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.

Victoria’s Secret has made its famous return to New York after five years off the runway and came back more inclusive and diverse as promised.

The show was kicked off with Gigi rising up from under the runway in a soft pink playsuit and the classic Victoria’s Secret wings, followed by more Angels in an array of soft pinks and whites creating a charming and dreamy start to the show, including debut from plus-size model Devyn Garcia, who kickstarted Victoria’s Secret’s new image.

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Lace Top Pleated Babydoll Set

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As the first part drew to a close, Adriana Lima made her return as she wore a tartan co-ord, which really brought back that 2010s Victoria’s Secret nostalgia to fans.

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dream angels bra

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This year Victoria’s Secret was represented by two transgender models – Brazilian model Valentina Sampaio who has worked with them since 2019, and a new addition of Alex Cosani. As Victoria Secret promised to “celebrate all women”, plus size models Paloma Elsesser and Ashley Graham also strutted down the runway making multiple extravagant appearances.

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Unlined Balcony Lace Bodysuit

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Kate Moss made a surprise debut on the runway in a powerful, dark, lace outfit, with feathered wings, joined by daughter, Lila, in a bouncy pink jacket with unique wings spelling out ‘Lila VS’ in cursive – the perfect way to assemble the mother-daughter duo.

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After Kate, a dark, metallic theme emerged and here is where we saw the inclusivity really begin and Victoria’s Secret fulfilling their promise to fans. We watched Valentina Sompaio walk the runway with giganantic bow-like wings, followed by plus-size model Kai Soleil, and later featuring Miss Tyra Banks closing the show.

As that section continued, we saw legendary Irina Shayk covered in stars followed by Joan Smalls in the most intricately carved wings, adding her finishing touch to that section.

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As the models walked, attendees couldn’t keep their eyes off the shoes, all meticulously created to correspond with one theme and match each specific outfit. The shoes wrapped around the models’ legs, some with flowers or wings, others in a diamante style or plain and simple.

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Satin Midi Robe

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Plus-size model Ashley Graham opened the following section in a lace lingerie set with gold embellished wings and shoes to match. We got given a dark and sexy vibe, again heavily featuring red and black. Alessandra Ambrosio made her anticipated return in a sensual lingerie bodysuit, along with a debut from Jill Kortleve – another plus-size model feature this year, in a gorgeous flower number.

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The fourth and final section began with an unexpected Cher performance and a lot of red to strongly finish of the show. Here we saw an influx of the original Angels closing the show with a bang, including Candice Swanepoel, Grace Elizabeth and Adriana Lima, accompanied by the new faces of VS.

The show was thought to be closed by the second Hadid Sister – Bella, in a ‘black swan’ feathered robe, opposite to Gigi who embodied the white swan in the opening. However, as the audience wondered whether she was coming out, the OG Tyra Banks rose from beneath the stage in a shiny corset and robe, and closed the show surrounded by all the angels.

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The show reflected Victoria’s Secret in a new light, as they listened to criticisms and created a more inclusive and diverse show. We can’t wait to see more from them in the future.

Words By Zlata Gavula

The post Voir loves: The Angels are back appeared first on Voir Fashion.

Naomi, Christy, Kate, Tyra… the supermodels of the 1990s reached a dizzy height of fame so great that they have remained household names to this day. Iconic for their looks but also the glamourous lifestyles they led, the professional and personal lives of the nineties supermodels were all the world could talk about. 

There is perhaps no greater known runway moment than when Gianni Versace brought megastars Naomi Campbell, Christy Turlington, Cindy Crawford and Linda Evangelista down the runway lip-syncing to the famous lyrics of George Micheal’s ‘Freedom! ‘90’.’ The only catwalk moment which might perhaps rival it was Naomi Campbell’s tumble on the Vivienne Westwood catwalk in 1993 after her extravagant platform heels teetered off balance.

While the likes of Gigi, Bella, Kendall and Kaia are certainly followed by millions and loved on Instagram, they do not belong to the same category of socialite allure that the original supers channelled so well. 

