Within the past 16 months photographer Lotte van Raalte shot 46 women age ranged from 13 to 46 in their most natural forms, which she has compiled into the launch of her first photo book entitled BODY. The book is a visual documentary of the photographer’s encounters with these women and on a larger scale it is a celebration of individuality, life and the beauty found in both vulnerability and strength throughout the female body and experience.
“With my photography, I’m always on a quest for candid in-between-moments. It takes genuine interest and care to capture people in their most authentic and free way of being. BODY originally started as research towards the female body. Each time I photographed someone, I was left fascinated, curious and inspired at the same time. I think my fascination with the female body comes from different angles: the fact that women are dominantly sexualised and unrealistically portrayed in the fashion, movie and music industry. The fact that the female body is the carrier of new life, and the tremendous impact that has. And last but not least, the fact that I’m a woman myself, ” the photographer commented.
The book is currently available for purchase online and will soon see a launch event on the 26th of March Oaxaca Mexico at La Señora Gallery following the local launch event in London a few weeks ago.
This evening Hen’s Teeth London launches their latest production HONEY DIJON: Black Girl Magic with Marina Esmeraldo at Dover Street Market which will be followed by an exhibition at the Hen’s Teeth Dublin 8 Gallery.
The project is a celebration of six black iconic female music icons handpicked by DJ Honey Dijon herself with large-scale neons crafted by Brazilian artist and collaborator Marina Esmeraldo .
The graphic neon pieces with powder coated aluminium backing feature the likes of names such as Chaka Khan, Diana Ross, Grace Jones, Sade, Erykah Badu and Sylvester and also in limited edition A2 & A3 giclée prints, canvas totes and postcards which will be onsale at DSM and online the Hen’s Teeth website post launch.
Speaking about the concept for the show, Greg Spring, creative director at Hen’s Teeth, said: “This is Hen’s Teeth’s first big international show and the first in a series of planned exhibits that will see us creating shows with musicians and artists who have never curated shows before. To be doing it with our longtime collaborator Marina Esmeraldo and Honey Dijon, an icon in her own right, who has collaborated with COMME des GARÇONS and Dior in the past year and now Hen’s Teeth, is an unbelievable honour.”
Demna Gvasalia is one of the only creative directors who manages to find an enviable balance between staying on trend and being political at the same time. The FW20 show presented in Paris last weekend was a show to remember , one that spoke directly to the inescapable doomsday that will brought by global warming, yet offering subtle glimmers of hope throughout the way.
The show’s set played a major role in the narrative — a flooded platform with water that bordered so wide that it submerged the first front rows seatings which was a subtle hint to the the primary responsibilities that lie with the decision makers of the industry. The ceilings of the room were screens programmed to produce eerie graphics birds fleeing and dark lighting which felt like a scene from a horror film.
It was as if he imagined the day of reckoning where humanity would be confronted with all its wrongdoings against Mother Earth, the day where Mother Earth herself wouldn’t wreak havoc upon the race with a menacing chaos. A mass of confusion so dire that it would wipe out whatever boundaries or structures we previously held which of course includes dress codes. Gvasalia dressed his subjects by fusing and recontextualizing dress codes associated with traditional values and desires. The religious was fused with the every day by way of clerical robes interpreted into casual wear ; bodybuilder fitted outfits made oversized for an one size fits all aesthetic and night gown prints made into powerful evening-wear. Sports, religion, obsession and seduction are a stripped of their functions and symbolisms and melted into one. It was a political statement aimed at climate change but also one that fired shots in the direction of religion and the traditional symbolism of the sacred versus the seductive.
“I had a lot of clerical wear in my research. I come from a country where the Orthodox religion has been so predominant. I went to church to confess every Saturday. Back then, I remember looking at all these young priests and monks, wearing these long robes and thinking, ‘How beautiful.’ You see them around Europe with their beards, hair knotted back and backpacks. I don’t know, I find it quite hot—but that’s my fetish,” the designer explained.
“How comes it is acceptable for clerics to wear that, but if I put on a long jacket and a skirt I will be looked at? I can’t, even in 2020! Religious dress codes are all about hiding the body, about being ashamed—body and sex is the taboo. Whereas when you look into it, some of these people are the nastiest perverts.”
Gvasalia created a collection that spoke to climate change, traditional dress codes and perversions of the church all while making reference to the house’s archives and staying in line with the current day trend. Such level of aptitude and interest in social change showcased, only makes one more intrigued for the house’s re-opening of their couture division later this year.
