Maiyet Fall Winter 2013 Collection

Monday March 4, 2013 – Palais de Tokyo

One of life’s little joys is bringing home a piece of memorabilia from a place you’ve visited so that upon a glance or a touch, you can be instantly whisked back to whence you came from. Sometimes holding onto the souvenir is as important as holding onto the memory, especially when that place is far off the beaten track. So it bears notice that Maiyet’s designer, Gabriella Zanzani, who upon returning from her treks into the Himalayas, was inspired to translate the sights, textures and colors of that region into an imaginative Fall collection that gives a poignant glimpse into her memories of fiery villages and snow capped panoramas.   Naturally, outerwear was a key component to the narrative, with cropped jackets, blazers and parkas giving off a young, downtown feel. The brand’s sense of youthfulness is never lost on the audience and is reinforced through fun, feminine numbers like a schoolgirl look with white pleated top and matching short jacket with a layered skirt. The incorporation of a horizontal fuchsia line across a vest and hooded parka number was a welcome pop of color which later transcended into a series of fiery red numbers such as a cloque harness long sleeve top, skinny pants and a degrade sweater. Sleek, Italian-crafted black and burgundy wood boots, either studded or tasseled, came in mid-calf to knee length proportions; ideal for making it through the snowdrifts on the sidewalks of NY or Paris this past winter. Fur t-shirts and felted blanket skirts kept with the theme of softness and comfort. Sculptural gold and horn necklaces as well as truss bracelets from Indonesia will be sure to please accessories addicts. Sleeveless dresses, either short or maxi, looked effortless and silhouette-slimming while a black, v-neck cleavage-baring gown was goddess-like. Though memories of places and dreams can become clouded over time, Maiyet’s vision for Fall is as sharp as ever.

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Backstage at Vanessa Bruno Fall Winter 2013

Friday March 1st, 2013 – Grand Palais

There was a certain confidence in the model’s step at Vanessa Bruno’s Fall showing,  and with good reason. With her eponymous line growing exponentially in the past few years, Vanessa Bruno has set her sights on the American market, first with a pop-up store bowing during NY fashion week and, later this year, her first U.S. boutique opening in the Big Apple. You get the sense that VB was all about getting down to business, with opening looks featuring masculine suiting that were reworked into flirtatiously youthful pieces.

Pinstripe suit jackets and trousers paired with white-collared color-blocked shirts introduced the collection. Knife pleats on billowy skirts, blouses, and dresses were sharp and sexy while the use of grommets along the hems of mini-skirts will get no complaints from boyfriends and husbands. Cleavage baring V-necklines on a few looks offered a little flesh-baring for all, looking best on a shiny black number with a layered, A-line skirt construction.

For outerwear, white-quilted shoulder, pocket and hem trims on grey granite, asymmetrical coats and jackets answer the need for something fresh for fall. There was a variety of beautifully textured patterns used in tunics, skirts and shift dresses, some sporting vertical rhinestone arrangements while others taking a mosaic approach. Dark silver sequins were worked into white shift dresses in a kaleidoscopic fashion to great effect.

A harbinger of great things to come this autumn, Bruno’s immense joy could hardly be contained by this collection much to the delight of many waiting shoppers.

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Photos and video courtesy of Stylerumor.com

Hair by Eugene Souleiman

Mugler Fall Winter 2013 Collection

Wednesday February 27, 2013 - Halle Freyssinet

If you follow Nicola Formichetti on any number of social networks, you quickly realize his home is where his work and leisure call him. Whether he’s styling a shoot in Tokyo for Vogue Japan, working out of V Magazine’s offices in New York, or just unwinding under a palm tree in Tulum, Mexico, Nicola has probably earned his platinum flyer stripes by now, which may explain the world-traveler inspiration for this latest collection.

Understandably, after spending time in quite a few airports and planes, Nicola drew inspiration from therein, incorporating into the collection elements of airy openness, clean architectural lines, and a potpourri of elements from all walks of life and time. Nicola and Sebastien Peigné crafted clothes that took quantum leaps and bounds across the 40’s, 50’s and 60’s but that held an endearing view of what the past envisioned of the future.