The lithe, slender Amazonians like Naomi and the ‘heroin chic’ Kate Moss who glided down the runways of Jean Paul Gautier and Chloe may have differed in height, but they all belonged within the parameters of one size and shape 34”23”34. There was a preconceived idea in the 1990s that designers would make clothes and then hire the models who would fit in them, not the other way around. 

What’s more, the likes of Karen Mulder, Heidi Klum and Tyra Banks all championed a very feminine and sexy kind of beauty, perhaps best epitomized by the emergence of the world-famous Victoria Secret fashion shows which became a major event in the fashion calendar.

But what about models now? In the wake of the third wave body positivity movement of 2012 and events like ‘The Real Catwalk’, fashion consumers have been more and more vocal about wanting to see bodies like theirs represented on the runway. The movement was spearheaded by black and ethnic minority women who wanted to celebrate self-love for the visibly fat bodies which just weren’t being shown.

In the past few years, we have seen a huge step forward for the plus-sized modelling industry, with role models like Ashley Graham on the cover of 2016’s Sports Illustrated and Paloma Elsesser’s cover for British Vogue. What’s more, TV has mirrored the movement towards body inclusivity with shows like Empire, Dumplin’ and Euphoria all working to unravel the preconceived ‘fat character’ stereotypes which have existed in the media for so long.

If we compare the silhouettes of the catwalk now to those of the nineties, it is difficult not to associate the slender frame which was so worshipped back then with feelings of aspiration at best and self-loathing at worst. Supermodels like Christy and Naomi were held aloft like goddesses; their bodies were unattainable and loyal to one idea of perfection.

Kate Moss was championed at the time for breaking this mould – her body was shorter than the others and waif-like, leading her to become the poster child for the grunge style of the nineties. Discovered at 14 in JFK airport, Kate emerged onto the supermodel scene with a new aesthetic that hadn’t been seen before and her pale skin, dark hair and lack of curves were coveted as ‘heroin chic’. With a string of highly publicised famous relationship and a party-going lifestyle, Moss was considered highly alternative.

This does not, however, take away from the fact that Kate Moss still embodied a very select body type, as she famously quipped herself “nothing tastes as good as skinny feels” – fuel to light the fire of romanticised eating disorders. It was not problematic so much to celebrate Kate’s slender body, more instead that her angular appearance and lack of body fat enabled her to be labelled not just as a model, but a ‘super’ model. 

“Nothing tastes as good as skinny feels”

Kate Moss

Concerning racial and ethnic diversity in fashion, Naomi Campbell broke through a barrier when she became the first black model to ever appear on the cover of TIME magazine, French Vogue and Russian Vogue, as well as the first British black model to ever feature on the cover of British Vogue. Still walking in shows today, there is no question that she is a living and breathing legend. Nevertheless, many fashion brands have been called up in the past ten years for tokenism when it comes to black and ethnic minority representation, so although Naomi may have opened doors, there is still a long way to go.

The true demise of the dazzling heights of nineties supermodel stardom seems to be rooted in the fact that people don’t want to just see models on magazine covers anymore. Readers now look to the covers of Vogue, Elle and Harper’s Bazaar for activism, inclusivity and new talent. The speedy turnover of social media means that people are always looking for the next best thing and the latest sign that society is moving forward in its ideas of what beauty is.

Brands like Chromat, Savage X Fenty and Moschino have taken the lead in welcoming more and more diverse models onto the runway. For their SS21 show, Versace made headlines when they featured plus-size models Jill Kortleve, Alva Claire and Precious Lee wearing neon garments.

The reality is that there is no longer a place for the concept of the original ‘supermodel’ in the current fashion landscape. People want fashion which is innovative and yes, aspirational, but also relatable. Models on the runway may not now be ‘super’ slim or ‘super’ famous – but actually, that’s a good thing.

Words by Becca Seib

The post What Defines A Supermodel? Catwalk Icons From The Nineties Until Now appeared first on Voir Fashion.