_{https://www.elisabettafranchi.com/pl/elisabetta-franchi-athens-fashion-show-fw24/}

Elisabetta Franchi – The “Eternal” Collection

Known for her feminine design, embracing both smart and sensual looks, the Italian designer Elisabetta Franchi offered us an array of column dresses, chic pantsuits, hourglass blazers, and mini dresses during the first day of the FW, 20/04. It was a celebration of various textures, with sequined, full-length evening dresses, crystal intarsias, layers of chiffon, golden fringe, and feather-like, white, floral ornaments.

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It was all about glimmer and glamour, but in a highly elegant and powerful tone. The strong makeup, with smoky eyes and nude lips, complemented by long, golden earrings and necklaces made a statement of majestic and goddess-like femininity. The collection, with its colour palette revolving around a classic set of black, white, ivory, metallic silver, golden, and claret, presented not only smart suits, and minimalistic and form-fitting dresses, but also had a sexy touch to it, with cut-outs, transparent blouses, blazers modified into mini dresses, and glittering, crystal-embroidered silver mini dresses paired up with high leather boots or complemented by an impressive chiffon trail.

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The cherry on top? Franchi’s identification mark – classy high heels, with the brand’s logo incorporated in the heel – for the goddesses to stride boldly. 

“Peri Therous” By Dassios

This Athens-based designer’s collection was the greatest tribute to the rich Hellenic heritage we saw during day two, if not during the whole Fashion Week.

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Every model, with colourful (usually blue or red) eye shadows, ethnic earrings, and most standing-out garlands, brought to mind representations of the Greek goddess of the hearth and home, Hestia, who – for this one day – appeared in front of our eyes in flesh and blood, wearing long dresses and togas in the colours of nature.

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They were airy and mostly broad, with long sleeves, but very sensual at the same time, with deep necklines and half-transparent fabrics. It was a harmonious celebration of colours and large prints, inspired by Greek traditional garments, worn by models of different looks and age groups. Majestic Hellenic femininity at its finest. 

“Daydreaming A Poem For Katia” By Celebrity Skin – Daydreaming It Is

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It was magical, it was theatrical, it was avant-garde and haute-couture. The “daydreaming” bit in the title of German-born Dimitris Strepkos’ latest collection is by no means accidental, as the show offered futuristic and fairy-tale-like corsets, Schiaparelli-like, glowing crystal masks and theatrical hair accessories, together with richly ornamented lace bodysuits – all in an artistic tone, with models varying in gender, silhouettes, and age groups.

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The textures – with sequins, frills, fringe, and decorative buttons, were just amazing, all meticulously mixed to create a fascinating, innovative whole. Celebrity Skin delivered a show which proved to be the definition of haute couture, and we’re more than honoured to have been able to experience it. 

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Malan Breton A/W24

It’s been Breton’s first show here in Athens, and surely one to be remembered. The collection, inspired by the ‘70s Glam Rock era, was sexy, edgy, and powerful, bound to cause goosebumps, with the empowering, almost sinister music reverberating inside Zappeio Megaron.

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Closing the second day of the FW, Malan Breton presented a series of form-fitting leather dresses, full-leather looks (from red to metallic silver and classic black), and glamorous evening gowns – silky and sensual, some of them almost devilish with their red and black colour palette and chic elbow-length gloves.

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The look that stood out and stuck in the mind was the golden-brown feather outfit, which made the model look like a proud, majestic bird – a predatory one for sure. 

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Paris Valtadoros & “Mystique” – Frilling, Frilling, and One More Time Frilling by the Lake Vouliagmeni 

It was probably the most magical and almost other-worldly setting, creating a unique experience, full of vibrant colours, massive platform heels, and layers (and layers!) of frilling. From more classic, black-and-white looks, to patchwork ruffle dresses with sensual cut-outs, and neon pink, orange, and yellow dresses of various lengths – but always with frills bouncing rhythmically to the electrifying beat in the background – Paris Valtadoros ended day three of Athens FW with a varied range of forms and inspirations.

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Looking at the frilled sleeves (from white to grey, and Barbie-pink) and metallic platform heels, we just couldn’t help thinking of the 1970s iconic outfits. Watching the black-beige full-length dresses (inspired by traditional Greek togas) flowing in front of your eyes, with the runway just above the lake’s clear waters, and the nearby rocks in atmospheric dim light, the show created a truly sublime experience. 

