Visíveis Virtudes leva você às compras em Londres

Visíveis Virtudes passa a oferecer a partir de hoje um serviço exclusivo, inovador e especialmente dedicado àquelas pessoas que vem do Brasil para Londres e querem aproveitar o que de melhor a capital inglesa tem a oferecer em termos de moda e estilo.

Se você tem passagem marcada e planeja comprar roupas e acessórios nas famosas lojas e boutiques inglesas, o nosso servico de personal fashion styling é exatamente o que você precisa para extrair o que de melhor o comércio da cidade que mais dita tendências no mundo tem a oferecer.

Entre em contato para descobrir como agendar os serviços de uma personal stylist com formação na London College of Fashion que irá lhe acompanhar às compras, selecionar peças e acessórios que são de cor e características ideais ao seu tipo de corpo e estilo de vida, que expressam sua personalidade e cabem no seu orçamento. Alem é claro de dicas fundamentais de estilo.

Tenho experiência de uma década morando na capital conhecida por seus desfiles avant garde; estudando a fundo a história da moda na cidade que deu ao mundo nomes como Alexandre McQueen e Vivienne Westwood; e trabalhando na loja que veste anônimos e celebridades e que mais influencia o estilo na High Street. Além de ter passado pelos bancos de algumas das mais incríveis instituições de ensino de moda londrinas.

Deixe um comentário neste post, ou entre em contato através do email visiveisvirtudes arroba gmail.com

Stylist Isabella Blow

Yohji Yamamoto at the V&A

O Museu Victoria and Albert, em Londres, apresenta uma retrospectiva do trabalho de Yohji Yamamoto, o designer japonês que desafia noções de moda tradicionais com seu estilo avant-garde.

Yamamoto cria peças que parecem de proporções exageradas e inacabadas, que brincam com ideias de gênero ou são feitas de tecidos raramente utilizados na moda, como feltro e neoprene. Algumas peças revelam a modelagem não tradicional do designer, seu conhecimento da história da moda e senso de humor.

A exposição mostra mais de 60 peças, vídeos de desfiles e entrevistas, os dois livros publicados por Yamamoto e os lookbooks realizados por diferentes fotógrafos ao longo de uma carreira que se expande por três décadas.

Visíveis Virtudes adorou descobrir que, em 1989, a pedido do Centro Georges Pompidou na França Wim Wenders realizou um filme sobre moda e seu lugar na sociedade. Em A Notebook on Cities and Clothes o diretor alemão conta que, ao vestir uma camisa e uma jaqueta de Yamamoto se identificou, como se as roupas fossem novas e velhas ao mesmo tempo, se reconheceu mas também se tornou melhor, mais ele mesmo que antes, então se pergunta quem era esse Yamamoto, que segredo ele descobriu? A forma, o corte, o tecido? Ainda nada disso explicava o fato de que esse sentimento era mais profundo, “aquela jaqueta me lembrava minha infância, não nos detalhes mas na jaqueta mesmo, que era a definição desse sentimento, expressada melhor que em palavras. O que esse Yamamoto sabia de mim, e de todos?” Ao que Yamamoto responde: “I’m always thinking about people to talk to, to meet. This is my basic interest… What are you thinking, what are you doing, how are you living your life? Then I can approach, make clothes, for you, for them. For the moment, I think that fashion and clothing is to me… maybe I’ve been working on the same philosophy for 15 years…I think I already sung my song.”

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The V&A in London presents a retrospective of the work of Yohji Yamamoto, the Japanese designer that challenges traditional notions of fashion with his avant-garde style.

Yamamoto designs garments that seem oversized and unfinished, that play with ideas of gender or with fabrics not normally used in fashion, such as felt and neoprene. Other works reveal Yamamoto’s unusual pattern cutting, knowledge of fashion history and sense of humor. His work is characterised by a frequent and skilful use of black, a colour that he describes as ‘modest and arrogant at the same time’. The exhibition shows over 60 creations and a multiple-media timeline that reveals Yamamoto’s wider creative output.

