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saradika · 10 months

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— BLEED FOR ME | part i

[masterlist]

mand’alor!vampire!din djarin x f!reader

rated e - 1.8k

series prompts: vampire!au + “i would burn the world for you.” + vampire has a taste for specific blood + revenge + (one-sided) enemies to lovers (+ 2 to be revealed!)

tags: vampire!au, implication of drinking blood, reader has scar on shoulder, mentions of death

For the haunted hoedown! Looking forward to sharing this, I wanted to do a vamp!din last Halloween but wasn’t able to. So to work on this with the inspiration of these prompts is so exciting! I hope you enjoy! 💖

When it’s revealed that the Mand'alor is seeking a companion, you find yourself among those hoping to be chosen. A life of luxury in exchange for your blood seems a fair trade - even if you’re hiding a closely-kept secret. One that would certainly put your life in danger.

Though, you are not alone. Because he has one, as well.

The nervous energy of the crowd is palpable - it’s impossible not to get swept along with it. The cowl of your cape is tugged down lower as you follow the others streaming out ahead of you.

Out of the small town, winding around the side of the steep hill. The air growing heavier, the fog rolling in as you climb the moss-covered steps. The castle looms against the darkening horizon, all blackened stone and tall, twisting spires.

They mirror the curl of your stomach - the weight of your feet as they seem to slow, the closer you get.

But you’ve come this far. You can’t go back now.

The gates remain shut, and you’re forced to halt. Huddled together in small groups, nervous and excited whispers breaking the silence.

A shiver even with the heavy cloaks that protect the bared necks and shoulders, a detail noted on that weathered scroll left in the town square.

And for the first time, you doubt.

When it had been announced that the Mand’alor was seeking a Companion, the news has spread. It was no secret that the vampire lord had sought blood.

But he had never chosen anyone before. Never pursued someone, like this.

There had been others but they had never lasted long. Just let into the castle long enough to keep him alive for another moon.

It had amassed a crowd, those who couldn’t resist the reward that was offered - thousands of gold coins, enough to live any life they could want.

Those who wanted the fame.

Those who wanted protection.

Those who wanted to see the spectacle for themselves.

And then, there was you.

Now that you’re at the doorstep, you’re suddenly unsure. If you were chosen - once you step through - it’s unlikely you’d leave alive.

Would that be worth it?

Would you get what you were looking for?

Even after all your training, it hadn’t truly prepared you for the patchwork of emotions you feel now.

Guilt and desperation and melancholy and regret and anger - all branding into your skin until you can feel yourself trembling with the effort to hold it back.

But the gates are parting now. And it’s too late to turn back.

A figure it stepping through - her leather armor blackened with oil. Her eyes are bright, and not the shade of red you were expecting.

Her chin is held high as her eyes sweep through the crowd, an eerie silence settling over your travel companions.

And wordlessly, she begins to sort. Sizing up each person as she approaches. A quick dart of her eyes as she plucks at clothes, examines faces.

Pulling a few to one side, the rest clearly dismissed. No pattern to her choosing that you can sense - that feeling of dread ratcheting up in your stomach as the crowd grows smaller and you grow closer.

Until she’s standing in front of you.

Her fingers pinch at your chin, forcing your eyes to hers. Dark eyes under darker lashes flick across your face, until they drop down to the clasp at your throat.

Your hood is pulled back, as deft fingers unhook the brass fastenings. The wool pools on the cracked stone as your skin is exposed.

Her eyes follow the curve of your cheek, to your neck, to the sharp curves of the scar on your shoulder, just above the cut of your tunic.

A reminder of that night. One that still haunts you, a year later.

Those eyes flick back up to yours.

There’s a second where you stoop to collect your robe - feeling bare, flayed open under her gaze - but her boot presses purposely against the hem.

Shooting you a small smirk as you rise again obediently, before a hand is guiding you towards the group she had selected.

And then, it’s over.

“Those chosen will be brought before the Mand’alor.” The woman’s voice rings out, “And he shall decide from there.”

With her signal the gates creak open again, and you're ushered inside. Across a wide bridge and through a massive set of wooden double-doors.

And then, you’re inside the castle. Those doors shutting behind you with a sense of finality.

The long halls are dark, in the fading evening. The last of the sunlight filtered through tall, stained glass windows - their shadows broken into shades of crimson and silver and gold, distorted where they spill across the floor.

A chill creeps into your skin. The ice of it feels reminiscent of your dreams - that cold bite against your skin, a balm to the burning heat that had surrounded you.

It distracts you enough that you don't see him slip from the shadows. Near-silent steps as he moves to stand before the small crowd, even with the heavy plates of his shining armor.

Everything seems to go still then. The inhale of a collected breath, now held.

You should feel terror. This man - this vampire - has killed hundreds. Thousands. Has feasted on even more.

He's a monster.

The fight or flight should be sinking in - but somewhere deep inside, there is only that weight that you still carry. A prickle across your skin at the way he moves, all sleek and careful movements.

Starting where the woman guides him. His hands stay motionless - tucked in the curve on his belt, the other curling around a black hilt at his waist. Her quiet murmurs that only he can hear. As he stops in front of each one.

No expression can be leaked, with the mask he wears.

Their faces, and finally yours, reflected back at you.

You do your best to gather your courage.

To keep your chin tilted up, gazing into that dark band of his visor. As you hear the rattle of the slow inhale of his breath, as if he could smell you from beneath his helmet.

Even you can see the fear in your widen eyes, feel the small tremor in your limbs as his hand suddenly and slowly moves.

As if he can't help himself.

As if it is on instinct.

Reaching out to touch your shoulder, your neck - but then, just hovering.

Your terror catches up now. That steady beat of your heart now pounding in your chest, knocking wildly against your ribs.

The smallest flinch as his fingertips hang in mid-air, before his hand is curling into a fist.

Dropping back down.

There's the smallest jerk of his head. A gleam in the woman's eye as her hand curves around your bicep, as he sweeps from the room.

A murmur of confusion, disappointment - the rest robbed of their spectacle and entertainment. It had taken longer to get here - everything over so quickly, it feels as if you’ve only just stepped inside.

Armored guards move from their neat rows - shields raised to ward off the remainers of your group - to urge them back outside and back to their homes.

Leaving only the chosen behind.

Only you.

The woman in armor guides you quickly to your new home. Taking you through twisting corridors lined with ancient portraits, up a winding path of stone stairs.

You’re utterly lost, and a part of you wonders if that’s intentional. To keep you trapped inside. A silent realization that perhaps, you haven’t been nearly as clever as you thought.

Those worries lingering as she stops outside a heavy wooden door, lit on either side by flickering oil lamps.

“This is your room,” She tells you, her fingers resting on the door, before she’s pushing it open.

With the stories you’ve been told about the fearsome Mand’alor and the fortress he lurks in, you certainly weren’t expecting a room so… beautiful.

There’s a luxury that seems to weave throughout it. Rich wooden floors and plush rugs. A constellation of glittering stars painted on a domed, navy ceiling - as if you had invited the night sky in to stay.

Bookcases line the walls - framing a wooden desk, plush seating next to the bench that was built into the space beneath the iron-wrought windows.

Thick velvets curtains thrown back to let the setting sun in, casting the four-poster canopy bed in a golden light.

You almost forget yourself, as your fingers run across the bedspread. Finely-made beneath your touch, as soft as spun silk.

If the situation had been different… you think you might have loved it.

“There will be someone to call on you if there’s anything you want. And to take care of things during your day.” She interrupts your admiring thoughts, bringing you back.

You send a silent chastisement to yourself, as your fingers clasp - the picture of docility.

“The Mand’alor has been looking for someone for quite some time. I will give you a moment to get settled, but understand that your duties are to begin tonight.”

The pounding of your heart begins again, not realizing it would be so soon.

She must see the surprise that flickers across your face - her arms crossing as she leans in the doorway, “He has not fed since the last. We’ll all be happier once he does.”

Since the last Companion.

You wonder what happened to them. If they were used and cast aside. If they were drained dry.

If the same would happen to you.

No. You won’t let it.

“I’m happy to begin my work as soon as it pleases the Mand’alor.” Your voice is soft, and her sharp look softens.

“You’re quick.” She smiles, “That’s good. If you listen, you’re gonna be just fine.”

The nod you give is cut short, as the door closes. Left alone, your attention immediately goes to the furniture in the room. You don’t have much time.

Something used as often as a bed would be impractical, especially if someone will be tending to you as the woman says.

The bookcases touch both the ceiling and the floor, the books in neat, uniform stacks. No room for disruption.

Your fingers tug at the bench, but it’s solid wood - there’s no storage beneath.

No closet either, an empty brass rack stands against one of the curving stone walls.

Leaving only the desk, as you hurry over. The bottles of ink clinking together as the tips of your fingers run over the wooden top, and then under.

Looking for a hinge, your fingers closing around the ceramic knob as you carefully pull. Revealing a drawer full of rolled-up scrolls, a handful of quills, a thick leather-bound book.

There’s a knock then, and your pulse races.

Fingers fumbling as you reach for the fastenings of your tall boots. A creak of the door as it begins to open.

Undoing them just enough to pull the thin silver dagger and the sharpened stake free. Hastily shoving them behind the scrolls of paper inside your desk.

Before you’re pushing the drawer shut - just as the Mand’alor fills your doorway.

And the first of the 2 secret prompts are: 'this person' ordered me to kill you but i actually think i'm in love with you. (The second part to come into play!) thank you for checking this out! And hope you like this au! 🥀

#din djarin x reader #din djarin x you #din djarin x f!reader #vampire!din #din djarin imagine #haunted hoedown #hauntedhoedown

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joepringle · 5 months

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At Pecston University, a group of wealthy, entitled preppy boys stood out not just for their opulent lifestyles but also for their conspicuously well-built bodies. The correlation between their muscle growth and pretentious attitudes fueled campus gossip, with speculation ranging from exclusive family-owned gyms to experimental fitness methods only accessible to the privileged. These students, draped in luxury brands and driving high-end cars, turned the campus into a competitive arena where their egos were as pronounced as their muscles, showcasing a connection between physical prowess and inherited wealth.

