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Added: Mayte Ketter - Date: 06.05.2022 21:23 - Views: 32618 - Clicks: 3579

Images courtesy of Raf Simons and Isabel Marant. Bonjour, mes amours! Quelle merveille, Paris Fashion Week est de retour! The grande dame of fashion showcases is back, bolder and better than ever for SS If you can barely contain yourself at the very thought of that, just imagine how we feel!

Now, on your marks, get set… GO! Season after season, Bianca Saunders has built a name as a true master of infusing garments with a sense of animation and moment — whether by freezing the shrug of a shoulder or the crinkle of a scrunched up linen through intricate draping and experimental print techniques.

In an extension of her exploration of how clothes respond to the writhes and wriggles of the bodies that wear them, this season, her eye was drawn to the contorted garments of hyper-jacked body builders, paying particular attention to the ways in which their pumped-up muscles stretch and warp the typically precise proportions of menswear garments and prints. Seamlines on denim jeans and jackets accentuate the contours of the body, while gym-ready tank-tops have moulded chests.

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Sometimes, there are shows that restore your faith in fashion. Often, they happen in Paris. Yesterday morning, as the first autumn chill swept through Paris, something was in the air as Jonathan Anderson radically refreshed his vision for Loewe. Held in a vast lime-washed pine hall, it was bare but for rectangular hole in the middle of the room from which the first models emerged headfirst with geometric shapes protruding out of their sinuous long knit dresses, almost like alien creatures emerging from a subterranean cave or eco-spaceship.

The result was a rare instance of when clothes become fashion, and when shows become unforgettable moments — and can read all about here in our full review. Think school uniforms and playground tribalism — knife-pleat skirts for girls and boys; sharp, slightly scratchy blazers worn with prefect badges; crisp shirts with XXL proportions; and matronly raw-edged sack dresses — but given a darker, more subversive edge. It was almost as if a group of boys and girls escaped a Belgian convent school, took a pill, danced all night the hair was drenched and fell down a dark rabbit hole of witchy ritualism, raising the dead and being gripped by skeleton-hand clasps on their arms.

There was a sense of repetition among the looks, which could have easily become boring but instead created a sense of subverted uniformity— the models emerged almost as clusters, like schoolyard cliques, their uniforms screen-printed with thrasher-like graphics and Medieval etchings. Glossy-legged, bouncy-haired, athletically-toned and incredibly sexy — watching an Isabel Marant show is like the s of Vogue Paris coming to life. Tick, tick, tick! The result was a sort of raver-in-Mykonos look with colourful clashing prints and all the kind of carefree, lightweight clothes that you want to wear on a summer holiday.

In her show notes, Isabel mentioned the influence of Hans Feuer, the German photographer known for his saturated fashion imagery, which makes sense when you look at the sporty fabrics and colour-blocked styling. At its core, however, it is an eternally attractive idea of Parisian glamour that deserves to be witnessed in the French capital. Besides, what could be more Parisian than escaping to the beach for the entire summer? So, the Uruguayan deer built a waste-free catwalk on the most beautiful spot on the Seine, Notre Dame in full view.

Who cares! Sometimes it takes an outsider to show Paris at its best; Frenchness is a caricature in and of itself, after all.

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The collection he presented yesterday at the Petit Palais was no exception in that respect — bulky-pocketed cargo trousers were reimagined as corseted tan leather jumpsuits and asymmetrically panelled canvas coats, while the pencil coats with stepped hems were constructed from buttoned-together bands of the beige cotton gabardine you typically associate with a trench coat.

Girls with sky-high bouffants bobbed down the runway in sleeveless gowns in crystal-embroidered and tufted lace, often sporting bicep-cuffing opera gloves. Head here for the full lowdown! And in the case of this particular house, the challenge of paying homage to such an esteemed archive with proposing a creative vision that resonates today has seen a string of creative directors come undone.