The first series of cocooned, shoulder tapered looks showed Peigné’s natural talent at taking a basic element like wind and reconceptualizing it as a soft, caressing garment. Even the choice of tones and materials, from coral, sea foam and gentle yellows to cashmere and pilled wool, appeared to evoke a sense of calmness and restraint. Petal-leaf top dresses and cropped blouse-skirt combos flashed just a bit of skin before transitioning into sculptural white sweater and pant combos that would look at home in Oscar Niemeyer’s Niteroi Art Museum.

Five pocket petrol patent pants (try saying that five times fast) and a matching asymmetrical jacket added a bit of Blade Runner into the narrative. Mixing materials revealed a wondrous shearling overcoat with a satin ‘under-dress’ as well as a tropical neoprene and satin shift dress number. Flared wrap jackets, shiny slick trousers, pencil skirts, optic white tops, mohair-like turtlenecks, and leather headscarves appeared like a monochromatic summary of the best elements of the collection.

Even with all the retro nods, one cannot deny that the Mugler woman seems to always have one foot in the now and the other in the future.

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Photos and video courtesy of stylerumor.com

Creative Director: Nicola Formichetti

Womenswear Designer: Sebastien Peigne

Hair: Sam McKnight

Makeup: Charlotte Tilbury

Louis Vuitton Spring Summer 2013 Collection

Wednesday October 3, 2012 – Cour Carree du Louvre

A strict perpendicular block interrupted at three levels forms the basis of every silhouette in this collection. The only deviation from the straight and narrow comes in the curve of the sleeve head. This disciplined approach is inspired in part by Les Deux Plateaux, a work by the conceptual artist Daniel Buren, which consists of 260 columns of three different heights arranged in a grid.

This is the first ever Louis Vuitton collection not to make use of the Monogram. Instead, the Damier pattern provides the house’s signature. Squares are arranged in mathematical grids in differing colours and textures and at varying scales, creating a boldly graphic quality. Abstracted flower shapes offer an organic contrast to these rectilinear structures.

The fresh simplicity of the forms belies the intensity of the processes that created them. The embellishments for which Louis Vuitton is renowned are deployed in ways that are not immediately obvious. The smallest sequins ever produced are arranged by the thousand to create fluid metallic surfaces. ‘Tuffetage’, a technique taken from carpet-making, is embroidered on cloth and leather to create a flock-like effect.

The collection is presented on a site-specific installation created by Daniel Buren in collaboration with Louis Vuitton. This presentation is dedicated to Yves Carcelle, for his years of dedication to Louis Vuitton.

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Photos and video courtesy of Stylerumor.com

Style by Katie Grand

Hair by Guido Palau for Redken

Makeup by Pat McGrath

Maiyet Spring Summer 2013 Collection

Monday October 1, 2012 – Palais de Tokyo

One can’t deny the nobleness of eco-friendly luxury brands that seek to deliver on their promise of exquisite design as well as giving back to disenfranchised communities by employing local artisans to produce their wares. But oftentimes the two ideas are imbalanced and can lead to clothes that, while are made of renewable resources or built by developing societies, fall flat on the aesthetics.

It seems that Maiyet’s broken the mold for next Spring and achieved what some would consider the “triple crown” of a brilliant collection – luxuriousness, desirability and wearability. But it also inscribed a fourth criteria that is very much a category it owns; the positive sentiment buyers get knowing that the pieces they’re wearing were forged by the hands of craftsmen whose works are little known outside of their isolated communities. That uniqueness is already the basis of what makes luxury items so desirable; its uniqueness that sets it apart from the rest. Thus, the first criteria has already been achieved.

Zanzani drew inspiration from the Mario Testino’s native Peru, taking elements from the artisana of ancient Incan stone carvings, the floating wood ‘cities’ along the banks of Lake Titicaca, and the cornucopia of colors dotting the fauna and flora of the Amazonian jungles. The first series of handwoven cotton white numbers came in shirt, shirt dresses, “skorts”, shift dress, and long-sleeved billowy-belted dress varieties, appearing to be right on trend for next season’s ‘see-through’ movement. Soft python appliqués and handmade floral embroideries on pleated skirts, chakin tops, jumpsuits, strappy dresses and tunics added a punch of sublimity and detail. Frog prints on skirts, trousers, and crew neck tees worked especially well when paired against contrasting tones, as seen with a turquoise back-pleated shirt with a broken lapis lazuli placket. At no point though did the looks stray from these successfully simple but sophisticated silhouettes, which already affirms that Zanzani achieved a second criteria – wearability.