Within this elite community, the gym became a symbol of status, where each workout seemed like a display of dominance. Their egos extended beyond fitness, permeating lecture halls and social events as they flaunted their family wealth with an air of entitlement. The narrative of these rich, spoilt preppy boys at Pecston University was a complex interplay of privilege, entitlement, and the pressures associated with living up to family expectations. As they navigated the delicate balance between sculpted bodies and inflated egos, the campus watched with a mix of envy, skepticism, and a subtle admiration for the spectacle they presented.

#ai muscle #muscular man #muscle man #muscular men #extremely muscled men #ai hunk #ai hunks #ai digital art #ai generated #bodybuilder #bodybuilders #bodybuilding #clothed bodybuilder #preppy boys

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blackswaneuroparedux · 1 year

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Schiaparelli’s ‘Inferno’: A journey to Hell and back

I’ve always wondered if today’s self-absorbed creative directors and edgy designers at the leading luxury fashion houses based in Paris are familiar with George Santayana’s cutting observation that, “Fashion is something barbarous, for it produces innovation without reason and imitation without benefit.” On the evidence of this year’s Paris Fashion Week I think not.

For the Spring 2023 collection at Paris Fashion Week, Schiaparelli creative director Daniel Roseberry revealed in pre-show notes that he was specifically drawn to Dante Alighieri’s magisterial Divine Comedy. He was especially inspired by Inferno, the 14th-century Italian poet’s renderings of Hell. Present as spectators and models were some of the internet’s favourite muses, such as Kylie Jenner wearing taxi-dermied outfits with hyperrealistic faux animal heads affixed to a fitted gown.

The singer Doja Cat was also there, appearing bald and covered in red gemstones at the steps of the Petit Palais like a demonic red figure. In other pieces, gold-painted torsos and metallic sculptural heads paid tribute to the house’s founder, Elsa Schiaparelli, and her ties to Surrealist artists like Man Ray, Salvador Dalí, and Meret Oppenheim during the 1930s. She was the subject of a recent retrospective at the the Musée des Arts Décoratifs in Paris last year in 2022, and her collaborations with those artists demonstrated a propensity to shock audiences with strange garments that at times merged human bodies with animal features.

Throughout the haute couture show, Roseberry brought to life versions of Dante’s epic poem’s three allegorical animals: the lion, the leopard, and the she-wolf. Accordingly he dressed three super models, Shalom Harlow as the leopard, Naomi Campbell as the she-wolf, and Irina Shayk as the lion. All three haute couture dresses were sculpted and embroidered by hand, “celebrating the beauty of nature and guarding the woman who wears it” said the proud creative director.

When I read that particular remark I almost choked on my tea. I was sitting in a nearby Parisian café with my younger sister, who was visiting me in France, and one of our French-Nordic cousins who actually works in the luxury brand corporate world as a senior exec in LVMH. Through our cousin we had managed to see one or two of the fashion shows last week. It’s not really my cup of tea, but I gave in to indulge my visiting sister and my cousin who loves her job.

Many people outside of haute couture world of Paris Fashion Week, focused on the spectacle of cruelty of seeing three stuffed animal heads on the bosoms of three super models strutting on a fashion show runway. Most of the criticism was misplaced as it showed little understanding what a haute couture show is all about. It allows the talented designer to let his/her hair down and show off their most off the wall ideas, and above it’s meant to be playful.

That said, I, however, was focused on what Daniel Roseberry actually said of his collection. I thought it was a misquote but no, as it turned out later, it’s what the designer said.

I resisted the urge to feel ‘offended’ and to look around for a pitch fork to join the unruly easily offended mob to denounce the designer. To me it wasn’t about the Surrealist heritage of Schiaparelli that the creative director drew inspiration from for one part of his show - that’s what one might expect from that fashion house. Nor was it the animal depiction on dress gowns that was pretty par for course for any haute couture fashion show - which I personally found garish and in bad taste - but which drew the public outcry against the perception of animal cruelty.

No, it was the crime of cultural vandalism against Dante himself.

I have no idea if Roseberry has actually read the Dante’s Divine Comedy or not but from his remarks that his hideous creations were “celebrating the beauty of nature and guarding the woman who wears it” he clearly hadn’t or was high as a kite on drugs and high energy drinks.

So I’m going to discuss Dante’s three wild beasts as Dante wrote them.

In the opening Canto of the Divine Comedy, Dante encounters three ferocious animals: the leopard, the lion and the she-wolf.

In the first canto of the Inferno, Dante, having gone astray in a dark wood, reaches the base of a sunlit hill (later described by Virgil as “the mountain of delight, the origin and cause of every joy”) and begins to climb - only to find the way blocked by three beasts. First, a leopard appears.

And almost where the hillside starts to rise - look there! - a leopard, very quick and lithe, a leopard covered with a spotted hide. He did not disappear from sight, but stayed; indeed, he so impeded my ascent that I had often to turn back again.

It is a spring morning, and “the hour and the gentle season” give Dante “good cause for hopefulness” upon seeing the leopard - but then he sees a lion.

but hope was hardly able to prevent the fear I felt when I beheld a lion. His head held high and ravenous with hunger - even the air around him seemed to shudder - this lion seemed to make his way against me.

When the third beast appears, Dante gives up hope entirely.

And then a she-wolf showed herself; she seemed to carry every craving in her leanness; she had already brought despair to many. The very sight of her so weighted me with fearfulness that I abandoned hope of ever climbing up that mountain slope. . . . I retreated down to lower ground.

When you read Dante - in Italian or in translation - nothing you read ever so simple and nothing should be taken at face value. Indeed in the Divine Comedy almost nothing is said without good reason. Take the verse preceding the appearance of the three beasts.

When I had rested my body there a while I then started again up the barren slope the more powerful foot always behind the other

Dante refers to the manner of his climb. He makes the climb with ‘the more powerful foot always behind the other’. One foot (the more powerful) is always behind (lower than) the other. This is a difficult line to interpret. It could of course simply be a description of how someone climbs a hill. You plant one foot in the ground and then push up allowing the other foot to 'land' and secure your position.

If Dante is talking about a stronger (firmer) foot and (presumably then) a weaker foot and talks about the one being lower than the other, there is probably a deeper meaning behind it. In Dante's thought world it was sometimes said that in the 'pilgrimage' towards heaven, we walk on two 'feet' (or legs); the Will and the Intellect. Because the Will, the stronger of the two, is always desiring what it shouldn't, our journey forward towards God is therefore hampered. We limp our way to heaven! So Dante could be saying that his Will lags behind his Intellect as he strives to find the light of God, making his journey up those slopes that much harder. The (weaker) Intellect is having to drag the (stronger) Will upwards towards the divine light.

An alternative explanation is inspired by a comment from St Augustine to the effect that 'love is the foot of the soul', in other words the driving force of the soul's quest for God. So, Dante could be suggesting that his stronger foot (love) pushes his body up the hill towards God. Personally I prefer this more optimistic image of his ascent; after all, he begins his climb in hope and anticipation.

And so we have to ask ourselves as we come to the three beasts, is there a deeper meaning to these animals beyond their physical power and scariness. Yes, there is.

When Dante engages with myths throughout his Inferno, he’s also leaning into this tradition of animals as allegories. He’s striving to teach a lesson, as mythical creatures punish sinful souls for eternity. Invoking creatures from antiquity, Dante’s Inferno moulds pagan hell into a Christian design. These mythical creatures are behemoth reminders for potential sinners about the consequences of their actions.

Even from the opening canto of Dante’s Inferno, we find our titular character lost in a dark and winding wood. As the woods darken, he feels his consciousness enter a strange state - a feeling that he likens to death (Inferno 1.7). As this shroud covers him, Dante encounters the first mythical creatures in the Divine Comedy. Leopards and lions were not native to Italy. Travellers relayed tales of these beasts to illuminators and scribes, and information about them would be published in bestiaries. Leopards were often incorporated into coats of arms when there were descendants of adultery in a lineage. The leopard Dante encounters is “very quick and lithe” (Inferno, 1.32). Perhaps the leopard is meant to symbolise a sin associated with impatience or hubris. Lions were often symbols of Christ, akin to Aslan in the Chronicles of Narnia but in this case the lion was “ravenous with hunger” (Inferno 1.46), which may have been a reminder to the reader about the dangers of gluttony.

The importance of animals goes beyond face value. Animals appearing in stories always contain allegories. The beasts symbolised the major categories of sin: incontinence, violence and fraud. Or as they are more commonly called - lust, pride and avarice. In her commentary, Dorothy L. Sayers explains that these categories of sin were associated with the three stages of life - lust with youth, pride (self-conceit) with the middle years and avarice with old age. Of course, they can attack a person at any time of his life.

Symbolism can help us enormously when reading Dante but it is also important I think to try to read the text itself and take clues from the way Dante uses the symbols. The Leopard is mesmerising, clever, quick and very pleased with itself, displaying its gaudy spots for all the world to see. The Lion terrifies even the air around it with its appearance (and presumably its roar) but the most noticeable thing about it from Dante the pilgrim's point of view is how proud it is as it hold its head up high. The third beast, the she-wolf, is one that has brought grief to many people. Her leanness speaks of an insatiable appetite; no matter how much (or how many people!) she eats she never thrives, never grows fat, she is never satisfied.

If Dante's world each of the beasts represented different vices or sins - the leopard as a symbol of lust, the lion a symbol of violent pride and the she-wolf as a symbol of avarice and fraud - then these could also either represent Dante's own besetting sins which prevent him from reaching heaven, or perhaps the three levels of hell which are divided according to the kind of sin committed. In the first circle Dante the pilgrim will find those guilty of avarice and incontinence (not the bowel kind), in the second circle sinners guilty of violence and in the third, those responsible for crimes of treachery and fraud.

It’s easy to see then these animals as symbols of divine judgement on Dante. Dante is not ready to find the divine light. He is still under judgement. His sins have not been dealt with and as we shall learn, only by descending to hell and rising through the mountain of purgatory will he be able to find that light as a 'saved' soul.

All three wild beasts are mentioned in the bible and used as symbols of the kind of fate that will befall the people of God as divine judgment.

