator and preserver of the Pirelli Collection since 2015, has not wanted to ignore all the stages of the Pirelli calendar, from its beginnings in 1964 to 2022, through images that show everything from nudes where the The models’ bodies are presented explicitly as an advertising claim, as well as other more evocative images with messages of vindication of feminine power, which go beyond mere eroticism.
The images shown not only reveal the poetics of individual authors on the female body, they also constitute a reflection of society, aesthetics and the arts in the last 60 years. Thus, the exhibition reflects how the photographic language has evolved over time, highlighting other aspects such as fashion and pop culture of each era.
From object to subject
The Pirelli calendar was first launched in 1964 and has become a symbol of beauty, style and elegance. A leading photographer on the London scene, Robert Freeman, who was a personal friend of The Beatles, was commissioned to create a “beautiful calendar” and had complete creative freedom to do so. This talented photographer selected representative models of the time and took them to the beaches of Mallorca for a cheerful and informal shoot that captured the essence of that moment marked by an emerging counterculture and the sexual revolution.
At that time, calendars with images of women already existed and were used as a marketing tool in the automotive industry. Pirelli wanted to give his celebrated almanac a more sophisticated image and, in his quest for good taste, partnered early on with leading photographers of each era to provide their artistic vision of female beauty. The first calendars caused a sensation, but despite the change, they still reflected old stereotypes: women in pin-up poses displayed their bodies as objects of desire.
As time progressed, Pirelli changed its approach and adapted to the new changes, celebrating values such as diversity, talent, individualism and authenticity to portray a beauty that goes beyond the purely aesthetic and focuses on the personality and the way of being of the woman. In the 21st century, the Pirelli calendar has challenged traditional beauty canons and has captured the essence of successful women in various fields, such as music, cinema, fashion, sports and activism, promoting a more inclusive and empowered vision. of women in society.
The woman also as creator
Women are the absolute protagonists in the history of the Pirelli calendar, but they have not always been in the spotlight. The tyre brand has highlighted the role of women as creators and protagonists in the world of fashion and photography, providing a platform for female photographers to express their artistic vision and talent. This has been demonstrated by photographers such as Sarah Moon, Joyce Tenneson and Annie Leibovitz, who has worked twice for Pirelli.
The latest signing for the creation of the famous calendar has been Emma Summerton , who has been inspired by the classic figure of the muse to vindicate the role of women as creators. For the Australian photographer, the conception of beauty transcends faces and bodies, and has given the models participating in the calendar, such as Bella Hadid, Cara Delevingne or Ashley Graham, an artistic role linked to the power they represent in life real. Thus, in a dreamlike setting with a great charge of fantasy and ornamental precision, the ” Summerton muses ” are presented as authentic warriors, queens, activists or writers in the 2023 edition of the Pirelli calendar.
Precisely, some of these fresh new images can also be seen in the retrospective of the Pirelli calendar, which will be open to the public until the 30th July at the FotoNostrum gallery in Barcelona.
Diversity and inclusion. These are the values that the 080 Barcelona Fashion platform wanted to highlight in their latest edition held at the Sant Pau Art Nouveau Site. And it has done so in an obvious way, reinforcing in the casting of models, a wide variety of bodies that do not understand morphologies, sizes, functionalities, ages or skins that show all their richness of colour and textures. If fashion is a reflection of society, diversity is on the order of the day, it is visibly appreciated on the street and cannot be treated as an exception. For this reason, the Catalan catwalk has also encouraged designers and brands to exercise the power to favour this real change and, at the same time, to take charge of the different challenges of a changing and diverse society.
In this direction, the Catalan catwalk has taken a step further by hosting the first inclusive fashion show in Spain, through the Free Form Style brand. A government awareness initiative on body neutrality and functional diversity that is part of an action plan to combat aesthetic pressure. Founded in 2019 by Marina Vergés and Carolina Asensio, Free Form Style is positioned as a brave brand that is committed to comfort without sacrificing elegance. It is also a pioneer in designing fashion adapted to people with different disabilities with the premise of dignifying all types of bodies because fashion gives that power of dreaming and helps to promote the self-esteem of all groups.
