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Category: Fashion

Jurga Ramonaite

Posted on by nr

NR Vol. 14 Identity · Autumn Winter 2021
Published · Print Page 246

Credits

Models · MELODY LULU-BRIGGS at THE HIVE MANAGEMENT, MATTHEW KELLER at XDIRECTN
Photography · JURGA RAMONAITE
Fashion · HANNAH LORD
Casting · MC BARNES
Hair · KATSUYA KACHI

Designers

  1. Dress SAINT LAURENT
  2. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  3. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT Matthew wears Dress LAURA ANDRASCHKO and Shoes BOTTEGA VENETA
  4. Melody wears Top RENATA BRENHA and Tights SWEDISH STOCKINGS
  5. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  6. Melody and Matthew wear Tops RENATA BRENHA and Tights SWEDISH STOCKINGS
  7. Matthew wears Blazer RICK OWENSMelody wears Blazer JIL SANDER
  8. Matthew wears Top SITUATIONIST, Trousers BALENCIAGA, Shoes ARMANIMelody wears Top VALENTINO, Trousers and Shoes ARMANI
  9. Matthew wears Top SITUATIONIST, Trousers BALENCIAGA, Shoes ARMANI Melody wears Top VALENTINO, Trousers and Shoes ARMANI
  10. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT Matthew wears Dress LAURA ANDRASCHKO and Shoes BOTTEGA VENETA
  11. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT
  12. Dress and Shoes SAINT LAURENT
  13. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  14. Dress and Shoes SAINT LAURENT

Zantz Han

Posted on by nr

NR · WORLD
Published · Online

Feature · Zantz Han
Words · Matthew Burgos

“To truly appreciate light is to observe it intentionally everyday”

Light: a single word draped with a plethora of definitions. It may be about the metaphysical virtues and beliefs that crouch into the human traditions, an object that wounds into the fixtures of homes, or for Zantz Han, an essence in photography. The Singapore-based photographer employs light to charge his images with character and underscore the colors that accentuate his mood, the subject, and their overarching philosophy. As he confesses his reverence for moving versus still images, Han recalls his voyage towards capturing portraits and how color, expressions, and the vision of self immortalize his every shot.

Let us go back to your roots in photography. Before pursuing this medium as your primary means of communication to the world, what influences and incidents triggered this penchant to photography? Was it rooted in your upbringing, or did you discover it during your studies?

I studied animation during my college years, and I was specifically interested in 3D lighting and rendering, but I chanced upon photography during a sub-module course provided by the school and decided to pursue photography as a career later on.

You desire to evoke the senses of your audience when they rifle through your portfolio. What are the senses that you envision to be provoked? How would your images tap into your audience’s emotions and reflections? Why is there a desire to carry this out?

In the sea of content and moving images, still images have less of an impact now. I hope to evoke a good feeling or any sort of feeling to the audience so that they can have a second look at the picture. I wanted the picture to have a lingering effect on that instead of just being another still content – a sensation or nuance of something they can take away from looking at the images.

 

As your concluding statement on describing your photography, you have mentioned the union of art with commerce. In what ways do you marry art and commerce through photography? Also, how do you define art and commerce? Are they separate or combined entities?

My idea lies in creating a business through art and being able to sustain a living through the art that I create. Here, art converges with commerce.

In some of the still images you captured, you induced the stark shade of red/orange in the shots. How do colors influence your photography? What role do your emotions play in your photography? Also, do you relate to the emotions your subjects exude during a shoot?

I think color plays a big part in my photography because it evokes a sense of emotion that brings the picture to life. Growing up, my taste in colour treatment and lighting started to evolve because of the experiences I encountered, and I try to translate them into the pictures via the mood, tone, emotions, and color.

The overview page on my portfolio or website is a collection of recent works that I produced by channeling my inner frustrations into pictures; the darkness and stark reds are strong emotions that I want to portray having experienced them all by myself. The emotions in the pictures are essential in bringing out the story behind it and to evoke a feeling within the audience.

Going through your Overview page, I notice how portraits infiltrate this section. How do you perceive portraits? Are they a reflection of who you are as an artist? What other styles of photographs have you explored?

I think portraits are an easy go-to and the simplest form of human photography. I like to explore still life and documentary photography too.

Your style crosses the boundaries of ethereal and surreal pop, dreamy and hazy vibes, and solemn looks. Do you define your approach in photography, or do you go for a more free-flowing manner? How do you transition from one mood to another? Is it an easy move to do?