For the past few seasons Alexander McQueen Creative Director Sarah Burton has been resorting to the quietude of poetry as sparks of inspiration for her latest collection. A strategy that has been working quite well in finding the beauty in little things to execute and amplify on a larger scale. The beauty in nature or culture or in this case heritage. Burton’s FW20 references stemmed from a trip to Wales where she grew fond of several aspects of the country’s heritage.
“The collection is a love letter to women and to families, colleagues and friends. We went to Wales and were inspired by the warmth of its artistic and poetic heritage, by its folklore and the soul of its craft, “ she commented.
She drew direct inspiration from the Wrexham Tailor’s Quilt was an artefact and one of the most well known patchworks that was crafted over a ten year from 1842 using recycled scraps he had used to craft the uniforms he made during the day. The quilt known for its detailed visuals which stood as a representation of something greater, braver and aspirational knowing that it was pieced together by scraps. The literal and symbolic sentiment of this resonated with the designer.
“The woman is courageous, grounded, bold: heroic. There is a sense of protection in the clothes, of safety and comfort, evoked through quilting and blankets. The hearts are a symbol of togetherness, of being there for others.”
The collection was a collage of sharp seamed graphic tailoring that incorporated upcycled wool flannels woven in British mills from previous McQueen seasons and set in dramatic geometric blocks, which was also very much in line with the brand’s recent initiative of a fabric donation scheme for future designers.
“The ethos at Alexander McQueen means that everything we use in researching and designing collections has always been archived and stored”, she notes. “We’ve never thrown anything away.” Mindful of providing access to students who need resources, the scheme activates an imaginative purpose for the remaindered luxury fabrics which have been routinely saved after the sampling and production cycles of women’s and men’s collections over the past decade,” Burton said of the initiative.
This collection was a further step to this project , pulling on fabrics from the brand’s archive to piece together an impressive collection which spoke to the concepts of warmth, family and heritage all while being sustainable while at it.
Late last month during Milan Fashion Week , the Italian chamber of fashion Camera Nazionale Della Moda Italiana launched an exhibition entitled Memos on Fashion in this Millenium, in collaboration with Museo Poldi Pezzoli and with the support of the Italian Ministry of Foreign Affairs and International Cooperation.
The exhibition was inspired by the series of lectures written by author Italo Calvino called Lezione Americane which he was set to give at Harvard in 1985, but was never given the chance as a result of his sudden death. During the time, his wife opted to publish the lectures with the author’s original title, Six Memos for The Next Millenium.
Calvino’s work inspired the exhibition simply because it poses the question as to whether fashion, as a cultural industry, a communication system, a rich, hybrid yet problematic terrain, be considered a scientific and a poetic practice, and therefore naturally literary? By using his words as a guide , the exhibition takes its audience through a guide throughout the history of fashion by way of memorable images and garments created with deeper meanings to them.
Featuring a collection of garments, images, objects, magazines that serve as a part of fashion history by designers and creators such as :
Giorgio Armani, J.W. Anderson for Loewe, Arthur Arbesser, Demna Gvasalia for Balenciaga, Boboutic, Riccardo Tisci for Burberry, Karl Lagerfeld for Chanel, Gabriele Colangelo, Maria Grazia Chiuri for Dior, Marco de Vincenzo, Fendi, Maria Sole Ferragamo, Paul Andrew for Ferragamo, Alessandro Michele for Gucci, Maison Martin Margiela, Francesco Risso for Marni, Noir per Moncler Genius, Moschino, MSGM, Fausto Puglisi, Prada, Pier Paolo Piccioli for Valentino, Giambattista Valli, Random Identities Versace and Zegna, all of whom help to shape the 3 dimensional structure of the exhibition’s aesthetic visually designed by Stefano Tonchi.
The exhibition is now underway at the Museo Poldi Pezzoli in Milan and will be open until the 4th of May.
Cover image : Oluwole Omofemi, ‘Omonalisa II’, Oil and acrylic on canvas, 121 x 121 cm, 2019. Courtesy Signature African Art
Mayfair based art gallery Signature African Art is set to open it’s new space with an exhibition by Nigerian artist Oluwole Omofemi entitled The Way We Were . In the words of the artist herself , the exhibition will be a celebration of Afrocentric pride and a reflection on the post colonial era. Throughout the exhibition Omofemi explores the importance of black hair in the black community as a call for people to assert their own identity through their own stories and shedding traces and definitions of identity left from colonialism.
