The 15 pieces include multiple Burberry logo t-shirts, a Minecraft logo jacquard scarf, a black cotton gabardine car coat, a Burberry logo baseball cap, a square cotton scarf, a hoodie, a bucket hat, jogging pants, and sweatshirts. The final item in the collection (and perhaps its most notable) is a version of Burberry’s classic Waterloo trench coat featuring a pixelated white Burberry x Minecraft logo on the back.

The collection’s laid-back loungewear vibe merges the distinctive styles of the two brands, with comfort being the main priority. Price tags are in the usual Burberry territory of $250 to $2,990. The Burberry x Minecraft collection can be purchased online and in select stores in New York, Shenzhen, London, Tokyo, Seoul, Taiwan, and Bangkok.

Each real, physical garment has a digital counterpart in the game. Avatars wearing the collection get the chance to complete a series of challenges within four realms, like navigating a maze covered in Burberry’s signature pattern. The game itself is downloadable for free as an add-on adventure for the Minecraft game.

The official Minecraft website explains that “The new, free DLC, Burberry: Freedom to Go Beyond, reflects Burberry and Minecraft’s appreciation of the wonder of nature. As the player, you venture into an alternate reality version of London taken over by a malevolent entity called the Nexus. Once a place blooming with foliage and gentle animals, this land has been drained of color and life. Its inhabitants have been scattered to the four realms of air, water, fire, and earth, and your quest is to restore the spirit of the wild by traveling to each realm, reviving its Nature Guardian, and freeing the animals trapped there.”

“On your adventure, you’ll encounter creative references to the Burberry brand’s universe – including an Equestrian Knight character, Thomas Burberry Monogram maze, and a range of members from the Burberry animal kingdom, each bestowed with mystical powers.”

The pairing of Burberry and Minecraft may seem a little strange, but we can probably expect a lot more mixing of traditionally fusty fashion brands and digital technologies in the near future. Balenciaga already designed skins for the game Fortnite, and Gucci recently released the Gucci: Good Game collection celebrating the world of gaming through rainbow-hued iridescent apparel and accessories.

Burberry’s Director for Channel Innovation Phillip Hennche says he knows the collaboration is a bit unexpected. But Burberry sees digital crossover as the way of the future and wanted to work with one of the largest, most beloved games, hence the Minecraft choice.

“Gaming is a super important channel for us in terms of how we engage our customer,” Hennche told Vogue Business. “We know that it’s a very important passion point for our target markets and consumers. We know that they are there, they are present, and they’re very active in that community.”

The post Burberry Debuts Digital Clothing Collection for Minecraft first appeared on Dornob.

“The fashion industry produces 10 percent of humanity’s carbon emissions and creates a huge amount of pollution in the process of making textiles,” Holloway explains, adding: “By contrast, this project explores the promising possibility of root-grown textiles and imagines compostable and sustainable fashion. As fashions change, new clothes grow and old clothes are composted. Grown from root, inspired by marine life.”

Rootfull takes advantage of overlooked materials that exist literally right beneath our feet. Certain grasses grow roots that can reach over a dozen feet down into the Earth. Even common Bermuda grass, found in most lawns, has roots measuring eight feet. Holloway used wheatgrass for the series, cultivating the seed in templates carved from beeswax. Roots naturally grow into mesh-like structures, but Holloway guided them into templates over a 12-day growing period to get the shapes she wanted.

“The challenge is to sew, cut, tease, join, pluck, set, and reset until the root has found the optimal form,” Holloway writes. “Root is an exciting and versatile material where the most honest results are achieved by working with the natural flows of the fiber. It can be grown into large hanging structures or set and molded to form vessels, and it responds especially well to natural dying processes.”

“When freshly harvested, the roots are heavy and damp, and after 24 hours they dry out to become featherweight, and strong enough to support their own weight. The root forms a kind of botanical skeleton, trapping carbon, and therefore becomes a tiny part of the solution to the complex problem of climate change.”

Because of the nature of living materials, each piece in the collection is entirely unique, even if the same beeswax templates are used. In a sense, Holloway collaborated with Mother Nature herself, guiding the wheatgrass roots to produce visually interesting results. She’s even able to grow the roots into large mats much like a bolt of fabric so they can then be shaped into beautiful dresses. The silhouettes they achieve are truly remarkable, demonstrating the kind of creativity that’s possible when we stop limiting ourselves to harmful polluting materials simply because that’s what we’re used to using.

Holloway’s non-wearable Rootfull pieces have their own sense of natural elegance. Some of them really do resemble coral and sea fans, so why shouldn’t we display these in our home instead of contributing to the many threats to coral reefs? The pieces are also gorgeous as lampshades, with the light bringing out the intricacy of the woven patterns.

The post Zena Holloway Weaves Living Plant Roots into High Fashion Outfits first appeared on Dornob.

This concept was recently brought to new life with the collaboration between Italian architect and designer Gaetano Pesce and the uber-luxe Italian fashion house Bottega Veneta during their SS23 collection showcase at this year’s Milan Fashion Week. Pesce and his team hand-crafted a whopping 400 technicolor chairs specifically for the event.

The chairs’ aesthetics are as unique as Faberge eggs, each one a rainbow-colored dream of swirling colors. While some of the seats evoke stoic marble and mountains of multicolored candy, others are decorated with hand-drawn designs depicting Bottega Veneta accessories — all one-of-a-kind objet d’art meant not only to be admired, but to be an integral part of the fashion show.