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And the Best Catwalk Award Goes to… L’ amour et L’ âme Atelier! 

Tuesday 23/04 saw the New Designers Awards HUAWEI FreeClip gala, during which three young designers were awarded for their fresh and promising ideas. One of them was L’ amour et L’ âme Atelier by Lamprini Mourouti, a brand specialising in bridal looks and jewellery.

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Apart from classic white gowns, L’ amour et L’ âme Atelier offers colourful ones, like the coral, corset-like mini dress with a transparent trail we could see in the show. It also experiments with lingerie inspirations, making the dresses delicate and sensual – have a look at this half-transparent, sky-blue gown, which – together with the floral headband – makes the model nymph-like. We’ll definitely follow how the brand keeps contributing to bridal trends over the next seasons! 

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Athens Fashion Week wasn’t just about marvelling at the looks from established designers and praising those from the upcoming ones.

_{Credits: Panoulis} 

It was a broader, multi-layered experience, in which the Greek setting was invited into the fashion shows and vice versa, and which was both a tribute and a re-interpretation of ancient Greek heritage, as shown in the “Fashion & Olympic Games, Athens 2004-Paris 2024” exhibition.

_{Credits: Panoulis} 

Opening the FW, the exhibition delved deep into rich Greek history, where fashion – with iconic looks of renowned Greek designers – sports, body cult, and mythology merge. 

_{Credits: Panoulis} 

_{Written By Julia Sułkowska} 

The post Greek Goddesses Come To Life – Highlights From Athens Fashion Week appeared first on Voir Fashion.

Red Moon in Venus, the Colombian American singer and songwriter’s third studio album that was released on the 3^rd March, is a psychedelic R&B fused delight that wraps the listener in a hazy cloud. It ponders elegantly on the “burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus” and at its core “love is the message” as Kali stated. With its warm sound and heated lyrics, Kali has created the perfect transitional soundtrack to usher in spring and Red Moon will be a go to for hot summer nights later this year.

We’re transported to a balmy eternally nocturnal garden as the album begins with the quiet chirping of crickets on the short intro ‘in My Garden…’. Kali seems to be speaking to her lover on the phone: “Hello/Can you hear me?/I just wanted to tell you, in case you forgot/I love you”. A bell chimes and we’re plunged into the first single from the album ‘I Wish You Roses’ setting the mood for soft glam with this chilled-out melancholic track. Kali expertly glides between heartbreak, visceral love, and nonchalance for her exs on the album. ‘I Wish You Roses’ falls into the first category with Kali seemingly having no bitterness over the breakup as she breathily whispers, “I wish you well” until the outro when she promises “You’re gonna want me back”. 

The third track features R&B singer Omar Apollo who is currently supporting SZA on her SOS tour. On the short but sweet, deeply sensual ‘Worth the Wait’ Kali notes the importance of balancing romance and sex in a healthy relationship. She says she’d rather wait because “Gotta be careful with my heart because I love deep” – she is a Cancer after all.

‘Love Between…’ uses an interpolation of The Tempress 1972 single ‘Love…Can Be So Wonderful’ but the bisexual icon alters the gender-specific chorus to “love between two human beings”. With light and echoey sparsely plucked guitars and Kali’s delicate croons giving the song a distinctly 70s lush sound.

‘All Mine’ is a standout on Red Moon. Kali’s head over heels for her partner and she delights in the fact that she solely can make them smile. In the super catchy triumphant chorus, she sings, “My baby makes me so proud, that’s all me”, and has us all grinning from ear to ear. Fittingly the next track begins with autotuned vocals from Kali’s boyfriend Don Toliver. ‘Fantasy’ is the perfect summer club track. It has a great beat but what stands out is the chorus: “On my body, don’t let go of me/I just want the fantasy/ I love it when you worship me” – Kali is giving goddess energy.

Next, the two bilingual tracks on the album come back-to-back. ‘Como Te Quiero Yo’ is a hypnotic sensual slow number in which Kali pleads with her lover to put the drama on hold and just make love to her. Whilst on the fabulous ‘Hasta Cuando’ she tells her jealous ex-lover and ex’s new girl to stay mad because she’s living the life of luxurious now. It features an amazing spoken word section with the most iconic memorable line: “At the end of the day, she’d eat my pussy if I let her”.