Lush green and blue handmade silk tops, pleated skirts, and blazers, mosaic yellow flowy skirts, and amphibiously red and black strapless dresses showed the designer’s knack at working with powerfully graphic prints. The wide array of accessories, with jewelry crafted in such exquisite varieties as to stand out on their own, perfectly complimented every single look. Poison dart lariats, carved Amazonian horns, diamond cuffs, studded chunky rings, and Machu Pichu print bracelets could give jewelers in Paris a run for their money. Other covetable pairings included Aztec cage wedges, leafy heels, structured clutches, and softened leather bags. The beauty of these pieces lies also in the fact that they are mostly separables, making them instantly appealing for their ability to adapt to any wardrobe; a fact that instantly satisfies the final criteria of desirability.

After a sullen start only a year ago, Maiyet finally breaks from convention for next Spring and introduces a collection that is equal parts fashion and philanthropy; a trend that we hope more designers begin to imitate.

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Stella McCartney Spring Summer 2013 Collection

Monday October 1, 2012 – Opera Garnier

Graphic and layered, the collection plays with geometry in fresh and optimistic colours.Elliptical shapes of white, bright orange and black flow on sheer linear dresses. Ultra-fine silk rib knits worn under micro-plisse skim the body, creating shadows in movement.Spearmint and paper white gauze knit is effortless. Sleeveless and belted summer tweed in forest green brings the utility of outerwear onto feminine and delicate columns.
Skin is subtly revealed in crisp white twill sharp cut shoulders, boned cotton bustiers and asymmetrical pique wrap dresses and skirts. Tailoring is tapered, touching the hips, defined by boxed-in jackets and paired with cropped sleeves and trousers. Print plays on scale in deep green on fluid crepe de chine. Circular cuts add a twist to traditional patterns.

Diamond cut work embroidery in white and black silk organzas are contrasted with masculine shapes to define the understated sexiness of the collection.
Silk organza, cut on the bias for evening, is embroidered in circular shapes of abstract print or bold colors to contour the body and reveal fleeting glimpses of shadows and transparency.

Utility bags with wide long straps. Floating Lucite platform wedges in scuba or organic cotton are in a mix of vivid colors. Oversize sunglasses echo the spirit of the collection. Clutches are in giant gem shapes, or clear Lucite, trapping the dotted print.

Shop Stella McCartney via stellamccartney.com

Stella McCartney Spring 2013 Video

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Photos and video courtesy of Stylerumor.com

Vanessa Bruno Spring Summer 2013 Collection

Friday September 28, 2012 – Grand Palais

For Spring 2013 Vanessa Bruno unleashed her bohemian side, in very lovable fresh way. She delivered what she does best; clothes that you want to wear, now.

“I wanted simple clothes that can translate to a purified sensuality, a sort of soft bohemian chic, the simplicity of wearing a long chiffon dress with Spartan sandals” said Vanessa Bruno backstage.

Skin revealing necklines, slithery silk chiffon on draped dresses, and sensually ‘nude’ hue pieces will not only be big hits on the streets of Paris and New York but in Los Angeles as well, where the designer opened a store on Melrose Ave. nearly a year ago.

Shop Vanessa Bruno via Net-A-Porter.com

Vanessa Bruno Spring 2013 Video

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Photos and video courtesy of Stylerumor.com

Beauty by Clé de Peau Beauté

Lanvin Spring Summer 2013 Collection

Thursday September 27, 2012 – Ecole des Beaux Arts de Paris

There must be something in the water in Paris because it seems that a slew of designers have all been afflicted with a strong case of nostalgia. Take Alber Elbaz’s Spring 2013 show, which showed all the tell-tale signs of a yearning for the past, with its strongly defined 90’s shoulder silhouettes, YSL smoking jackets and classic Japonismse kimono belting.

There was a bit of irony in the juxtaposition between showing at the École des Beaux Arts, with its sculptured marble statues perched high above the stadium-high ceilings, and Elbaz’s collection of square shouldered jackets and box-shaped printed tunics. But given his whimsical nature, it should’t surprise many. What was a surprise however was his break from beautiful one-shoulder dress-draping and experimenting with a variety of new materials and techniques. Take for example his opening look, a cleavage baring black cotton jumper with a cropped silk lapel smoking jacket, cinched at the waist with a faded wood-grain textured belt. This foreign departure from his usual one-piece dress repertoire was a welcome shakeup of the usual fare. And the timing could not be better either; after celebrating his 10 years at the famed fashion house, Alber might’ve felt compelled to break from the cycle of the house codes and opt for something new and different.