In Hosea 13:4-8 God says that he will be like a lion and a leopard (and an angry mother bear!) towards his ungrateful, apostate people.

In Jeremiah 5.1-6, Jeremiah fails to find one godly (just) person in the city of Jerusalem. Failing to do so God promises that judgement will come like this:

Therefore a lion from the forest will attack them, a wolf from the desert will ravage them, a leopard will lie in wait near their towns to tear to pieces any who venture out, for their rebellion is great and their backslidings many. (NIV)

If indeed the wild beasts represent the judgement of God in the Old Testament through Hosea and Jeremiah, in the New Testament they take another form entirely. And this may well have played a part in Dante’s thought. It is entirely possible that Dante is thinking of the Apostle Paul's reference to 'fighting wild beasts in Ephesus' (1 Corinthians 15.32). Of course Paul didn't mean he actually wrestled lions and wild beasts. He meant that dealing with those who opposed him there was just like being a gladiator in the arena fighting lions and bears. And the people who opposed him were the institutions of Ephesus, the city authorities, the trade guilds, the business leaders.

Dante the pilgrim, following in the footsteps of the Apostle struggles with his own 'wild beasts'. the wild beasts who had plotted against him, and exiled him from his native city in 1302. Dante the pilgrim walks in the footsteps of Paul. He also walks in the footsteps of Christ who was alone in the wilderness with the wild beasts for 40 days and 40 nights. Although the the original intention of the gospel writers may have been to conjure up the impression of a restored Eden, for Dante those accounts would have conjured up the idea of conflict and danger.

Like Paul and like Christ, Dante the pilgrim has to struggle with ferocious animals in his journey towards God, just as Dante the writer has had to in his journey.

Who or what then are these forces, these wild animals who prevented Dante from finding the true path? Interestingly these animals were all prized in one way or another in Dante's native Florence.

There is evidence that a leopard and a number of lions were kept and publicly displayed in cages in Florence in Dante's day near what is today the Loggia del Bigallo, as a sign of Florence's power and prestige.

The lion was also part of Florence's coat of arms. Scholars have noted that Dante was familiar with the writings of Richard of St Victor who had associated the leopard with the sins of deceit and fraud. The lion was associated in medieval bestiaries with the sin of avarice (because of its apparently insatiable hunger) as well as with pride. These are 'civic sins' as much as personal vices.

Was it Florence's avarice and pride that was in the front of Dante the writer's mind when he described the leopard's gaudy spots and the lion with its head held high? Is it perhaps the city that had turned against Dante and thrown him out to live a life of exile that prevents the progress of the pilgrim towards paradise?

The she-wolf is the most daunting beast of all. She proceeds terrifyingly, step by step stalking forward, threatening and relentless. Dante comments:

The very sight of her so weighted me with fearfulness that I abandoned hope of ever climbing up that mountain slope. . . . I retreated down to lower ground.

Surprisingly perhaps it is the she-wolf, not the leopard or the lion that finally causes the pilgrim to despair. Wolves were considered to be symbols of fraud and deceit as well as sexual immorality and prostitution.

In his hugely influential work The City of God, St Augustine had commented that in his time prostitutes were known as she-wolves and a brothel was known as a 'wolf den'. He suggested that this verbal link gave rise to the famous origin myth of Rome, according to which the two twins Romulus and Remus, the offspring of the god Mars and the their mother (whom he had raped) Rhea, were abandoned to die but were saved and suckled by a she-wolf. Augustine suggests that instead, they were found and fed by an unknown prostitute i.e. by a 'she-wolf'. From this play on words came the legend that it was a literal she wold who found and fed them. In the City of God (Book 18 chapter 21) Augustine writes as follows:

“Procas ruled before Aemulius. Now Aemulius had made his brother Numitor's daughter, named Rhea, a Vestal Virgin; she was also called Ilia, and was the mother of Romulus. The Romans wish to say that she conceived twins by Mars; for, in this way, they honoured, or excused, her unchastity. They offer as proof of this the legend that, after their exposure, the infants were suckled by a she-wolf. For they hold that this species of animal belongs to Mars; and so, therefore, the she-wolf is believed to have offered her teats to the little children because she recognised in them the sons of Mars, her master.

There is, however, no lack of people who say that, when the exposed infants lay wailing, they were first taken in by some unknown whore, and that hers were the first breasts they sucked - for ‘she wolves’ (lupae) was the name given to whores, which is why houses of ill repute are even now called ‘wolfouses’ (ilupanaria). Afterwards, it is said, they came into the care of a shepherd called Faustulus, and were nurtured by his wife Acca. And yet if, in order to convict the man who was king, and who had cruelly commanded that these infants be cast into the water, God willed to help the children through whom such a great city was to be founded, and to have them rescued from the water by His divine intervention and suckled by a wild animal: is there anything very wonderful in this? “

- Translated by W. Dyson (Cambridge Texts in the History of Political Thought)

So, according to Augustine, it wouldn't be surprising if God had supplied a real she-wolf to find and feed the abandoned babies, because God is merciful and just, but in fact the stories he has heard suggest a different explanation. Namely that it was a human 'she-wolf', a whore, who had found them.

It is also interesting that Augustine links the god Mars with the story. The wolf, he says, is one of Mars' own creatures' i.e. a beast with a special affinity to Mars. Is it relevant that the city of Florence had adopted Mars as its own patron 'star'? It may also be relevant that the name of the Guelf faction, some of whom had ordered Dante's expulsion from Florence, was linked to the German word for wolf (Welf). Dante's enemies in Florence were 'wolves'. It seems the clue lay in the name.

But it may not have been only Florence Dante wanted to suggest to readers' minds. In addition it seems that by the time Dante wrote the Divine Comedy the Papal Curia had adopted as its own symbol the famous statue of Romulus and Remus suckling from the mother she-wolf on the Capitoline Hill. The she-wolf was of course the defining myth of Rome’s founding. Several ancient sources refer to statues depicting the wolf suckling the twins. Livy reports in his Roman history that a statue was erected at the foot of the Palatine Hill in 295 BC. Pliny the Elder mentions the presence in the Roman Forum of a statue of a she-wolf that was "a miracle proclaimed in bronze nearby, as though she had crossed the Comitium while Attus Navius was taking the omens". Cicero also mentions a statue of the she-wolf as one of a number of sacred objects on the Capitoline that had been inauspiciously struck by lightning in 65 BC: "it was a gilt statue on the Capitol of baby being given suck from the udders of a wolf." Cicero also mentions the wolf in De Divinatione 1.20 and 2.47.

The Capitoline Wolf was widely assumed to be the very sculpture described by Cicero, due to the presence of damage to the sculpture's paw, which was believed to correspond to the lightning strike of 65 BC. The 18th-century German art historian Johann Joachim Winckelmann attributed the statue to an Etruscan maker in the fifth century BC, based on how the wolf's fur was depicted. It was first attributed to the Veiian artist Vulca, who decorated the Temple of Jupiter Capitolinus, and then reattributed to an unknown Etruscan artist of around 480 - 470 BC.

So for centuries The Capitoline Wolf was almost universally recognised as an Etruscan statue from the early part of the 5th century BC. It was only in 2006 that an Italian art historian and restorer, Anna Maria Carruba, published a detailed critique against the accepted view. She argued that the bronze had been cast with a method unknown in classical times, and that marks left by the artist on its surface were more typical of the Middle Ages. Barely a year later in 2007, Rome’s top archaeologist and heritage advisor, Prof. Adriano La Regina, reported that over 20 tests using radiocarbon and thermoluminescence dating don at the University of Salerno suggested that the wolf portion of the statue may have been cast between 1021 and 1153. Overnight one ancient Rome’s oldest artefacts became one of city’s youngest.

Given the pride and place of this famous statue, The Capitoline Wolf, given by the Church of Dante’s time, it adds an extra dimension to any reading Dante’s words about the she-wolf. For the wolf, the creature of Mars, the symbol of Rome and now of the church was a big thing in 13th century Italy. It is this beast that scares Dante the most, that strips away his hope and forces him to turn around. It is this beast he says which has been ‘the despair of many’. It is not a surprise then to find that throughout the Inferno he likens various damned souls to wolves.

Again the bible may have played a part in his thinking Jesus warned his disciples to watch out for the false prophets, the wolves who come dressed in sheep's clothing. Ithink it’s too much of a stretch to say it was a direct attack on the church or the papacy of Boniface VIII but it does lend credence to the possibilities of personal corruption for those in the church who flirted with earthly temptations and sins - the very sins that destroyed souls and blocked humanity’s upward path to heavenly salvation.

For Dante there was no distinction between the inner and the outer person or between the individual and social. The individual did not live a life apart from his or her wider life in the state and in the church. Sin was something that affected everything and everyone. These beasts may well represent sin or vices with which Dante the writer was only too familiar in his own experience but to me it seems highly likely that they represent above all the forces he saw around him which, in his mínd, prevented people finding the beauty and love of God. The Apostle fought his wild beasts in Ephesus. Dante fought his in Florence.

The mythical figures featured in Dante’s Inferno lean on a long tradition of animals as allegory. As Dante journeys through the realms of the afterlife, these beings can lend a helping hand on the long and winding road through hell, purgatory, and heaven. While the creatures of the Inferno intend to scare sinners straight, they themselves also suffer as the embodiment of their respective sins.

While hell is where sinners languish, it remains a complex and captivating place. Dante filled his entire Divine Comedy with bizarre creatures from across literature, and they serve a similar purpose to any beast in a story: to distill morals or a lesson. Their presence makes the story memorable, even for modern readers like us today.

Dante’s Inferno brings readers on a journey through hell, replete with allegories from across time like sitting through a hellscape of a Schiaparelli haute couture fashion show during Paris Fashion Week. As time wears on, Inferno’s wild beasts offer captivating perspectives on our very modern sins of lust for affirmation, pride in our self-centredness, and an avarice for material comfort.

