スージー・ロウさんのインスタグラム写真 - (スージー・ロウInstagram)「Weird how @Erdem and I seem to share biography loves.  Last season it was Emma Hamilton and her empire line dresses.  This season, it’s Margot Fonteyn, specifically her time dancing with Rudolf Nureyev, who was twenty years her junior at the time, and the intense intimacy between the two stars.  - Erdem’s AW21 collection isn’t necessarily about ballet specifically but more about the rigorous nature of the art.  Standing in the wings.  The tensions reflected in the use of knife pleats.  En pointe in stage projected florals.  And the ribbed knit warm up/down gear of rehearsal sessions contrasted with Margot’s mid-century silhouettes encrusted with enlarged embellishments, so they could be seen from the back of the theatre.  - “Of course ballet and fashion -the two worlds have always been explored but it’s always thought of as something saccharine and light.  To me it was something more Hitchcockian, and about precision and something quite melancholic.  There’s something in the strength and self-determination that I found quite interesting,” explained Erdem over a preview Zoom call, with his moodboard on a shared screen.  - The video also features Royal Ballet principal dancers of past and present, two of whom danced in Swan Lake with Nureyev himself.  Ghostly presences - “the bound, the boundless, the unbound.”」2月24日 19時21分 - susiebubble

スージー・ロウのインスタグラム(susiebubble) - 2月24日 19時21分


Weird how @アーデム and I seem to share biography loves. Last season it was Emma Hamilton and her empire line dresses. This season, it’s Margot Fonteyn, specifically her time dancing with Rudolf Nureyev, who was twenty years her junior at the time, and the intense intimacy between the two stars.
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Erdem’s AW21 collection isn’t necessarily about ballet specifically but more about the rigorous nature of the art. Standing in the wings. The tensions reflected in the use of knife pleats. En pointe in stage projected florals. And the ribbed knit warm up/down gear of rehearsal sessions contrasted with Margot’s mid-century silhouettes encrusted with enlarged embellishments, so they could be seen from the back of the theatre.
-
“Of course ballet and fashion -the two worlds have always been explored but it’s always thought of as something saccharine and light. To me it was something more Hitchcockian, and about precision and something quite melancholic. There’s something in the strength and self-determination that I found quite interesting,” explained Erdem over a preview Zoom call, with his moodboard on a shared screen.
-
The video also features Royal Ballet principal dancers of past and present, two of whom danced in Swan Lake with Nureyev himself. Ghostly presences - “the bound, the boundless, the unbound.”


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