Black cotton or leather jumper looks with kimono-belt fastened waistlines, while exquisitely done, felt a bit too literal in their references to YSL though an asymmetrical bathing suit number with a pair of ankle-cropped trousers looked absolutely stunning. But there were quibbles to be had with the belting on certain dresses which, while appearing to have been integrated as deconstructed seams across busts and waistlines, looked a bit sloppy and having been integrated as an afterthought. But his fortés lied with his jackets. especially a perfecto with a white lapel inset and a sharp black-grey fabric division at the sleeves that accentuated the length of the torso and had a sublime slimming effect.

Sleeveless Venus de Milo silk prints on boxy tunics with gold-plated choker necklaces were humorously playful, though that moment was quickly replaced by severely embellished numbers. Geometric hardware in metallic gold and shiny black stone varieties were intricately stitched across the fabrics of taffeta jackets, jumpers, pants, and dresses that, despite its decorative qualities, felt a little-bit ‘kitchsy’ and not unlike something that one’s mother might’ve worn to Studio 54 in her disco-heyday. It seems that in Elbaz’s haste to make these highly ornamental looks, he might have also neglected to take into account about how one could comfortably sit on chair with them on, but that might be resolved prior to production.

The final series of looks were done in variety of neutrals, muted turquoises, mustards, violets, burgundies and greens evolved the belting theme into ribboning, along shoulders and hips. Taking a step back at the collection does offer a bit of perspective about the direction where Lanvin has been and where it is heading. Given his time at YSL many moons ago and the location choice (Beaux-Arts was a favorite of Yves), Alber may be trying to cash in on the attention being focused on Hedi Slimane as he unveils his first Saint Laurent collection. Thunder-stealing? Perhaps a bit, but when done as well as Elbaz has demonstrated, one can’t complain too much either.

Shop Lanvin via Net-A-Porter.com

Lanvin Spring 2013 Video

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Photos and Video courtesy of Stylerumor.com

Mugler Spring Summer 2013 Collection

Wednesday September 26, 2012 - Cité de l’Architecture & du Patrimoine

Nicola Formichetti and Sebastien Peigné brought equatorial heat to the concrete jungle for their latest Spring 2013 collection, infusing sculptural designs, hourglass silhouettes, and bold tropical colors into the urban street girl archetype. The show notes mentioned “Mexico City to South East Asia” as sources of inspiration but we’re more inclined to believe that Nicola’s affinity for vacationing in Tulum and working on magazine shoots in Japan had some influence as well.

Though Formichetti is an avid proponent of social networking medias, his choice of a single-sided runway inside of the Cité de l’Architecture positioned the audience to view the clothes like they would view a film; perhaps a subtle nudge to have attendees focus on the presentation, not their status updates. But the subtleties would have been unnecessary, given that the duo put out their most mature collection to date.

Deconstructing the futuristic frocks that makeup the Mugler paradigm resulted in separates that kept the brand’s DNA while making it easier for folks to mix and match looks. Take for example the series of opening numbers with knife-pleated skirts that would look just as great with the rust toned silk scarf top or ‘opium’ burgundy varnished lambskin tee. Scuba knitwear miniskirt-short hybrids and sliced armorial accents on pants, skirts, and dresses conveyed a sense of rigidness and sturdy construction that contrasted beautifully against lantern sleeve shaped skirts and kimono-like blouses that conveyed a feeling of fluidity and ease. Ink printed mylar tees, with emblazoned hues of orange, reds and sky blues, look like they were plucked from Nicola’s memories of a beautiful summer sunset on Playa Del Carmen. Peigné and his team appeared to have fun with prints, taking a white tiger head print and placing it on a burnt rust tone pleated skirt giving the impression of seeing the majestic creature peer his head out from amongst tall bamboo stalks.

But the show wasn’t just a forum to display the latest RTW. In fact, my first point about the set design begins to make sense when you consider that this was the Mugler house’s first foray into handbags. With each model sporting the newest bags on their left hand, everyone was treated to getting their first look at Formichetti’s designs. The most notable of these were the rigid, sac-à-main clutches which harken the Mugler design ethos, but with infused exotic leathers for added effect. The results are artisanally built bags that simultaneously convey a not-so-subtle sensuality with a futuristic sophistication.