Gratacós collaborated in the inclusive fashion show
In its debut at 080, Free Form Style teamed up with Manuel Bolaño, who was in charge of creating all the designs for the 16 models that walked the runway, including Paralympic athletes Desirée Vila and Sarai Gascón. In this first collection, Bolaño carefully studied the patterns and adapted them to the specific needs of each person, taking into account physical diversity and possible difficulties in dressing: strategically placed side zips, surprising openings to avoid uncomfortable rubbing or small details that facilitate the action of putting on and taking off a piece of clothing.
Gratacós also contributed its grain of sand in this awareness action and gave all the fabrics to the brand and the designer, so that they could devise the collection, giving free rein to creativity to transform the fabrics into surprising designs. On the catwalk there were spectacular Jacquards with checks in vibrant tones, houndstooth motifs, lace, embroidery and transparencies that gave sensuality and also sequins to provide that point of light that adds showiness. All of these fabrics were showcased in the debut collection ‘Just a perfect day’. A proposal that follows the principles of English tailoring and is influenced by the punk and new romantic movements, creating functional and comfortable pieces to dress diversity, but without forgetting fantasy because as Free Form Style defends, “having a disability does not mean not being able to be fashionable”.
A special showcase
To give this action more visibility and promote the designs exhibited on the 080 catwalk, this month of May Gratacós has dedicated the showcase of our space in Barcelona to inclusive fashion. Thus, our mannequins will be dressed in some models from the debut collection that Manuel Bolaño has made with people with functional diversity in mind. We encourage you to visit our space and take a closer look at these designs that combine comfort with fantasy.
Sorry, this entry is only available in European Spanish.
Paco Rabanne was one of the great fashion visionaries of the twentieth century. Innovative, experimental, eccentric, and challenging, there were no limits to the needle for the Spanish designer. The conventional simply did not apply to him. Rabanne made a great career as a dressmaker and creator of iconic perfumes that are still a sales success today. Of all his unique legacy, there is one thing that makes it truly remarkable and that we want to highlight: his futuristic vision of fashion and his ability to use innovative materials in his creations. This disciple of Balenciaga was able to transform metal, plastic, and mesh into fabric, creating groundbreaking designs that spoke of art, pop culture, and architecture. Let’s review some of his great milestones.
Architecture marks the start
Paco Rabanne was born in 1934 in the Basque Country. The son of a Republican general and a dressmaker, he worked as a seamster for Cristóbal Balenciaga. As a child, he grew up among fabrics but had a complicated childhood. His father was shot during the civil war, and he left for France as a child. He studied architecture in Paris and started work there, first as an accessories designer for Dior, Saint-Laurent, and Pierre Cardin, and then in couture. “Fashion is architecture: it is a matter of proportions,” he used to say to justify the influence of these two disciplines that would forever be part of his designs. Rabanne liked to remember that his first vocation had been architecture.
In the 60s, Paco Rabanne began experimenting and using unconventional materials in the creation of his futuristic clothing. This investigation period coincided with a moment of transition in fashion: haute couture gave way to the advance of Pret à Porter, with a rejuvenation of the industry and a release of expressive language. At that time of change, his first dresses, created in plastic and feathers, stood out at the Paris Biennial. However, it was not until 1965 when he presented his first collection. He called it Manifest, and it consisted of “12 impossible dresses in contemporary materials”: plastic skirts, metallic dresses with meshes such as those used by butchers, and jackets with surprising textures. A year later, he founded with other contemporary artists the Groupe Verseau, and in 1967 he opened his own company in Paris. In 1968, he teamed up with Puig, and they launched their first fragrance a year later, Calandre. That was the beginning of a fruitful alliance that gave rise to a line of perfumes that remains one of the most popular worldwide.
A maestro in the art of creating new fabrics
Paco Rabanne Paco Rabanne revolutionized the world of tissues by seeking an alternative to the conventional. His objective was to create textiles that were resistant, durable and at the same time surprising in their aesthetics. His collaboration with material manufacturers allowed him to explore new fabrics that had not been used in fashion before, such as stainless steel and fibre-glass. In this way he created fabrics that adapted perfectly to his experimental designs.