VV adored to find out that, in 1989, commissioned by the Georges Pompidou Centre in France Wim Wenders made a film about fashion and its place in contemporary society. For A Notebook on Cities and Clothes, Wenders interviews Yamamoto and talks about how he felt when he first worn a shirt and a jacket created by the designer.

Yohji Yamamoto at the V&A runs until 10 July.

The installation at the V&A

“Painting is my passion. Thanks to the V&A they let me put my dreams on their walls!”

The opening of the exhibition in London, his mother, daughter and Wim Wenders

Silk black ruffled cape and black dress with crinoline in homage to Cristóbal Balenciaga
Spring/Summer 1999

Stella McCartney for C&A Brazil

As peças da primeira colaboração entre uma estilista internacional e uma fast fashion no Brasil estarão disponíveis para compra dia 23 de março. Stella McCartney desenvolveu uma coleção de 27 peças para as lojas C&A brasileiras, com preços que vão de R$ 69,90 a R$ 499,00.

A coleção traz o espírito de McCartney sem seguir tendências ou estações, usando apenas tecidos ecológicos aprovados por fornecedores legalizados. Visíveis Virtudes sente os ventos se direcionarem para o sul, e adora a brisa.

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The pieces of the first collaboration between an international designer and a fast fashion in Brazil will be available on March 23rd. Stella McCartney developed a 27 piece collection for C&A‘s Brazilian stores and prices range from R$ 69,90 to R$ 499,00.

The capsule collection brings McCartney’s spirit without following any trends or seasons, using only ecological fabrics approved by legal suppliers. Visíveis Virtudes feels the winds blowing south, and loves the breeze.

Love Fashion Hate Sweatshops

With the campaign Love Fashion Hate Sweatshops, the anti-poverty charity War on Want, based in London, is leading the biggest ever call for the government to regulate companies and protect the rights of overseas workers supplying UK companies to a living wage, decent working conditions and the right to join a trade union.

War on Want is asking people to add their faces, names and voices to their campaign against sweatshops. Their aim is to have 50,000 people join the call for immediate government action.

Visíveis Virtudes wears the T-shirt.

Italian Style on the Silver Screen

O fotógrafo Rankin e a escritora de moda e cinema Anna Battista se uniram a Peroni Nastro Azzurro para criar uma exposição que olha para figurinos icônicos surgidos da fantasia de lendários diretores em colaboração com seus excelentes diretores de arte, designers de figurino e artesãos.

Italian Style on the Silver Screen analisa 60 anos de cinema, tendências e moda, homenageando as fashion maisons, casas de alfaiataria, figurinistas e fashion designers que contribuiram para criar o encantamento do cinema italiano. Para acompanhar as peças da mostra, Rankin exibe uma série de fotografias originais e inéditas.

A coleção foi selecionada de diferentes arquivos históricos, incluindo the British Film Institute, the Sorelle Fontana and Fernanda Gattinoni. Imagens e clipes tirados de mais de 50 filmes fazem parte da mostra, além de acessórios como os chapéus Borsalino – da histórica empresa fundada por Giuseppe Borsalino em 1857 – até hoje associados a Humphrey Bogart, Al Capone, Ernest Hemingway e Winston Chirchill – os lendários “paparazzo shoes” criados por Alberto Dal Co’ em 1953, e os sapatos da linha Creations da Ferragamo, reproduzindo aqueles criados para Ava Gardner e Marilyn Monroe.

The Peroni Collection – Italian Style on the Silver Screen está na Proud Gallery Chelsea, em Londres, até 20 de março.

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Photographer Rankin and Italian fashion and film writer Anna Battista have joined with Peroni Nastro Azzurro to create an exhibition which looks at iconic costumes born out of the fantasy of legendary directors in collaboration with their magnificent art directors, excellent costume designers and skilled artisans.

Italian Style on the Silver Screen analyses 60 years of films, trends and fashion, paying a tribute to those fashion maisons, tailoring houses, costume and fashion designers who contributed to create the magic of Italian cinema. Furthermore, to accompany the pieces on show, Rankin will be exhibiting a series of original and previously unseen images.