Entitled “Come Stai?,” the collection served as actual seating for the show’s attendees, themselves an active contrast to the swirling shades of the floor beneath. And like fashion itself, the chairs serve a multi-layered purpose. Meant to highlight the underlying theme of diversity in fashion, Pesce’s colorful handmade chairs make a powerful statement on mass production, and how devastating carbon-copy furniture reproductions can be to a piece’s individuality.

As Pesce explained during an on-set conversation, “We are all originals, and this is one of the themes to my design.” He also emphasized the importance of flow and change in design as opposed to the stagnation that can result from commercial reproduction, adding, “as a designer, I make originals, not standardized series.”

“Form, function, and thought are necessary for design and art,” Pesce said before unveiling the first of the 400 “Come Stai?” chairs. The collection will go on to find new life in an exhibition at Design Miami 2022, and the individual chairs will eventually be made available for purchase.

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Hadid first covered her chest and then raised her arms as the viscous white paint streamed out of the spraying devices and onto her torso. At first, it looked like ordinary paint, but then something curious started to happen: it took on a shape of its own, stretching across the front and back of her thighs.

It took about 15 minutes to finish spray-painting the dress, and then a woman came out and cut a slit along one leg, pulling down the sleeves to create an off-the-shoulder look. As Hadid made her way back down the runway, the dress fluttered and flowed, somehow a fully fledged and very wearable garment perfectly custom-fitted to her proportions.

The material, Fabrican, was invented by designer and technologist Dr. Manel Torres. Unsurprisingly, his inspiration first came from silly string. “I thought I could create a mist,” Torres explained in a 2013 TED Talk. “That was the eureka moment.” He approached the Imperial College in London to find a way to bring this idea to life, and they provided a lab and materials for his experiments.

Fabrican was the result of two years of trial and error. Though it’s sprayable, Fabrican isn’t really paint. It’s a liquid fiber bound together with stretchy polymers. Solvents in the mix evaporate when they hit the model’s body, leaving only the fibers and polymers behind.

Coperni designers Sébastien Meyer and Arnaud Vaillan took Torres’ invention and created their own design with it, the dress Hadid modeled on the runway. The type and material of fibers used in the mix change the texture and flow of the resulting fabric. In this case, the dress felt like suede and moved like a second skin.

The designers imagine users choosing their own unique combinations to get the results they want, spraying on t-shirts or sportswear on demand. They could even add fragrances or conducive materials that interact with tiny computers to create wearable technology. When you’re done wearing it, you simply peel it off and put it on a hanger like you would any other garment.

“Fashion designers need new materials and fabrics to create products to address evolving lifestyles and consumer demands,” read the Coperni show notes. “In the 21st century we should make it the first time that science and design really march together in close step, illustrating in this way their interdependence.”

The Coperni show was a fittingly dramatic way to introduce this new kind of fashion technology. Fashion lovers may recall the 1995 Alexander McQueen show, in which robots spray-painted a design onto model Shalom Harlow’s white dress, but that was just paint. This is revolutionary, and it’ll be interesting to see whether it’s eventually adopted as a new way to create custom-fitted clothing within minutes.

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Now, with the newly unveiled Gucci Décor collection, the legendary fashion house is upping the ante even more. The new pieces are being showcased in a campaign called “A Garden of Delights,” itself an homage to the quintessential English garden. Complete with immaculately shaped hedges in the form of tea cups, lamps, and armchairs, the setting blends seamlessly with the actual collection to create a true garden of Earthly delights.

The Alice in Wonderland-like fantasy garden was created by Andy Hillman Studio, while the whole dreamy scene was captured beautifully by visual artist Max Siedentopf. But the real brainchild behind the sumptuous scene was undoubtedly Michele, who has proven yet again that the iconic Italian brand isn’t afraid to push the envelope with their dynamic style choices. Below are just some of the highlights of the sumptuous collection:

These Floral Jacquard Armchairs and their plush fabrics seem to melt right into the romantic backdrop — but the eye is inevitably drawn to the classic silhouette and bright, dual-sided patterns.

Rich textiles and luxe materials make a bold Gucci statement when paired with a verdant green backdrop where the colors pop and the patterns draw the eye with colorful florals and geometric shapes, as seen in this Floral Jacquard Wool Blanket and vibrant cushions.

Set the table for an iconic English teatime with the company’s new floral coffee and tea sets. Here, the Herbarium Coffee Cup and Saucer Set, Coffee Pot, Creamer, and Sugar Bowl are artfully juxtaposed with their topiary counterparts in the background.

Whimsical prints complete with the Gucci logo make these bold accessories pop with vim and vigor that really stand out against the botanical scene. The Animalium Print Mug is particularly nice here; you almost expect the butterfly to fly away into the surrounding landscape.

Shop the Gucci Décor collection here.

The post An English Garden Sets the Scene for the New Gucci Décor Collection first appeared on Dornob.

Starting in Williamsburg, Brooklyn, the Paris-based makers of the famous Birkin bag set up shop in a vintage commercial warehouse, drenching the space in iconic orange and inviting guests to sign up for workout classes every hour from 11 am to 6 pm during the space’s four-day run.