But I don’t wish to end on a downer because Dante is not a pessimistic poet. Most readers never proceed beyond the macabre thrills of Dante’s ‘Inferno’, with its grotesquely inventive torments. Those who do ascend from the “Inferno” find some of Dante’s most lyrical verse in his ‘Purgatorio’. But it is the least-read of the three books, ‘Paradiso’, that makes sense of the other two. It shows, Dante was not just a poet of crisis, but also a poet of hope:

The ‘Divine Comedy’ is that rarest thing, an epic poem with a hopeful ending. It is about getting a second chance - and ultimately finding joy, a Christian understanding of joy in the light of God’s saving grace.

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fairlyabookie · 2 years

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Matching Accessories

Author’s note: Day 12 of Promptober. Enjoy!

Content: implied relationship | 6 months dating with Vil | slight mention of the fashion/entertainment industry

The cool breeze of autumn meant the season of jackets, sweaters, and wool; burgundy and cool colors that matched the incoming season and its chilly presence; enticing warm colors that brighten the room in hues of flames and the sun, and a new style of chic couture emerging from the bright hues of summer. Autumn, a season meant for the changing of seasons, the transformation of warmth from the onset of cold weather, marked the six-month anniversary since [Reader] and Vil began their relationship.

Their plans for a day to celebrate was an exploration in the new plaza by Vil’s hometown, the stylistic capital where glitz and glitter reigned and the best stores Vil could recommend to [Reader]. Not that the latter knew better, but he was a local in the area and as a fashion icon, he knew what style would best suit [Reader].

It all started with a shopping day with Vil. Clad in an elegant outfit of a navy blazer with stylish accessories, Vil resembled a chic figure in the midst of Pyroxene glitter. Vil looks amazing as always. [Reader] muses to themselves, their ears and cheeks heating up in embarrassment. Their outfit of the day, compared to Vil, was somewhat minimal; solid colors of black and white with flowing material along with a simple necklace. To [Reader], their attire resembled of a teacher’s outfit rather than something straight from the runway.

Violet eyes twinkle by matching lens, a small smile in the third year’s lips.

“Ah, [Reader]. You’re here,”

[Reader] returns the smile shyly, barely making eye contact to Vil.

“Oh, do be a dear and chin up, [Reader]. You look amazingly cute in your outfit today.”

“Thank you, Vil.”

[Reader] bids their thanks as Vil offers his arm to him. Their shy smile lingering on their lips, [Reader] graciously accepts his invitation, beginning their humble date. The two weave past fellow pedestrians, [Reader] careful not to trip up in Vil’s stride as they advance further in the plaza.

“This looks amazing,”

[Reader] exclaims in awe, their eyes shifting from storefront to storefront, displays of glamour and aesthetic they would see in their dreams.

“Isn’t it?”

Vil, a household name amongst the entertainment industry, was all too familiar with the luxuries of glamour: high-end fashion brands with quality unquestioned by wearers of the material, jewelry worth millions and coveted to be worn by those wealthy enough, and the illusion of accumulating wealth for the sake of social image and improvement. All of this was just a fraction of what Vil truly saw in the industry; alas, he was worlds away from [Reader], a stranger to the world in front of them and a viewer who saw the spectacle as it is.

“Absolutely gorgeous.”

Words slip out of [Reader]’s lips, locking eyes with Vil. For a moment, he thought they were complimenting him and not the storefronts - thankfully, he was wearing sunglasses. [Reader] didn’t have to see how much their words made him fluster.

“Well, [Reader], now that we’re here, is there something you have in mind for our anniversary? I don’t mind the price as long as you’re satisfied with it.”

“You’re willing to pay such a high price?!”

[Reader] stops in their tracks, their grip tightening on their partner’s arm.

A charming smile dances on his lips.

“Why, of course, dear. You do realize how much I love you,”

He leans close to their ear, a glittering earring he had gifted them for their birthday twinkling in the sunlight.

“My love is priceless.”

His whispered words sends shivers down [Reader]’s spine, a flustered expression replacing their complacent complexion. Satisfaction stirring in his midst, [Vil] glimpses a jewelry shop from the corner of his eye. Perfect.

“Shall we go?”

“Of course.”

I know just the place for our anniversary.

~ ~ ~ ~

“Welcome, is there anything you two are looking for?”

A clerk bids with a warm smile, jewelry with many a centerpiece twinkling under pale light.

“Ah yes, we’re looking for something befitting for our anniversary together. What do we have mind, dear?”

Gorgeous pieces with embedded gemstones gave [Reader] pause. What did Vil want from this store? Should they resort to something small? Perhaps a necklace?

“[Reader]?”

“Yes? Ah, I was thinking of necklaces.”

A glint brightens in violet eyes.

“Perfect. May you show us some necklaces, please?”

“Of course!”

~ ~ ~ ~

Nestled in a velvety box, a set of necklaces with brilliant chains await [Reader]’s judgement. Vil watches them with a keen eye, occasionally providing commentary on some aesthetic choices before [Reader] reaches an ultimatum.

“I’ll pick this one for the both of us.”

[Reader] points to a necklace, its centerpiece two gemstones of rich sapphire and their birthstone embedded in a design resembling a droplet.

“This one, and you’d like two of these?”

The clerk verifies.

“Yes.”

[Reader] has excellent taste. Vil fondly smiles, partaking of a light kiss on the back of their hand. They shyly respond with a smile. Albeit quaint in style compared to the other accessories he had worn, the one [Reader] had chosen was a symbol, an exclusive of their love yet something personal, [Reader] had chosen for the both of them.

Sure, they’d pay for it, but letting them enjoy the luxuries of life in such arbitrary methods was enough. He’d prefer that way - his partner, pure and untouched from the corrosive industry.

“It’s perfect.”

Vil comments, embedding [Reader]’s chosen necklace in the depths of his memory. Soon, they’ll be wearing this together; even if they’re far away from each other, their matching accessories would symbolize their bond together as a couple, a reminder that they are always there for each other through and through. Maybe those romances he had been acting in was rubbing on him; all those juvenile episodes with couples doing one thing or another to commemorate their relationship. Alas, he was in love as much as [Reader], a sentiment he felt attached to when he wore matching necklaces with his lover.

#twst x reader #handle with care #promptober #twisted wonderland vil #vil schoenheit #twst vil

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jessicaminhanh · 5 months

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Jessica Minh Anh organized J Summer Fashion Show 2023 on Costa Diadema, Rio de Janeiro

Jessica Minh Anh, the world’s renowned fashion show producer and supermodel, transformed the sun deck of Brazil’s most luxurious cruise ship, Costa Diadema, into an epic sky-high ocean catwalk. Against the cinematic backdrop of Rio de Janeiro skyline, Jessica’s latest spectacle, J Summer Fashion Show 2023, premiered exquisite haute couture, swimwear, and accessory collections from Europe, Asia, North, and South America. The red-carpet event was a celebration of fashion, sustainability, and cultural diversity.

Jessica Minh Anh opened the highly anticipated catwalk in an alluring embellished powder pink “Áo Dài” paired with velvet pants designed by Vietnamese brand Gam Voc. A representative of Jessica’s home country, Gam Voc breathed a new life into Asian cultural wear with charming and chic designs on silk, velvet, taffeta, and lace. Dragon embroidery patterns signaled the coming of the Lunar New Year alongside the use of red, black and pink color palette.

Next on the runway, the exotic beachwear brand Sauvage from the US premiered a bold collection with vivid colors and architectural one pieces and bikinis. The collection by designer Elizabeth Southwood featured colorful prints, Swarovski crystals, and chic detailing. This was the third time Sauvage joined Jessica Minh Anh’s production, following J Autumn Fashion Show 2022 on Pier 34 in New York City.

Ukrainian designer Oksana Mukha closed the show with an extraordinary haute couture collection of lavish dresses and floral details.

Jessica Minh Anh appeared as a vision in a structured red dress with dramatic, 1980s-inspired sleeves, plunging neckline, and an epic long trail. The red-carpet masterpiece accentuated Jessica’s classic silhouette while showcasing the designer’s high-precision and immaculate craftsmanship. The outstanding dress was accompanied by mesmerizing jewelry pieces including a red sea-inspired necklace and rings from Brazilian designer Cristina Sabatini, who has worked with Jessica Minh Anh over the past decade across the five continents.

The supermodel’s unique look was complimented by an impressive Christ the Redeemer inspired hairstyle designed by Brazilian artists at Rio’s famous d-unhas salon. Jessica led a stunning model line-up on the sky-high ocean catwalk against the picturesque backdrop of deep blue sea and Rio de Janeiro’s skyline.

This was Jessica’s fifth collaboration with the Italian pride, Costa Cruises, with the two sharing a vision towards a promising future. Just latest year, Jessica hosted the world’s first sustainable ocean catwalk on the liquefied natural gas cruise ship Costa Toscana in Portofino, Italy and stole the show during Milan Fashion Week. Other editions of her famous cruise series took place in Dubai, Sydney, Hong Kong, and New York.

“Jessica Minh Anh is a trailblazer in the fusion of fashion and sustainability, mirroring Costa Cruises' commitment to providing cutting-edge vessels and sustainable initiatives. Our enduring partnership began in 2013 with the J Winter Fashion Show in Dubai. We are thrilled to once again welcome Jessica and her spectacular production aboard the Costa Diadema. This year, we are celebrating 75 years of Costa in Brazil, and we take immense pride in this anniversary with Jessica Minh Anh on board.” said Dario Rustico, General Manager of Americas at Costa Cruises.

Jessica Minh Anh’s multi-talented team from Paris, Milan, and New York experienced Brazilian hospitality at Hotel Laghetto Stilo São Paulo before boarding the ship from Santos to Rio de Janeiro. “Seeing the vibrant, creative, and welcoming spirit of Brazil and its people was amazing”, said Jessica Minh Anh.

J Summer Fashion Show 2023 in Rio de Janeiro, Brazil marked Jessica Minh Anh’s 28th innovative production. Nearly a decade after celebrating the strength and resilience of the young generation with the first ever event at New York City’s iconic One World Trade Center, Jessica remains a constant force in revolutionizing global runways. Expect the unexpected from the girl who invades fashion with daring ideas and a strong message for a sustainable future.