The collection has been sourced from different historical archives including the Florence-based Ferragamo Museum, the British Film Institute and the famous Tirelli Tailoring House. Film clips, images and costumes taken from over 50 film titles will be on display, and also exclusive accessories, such as the legendary “paparazzo shoes” designed by shoemaker Alberto Dal Co’ in 1953, a selection of hats by Borsalino, the historical hat manufacturer founded by Giuseppe Borsalino in 1857 in Alessandria, and shoes from the Ferragamo’s Creations line, reproducing the original footwear Salvatore Ferragamo created for Ava Gardner and Marilyn Monroe.

The Peroni Collection – Italian Style on the Silver Screen runs until March 20th, at the Proud Gallery Chelsea, London.

Silvana Mangano in ”Una sera come le altre” (“A night like any other”) by Vittorio De Sica; Costume Design by Piero Tosi. Segment from Le streghe (The Witches, 1967) by Mauro Bolognini, Vittorio De Sica, Pier Paolo Pasolini, Franco Rossi and Luchino Visconti.

Protagonist Giovanna finds refuge in her dreams in which she is not an obedient wife, but a glamorous diva in designer clothes. As a revengeful vixen clad in a black PVC dress matched with a spiky headdress she becomes the sensual mistress. The episode culminates with Giovanna clad in a striking black satin dress with a colourfull billowing cape formed by strips of fabrics knotted on her shoulders, it is a joyful kaleidoscope of vibrant shades that contrasts with her grey and boring everyday life.

 

Claudia Cardinale in C’era una volta il West (Once Upon a Time in the West, 1968) by Sergio Leone; Costume design by Antonella Pompei and Carlo Simi BFI.

This is an iconic image from Leone’s Once Upon a Time in the West. Claudia Cardinale sports a classic cowboy look, with dirty and dusty trousers matched with leather waistcoats. Cardinale’s “western look” reappeared in Ralph Lauren’s Spring Summer 2011 collection including fringed leather trousers, bull’s head belt buckles and pale blue dresses with delicate lace edgings.

 

Anita Ekberg and Marcello Mastroianni in La dolce vita (The Sweet Life, 1960) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The legendary shots of Anita Ekberg and Marcello Mastroianni in the Trevi Fountain forever changed the history of Italian cinema. The black satin dress worn by Ekberg was actually inspired by Jean Loui’s black satin strapless gown for Rita Hayworth in Gilda. The film caused a huge debate when it was first released and the case even reached Parliament where conservatives MPs asked to withdraw it from circulation as it offended the virtues and integrity of the respectable citizens of Rome.

 

8 ½ (1963) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The most prominent scene in this film sees the characters dressed in white or donning extravagant designs, gathering together in the circus ring while clowns play Nino Rota’s evocative music. Guido’s psychoanalytic journey through cinematic creation and style is over and he can finally start shooting the film he had dreamt about. The film is best described by Fellini who claimed 8 ½ was “a beautiful chaos” in which he felt alive.

 

Blow Up (1966) Michelangelo Antonioni; Costume Design by Jocelyn Rickards.

Antonioni was interested in iconic and often extreme costumes which would represent social evolutions. The costumes in Blow Up, from the Mary Quant style mini-dress to the optical designs calling on Andrè Courrèges and Rudi Gernreich’s arquitecturally futuristic clean-cut lines, perfectly conjure up the late 1960’s fashion scene; . Other films by Antonioni show more interest in the costume as indicator of the psychological state of the character, as the ‘tetralogy of alienation’ – L’Avventura, La Notte, L’Eclisse and Deserto Rosso).

 

Giulietta degli spiriti (Juliet of the Spirits, 1965) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The trippy acid colours, theatrical sets and psychedelic interiors of the film incarnated the phenomenal, surprising wonderful and fantastic. To pay homage to Fellini’s oneiric visions, Fendi launched a series of t-shirts in collaboration with the Federico Fellini Foundation for the Spring/Summer 2011 season. The t-shirts, released in limited edition, featured colorful prints of the director’s surreal sketches and drawings.