I approach photography through my mood and feeling, and express them through the crafting of light, expressions, and colors. The transition depends on the chemistry between the subject and myself, and how expressive the subject can be.

I have also noticed the play of light in your photographs. In some images, the light seems to be subdued, while vibrant in others. How essential is light in your photography? Do you plan its use, or is it more spontaneous? Then, does light – in its figurative, metaphorical, or obvious term – mean anything in your life? How do you incorporate these beliefs in your art?

Light, something that is very sensitive to the eyes and camera, is one of the essence in photography. To truly appreciate light is to observe it intentionally everyday. I like to take my time in constituting my light and modifying its quality to my taste to match the mood and tone I am envisioning.

Light, in its simplest form, provides energy to all life forms. It is essential in creating imagery because it brings the picture to life. It gives it a soul; without it, everything will be pitch black.

Nina Doll

Posted on by nr

NR · WORLD
Published · Online

Feature · Nina Doll
Words · Nicolò Pablo Venerdì Bettiol

“it offers people the opportunity to sustainably express themselves”

Nina, 24, Berlin-based digital fashion designer and CGI Artist is switching the way we think of fashion.

With a manual approach to design on her back, the German artist has marked her name within the group of creatives which are trying to revolutionise our industry one step at a time. Talking through her development as a designer, Nina spoke with NR about the perks and countless possibilities of expanding fashion production onto the digital world.

Sustainability, visibility, inclusivity, these are just some of the many points that could affirm CGI creative production as the new chapter for contemporary consumerism.

Exploring emotions and how a new era of digitalised humanity would feel and look like, Nina’s work is the ultimate undermining proof that ‘a whole new culture is emerging’. Take a journey into Nina’s boundless digital world: a reality where oneself could be anything.

How has your approach to fashion design developed from manual to digital? 

During my Master Degree in Fashion design I attended a course covering digital Fashion. While at first I was sure I would have stuck with classic Fashion design, I later on got caught with the digital aspects of it and began to teach myself CLO3D.

It really was quite a natural process learning and experimenting with digital Fashion and other 3D Tools like sculpting. Over time, I started to share some of my work on Instagram, and got into it even more. After realising the huge market, and the amazing Feedback over my art and work, I simply stuck to it. For my final MA graduation Project I combined digital Fashion, Abstract sculpting, CGI visualization and real tailoring.

Talk us through your latest projects and collaborations.

One of the latest projects I took part in was an editorial story for Vogue Portugal. Although they were shooting with actual clothes on a model, Baby G – taking care of post production – and I embedded CGI Elements onto the real Image afterwards. Glass flowers, abstract swirls around the model… We also recreated the model’s face in 3D and added more elements onto it: the point was to create a mixture of her real self, with her digital identity. This is the kind of photo compositing I love the most. It demonstrates the incisive ambivalence between real and virtual. Another project I have recently been working on was a collaboration with the fashion brand A BETTER MISTAKE. Being commissioned to make a video, I redesigned their real pieces in 3D, created an Avatar model for them and placed the product in a fully digital landscape.

What are the perks of digital design? And the cons?

The ultimate perks of digital design is the absence of waste. It is also a whole new creative world. There is nothing you can’t actually do: you are completely free when it comes to your choice of material, setting, environment, model, movement… It is also an amazing opportunity for young aspiring – fashion – designers: the digital realm allows you to showcase your work without the economical effort one would face when producing a collection in real life.
On the other hand, new challenges regarding the environment such as electricity consumption, are coming up. Also think about NFTs, and the usage for the end customer: it is still very limited, as ‘body tracking’ is still evolving.

Taking into consideration the advent of NFTs and the marketing aspects related to it, where do you portray fashion within such instances?

I believe NFTs are enabling digital fashion pieces to be an art piece on their own. NFTs in general give artists the opportunity to make money out of their practice without having to depend on clients or commission work. Through such a marketplace, customers are able to own something special, a unique garment, just like it is in real life with couture pieces or limited editions.

How does technology affect the value of design?

Personally, it adds value and sets designers free from real life restrictions. Creating digital art or digital fashion is a real craftsmanship: the hours of work, the challenges and the design that goes into a digital dress should not be underestimated.
Furthermore, through the world of NFTs, technology is now able to really display the monetary value of digital art and, eventually, make it tradeable.

Can CGI technology determine the way people look at tangible products? What do you believe to be its impact in culture?