His work was characterized by the use of metals and other industrial materials in the garments, to the point that Coco Chanel called him the “fashion metallurgical.” One of the most iconic fabrics created by Paco Rabanne was “12 units.” This fabric was made of small metal discs linked to one another with small rings. One of Paco Rabanne’s most iconic creations was the silver dress used by actress Audrey Hepburn in the movie “Two on the road” (1967). This garment, which was made of small metal rings, became a fashion icon and was considered one of the most relevant garments of the decade. The dress not only showed Rabanne’s futuristic vision, but also his ability to create unique fabrics as never before.
In the 70s, at the height of his professional career, Paco Rabanne created together with the material manufacturer Dupont the “ultraviolet” fabric, a material made of polyester thread that reflected the light in a surprising way and was used in several fashion collections. The designer also continued working in parallel with unconventional materials, such as plastic, paper and fibre-glass.
Every designer has his own muses and Rabanne was no exception. His futuristic creations dressed actress Françoise Hardy, who lent her image to embody the designer’s fantasies. The “Hardy dress” was a straight-cut piece with long sleeves featuring a thousand gold plates, with ten diamonds and weighing nine kilos. His talent also crossed the catwalks in seventh art seduction. Rabanne was behind the costume of some of the most emblematic films in history such as ‘Barbarella (1968), starring Jane Fonda, where the designer imagined the garments which would immortalize the heroine of the future. Audrey Hepburn, Norma Duval, Christina Piaget and Carla Bruni also lent their image to the designer.
Paco Rabanne knew how to take his creativity (and eccentricity ) to all areas of fashion by diversifying his product, but without abandoning innovation. This was the real key to his personal success. The designer continued presenting collections until 1999 within the Puig conglomerate, which bought his brand, then looked after the collections and the series of perfumes with world-wide sales. He died last February at the age of 88, but the Paco Rabanne brand continued its creator’s visionary legacy, based particularly on his transformative and experimental vocation for always finding a way to surprise those wearing his garments, because in the end, as he himself said: “Fashion is a form of art, an expression of one’s inner self.”
A new edition of the Moritz Feed Dog is back. The contest dedicated to documentary film about fashion that takes place every year in Barcelona and this time, recovers its usual date welcoming spring with a new assortment of novelties in its programming. This festival is special for several reasons. Firstly, because it explores the universe of fashion in all its facets, giving a transversal vision of the sector: the positive values that it promotes, such as beauty, talent, identity or fun, among others, with those who are less friendly than they obscure the fashion industry and question its impact. This year the critical look focuses on essential values such as diversity, honesty, sustainability and animal abuse. Second, the Moritz Feed Dog specializes in documentary, a narrative genre that allows genuine stories to be told based on real events and that appeal directly to the viewer, expanding their mind towards a voracious industry that can be talented and creative, but also ambitious, irresponsible and cruel. The contradictions of fashion that are still a mirror of our society. For all this, the festival constitutes an idyllic environment where views are expanded, opinions are generated and debate around the fashion business is encouraged.
In this seventh edition that will take place from 22nd – 27th March at the Aribau cinemas in Barcelona, the Moritz Feed Dog has prepared a particularly careful programming: premieres, classic documentaries and films loaded with content with genuine stories. Also add that in the digital sphere, the fashion documentary film festival has partnered with CaixaForum +, the streaming platform of culture and science of the La Caixa Foundation that will issue various films free of charge in April, after Easter.
A memory to the designers who are no longer here
The seventh edition of the Moritz Feed Dog Barcelona kicks off with a retrospective of one of the greats: Azzedine Alaïa (1935-2017). The Franco-Tunisian couturier was known as the sculptor of fashion because he was capable of modeling human figures, using all kinds of fabrics. Alaïa was an outsider who broke the system with the help of his talent, his group of unconditional supporters and his devoted gaze towards women. Paris loved him, fashion loved him and women continue to dress him. Clients as diverse as Greta Garbo and Grace Jones, Kim Kardashian and Michelle Obama continue to be loyal fans of Alaïa . This documentary offers an exciting portrait of the life of the couturier. An outstanding piece by director Olivier Nicklaus to whom the festival pays tribute by exhibiting a selection of his most representative works: “ AntiFashion ”, “ Apocalypse Mode ” and “ Go Global”.
