No. 5
  • Armani Privé Spring/Summer 2019

    Written by Pari Damani

    Beauty Look ss2019

    On the notes of Bernardo Bertolucci’s The Conformist, in that world of beauty represented by Chinese lacquer and shrouded in the timeless perfection of craftsmanship, Giorgio Armani has taken the aesthetic of Art Deco as his inspiration and declared it in a collection with a lacquered effect.

    Linda Cantello interprets Armani Privé Spring Summer 2019 in make-up:
    “To complement a retro-inspired collection, graphic strokes of red, applied just under the eye in a painterly fashion, give a nod to the illustrations of Erté and accent the beaded cloche hats.”

    The models faces were prepared with Armani Prima Glow-On Moisturising Balm, ensuring the cream was absorbed before adding the foundation, Power Fabric, to create a pale porcelain skin. Then using Neo Nude A-Contour in shade #20 to the cheekbones to sculpt and define the face. Smooth Silk Lip Pencil, #8,  was used to draw a broken, straight line under the eyes. The eyelashes were curled before putting on Eyes To Kill mascara on top lashes only and to finish the look Linda Cantello used Ecstasy Shine Lipstick in #400.

    Giorgio Armani’s award-winning Power Fabric Foundation range adds two new skin perfecting products, while adding 8 new colors to the original liquid foundation. Two years since the debut the Power Fabric collection is expanding with: The Power Fabric High Coverage Foundation Balm and Power Fabric High Coverage Stretchable Concealer.

    Key to this sensorial formulation is the mineral perlite, which combines with soft, spherical powders to maintain a matte complexion on-the-go perfect for the urban nomad. The balm’s combination of waxes and oils, together with volatile oils, creates a soft, comfortable application, with a fine, non-greasy finish on the skin. The balm with it’s double transformation from balm to cream powder is composed of 12 velvet longwear shades. Dressing the skin and enhancing facial features, the Power Fabric line creates an effortlessly flawless complexion.

    The Power Fabric High Coverage Stretchable Concealer is a combination of blendable qualities of a foundation with the coverage of a concealer - has been formulated to hide every possible type of imperfection, from dark circles to redness to blemishes. Together with the foundation, these two new products create a complete long-wear, matte, high coverage look -yet still weightless and luminous finish. The concealers concentration of pigments provides high coverage while it’s formula releases oils over time.

    Perfect for those wanting a heavier coverage, who still want their skin to remain natural looking. And for those looking for an even heavier level of coverage, a liquid cream concealer that will effectively cover imperfections, such a rosacea, broken capillaries and scars” -Linda Cantello, Giorgio Armani International Make-Up Artist.

  • Chanel Spring-Summer 2019 Haute Couture

    Written by Meghan Scott

    The Grand Palais was transformed into a colossal Mediterranean garden,with a pool surrounded neatly by plant species indigenous to the aforementioned region. Karl Lagerfeld was inspired by the 18th century; marchands-merciers and the savoir-faire of the artisans of French Luxury. Flowers play an important role and are the heart of CHANEL’s Spring-Summer 2019 Haute Couture collection, they appear embroidered, painted, in lace, in feathers, in resin and also in ceramic, and even appear as hair jewels. ‘They explode in bouquets of pastel pink, prairie green and sky blue, and in games of black, white, beige, navy blue, iridescent gold and silver. “It’s a serene, ideal, timeless collection, that’s absolutely now, with new shapes”, says Karl Lagerfeld.’

    ‘Two silhouettes stand out, perched on strappy pumps revisiting an 18th century shoe. The first is long and slender: the head held high above wide boat necklines and supported by shoulders split with a hollow fold, both slightly rounded and pointed, highly graphic. Following the line of the body, lengths run to mid-calf. The second is more flowing with voluminous bell and corolla shapes, full skirts and the bust enveloped with straight or balloon sleeves.’

    With the refined looks such as shouldered jackets with boat necklines and skirts falling  calf-length, ‘wraparound skirts cut to the knee, the braid quite literally melts into the fabric: embroidered into the tweed, the lamé wool or the grain de poudre, it further amplifies the pure line of what Karl Lagerfeld is calling “the new CHANEL”.’

