He never gets out of his creative spirit. “The next day [after the show at Athens FW in April], I started the new collection, and we’ve already done half of the pieces.” And I gasp. Rarely do you meet a person who breathes with fashion so intensely, and to whom it is a source exclusively of endless joy and inspiration. The positive aura stays with us through the whole interview – Dimitris’ laughter is truly contagious – as we get on our call on a sunny September afternoon, to chat about Hounds of Love, Dimitris’ latest and upcoming collections, and why neither of us would order McDonald’s on a trip abroad.

Dimitris Strepkos was born in 1973 in Germany. Having started working as a styling assistant at the age of fifteen, he chose Costume Design at the University of the Arts London as his major. He followed this path after graduation, devoting himself to scenography and designing costumes for the theatre. But much as he adores it, that wouldn’t cover all the vibrating energy and creative spirit that are within him. No wonder then that he got involved in a variety of additional projects, from editing and preparing catalogues to creating video clips and commercials. In 2009 came high time for high fashion and the launch of his brand, Celebrity Skin. The debut collection, “Tim Burton’s Impossible Nightmare,” got him Best Designer and Best Catwalk awards at Athens Xclusive Designers Week, and started his already 15-year- long journey into the world which he’ll probably never get enough of.

His collections are not to be mistaken for any other designer’s; Strepkos is known for combining seemingly basic forms and colour palettes (blacks, nudes, and whites dominate) with imaginative twists and rich ornaments: “everything is done by hand; there’s no single machine at my atelier. Even if you see a simple bodysuit – there’s so much work in it.” Though calling his signature bodysuits “simple” would be an understatement. Suffice it to say that lovers of sequins, diamonds, and fringe will surely find something yummy there. Strepkos’ latest collection: “Daydreaming. A Poem for Katia,” caught my eye during the last Athens Fashion Week, as it definitely stood out, thanks to the more surrealist approach than the other designers presented (Voir’s report on the show can be found here: https://www.voirfashion.co.uk/post/greek-goddesses-come-to-life-highlights-from- athens-fashion-week/). I ask Dimitris if it wasn’t actually richer than any of his former collections. “After 15 years, people know my brand and my aesthetics, and I can do more expensive and luxurious stuff. That’s why it was so over the top [laughs], extra glamorous, extra extravagant.” And as Strepkos says, the inspiration behind his crystal masks, embroidered bodysuits, and layers and layers of tulle are the sensations of everyday life: “I don’t follow trends, I do rather avant-garde items. … I’m a huge art lover – so art is the first inspiration. I love … to see museums, exhibitions, … to read books, go to the theatre, see movies. Secondly, when I travel, I see things, hear music, taste different foods of every country I travel to. All of this gets inside me – and then I create.”

What is central to Strepkos’ shows is the emotional: “it’s not just about the clothes … Doing a fashion show just for 30 amazingly looking models? I don’t really aim for that. I want you to think when you see my shows. I want you to cry, laugh, I want you to remember. I want to create memories for you.” And he does so by bringing his memories onto the catwalk: “[my latest] collection was dedicated to my best friend Katia, who died from cancer … [The show] started with a clip with my personal moments with her, and then the music you were hearing was her favourite song; we used to dance to it a lot,” recalls Strepkos. “Many people didn’t know, but I opened this show with the clothes she was wearing during her last days. And when the show finished, you saw a short clip, saying ‘kisses from heaven.’ She was part of it,” he believes.

Dimitris didn’t only dedicate his anniversary show to his late friend, but actually to all his closest friends, as his take on fashion is about teamwork: “the best things are created in teams, collaboration. Friends are family.” The atmosphere in Celebrity Skin atelier seems to be very inspiring and welcoming to all the family members that are together in this great creative process: “my team works every day for hours, nights, and creates new things. In my atelier, we say ‘you can do anything.’ Anything. With this motto, we create more and more difficult stuff. We don’t go the easy way.” And as Strepkos adds, in Celebrity Skin it’s all about extravagance, constant development and experimentation, aiming higher and higher: “all the money I make, I invest in my work, shows, better materials, more and more expensive collaborations, photographers, better deals. It’s an ongoing process.”

