Sunday, February 23, 2014

Gaultier & Madonna: The Perfect Match!

The Blond Ambition Tour presents a variety of incredible costumes by French designer Jean Paul Gaultier who initially prepared almost fifteen hundred sketches to help Madonna defining the various looks of the show, but Madonna knew exactly what she wanted. The 90's The most talked about Match made in Heaven, Gaultier & Madonna!
"When I proposed my designs", said Gaultier in an interview, "it was, that no, that yes, no, yes, no". Gaultier who admired Madonna since the early days of her career admitted that working with her on the Blond Ambition Show was definitely one of the highlights of his career.
"I love Madonna. That was one of the best times of my career," he told the Observer.

But the chance to work with her for the first time on this tour came up quite as a surprise, as he recalled in an interview to the New York Times:

"When Madonna first called me in 1989, it was two days before my ready-to-wear show, and I thought my assistant was joking. I was a big fan. She asked me if I would do the tour.

She knew what she wanted: a pinstripe suit, the feminine corsetry. Madonna likes my clothes because they combine the masculine and the feminine."
But how did Gaultier came up with the idea of the gold conical bra
Surpisingly it has somehow something to do with his grandmother.


Saturday, February 22, 2014

Jean Paul Gaultier: A Museum to Remember!

Looking for something to do this weekend? I went to see it 5 times!! You'll want to make a beeline for the Brooklyn Museum: this week is your last chance to see the first international exhibition showcasing the work of celebrated French fashion designer Jean Paul Gaultier! 
On view are no less than 140 of his most outrageous haute couture pieces, including those made famous by Madonna (remember those cone-shaped bras?) and Beyoncé, all organized around seven influential themes that emerged throughout his career.

Galliano: Life After Dior

John Galliano was born to a Spanish mother and Gibraltarian father 

Such an environment kindled a love of textiles and design in Galliano from an early age, and Latin influences are prevalent in his later work 
In 1984, Galliano unleashed his own label.

In 1987, he received the ‘British Designer of the Year’ award. However, critical success was not matched by major financial success.

In 1995, Galliano finally got the break he so richly deserved: he became the first Englishman to head a French couture house, when he was put in charge of Givenchy.

He staged his first couture show for the luxury brand in January 1997, the same time the label was celebrating its 50th anniversary. The same year also saw Galliano gain recognition after being declared British Designer of the Year, although he had to share the award with Alexander McQueen, his successor at Givenchy. This was the fourth time he had won the accolade, having triumphed in 1987, 1994 and 1995.

In 1996, Galliano moved to Christian Dior, unveiling his first couture collection for them on January 20th 1997 to coincide with the fashion house's 50th anniversary.
Galliano won the British Designer of the Year award again in 1994 and 1995. In addition he shared the award in 1997 with the late Alexander McQueen.  
In 2001, the designer was awarded a CBE in the Queen's birthday honours list.
However, Galliano hit the headlines for all of the wrong reasons in 2011 when a video emerged of him allegedly making anti-sematic remarks to Italian tourists in a Paris bar.

Actress Natalie Portman, who is the face of the Miss Dior Cherie fragrance and is of Jewish ancestry, said she was disgusted by the comments.
After suspending the designer in February 2011, Dior announced in March 2011 that it has begun proceedings to permanently dismiss Galliano. Dior chief executive Sidney Toledano said he "firmly" condemned the remarks made by the fashion designer.

In his first interview since his 2011 firing from Dior, 52-year-old John Galliano sat down for a series of wide-ranging conversations with contributing editor Ingrid Sischy. Beyond his anti-Semitic rant, which shattered the designer’s career, Galliano and Sischy talked of the designer’s young life, including beatings and childhood taunting; his fashion education and the development of his eye;
 and how being “a slave” to his success led him down a path of addiction. Looking forward, Sischy writes of Galliano's future: “He has begun taking baby steps to re-enter the world of fashion. My prediction: Get ready for his second act.”  
Fashion designer John Galliano, in his first-ever sober interview, tells Vanity Fair contributing editor Ingrid Sischy that, in spite of his words, he is not an anti-Semite or a racist. “It’s the worst thing I have said in my life, but I didn’t mean it. . . . I have been trying to find out why that anger was directed at this race. I now realize I was so fucking angry and so discontent with myself that I just said the most spiteful thing I could.”