#jessica minh anh #j summer fashion show #rio de janeiro #costa cruises #costa diadema

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tragedicna · 1 year

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name: Veronique Laverne aka: Renarde (the fox) age: 29 gender: female orientation: demisexual / demiromantic occupation: model / philanthropist / collector / thief

traits

intelligent, observant, curious, innovative, generous, charismatic, passionate, mischievous, adventurous, caring, sensitive, cautious

an orphan adopted by a prominent philanthrophist and collector , she was set to inherit the laverne fortune once her ( adoptive ) father passes . . . little to people’s knowledge , monsieur laverne was actually one of the country’s most detested and witty mastermind thief . . . one who prided himself to be a gentleman thief ; but , with as he ages , he grew desperate for someone to inherit his legacy . . . having caught veronique ( which wasn’t her name at the time ) red-handed during one of her pickpocketing stunts , he decided to make her his protege and taught her all the tricks so she could take over the moniker of RENARDE ( fox ) . living a false life of luxury , veronique feels an obligation to her father and former master and continue his legacy . veronique started her life as the LAVERNE heiress in her late childhood , early preteens . she can't remember what the kids on the streets used to call her anymore . . . she's always just been VERONIQUE to her adoptive father , RONNIE to a select few close friends . having a chance to have shelter over her head and luxury , she didn't hesitate one second when the late monsieur laverne offered to adopt her . . . though , now she's older , she feels a bit STIFLED by the entire thing , having to live up to a name she was forced to adopt . like her adoptive father who's always been in the spotlight as if having a bright and flashy life would deter people from looking into the dark criminal background , veronique grew up to be a beauty and that lead her to a path of being a MODEL . living the high life , strutting runways , modeling for brands and being the ambassadors for high-end names . she kept up her father's philanthropic work , using part of the laverne wealth -- after all , this was how the money was laundered -- to better other people's lives . it's no secret that veronique was an orphan adopted by a rich man -- many refering to her background as very cinderella-like -- and her charities always reached out to those less fortunate . by day , a model ; by night , a gentlewoman thief sporting a fox mask that seeks out the most lavish of jewels , playing cat and mouse with detectives and disappearing into the night when she's done . . . her only calling card is a folded origami fox . sometimes , it's a spectacle when RENARDE appears , announcing her presence ; sometimes , it's so quiet , no one even knows she had been there .

NOTE: due to the fact that many just assumed RENARDE to be a male , the people using that moniker have always been referred to as HE / HIM by the general public , regardless of who's behind the fox mask . inspo drawn from : arsene lupin , kaitou kid (dcmk)

#new muse :)

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tadvideoproduction · 7 months

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Capturing Elegance: A Spotlight on Video Production Dubai

Embark on a visual odyssey with TAD Video Production as we cast a luminous spotlight on the enchanting world of Video Production Dubai. Our lenses capture the very essence of Dubai's elegance, creating cinematic wonders that redefine luxury.

TAD Video Production stands at the forefront of excellence in Video Production Dubai, seamlessly blending innovation and sophistication. Each frame is a masterpiece, intricately weaving together the vibrant tapestry of this extraordinary city.

From the iconic skyscrapers that pierce the sky to the tranquil desert landscapes, TAD Video Production transforms every scene into a breathtaking visual spectacle. Immerse yourself in the allure of Dubai as our team skillfully navigates the art of storytelling through video.

Elevate your brand narrative with the magic of TAD Video Production – where expertise meets elegance, and every shot is a testament to the grandeur of Dubai.

#animated video production #video production #music producer #video production agency dubai #video production dubai #Music video production dubai

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sexysaltine · 1 year

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fashion rant brought to you from my notes app

Pharrell Williams at Louis Vuitton: i have thoughts

I was pleasantly surprised by the collection and of course I love a spectacle but I just can't get past the celebrity of it all.

included pics of my favorites

I guess I'm just one of those pretentious snobs that thinks celebrities shouldn't just be given jobs in fashion. They aren't fucking qualified. People go to school for this, put in a lot of work. It's one thing to do a line, like beyoncé's ivy park, where it's kind of like having a ghostwriter do your memoir, a celebrity puts their name on it but there's a design team doing most of the real work with the celeb advising. Having a celeb be creatively in charge of a heritage brand? That is a whole different story.

It's the same ick I have for people who call themselves designers but don't know how to sew. You have to understand how clothes are constructed in order to design, and you should have some actual experience in the fashion industry if you wanna be a creative director.

but apparently not i guess, if you're famous enough.

And we'll never know exactly how much of what we see on the runways is designed by Pharrell. We'll never know if he just contributed a few basic ideas or if he actually fully embodies the role of creative director. The PR will always do whatever it can to make it look like Pharrell is fully committed to this and doing the work. This is a big job, one that comes with an immense amount of pressure and stress. This is a job that can have a dire effect, sucking the life out of some, or sending some to rehab (marc jacob's for example, former creative director of LV) and working people to death. Pharrell has really no risk involved in this, if he crashes and burns he will be absolutely fine and no one will really remember that weird time when Pharrell tried to be a fashion designer.

There's also a lot of Chanel referencing... Like of course there is, it makes sense but i'm not happy about it. Just anything related to Chanel at this point gives me an ick. Pharrell was a face of Chanel under Karl Lagerfeld and the two constantly collaborated so it makes sense that that style would be engrained in his aesthetic as a designer.

However purely from an aesthetic perspective, Chanel has been doing what Chanel does since the 80s when Karl took over. They've been doing the same fucking thing stylistically for forever. So why do we need more of that? Why bring that into an unrelated heritage brand that neither Coco or Karl ever had anything to do with. Why flood the luxury market with the same stuff your competitor is not only known for, but constantly criticized for, causing them to be labeled as boring or outdated? Does the world need more Chanel suits? because I think if someone wanted a Chanel suit, they would just go to Chanel.

Aesthetic aside, let Chanel fucking die already. Both her and Karl sucked and we should stop ignoring that.

All that being said I was pleasantly surprised by the collection. Camo of any kind is not for me but there is a customer for that. The accessories stood out, as they should for a brand like LV. and if Pharrell knows how to do one thing it's put on a show and that he did. It was a star-studded massive production and those are fun.

#louis vuitton #pharrel williams #louis vuitton menswear #paris fashion week #fashion criticism #runway #rant post

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mesillusionssousecstasy · 1 year

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Emily in Paris - Season 3: Quotes

- “You’ll be hearing from our lawyers. (Emily) - So you’re suing me for not calling you?” (Alfie) (Episode 2)

- “I didn’t realize what I had until I lost it.” (Emily - Episode 2)

- “Yeah, well, the American dream turned into the French nightmare.” (Episode 2)

- “You know, I’ll give it to Paris. Even when you’re having a bad day, the city is looking great.” (Episode 2)

- “It’s funny how you become the things you hate.” (Episode 3)

- “Well, I guess all those endless selfies are finally paying off.” (Sylvie - Episode 5)

- “Plus he sent over some champagne. (Emily) - “Finally, someone who understands my needs.” (Mindy - Episode 5)

- “I thought you were gonna be a professional polo player. You know we used to call you Nacho?” (Mindy - Episode 5 - GG reference too)

- “Sexy. Why am I never around when anything good happens?” (Episode 5)

- “What Am I supposed to do? An affair? (Emily) - You saw two girls kissing at a party. You need to get out more. Okay, Emily Jane Cooper, occupe-toi de tes oignons.” (Mindy - Episode 5)

- “Just because I was raised rich doesn’t mean I don’t love a free sample.” (Mindy - Episode 5)

- “Yeah, well, you’re American, she’s Australian, you colluded.” (Sylvie - Episode 5)

- “Are you serious? I... I am so tired of apologizing for who I am. I can’t change my past. If you’ll always resent me for it, maybe we don’t have a future.” (Mindy - Episode 5)

- “It’s not “either or”, Camille. Are we really here to just love one person?” (The artist - Episode 6)

- “I don’t understand. You’re married to him and having an affaire with me or you’re in a relationship with me having an affair with your husband.” (Erik - Episode 6)

- “I mean, is this really necessary? (Alfie) - Luxury is a necessity that begins when necessity ends. (Antoine) - Mmm. Coco Chanel.” (Emily - Episode 6)

- “Why don’t guys tell you what they’re thinking? - And save us the mystery?” (Episode 7)

- “What do you think of the quality? (Pierre) - Honestly? - Brutally.” (Pierre - Episode 7)

- “They’ve turned me into a clown trapped in a funhouse mirror.” (Pierre - Episode 7)

- “Wow, this is so surreal. I feel like we’re walking into heaven on acid.” (Emily - Episode 7)

- “Come on, seriously? In this? (Mindy) - You look incredible tonight. Every man there was checking you out. (Nicolas) - Yeah, except for you. (Mindy) - Believe me, I noticed. It took every ounce of willpower not to make a spectacle of myself.” (Nicolas - Episode 7)

- “The only time I’ve heard Sylvie say “Merveilleux” was about a Chablis.” (Luc or Julien - Episode 7)

- “The men may be gone, but the brands persist.” (Episode 7) - “More times than I care to remember.” (Episode 7)

- “You can feel as guilty as you want, but not everything happens because you make it happen. - Well, except for this. This was definitively you.” (Episode 8)

- “Well, he did sustain some injuries, Gregory, so we need to treat this with the sensitivity it deserves.” (Episode 8)

- “I love you both. - And I’m going to end up with nothing.” (Episode 8)

- “Who do you want to go to bed with” (Julien - Episode 8)

- “In love? I can’t believe he said that. (Mindy) - He was drunk.” (Emily) - Sure, but alcohol doesn’t make people lie. Kind of the opposite.” (Mindy - Episode 8)

- “True elegance is found in simplicity.” (Episode 8)

- “It died the moment I sold my soul to JVMA.” (Pierre - Episode 8)

- “Pierre is a respected talent any you only bought his company to toss him out like the trash. - If you can do that to him, you can do that to me. You can do that to anyone.” (Episode 8)

- “Do you have any idea what you just lost? (Louis de Leon) - Something I never wanted. A relationship with you.” (Sylvie - Episode 8)

- “I just made an enemy of the most powerful family in fashion.” (Sylvie - Episode 8)