From the talk with Dimitris one can immediately see that he is always hungry for more, and his mind never leaves the fashion mode, even in the simplest everyday situations: “fashion is a way of living. … I love it from the age 5 – I’m 51 now, and I can’t stop it. [laughs] It’s me. … I love catwalks, going to the shows of other designers, backstage, photoshoots, editing – the whole process. Being in the fashion industry is a blessing. It gives me light. … Even when I go to the supermarket and I see a new mustard, I’m like ‘let’s take a photo of this yellow here’ [laughs].” Strepkos sees fashion not commercially, but in a human way – as inborn part of one’s personality and lifestyle: “it’s in the way you think and breathe. You can’t say you do fashion by just wearing Louis Vuitton and going to posh restaurants.” Well, how do you do it then? “Fashion is in that you simply walk, listening to music on your Airpods, and you dream. You need to be a fashion dreamer.” Amen.

But in this deeper approach to the beauty and clothing industry, Strepkos stresses how crucial it is to remain humble, always aiming for a better performance: “you can’t ever say you’ve made it. You’re about to make it. The minute you say ‘I’ve made it,’ you stop being creative.” Hence, apparently when people approach Dimitris, asking which of his clothes he finds the best, he shortly answers: “the ones I haven’t created yet,” with his broad signature smile.

What impresses me the most is probably the creative freedom that is in him and his brand. But the question is whether this freedom has always been there. And even before I finish phrasing it, Strepkos responds with a definitive “yes” and another dose of laughter. He claims to be immensely lucky and grateful for his rich career path, which also made him a self-aware and mature designer: “I [used to be] a fashion show director, also one of the directors at the Fashion Week in Greece, including the last one. … [Setting] up Celebrity Skin 15 years ago, I knew what I was going to deal with. And I knew I wanted to create a brand with identity – to create clothes that didn’t exist yet.” Having observed the industry from various perspectives over the years, Strepkos saw “there [was] a gap,” and as a result, he came up with Celebrity Skin as “a place for people to express themselves.” And it worked. “I have client lists; my sponsors trust me. The brand has grown year by year, and I’m in a good place now.”

The gap Dimitris spotted was filled with clothes which go with the brand’s mottos “Dare to wear” and “Luxury you can afford.” I ask about the elaboration on the former one. “The most important thing is to be yourself. When I say ‘dare to wear,’ I mean, for instance: you have an old pair of jeans – and you combine it with one of my jackets, hats, or bags,” doing some experimentation. “You don’t have to wear a total Celebrity Skin look,” explains Strepkos. “I want [you] to feel free to dig into your closet, find things that you love, maybe something old, from your grandmother – and combine it with my clothes, being yourself. … You are the celebrity, and you create your own skin. This is what I give to the clients.”

The motto’s explanation introduces the bigger idea behind Celebrity Skin, including the brand’s name itself. After all, Strepkos could’ve opted for his own name when launching the brand, couldn’t he. Why did he go for Celebrity Skin? “For me, celebrity is not a famous person. Celebrity is every person who has identity. [In the shows, the models are of] different body shapes, older, younger, different variety of bodies because I think every person is a celebrity in their own way. And your skin is your clothes. This is what Celebrity Skin actually means – being yourself, [feeling] that your clothes are part of your personality.”

There’s also another, more pragmatic reason for the name choice: “my name is difficult to pronounce in Greece. People would always make mistakes at the beginning [Dimitris imitating the various mispronunciations, laughing] … Celebrity Skin is a more global name, something people can relate to more. … It’s different to say ‘I wear Strepkos Couture’ than ‘I wear Celebrity Skin’ – [at this point it becomes] a movement,” precisely at which Strepkos aimed.

It’s all conceptual. And it brings us back to the last collection, as Dimitris’ take on fashion, additionally influenced by his theatre background, could be felt from the beginning of the show. It was what made me feel that the show differed from the other ones at Athens FW – that it was a performance. “I’m heavily influenced by theatre,” admits Dimitris. “I don’t do fashion just for beauty – I want to create characters and tell a story when I do a catwalk,” he explains, claiming that his collections would be totally different, had it not been for his experience in theatre.