When it comes to marketing campaigns, CGI technology can transport a lot of emotional storytelling. It gives you the opportunity to showcase anything you feel could fit within a specific story, it allows you to enhance the tangible product at its best.
CGI can also create products that don’t even need, nor can, tangibly exist: when it comes to face filters, or digital makeup, the asset of possibilities is countless. A great example is the work by the amazing 3D makeup creator Ines Alpha.

When it comes to face filters, especially those not intended with artistic value, the idea of ‘optimizing’ the face remains. This has definitely an impact on our culture: it manipulates how we look at ourselves, how we think of beauty.

On another note, it is clear that reality, and the virtual world with its identities, are fusing unstoppably. Our digital identity is part of ourselves, and vice versa. With the rise of our digital being and identity, there is a whole new culture emerging.

Could digital design contribute to sustainability in fashion?

Definitely! There are plenty of aspects that can contribute to sustainability in fashion. Think of production for example:

“sampling & fitting can be done digitally, design choices can be tried and decided digitally, the whole, before producing the final garment.”

Campaigns or editorials can be done digitally. Alternatively, travel could also be avoided by shooting the story in a studio, to later add a CGI background to it.

Thinking of social media presence, it offers people the opportunity to sustainably express themselves: ’the digital’ in fact reduces consumption and the impact of fast fashion.

Finally, where will your practice lead you next?

A new chapter is starting for me at the moment. I just finished my Master thesis and I can now fully focus on working and creating. I am currently working on a project with The Fabricant, which is really exciting to me. I have always dreamt of being able to join their vision and create something together with their team.

Credits

Images · Nina Doll

Brent Chua

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

Stem

Credits

Photography · BRENT CHUA
Fashion · JUNGLE LIN
Grooming · TAKANORI SHIMURA using MAC COSMETICS
Models · CANNON MICHAEL and LUKE LENSKI at IMG

Designers

  1. Full Look SAINT LAURENT with GUCCI Shoes
  2. Full Look BOTTEGA VENETA
  3. Full Look KYLE’ LYK
  4. Full Look GUCCI 
  5. Coat VERSACE Top ERMENEGILDO ZEGNA XXX
  6. Full Look LRS NYC with DRIES VAN NOTEN Shoes
  7. Bag ERMENEGILDO ZEGNA XXXTrousers and Shoes EMPORIO ARMANI
  8. Back Turtleneck GUCCI Trousers BOTTEGA VENETA Shoes LOUIS VUITTON   Front Trousers KYLE’ LYK
  9. Full Look LOUIS VUITTON
  10. Left Shirt DRIES VAN NOTEN Trousers ERMENEGILDO ZEGNA XXX Shoes EMPORIO ARMANIRight Shirt and Shorts VERSACE Shoes SAINT LAURENT

Auroboros

Posted on by nr

NR · WORLD
Published · Online

Feature · AUROBOROS
Words · Nicolò Pablo Venerdì Bettiol

“Agender and body inclusive, the clothing line is establishing a community evolving around the limitless nature of digital”

What could questionably be the most important aspect of contemporary fashion, if not its attempt in shaping the light of tomorrow, or, as others would say, the future?

In light of the countless issues and social discrepancies, the role of fashion cannot detract itself from accountability any longer. Being the second most polluting industry worldwide, and probably one of the most disregarded powers in promoting cultural, political and ethical change, nowadays fashion has landed onto a battlefield that requires much more than it used to. Producing clothes, projecting a vision: time requires engagement, it expects creative voices to speak, and bring light to what more than ever should matter now, change. So here I am, hoping for a brighter tomorrow that I ask myself, what is the ethics of the future? Where should fashion be standing within such instances?

The correlation to luxury not only became to represent a myth, it has rather bonded itself to an idea of culture which cannot survive within time. What we are experiencing is a crisis of values, where the reward of luxury is nothing, but individualistic. Looking back at the etymology of luxury, it is clear that its original meaning of ‘abundance’ cannot fit within the contemporary scenario anymore. The act of consumption of the rarefied can no longer withstand, rather, one should question what it could eventually mean today. With the advent and unprecedented development of technology and digital platforms, how can luxury fit within the cyber realm and culture? Digital currency, digital art, the world of NFTs is slowly redefining the meaning of luxury. People are investing in it, they are questioning the principles of its value, making implications that could dismantle our preconception of worth.