Of course, these sweat sessions were no ordinary sports fare. The Hermès website invited patrons to “practice stretching with belts, yoga with silk scarves, and voguing with hats!” Visitors were asked to choose one of three brand bracelets to wear during shadowboxing instruction. The instructors, dressed completely in Hermès’ signature orange, encouraged participants to “think elegantly” as they jabbed, crossed, and kicked. A display of Hermès products was also reflected in the studio mirror for all to ogle during the workout.

In a class called “Mirror Mirror with Small Leather Goods,” visitors were handed Kelly wallets with the brand’s signature “H” gold buckle to clutch while they aerobically leaped and jumped in circles.

Billed as an “unconventional event” where “fitness meets fashion,” the pop-up Hermèsfit gym flexed its muscles in places like Bangkok, Paris, Shanghai, Tokyo, and Taiwan. In July, it ended its first run at the famous Hollywood Athletic Club. Designed in 1924 by the same architects that created Grauman’s Chinese Theatre and the Egyptian Theatre, this swanky locale formerly played host to the calisthenics of early stars like Charlie Chaplin, Clark Gable, and even Walt Disney.

For the Hollywood event, Hermès converted the space into an orange fantasy, with large graphic motifs in the style of ancient Greek athletes. Barbells in the shape of high-fashion shoes sat atop a weight bench, while a climbing wall worked double time as photo booth. For those less inclined to cardio, a juice bar and a giant circular ping pong table in bright orange were also available. Punching bags were wrapped in silk carré scarves, and athletic shoes and hats were strategically placed on walls to be touched, admired, and desired by patrons.

By night, the gym transformed into a dance club, with the boxing ring serving as a stage for performances by acts like the L.A. Dance Project, Neal Francis, Pearl and The Oysters, DJ Erez, and Spill Tab.

The limited Hermèsfit event is going Down Under next, with a booking in Sydney from October 14th to 16th at Hordern Pavilion in Moore Park.

For those unable to attend a live event, Maison Hermès has an entire line of goods to help you “choose your own choreography.” Visitors can browse the collection on the Hermèsfit webpage, including things like the $1,225 Freestyle Sneakers, the $480 La Selle Imaginaire scarf, or the sporty $365 Glenan H bracelet.

Hermès has a long and illustrious history as a brand. Initially established in 1837 as a saddle and saddle bag purveyor, they’ve gone on to make a name for themselves in high-fashion leather goods, homeware, and lifestyle accessories. The company has also hosted many attention-grabbing events over the years, including a yearly exhibit at Milan Design Week.

The post Hermès Pop-Up Gyms Let Guests Shop Fits While Getting Fit first appeared on Dornob.

Rose in Good Faith co-founder and CEO David Teitelbaum wanted the brand’s first sneaker to be an attention-grabber, just like the rest of their edgy luxury offerings. Rose in Good Faith built its cult following by celebrating culture through an authentic lens and taking risks. Teitelbaum and co-founder Akiva Alpert knew they wanted the shoe to be sustainable, and that the sex toy angle would ramp up excitement about the design. The brand spent nearly two years working on a process that could turn sex toys that didn’t meet Doc Johnson’s quality standards into a truly wearable shoe.

“When we started the design process, I wanted to create something that was both timeless and exceptionally useful,” Teitelbaum told Paper. “Turns out, we produced a shoe that’s more comfortable than any shoe on the market, and just like our collaborations, the piece tells a story. We hope the shoe will transcend time and inspire a new perspective on upcycling.”

The process grinds the former sex toys into tiny millimeter-sized chunks of thermoplastic elastomer mixed with non-bleach EVA (ethylene-vinyl acetate) foam, which is then injection-molded into the shape of the shoe. The Plastic Soul is a single-piece slip-on white shoe that sort of resembles an elevated, more stylish high-fashion version of Crocs.

“We are so proud of this partnership with Rose In Good Faith to promote sex positivity through fashion and innovation,” says Doc Johnson’s COO Chad Braverman. “It was important to us that we create a shoe that was conscious of environmental impact, which is why we are beyond thrilled to make these using our upcycled sex toy materials. We can’t wait to get these out in the world as part of our global movement to de-stigmatize sexual health and wellness.”

Perhaps some consumers will immediately be turned off by the idea of wearing former sex toys on their feet. But Rose in Good Faith is betting that it’ll be a selling point for their youthful clientele, who care about the environment just as much as they care about looking cool. “We are intersected between our community of hyper-progressive individuals and the broader luxury-fashion industry,” Alpert told Forbes. “You’ll see our fits worn in the mosh pit of a trap-metal show and in the streets during Paris Fashion week.“

Rose in Good Faith’s previous collaborations have included a six-piece luxury collection reviving 90s cult classic JNCO jeans as a series of bright baggy unisex garments, an Ed Hardy collection targeting early-aughts nostalgia, and a Greenpeace-themed capsule collection in partnership with the estate of late rapper Lil Peep.

The post Rose in Good Faith Recycles Unused Sex Toys into the Ultimate Slip-On Shoe first appeared on Dornob.

Metallics

Designers are mad about metallics again, perhaps craving the flair and excitement lacking in most of our lives during the pandemic. Silvers, golds, and many other shiny hues were embraced in collections like Fendi’s, which featured a a green-and-gold evening gown with a pattern reminiscent of a cracked dinosaur egg. Similarly, Giambattista Valli softened a silver sheath dress with a fluffy pink boa, and Balenciaga draped Nicole Kidman in what looks like it could have been a giant astronaut tarp.