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In just three seasons, though, Nicolas di Felice has proven his abilities to walk that tightrope with gusto, infusing his iconic cropped, geometric silhouettes and spacey flair with a raw, ravey sensuality. With stadium lamps framing a white square fringed by white cube chairs, there was a distinctly industrial feel to the set up, a tone mirrored in heavily draped vinyl ponchos which opened the collection — they almost felt like appropriate garb for a Star Wars knees-up.

Where things really amped up, though, was with the looks that oozed an almost fetish -y sensibility — mirror-finish PVC halter tops that snaked around the bust, and a wraparound dress with belly-button and breastbone cut-outs with piercings lining the hem. Balancing that out, though, was an airy romance to the clothes — perhaps fuelled by the fact that the location also happened to be the place where he and his current boyfriend first kissed — like pastel-striped miniskirts and shift dresses with swooning trains of fabric that flickered in the breeze.

Consider your new party wardrobe sorted. The world of Cecilie Bahnsen has long since been defined by contrasts, often offsetting delicate, natural textures against rigid, ballooning silhouettes; virginal white against nightshade black.

That still held true this season, though in the collection that the deer presented yesterday in a gallery space in the Marais, there was a greater sense of the deer exploring the spectrum that lies between two ends. Staged on an elevated catwalk covered in velveteen fabric and spliced with mirrors, the collection had a rawer, more mismatched look than ly associated with the once-minimal brand. Think frilly sheer dresses with lo-fi ties, hulking leather jackets and coats worn over chiffon; plaid contrasted with lingerie; soft crochet and knits with an edge.

It was the idea of unravelling corsetry — perhaps a metaphor for the loosening of restrictions around the world — that stole the show. Her beloved calf-skimming skirts have been replaced by mini ones — in highlighter-bright patent leather no less! Pheromones are floating in the air this season.

Read all about it in our full review here. Saint Laurent quite literally made a splash with its show last night. These are the highest heels, the most meticulous tailoring, the clingiest stretchiest fabrics, and of course, the most skin on show. This season, Anthony looked to one of the women central to the history of the story: Paloma Picasso.

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He also reflected upon life after lockdown through some unexpected fabrics. Sturdy nylon bands were fused to create a boxy rugby shirt, and netting became a wide gauge riff on a string vest. Elsewhere, the pair demonstrated their flair for experimental tailoring with a turquoise wool suit that had the visual texture of scuba neoprene and diving twist fastenings, and lovingly worn-in quilted jackets upcycled from embroidered tablecloths.

There was also a collaboration with French umbrella-makers Piganiol, by which discarded umbrellas were transformed into eccentric hats and softly draped anoraks. For his SS22 collection, though, Thebe Magugu took the time to reflect on one of the most important things to him — his family. He then sought to interpret the clothes seen in those images, lifting and updating their hallmark features, like the exacting pleats of a skirt his grandmother loved to wear in the 50s, or the micro-minis his mother wore during.

Presented against the backdrop of their blown-up reference images at the Palais de Tokyo, the updated interpretations of these motifs were often clear in terms of colour and silhouette. At their most innovative, though, they were less literal, as in the case of a sleeveless twinset in lavender tufted wool, which echoed the mottled haze of a similarly hued dress worn in a faded image. It was more about translating an emotional quality that emanated from a picture, as opposed to a particular visual reference — a feeling of comfort, ease or pride, for example.

Amid all the palaver of the return to IRL shows, this was fashion that doubled as food for the soul. This season it fell to Kenneth Ize. While for many, this season is all about the return of the IRL show, there are those deers who, over the course of the pandemic, found their niche with film. Quirky as that may all sound, it worked to highlight the intricacies of the garments themselves. And the dulcet blues and purples of patchwork denim blurred against swaying nettles and reeds. Photography Djiby Kebe. Image courtesy of Bianca Saunders. Image courtesy of Raf Simons. Image courtesy of Isabel Marant.

Image courtesy of Rokh.

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Photography Takashi Homma. Image courtesy of Cecilie Bahnsen. Image courtesy of Kenneth ize. Image courtesy of Marine Serre.

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We're fans not critics.

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