The artist also references more recent times regarding The Civil Rights Movement of the ‘60s and ‘70s and the natural hair movement that came with it, made popular by icons such as Diana Ross , Jimi Hendrix and Angela Davis.
Throughout her work hair is a metaphor for something deeper , a level of freedom prized with the owning of ones own identity, very much similar to the significance and thought process of black woman choosing to keep or go natural in the community. Rendered in oil and acrylic, her paintings at times have simple primary coloured backgrounds, which lend them a vivid Pop Art sensibility; in others, a darker mood is created, referencing the works of the Old Masters.
Located in Davies Street, Mayfair, Signature African Art was founded by Rahman Akar. Of its first show, he says: “We are delighted to be opening a space in London, and thrilled that Oluwole Omofemi, one of Nigeria’s most compelling young artists, is our first show. In addition to his mastery of composition, his works are at once both celebratory and deeply thought-provoking.”
The Way We Were exhibition opens on the 12th of March at the Signature Art Gallery in Mayfair, it will run until the 9th of April.
Oluwole Omofemi, ‘Root II’, Oil and acrylic on canvas, 121 x 121 cm, 2019. Courtesy Signature African ArtOluwole Omofemi, ‘Omonalisa’ Oil and acrylic on canvas, 121 x 121 cm, 2019. Courtesy Signature African ArtOluwole Omofemi, ‘Root III’, Oil and acrylic on canvas, 121 x 121 cm, 2019. Courtesy Signature African Art
It is safe to that Creative Director Silvia Venturini Fendi has been hitting her stride within the past few seasons. For FW20-21, the designer explored what it means to be a FENDI woman , or rather FENDI women with a collection that spoke to the different interpretations of what it means to be feminine. It was a collection that was charged with power yet stroked with softness and delicacy. It was a play between between a total dominance and a graceful elegance that was brought out even through the fabrics used. A mixture of cashmere, leather, lace and even fur were the headliners.
“Tailoring and outerwear is built around nipped waists; flared officer’s coats, burnished perfectos and high-octane blazers are boned through the bodice with shoulders that plane to a flat point or drop into a Juliet sleeve. Voluptuous shapes unfurl into cozy loopback sweaters, a bonded leather accordion skirt and bibbed organdie blouses.”
Each silhouette was defined by its respective story. The FENDI Fall/Winter 2020-2021 Accessories Collection were also optly paired with this season’s boudoir themes, as padded lambskin ‘brace’ booties and satin ‘suspender’ pumps elicit vampish airs.
In three sizes, a new accordion-frame Peekaboo bag opened in a deep ‘smile’ to reveal interchangeable inside pockets in smooth leather and precious skins. It appeared also dipped in gold leather fringes or traced with appliqué lacework and beaded tassels. The iconic Baguette bag in handknit wool was joined in leather shopper bags and charms inspired by vintage FENDI packaging, returning from the last Men’s Collection.
The city of Milan was the inspiration behind Arthur Arbesser’s FW20 collection which he presented just this past weekend. The designer was fascinated by the subtle and at times hidden beauties of the city such as the vintage architecture and design.
As a foreigner, living in the city for the past six years, he’s had the opportunity to observe the city’s gems from an objective perspective which he re-interpreted into this collection. Within the that he created strong graphics that were balanced with clean silhouettes and aspects that were to be discovered.
The collection played with an interesting autumn palette of warm burgundy, milk white , black velvet and different shades of brown that also featured the designer’s signature pattern. He also collaborated with his fellow designer friend Marco Guazzini, who is the creator of a ceramic-like material named Marwoolus that mixes pressed marble powder and wool. In white, but flecked with attractive abstract plumes of color, these were Marwoolus single-button jackets, belts, pendants, earrings and a few skirts, shirts, and pants as well.
This weekend Francesco Risso presented his FW20 collection for Marni as an abstract reinterpretation of the age old tale of Alice in Wonderland.
“Where are you, Alice?
I’m not here right now, and probably not there. I am down the rabbit hole, luxuriating in a time warp.
Are you coming back anytime soon?
I don’t know. I feel like I have been here for a while, but probably I just arrived. Who are you?
I am Venus, Alice. Venus of the Rags. Do you recall me? I come with no tags, usually in full drag.