And while she was busy on tour in Zurich that night, Lady Gaga’s presence as musical director was still felt as her yet-to-be released track ‘Cake’ was remixed by Michel Gaubert for the show. Azealia Banks, herself a front-row attendee alongside the Courtin Clarins sisters, had her “Esta Noche” track make its own cameo for the show.

Perhaps the most paradoxical of all sentiments that one takes away from this Mugler show is that despite all of its multi-faceted components, they all seemed to have come together as one unified idea; a formula that has served Formichetti and Peigné well these past few seasons and which seems to be the secret to their meteoric successes.

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Mugler Spring 2013 video

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Photos and video courtesy of Stylerumor.com

Makeup by Val Garland

Hair by Sam McKnight

Music by Lady Gaga remixed by Michel Gaubert

Louis Vuitton Fall Winter 2012 Collection

Wednesday March 7, 2012 – Cour Carree du Louvre

Since a couple of seasons, Marc Jacobs has moved from showing his Louis Vuitton collections on a classic runway to an almost theatrical set.

But Louis Vuitton shows have always been a surprise. Every season, Marc Jacobs, with an elusive talent, reinvents the Louis Vuitton ready to wear he created fifteen years ago. The house codes are his own, with his uncensored vision having shocked many in the past starting with the Spring 2001 collection featuring the Graffiti tagged Monogram bag inspired by the artist Stephen Sprouse.

The Fall 2012 show was no different, it was even more spectacular than before. Louis Vuitton has brilliantly managed to entertain his audience, showing off more than 150 handbags while having the core of his entity in the center stage: the spirit of travel.

The show notes said “When the clock strikes 10 the train will pull into the station. Everything is exactly as it seems, apart from when it isn’t – it should perhaps be noted that this place is not actually a station. Nevertheless, much is self-explanatory and should be responded to accordingly”

At 10:05 the train, an identical reproduction of a model of the late nineteenth century arrived to the roar of a cheering crowd. The passengers appeared like coming from another era. They arrived, with a vast amount of luggage, carried by smartly uniformed baggage handlers.

The clothing is layered in rich, sumptuous fabrics; long skirts over cigarette pants, long coats over all, each look topped by a tall hat. The normal sized men that greet the embarking passengers, tiny In comparison and carrying the multiple, luxurious bags, reinforce the point of this lowering female silhouette: they are merely added accessories.

Brocades and jacquards are further embroidered and appliqued with hologram color forms and laser etched plastic stones; tinsel is woven to resemble sparkling tweed; heavy metal yarns replicate Afghan blanket fabrics; kangaroo leather is patchworked and bejewelled with plastics . Everything becomes more, both real and unreal: instantaneous and equally weighted, joyfully vulgar in its confrontation.

Appropriately enough the Vuitton handbags this season are also larger than life. Based on the shapes of Vuitton luggage past. Hat boxes, vanity cases, weekend bags and petites valises all make an appearance for everyday use. The traditional canvas Monogram finds itself trimmed in real crocodile or embroidered in sequins on a blanket wool, trimmed with box calf. The Speedy has an intense reworking this season, based on and featuring a round signature buckle.

At the end of the show, the man that infused modernity while preserving the brand’s tradition, jumped from the locomotive, humble  and shy, leaving the crowd eager to see what’s next.

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Louis Vuitton Fall 2012 Show Video

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Photos and Video courtesy of Stylerumor
Style by Katie Grand
Hair by Guido Palau
Makeup by Pat McGrath

Chanel Fall Winter 2012 Collection

Tuesday March 6, 2012 – Grand Palais

It’s like a dream, this is amazing” said Mouna Ayoub looking at the Chanel set in the Grand Palais. She is one of the few women that can have everything, but even she was amazed. In many ways, we all owe a small debt of gratitude to Ms. Ayoub, whose vast wealth is only matched by her penchant for Haute Couture. Because of clients like her, fashion houses can afford to treat the world to a collection that exemplifies the pinnacle of fine craftsmanship and unimaginable decadence.

Chanel is truly a multifaceted gem. Karl, no less faceted than the house of Coco, brilliantly explores every aspect of the brand by delivering a purely decadent runway show. The decor was composed of giant ores, smoky quartz and amethyst crystals, emerging from a bed of white gravel, and paired perfectly with a pulsating, energetic soundtrack remixed by Michel Gaubert.