‘Endlessly’ is another standout. “It’s Valentine’s like, every day” sings Kali on this ultra-buoyant disco track full of funky guitars and twinkling synths. In juxtaposition, we take a half step into the dark with the nocturnal track ‘Moral Conscience’. A brooding sensation is created with the slightly dissonant synths and the singer’s promise to her ex “you’re gonna feel it/when you’re all alone”. Kali gives her best vocal performance on this song producing a gut-wrenching head turning scream at the end of the first verse.

On the interlude ‘Not Too Late’ Kali’s stuck in limbo. She tells her lover “It’s not too late to admit you love me” whilst repetitive whirling synths create the sensation of being swallowed by quicksand. Thankful ‘Blue’ is here to break the spell. With the 90s R&B-inspired drumbeat and smooth sax it’s giving the height of drama. That chorus “What’s the point in all the pretty things in the world if I don’t have you” will stick with you. The best bit however is Kali’s cheeky background whispers “(I don’t wanna see you with nobody else, I just wanna love you, baby, all to myself)” adding a touch of witty humour to the blue song.

Manipulative exs beware – Summer Walker and Kali team up on ‘Deserve Me’ to tell them to “wise up”. Delivering crushing blows to Kali’s ex, the women show that they’re the ones with the power. Though the whole album is divine, ‘Moonlight’, the second single released from Red Moon, is still undoubtedly the best track. Dripping sex appeal Kali’s vocals paired with the stunningly rich production will make you melt. Bringing the album to a close with a breath of sweetness is ‘Happy Now’. Bubbly at the start, she asks her lover to “Promise you’ll take the stars out the sky/Make them all align just for us” before the track ends with a more ambient sound as Kali utters “peace of mine/gotta free my mind” as waves wash over the track.

The astrological theme paired with the silky production and Kali’s heavenly vocals gives this album a magical aura in which divine femininity rules over all. Even in her most vulnerable moments, like on ‘Blue’ and ‘Moral Conscience’, Kali radiates strength and honesty that shows she’s in control. Though according to mythology, a red moon is a bad omen forecasting misfortune or even the apocalypse in Christianity Kali Uchis seems to have overcome her troubles by the end of Red Moon in Venus and is on track for clear skies. 

_{Words by: Molly Sutherland}

^{Header Image: Kali Uchis}

The post Divine Femininity Rules On Kali Uchis’ Red Moon In Venus appeared first on Voir Fashion.

Photography can mean and transmit many things, it is challenging to define its significance due to the inclusivity it holds as a form of art and profession. But for artists like Carlota Guerrero, it comes rather naturally.

The Spanish self-taught photographer, that has gained international recognition over the years with her multi-dimensional work, envisions photography in her life as a collection of images that come to her. Images that allow her to capture and share the most beautiful aspects of her existence.

These aspects are captured through a simplistic vision highly centred on unfiltered and uncensored female beauty, and that have led her to collaborate with some of the most renowned brands and artists. Over the years her recognisable work has become part of the international art scene with projects like; the artistic direction of Solange Knowles’s “A Seat at the Table” album visuals, high fashion editorials for Givenchy and Dior, and performance pieces for art fairs like Art Basel Miami.

All of these projects demonstrate a new take on photography, one that distances it from commercially driven aesthetics and drifts towards individual authenticity. The latest project of the Barcelona-born and raised photographer, ‘Tengo un Dragón Dentro del Corazón’, is the ultimate demonstration of this redefining relationship with visual authenticity.

‘Tengo un Dragón Dentro del Corazón’(I have a dragon inside my heart) is Carlota Guerrero’s first book, a compilation of her work that documents the evolution of her creative style and photographic approach. It captures her professional and personal growth, showcasing everything from her early work and first experimentation with photography to her latest projects. Ones that reached the discovery of her niche and include an evident prioritisation of social movements, becoming more than beautiful images and performances.

We always wonder where artists get their inspiration from and how they manage to transmit this inspiration into their timely relevant work. Well, Carlota helped us understand that in her case it all started with the acknowledgment of her passion for photography.