- “Let’s not become one of those couples that spend more time analyzing their relationship than being in one.” (Alfie - Episode 9)

- “Do you know why this works so well? We get to be together and still do everything we want. We should be enjoying ourselves every second we can. Life is short.” (Episode 9)

- “Hell of a “welcome home”, mate.” (Alfie - Episode 9)

- “Yeah, well, every couple hits that point. It’s either time to break it off or commit to each other. You’re either in or you’re out.” (Alfie - Episode 9)

- “Only the two people involved know what they are to each other. You knew everything about every single piece. - No, you just didn’t know anything.” (Episode 9)

- “Can I get the recipe for that? (Emily) - Recipe? There are no recipes. It’s not a list of things. It’s a feeling. You just know when something is right and when something is wrong.” (Gabriel’s grandmother - Episode 10)

- “His ex-girlfriend, Marianne.” (Julien) - Oh, which Marianne? (Sylvie) - I can neither confirm nor deny. (Luc) - Marianne number one. (Julien) - How did you know that?” (Luc - Episode 10)

- “It was not what she said, it’s what she did.” (Luc - Episode 10)

- “I hope you take as good care of her as I did. She deserves a good man. (Timothée) - I’ll certainly do my best.” (Alfie - Episode 10)

- “Emily. Our secrets are what will keep us close. (Camille - Episode 10)

#emily in paris #emily in paris season 3 #emily in paris quotes #emily in paris season 3 quotes #eip quotes #emily cooper #alfie #mindy #luc #netflix shows #netflix series

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thevouofficial · 2 years

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29 BEST Fashion Shows Of All Times (Up To 2022)

The Best Fashion Shows Of The Last Century

Knowing the best, biggest, and most popular fashion shows is a must if you are a fashion lover or part of the fashion industry.

Covering the top fashion events over the last century, these are the most well-known fashion events worldwide.

Every fashion event below will take you on an incredible journey: the best fashion runways, the top fashion shows, the most prominent fashion spectacle; we have them all.

Discover the world’s best fashion runways, fabulous fashion designers, high-end, luxurious brands, and stylists in this article covering the most fashion shows ever.

Most Popular Fashion Shows of All Time

1. Versace AW 1991 2. Chanel SS 1994 3. Thierry Mugler AW Couture 1995 4. Alexander McQueen ‘Fire and Blood’ 1998 5. Yves Saint Laurent ‘Stade de France’ 1998 6. Dior SS Haute Couture 1998 7. Alexander McQueen Spring 1999 8. Hussein Chalayan FW 2000 9. Alexander McQueen Voss 2001 10. Alexander McQueen SS 2004 11. Fendi ‘The Great Wall Of China’ 2007 12. Pierre Cardin ‘The Silk Road’ 2007 13. Louis Vuitton SS 2008 14. Maison Martin Margiela SS 2009 15. Alexander McQueen ‘Plato’s Atlantis’ 2010 16. Dior SS Haute Couture 2012 17. Chanel SS 2012#chanel-2012 18. Jean Paul Gaultier SS 2014 19. Chanel FW 2014 20. Rick Owens SS 2014 21. Viktor & Rolf FW Couture 2015 22. Kanye West ‘Madison Square Garden’ 2016 23. Chanel ‘Sky’s The Limit’ 2017 24. Versace SS 2018 25. Moschino Resort 2019 26. Dior SS 2019 27. Pyer Moss SS 2020 28. Moschino SS 2021 29. Chanel Fall 2022

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A Brief History Of Fashion Shows

The origin of contemporary fashion shows began in the late 1800s with private fashion events assorted with canapés and tea.

Mostly home-bound parties, these minishows aimed to present and market the couturier’s latest creations to a handful of wealthy clients.

The audience paid little attention to the surrounding settings and more to the glamorous and extravagant garments worn by ad-hoc models.

There were no smartphones, no social media, and no Kardashians “breaking the internet”; just hand-picked fashion editors, industry professionals, and fashion buyers.

Starting with the 60s, the demand for ‘ready-to-wear’ began to point toward a future of fast fashion and a transition from traditional homemade parties to televised fashion shows.

Organized by high-end department stores as a way to elevate reputation and increase sales, discreet home catwalks were replaced by on-stage fashion shows.

Hosted in the fashion capitals of the world, with models free-flowing to the sounds of ‘energetic’ musical styles, these fashion shows were open only to the industry’s most famous buyers, retailers, and media outlets.

in the 2000s fashion, with the help of technology, fashion shows became novel ways for fashion brands to honor the past, celebrate the present, and unveil the future.

Nowadays, contemporary fashion shows are broadcasted over the internet as a medium of live entertainment that allows millions of people to watch and engage in real-time.

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1/29 VERSACE

Autumn/Winter 1991

VERSACE Autumn/Winter 1991 – thevou.com

If there ever was a fashion show that had the power to break the internet before the internet existed, this is it.

For the brand’s autumn/winter 1991 show, Gianni Versace sent Naomi Campbell, Christy Turlington, Linda Evangelista, and Cindy Crawford arm-in-arm down the runway.

Arguably the best fashion models of all time were lip-syncing to George Michael’s “Freedom! ’90”, in an iconic 90s fashion moment that catapulted the models into the realms of superstardom (“We don’t wake up for less than $10,000 a day,” Evangelista later told Vogue).

VERSACE Autumn/Winter 1991 – thevou.com

The models looked powerful as they walked down the runway in their leather suits, ranging from pastel mini-coat dresses to black bondage straps with lace and gold jewelry.

Gianni’s concepts – once relegated to dungeons and bedrooms – became the center stage for socialites and fashion connoisseurs to wear in public.

The Italian designer’s pieces were for women interested in dressing with boldness, unafraid to shock onlookers with their sexuality.

2/29 CHANEL

Spring/Summer 1994

CHANEL Spring/Summer 1994 Fashion Show – thevou.com

Chanel’s SS 1994 show was the moment that catapulted the French haute couture Maison into the 21st century.

Chanel’s 1994 collection will be remembered when the late Karl Lagerfeld delivered the perfect balance of pop culture and the house’s prestigious couture creations.

A state of logo suspenders, chained belts, itsy-bitsy bikini sets, and even some roller skates.

CHANEL Spring/Summer 1994 Fashion Show – thevou.com

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3/29 THIERRY MUGLER

Autumn/Winter Couture 1995

THIERRY MUGLER Autumn/Winter Couture 1995 Fashion Show – thevou.com

To celebrate the brand’s 20th anniversary, Thierry Mugler hosted a spectacle at Paris’s landmark Cirque d’Hiver.

Starring Pat Cleveland dressed as the Madonna and descending from the ceiling, Jerry Hall, Carmen Dell’Orefice, Veruschka von Lehndorff, and Patty Hearst – who did a striptease; the event was packed with celebs and the brand’s latest creations.

THIERRY MUGLER Autumn/Winter Couture 1995 Fashion Show – thevou.com

Equally spectacular the ending of the show culminated with James Brown performing as sparkling confetti rained down on the catwalk.

THIERRY MUGLER Autumn/Winter Couture 1995 Fashion Show – thevou.com

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4/29 ALEXANDER MCQUEEN

Fire and Blood 1998

ALEXANDER MCQUEEN Fire and Blood 1998 – thevou.com

McQueen’s 1998 fashion show is still regarded as one of the most iconic fashion events ever and “the door” to a new era of fashion parades and fashion weeks.

ALEXANDER MCQUEEN Fire and Blood 1998 – thevou.com

By blurring the lines between fashion, luxury, and art, ‘Fire and blood’ advanced classic fashion shows into theatrical masterpieces.

ALEXANDER MCQUEEN Fire and Blood 1998 – thevou.com

McQueen’s 1998 “Fire and Blood” event also signaled the transition from physical events to digital events via digital technology, consumer integrations, and digital filming technologies.

5/29 YVES SAINT LAURENT

Stade de France 1998

YVES SAINT LAURENT Stade de France 1998 – thevou.com

The internet has given birth to a new era of fashion shows, live broadcasted, insanely cinematic, and filled with visual–emotional experiences.

Yves Saint Laurent’s 1998 World Cup Final fashion show bestowed the “Stade de France” with fifteen minutes of fashion magic in one of the earliest events signaling what was coming.

YVES SAINT LAURENT Stade de France 1998 – thevou.com

The show comprised over 300 models backed up by a team of 200 technicians, 130 dressers, and 70 makeup artists – performing for the 80,000 spectators present in the stadium.

However, YSL’s 1998 fashion show made history by broadcasting live to an audience of one billion television viewers from all over the world, known as ‘A Fashion Show Watched By Billions’.

YVES SAINT LAURENT Stade de France 1998 – thevou.com

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6/29 DIOR

Spring/Summer Couture 1998

DIOR Spring/Summer Couture 1998 – thevou.com

No other haute couture Maison could allow John Galliano to express his love of theatricality as much as Dior.

For his spring/summer 1998 show, Galliano took attendees on an operatic flight of fancy, staging the show on the grand staircase of Paris’s historic Palais Garnier opera house.

DIOR Spring/Summer Couture 1998 – thevou.com

Galliano was at the height of his dramatic powers, featuring an orchestra, tango dancers, and dozens of extras dressed as figures from the world’s greatest operas.

DIOR Spring/Summer Couture 1998 – thevou.com

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7/29 ALEXANDER MCQUEEN

Spring 1999

ALEXANDER MCQUEEN Spring 1999 Show – thevou.com

Alexander McQueen moved many to tears with his extraordinary London shows such as Bellmer La Poupee, Joan, and The Overlook.

However, No. 13, was “the only fashion show that made me cry”, said McQueen.

Staged, as all the collections of that period were, at Gatliff Warehouse, an unused former bus depot in Victoria, this unique fashion event featured intricately carved prosthetics and spray-painting robots.

The robots came to life when Shalom Harlow emerged in a strapless Broderie Anglaise dress cinched across the bust with a leather belt.

The robots sprayed her in a carefully choreographed dance as she spun around on a circular platform.

ALEXANDER MCQUEEN Spring 1999 Show – thevou.com

It wasn’t a fashion show; it was a performance of art with clothes that felt lighter and more sensual than his previous work, albeit equally fetishistic.