Do not ask Paris Vogue to remain the same

A primeira capa de Emmanuelle Alt como editora-chefe da Vogue Paris é com Gisele Bündchen, e representa o distanciamento da estética risqué de Carine Roitfeld. Alt explicou sua visão para a revista dizendo: “sempre quero uma relação com a realidade: nada muito sexy, ou provocativo, ou vítima da moda. Somos francesas – podemos mostrar modelos fumando, nudez. Não temos limites, e pode ser bom os ter.”

Como prometido, Gisele foi fotografada vestindo Dolce & Gabbana em São Bartolomeu, nas Antilhas Francesas, por Inez van Lamsweerde e Vinoodh Matatin. A revista estará nas bancas dia 25 de março.

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Editor-in-chief Emmanuelle Alt’s first cover for French Vogue stars Gisele Bündchen and represents a strong movement away from Carine Roitfeld’s risqué aesthetic. Alt explained her vision for the magazine saying that “I always want a relationship with reality: nothing too sexy, or provocative, or fashion victim. We are French — we can show smoking, nudity. We have no boundaries, and it can be good to have them.”

As promised, Gisele was photographed wearing Dolce & Gabbana in St. Barts by Vogue Paris regulars Inez van Lamsweerde and Vinoodh Matatin. The magazine will hit shelves March 25th.

Paris Vogue, April 2011

Paris Fashion Week AW11 – March 02-09

Visíveis Virtudes favourite designers and looks from the Paris A/W ’11 catwalk shows.

Dries Van Noten

Dries Van Noten’s ‘collage’ of graphic prints, brocades and jacquards from Lyon, snake-skin, fur and lame bring together Diaghilev’s Ballet Russes and Ziggy Stardust  with a remixed version of David Bowie’s Heroes as the soundtrack.

Rochas

Marco Zanini’s cheetah print, silk satin and jacquard.

Vivienne Westwood Gold

Westwood’s  travellers wear a punk-warrior makeup and a multi-ethnic array of fabrics and colours from the quintessentially English tweed to burgundy silk and gold brocade.

Christian Dior

Galliano’s nineteenth-century dandies.

Zac Posen

Posen’s gunmetal grey matte sequins and leather, turquoise, green and royal blue.

Balmain

Christophe Decarnin – who failed to show up at the show – and his new stylist Melanie Ward – who replaced the now Paris Vogue editor-in-chief Emmanuele Alt – traded the punk influences of last season for glam rock, swapping Sid’s version of “My Way” for David Bowie’s “Lady Grinning Soul” off Aladdin Sane.

Lanvin

Alber Elbaz’s sonic darkness, metallic jewelry, severe but sensual drapes, black lace, knit sheaths, mousseline and roses.

Haider Ackermann

Haider Ackermann’s silence turned into Leonard Cohen’s  ‘A Thousand Kisses Deep’ with a show of drapes on leathers, suedes, and silks.

John Galliano

Galliano’s eternal journey to the 20th century Paris and its decadent atmosphere.

Kenzo

Antonio Marras’ trip to Mexico and references to Frida Kahlo, Georgia O’Keefe and Tina Modotti.

Givenchy

Riccardo Tisci’s twin inspirations of Bettie Page – the original pinup queen herself was on the catwalk –  and Amanda Lear on the cover of Roxy Music’s For Your Pleasure?

Chanel

Karl Lagerfeld’s “The world is a dark place”, with Michel Gaubert’s thundering orchestral revision of the Cure’s seminal goth classic “A Forest”.

Alexandre McQueen

Sarah Burton’s venue, La Conciergerie, was Marie Antoinette’s prison and the site of an Alexander McQueen show with live wolves on the catwalk, but Burton’s was a white-light burning bright of “heritage silhouettes.”

Louis Vuitton

Marc Jacobs’s rubber dominatrix boots, see-through flasher macs and lace-ups.