“My biggest inspiration is that photography allows me to create energy, an energy that has so much strength that didn’t allow me to concentrate on anything else. So I became obsessed with creating images, it was something inescapable for me.”

“My biggest inspiration is that photography allows me to create energy”

When opening up to us, Carlota explains that her art is all about “creating timeless images”, ones that portray everything that touches her art. Which is where social causes come into action. She portrays the things she finds relevant and focuses on transmitting the “energies” that help her feel inspired.

But if you have ever worked in the creative realm you may know that it is not that simple to transport your aims and inspirations into your work. So how does Carlota do it? How exactly do her ideas develop?

“I photograph similar compositions, subjects, and scenarios over and over again – without thinking too much about it. Later on, I realised that this behaviour makes me think of a blooming orchid that isn’t aware she is doing so. I make compositions when I am thriving, I am those compositions – and many times I feel like I don’t choose them, they choose me.”

Most of her compositions talk about femininity, defining her work as a form of empowerment for women through the strong portrayal of natural beauty. This relates to the photographer’s connection with the concept of femininity. Being a woman is what moves her work, and exploring the different sides of femininity is what she believes to be the prominent characteristic of her photographic style.

“I portray what moves me, what I want to learn about… It is something genuine and instinctive. Being a woman is my condition and starting point. I start exploring from what I know, from what I am most familiar with: myself. My self-love does not differ (or should not differ) from my love for other women. I feel an infinite admiration for the female figure, her power and presence fascinates me to a visceral extent.”

“I feel an infinite admiration for the female figure, her power and presence fascinates me to a visceral extent.”

But this exploration of femininity doesn’t just revolve around herself and her personal understanding of femininity. It explored diverse areas and allowed her to learn from the contrasting experiences of other women and their womanhood.

“ I once photographed the trans female community in Cuba and it helped understand more than ever the feminine energy. A woman with very masculine aspects (due to the limited resources for transitioning) awoke in me the same energetic connection as an old friend of mine would. To me, being able to photograph women is an honour, to celebrate them and thank them for everything that I learn. It represents a stairway, an infinite stairway of women being carried by other women from the beginning of times, transmitting and passing on knowledge and intuition.”

As beautiful as the female body and energy may be, capturing it is a simple idea due to the normality of it. But minimalism, in this case, is not a shortcoming, it is a noticeable feature of Carlota’s work. She takes something that would normally be considered as common and overseen and frames it as something new by highlighting its simplicity.

“Minimalism is a way to create peaceful images that are missing in the real world. Creating a resting space inside the chaos. It is therapeutic for me to have empty spaces that allow me to breath and achieve clarity. The possibility to not have to decode details makes me feel at peace.”

This clarity of space and mind is also present in her performance pieces, like “Love Different” created in collaboration with Desigual showcased during last year’s Art Basel Miami. It represents an extension of her creative career. Even if moved by the same aims and concepts Carlota decided to incorporate performance into her work as a complementing element to her images. For her, it is something that goes beyond documenting choreographies, it is now a way to reflect “what is happening in real-life”.

This incorporation of work has also been one of the hardest challenges for Carlota, as in the case of Art Basel Miami. A challenge that as she tells us was outweighed by the satisfaction of its success.

“The orgy in Art Basel Miami was a really difficult project because it was very ambitious, but a lovely experience after-all. I connected with everyone involved; they all presented themselves as vulnerable beings in front of a huge audience and I will forever be thankful for how great they were. This was right before the pandemic, so now it feels like a surreal experience as that would be something impossible to achieve these days.”

Having worked with some of the most appreciated artists of our times we wanted to know what it takes to work with Carlota. What does she look for in a possible collaborator and who would her dream collaboration be? But Carlota doesn’t really have a dream collaboration, she just wants to “click” with someone that gets her perspective.

“It is very important for me to click with a collaborator that understands me. It does not matter whether they are a major artist or a young upcoming one. The important thing is to understand the arts and the world in ways that can add to each other’s work.”

However, she did reveal that she looks forward to collaborating again with fellow Spanish artist and good friend Rosalía; “Even though I have collaborated with her before, I would love to work on bigger projects with her in the future.”

Carlota’s career is impressive from any angle you look at it. She creates incredible projects, she manages to transmit a message that’s important to her and the times we live in, she tries to exit from her comfort zone and experiment with diverse forms of art, and the most impressive part… she built it by herself, learning a complex craft on her own motivated by her ideas.