Flowers

Flowers and floral trends were equally big. Dior showcased traditional Ukrainian peasant flower motifs on one dress to show solidarity with the besieged country. Chanel featured a retro pattern with daisies in mint and pastel pink. Rahul Mishra placed giant orange poppies on oversized sleeves. And plenty of designers combined floral themes with metallics, like Elie Saab, who dropped an enormous silver rose on the shoulder of a sleek evening gown, and Schiaparelli, who adorned a gold-stranded bodice and skirt with lily and posy epaulets.

Oversized Jackets

With their models swimming in ridiculously oversized jackets, perhaps some designers were hinting at their pandemic-induced feelings of wanting to hide from the outside world. Or maybe it’s a tribute to the sense of being dwarfed by our circumstances. Viktor & Rolf created an entire collection of suits and dresses with shoulder lines twice their normal size, and Fendi sported a tan overcoat and pant suit that comfortably hid the figure all the way to the ground. Maison Margiela also debuted a sleeveless, metallic trench coat that’s narrowest point started at the shoulders.

Organic Shapes

Several designers played around with amorphous shapes, revealing a need to think outside the box of quarantining. For example, Iris Van Herpen created an angel-esque form out of wisps of white-to-teal strings. And Rahul Mishra crafted a bush-like drape composed of delicate metallic ivy and flowers.

Chunky Platform Shoes

Models from almost every designer strolled the catwalk in extra-chunky, sometimes geometric, platform footwear. Gaultier’s cone-breasted pregnant figures wore combat style boots with five-inch silver soles, while Stéphane Rolland put one of his models in candy-apple red, hourglass-shaped platform heels (and hot dog earrings).

Whites

Many designers included an all-white getup of some sort, perhaps a nod to the fresh start we have all sought after the past few years. Chanel created a chiffon tent with wispy black feathers, while Giambattista sent a model out in a 1950’s-style full white skirt and tailored ivory blouse.

While you aren’t likely to see these fashion artworks on the street anytime soon, there is a good chance this fall and winter’s wearables will feature hints and elements of this year’s Paris Fashion Week trends.

The post Our Favorite Trends from This Year’s Paris Fashion Week first appeared on Dornob.

The answer is simple: fashion innovators get creative.

Put on hold for nearly two years as a result of the pandemic, fashion shows went mainly virtual, and many of the top houses resorted to livestreams and digital showcases to present their newest collections. Others even took it a step further with über-innovative takes on the traditional. Dior, for example, presented miniature versions of their couture dresses for a digital show during the pandemic, while others opted to hold their shows in wide open public spaces to give attendees adequate room to spread out.

In 2022, however, most fashion houses have returned to the norm. In-person shows are back on the catwalk, as evidenced from the uptick in designers opting for live shows during the 2021 Paris Fashion Week (despite the Omicron surge and continuing COVID restrictions in the French capital).

But there are still fashion all-stars that are opting for creative and forward-thinking solutions when it comes to presenting their wares to the masses, whether it’s in response to the pandemic or simply as a way to stand out and be bold. The latest from Gucci’s creative director Alessandro Michele is a stunning example of the house’s iconic vision on full display.

Showcasing Gucci’s Love Parade Collection, the second by Michele in the historic house’s 100th year of business, the collection was originally presented outdoors along Hollywood Boulevard — the perfect backdrop for the glamorous Gucci. A riotous celebration of over-the-top luxury and cutting-edge design subverting old Hollywood tropes, the collection takes on a whole new dimension when taken off the runway and placed on display. Rather than focusing on movement, the pieces’ sedentary status is instead shown in a series of marvelous midcentury tableaus that are more akin to department store window displays than they are a live show.

The next show took place at the epic Preston Hollow Dallas mansion, a modernist marvel of clean lines and open spaces designed by Texas architect Lionel Morrison. The space was decorated with Michele’s vision of midcentury excess for the event — think bright, shaggy rugs, flower power wallpaper, and shapely furniture in lush fabrics and even more eye-popping colors.

Guests were welcomed into the magical mansion and were free to peruse the goods at their leisure. In addition to the Love Parade Collection, the space also showcased many of Gucci’s most luxe jewelry pieces and coveted skin bags (flown in from Italy specifically for the occasion), a slew of made-to-wear customizable pieces, and, of course, some decadent Gucci in-house cookies.

While many top fashion houses have already chosen to get back on the runway, others are still looking for new ways to display their wares to audiences looking for that extra touch of iconic glam — and the latest installation from Gucci’s visionary creative director Alessandro Michele is a shining example of this. Set to the backdrop of a gorgeous Dallas mansion bedecked with all kinds of plush midcentury pieces, the collection is a feast for the senses that proves fashion can exist — and thrive — just about anywhere.

The post Gucci’s Latest Fashion Show is a Midcentury Fever Dream first appeared on Dornob.

The exterior of the Mercedes-Maybach Haute Voiture comes in a gleaming two-tone paint job, with rosy gold on the body panels and a deep, dark blue sweeping from the hood over the roof to the rear windshield. The stylish interior features upholstery in white leather and patterned boucle fabric, accented by white faux fur shag floor mats, trim details in rose gold, and even a bottle chiller built into a rear console drinks station with matching rose gold champagne flutes.

