Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Model : Sean O'Pry (part 3)

You can see Sean O'Pry almost everywhere from Paris to Milan or NYC. This newcomer is the wunderkind every designer and every snapper want. His sensuous lips made him the darling of the blogsphere. He's the Mr. Trend-Right of the moment... and he's in the know !
Take a peep at part 1 from here and part 2 from there.




Jean-Claude Jitrois had an unusual career path since he first began by psychology. In his early years, he taught psychology at Nice University, Southern France. Also a clinician and a therapist in psycho-mobility, his start was a recognized and promising one, being the author of several books. Then he saw in clothes another type of skin that the body can wear every day. This is the first and most obvious skin, and you simply don’t have the choice, as society imposes it to you through its codes. Bodies, while they are moving, communicate through clothes, and help personalities to strengthen or stagnate, identities to be built or be unbound.
Then, in the early 80s, Jean-Claude Jitrois gave his career an entirely new direction. He opened in Nice a small leather clothes shop. The desire of a new activity, the longing to thoroughly practice another job led him towards this new path. He considered fashion as a language where bodies, very much like in dancing, communicate through a system of signs that can vary and be modified, and a basis on which to work. Jean-Claude Jitrois realized that it was possible to adapt a lot of elements of his theory and of his therapeutic practice to couture. His first intuition, his vision of fashion was that clothes were like a second skin, a second self, a non-verbal language within the social body. Jean-Claude Jitrois simply changed his activity, but he surely did not change his trade.
His first shoppe in Nice met a real success. A second one was launched in St Tropez. The jet set straightforwardly recognized itself in his creations : Cher, Elton John, to name but a few, became his favorite customers and wore the Jitrois leather. Word of mouth was efficient, stars were bringing along other stars. St Tropez set off his success…in one season, success was immediate. His creations were really popular. There was then the need for a new address in Paris. If Jean-Claude Jitrois’ work belonged to the fashion trend that legitimated and promoted leather, he definitely enjoyed it and was at the avant-garde of it. Shop openings spread at this time, particularly in the USA, but also in Japan, and of course in Europe.
These were the couture leather years. Leather had left the masculine world of work to enter the luxury and fashion world. He imposed it as a leading material. He has been the first to colour the skins. In the 90s, a remarquable technical innovation brought the company and the creative work towards new boundaries. In 1993, Jean-Claude Jitrois launched the Stretch Leather. Tighter to the body, it can’t crease anymore, nor can it distort but on the contrary it perfectly fits the body, Stretch Leather is not anymore only a garment but it turns into a second skin. This discreetly revolutionary innovation increased Jean-Claude Jitrois' success around the wolrd. Stretch Leather, the association of leather and stretch cotton, truly is the most innovative union but there is also the Minoray, a mix of organza and leather which has become a classic.


This summer Versace is taking things easy. Skinny trousers and elegant suits might have been de rigueur for the last few seasons, but you can now expect a far more relaxed feel from Versace. Outfits are all about chilling out, with billowing bomber jackets, combat pants and open-toed sandals. Colors are contrasting, earthy beiges and whites are enlivened with satsuma orange or lemon yellow. But in the midst of the nonchalantly assembled outfits, the glimpse of a skinny belt signifies that things are still in order.
The Versace show began on a triumphal note as a giant screen inside the venue relayed Italy’s last-minute victory over Australia in the World Cup knockout round. When the clothes finally took to the catwalk, it was as if Donatella had anticipated her countrymen's sigh of relief. With its relaxed slouchiness and crumpled sensuality, her collection suggests that the designer mogul has found a way to ease the pressure she’s been under for years. Gone was the he-man structure that has long typified the house’s Adonises. “No more eighties", said Donatella after the show. “Now I prefer mind over muscle".
At first glance, the Versace man certainly comes across as less hard-bodied than usual, so at ease is he in his deconstructed jacket, baggy, hip-slung trousers, tie at half-mast, and sandals. But appearances can deceive, because, in their own way, these clothes are as body-conscious as any Versace has presented in the past. As loose as the jackets seem, they emphasize a broad, athletic shoulder. Short-sleeved shirts feature deep, chest-baring V necklines. Fine-gauge tee-shirts offer their own definition.
The softness of the fabrics (silks, glazed linens, washed leathers) and the sun-bleached color scheme underscore the laid-back new mood. For all of that, though, there’s still an undercurrent of old-school Versace glamour, visible in an inky linen parka and pants, for instance, or a silvery shawl-collared tux, also in linen, or an evening ensemble in anthracite silk.


Any trouble, dude ?


Inevitably, Nicolas Ghesquière's menswear doesn't have the same silhouette-warping, cliché-zapping impact of his women's clothes for Balenciaga. What mere male customer could possibly absorb such a force ? But there is still a game attempt to fuse classicism and rock'n'roll spirit in this collection.
The classic references are obvious in a crested seersucker blazer, in the use of madras, and in the printed tie silks used in fluid little shirts. The silk radzimir of a dinner jacket even refers back to Cristobal Balenciaga. But then there’s the Mick Jagger-inspired tee rippling with latex flames, the skinny leather pants, and the hippie shirt with its heraldic lion.
Small wonder the collection ends up with something of a split personality, though that could be said to dovetail with one of the collection's other underlying themes : the idea of travel. Safari and military influences unite with the pop and the trad to equip the Balenciaga traveler for any situation.