What can I do for you?
Please make sure you make, do, ment, and that you never bend. Take scraps, bits and pieces, never to be shredded in pieces. Be a militant, always vigilant.
Is this your vow?
Aim for the rainbow. But tell me, Alice, what was it like to fall in the hole?
I felt micro, then went macro, as the natural sped up to supernatural.”
The collection saw remnants of fabric collaged to create each look. Coats and tabards were created and worn with mini and maxi skirts made from scraps of leather and the calico that dress toilet were made from. Velvet, fragments of metal and even scraps of cotton fabric that were woven togethers by hand in a factory in Venice on looms that were originally designer by Leonardo Da Vinca. It was all an exploration of patchwork , a collection of memories, of thoughts, and fabrics, pieced together to create one story.
It was one those stories that left you asking yourself a question , as Risso noted, “ Are we in a psychedelic world and we need to be more grounded, or are we in a caged world and we need to be freed by psychedelia?”
Either way the designer’s collection fell into neither the categories of grounded nor caged but in all senses was an exploration of psychedelia from the details of glitter doused make up and hair to the precision of weaving of all the separate scraps of fabrics in a way which seamlessly harmonized them as the voices on a choir.
Designer Miuccia Prada is no stranger to the movement of feminism. She has not only covered the topic in past runway shows, but her presence in itself as one of the leading female forces in fashion is symbolic for many.
For her FW20 womenswear show the designer tackled traditional standards of what it means to be intrinsically feminine as she challenges the notion of femininity equating to softness, fragility and sensuality and proposing that this tradition delicacy can and should be what defines strength. With this in mind, she dresses her woman with the idea of finding power and strength in such paradoxes. Vents, layered fringes and deconstructed pleats reveal skin, and underscore locomotion.
Movement is tied to the corporeal , to athleticism, hence to sportswear. All these forms of everyday glamour are challenged from practical to aesthetic. Cinched waists of nylon puffer coats create a classic feline shape paired with gum boots for contrasts. The collection is a reflection of the construct of femininity, and an ode to it’s many different shapes, forms , sizes and manifestations. Each pairing , each look acts as a protest against the idea that there is a singular definition to what it means to be feminine, or what it means to be a woman.
For FW20, Gucci’s Alessandro Michele paid tribute to fashion shows and the production process behind seen through from the perspective of a magical ceremony. For the show in Milan, guests entered into a backstage space built to expose all the BTS rituals of of hair , makeup and model dressers working diligently to prepare a cast of 60 faces for the show.
The show itself was staged in an arena like setting where at the centre, a carousel structure rotated 360 degrees. Each model stood still at their respective window where they donned garments which were partially inspired by pinafore dresses and school uniforms, and not long after, the entire production team took their bow as well.
Michele :
“ I have always considered the fashion show as a magic event bursting with enchantment . A liturgical action that suspends the ordinary, loading it with an excess of intensity. A procession of epiphanies and expanded thoughts that settle into a different partition of the sensible….There’s something though, in this ceremony that usually stays buried; the struggle of the parturient that accompanies the tremble of creation; the mother’s womb where poetry blooms, from shape to shape. Therefore, I decided to unveil what lies behind the curtains.
May the miracle of skilful hands and holding breath come out of the shadows. May the collective intelligence that takes care of gestation be visible, as shivers rage on. May that wild and crazy hive that I made my home have a throne. Because that is the home I worship; the blessed passage through which beauty comes out of its shell.”
“Japanese – Italian – Luxury” is how the Aries team sums up their most recent collaboration with Japanese fashion house Porter. But the collection is a little more subversive than such a description would suggest – as ever with Aries Arise’s approach, there’s a sense of playfulness too.
“I wanted to include a trompe l’oeil design that would be a reference to classic luxury bags, this is how the gold chains idea developed. I specifically wanted the straps to be an ironic take on a handbag, to contrast the very utilitarian language of the Porter bag design.” explains Sofia Prantera of the approach to the collection. “Trying to achieve a balance between utilitarian and luxury is central to my design process and it creates constant tension between these opposing tenets.”
