Featherweight chiffon laid against hard concrete intrigues in these shots by London-based (and German-born) film photographer, Theresa Marx. Maybe there is something that gets lost in the digital film process. I’m not really sure. All I know is that I’ve never seen blonde hair look this gold, or glass and sky that looked this crystalline.
Marx certainly has a skilled hand when it comes to fashion editorials. After all, she did study womenswear design at Central St. Martins. While interning at Chanel and Chloé, her interest in fashion slowly transformed from design to image making. She was drawn to the photographer’s ability to create desire in the viewers, and inspire them to dream. Yes, dreaminess is never far from her work. Models look like they’re in complete reverie, lost in thought, as the monuments behind them tower in size and scale. Being also a fan of architecture, I love the way she uses the geometric lines of buildings in her fashion photography work. It’s an A+ combo, that’s for sure.
Marx has shot for magazines like Vulkan, Vein, and Zeum. She has also collaborated with designers like Rejina Pyo and Hyon Park in the production of their lookbooks. Stay tuned in the coming days for more coverage of Marx’s work.
Images via Theresa Marx
I was tipped off about Co’s Resort 2016 collection by my dear pal and collaborator, Chelsea. Much like her reaction to the designs, I was impressed by the minimal-with-a-touch-of-70s-boho aesthetic of the collection. Silhouettes are relaxed and flowing, but unfussy. As much as I like elements of 70s-inspired style, a lot of it—the maxi dresses, the frilly collars, the prints—don’t really appeal to my taste for structure and simplicity. Co designers Stephanie Danan and Justin Kern have always had an affinity for clean lines and refined colours, you can see it from any/all of their past collections. I appreciated the designers for staying true to their core brand, while casually flirting with this trend in order to maintain marketability. See the frilly dresses paired with structured coats, practical denim dresses embellished with sleeve ties, boyish Ts manufactured in silk velvet. I cannot get over the champagne silk velvet pieces. Especially the top… but especially the pants.
Images via style.com
You may remember the name Faustine Steinmetz from previous features here on The Pack. I’ve been following the young wunderkind ever since I saw the extremely strong denim work from her debut collection for AW14. Focused on quality, handmade production, and very limited runs, Steinmetz is one of a few “artisanal” designers out there who actually earns the label. Steinmetz isn’t concerned with trends. Her labours of love are atypical, complex, and utterly devoid of references to time periods. Artistic and meticulous to a fault, she creates garments from scratch for a specific type of woman, someone as disdainful of waste as Steinmetz is, perhaps. Or perhaps someone as dedicated to their work, and as unwavering in their principles as Steinmetz is.
In spite of (or because of) her rejection of trends, Steinmetz’s clothes more than hold their own among those produced by the world’s most forward-thinking designers. Her creative vision and technical skill caught the eye of the fashion giant LVMH group, and she was a finalist for this year’s Prize for Young Designers. Although she didn’t quite come out on top (competition was very very fierce), it doesn’t take away in the least from what will surely be a long, illustrious career.
You can contact Faustine to order a piece from her here.
Images via Faustine Steinmetz, Wonderland magazine, and Dazed