The Moritz Feed Dog commemorates the talent and unique personality of Vivienne Westwood , the queen of punk, with two titles that span her career as a designer and activist from its beginnings to her most recent work. The festival also recovers the figure of Gianni Versace offering a new vision of his career. This time, it is the male models who walked the runway for the firm in the eighties, who recall their professional and personal relationship with the designer. Finally, a documentary made and produced in Barcelona stands out, which rescues the multidisciplinary creativity of Toni Miró , one of the key designers in the history of contemporary Spanish fashion. Through his television interventions, the personality of this enigmatic Catalan talent is portrayed who walked the international catwalks in Paris and Milan, and was one of the first couturiers to incorporate anonymous people of all ages into his shows. Rigor, neatness and ease were the hallmarks of his brand, created in 1976.
The prism of fashion
Although everything revolves around the fashion industry, you don’t have to be an expert in the field to view the documentaries proposed by the Moritz Feed festival Dog. In its programming, suitable for all audiences, audiovisual pieces that offer a multidisciplinary vision through more personal perspectives and differentiated themes also stand out. From the transformation of men’s fashion and its relationship with men in “ All Man: The International Male Story ”, to an intimate piece that portrays the beauty universe of photographer Gian Paolo Barbieri in “ L’Uomo e la Belleza”, or a work has also been programmed that transmits the day-to-day life of the fauna that surrounds the sector, either in a backstage as immortalized by “Fashion Babylon ” or the not so idyllic life of an influencer teenager in “ Girl gang ”.
The other side of the industry
Fashion has its own shadows and the Moritz Feed festival Dog reveals them shamelessly. “Fashion Reimagined ” represents a manifesto on the sector’s impact on the environment through a small cult London firm: Mother of Pearl. In “ Wings are not for sale” the object of criticism is the fast fashion from the point of view of sociologists, activists and workers from the industry itself. The hottest topics are also reflected in “ Apocalypse Mode ” by Olivier Nicklaus , but this time, the subjects of these opinions are different generations of designers such as Agnès B, Marine Serre, Karl Lagerfeld or Alessandro Michele. Lastly, “ Slay ” brings to the table a thorny issue: animal abuse in a denunciation documentary that shows raw stories of abuse around the world. This audiovisual piece, which shows the dust under the rug, stirs consciences to demand a greater commitment from brands to animal welfare.
Moritz Feed Dog festival tickets can be found here . Make room in your schedule.
Sorry, this entry is only available in European Spanish.
Fashion is cyclical, we know it. And its renewal cycles are articulated around two decades to seduce the new generations. After rescuing the Y2K style, the aesthetic of dubious taste from the beginning of the century, which has so hooked Generation Z that it continues to experiment with colourful garments worn by leaders such as Britney Spears, Paris Hilton or Christina Aguilera, now fashion takes a 360 degree turn and bets on its dark reverse: the gothic. Tim Burton already ventured it with his successful Netflix series ‘Wednesday’, that the little girl from the Addams family was going to be the tip of the iceberg of a new dark movement that has especially seduced fashion. And not only in winter, where black is a common colour for each season. This same summer the reign of darkness begins and on the red carpets it has already been evidenced. This is how the catwalks have spoken.
Fashion surrenders the dark side
New York has just confirmed that the gothic style is back in fashion, it will establish itself as a trend in the next two years, and soon it will nestle in our closet. This was made very clear by the Rodarte firm, which left its usual colourful looks, but not its romantic side, to explore the dark side of its firm. Her sensual proposal, inspired by witches for the coming winter, was made up of more than 60 looks, where the colour black was the protagonist, with sumptuous fabrics such as velvet with others that reveal the body, without finishing showing it like tulle. or the lace.
In fact, black was also the leading colour in the shows and presentations of most of the New York Fashion Week collections. This was demonstrated from the first day by Christian Siriano with sophisticated party dresses to tailoring pieces, or the New York brand Proenza Schouler where other types of garments such as leather jackets and skirts were seen.
For this spring-summer 2023 season, brands such as Prada, Paco Rabanne, Yves Saint Laurent and Dior, with a commitment to renaissance, have also embraced the gothic as one of the winning styles. Already at the end of 2022, they made their intentions clear by gradually introducing some accessories in their previous collections such as chokers, fishnet stockings, infinite platforms, transparencies, lace and corsets. Now they are no longer hiding and have made the official deployment.
