This is one of the first campaigns I ever loved, and it's held it's own in my memory ever since - even after Alberta Ferretti's scenes of subway disarray, Louis Vuitton's bevy of voluminously clad beauties, and Gucci's coterie of leather-pantsed rockers. It's minimalism at its finest - all clean lines and geometric silhouettes, flawlessly set upon reflective glass. The glossy hair, long, golden limbs, and sleek platforms are sophisticatedly space-age without dipping into metallic D&G territory. And even four years later (which is a century in fashion), it still looks thoroughly modern.
I know I've been posting old stuff lately, but this is too good to overlook. Throbbing techno and gothic minimalism set the stage for Nicola Formichetta's fall showing for Thierry Mugler. The clothing was relatively simple, but the atmosphere made it spectacular. The striking paradox of ornate (pillared runway, ostentatious poses) and simplicistic (sleek ponytails, austere ensembles) meshed seamlessly with Mugler's darkly modern aesthetic. The random appearance of Lady Gaga, surrounded by a halo of red light as she took a drag on her cigarette, was surprising (yet strangely symbolic). So, too, was her ability to strut in ten-inch heels on a slippery surface where even professionals seemed shaky (although I suppose she has a lot of practice from those Alexander McQueen shoes).
Gaga certainly stood out amongst Formichetti's elegant, shadowy wraiths, who glided down the catwalk with willowy arms beckoning amidst arching wood columns. These were no Christian-Dior-clad princesses or buxom Louis Vuitton housewives. Mugler's authoritative women walked with purpose (despite a few stumbles). Yet Formichetti didn't equate power with masculinity. These women owned their sexuality, flaunting pushed-up cleavage in low cut necklines and tight mesh shirts. No other collection so perfectly epitomized the modern-day urban woman - confident, street-savvy, and unapologetic in her femininity. A certain blonde, sailor-mouthed singer would wholeheartedly approve.
Gaga certainly stood out amongst Formichetti's elegant, shadowy wraiths, who glided down the catwalk with willowy arms beckoning amidst arching wood columns. These were no Christian-Dior-clad princesses or buxom Louis Vuitton housewives. Mugler's authoritative women walked with purpose (despite a few stumbles). Yet Formichetti didn't equate power with masculinity. These women owned their sexuality, flaunting pushed-up cleavage in low cut necklines and tight mesh shirts. No other collection so perfectly epitomized the modern-day urban woman - confident, street-savvy, and unapologetic in her femininity. A certain blonde, sailor-mouthed singer would wholeheartedly approve.
I know this is kind of old news, but since I'm not exactly a huge Taylor Swift fan, I haven't been eagerly awaiting the release dates of her music videos. Which is why I had no idea that male model Guntars Asmanis made a fitting, if surprising, appearance in Taylor Swift's "Back to December: vid. In case you haven't heard of him, he was ranked #38 on MDC in 2008 and has walked for Calvin Klein, Prada, Miu Miu, Missoni, Versace, Moschino, Fendi, Hermès, Louis Vuitton, YSL, Bottega Venetta, Thierry Mugler, and Chanel (for which he opened in 2007), among others. Apparently the country star handpicked him for the male lead, but never got to see him (which explains why the two never meet, much to the chagrin of traditional Taylor fans). They didn't much appreciate her choice, either. "Why is he pale, if the lyrics describe him as tan?" was an oft-bemoaned subject. I guess choosing a model who rocked skinny jeans, high cheekbones, and sleek motorcycle jackets didn't go over well with the conventional country music lover either. However, director Yoann Lemoine summed up what Taylor's preteen followers were unable to recognize: "I wanted a boy that was fragile and beautiful. I didn't want to go for a hunk or a perfect cheesy boy that would have killed the sincerity of the video." Perfectly said.