How are, then, the two kinds of the creative process different, when we compare high fashion with theatre costume design? “In theatre, everything that’s on stage is … part of a character – … a character that already exists. There are some boundaries, if you know what I mean. … On the other hand, in fashion you create your own work and the standards. There’s greater liberty. And you can’t do extremely radical things in theatre; it has its limits. Fashion doesn’t.”

That’s possibly the gist of Strepkos fashion – that fashion is liberation. Hence his attitude that, both in the industry and everyday life, one should engage in constant experimentation, non-conformist self-representation, and limitless exploration – primarily to get inspired, and to share the inspiration further: “I go out of my comfort zone every day. [For example, when] I go to another country, and even though I might get food poisoning [laughs, saying “I don’t care, whatever”], I’m like – I’m here, I’m in Morocco, let’s try it. Even if I spit it out afterwards, I’ll still try it,” he assures ironically.” [When] I go to another country, I want to know what they eat and how they cook, see what they have. You’ll never see me order McDonald’s,” he says with a smile.

The open-mindedness, with exposing oneself to new aesthetic and sensual experiences naturally also applies to the collection-creating process: “the first thing I do when I go into my atelier is put music on. I like to listen to operas, musicals, soundtracks. I can’t do anything without music. And I love different kinds of it, also finding some old, forgotten pieces,” says the anti-fan of listening to the same playlist 24/7. Just so you know, if you spot Dimitris out there in the city, don’t be surprised by him holding his phone high in the air – it’s probably him again begging Shazam to give him the title of the song he overheard while crossing the street.

What was on the speakers when working on “Daydreaming. A Poem for Katia”? “I was into the ‘80s during this collection. I was listening to the classics from Sinéad O’Connor because she also died from cancer. … And a lot of Kate Bush, who is my favourite artist. I adore her; I would die for her. [laughs] … When I heard “Cloudbusting” and “Running Up That Hill”, I decided to be a designer. She made me a designer” – believe me, you couldn’t say it more emphatically and emotionally than Dimitris. “Hounds of Love is a milestone for me – it’s like before and after Christ! [laughs],” says member of Kate Bush social media fandom. And honestly, I could perfectly imagine Kate from “Running Up That Hill” or “Wuthering Heights” dancing among Strepkos’ models, all dressed in elegant and feminine, yet somewhat surreal outfits.

That shows how what you surround yourself with actually impacts your creative work. I go on with the topic, knowing that Strepkos is also a cinema devotee. After all, his first collection was inspired by Tim Burton. What did he watch during the months preceding Athens FW? Apparently Pedro Almodóvar movies, which – with their special depiction of human emotional experience – complemented the ‘80s music in making the mood board, says Strepkos. How do films affect him? “Movies inspire me not because of costumes and what [the actors] are wearing – that’d be superficial – but through the acting. Like, when I see a movie, and it makes me cry or laugh, or think – this is the inspiration; not the aesthetics, but what it makes me feel, what it brings into my life.”

He is always in search. In search for inspo and developing himself as an emotional, creative human being. And an alternative one. That’s why you’ll find him at shows presented by some niche designers, or those that, although already established, still don’t match the level of popularity Prada or Chanel have. “I was at Romanian FW, and there was a designer, an old lady – like, 70 years old. And then I saw her clothes. It was as if she was 19, … her energy was that of a teenager,” recalls Dimitris.

We also discuss Berlin Fashion Week, which surely differs from, for instance, Milan FW, not just in prestige, but also the aesthetics: “I’ve seen amazing works [there]. They have shown passion, and I like that the designers have identity there, which I respect heavily. American stars should also look at Berlin FW to find new clothes; they’d die when seeing the texture, the pattern making, the ideas they have. You see new, radical things – this is fashion. In the more established market, they do it less and less experimental. … But in other fashion weeks, you see new fashion – and you’re like, wow, who’s this, I want to buy this, even though I can’t even pronounce the name,” says Strepkos, smiling, when remembering his visits to Serbian, Romanian, or Dubai FWs.