One trend, three different styles
Gothic aesthetics is presented in public following three different styles. In the first place, there are the designers who rescue all the most romantic aspects. They are the ones who bet on giving a glamorous point to the current and raise aesthetic concepts typical of the Victorian era, they are inspired by the stories of Edgar Allan Poe, the characters of Tim Burton and the clothing of movie vampires. To do this, they team up with sumptuous opaque fabrics such as velvet that combine with other lace details and transparent lingerie. Long dresses with defined waists, marked necklines and shoulders, a prominent neckline and strategic volumes define this gothic chic style. Donatella Versace’s latest collection of bridal gowns called Dark Gothic Goddess, and which Jenna Ortega has worn on several occasions, would be an example of this aesthetic that portrays dark, rebellious, strong women and a bit of a diva.
At the opposite end of the elegant gothic, there is another more trashy and alternative style, inspired by apocalyptic universes that maintain a pessimistic look towards the future of humanity. It is an urban aesthetic that draws from cyberpunk and also from the techno clubs of the late nineties in Germany as a new counterculture scene. Neoprene outfits, harnesses, opaque sunglasses, geometric designs, military boots, leather and patent leather are part of this more underground gothic aesthetic.
Lastly, the dark academy style also triumphs, giving a twist to the college or university aesthetic inspired by class uniforms, but in its darkest aspect. Tim Burton’s new adaptation of the character of Wednesday Addams is responsible for this style within the gothic current that is committed to a style that has nothing to do with ‘Harry Potter’ or ‘Dead Poets Club’: striped uniform, shades of purple, grey, brown or black, a pleated mid-calf skirt and Oxford-style lace-up shoes with platforms. Stripes, two-tone checkerboard patterns or polka dots are also paired with oversized sweaters and modest straight-cut dresses.
At Gratacós we bring to light our own darkness in seasonal fabrics that will turn you into an enigmatic lady of the night. Now also, during the day.
Egypt is once again in the spotlight of fashion. The celebration of the 100th anniversary of the discovery of the tomb of Tutankhamen and the awaited opening of the Grand Egyptian Museum scheduled for 2023, which hides the greatest treasures of the pharaohs in front of the pyramids of Giza, have positioned it as a desired destination that seduces by its thousand-year-old patrimonial legacy, its latest cultural offerings and some proposals for authentic luxury accommodation that revalue it on the international map.
The awakening of an icon
The enigmas of Ancient Egypt continue to fascinate the population and its power of attraction could not go unnoticed in the world of fashion. Connecting with the present, November 2022 marked the centenary of the discovery of the tomb of the young pharaoh in the Valley of the Kings. After a surprising discovery of a tomb with intact seals, Tutankhamen woke up from a slumber of more than 3,000 years and revealed unimaginable riches that helped to further understand the majesty of the reign of the pharaohs.
This discovery in 1922 came at a very opportune moment in history, after the First World War at a time of economic boom, and it quickly became a real sensation for several reasons. To begin with, it was a well-preserved royal mummy, which by its size was that of a child who had ascended the throne at a very young age. Unimaginable treasures were found next to the grave, such as the golden coffin and the famous funerary mask of Tutankhamen, which represents ancient Egypt like no other symbol in the popular imagination. A world icon oblivious to the passage of time.
The influence on the fashion of the 20s
Tutankhamen marked style leaving his mark on the fashion of the Roaring 20s. One of the treasures found in the tomb was the most complete and best preserved collection of clothing that has survived from Ancient Egypt. It included tunics, skirts, hats, children’s gloves and sandals in paper, rattan and leather. Anecdotally, these last two accessories were made contemporary replicas in the United States that sold out in department stores within a few weeks of being reproduced. Egyptian-inspired designs were also all the rage at the time, copying fitted silhouettes, straight and narrow dresses or the characteristic draping that hugged the hips and fell in the front. Before the discovery, the Egyptian style was an intermittent trend, like others that were rescued from the end of the 19th century such as Oriental inspiration or Edwardian fashion during the first decade of the 20th century. Garments and accessories with related motifs such as lotus flowers, hieroglyphics or pharaohs had already been used on their carriages on occasions, but they were not as direct or explicit inspirations as those that emerged from the designs from Tutankhamun’s tomb.