Galliano tells Sischy that he has been sober for over two years now and that theirs is the first interview he has ever given sober. Of his drinking and drug use in the years leading up to the outburst, Galliano says, “I was going to end up in a mental asylum or six feet under.”

Sischy reports that Galliano has spent the last couple of years learning about what he has to do to keep his illness at bay, facing up to what went wrong in his life, and taking certain steps to atone, including reading books on the Holocaust and Jewish history, meeting with Jewish leaders, and reaching out to members of the larger fashion community, including retailers, as part of the process of making amends and possibly returning to work.
Reflecting on his last two years of sobriety and struggles to come to terms with his words and actions, Galliano says that he knows “it sounds a bit bizarre, but I am so grateful for what did happen. I have learned so much about myself. I have re-discovered that little boy who had the hunger to create, which I think I had lost. I am alive.” 

Galliano describes how he slipped into addiction slowly over the course of time, while continuing to work at a high level. “I never drank in order to be creative, or to do the research,” he tells Sischy. “I didn’t need alcohol for any of that. At first alcohol was like a crutch outside of Dior. Then I would use it to crash after the collections. I’d take a couple of days to get over it, like everyone. But with more collections, the crash happened more often, and then I was a slave to it. Then the pills kicked in because I couldn’t sleep.
 Then the other pills kicked in because I couldn’t stop shaking. I would also have these huge bottles of liquor that people got for me. Towards the end, it was whatever I could get my hands on. Vodka, or vodka-and-tonic. Wine, in the belief it would help me sleep. Wrong. I did manage to stop the voices. I had all these voices in my head, asking so many questions, but I never for one second would admit I was an alcoholic. I thought I could control it.”
“What had started as self-expression turned into a mask,” Galliano says. “I lived in a bubble. I would be backstage and there would be a queue of five people to help me. One person would have a cigarette for me. The next person would have the lighter. I did not know how to use the A.T.M.”
Galliano tells Sischy he was aware on some level that he had a problem, especially as he began to lose days to bouts of drinking. “Not having washed, I’d be covered in sores and humiliated,” he says. “I had the tremors. I wouldn’t sleep for five days. I would go to bookstores and get some self-help books, but I was in denial. I’d throw myself back into the gym. I’d be careful about what I ate. And, of course, the whole cycle would start again.”
Sischy reports that Galliano’s bosses at LVMH (Moët Hennessy Louis Vuitton), the parent company of Dior, confronted him on at least two occasions shortly before his downfall. First, Sidney Toledano, C.E.O. of Dior, took Galliano to lunch and said he needed to get help. According to Sischy, Galliano turned the tables and suggested that Toledano should change his diet and eat more healthily. The second confrontation occurred when Bernard Arnault, chairman and C.E.O. of LVMH, and Toledano told Galliano he was going to die if he didn’t do something about his problem.
 In response, Galliano tore off his shirt to reveal a gym-toned torso and asked, “Does this look like the body of an alcoholic?” Other friends told Sischy they wanted to intervene, but that in the end no one wanted to betray the designer, and that after a drinking binge, he’d seem fine again. 
All told there were three separate accusations of Galliano’s having made anti-Semitic tirades. Galliano reiterates that he does not remember the events of the night in 2010 when his remarks were videotaped, explaining, “When everyone came over to tell me that I had done these terrible things, I was walking round and round and round not really knowing what had gone down. My assistant told me about the video. 
When I saw it, I threw up. The feeling was like I was about to take a step out onto the street and a bus or truck whooshed past me and the blood was drained from my legs. I was paralyzed from the fear.” 
Galliano tells Sischy about his admission to an Arizona rehab facility on March 1, 2011. Here staff confiscated pretty much everything he brought, including the Keith Richards memoir, Life. When he was allowed his first two-minute phone call, he called Bill Gaytten (who had stepped in as creative director of the John Galliano label), just before the Galliano fashion show began in Paris, hoping to tell the models what they should be thinking as they walked down the runway. The call did not go well. 
“Bill said, ‘Do you realize what you’ve fucking done?,’” Galliano recalls, “and I said, ‘Kind of.’ But I still didn’t. I couldn’t say yes. I just couldn’t. And those were the last words we shared. That’s someone I’ve known for 30 years. Even now I’m still learning every day how many people I hurt.”
Linda Evangelista was the sole friend to make the trek for Galliano’s first visitors weekend. “I just didn’t want that weekend to go by without anyone reaching out to him,” she tells Sischy.
A few weeks into Galliano’s recovery, Kate Moss contacted him and asked him to design her wedding dress, something they had discussed when he was still at Dior. Galliano tells Sischy he felt it was a gift: “Creating Kate’s wedding dress saved me personally because it was my creative rehab. She dared me to be me again.” Moss describes the gown as “absolutely gorgeous, a diaphanous 1920s-type dress, romantic, with gold sequins in the shape of the phoenix—as if he was saying he would rise from this.” 
She tells Sischy that “when my dad gave his speech he thanked everyone and then he referred to the genius of Galliano, who made his daughter’s dress. Everyone stood up and gave John a standing ovation. It was the most moving thing, because suddenly John realized he wasn’t on his own.”