8/29 HUSSEIN CHALAYAN

Fall/Winter 2000

HUSSEIN CHALAYAN Fall 2000 Fashion Show – thevou.com

Hussein Chalayan’s interest in the relationship between the human body and science has led to some of the most inventive runway shows ever staged — fittingly, most often at Sadler’s Wells’s legendary London dance venue.

Models transformed chairs into dresses for his autumn/winter 2000 show and a coffee table into a hooped skirt.

It went beyond fashion, becoming a breathtaking piece of physical theatre in its own right, with models unzipping the slipcovers off the chairs and wearing them as shift dresses.

HUSSEIN CHALAYAN 2000 Fashion Show – thevou.com

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9/29 ALEXANDER MCQUEEN

Voss 2001

ALEXANDER MCQUEEN Voss SS 2001 Fashion Show – thevou.com

The late Alexander McQueen was not one to shy away from the evocative, not only in his clothing but also in his designs and content.

During the Alexander McQueen Spring Summer 2001 collection, the audience sat facing, staring at themselves against the reflective glass of a square box in the middle of the arena.

ALEXANDER MCQUEEN Voss 2001 Fashion Show – thevou.com

When the show commenced, fluorescent lights turned on inside of the cube.

Models sauntered in the box aimlessly and, at times, jarringly like they were suffering from a form of psychosis.

ALEXANDER MCQUEEN Voss 2001 Fashion Show – thevou.com

During the show, the spectators and critics realized that the glass was a one-way mirror – the models couldn’t see the audience, but the audience could see them.

The attendees watched the models as they swaggered around in the clothes, acting as models and ordinary people preparing to perform.

ALEXANDER MCQUEEN Voss 2001 Fashion Show – thevou.com

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10/29 ALEXANDER MCQUEEN

Spring/Summer 2004

ALEXANDER MCQUEEN Spring/Summer 2004 Fashion Show – thevou.com

Few shows are as memorable as Alexander McQueen’s 2004 deliverance collection.

Based on Sydney Pollack’s 1969 classic They Shoot Horses, Don’t They?, a story of young dancers growing up in Depression-era poverty, McQueen enlisted professional dancers to deliver an evocation of dancing to death.

ALEXANDER MCQUEEN Spring/Summer 2004 Fashion Show – thevou.com

McQueen’s show culminated with Karen Elson in a ragged dress carried, as if lifeless, across the stage, all choreographed by contemporary dance maestro Michael Clark.

With its echoes of burnout within the fashion industry, McQueen’s 2004 fashion show carries a poignant significance to the date, given McQueen’s suicide six years later.

11/29 FENDI

The Great Wall Of China 2007

FENDI The Great Wall Of China 2007 – thevou.com

YSL’s mega fashion show approach was employed by Lagerfeld almost a decade later, in 2007, for the house of Fendi.

The show took almost a year-long to put together, and the installation cost was over $10m.

The German designer took over the 2,000-year-old, iconic Great Wall of China and turned it into the longest runway ever.

FENDI The Great Wall Of China 2007 – thevou.com

Visible from space, the breathtaking show of strobe lights and gigantic Fendi logos projected onto the mountains, accompanied by a rare audience of 500 VIPs, was an absolute hit.

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12/29 PIERRE CARDIN

The Silk Road 2007

PIERRE CARDIN The Silk Road 2007 – thevou.com

Pierre Cardin’s 2007 ‘Silk Road’ is another unique runway show worth styling and history books.

Organized on the whistling sand mountains of Dunhuang and along the dunes of the Mingsha Shan mountain desert, Cardin’s catwalk was a direct suggestion to Marco Polo’s travels to China over seven centuries ago.

PIERRE CARDIN The Silk Road 2007 – thevou.com

Set up on the iconic Silk Road, the trade route connecting textiles merchants from Europe with Asia, Cardin’s models paraded over two hundred mesmerizing silk creations in front of over 200,000 selected guests.

The entire industry hailed Cardin’s fashion show, from event organizers to fashion designers and fashion journalists.

13/29 LOUIS VUITTON

Spring/Summer 2008

LOUIS VUITTON Spring/Summer 2008 Fashion Show – thevou.com

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Marc Jacobs for Louis Vuitton’s Spring/Summer 2008 collection resurfaced as a popular Instagram post, talked about by fashion fans at the beginning of the COVID-19 pandemic.

Marc Jacobs himself even posted about it and looking at the styles that paraded the 2008 show, there’s no surprise why.

Jacobs sent down 12 models in sheer nurse uniforms and letters spelling out the brand’s name on their nurse’s caps.

LOUIS VUITTON Spring/Summer 2008 Fashion Show – thevou.com

The most time-relevant part was the sheer black surgical masks with the iconic LV monogram print.

The inspiration came from the Richard Prince nurse paintings, one of which became the cover of Sonic Youth’s 2004 album, Sonic Nurse.

Each nurse also carried a monogram LV bag with Prince’s Jokes series painted on the side.

14/29 MAISON MARTIN MARGIELA

Spring/Summer 2009

MAISON MARTIN MARGIELA Spring/Summer 2009 Fashion Show – thevou.com

Notoriously elusive designer Martin Margiela celebrated two decades at the helm of his namesake label by showcasing his greatest hits on the runway.

Some essential pieces celebrated at the 2009 Margiela show were the synthetic wigs of autumn/winter 1995 styled as power shoulders on bodysuits and a reworked version of the autumn/winter 2005 circle leather jacket that still sends die-hard fashion fans into a frenzy.

MAISON MARTIN MARGIELA Spring/Summer 2009 Fashion Show – thevou.com

Maison Margiela’s SS 2009 fashion show ended with an equally famous giant white birthday cake worth checking if you don’t know what I am talking about.

MAISON MARTIN MARGIELA Spring/Summer 2009 Fashion Show – thevou.com

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15/29 ALEXANDER MCQUEEN

Plato’s Atlantis 2010

ALEXANDER MCQUEEN Plato’s Atlantis 2010 Fashion Show – thevou.com

McQueen’s Plato’s Atlantis was the British designer’s final show before his untimely death.

Described as otherworldly, the show was a commentary on global warming and evolution.

McQueen imagined what would happen if ice caps melted, sea levels rose, and humans evolved to survive.

Evolution was shown in the futuristic hair and makeup choices: models donned horn-like braids or teased masses and no eyebrows.

ALEXANDER MCQUEEN Plato’s Atlantis 2010 Fashion Show – thevou.com

The digitally printed dresses and robot arms holding cameras projecting the show on screens set our years in the future.

But the real showstoppers were the “Armadillo” boot, 30cm high and carved from wood.

ALEXANDER MCQUEEN Plato’s Atlantis 2010 Fashion Show – thevou.com

The shoes were often seen on Lady Gaga, who tweeted a link to the show because she was debuting her single, causing the site to crash from the traffic of her millions of followers.

16/29 DIOR

Spring/Summer Couture 2012

DIOR Spring/Summer Couture 2012 Fashion Show – thevou.com

One of the first Dior Couture collections without John Galliano received mixed reviews from the fashion critics of those days.

With the motto “anything goes” with models wearing clown makeup and hair sticking straight up, Galliano was the king of extravagant runways.

DIOR Spring/Summer Couture 2012 Fashion Show – thevou.com

Thus, it was no surprise when Bill Gaytten sent models on the catwalk wearing minimal outfits and fresh-faced makeup in what critics described as underwhelming.

But a closer look at the collection shows it’s not just about pretty dresses, but what goes into making those dresses.

There were references to Dior’s iconic bar jacket, this time with contrast stitching and a half-pleated skirt, almost like they ran out of time while making it.

The whole show honored the making of the brand, taking place in the building where Dior became Dior.

DIOR Spring/Summer Couture 2012 Fashion Show – thevou.com

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17/29 CHANEL

Spring/Summer 2012

CHANEL Spring/Summer 2012 Fashion Show – thevou.com

The concept of the fashion show as a spectacle filtered up to some of the world’s top fashion brands (and most significant budgets).

None were willing to flaunt the wealth of their multibillion-dollar juggernaut like the late great Karl Lagerfeld.

CHANEL Spring/Summer 2012 Fashion Show – thevou.com

Held in Paris’s Grand Palais, the designer loved to heavily theme runways, taking showgoers to Chanel-branded supermarkets, protest marches, and even on-stage rocket launching pads.

Equally, Lagerfeld’s 2012 show was a unique under-the-sea fantasia that concluded with Florence Welch emerging, Venus-like, from a clamshell in a pearly white couture gown to sing her track, What the Water Gave Me.

18/29 JEAN PAUL GAULTIER

Spring/Summer 2014

JEAN PAUL GAULTIER Spring/Summer 2014 Fashion Show – thevou.com

Gaultier’s runways were always highly animated, and this one was nothing short of a party.

The show started with three judges sitting at a table and models standing behind them holding audition number cards.

One-by-one, the models stepped out in front of the table, made a little dance move, and walked down the runway, leaving the judges to hold up cards with reactions.

JEAN PAUL GAULTIER Spring/Summer 2014 Fashion Show – thevou.com

Some models between segments got to perform choreographed dances; Coco Rocha took on the “You’re The One That I Want” dance from Grease, and Karlie Kloss showed off her voguing skills to “Let’s Have A Kiki.”

All models danced down the runway in one big parade of high fashion and joy for the closing moment.

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19/29 CHANEL

Fall/Winter 2014

CHANEL Fall/Winter 2014 Fashion Show – thevou.com

The only things that could have outdone Karl Lagerfeld’s perfected versions of a Chanel tweed skirt suit were his fashion shows.

For Chanel’s Fall 2014 collection, Lagerfeld created an entire supermarket in the Grand Palais.

CHANEL Fall/Winter 2014 Fashion Show – thevou.com

Guests wandered the aisles before taking their seats, looking at over a hundred thousand items labeled with references to the fashion house.

Models carried Chanel bags in shopping baskets that were given the Chanel treatment of gold chain and leather, and some packs were even wrapped up in plastic-like fresh meat.