The car looks expensive, and it undoubtedly is, though pricing isn’t available just yet. Can’t you already imagine at least one of the Kardashian-Jenners being driven around in one of these? Expected to be released in limited quantities in 2023, the Mercedes-Maybach Haute Voiture is part of a larger effort by Mercedes-Benz to expand into a broader luxury brand instead of just an automaker. The car was unveiled alongside a Limited Edition Maybach by Virgil Abloh, the last of three collaborations Mercedes completed with the designer and artist before his death earlier this year.

“The color and equipment concept of the Concept Mercedes-Maybach Haute Voiture has never existed before. We’re fusing the art of high fashion and automotive design at the highest level to create something completely new – a true Icon of Excellence,” says Gorden Wagener, Chief Design Officer Mercedes‑Benz Group AG. “The Concept Mercedes-Maybach Haute Voiture embodies our style of ‘Sensual Purity’ in a new, extraordinary way. It combines beauty and unexpected, extraordinary details that appeal to all the senses.”

The design philosophy of “sensual purity” defines the essential elements Mercedes-Benz wants to infuse into its entire lineup of vehicles, aiming to meet consumers’ desire for beauty, exceptional luxury, and fresh, updated features. The six guidelines of the philosophy include unexpected moments, stimulating contrast, stunning proportions, freeform and geometry, significant graphics, and natural attraction. Nothing is superfluous; every detail serves an increasing desire for emotive, authentic experiences.

“The Concept Mercedes-Maybach Haute Voiture provides a concrete preview of an all-new, highly exclusive, and limited edition. Mercedes-Maybach has always been considered a pioneer in defining luxury, style, and status. Maybach customers are looking for something special and our ambition is to exceed their expectations. With the Mercedes-Maybach Haute Voiture special edition, we are realizing our claim to leadership in the high-end segment and combining the world of fashion with the automobile. The result represents the absolute pinnacle of Sophisticated Luxury,” says Daniel Lescow, Head of Mercedes‑Maybach.

The post Mercedes’ New Maybach Concept is Luxury Fashion in the Form of a Car first appeared on Dornob.

As you might imagine, having access to Pierre Frey’s full catalog of textiles for your own use is a decorator’s dream come true, and the Freys have taken advantage of that ability both in their primary home in Paris and their country home in the Luberon area of Provence.

Elle Decor got a peek into the Freys’ picturesque Luberon home, a stone farmhouse representing a pinnacle of French countryside style. Centuries old, the house previously belonged to Patrick’s parents, and its most notable feature is its original jagged stacked stone walls accented by a clay tile roof.

With all of its texture, character, and sense of history, the stone sets the mood for the home, contrasting with smooth white plaster throughout the interiors. Updating the decor to their own tastes, the Freys wanted to celebrate traditional Provence colors and textures while integrating a touch of modern minimalism.

The couple maintained the rustic character of the house, leaving the stone walls intact and preserving the original floor plan of small rooms. “You have to keep in mind that this house is a maison paysanne at its core — it was a farm in the beginning,” Lorraine says, adding: “I believe that houses should preserve their true history and should remain in their simplicity.”

Pierre Frey textiles bring color, print, and texture to the interiors through curtains and upholstered furniture. A sitting room nestled beneath an original vaulted stone ceiling is awash in soothing neutrals, while the living room features pops of vibrant green. The overall effect is that of harmony and subtlety — and one that avoids too much contrast.

“I only used linen, cotton, piqué — things that are very natural,” Patrick explains. “We played very much with the color, using old hues, to preserve as much of the charm as we could. The same goes for the ceramics, which are painted and rustic. Taken together, it’s all meant to feel a little outside of time.”

Meanwhile, the Frey’s city home in the 6th arrondissement of Paris captures a slightly different feeling, albeit no less harmonious. Saturated jewel tones and eclectic patterns play against the elegance of that apartment’s original millwork. Objects from the couple’s travels are mixed with antiques curated by Patrick’s grandfather René Prou, himself a renowned decorator and artist. A large ottoman in the center of the living room is upholstered in several layers of Pierre Frey textiles inspired by the “galette,” a traditional French pastry.

If the mood of their country home is a little more restrained and tranquil, the Freys’ Paris apartment conveys a sense of playfulness. Clashing patterns and contrasting colors you wouldn’t necessarily think to put together like lavender and mustard are augmented by an abundance of eye-catching decorative objects. There’s certainly no shortage of anything to look at.

“Color is at the heart of European decoration, and one must be daring and playful with color combinations,” Patrick told Home Journal.

The post Peek into Pierre Frey Owners’ Charming French Homes first appeared on Dornob.

The Impossible Tiara was one of the nine-piece Collezione Genesi (Genesis Collection), designed personally by founders Domenico Dolce and Stefano Gabbana as a part-NFT, part-physical anthology to supplement fashion lovers’ metaverse wardrobes.

“The Impossible Tiara stems from the idea that the only limitation in digital design is one’s imagination. This was hugely inspiring to the designers, who set out to create a tiara that could only ever exist in their imaginations,” according to the UNXD listing, the digital luxury marketplace that helped conceive the collection idea and auction off all the pieces. “What makes this historic piece ‘impossible’ is that it is simply not possible to find the featured gems anywhere on earth.”