Striking attention this spring is nonetheless the digital creator AUROBOROS. Member of The Sarabande Foundation by Lee Alexander Mcqueen, the uprising high-tech brand is deconstructing the boundaries of fashion, placing itself under the spotlight as the first-ever digital fashion house.

The founders Paula Sello and Alissa Aulbekova, respectively digital designer, and director of visual communication, have been merging forces in bringing to life the first brand blending physical haute couture to digital-only ready-to-wear design. With innovation at the core of their project, the designers are morphing their sci-fi and nature inspiration, to project the wearer into another world, into other realities: to take the physical experience onto unexplored territories.

Two are the lines the brand is currently covering: physical couture and digital RTW. The first, focused on innovative science, employs never-used-before materials in correlation to temporality. Designing pieces that grow over a longer period of time, the brand’s couture creations project patterns from nature onto the wearer’s bodies, transcending the evolution of the materials from the very first stages of their conception, to their growth and final disintegration. On the other hand, AUROBOROS’ RTW line is instead debuting on a full-digital basis: capping material wait to 0, and addressing luxury to a much wider audience. Agender and body inclusive, the clothing line is establishing a community evolving around the limitless nature of digital: a domain where body diversity and disabilities can be fully represented, bringing self-expression to an innovative brand new stage.

AUROBOROS allows the wearer to encapsulate the garment onto any visual source. it allows materials exchangeability, including fire, jellyfish, metal: in other words, a limitless asset of opportunities. Not only is RTW being deprived of its infamous idea of luxury, the brand is also actively opening it to a wider dialogue, demonstrating the power of technology in generating utopia rather than dystopia.

As pointed out by the designers, digital fashion should not dictate, it should rather push us to explore identity, and reconnect to nature. Imagine a world where anything could be worn: with creativity being the only limit, it is within such instances that luxury is pushed to an idea of experiencing something that you would have never thought of before.

With this in mind, how could consumerism accept the digitalisation of fashion to become the ultimate luxury?

Dropping their debut collection this June during London Fashion Week in official tech partnership with the Institute of Digital Fashion, the brand’s hopes fall within the understanding of their creative process as an effort in creating a new world, rather than a mere digitalisation of a tangible experience. What this seems to be all about, is to suit fashion to the customer, erasing its impersonal contemporary status. AUROBOROS has successfully demonstrated the necessity for accessibility, but, most importantly, has opened up a discussion that has been required for a long time. How we engage with technology is what will define our future.

Credits

Images · AUTOBOROS

Elsa Peretti

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

Elsa Peretti
x
Tiffany & Co

The designer behind some of Tiffany’s most iconic pieces, Elsa Peretti, died at the age of 80 on 18th March 2021. Somewhat unintentionally, this editorial becomes a tribute in her honour.

Born in Italy, Peretti moved to New York in the late 1960s, finding work as a fashion model (a job that gave her financial freedom, having previously been cut off from her eye- wateringly wealthy, but inwards-looking family in Florence). In New York, she became a regular at Studio 54, accompanied by a posse including Warhol, Liza Minelli and the designer, Roy Halston Frowick. It was the through the latter that Peretti’s career blossomed; she designed jewellery for Halston’s eponymous line, and it was him who introduced her to Walter Hoving, CEO of Tiffany & Co. in 1974. By Peretti’s own telling, she was “hired on the spot,” and so began a collaboration that would last until her death. A few years ago, when Peretti threatened to quit the partnership, the company were quick to renegotiate a contract for a further 20 years – which would have lasted until what would have been her 92nd birthday.

With only a few years off celebrating half century of Peretti’s designs for Tiffany, her pieces are icons for a by-gone era. The mesh scarf necklace, for example, which debuted on the runway of Halston’s fall collection in 1975, is evocative of the disco age. But Peretti’s designs remain unequivocally timeless. Peretti reintroduced silver as jewellery to a world in which it was confined to use for accessories and homeware.

Her appointment at Tiffany came as the brand was looking to reach a broader audience – a woman who couldn’t afford to buy herself gold or diamonds, and a woman who wouldn’t necessarily rely on a man to do so for her. The necklace, Diamonds by the Yard (its name coined by Halston), made diamonds affordable by spacing small stones out along the chain. Peretti designed for the modern woman, and was herself, a modern woman. Tall, intimidating (by all accounts) and famously short-fused, Peretti retained the rights to her designs and name. Designs like the Open Heart, Bean and Bone capture the fluidity of form that defined Peretti’s designs.