Other aspects that influenced the fashion of the 20s was the colour palette associated with the treasures of the young pharaoh. The red and brown tones of the papyri and mummies, the blue lapis lazuli in Egyptian divinities that contrasted with the powerful gold as a symbol of light or the white of the clothing. Also the fabrics: natural linens and cottons with little opacity in draped silhouettes that contrasted with the ornamental elements. In fact, the jewelry industry surrendered at the feet of Tutankhamen reproducing multiple bracelets, rings and necklaces worked in crystals and semi-precious stones. There was also no lack of ornamental elements that made reference to Ancient Egypt such as birds, beetles or the solar disk that represented the divinity Ra. The geometric motifs and the tendency to wear two or more bracelets on the same arm also arose from seeing the treasures of the child pharaoh exposed. The pioneers in this type of design were Lacloche, Van Cleef & Arpels and Cartier.
The Western world was already fascinated by Egypt long before the discovery of Tutankhamen’s tomb: Verdi’s opera ‘Aida’, Tiffany’s Cleopatra-inspired jewellry or the costumes of the dancer Mata Hari, who found her inspiration on a trip made o the country of the pyramids, are two good examples of this attraction.
A new rise
The fever for Ancient Egypt has not ceased in fashion and its presence has been intermittent over the last 50 years. For example, in the 1960s, Egypt mania returned to fashion with Elizabeth Taylor’s portrayal of the powerful Cleopatra. Her beauty, makeup and wardrobe were (and still are) an inspiration for many fashion designers and editorials. Or in the 1970s, a new traveling exhibition of Tutankhamen’s treasures received eight million viewers who were once again interested in the enigmas of Egypt. Various marketing objects were also exploited in the United States: jewelry, household products or small fashion accessories.
Ancient Egypt on the catwalk
The historic civilization has also fascinated the designers of luxury firms who have found in its iconography a constant source of inspiration. From John Galliano in 1997 with a mixture of Egypt with punk aesthetics to the elegance of Karl Lagerfeld for Chanel in 2019, the catwalks have celebrated the splendor of Ancient Egypt with models that rescue the beauty of the female figure and the lavishness of the empire of the pharaohs. Golden fabrics, inlaid precious stones, flowing dresses, muslins, tunics, ethereal capes, embroidered hieroglyphics… each firm has interpreted this suggestive universe over the last few years.
Among all the tributes that have been paid, the one paid by John Galliano when he was in charge of the artistic direction of Dior stands out. The haute couture collection for the spring of 2004 was presented in a show as grand as few can remember. On the catwalk there was no shortage of the most symbolic gods of the Egyptian pantheon, the Tutankhamen mask, the silhouette of the sphinx, fabrics that wrap around the body like a mummy and models inspired by Cleopatra herself. In this unusual collection there was no shortage of excessive volumes , dresses with exaggerated proportions, skirts with a pyramid silhouette, the golden colour, endless organzas and extreme attention to detail that earned it the title of Haute Couture. He also did his own interpretation of this fascinating Alexander McQueen universe in 2007 that focused more on investigating the relationship of Ancient Egyptian religion with the folk culture of British immigrants. In a more moderate way, the designers Bagley Mischka and Zuhair Murad have also been inspired. Also Givenchy in 2016, Balmain and Chanel. Karl Lagerfeld chose the temple of Dendur as the setting to create his own version of Egypt in the pre-fall 2019 collection.
The last proposal that has been exhibited with clear references to Egyptian culture has been just a month ago. Kim Jones , artistic director of Dior Men, traveled to the Giza pyramids on site to present the autumn collection, evoking the colours of the monuments and looking up at the sky to link it with the stars, a common symbol in the historical French firm. A splendid proposal that represents the past, the present and the future of Dior.
Pic: La Pointe. Resort 2023
A little over a month ago, Pantone announced the color that will guide fashion and design this 2023: the vibrant pinkish red Viva Magenta. As we continue to explore the virtues of this enigmatic shade, we bring you another one that will influence upcoming collections, according to experts such as the leading consumer trend forecasting agency: WGSN. We already warned you: it is less strident and just as balsamic. The wave of dopamine tones that worked so well after the pandemic and that the industry had been demanding seems to be starting to wane.