It only remains to ask when we’re going to get another dose of Celebrity Skin energy. “[My new show is] going to be in March. But I’m doing the campaign in October [already started; follow @celebrityskinstrepkos for more]. … And bits of my new collection will be ready in November.” What can we expect from it? “It’s going to be darker. … I’m coming back to my black black black era. [laughs] I started out as a designer of dark outfits, then I got more colourful, and now I’m coming back to my roots. It’s also more extravagant; I like this vibe now: stones, embellishments, everything!” We’ll definitely keep our eyes open at Voir.

Meanwhile, here’s a little sneak peek of what’s to come!

Images courtesy of : Michalis Lavdiotis, Dimitris Margaritis, Fenia Labropoulou, art code productions, Penny K

Written by Julia Sułkowska

The post “You need to be a fashion dreamer” – Celebrity Skin’s founder, Dimitris Strepkos, on how love for fashion (and Kate Bush) has led him through life appeared first on Voir Fashion.

It is impossible to talk about the history of fashion, the Rockstar years of the 90s, and not refer to Schiffer – her beauty, countless catwalks, daring campaigns, and experience have influenced the fashion and modelling scene of today. But the supermodel hasn’t stopped influencing it, this time however she has decided to do it from behind the scenes. Claudia Schiffer has now invited us to look at the photography that marked the 1990s with Captivate! – an exhibition in Kunstpalast in Düsseldorf and its accompanying coffee-table book. 

Captivate! is a chance to experience from Schiffer’s eyes, the 90s “golden era” through her own archive; to see what her favourite fashion visuals were, or how the photographs that didn’t make it to the covers and stands look like, but also appreciate the essays and words from the fashion pioneers she had the chance to work with. 

Claudia Schiffer opened up to us about all of this and more, if you want to dive into her intentions when curating this book and exhibition check out our interview with her below. 

What inspired you to work on Captivate?

Firstly, I really like the word Captivate!. The book and exhibition are about fashion photography in the 1990s and great images do ‘captivate’ the imagination and become part of the pop consciousness. 

Since the beginning of my career, I have collected fashion images and worked and learned from true masters – Helmut Newton, Richard Avedon, Peter Lindbergh included – and my personal collection forms the basis of the book and exhibition. I wanted to encapsulate the vision of fashion that helped captivate and shape the perspective of a generation. 

What does this book and exhibition represent for you and your career? 

I have worked with such extraordinary, incredible people and I’m enjoying the different avenues my career has taken including roles where I am designing or curating collections, which felt like a natural next step for me.  Working with the team at the Kuntspalast and with the contributors to the book including Carine Roitfeld, Ellen Von Unwerth and Christine Arp, has been amazing. I’ve learnt a lot and I always want to be learning.

What would you like your followers and fans to get out of Captivate? Is there a specific message you’re trying to transmit through the photographs and stories that will be told?

First and foremost, the impact of the pandemic has severely affected the economic health of the arts and culture sector across the globe. Galleries, institutions, studios, and the people who work in both the public and private spheres are struggling for survival. My primary hope is that Captivate! both the exhibition and the catalogue attract a wide audience to the Kunstpalast and boost a love of fashion and photography. The experience of attending a show in real-time is unbeatable and the coffee table book brings the exhibition to anyone around the world who can’t attend. 

What was your favourite aspect of working on Captivate? And how challenging was it to go through with this project throughout the pandemic? 

It took time and a lot of patience – I mean there were literally thousands of images to choose from. And because I wanted to show the numerous formats of fashion photography in the pre-digital age – from fine art prints to Polaroids, contact sheets, fashion magazines, to campaigns and model cards – the selection was extensive. I wanted to also create strong contrasts between iconic covers shots, runway imagery and candid backstage snaps. 

What made it? What didn’t? I always asked myself is this quintessentially 90s? and does the image truly represent the individual photographer’s eye? I also wanted to celebrate the teams of photographers, models, stylists, hair and makeup artists, and art directors that collaborated to make fashion happen. Where the 1980s were defined by perfectionist high glamour, the 90s was about energy, reality and personality, the show also captures that big shift. 

