Hoy la palabra Haute Couture esta protegida por la ley en Francia, y sólo las casas de moda que la Cámara De Comercio de la Industria de París anuncié en su lista cada año puede utilizarlo. Para qué una casa de moda pueda utilizar el término Haute Couture Debe cumplir ciertas reglas: diseñar de forma personalizada para clientes privados, tener un taller en París con al menos 15 trabajadores y 20 técnicos de tiempo completo y presentar una colección de mínimo 50 diseños originales por temporada (enero y julio ) los criterios fueron creados en 1945 y actualizados en 1992. Las prendas presentadas de alta costura son diseñadas a la medida y confeccionadas a mano, con los mejores materiales, trabajados por los artesanos más talentosos. Nunca se crean más de 10 piezas del mismo diseño y cada prenda puede tomar más de 800 horas de producción. Las compradoras de alta costura suelen ser encumbradas mujeres de sociedad. No hay más de 4,000 compradoras de alta costura en el mundo concentrandose estas en el Medio Oriente, Rusia y China principalmente. A pesar de la escandez de materiales, Haute Couture siguió viviendo durante la guerra. En esta época, los diseñadores presentaban sus propuestas modeladas por muñecas, para reducir significativamente los costos. A pesar de que cada pieza de alta costura puede costar miles de euros, las casas de Haute Couture también fabrican colecciones Ready To Wear, que son las que normalmente les generan más ganancias. De hecho, a través de los años muchas cosas de moda se han retirado de la alta costura debido al costo que representa cada desfile. Uno de los principales escaparates de la alta costura son las alfombras rojas. En estos eventos el diseñador tiene que convencer e incluso pagarle a las celebridades para que usen sus costosas creaciones. La moda llega a México para ser vista desde una perspectiva audiovisual, gracias a Diane Pernet, bloggera y critica de moda, quien tuvo la idea de crear un festival defashion films, al que denominó A Shaded View on Fashion (ASVOFF), haciendo referencia al nombre de su blog. A seis años de su inicio en Paris, ha recorrido ciudades clave en el ámbito de la moda, como lo son New York, Milan,Barcelona, Tokyo, Roma, Londres y San Petersburgo y este año llega a nuestro pais con su primera edicion los dias 6, 7 y 8 de noviembre para conocer al mejor talento mexicano. Además dentro de este programa se abordaran temáticas referentes a la moda mexicana vista desde diferentes puntos de vista através de talleres, conferencias educativas y perfomance culturales. Stella McCartney. McCartney pushed and pulled and blew up and shrunk proportions. Coats were big and soft, with literal yarn details and tufts, worn over knit bodysuits; knit turtlenecks lay the foundation for many looks; tie-dye patterns covered over-sized v-neck sweaters worn like mini-dresses. This has been the season of big, slouchy sweaters and McCartney showed a ton. Hers were worn dresses with a giant extra sleeve pulled up and tied at the shoulder slacker chic never looked so good. Giambattista Valli. White, cream and pink whispered down the runways, often seem on a blown up digital rose print worked into stiff silk skirts and dresses with flared skirts. Givenchy. When Givenchy's Riccardo Tisci finds his inspiration, he sticks to it. Last season, it was the clash of two cultures this fall, it was metamorphosis at its most obvious and transformation at its most subtle. One thing is clear- the suits on Givenchy's runway were some of the best seen this season. Chloe. Claire Waight Keller is Paris' big romantic. Her Choé runways always read like a love letter to a softer, gentler way if dressing, to woman looking and feeling like women who are grown- up but young at heart. It was 10 years ago we last saw models on the cover of US Vogue magazine’s September issue. Now they’re back again with Joan Smalls, Cara Delevingne and Karlie Kloss fronting 2014′s weightiest edition of the year. Phographed by Mario Testino. In doing so, the mag is addressing the fact today’s models are becoming more like their supermodel predecessors of the 80s, making brand names for themselves and quickly gaining celebrity-like status, though this time of course largely through the use of social media. Vogue has accordingly coined them on the cover of this month’s issue as: “The Instagirls!” The most important cover of the year over the last two decades has typically been reserved for big name actors or music stars, like Nicole Kidman, Lady Gaga or Jennifer Lawrence, whose mass influence is bait for record numbers of ad sales and readership. However now models are reeling in a greater number of fans with engagement on Instagram, Facebook and Twitter that easily rivals, if not exceeds, that of many Hollywood names. Interview Magazine has similarly reacted, placing models Daria Werbowy, Amber Valletta and Naomi Campbell on three out of six covers for its September issue; Kate Upton stars on the cover of ELLE UK; Kendall Jenner onTeen Vogue; and Cara Delevingne on Vogue UK. Further proof of the models’ return lies in LOVE Magazine and Vogue Japan who have each tapped the original ‘Supers’ with Christy Turlington and then a joint cover featuring Claudia Schiffer, Stephanie Seymour, Linda Evangelista, Nadja Auermann and Naomi Campbell respectively. When it comes to the new crop of models and their increasing influence, the first name that comes to mind is Cara Delevingne, who boasts one of the most impressive followings of her peers with 6.5 million on Instagram and 1.8 million on Twitter. Delevingne has also landed for the first time on the recently released Forbes’ World’s Highest-Paid Models of 2014 list earning USD $3.5 million. She sits next to fellow newcomers on the list, including Jourdan Dunn (Instagram 751K; Twitter 182K ), Lindsey Wixson (Instagram 115K; Twitter 59K) andKate Upton (Instagram 1.26M; Twitter 1.52M). Forbes also predicted that model Kendall Jenner, who has a huge 12.7 million Instagram followers and 8.6 million on Twitter, won’t be far off next year’s list, especially if social media prowess continues to prove its worth. The large presence and personality each of these young stars has via their personal accounts is proving appealing to brands, who are realising the benefit both in reach and organic partnerships when it fits with their image. The latest iteration of this development sees models now posting branded content on their own personal social media accounts as an add-on to their contracts. Candice Swanepoel told W Magazine that was the case with her role for Victoria’s Secret, where she’s both a model and ambassador. This signals a complementary shift by brands away from models being indistinguishable, face-less girls, back towards a face and body that fits the model mold but with the personality and idiosyncrasies of today’s celebrity and yesterday’s supermodel. The Cara, Karlie, Kendall and Kate’s are here and they’ve got #somethingtosayaboutit. Brands take note. |
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