Foto: Kaoa Oficial
An intermediate tonality that brightens from discretion
The color that WGSN has selected in collaboration with Coloro, as the shade of the year 2024 is commercially called Apricot Crush – A calm peach color with hints of sweetness, which falls somewhere in the middle as it moves away from soft, bland pastels for a more invigorating tone that maintains the commerciality.” Apricot Crush signifies the importance of nurturing the mind and body,” said Clare Smith, WGSN Color Strategist. And she added: “It is the perfect tone for a world that seeks calm and optimism. It also provides a needed boost as consumers continue to deal with a host of emotions and uncertainty about the future.” so, apricot Crush evokes a positive attitude in the face of circumstances and connects with other values of vital importance in the present such as care, connection and community. This “crush” for the peach also evokes the nutritional properties of oranges and apricots, rich in vitamins and antioxidants. We could say that it is a tonality that prevents and cures, at the same time that it makes you happy and entertains from subtlety.
Apricot Crush the perfect tone for a world that seeks calm and optimism.
From home to technology
Apricot Crush is a versatile and gender-neutral shade, making it a wild card that goes with just about anything. “This colour works across all seasons, genders, market levels, and product categories,” said Sara Maggioni , WGSN’s head of women’s fashion. At home, for example, it brings a warm light to each room, both inside and outside. Its soft, sun-aged character blends easily with neutrals and is suitable for home textiles, glass, and bath and bedroom products. Its fresh character also connects with cheerful and carefree natural beauty products, fragrances, skin care products and hair colors. In general, its restorative properties will be relevant for health and wellness-oriented consumer technology products.
This orange tone stands out for its gender flexibility and its trans seasonality.
Pic: Acuamona
Apricot Crush on the catwalk
In fashion, Apricot Crush is even more of a chameleon. The 2024 shade conquers ready – to- wear with clothing designed for everyday use and suitable for any occasion. It is also present in knitwear, coats and sportswear: from technical pieces to any complement and accessory.
Apricot Crush has also begun to be seen in the spring/summer 2023 collections of the big fashion brands, which repeat the colour for next winter. At Gratacós we are devising the 2024 and 2025 collections, and we can tell you that you will also see touches of Apricot Crush more or less evident. We are advancing some fabrics for the next season so that you do not miss the latest news in the most fashionable shade of orange of the moment.
All photos: Facebook Vivienne Westwood
2022 ended with the farewell to one of the emblems of 20th century British design. Provocative, revolutionary, creative and political activist, Vivienne Westwood was a lawless idealist who forever transformed UK fashion. Her revolution was to make visible her aversion to corruption and injustice in the world, as well as to denounce the passivity of youth through clothing. Westwood gave birth to the punk movement in fashion, but also took couture by storm in the ’80s and ’90s; and built a global empire with stores all over the world, a priori antagonistic concepts (capitalism/anarchism) for a transgressor of the needle, but for Westwood there were no limits or labels. Fashion was a weapon and its objective was clear from the beginning: to change the rules of the game, destroy conventions and make the world more just and equal.
The renowned fashion designer died on December 29th at the age of 81 surrounded by her family in Clapham, South London. In a statement from the brand, they assured that Vivienne Westwood “continued to the end with her subversive design, her artistic activities and her activism, to change the world.” Her husband and creative partner Andreas Kronthaler said of the designer: “I will continue to hold Vivienne in my heart. We have been working to the end and she has given me many things to keep going.” Her legacy lives on.
As a child she showed proise
Vivienne Isabel Swire was born in 1941 in the town of Tintwhistle, near Manchester. Her working-class parents encouraged her to do crafts, a skill little Vivienne was extraordinarily good at. She also liked to read a lot and spent long afternoons in the library. As a child she had an enviable self-confidence, believing herself to be an exceptional craftswoman. “Honestly at the age of 5 I could have made a pair of shoes,” the designer said in an interview. Her family moved to North London in 1958. Despite her abilities, the young Vivienne graduated as a primary school teacher, then married Derek Westwood, a young blue-collar worker with a flamboyant mod aesthetic. The first creation, without knowing how to sew, was her own wedding dress, as well as the jewelry she wore.