We cannot imagine what it must have taken for her to succeed, but we did ask her what her opinion on it was. What she thinks is an important characteristic to have, for similar self-taught artists, to succeed in the creative world. And according to the young photographer, it’s all about hard work and the right mindset.

“The most important thing is to be very brave and very persistent. Don’t lose motivation even if you fail because you will learn a lot from that. Wake up every day and try and create, even if you are not sure about what you are creating. Trust the process, trust the energy that is driving you, trust that more than the judge that lives in your head.”

“Don’t lose motivation even if you fail because you will learn a lot from that. Wake up every day and try and create”

Trusting the process is exactly what she did, even in times of crisis like the current ones. The pandemic did not stop Carlota’s creative path, she was “lucky enough to have a space to nurture her art, being both her home and studio”. But she’s not planning to remain in her current studio for much longer, she tells us that she is preparing herself to upgrade it and being able to travel and work internationally again.

“I will be investing a lot of energy in a new studio where I want to go back to personal projects I didn’t have time for before. I hope that photography will take me to a lot of experimentation, meeting new artists, exploring new spaces and creating new communities.”

And we cannot wait to see what these new projects, experimentations and possible collaborations have in store for her creative development and us, as her followers, to look at and learn from.

Look out for the 27th of April, by then you will be able to find Carlota Guerrero’s debut photography book Tengo un Dragón Dentro del Corazón here and have a better look into her work.

Words by Chiara Ferrari

The post Meet Carlota Guerrero, An Artistic Force Capturing Minimalism, Femininity And Much More appeared first on Voir Fashion.

In a celebration of naturalism and femininity, Burberry’s AW21 ready to wear collection appears to be a comfortable, multi-textured tribute to the power of women and Mother Nature.

In a theme that courses through the work of Riccardo Tisci, Burberry’s chief creative officer, exploration of gender and fluidity continues with this collection, as flowing silhouettes and subtle masculine edge create androgyny in the pieces. This is no conventional dedication to the power of femininity. Putting elegance first, there are no patronising feminine shapes or motifs that often feature in male-directed collections aimed at a dedication to women, and appreciation is furthered by a certain subtle expression of women’s fashion through history in the collection’s silhouettes and shapes, brought up to 2021 with experimental proportions and eyewear fit for science fiction.

The collection gives us range and diversity – between futuristic arrangements and the use of bold colour are full fur pieces, dresses, coats and hats that fulfill the ode to Mother Nature Tisci nods to. Like most of us during lockdown, Tisci found an appreciation for the natural world, and it’s apparent in the collection’s clear naturalist feel.

There is sensuality in the show’s subtlety and bare-ness,with the neutral-toned backdrop, the empowering presence of the woman, and the collection’s mix of classic Burberry colours with vivid, optimistic brights. The collection is authentically British in it’s approach to femininity, the shapes and fabrics aren’t sensual themselves, no vulgar or sexualising themes, but instead they compliment the woman wearing them – these garments allow women to be sensual, empowering, elegant on their own, which is a true celebration of femininity – for the female gaze not the male. Tisci says it himself: “It’s very sexy, I think, but without being vulgar. Femininity is something I really wanted to achieve at Burberry when I arrived, because it’s a very masculine company,”

The show was opened by British up and coming artist Shygirl, who’s spoken word performance was a captivating homage to Mother Nature and naturalism in a spiritual and almost religious approach. It was the perfect entrance to such a show, and set in stone the ambitions of the brand this season.

With no trainers or streetwear fulfilling garments in sight, this collection and show is a refresh on the way fashion seems to point at the moment, and provides an optimism about women’s fashion among the key fashion houses for the future.

Words By Daisy Greetham

The post Burberry AW21 Is A Celebration Of Feminity And Naturalism appeared first on Voir Fashion.

Recently, D.C. rapper Goldlink angered the rap community after posting a letter on his Instagram about the deceased Mac Miller, implying that Miller stole the theme for his album The Divine Feminine in 2016. While the ‘Crew’ rapper displayed extraordinary disrespect by publicizing his resentment for a man who passed away just last year; I feel like this was a great time to brush aside the foolishness and highlight the positivity, celebrating what The Divine Feminine represents in Hip-Hop, which is a definitive phase of expression within the artform’s relatively short life.