How do the images that will be shown in Captive differentiate from the current fashion photography landscape? 

The 1990s was the last decade of the analogue era so everything was shot on film and tests were in the form of Polaroids to gauge light, composition, and colour. I wanted these formats as well as unseen and backstage images. Today, the edit happens on the screen and imagery can be consumed instantly via social media. In the 1990s, the magazines were like the bibles of fashion, with every cover and page eagerly dissected. Budgets were much bigger and literally, a location shoot could last for over a week – so many friendships were formed on these trips.

What do you think about the evolution from the pre-digital age to the digital one? How has it influenced the fashion and modelling world? And which one do you prefer? 

I think the industry is fundamentally the same, but it has grown beyond my wildest imagination. There are more collections, brands, the pace is faster and social media has had a huge impact. It’s been great for marketing fashion and beauty products, and for models, social media is a superb way to manage your own exposure. The flipside of the big exposure is perhaps the pressure to share everything with everybody. In the 1990s, you could still have a private life.

Since the birth of social media, fashion has witnessed a big sea change.  What’s interesting to see is the rise of the influencer. There’s so much talent today that is diverse in race, age and increasingly, size. Individuality and personal style and expression are being championed like never before. Non-professional models have become a vital source of inspiration for their peer groups as well as for designers.  It’s so healthy to see such diversity in faces and styles. 

And models now have a voice – they are true polymaths, entering fields such as activism, sustainability, fashion design, technology, wellbeing, acting and they can enjoy multi-track careers. I think the supermodels provided the template. There is no ‘ageing’ outlook at Naomi Campbell, Kate Moss, Amber Valletta, or Cindy Crawford and her daughter Kaia, Georgina Grenville, Carolyn Murphy and myself – we all continue to work. For me, curating a show and editing a book represents a challenging and fulfilling new avenue.  

In regards to the modelling industry and your career, what would you say has been your biggest achievement? And will it be covered in Captivate?

The big task of editing Captivate! made me appreciate the 90s and the extraordinary creativity. I do miss the camaraderie and the adventures, but you can never ‘repeat’ such a time. Some of my best memories include my first show, which was for Karl and Chanel and was very special. It was the pivotal moment in my career that transformed me from a shy teenager into a supermodel. Then there were Gianni’s shows, which were like rock concerts. We’d walk to an amazing Prince track with hundreds of photographers lining the catwalk, only to see him sitting there at the front row. For the exhibition, Donatella re-created a brilliant azure blue dress which I wore in the A/W 94 couture show: it’s divine.  By contrast, Valentino shows were like stepping into a fairy-tale world while Dolce & Gabbana’s evoked the exuberant Italian dream.  You really have to step into character and perform:  the runway experience is like nothing else.

How would you describe Captivate in 3 words? 

Captivating! Joyous!  A revelation! 

Are you working on any other future projects? 

I’m very lucky to love what I do, so design collaborations and curating roles felt like a natural next step for me. In addition to the book and Kuntspalast Captivate! fashion photography show that I curated, I have a glassware and ceramics collaboration with the wonderful Portuguese heritage brands Vista Alegre and Bordallo Pinheiro. The collections (launched last year) are inspired by my love for nature and there are new ranges coming out in 2022. I so enjoy learning about the craftsmanship behind these makers and drawing up shapes and motifs.

I also have just collaborated with the lovely brand Réalisation Par, which I discovered via my daughter Clementine. The range is out now and is very much inspired by the 90s and the kind of pieces I used to wear on a daily basis. I looked into my archive collection and found silk slip dresses, daisy prints and a classic black and white microdot – these finds were the starting point.

Captivate! Fashion Photography From the ‘90s edited by Claudia Schiffer is published by Prestel in hardback on 19^th October RRP £49.99. The accompanying exhibition will be at Kunstpalast Düsseldorf from 15^thSeptember 2021 – 9^th January 2022. For more information, please visit: https://www.kunstpalast.de/

Words By Chiara Ferrari, Graphics by Millie Pollock

The post An Interview With Claudia Schiffer: Captivate! Reminisces Fashion Photography That Marked The ‘90s appeared first on Voir Fashion.