The ornate headwear features a central 16-karat digital red beryl of rectangular cushion shape, with two 9.2-carat lateral red beryls. The entire crown incorporates 60 red beryls, 713 Paraiba neon turquoise tourmalines, and 50 “extraterrestrial” diamonds, as well as 24-karat white and yellow gold in the base.

The buyer of this pretty virtual diadem gained a 4K-rendered animation and stills, the original hand-drawn sketch, and a custom recreation in one open metaverse of their choice. Also included were exclusive perks like one-year access to Dolce & Gabbana Alta Moda and other fashion couture events, as well as a private tour of the D&G Milan atelier.

The highest bid was for 99.9 Ethereum (ETH), a cryptocurrency, that translated into over $309,000 US dollars. Secretive purchaser Pranksy (a riff on the name of anonymous artist Banksy) wrote in an email after winning the Impossible Tiara and other items, “I was really excited about D & G entering the NFT space, especially as my wife, Magpie, and her close friend, one of my company directors, Josephine Dwyer-Mann, have a real passion for haute couture. NFTs in fashion have huge potential, especially when linked — as D & G has — to the physical.”

Pranksy also bought three other pieces from the Genesis Collection: a virtual-only Golden Impossible jacket for 99.99 ETH, and the silver and gold versions of The Dress from a Dream, which were rendered in both digital and physical form, for 188.1 ETH and 225.5 ETH, respectively.

Another buyer, “Seedphrase” (aka Australian investor Danny Maegaard), snagged the collection’s digital and physical Lion Crown for 292.82 ETH, writing in an email that “being the first NFT collection by any major fashion house, [this purchase] made a lot of sense from an investment perspective, as I anticipate these pieces to appreciate in value.”

The Genesis items also included a physical and digital iteration of a Glass Suit and two other virtual jackets. The piece that earned the most at auction, however, was the digital and physical Doge Crown, which went for 423.5 ETH, or $1.25 million, to Red DAO, a decentralized autonomous organization whose goal is to invest in digital fashion.

The collection commanded such high prices because of “of provenance; rarity — there were only nine, sold at once; craftsmanship; and utility — people can use them in the metaverse and have physical experiences, too,” explains Sashi Menon, Dubai-based publisher of Vogue Arabia and founder and CEO of UNXD. “The sale resets the market.”

The post Dolce & Gabbana’s Metaverse Tiara Sells for Over $300,000 first appeared on Dornob.

A week after Russia invaded Ukraine on February 24th, attacking multiple cities across the country and killing hundreds of civilians, businesses around the world quickly began cutting ties with Russia. Among the first of the luxury retailers to suspend operations in the world’s largest country were Hermès and Richemont, the owner of the Swiss Cartier. The latter, which has about a dozen directly operated shops in Russia, posted that it was suspending all its commercial activities in the country as of March 3rd.

In a statement on March 4th, Hermès, known for their costly Birkin handbags, said, “Deeply concerned by the situation in Europe at this time, it’s with regret that we have taken the decision to temporarily close our store in Russia and pause all our commercial activities…We will continue to stand by our local teams.” The high-end retailer operates three stores within the country.

Later the same day, LVMH, the parent company of fashion firms Christian Dior, Givenchy, and Bulgari, announced it would close its 124 Russian boutiques “given the current circumstances in the region,” according to a spokesperson. That evening, French firm Kering, owner of Gucci, Bottega Veneta, Balenciaga, and Saint Laurent, decided to close its two stores that employ a total of 180 Russian residents, citing “growing concerns regarding the current situation in Europe.”

A statement from Chanel in a LinkedIn post soon followed. “Given our increasing concerns about the current situation, the growing uncertainty, and the complexity to operate, Chanel decided to temporarily pause its business in Russia. We will no longer deliver into Russia, we will close our boutiques, and we already suspended our e-commerce.”

While it would be nice to believe all these companies have shuttered their Russian shops out of anti-war solidarity, the fact that economic sanctions against the country have already disrupted the supply chains to get luxury goods in was certainly a factor. And with Visa and Mastercard both blocking transactions from multiple Russian financial institutions, doing business in Russia was already becoming difficult for the high-end stores, making it a much easier choice to temporarily close their doors.

Perhaps that’s why so many of the fashion houses expressed “concern” in their carefully worded statements without condemning the actions of Vladimir Putin and his forces – in an effort to not burn any bridges for future dealings. Besides, according to Bernstein Research, luxury fashion in Russian only makes up 2 percent of global revenues for most of the industry.

While several other luxury brands, including Louis Vuitton and Valentino, made large donations to humanitarian and refugee organizations in support of the Ukrainian people under attack, one designer who has spoken out is Italian legend Giorgio Armani. During his February 27th Milan Fashion Week show, the 87-year old had his models strut in silence to make a statement.

“My decision not to use any music was taken as a sign of respect towards the people involved in the unfolding tragedy in Ukraine,” he posted on his Twitter account. On the sidelines of the show he added, “The best thing to do is send a message that we don’t want to celebrate because something very disturbing is happening around us.”

The post Luxury Brands Halt Business in Russia as Ukraine Conflict Rages first appeared on Dornob.

Balenciaga’s Spring 22 collection features wide-legged pants full of rivets, overstuffed jackets, trench coats galore, and garments that brush the floor with their length. If the baggy, puffy silhouettes of these pieces are any indication, it looks like the future is going to be a very cold place.