Over the years, the combination of the genre’s growth — along with the internet’s addiction to transparency, has caused the new generation growing through social media to welcome more unique concepts; often describing themselves as ‘woke’ in the process. Subjects such as gender fluidity, feminism, and masculinity, are normally involved. I’ve noticed specific instances of ignorance that surround the topic of masculinity — like the restriction from wearing ‘feminine clothing’; while now a person’s sense of comfortability is perceived as a positive characteristic, coming from the 90s at the time that I did, it couldn’t have been more different.

Although I credit the ability to be free down to social media’s acceptance, I tip my hat off to the impact Hip-Hop has on cultures throughout the world and the complete clarity the genre has provided since its creation (let us not forget, Hip-Hop was created as a way of expression for the black communities struggle in the Bronx). So with that being said; I want to celebrate the influence of Hip-Hop and how the evolution of femininity has impacted the new generation, by picking out the most impactful examples of pink in rap.

It’s 2002, the height of the Dipset era and the Roc-A-Fella dynasty — the city of New York is hosting the biggest fashion event of the year, the Mercedes-Benz Fashion Week. The foresight of Label boss Dame Dash and the ingenuity of Cam’ron was always a combination that produced magic; So there was no surprise that with the help of Dash, the Dipset commander pulled up in one of the most legendary fits to ever grace Hip-Hop: the illustrious pink mink jacket, along with the hat and burner phone. As both Dash and Cam were born and raised in the fashion-focused neighbourhood of Harlem; the influence was clear to see at the moment. While most people from their area were used to the abrasiveness of the duo, within the wider scope of Hip-Hop — it was a statement, to say the least. Ever since then, the idea of what femininity represented, spread throughout Hip-Hop.

A few years later, Cam’ron’s label mate; Kanye West, popularised a new kind of pink style to the mainstream. A much more conventional proclamation, Kanye would normally rock a pink polo with a classy backpack to match. Not only was this merge important to the extension of the movement led by Cam, but more importantly — this verified Kanye as the influence for the geeks, as opposed to Cam’s influence on the streets. Because of this diversification, this continued to bring even more conversation surrounding Hip-Hop and it’s identity.

Moving towards the late 2000s, Kanye continued to lift pink rap to new heights. This was the era in Hip-Hop where the nerdy rap was dominating the gangsta rap; Kanye West had just convincingly beaten 50 Cent to the number one spot with his album Graduation – the album that is infamous for it’s powerful, intense colouration. The transition was in motion.

And because of Hip-Hop tycoon, Pharrell’s love for intense colour styles and powerful visuals with brands like Bape, to name a few – it helped these combos crossover into the streetwear world. And by the end of the decade, it would be hard to find a guy without a pink polo in his wardrobe. As the new decade began, the surprising amalgamation of up and coming, contemporary streetwear brand Supreme, and the profound new suburban rap crew, Odd Future, hit the wide-eyed internet world by storm. As Tyler, the Creator and his squad took over 2010; this was the beginning of pre-teens involvement within mainstream rap. While the group’s own fashion line Golf Wang epitomized the crew’s sarcastic wit; the ignorant motifs complemented the dynamic undertones displayed on the ensembles perfectly — from lime to magenta, and indeed pink. Odd Future embodied the new era, fusing Hip-Hop, fashion, and their own originality; allowing people from anywhere to connect with their vision.

Tyler even said in his 2016 note to Pharrell, proclaiming the influence he took from the Virginia native: “I never had brothers, uncles or my father around so thank you [Pharrel] for being the male figure I gravitated towards. Allowing me to embrace being different and trusting my ideas.” While men in previous decades would rather be caught dead in some coral clothing, guys like Tyler embrace their uniqueness. Even though Hip-Hop was built on these very same morals; it’s refreshing to see how the integrity has always been there, at the same time — continuing to grow into the culture-crossing genre it is today; whilst simultaneously co-existing within the unforgiving world of modern technology and ‘cancel culture’.

Words by Charlie Miller

Graphics by Katie Janes

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The post Pink Matter: The Evolution of Femininity in Hip-Hop appeared first on Voir Fashion.