Photography, as an art form, has historically been used against women. Male photographers have typically presented their female subjects as sexualised, passive, and weak; a subject to be looked at from the heterosexual, male gaze. The feminist photographers of the 1970s contested how women should be perceived in images, establishing themes of provocation, self-objectification, and non-traditional representation. Women photographers today can represent the complexities of womanhood through an honest viewpoint, without relying on the voyeuristic tendencies of masculine photography. Their contemporary images allow the viewer to adopt an alternative view of reality: the creator’s point of view, who carefully curates the image into something which promotes the truth of people today.

Sandy Kim

Sandy Kim shares intimate portrayals of the people who surround her, whilst working in her home of California. Her photographs are of unfiltered events, even in her more editorial shoots, her subjects remain natural compared to the exaggeration often found in fashion photography. Her array of NSFW images do not shy away from honesty. Her subjects’ nudity is not forced or uncomfortable, but simply an aspect of their personality and freedom.

Ashley Armitage

Ashley Armitage breaks down societal standards to include all bodies in beauty and intimacy. Her photographs often have feminine qualities of gentleness and sweetness, embodied across all genders and body types she depicts. Creating images of women, without adopting a voyeuristic lens, Armitage instead uses a welcoming intimacy to present her subjects.

Ayesha Kazim

Ayesha Kazim is creating fresh portraits which embody the individuality of each of her subjects. Working between New York and Cape Town, Kazim’s portraits often blend nature and people to produce gorgeous sunlit subjects. Her subject is the star of her portraits, with their personality shining through Kazim’s photographs to freeze joyous moments in time.

Amber Asaly

Amber Asaly’s photography brings together the nostalgia of Y2K editorials with the Tiktok stars of today. Recently shooting Addison Rae and Charli D’Amelio, Asaly is recreating the beloved style of the 90s and early 2000s photography which plastered our favourite fashion magazines. Her shots embody a nostalgia of 2000s pop stars, and when paired with chic 90s styling, creates romantic images.

From cultural references to provoking intimacy, and showing pure honesty, these photographers embody the nuances of femininity. Women artists are rethinking what they choose to present to the public; using their power to establish the women’s point of view in a previously masculinised lens.

Words By Caitlin Sahin

The post The Women of Contemporary Photography appeared first on Voir Fashion.

There are officially eight [8] days left to head over to California and the J. Paul Getty Museum, Getty Center to experience this sensational fashion photography exhibition. From Edward Steichen to Man Ray, Guy Bourdin to Herb Ritts, Louise Dahl-Wolfe to Horst P. Horst, Paolo Roversi to Helmut Newton, Bruce Weber to David Sims and Richard Avedon to Scott Schuman, there’s something here for every lover of photography.

For more information: click EXHIBITION

The post Icons of Style: A Century of Fashion Photography, 1911-2011 appeared first on Voir Fashion.

Taken from the Getty Museum’s photographs collection as well as significant loans, the exhibition presents the work of more than eighty photographers, highlighting cultural shifts and technological changes in the field.

“Once overlooked by collectors and museums because of its commercial origins, fashion photography is now recognized as having produced some of the most creative work of the twentieth century” says Timothy Potts, director of the J. Paul Getty Museum

The exhibition features the work of renowned fashion photographers such as Richard Avedon, Louise Dahl-Wolfe, Helmut Newton, Nick Knight, Edward Steichen, and Tim Walker.

You will be taken on a historical journey highlighting the political, social, technological and economic cultural shifts. From the “patriotic chic” of World War II to the digitalized editing possibilities of the 21st century.

“My hope is that this sweeping introduction to fashion photography will not only educate and delight our visitors, but also inspire new scholarly inquiry,” adds Martineau.

It will be held at the J. Paul Getty Museum, Getty Center from June 26–October 21, 2018.

The post Getty Museum: 100 Years of Fashion Photography appeared first on Voir Fashion.

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Several months in the making, Allure by Studio Voir is more than a showcase of creativity and a portfolio of work. With a concise selection of powerful imagery, each accompanied by the most appropriate caption, its mission from the start is to engage and entice the viewer through a series of emotions. Arresting, explosive, intimate and controversial not only describe the fashion and beauty images to which they are assigned, these words bring a personal touch to help the viewer engage more deeply with the imagery and the brand.