But the real scene-stealers of Balenciaga’s new fashion look book are the robotic masks added to every outfit and the exoskeleton suit designed by Japanese cybernetic artist Hiroto Ikeuchi.

Photographed by Andrea Artemisio, pictures posted on the company’s Instagram page show face and head pieces constructed from electronic odds and ends like cameras, Bluetooth headphones, virtual reality glasses, phone cases, and telescopes. Some masks completely encompass the head while others let only the eyes peek through.

In one sense, designer Ikeuchi’s headgear is a statement on the lack of privacy in today’s hacker-filled world, giving “us the ability to protect ourselves from new threats such as face recognition by hiding our eyes,” he said in an interview with CYBR magazine.

Alternatively, these masks could also be hinting at the fact that humans are so dependent on technology now that we will even allow it to provide our daily view of reality. Or perhaps the face coverings are expressing a desire for a time when homo sapiens will be fused and enhanced with tech, becoming something like super versions of themselves.

And then there’s the real show-stopper: Ikeuchi’s exoskeleton. Manufactured by robotics firm Skeletronics, the suit consists of a white metal frame that wraps over the head and shoulders and extends into an extra set of mechanical arms for the wearer. Named the MPS-15sk “Multi,” the harness with its built-in tablet and shoulder speakers furthers Skeletronics’ goal to “support the evolution of humankind by launching a new era of technology that expands the range and function of our movements.” The futuristic contraption is juxtaposed with the model’s casual outfit of a branded red sweatshirt, a pair of shapeless acid-washed jeans, and black running trainers.

The robotic art elements of the Spring 22 collection will be available to view at each of the Balenciaga flagship stores in Japan, as well as the company’s Paris Montaigne shop. The exoskeleton will be displayed in the Tokyo Aoyama locale as a way to celebrate its reopening.

For those interested in the more traditional fashion components of Balenciaga’s latest design, creative director Demna Gvasalia collaborated with Copenhagen-based video artist Yilmaz Sen to put out a two-and-a-half minute movie that follows Spring 22-beclad models through identical white-walled rooms.

As one model struts through a door to the adjacent space, he or she morphs seamlessly into a new cyberpunk model, as does the scene outside the windows, flashing everything from shining urban skylines to serene beaches to deserts with sneaker sandstorms to lunar surface landscapes. The video ends with the phrase “HERE IS ANYWHERE,” reminding followers that the future is now, and the possibilities – including ones with cybernetic face coverings – are really what we make of them.

The post Dystopian Cyberpunk Themes Dominate Balenciaga’s Spring 22 Campaign first appeared on Dornob.

Quannah Chasinghorse

Best statement of the night arguably goes to 19-year-old Indigenous model and activist Quannah Chasinghorse, who wore a stunning gold cut-out gown by Peter Dundas for Revolve along with traditional turquoise jewelry borrowed from her aunt Jocelyn Billy-Upshaw, former Miss Navajo Nation. On Instagram, Chasinghorse wrote, “I did not celebrate American independence (nor will I ever), I celebrated my Indigenous bloodlines coursing through my veins… and sacred to my heart because over and over again my people fought genocide and WE ARE STILL HERE.”

Lil Nas X

Provocateur Lil Nas X deserves recognition not just for looking amazing, but for the sheer number of costumes he presented on a single red carpet, all designed by Donatella Versace. He first shrugged off an ornate royal-looking cape covered in intricate gold beading to reveal a gold suit of armor, then shed that layer like an exoskeleton for a final look in a stretchy shimmering bodysuit. It was the rapper’s first Met Gala appearance, and certainly one to remember.

Grimes

Looking like an alien forest spirit is kind of Grimes’ everyday thing, but designer Iris Van Herpen brought out her inner futuristic warrior with this intricate ensemble. The custom look, made from liquid silicone hand-casted into a “mirror finished laser-cut labyrinth,” was inspired by the Bene Gesserit cult in the classic sci-fi novel Dune by Frank Herbert (which has a new film adaptation staring Timothée Chalamet debuting this year). Van Herpen is known for her signature blend of technology and haute couture, incorporating 3D printing, electromagnetic weaving, and other visionary techniques and materials into her work. Also looking otherworldly fabulous in Iris Van Herpen at the Gala were Gabrielle Union, Tessa Thompson, Winnie Harlow, Valentina Sampaio, and Hailee Steinfeld.

Iman

Did anyone look more breathtaking than Iman this year? The answer to that question is obviously no. Dreamed up by the young queer up-and-coming designer Harris Reed, the jaw-dropping feathery gown and headdress feature crinoline, gold leaf, and jacquard in a sunburst motif that’s impossible to ignore.

Kim Petras

On the more surreal side of the spectrum is this getup worn by German-born, LA-based singer Kim Petras. Her Collina Strada dress, designed by Hillary Taymour, pays tribute to “horse girls” with a giant 3D bust of a horse jutting out of the bodice and a voluminous skirt covered in images of roses and tomatoes. Taylor also appeared in a horsey outfit of her own.