Shot by Clare Shilland, the campaign for Aries x Porter project taps into the new energy that accessories are bringing to style. They’re a material in themselves, building full looks from the outside in. For Prantera, the collaboration had personal roots. “Porter bags are unique, I have been buying their bags since my first trip to Japan in 2003. My first Porter bag was an iPod classic 1st Generation 5GB holder. Our Japanese distributor came up with the idea of collaborating on a bag collection which seemed like a dream come true. Porter bags are really iconic and unique. Porter have invented their own bag language and in some ways they are still pretty undiscovered outside of Japan.”
The collection is comprised of five unique styles, mixing original Porter silhouettes with an Aries twist. “I particularly like the Helmet bag, which is Porter’s signature shape, but I think the construction and materials lend themselves really well to small accessories so we added a 5th design, based on a 1990’s raver holster. This style is new and unique to our collaboration.”
Margaret Howell’s FW20 collection was crafted around the idea of a simple elegance. The designer showcased the collection yesterday in South Bank where she stripped back from the glitz and glamour and brought out the essential parts of her maison with class and minimalism.
From box pleat skirts, to knee high socks, to a simple white t-shirt dress which opened the show. Each look was stripped back to it’s core to embrace the true values of the British fashion house. Our photographer Olivia Lifungula gave us a BTS view of what went on at the Margaret Howell FW20 show.
Following the buzz of their FW20 Menswear campaign earlier this month featuring Frank Ocean, Prada centred it’s recently released womenswear campaign around the theme of the brand’s fluid identity and flexibility. Shot by photographer Jamie Hawkesworth, the campaign was featured in a similar format to the menswear, playing upon the different types of characters that inspire and define the brand.
“The paradox and contradiction inherent to Prada make easy categorization or summarization impossible: Prada is simultaneously complex and simple, singular yet multi-faceted.”
This weekend designer David Koma presented his FW20 collection as an ode to some aspects of classic British pop & contemporary culture. From a detailed “Gherkin” building beaded on a mini dress to the Union Jack stamped on pump heels to subtle details of the cityscape print brought out in bike apparel, and nods to Princess Di and Dame Viv with emerald jewellery and pannier skirts. Twin ventured backstage with photographer Olivia Lifungula to get a closer look of all the key details.
Many have said that Vivienne Westwood is an exemplar of one of the only rebels left in fashion, and her FW20 presentation this weekend proved just that. No words were minced. The designer crafted a collection directed towards justice, sustainability and Julian Assange.
“I want to work with Extinction Rebellion and have Julian Assange freed,” she commented at the presentation held at the Serpentine Gallery yesterday.
The clothing spoke for themselves, or rather they screamed and protested with statements aimed towards an ironic yet effective form of fashion activism. Luckily Twin was there first hand to document every bit of it with our photographer Olivia Lifungula who captured all the details of the apparel activism initiated by the designer.
VPlastic and Paris Fashion Week Couture: there have been stranger partnerships, but Melissa Shoes’ collaboration with Viktor&Rolf certainly paired with aplomb.
With Viktor&Rolf’s collection inspired by childhood memories of Laura Ingalls Wilder’s ‘Little House on the Prairie’ and Denise Holly Hobbie-Ulinskas’ eponymous 1970’s illustration character, Viktor&Rolf took a turn back to the archive for their fabric swatches, lending the collection a looser air: more romantic, more nostalgic.
Teamed with classic Melissa sandals in delicate shades of powder blue, white and pink, and bags imitating woven lace, Viktor&Rolf took a brave partnership and made it feel effortless.
Looking at the collection and discussing their decision to explore the archive, the symbolism of consideration for this season’s design process was at the helm. Historically, the technique of patchwork originated from frugal necessity: old clothes were cut up in patches and sewn back together in decorative patterns, in order to be used again. By reusing their high-end couture fabric samples in this way, Viktor&Rolf create a surreal paradox that underlines the beauty of imperfection. This collection highlights the creative principle of conscious design. Doing more with less; constraints providing a steppingstone for meaningful creation.
Their collaboration with Melissa Shoes further implied the importance of creative partnerships through working together, specialisation, and a relaxed nostalgia that reflected on past skills and how they can be integrated into today’s technological advances.
With Melissa shoes made from their signature vegan Melflex, and Viktor&Rolf’s emphasis on consciousness design, a deeper thoughtfulness and responsibility were takeaways from this collaboration at couture season.
Contemporary British publishing house IDEA’s latest venture is in collaboration with i-D Magazine’s Editor in Chief (EIC) on a photobook titled MICA. Comprised of 160 pages, the book is a study of Argentine model Mica Arganaraz in the obsessional style of Japanese icon books. All the images included are pulled from Alastair’s iPhone camera roll documenting the behind the scenes time line from their first meeting, to Saint Laurent campaigns, magazine editorials right up to McKimm’s tenure as EIC of i-D.