The influence of Malcolm McLaren
Meeting Malcolm McLaren then changed the peaceful life of Vivienne Westwood. He studied art and shared a class with one of Vivienne’s brothers, he had curly red hair and a face bleached with talcum powder. He called himself the godfather of punk. With an eccentric appearance, McLaren impressed with his creativity and brilliance, at the same time that he offended the older generations and hated everyone, except himself. The attraction to Vivienne was immediate and together they began one of the great creative partnerships in recent UK history. For the young designer, McLaren was an awakening for her: introducing her to art, music, and the transformative power of fashion.
Fashion and punk
In 1970, McLaren became the manager of The Sex Pistols, a group that defined the punk movement. At that time, Westwood had learned the trade in a self-taught way and opened a store on Kings Road in London inspired by the aesthetics of the group. She called it a subversive name: ‘Sex’ with a huge pink sign alerting passers-by: “only the brave enter”. Inside, everything was shocking. The serving staff and the clothing on display were designed to explore the individualism and identity of the wearer. Clothes with studs, chains, zippers, tight leather garments, impossible heels, T-shirts with subversive messages… Everything was designed to shock. “We invented punk,” Westwood stated in her autobiography. In fact, the presence of Vivienne and McLaren was inherently intimidating. They wanted to impress, irritate and provoke a reaction, but also inspire change. Punk was still an explosion in all its magnitude.
McLaren later acknowledged that he was willing to misrepresent popular culture to reduce it into some kind of marketing campaign, but for Westwood, the move ran deeper because she saw it as a youth insurgency against the corruption of the old world order. The British designer believed that fashion and music would channel the anger of young people and bring about change, but later realized that many of them simply ignored global injustice, and with their nose studs and punk rock music the only thing that they did was dance and have a good time.
The jump to the big catwalks
Punk was just one chapter in the legacy that Westwood leaves behind in fashion. The designer took her subversive ideas and stormed the catwalks in London and Paris. Vivienne worked at first alone with a sewing machine at home and used the moulage technique, joining the pieces together and using her own body as a template. She researched the history of fashion, remade it in her own way, and challenged the world of haute couture. An alliance with the generation of supermodels: Kate Moss, Naomi Campbell, Laetita Casta… showing her designs also helped her to position herself and become the leading independent designer in the 1980s and 1990s. The key to Vivienne Westwood’s success was that of not losing her orthodox identity when she moved into the world of fashion shows and ready-to-wear collections with abruptly cut garments, games of semiotics, decontextualized objects, draping… Precisely her subversive style and her transgressive image (her hair was either bleached or dyed orange and extreme makeup), made her one of the most distinctive and original designers in the fashion world. In the early 1990s, Vivienne Westwood built a mini-empire: she opened her own boutiques and produced clothing, footwear, accessories, cosmetics, and perfumes. Even bridal fashion! When Carrie Bradshaw’s character in the mythical series ‘Sex and the City’ wanted a wedding dress, she turned to the famous designer, who by the late 90s had already become a major bridal brand.
The more committed side
For Vivienne Westwood, fashion was a weapon and the message an inseparable part of her aesthetic heritage. Everything had a purpose. The British designer loathed the political class and launched a lifelong crusade to promote individual freedom, rid the world of nuclear weapons and combat the threat of climate change. “Buy less, choose better and make it last” is one of the lessons that still survives in times of climate emergency.
“I don’t want to be underground ,” she used to protest, defending that she wanted to be out of the spotlight to spread her message. She supported numerous causes, donating to the Green Party and becoming a regular visitor to WikiLeaks founder Julian Assange. She even parked a white tank outside the home of former Prime Minister David Cameron at an anti-fracking protest.
Vivienne Westwood was also honoured by Queen Elizabeth II. The late monarch presented her with the Order of the British Empire in 1992 and the designer appeared without underwear. Her Majesty was not amused by this rebellious gesture, but on her own merits she agreed to name her Dame a few years later. And this is how Lady Westwood, godmother of punk, defended to the last breath, her transgressive ideas applied inside and outside of fashion, but above all, maintaining a coherent attitude towards life by questioning, in her own way, the world order and the rules. of the game.
At Gratacós, we pay homage to Vivienne Westwood with a selection of our most irreverent fabrics. You can find them in our online store or in the Barcelona space.
