ERMITE FASHION: “Your Hands“ Autumn-Winter 17/18 Collection

A recent press release commission for the contemporary and ethical fashion brand ERMITE FASHION, Swiss handmade accessories for him and her. Thank you to Veronica Antonucci for supporting my work and her trust in my creativity. Find her new collection here and my contribution there.

For The Lujon Magazine: Designer Ben Mak Takes Out The Marchesa

She used to stroll down the streets of Venice, he, the pavements of Liverpool. The twilight got them reunited at a time that stopped, stuck in between the first half of the twentieth century Europe and today’s hyper real global era. Two creative spirits sharing the same run towards a

CSM Project: La Bourgeoise – She Doesn’t Even Go Here

Creative communication of Talia Loubaton, CSM MA Fashion designer, knitwear graduate collection, where the ’60s woman disturbs contemporary femininity and its social codes. Nothing romantic, just a woman. Chic and respectably not giving a f*%k about society. French cinema’s excellence re-interpreted within present mess. Screenplay mood and teaser’s voice over

A Collages Story – Julien David Ladies Summer 2017 Collection

My latest collages commission for 1Granary‘s piece about French designer Julien David and his Ladies Summer 2017 collection. A simplicity that loses no beauty, a game of lines that reveals hidden shapes. /C.    

She Twists, Pinches and Ties-Up: NY Designer Snow Xue Gao

Read how the Parsons graduate went from student to designer in a single night, my first commission for 1Granary – a very warm thank you for the trust and precious support. Interview with the adorable and incredibly talented Snow Xue Gao. Snow Xue Gao’s story, member of the hyper select class of

Fashion Illustration At The Somerset House: Richard Haines’ Strokes Of Good-Looking Souls

Considered as the prison to the soul in Antiquity, referring to Plato’s theory, the body went more recently through the lenses of modernity and got separated from the mind, becoming a supernumerary entity to be used only as a presence’s artefact (Le Breton 1999). Real, from the gaze to the