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December 15th     11:31 am


Blow out, V34Photography David Sims Hair Guido Palau

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

Blow out, V34
Photography David Sims Hair Guido Palau

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

December 15th     11:28 am


Blow out, V34Photography David Sims Hair Guido Palau

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

Blow out, V34
Photography David Sims Hair Guido Palau

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

September 5th     11:03 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
The strength of her work is that it manages to succeed on both levels: it appears hip enough to appeal to those who want edge and it is exquisite enough in terms of design and textile quality to be a truly indispensable investment. Belgian fashion, according to Branquinho, is serious and introverted, and exudes a quiet intensity (“it’s not a loud fashion—it’s not screaming for attention”). With Raf Simons, Branquinho produced two collections for the Italian leather goods house of Ruffo Research. The woven leather strapless ball gowns in chocolate and black, for Fall–Winter 1999–2000, and the puffy down-filled parkas in white and red leather were acclaimed as the most chic street style ever. But now that the contract with Ruffo Research has ended voluntarily, Véronique is relieved. “I didn’t feel comfortable about it at the end. I’m not very comfortable selling my name,” she says. “I’m a person who wants to be in control of everything,” she adds, without a trace of school girl bashfulness.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

The strength of her work is that it manages to succeed on both levels: it appears hip enough to appeal to those who want edge and it is exquisite enough in terms of design and textile quality to be a truly indispensable investment. Belgian fashion, according to Branquinho, is serious and introverted, and exudes a quiet intensity (“it’s not a loud fashion—it’s not screaming for attention”). With Raf Simons, Branquinho produced two collections for the Italian leather goods house of Ruffo Research. The woven leather strapless ball gowns in chocolate and black, for Fall–Winter 1999–2000, and the puffy down-filled parkas in white and red leather were acclaimed as the most chic street style ever. But now that the contract with Ruffo Research has ended voluntarily, Véronique is relieved. “I didn’t feel comfortable about it at the end. I’m not very comfortable selling my name,” she says. “I’m a person who wants to be in control of everything,” she adds, without a trace of school girl bashfulness.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

September 5th     10:57 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
"I don’t think it’s bad to be classical," she says. "I really appreciate things that are a little timeless." In her case, this means long pleated skirts that swish elegantly behind their wearer, high-collared blouses in silk and poplin, and Shetland wool knits in a rainbow of unusual hues (pistachio, berry, sky blue). The silhouette is always long and severe, and on occasion, layered: for Fall–Winter 1999–2000, the long, sombre skirts were lifted with an internal belt strap to reveal unfrilly petticoats, and knitted leg warmers were pulled up over narrow trousers or under knee-length skirts. The pieces in this collection are those that Branquinho imagines parents buying for their school-going daughters. The way she styles the garments in her very goth and groovy show is meant to reveal how girls adapt classic clothing to fit their own generationally specific or personal requirements.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

"I don’t think it’s bad to be classical," she says. "I really appreciate things that are a little timeless." In her case, this means long pleated skirts that swish elegantly behind their wearer, high-collared blouses in silk and poplin, and Shetland wool knits in a rainbow of unusual hues (pistachio, berry, sky blue). The silhouette is always long and severe, and on occasion, layered: for Fall–Winter 1999–2000, the long, sombre skirts were lifted with an internal belt strap to reveal unfrilly petticoats, and knitted leg warmers were pulled up over narrow trousers or under knee-length skirts. The pieces in this collection are those that Branquinho imagines parents buying for their school-going daughters. The way she styles the garments in her very goth and groovy show is meant to reveal how girls adapt classic clothing to fit their own generationally specific or personal requirements.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

September 5th     10:38 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
"I am intrigued by schoolgirls," explains Véronique Branquinho, "because they are adolescents, and that is the time of life where everything changes, when one has all those complex, confused feelings." Branquinho’s fascination with schoolgirls and her ability to transform the components of their uniforms into things of peculiar downbeat grace and beauty, have made the young Belgian designer one of the most sought-after new faces in the fashion world. Branquinho’s work is romantic, gothic, and—oddly, for a graduate of Antwerp’s Royal Academy of Fine Arts—traditional.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

"I am intrigued by schoolgirls," explains Véronique Branquinho, "because they are adolescents, and that is the time of life where everything changes, when one has all those complex, confused feelings." Branquinho’s fascination with schoolgirls and her ability to transform the components of their uniforms into things of peculiar downbeat grace and beauty, have made the young Belgian designer one of the most sought-after new faces in the fashion world. Branquinho’s work is romantic, gothic, and—oddly, for a graduate of Antwerp’s Royal Academy of Fine Arts—traditional.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

July 19th     5:31 am

Kirsten Owenphotography david sims hair guido palau make-up linda cantello
Yohji Yamamoto «Rewind/Forward», 238 Fashion Pictures, 1995–2000

Kirsten Owen
photography david sims hair guido palau make-up linda cantello

Yohji Yamamoto «Rewind/Forward», 238 Fashion Pictures, 1995–2000

March 11th     4:35 pm

Go Crazy featuring Kate Moss in Helmut Langphotography david sims hair guido palau make-up linda cantello

Go Crazy featuring Kate Moss in Helmut Lang
photography david sims hair guido palau make-up linda cantello

January 14th     9:41 am

Style № 35. Carly by David Sims, Heads: Hair by Guido

Style № 35. Carly by David Sims, Heads: Hair by Guido

January 14th     12:02 am

Style № 11. Jade by David Sims, Heads: Hair by Guido 

Style № 11. Jade by David Sims, Heads: Hair by Guido 

January 13th     11:14 pm

Style № 7. Jenna by David Sims, Heads: Hair by Guido 

Style № 7. Jenna by David Sims, Heads: Hair by Guido 

January 13th     11:25 am



Style № 29. Angela by Steven Klein, Heads: Hair by Guido

Style № 29. Angela by Steven Klein, Heads: Hair by Guido

January 13th     11:08 am



Style № 6. Stella by Steven Klein, Heads: Hair by Guido 

Style № 6. Stella by Steven Klein, Heads: Hair by Guido 

January 11th     10:44 am

Style № 49. Liz by Paul Wetherell, Heads: Hair by Guido

Style № 49. Liz by Paul Wetherell, Heads: Hair by Guido

January 11th     10:36 am

Style № 24. Gisele by David Sims, Heads: Hair by Guido

Style № 24. Gisele by David Sims, Heads: Hair by Guido

January 11th     9:31 am

Style № 8. Erin by David Sims, Heads: Hair by Guido 

Style № 8. Erin by David Sims, Heads: Hair by Guido 

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