The book officially launched with a signing by Mica and Alastair at Dover street Market NY on February 10th. MICA is currently available for pre-oder online IDEA.
Multimedia artist, entrepreneur and founder of Baroness Magazine Sarah Baker recently teamed up with iconic Italian designer Donatella Versace as guest editor for the second instalment of the magazine. In a photographic storybook shot and curated by Sarah Baker, art directed by Stephen Male and styled with Versace’s collection, the artist tells a tale of glamorous yet tumultuous affairs among five characters as the dominantly females cast is tasked to work together in order to successively overcome blackmail & deceit. The scenery is set by Decor from the Versace Home collection and even served as the brand’s holiday campaign.
Twin sat down with the artist Sarah Baker to discuss inspiration and her process of realizing the issue.
What was the experience like working Donatella Versace as guest editor for BARONESS issue NO.2 ?
Working with Donatella was amazing. I have admired her for a long time as a business woman and creative director and she has inspired my artwork for many years. Her team is superb and they have been carefully chosen by Donatella to filter the first round of decisions. When Donatella reviewed our progress, she had a fresh perspective on all the options, and I really admired her bold decisions. As an artist, it is a dream to work with an editor who is open to a lot of very outrageous ideas and willing to experiment and take risks.
You opted to go in the untraditional direction by creating a saga around female collaboration as opposed to female rivalry, what inspired this?
I think it’s about time female collaboration is not seen as groundbreaking. We were interested in reinterpreting the character of The Bitch (the title of a Jackie Collins novel that inspired Alexis Carrington). Interestingly, Collins also wrote Lucky, perhaps her most famous character, who is sexy, sassy, brilliant, and in-control. This really personifies the Versace woman, and the strong traits of our lead characters Angelina and the Baroness resonated with Donatella. My work has been about looking at how women are represented in popular media and how a woman might represent herself. As an artist, I am interested in shifting the narrative away from woman as seen from a man’s perspective, to a woman who is very much in control of her own image, and temper, and therefore abandoning Dynasty-style cat fights. Regarding my personal inspiration for female collaboration, I was also thinking about my own very close group of girlfriends—we have supported one another since early childhood.
What was your favourite aspect of the process while fabricating this issue?
I really enjoyed solving problems with the structure of the narrative. The plot shifted so much from the very beginning, and every time a character was removed or dialogue altered, it had a ripple effect over the whole story. We started with twelve characters and twelve chapters, and due to the reality of shooting schedules and time constraints, we needed to alter the story quite a lot. It was extremely challenging to keep the story alive while maintaining logical conclusions. This problem kept me extremely excited and maybe in the end it was never fully solved, but that contributed to the ridiculousness of the narrative, which made it a little bit more funny. It was reminiscent of the TV show Soap, which is often a point of reference for my work, where the farcical narrative explodes into embellished dialogue. It is true to many fictitious dramas—most Noel Coward plays have the absurd built in—but sometimes life can actually be like that too. Or maybe it’s just my life!
Is there anything you want your viewers to take away or feel from this series?
Humor is really important. That is another thing that was really great about working with Donatella: she has a great sense of humor. Especially at this current time when it seems like the world might blow up—politically, ecologically. It can feel very overwhelming. I personally find laughter more important than ever right now.
Do you have ideas or clues you can give on what may be in store for the next BARONESS issue?
Something fabulously sexy and witty, like everything published by Baron and Baroness.
For Spring Summer 2020, French Maison Givenchy revisits its signature “couple” theme with its most iconic pairing yet.
Charlotte Rampling and Marc Jacobs face the brand’s campaign with a story shot by photographer Craig McDean under the direction of the house’s Artistic Director Clare Waight Keller. The duo is shot “celebrating the individualistic beauty and the liberated, self assured attitude so emblematic of Givenchy,” as so reads the press release.
Both are decked in full looks and accessories from the Givenchy SS20 collection styled to honour each icon’s personal style. Charlotte is pictured sporting more masculine pieces while Jacobs flaunts a more feminine style. In the short video, the two are captured in their elements in a fascinating scene as they exercise their acting skills with a series of improv. Givenchy SS20 , is currently in stores.
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