There’s nothing like including a $4,000+ milk carton-shaped purse in a collection meant to comment on consumerism.

20/29 RICK OWENS

Spring/Summer 2014

RICK OWENS Spring/Summer 2014 Fashion Show – thevou.com

When it comes to Rick Owens’s shows, it is hard to know what to expect.

Whether blasting out plumes of colored smoke to obscure the runway or strapping models to other models’ backs, the designer’s unique concepts have become his calling card.

Owens enlisted a step team for the spring/summer 2014 Paris show, a blend of military drill and cheerleading from Historically Black Colleges and Universities (HBCUs).

RICK OWENS Spring/Summer 2014 Fashion Show – thevou.com

There, Owens introduced corners of the performing arts that have been historically overlooked to an entirely new audience, making an effort to shift outdated cultural stereotypes.

21/29 VIKTOR & ROLF

Fall/Winter Couture 2015

VIKTOR & ROLF Fall/Winter Couture 2015 Fashion Show – thevou.com

Viktor & Rolf’s 2015 Couture fashion show is the perfect example of how art and fashion form a common ground.

The show started with a model in a blue smock, wrapped in what resembled an entire canvas, frame, and all.

VIKTOR & ROLF Fall/Winter Couture 2015 Fashion Show – thevou.com

The real magic started when the designers came on stage, removed a similar canvas-Esque skirt from the second model, and hung it on the wall.

The canvases became increasingly complex, the final one being a triptych which, when hung, had the painting spilling over three frames.

VIKTOR & ROLF Fall/Winter Couture 2015 Fashion Show – thevou.com

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22/29 KANYE WEST

Madison Square Garden 2016

KANYE WEST Madison Square Garden 2016 Fashion Show – thevou.com

Part of the last fashion decade, Kanye West’s 2016 fashion show at Madison Square Garden is a world apart.

Organized in collaboration with Vanessa Beecroft, an Italian contemporary artist, Kanye’s show was constructed around the relationship between the fashion and music industries.

Inspired by the 80s fashion rave subcultures, Kanye’s fashion show was orchestrated as a contemporary reinterpretation of those times and a touch of Paris Fashion Week, visited by Kanye the year before.

Supremely choreographed by the American fashion designer and supported by top modeling agencies, Naomi Campbell’s appearance bestowed the event right on the runway.

KANYE WEST Madison Square Garden 2016 Fashion Show – thevou.com

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23/29 CHANEL

Sky’s The Limit 2017

CHANEL Sky’s The Limit 2017 Fashion Show – thevou.com

Hailed as one of the most extravagant fashion shows ever by a list of top fashion designers and A guest list, including Gabriela Hearst, Michael Kors, and Marc Jacobs, Chanel’s 2017 show reinvented the concept of runway modeling.

Chanel’s 2017 fashion show turned the Grand Palais into a space station, hosting a Chanel-branded spaceship that eventually took off.

Packed with sensory experiences and supported by a whopping $1.46 billion spent on advertising campaigns that year, Chanel’s 2017 fashion show was an open letter of what was coming.

CHANEL Sky’s The Limit 2017 Fashion Show – thevou.com

Backstage, the team dressed the models in mostly grey clothing and black and white chiffon evening gowns.

True to Chanel form, the designer also included layers of pearl accents, representing intergalactic particles and a homage to the French fashion house.

Reimagining a heritage brand in new ways, season after season, Karl Lagerfeld took Chanel to new heights that underscored his artistic genius without abandoning the brand’s signature style.

24/29 VERSACE

Spring/Summer 2018

VERSACE Spring/Summer 2018 Fashion Show – thevou.com

Versace’s Spring 2018 show was Donatella’s most beautiful tribute to her late brother Gianni.

The Italian designer included references to her brother’s collections from the 90s, scattered throughout the show, from the logos and prints to model choices and the soundtrack.

VERSACE Spring/Summer 2018 Fashion Show – thevou.com

The soundtrack was a voiceover of Donatella speaking about Gianni, and the logo was the original Versace logo from the 80s fashion.

The designer also showcased dresses with Vogue Magazine and Marilyn Monroe prints from the Spring 1991 collection, the baroque Versace medusa prints from Spring 1992, and butterfly-printed cocktail dresses calling back to the Spring 1995 collection.

VERSACE Spring/Summer 2018 Fashion Show – thevou.com

The most iconic moment came from the finale, where Gianni’s favorite models, Carla Bruni, Claudia Schiffer, Naomi Campbell, Cindy Crawford, and Helena Christensen, walked down the runway in gold chainmail dresses.

VERSACE Spring/Summer 2018 Fashion Show – thevou.com

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25/29 MOSCHINO

Resort 2019

MOSCHINO Resort 2019 Fashion Show – thevou.com

The relationship between fashion and performance can also serve as pure camp entertainment — and nobody understands the unbridled joy and frippery of camp more than Jeremy Scott.

MOSCHINO Resort 2019 Fashion Show – thevou.com

For the Italian house’s 2019 resort collection, Scott staged a circus-themed pageant in the heart of Los Angeles.

Embracing the role of a ringleader in all its razzle-dazzle tackiness, the finale saw circus performers (along with RuPaul’s Drag Race star and burlesque performer Violet Chachki) finish with a show-stopping aerial acrobatics routine.

MOSCHINO Resort 2019 Fashion Show – thevou.com

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26/29 DIOR

Spring/Summer 2019

DIOR Spring/Summer 2019 Fashion Show – thevou.com

Maria Grazia Chiuri’s unapologetically feminist vision has seen her celebrate influential female artists and performers from across the globe, from Nigerian writer Chimamanda Ngozi Adichie to Mexican rodeo horseriders.

DIOR Spring/Summer 2019 Fashion Show – thevou.com

For Dior’s spring/summer 2019 show, Chiuri turned her gaze to the Israeli choreographer Sharon Eyal, founder of the Batsheva Dance Company.

The designer’s regular muses — Ruth Bell, Adesuwa, and Selena Forrest, weaved across a broad, petal-strewn set as dancers shimmied in tribute to the legendary American dancer Martha Graham.

DIOR Spring/Summer 2019 Fashion Show – thevou.com

The event was a refreshingly feminine take on a fashion catwalk spectacle’s often aggressive, alpha-male energy.

27/29 PYER MOSS

Spring/Summer 2020

PYER MOSS Spring/Summer 2020 Fashion Show – thevou.com

Since co-founding the Tabernacle Drip Choir in 2015, Kerby Jean-Raymond used the runway shows for Pyer Moss to showcase the ensemble’s extraordinary talents, with setlists covering a mix of gospel, hip-hop, and blues.

As the band’s numbers have changed, Jean-Raymond’s return to New York Fashion Week had to be done with a bang after a season off.

This time, there were 90 members riffing on the history of black music, from Donny Hathaway to Cardi B.

PYER MOSS Spring/Summer 2020 Fashion Show – thevou.com

Most notable, however, was his tribute to Sister Rosetta Tharpe, the black female gospel singer famous during the 1930s and 1940s, who is often overlooked in her contributions to rock’n’roll.

Jean-Raymond might have been looking to the past, but he made history this year by celebrating black music and its relationship to style.

PYER MOSS Spring/Summer 2020 Fashion Show – thevou.com

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28/29 MOSCHINO

Spring/Summer 2021

MOSCHINO Spring/Summer 2021 Fashion Show – thevou.com

And here we are at the world’s first-ever virtual fashion week.

For the brand’s 2021 fashion show, Jeremy Scott, Moschino’s creative director, decided to take inspiration from the couture collections of Théâtre de la Mode in 1945.

The idea originated from Robert Ricci, who realized that many French fashion houses were on the verge of closing due to a lack of funds, scarcity of materials, and clients’ inability to travel.

MOSCHINO Spring/Summer 2021 Fashion Show – thevou.com

Nearly 60 couture houses donated materials to be made into miniature versions of the designs on offer.

The miniature dresses were fitted on mannequins that were just over 2 feet tall.

The exhibition featured 237 looks, opening at The Louvre in Paris and raising millions of francs for war relief.

The exhibit eventually went on to tour the world and is currently part of the Maryhill Museum of Art’s collection.

Similarly, Jeremy Scott made 40 looks for miniature marionettes reminiscent of some of his favorite models.

MOSCHINO Spring/Summer 2021 Fashion Show – thevou.com

The mini models were sent down a runway lined with mini puppet replicas of some of fashion’s most notorious front-row guests, including Anna Wintour and Hamish Bowles.

Surprisingly, Scott wasn’t the only designer to pull inspiration from this concept.

Dior created a short film where mythical creatures were presented with miniature versions of dresses featured in their Fall 2020 Couture collection.

29/29 CHANEL

Fall 2022

CHANEL Fall 2022 Fashion Show – thevou.com

Held at the Grand Palais Éphémère – wholly done up in tweed – earthy light brown for the seats, black with shots of pop colors on the walls, and pale green for the runway – Chanel’s 2022 fashion show represented Scotland’s river Tweed.

The region was ground well-trod by Gabrielle Chanel; company lore has it that on her countryside walks, she gathered flowers and greenery as references for the colors she wanted from the fabric makers there.

CHANEL Fall 2022 Fashion Show – thevou.com

The fashion show packed unique multi-pocket hunting jackets and coats incorporating downy-looking fleece and Duke of Westminster-like jackets inspired by his lodge in Lochmore and the Eaton Hall country house terrace.

Viard completed the show with a getaway spirit of colorful thick-ribbed tights, rubber Wellies, and thigh-high waders stamped with the famous interlocking double Cs.

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Conclusion

The combination of fashion with music and technology has led to a new breed of digital fashion shows.

Modern fashion shows broadcast in real-time to a global audience employ singers, dancers, models, and on-stage performers, music-synchronized and supported by autonomous laser-bearing drones.

Used as communication platforms by annual fashion catwalks, fashion shows have become an appealing form of entertainment able to leverage tribal affiliations through emotional and technological extravagance.

However, fashion brands benefit not only from recent technological developments, as anyone with an internet connection can get a glimpse of the styles coming out next season before appearing in glossy printed magazines and experiencing the latest fashion trends from the “front-row seat.”

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