Miu Miu

Miuccia Prada’s study of the forties on a modern vintage collection.

Mon dernier Adieu, Galliano

Antes do desfile da Christian Dior de Outono Inverno 2011 iniciar na mais respeitada semana de moda do mundo, na tarde deste sábado em Paris, Sidney Toledano, presidente da Christian Dior Couture, apareceu no palco para fazer um longo discurso em francês sobre os valores que a marca e seu fundador representaram por mais de seis décadas. Sem mencionar o nome de John Galliano, designer da casa por 14 anos, Toledano afirmou que os valores da House of Dior seriam mantidos pelo “coração da Dior, que bate sem ser ouvido… composto pelos seus times e estúdios, suas costureiras e artesões”.

As cores eram ricas, as texturas exuberantes, e o tema da boemia amplificou-se em um casaco de veludo com mangas de brocado e gola e punhos de pele de raposa drapeados sobre um colete de cashmere e uma blusa longa de musseline, com botas que alcançam a alura dos joelhos. Como a musa de um artista que acabou de deixar a cama, vestiu um top, um casaco maravilhoso, algum sapato – nada mais. Galliano sempre teve a habilidade de provocar essas fantasias em quem assistia seus shows.

Dior orquestrou uma dedicatória cortês, com aqueles artesãos e costureiras que Toledano elogiou em seu discurso reunidos na passarela enquanto a platéia batia palmas e chorava. Independente do que acontecer no futuro, aqui, pelo menos, eles estavam dando o último adeus. O único precedente para esse momento foi a denúncia no pós-guerra de Coco Chanel como Nazicollaboratrice. Seu exilo do mundo da moda durou nove anos.

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Before the Autumn Winter 2011 ready-to-wear Christian Dior show begin at the most awaited of the fashion weeks, this Saturday afternoon, Dior CEO  appeared onstage to make a lengthy speech in French about the values that —both the man and the business he founded—has represented for more than six decades.  Without once mentioning Galliano by name, Toledano went on to assert that they would continue to be upheld by “the heart of the House of Dior, which beats unseen… made up of its teams and studios, of its seamstresses and craftsmen.”

Colors were rich, textures were lush, and there was a layered louche-ness that amplified the bohemian theme: One black velour coat with brocade sleeves and red fox collar and cuffs was draped over a cashmere waistcoat and a long mousseline blouse, with those knee boots. Like an artist’s muse had roused herself from his bed, thrown on a top, a gorgeous coat, some shoes—and left it at that. Galliano has always had a keen ability to provoke such fantasias in his audience.

Dior orchestrated a gracious envoi, with those seamstresses and craftsmen that Toledano eulogized in his speech gathered onstage while the crowd cheered and wept. Whatever happens next, here, at least, they were waving the last wave. The only precedent for this situation is Coco Chanel’s postwar denunciation as a Nazicollaboratrice. Her exile from the fashion world lasted nine years.

Milan Fashion Week AW11 – February 23 – March 01

Visíveis Virtudes favourite designers and looks from the Milan A/W ’11 catwalk shows.

Gucci

Frida Giannini’s cinematic allure on peacock blue, emerald green and purple fur, tweed and trilby hats.

Roberto Cavalli

Eva and Roberto Cavalli’s armor under chiffon and lace, feathers, velvet and embroidered leather. Kraftwerk on the soundtrack.

Dolce&Gabbana

Themes of masculine vs feminine, stars as the shape of the jewellery, or prints on the collection’s mannish suits and chiffon dresses. And lace underwear.

Prada

Miuccia Prada’s take on the classic 1960s princess coat, kooky prints and contrasting textures of fur, sheeps wool and cashmere.

Emporio Armani

Giorgio’s monochrome film noir-inspired collection of military jackets, knee-skimming skirts and voluminous trousers.

Emilio Pucci

Peter Dundas’s fur, embroidery and corseting referencing the Brothers Grimm, Tyrol mountains and winter palaces.

Giorgio Armani

Giorgio Armani’s boudoir inspired collection, luxurious satin and beaded fringes.