The Studio Voir team are already excited at the stir this marketing book has caused, enabling prospective clients to connect on a deeper level and identify with the brand’s style and ethos: “It is becoming increasingly difficult to get heard or seen nowadays” stated Luke Walwyn the brand’s Photographer & Artistic Director, “and we therefore like to look at more simplistic ways to inspire a response and a connection, than a cold approach”.

See more of Allure by Studio Voir here

Thank you for engaging with Voir Fashion Digital.

It is important that we communicate a unique brand of fashion, beauty, trends and lifestyle to you on a regular basis, all we ask is that you share our content, and subscribe to receive even more exciting updates and competitions directly to your inbox.

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The creative team at Studio Voir teamed up with Slaters Menswear and Formal Hire in the autumn, to create a spectacular James Bond-esque fashion story for its online readers. As far as fashion editorials go, this storyline surpassed all of Studio Voir’s expectations in that it pulled in some commercial heavyweights to add an air of authenticity and class.

Take JCT600 – Aston Martin, Heli-Jet Aviation, Victoria Gate Casino, The Woodlands Hotel, Anita Massarella Couture, Tom Zanetti, Boss Model Management and Slaters Menswear, and you could quite easily mistake this for an Ian Fleming production.

Zanetti led the cast as an avid agent, suited and booted to give an air of sharp sophistication with a usual array of grown-up toys. Against a backdrop of a helicopter launch pad, a slick hotel, an Aston Martin Vanquish S and a casino, Tom, flanked elegantly by Lydia and Calla rose stylishly to the occasion. The shoot was imagined by Jyoti [Voir’s Editor-in-Chief and head stylist] and photographed by Luke [Voir’s Artistic Director and Photographer].

A cross between 007 and the Man From U.N.C.L.E, the Man From S.L.A.TR really brought the clothes to life, and delivered a most convincing story. Luke and Jyoti wanted the clothes to take second stage and the editorial to be like the best trailer for the finest movie never made. With excellent makeup from Stacey Borg and hair styling from Kymberley Holmes, Studio Voir were extremely proud to work in association with Slaters and Anita Massarella.

Having worked on several productions with Tom Zanetti in recent months, “we are seeing a prolific actor emerge in Tom, Hollywood cannot be too far away” stated Luke shortly after the shoot. “He effortlessly gets into character with great expressions and body language, and is a true professional”. Lydia and Calla were perfect in bringing some female empowerment to a smooth operator.

See the entire editorial below or click on an image to enlarge.

#007 #007

The post Creating a Unique Bond appeared first on Voir Fashion.

From a small medieval town in Italy, Lucia Giacani has heritage in her veins, but it is her femininity which drives and inspires her photography. Having worked for the prestigious likes of Vogue Italia, Moschino and Harrods, to name but a few, this Milan-based photographer has a distinct style which oozes depth and finesse.

It could be argued that like that of any true artist, the essence of Lucia’s communication is semiautobiographical; and she gravitates towards surrealism and the unconscious to produce what we deem dream works of art. Dreaming is a natural part of her creative process, in which she questions orthodoxy and boundaries, challenging the viewer emotively through the mind as well as the eye.

With a mantra founded upon ‘tenacity, liberty, trust and respect’, Voir is proud to feature a cross-section of her mood-evoking photographs which go a long way to communicating the interesting essence of being a woman.

First published in Voir Fashion magazine Issue 8 Spring-Summer 2014

The post Photography in Focus: Santa Lucia appeared first on Voir Fashion.

Welcome to Studio Voir, an accomplished creative team providing artistic direction, fashion styling and bespoke photographic services to create compelling imagery for the more discerning client.

Responsible for not only forging the entire creative direction of Voir Fashion Magazine, but also delivering the publication’s main fashion editorials each season, Studio Voir is well-equipped to transform your idea into a high-end visual language to expertly communicate your brand of fashion and beauty with a global audience.

The post The World of Studio Voir appeared first on Voir Fashion.