Sischy speaks with a wide range of sources for the article: Galliano’s friends and colleagues, including Kate Moss, Oscar de la Renta, Diane von Furstenberg, Elton John, Anna Wintour, Jonathan Newhouse, and Naomi Campbell; members of the Jewish community, including Rabbi Barry Marcus, of London's Central Synagogue, and Abe Foxman, head of the Anti-Defamation League; and several addiction specialists and major retailers.

Thursday, February 13, 2014

Young & The Restless scored Highest Rated in 8 years!

Huge congratulations are in order for CBS Daytime, as the network’s entire lineup managed to attract its largest weekly audience in more than eight years!
According to Nielsen ratings for the week of Monday, January 27 through Friday, January 31, “The Talk” averaged 3.19 million viewers — its largest weekly audience ever — while “Let’s Make a Deal” part one attracted 3.71 million viewers, and “Let’s Make a Deal” part two attracted 4.22 million viewers — also the show’s highest ratings ever. With 6.08 million viewers, “The Price Is Right” part one posted its highest ratings since December of 2004, while “The Price Is Right” part two garnered 7.12 million viewers, its highest since December 2005.

Meanwhile, the intense February Sweeps storyline that ushered “The Young and the Restless’” Michael Muhney (Adam Newman) and Billy Miller (Billy Abbott) out of Genoa City paid off: The soap opera managed to pull in 5.73 million viewers — its highest since February 2008! And sister soap “The Bold and the Beautiful” pulled in 4.17 million, its highest since April 2007.
Congratulations again, CBS Daytime!


Nick Baggetta in Uvenio Collezioni!

WOW the look and the style of Nick Baggetta brought alot of smoldering feelings of James Deans into the collection with photographer Frank Louis. The shots was taking in the Car Garage in Queens on a raining afternoon, but the shoot of Nick Bagetta was much to be thrilled with! With his good looks, and personality, he brought a lot of great masculine feelings into the collection!
Nick also appeared in my Collection various magazines from Germany to London's ReFresh Magazine, Fantastico! and Trendsetters Magazine as well. There will be a lot more of Bagetta in my premiere website that is in the works! 
The Sizzling Male Model turned Actor have moved to Los Angeles to find some work and I know I will see a lot of the Italian male model turned actor in films since he has that Jams Dean's Look!

Friday, February 7, 2014

the Uvenio Womenswear Archive

These are my previous womenswear collection in the Archives. Looking back, how much I appreciated my work of the past continues to go forward with many extremely talented photographers! 
                         Nicole in Uvenio Original by Marcus Richman 2009
Maggie & Francisco by Inger Sanderman 1998 
Lynn Charles by Scott Bush 2006
Monqiue by Glen Hanson 2002

Nick Baggetta to be in Uvenio Collection!