Her work coalesced organic forms with sophistication and elegance. In the 1980s, the designer escaped the chaos and debauchery of New York to Sant Martí Vell, a small village in Catalan – where, since her early modelling days, she had gradually been buying up the abandoned houses there. She would spent most of the rest of her life there, working with artisans around the region, restoring her own private village, and continuing to design for Tiffany. Like her work for Tiffany, Peretti herself has remained something of a lasting icon. Photos of the designer at work in her New York apartment from the 1970s capture the essence of what makes Peretti’s designs so alluring. The ease with she fuses the natural world with luxury are demonstrative of a designer’s natural instinct for shape, composition and the beautiful things in life.

Team

Photography Teresa Ciocia
Fashion Oana Cilibiu
Make-Up Manuela Renée Balducci
Nails Roberta Rodi  
Casting Isadora Banaudi
Models ADELE aldighieri and VIKA yakimova at Fabbrica Milano and Margot hubac at THE LAB Photo Assistant Jacopo Contarini
Fashion Assistant Mathilde ProiettI
Production Thirteenth
Production
Words Ellie Brown
Discover more on tiffany.com


Designers

  1. Corset ALICE PONS Skirt MISSONI Necklace ELSA PERETTI® SCORPION NECKLACE in 18K yellow goldBracelet ELSA PERETTI® FEATHER GREEN JADE CUFF in 18K yellow goldRing ELSA PERETTI® WAVE ring in 18K yellow gold
  2. Top ROBERTO CAVALLI Skirt PAULA CANOVAS DEL VASRing ELSA PERETTI® DIAMOND HOOP RING in 18K yellow gold with diamonds Carat total weight .10Bracelet ELSA PERETTI® FACETED CUFF in 18K yellow goldRing ELSA PERETTI® WAVE RING in 18K yellow gold
  3. Dress KENZO Necklace ELSA PERETTI® COLOR BY THE YARD in 18K yellow gold with emeralds and diamonds
  4. Necklace ELSA PERETTI® MESH SCARF in Sterling Silver with Keshi Pearl
  5. Dress THE ATTICONecklace ELSA PERETTI® MESH SCARF NECKLACE in 18K yellow gold 38 inch
  6. Top SPORTMAX Trousers JIL SANDER Necklace ELSA PERETTI® AEGEAN TOGGLE NECKLACE in 18K yellow gold 20 inch Bracelet ELSA PERETTI® WAVE FIVE ROW BANGLE in 18K yellow gold Ring ELSA PERETTI® WAVE RING in 18K yellow gold
  7. Dress VERSACE Necklace ELSA PERETTI® MESH EARRINGS in 18K yellow gold with round brilliant diamonds Carat total weight .14
  8. Ring ELSA PERETTI® CABOCHON RING  in 18K yellow gold with green jade, 19 mm wideRing ELSA PERETTI® CABOCHON RING in 18K yellow gold with green jade, 15 mm wideRing ELSA PERETTI® WAVE RING in 18K yellow gold

Bobby Buddy

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page unnumbered

Youth is a State of Mind

Team

Photography · BOBBY BUDDY
Fashion · VICTOIRE SEVENO at KAPTIVE Hair KEVIN ROUX
Make-Up · AURELIA LIANSBERG at WISE AND TALENTED
Casting Director · REMI FELIPE
Models · AXELLE DOUE, CYRUS AMINI, GINETTE MENDES, ZIYI HE & RAPHAEL DUMAS 
Fashion Assistant · ANJA PITT AND VALENTINE SEVENO
Special Thanks to · CAROLE CONGOS at KAPTIVE and MARINE at E-STUDIO

Designers

  1. Jacket BESFXXK Shoes LANVIN Tights CALZEDONIA
  2. Sweater LANVIN Trench Arthur Avellano
  3. Shirt and Trousers DRIES VAN NOTEN   Shoes KENZO
  4. Jacket and Trousers KENZO Top NEHERA   Shoes ROMBAUT Sunglasses G.O.D EYEWEAR
  5. Jacket BARRIE Shoes ROMBAUT
  6. Necklace TOM VAN DER BORGHT Trench VIRGINIE
  7. Full Look MIU MIU
  8. Shirt KOLOR Ties CHARVET Shoes KENZO
  9. Coat TOM VAN DER BORGHT Shoes CROC’S
  10. Coat TOM VAN DER BORGHT Shoes CROC’S