For the past few seasons, Chanel has to toyed with idea of layering pieces, leaving the skin rarely exposed. This season was no exception. Womenswear saw softened drawstring tweed fabric on parkas. Things got even more interesting with dry tweed jackets and dress numbers which were worn with skinny pants, buttoned at the ankle; a clean way to refresh the current Chanel 2012-2013 winter trend of ‘super-layering’. Some of the looks offered afraser take on couture accessorisation, with loose coats in black tweed knotted with martingale belts, worn at the hip, fringed with red crystals at the edges; ditto on the black and white looks.

A toddler sporting the velour ‘Boy’ mini-bag rendered an otherwise fetish accessory into an adorable children’s piece. The jewelry looked raw and edgy with metal joints appearing to have been burned by a welder’s torch, which was then tempered by a gorgeous array of raw studded crystals.

Of course, the inspirations were of such variety that it felt as if there was a little something for everyone. And it appears as if this multi-pluralistic approach to fashion is paying off. “[They’re] buying as many accessories as they are buying clothes” says Bruno Pavlovsky, the house’s president of fashion activities. Starting today, the brand will provide clients with more choice, with the launch of its second Avenue Montaigne store. Already open, the 450 square meter boutique located at building No. 42 faces No. 51, where Chanel invested in a 600 square meter property that spans two floors. “On the first floor, eight fitting rooms can easily accommodate clients. At No. 42, the space was tight. Not enough room to accommodate everyone, “says Pavlovsky,, who was ready to fly to Tokyo to accompany the Haute Couture collection.

Presented in January, the same collection will bow for a second time in the ‘land of the rising sun’. The trip will be an opportunity to relaunch the aviation inspired pieces to even greater fanfare, and would be a first for Chanel. The trip will be capped with a series of photographs, shot by the Kaiser himself, which will go on display and focus on the jacket; the cornerstone of the Chanel empire dating as far back as the 1920′s.

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Photos and Video Courtesy of Stylerumor.com

Stella McCartney Fall Winter 2012 Collection

Monday March 5, 2012 – Hotel de Ville

Cutting into the tradition of the English countryside with urban energy, colour and shine. Jacquard is textured. Embossed on double crepe in rich hues of bark, all white and midnight blue, then stamped symmetrically onto molded architectural forms, and embroidered with fine silk thread to create bold graphic illusions to accentuate shoulders and necklines. Ruffled collars in parchment white organza are inserted in a delicate and playful way. Damask Jacquards are embroidered and layered on top of each other for evening, paired with the same hues of blue in tuxedos. Gold ruffle metal cuffs and collars, exaggerated double curved stitching and deep folds sharpen and highlight the absence of lapels. Bold cuts of white pique and Men’s Sea island cottons in Oxford blue play on the tradition of school girl meets school boy worn with low slung pants. Knitwear is hand tufted with a tapestry technique mixing Alpaca, mohair and silk in bark and soft greys with short full skirts kicking out.
Felted Aran stitch knitwear is sculptured in an hourglass shape that mirrors the moulded tweed tailoring. A smoke colored dress brushes the waist. A knitted cardigan dress twin set in washed out blue. A high buttoned cardigan skirt suit in pink and dusty rose melange, accentuated with pockets for a more laid back attitude. Outerwear is architectural, using bonded tweeds with highlights of double bonded satin, translating traditional Saville Row techniques into a feminine hour glass with ribbed collar details. Bright color blocked knits in Cornflower blue and Black with Jockey inspired vests, worn with mens pants in shocking pinks are paired with giant buckles molded onto shoes. English tweeds, with added technical stretch, using ergonomical inserts of Egyptian blue and ultra white high shine are sliced and sculpted into body contouring silhouettes. Skirts in shades of bark with a flaired godet create movement and energy. Overtly pointed shoes with bold white tech inserts on a biodegradable platform rubber sole and Betty envelope bags, with zips inserted and edged in bold colors in mock croc, give an urban edge.

Shop Stella McCartney via Net-A-Porter.com

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Photos and Video courtesy of Stylerumor.com
Style by Jane How
Hair by Eugene Souleiman / Streeters
Makeup by Pat McGrath / Streeters
Nails Priti NYC
Music Tony Farsides

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