Baggetta's heart had been calling out for him to pursue a life of a model, he finally answered, packed his bags, and finally moved to New York in 2007 to give himself the best opportunity. 
In just a short span of two years, Baggetta has modeled for several clothing companies including: "The Michael Anthony Collection", "Forged Identity", "Real Clothing", "Uvenio Designs", "Cosmopolitan". In addition, he has appeared on the cover over 21 romance novel covers. His ultimate goal for modeling is to be on a billboard.

Aside from modeling, Baggetta had also tried his hands at acting, starting slowly, as an extra in films and TV, such as "As the World Turns", "The Curious Case of Benjamin Button", and "Ugly Betty".

A natural athlete, Baggetta excelled in soccer (20 years, played in college), tennis (6 years), and basketball (3 years). 

Wednesday, February 5, 2014

Versace back from the Dead!

Versace back on track 14 years after death of inspirational founder!
Seeing so many inspiring work in the recent collections is very Gianni. Something Gianni Versace would be proud of the talented woman/sister Donatella. Reminder, she invented the Supermodels: the Christy, Cindy, Naomi, Linda and Nikki and Claudia....

The house of  Versace has been trapped in a paradox ever since the summer evening in 1997, when Gianni Versace was gunned down outside his Miami home. That event catapulted the Versace name from  fashion magazines to every newspaper front page at the very moment the house was robbed of its defining talent.
Donatella Versace was on the catwalk in her brother's place within months, but it has taken her well over a decade to make his seat in the Versace studio her own. In the past two years she has said that for the first time she feels she is speaking with her voice; critically, her collections have had a warm reception. Nobody knows which of these came first.
For the customer currently mulling over her wardobe for next summer's yacht holiday, Donatella had the perfect muse: the Versace Siren. Mermaids, after all, are surely the original beach sex symbols. The show began with white leather shorts and chiffon minidresses, with sections of pleating and gold studs.
White, chiffon, leather, tight pleating, gold studs and tanned upper thighs all being historic codes of the house of Versace, it was immediately clear this was to be a collection true to brand values.
 To underscore the fantasy element, the models floated inches off the catwalk, on clear Lucite platforms; as a nod to current trends (the Versace mermaid definitely reads glossies, when off duty) she slipped neoprene jackets over her flimsy dresses. Donatella said after the show that she had in mind "a mermaid arriving in New York on a summer evening, ready to conquer the city."
Versace finances, which were in a precarious state for much of the noughties, appear to be back on track. CEO Gian Ferraris said recently that he stands by his prediction, 18 months ago, that the brand would be back in profit by the end of 2011.
The once fragmented house is in a period of consolidation. Production of the secondary line, Versus, which is designed by Christopher Kane, has been brought back in-house; in November the capsule collection for H&M looks set to boost brand profile further. Backstage after last night's show, it was noticeable that Donatella – who a few years ago would have been closeted in a private room, unavailable to all but her inner circle – was in the centre of the action backstage.

Her inspiration for the collection, she said, was "strong women – like this one." With this, she put an arm around Franca Sozzani, the editor of Italian Vogue, who had arrived to congratulate Donatella on the collection. With the Italian fashion industry facing a stormy economic forecast, Donatella stressed the need "to be true to your brand. That is the way to survive," she said. "And for Versace that is the strong, sensual woman."
Sozzani said the collection was "very Versace. And by Versace, now I mean Donatella. It is a different Versace. More extravagant in some ways, but more feminine in others. Gianni was tougher. He always said it was because he didn't have to wear the clothes – it is different for Donatella, because she does." Donatella took her bow in a gold-studded white leather sheath dress from the catwalk collection.
A collection that is 'very Versace' will by definition never be to everyone's taste. After the preceding evening's Prada masterclass in modernist, awkward-chic pastel colour clashes, Versace's disco-ball pastels had a certain toothachey sweetness.
Possibly, it wasn't necessary to underscore the mermaid theme with starfish, octopus, shells and seahorses. One or two would have sufficed. Likewise, the evening dresses would perhaps be better served by deep cleavage or a high side split, rather than both. But then mermaids never did understatement – and nor does Versace.