Dan Levy

Schitt’s Creek star and co-creator Dan Levy made a touching statement with his custom-designed outfit by Spanish fashion house Loewe, featuring an appliqué of two men kissing on the front. Accented by voluminous sleeves and map print, the look celebrates an image by artist David Wojnarovicz, who died of an AIDS-related illness in 1992. “We wanted to celebrate queer love and visibility – acknowledging how hard artists like Wojnarovicz had to fight, while also presenting the imagery in a way that offered a hopeful message,” Levy wrote on Instagram.

Nikkie de Jager

The makeup artist and YouTube personality best known as Nikkie Tutorials also came out for LGBTQIA+ visibility with her floral headdress and gorgeous gown by Edwin Oudshoorn Couture. The look is a tribute to Marsha P. Johnson, the Black transgender activist best known for her role in the 1969 Stonewall uprising. The sash reads “Pay it no mind,” which was Johnson’s response to people who questioned her gender.

Rihanna and ASAP Rocky

Rihanna is always one to watch at the Gala, and for her seventh year in attendance, she didn’t disappoint. Showing up dead last along with her boyfriend ASAP Rocky, who wore a quilt-inspired look by ERL, Rihanna went with all black everything (but the diamonds). Styled by Demna Gvasalia, her overcoat is by Balenciaga, hat by Stephen Jones Millinery, and jewels by Bulgaria and Thelma West Diamonds

Lupita Nyong’o

Lupita Nyong’o nailed the theme better than just about anyone in her denim gown by Versace. Attempts to elevate denim to haute couture can come across a little cheesy, but this stunning silhouette pulls it off nicely.

Cara Delevingne

Model and actor Cara Delevingne showed up in a chic all-white ensemble consisting of a vest, cigarette trousers, and peep-toe heels. But controversially emblazoned across the front of the vest is the message “peg the patriarchy,” an attempt at conveying “women’s empowerment” and “gender equality,” as Delevingne told Vogue on the scene. If you don’t know what pegging means, have a Google. Suffice it to say the message comes across to many as less than sex positive, and hints that being in the receiving position of this sex act is demeaning, which can be construed as homophobic. The uncredited slogan was coined by black queer sex educator Luna Matatas, who says she means it in a metaphorical sense to denote the subversion of a gendered power dynamic.

AOC

You gotta hand it to U.S. Representative Alexandria Ocasio Cortez for showing up to an event full of uber-rich elites in a gown that says “Tax the Rich.” Probably the most polarizing look of all, the gown by Black designer Aurora James brought one of AOC’s favorite political causes to the doorstep of some of the world’s wealthiest people. Some critics called her a hypocrite for attending the event at all, though she reportedly didn’t pay for her $35,000 ticket and New York City elected officials are often invited (AOC was one among several this year). It’s also notable that Google searches for the phrase “tax the rich” surged after the Gala, too, which was kind of the whole point.

The post The Best, Weirdest, and Most WTF Looks from the 2021 Met Gala first appeared on Dornob.

Envisioned by designer Marie-Lise Féry and brought to life by Venini, “Balloon” blends a little bit of decadent French cabaret style with the timeless look of mouth-blown glass. Each pendant lamp is fitted with an energy-efficient LED bulb and features a fluted shape, with either a brass or nickel base in polished or brushed finish. The two designs include the swirling “Canne” and the flower-bud-like “Spirale.”

“Tasty, playful, and wonderful, the new Balloon collection by Magic Circus Éditions defies gravity with haute-couture, weightless designs,” states a press release on the collection. “Are they giant beehives or helium-filled balloons from our childhood memories? This is the elegant fantasy world suggested by these mouth-blown creations featuring colorful and warped motifs crafted with exquisite fineness.”

“The fourth collection by Magic Circus Éditions was made possible by the brand’s alliance with Venini glassworks. Widely recognized as one of the greatest representatives of Murano glass artistry since it was founded in 1921, the company has lent the talents of its glassworkers to some of the most prominent names in art and design, from Ettore Sottsass to Tadao Ando.”

Coming in various shades of vivid red, cobalt blue, sunny yellow, and a range of pastels, the swirling stripes of the lamps really do evoke a vintage circus aesthetic and cute little wrapped candies all at once. Best of all, they’re sculptural and undeniably fun — a characteristic the modern design world could certainly use a bit more of. They don’t come cheap, though. you can find them for upwards of €5,000 each at fine lighting retailers like Eames.

Magic Circus Éditions founder Féry approached the project with a sense of humor, aiming to bring a little bit of fantasy into the world of high-end lighting. The designer’s approach to her work is to “use light to tell stories,” offering a new take to shift perspectives of what lighting can look like and achieve. Calling herself “a free-spirited antiquarian,” Féry is known for blending modern and retro elements for pieces that feel fresh and unique.

Venini was founded in 1921 by Milanese lawyer Paolo Venini, Venetian antiquarian Giacamo Cappellin, and Venetian artist Vittorio Zecchin, establishing a stylistic identity that embraces the avant-garde while mastering glassmaking techniques with the help of Venice’s most talented artisans. The brand shot to fame with its iconic “Veronese” vase, which remains its best-known work to to this day, and has been elevating the profile of Venetian glass around the world for nearly a century since.

The brand’s website explains that “countless artists have collaborated with VENINI, past and present. They’ve come from all over the planet to meet the mysterious charm of the fornace (kiln). Each encounter gives life to a cross-contamination between artisanship, Murano’s glassmaking heritage, avant-garde design, and the purest form of creativity. An endless adventure that embodies the identity of VENINI.”

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