#lucastoppini

[studio-p]

Supplemento di Vogue Italia n. 634, Giugno 2003 - PERMANENT FOOD

[studio-p]

L'Uomo Vogue n. 306, Dicembre 1999

[fashionistaru]

#nightmood #goodnightandsweetdreams with @anastassiakhozissova by @therealpeterlindbergh for #gianfrancoferre @fondazionegianfrancoferre #fashionadvertising SS 2001 Art Director: @stoppy_lu #LucaStoppini #anastassiakhozissova #artoffashion #beautyofwoman #womanportrait #artofphotography #fashionphotography #beautyoffashion #fashionasinspiration #russiansupermodel (at Lucca, Italy) https://www.instagram.com/p/BvhzQ8qBDcH/?utm_source=ig_tumblr_share&igshid=1llvi1jlhfrr8

[fashionistaru]

#goodnightandsweetdreams @fondazionegianfrancoferre #PeterLindbergh, Prêt-à-porter Advertising SS 2001 Art Director: Luca Stoppini Model: Oluchi Onweagba #gianfrancoferre #lucastoppini #oluchionweagba @therealpeterlindbergh #fashionadvertising #artofphotography #beautyofwoman #womanportrait #contemporaryphotography #historyoffashion #fashionphotograpy #fashionasinspiration (at Moscow, Russia) https://www.instagram.com/p/BnxS8bGFlsx/?utm_source=ig_tumblr_share&igshid=733ienah6j4

[booksinprogressmilano]

Valentino’s red book Fashion Photocopy manual 1960-00 Concept by Franca Sozzani. Art direction and design by Luca Stoppini Rizzoli Libri Illustrati, Milano 2000, 324 pagine , cofanetto due volumi + pieghevole euro 190,00 email if you want to buy :[email protected] “Valentino’s red book” è un portfolio che riassume la storia di 40 anni di lavoro di Valentino attraverso le interpretazioni di artisti della fotografia con un unico denominatore: abiti unicamente rossi scelti tra le collezioni di Valentino tra il 1960 e il 2000 indossati da dive, celebrities e modelle famose. Abbinato ad esso “Fashion Photocopy manual 1960-00”, un libro tecnico che vuole mettere in risalto le lavorazioni, i dettagli, le strutture che normalmente si perdono in nome dell'immagine. E’ un documento che serve per la consultazione, per la storia della moda e per capire fin dove il lavoro manuale può arrivare. Il pieghevole “The Valentino” completa il cofanetto. The Red book explores the Valentino Red and includes work from Bruce Weber, Tim Walker, Deborah Turbeville, Lindbergh, Meisel, Helmut Newton etc. The Fashion photocopy manual is a sort of collaged inventory of work from 1960-2000, there’s about 250 pages , then there’s ‘The Valentino’, which is a newsprint tabloid of Veruschka, Liz Taylor, Princess Margaret, Christy Turlington etc. orders to: [email protected] twitter: @fashionbooksmi flickr: fashionbooksmilano instagram: fashionbooksmilano tumblr: booksinprogressmilano Tags: #valentino #francasozzani #lucastoppini #redbook #rossomoda #fashionbooksmilano

[eurfashion]

GIANFRANCO FERRÉ | PRINCESSE | S/S 2006

Light and sumptuous, this shirt is endowed with an elegant regality which perfectly contrasts the classic simplicity of the masculine cut of the main body of the garment, a juxtaposing of opposites which has always been one of the main stylistic features of Gianfranco Ferré’s work. The tailoring with which the long, loose shirt is constructed provides a masculine line down to the bust at the front and enables the accommodation of a long train at the back where the thigh-level lower hem forms the point of departure of a deeply pleated ruche mounted on a ribbon of cotton canneté which ends in a large bow. The outer edge of the ruche is decorated with another frill which further increases the volume and movement of the garment.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

[eurfashion]

GIANFRANCO FERRÉ | ORIGAMI | S/S 2004

A sculptural study of volumes made possible via a choice of fabric and construction techniques which endow the shirt with a balletic, almost ethereal quality. The stiffness necessary to create the fan effect is achieved by the use of two layers of pleated nylon tulle, laser cut with a pattern of rhombuses and circles, which are joined at the waist in such a way as to allow them to open upwards and accommodate the head and arms. Two tiny loops located inside the front and back of the shirt allow the sleeves to be formed by the use of ribbons and transparent press studs. Defying all the traditional rules of tailoring, the origami shirt focuses the attention of the macro-ruff element to the exclusion of all the other parts of the garment.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.

[eurfashion]

GIANFRANCO FERRÉ | MERVEILLEUSE | F/W 2003

A clear expression of Ferré’s passion for historic and stylistic research, this white shirt makes reference to the chemise à la reine, a peasant-style shirt-dress favoured by Marie Antoniette which was subsequently taken to the extreme by the post-revolutionary Merveilleuses, whose semi-transparent shifts were considered more akin to undergarments than fashionable gowns. Capturing the provocative aspect of these late 18th century expressions of decadence, Ferré’s shirt is made of long swathes of transparent, lace-edged chiffon and further enhanced by a long cloak decorated with a fine inlay of embroidered lace. The female form of the wearer is highlighted by a padded strapless bra worn over, rather than under, the shirt. The ‘overdose’ of femininity generated by this garment was tempered on runway by the use of glam punk makeup and hair.

Gianfranco Ferré. Photo: Luca Stoppini. Exhibition: La Camicia Bianca Seconde Me - Gianfranco Ferré.