    Jackets are lengthened, others are collarless with a folded lapel, some belted high from a peplum, and ones with aged leather and some shorted like a spencer jacket, some adorned with feathers.

    Unique braiding highlights the graphic structure of the silhouettes on the dresses. , reverse pleats appear on the bust and on the hems of the dresses. Big bell skirts in matt satin are pulled to the waist opening like flower petals at the front and over the hips. A second colour appears as lining.


    On the dresses, reversed collars give the impression of a bolero. Here the braiding highlights the hyper graphic structure of the silhouette. The reversed pleat reappears on the bust and the hem of the dresses with big bell skirts in matt satin: pulled to the waist, opening like petals at the front or over the hips, they are lined with a second colour or with floral seedlings.

    ‘Other dresses in sequinned silk faille are adorned with a lateral train inversed and flounced in lace, raised to the waist. A big dress with a pink lace skirt painted by hand has balloon sleeves finished with flat bows and ruffles cut into the serrated edge of the lace. Another in hand-painted blue lace is embroidered with ribbons laid like stripes. A flounced godet lengthens a skirt worn with a peplum top. The skirt of a suit in crêpe lamé is embellished with a burst of torn tulle.’

    Each dress took up to 350 hours of work; flowers made from feathers, organ pleats are gathered thread by thread, hand-sewn lozenges of silk blouses are held in place by 650 beads and an entire sequinned suite in patterns inspired by the porcelain of the Manufacture de Vincennes are all incredible works of art. And a finally the finale look, à la Karl Lagerfeld where the bride breaks all the rules, an embroidered swimsuit and swimming hat under a silver sequinned white veil.

    Smokey eyes of petrol blue were complimented by a signature Chanel Red hue on matte skin with sky-high 18th-century style bouffants with a rock-n-roll edge dominated CHANEL'S couture runway this season.


    The CHANEL Spring-Summer 2019 Haute Couture show was applauded by the ambassadors Kristen Stewart, Pharrell Williams, Tilda Swinton, Marine Vacth, Anna Mouglalis, Alma Jodorowsky and Caroline de Maigret, as well as the director Sofia Coppola, the actresses Tessa Thompson, Marion Cotillard and Carole Bouquet and the singer Chris.’

  • photography LINDA ANDERSSON
    hair & makeup ANNIE ANKERVIK
    dress JANNIKA HAGFORS
    model YANINA / Slashtenmodels
    retouch ALDO FILIBERTO

    THE POETRY OF A BLACKBIRD

    Written by Ksenia Rundin

    Fashion photographer Linda Andersson and Beckmans’ designer student Jannica Hagfors have had a number of creative collaborations, resulted in a unique symphony of photography and fashion. Their recent project is not any exclusion, giving us an opportunity to follow the ephemeral language of fashion caught by the skillful camera lens. In order to satisfy the fashion curiosity of our readers, Odalisque Magazine has asked Jannica a couple of questions about her collection ‘Blackbirds’.

    Could you please say a couple of words about the product’s DNA, such as the idea, sources of inspiration and the message you send to the consumer?
    ‘Blackbirds’ is an interpretation of a poem with the same title, which a friend of mine has once written to me. It is about how to stay within your own layers in order to protect yourself against the surrounding world and how to exist within those layers by being your own self. By featuring the denuded back of a dress, I reveal a fragile part of the body and what is beneath.

    What do you think your collaboration with Linda has added to the collection, what we otherwise are not able to recognize in the garments, outside the photographic context?
    Our intention was to conceive a feeling of tranquility in the motion and add a poetry to the photographs. Something to reflect about and be able to lean back toward, while reading a poem and searching for serenity.

    Could you please tell how you have interpreted the aspect of sustainability in your collection?
    When I was working on the collection, my aim was to minimize the potential waste. So instead of turning the train around and shaping the pieces, I have chosen to make use of the entire fabric. The bottom part of the dress has a rectangular form and so do the most of the fragments. Such strategy resulted in a minimal waste during the cutting.

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