White and relaxed, layered over-sized outerwear and loose fitting pants. Relaxed casual chic that can be either dressed up or down. Pops of color in select separate pieces. The models had their hair pulled back and heavy eyeliner contrasting with these relaxed looks, causing them to even out. source:
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Valentino Haute Couture F/W 2014-2015
Among the most striking moments was the full-length black feather cape. It stood apart from the collection’s softness, introducing density and shadow. The feathers added a sense of gravity, transforming the look into something ceremonial and powerful. It felt less like adornment and more like armor, a quiet counterpoint to the collection’s airier elements.
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Mixed Media Portraits by Bernhard Handick
Bernhard Handick’s mixed media portraits exist in a space where familiarity becomes unstable. At first glance, the faces feel recognizable, drawn from pop culture and fashion photography, images we have been trained to read instantly. But Handick interrupts that recognition just long enough to make it strange again. What emerges is a body of work that feels seductive, fractured, and quietly surreal. The foundation of these portraits often begins with photography, particularly imagery tied to celebrity, editorial fashion, or mass media. Handick then disrupts that surface through manipulation. Photographs are layered, spliced, and overpainted. Faces blur into other faces. Features are obscured, multiplied, or partially erased. The act of painting…
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Christian Siriano FALL 2014 READY-TO-WEAR
Christian Siriano Fall 2014 Ready to Wear arrives with a clarity that feels intentional rather than restrained. Presented almost entirely in black and white, the collection leans into limitation as a creative advantage. By removing color from the equation, Siriano redirects the eye toward silhouette, texture, and construction, the areas where his technical confidence has always been most fluent.
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The Real Life Models by Flora Borsi
Flora Borsi’s The Real Life Models sits at an intersection where art history, digital manipulation, and psychological curiosity quietly overlap. The series does not aim to shock through excess or distortion. Instead, it unsettles by asking a deceptively simple question about how images are made, and what we accept as real once they are presented to us.