Michele Yong

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

Trapped

Team

Photography · MICHELE YONG
Fashion · MIREY ENVEROVA
Creative Direction · NIMA HABIBZADEH and JADE REMOVILLE
Art Direction · LAURA GAVRILENKO
Hair · MAYU MORIMOTO  
Make-Up · MIKI MATSUNAGA
Model · EMNA SELLIMI at MARILYN
PRODUCTION THIRTEENTH PRODUCTION

Designers

  1. Top ISSEY MIYAKE Panties ERES Shoes PRADA Socks FALKE Earrings Model’s Own
  2. Leather Bra DROME Trousers LANVIN Shoes PRADA Earrings Model’s Own
  3. Full Look PRADA Earrings Model’s Own
  4. Leather Bra DROME Dress and Shoes MM6 by MAISON MARGIELA
  5. Dress MIU MIU Shoes CHRISTIAN LOUBOUTIN Socks FALKE Earrings Model’s Own
  6. Top and Trousers DROME Shoes MM6 BY MAISON MARGIELA Necklace (worn as a belt) CHANEL
  7. Dress JIL SANDER Shoes GUCCI Hold-Ups FALKE  Earrings Model’s Own
  8. Dress ACNE STUDIOS Shoes CHRISTIAN LOUBOUTIN Panties ERES Earrings Model’s Own
  9. Leather Bra DROME Trousers LANVIN Shoes PRADA  Earrings Model’s Own
  10. Full Look PRADA Earrings Model’s Own
  11. Leather Bra DROME Dress and Shoes MM6 by MAISON MARGIELA
  12. Dress MIU MIU Shoes CHRISTIAN LOUBOUTIN Socks FALKE Earrings Model’s Own
  13. Dress JIL SANDER Shoes GUCCI Hold-Ups FALKE Earrings Model’s Own
  14. Dress ACNE STUDIOS Shoes CHRISTIAN LOUBOUTIN Panties ERES Earrings Model’s Own

Matthieu Delbreuve

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

The Office

Team

Photography · Matthieu Delbreuve 
Fashion · Mirey Enverova
Hair · Mayu Morimoto  
Make-Up Emilie Plume 
Casting · Remi Felipe
Model · Caroline Reuter at OUI MANAGEMENT


Designers

  1. Swimsuit ISA BOULDER Sunglasses PAWAKA
  2. Hat KENZO Shirt LOU DE BETOLY Coat LANVIN Shoes MM6 by MAISON MARGIELA
  3. Trousers MUGLER Shirt Accessory VALETTE STUDIO
  4. Full Look SACAI
  5. Gloves ISA BOULDER Vest VALETTE STUDIO Skirt MM6 by MAISON MARGIELA
  6. Shawl LOU DE BETOLY
  7. Shirt KOCHÉ
  8. Blazer MUGLER Shirt Accessory VALETTE STUDIO Leggings VIRGINIE JEMMELY   Shoes LANVIN Sunglasses ANDY WOLF
  9. Blazer GAUCHERE Shawl LOU DE BETOLY Skirt CHAEWON SONG Shoes ABRA
  10. Dress ISA BOULDER Shirt DRIES VAN NOTEN

Fabian Dumas

Posted on by nr

NR Vol. 13 Growth · Spring Summer 2021
Published · Print Page Unnumbered

Saint-Claude

Team

Photography · FABIEN DUMAS
Fashion · VICTOIRE SEVENO
Hair · OLIVIER LEBRUN
Make-Up · CAMILLE LUTZ
Casting Director · REMI FELIPE
Model · EVA BIECHY at SELECT  
Producer · CAROLE CONGOS
Fashion Assistant · VALENTINE SEVENO


Designers

  1. Shoes ROMBAUT
  2. Dress VAILLANT STUDIO Shoes ROMBAUT
  3. Hat KENZO Trousers MAITREPIERRE   Shoes ROCHAS
  4. Coat KUANWANG Trousers ARTURO OBEGERO Bra YASMINE ESLAMI Shoes KENZO  Gloves VAILLANT STUDIO
  5. Bag and Shoes MM6 MAISON MARGIELA
  6. Dress and Shoes MIU MIU Shoes BENOIT MISSOLIN
  7. Hat ATELIER 144 T-Shirt MAITREPIERRE Belts and Panties FIFI CHACHNIL Tights FALKE
  8. Full Look LANVIN

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