Friday, October 16, 2015 | ferragamo store com | ferragamo store com  Backstage at Salvatore Ferragamo Spring 2016
By Courtney Smith

“I didn’t want any softness or prettiness,” hairstylist Anthony Turner said of his shiny hair pulled back into a low, straight ponytail. “I wanted a bit of aggression. The girls needed to feel tough, antiromantic and rebellious.”

With L’OrĂ©al Professionnel products, Turner combed Tecni Art Glue through the hair, then up and off the face into a low side-part. The back of the hair was pulled into a low ponytail and Mythic Oil gave additional shine. “I want it to feel like plastic,” he said.

Makeup artist Diane Kendal for MAC Cosmetics expressed toughness via a filled-in eyebrow of ash-gray tones. “It’s quite boyish and straight-across, with the inner corner squared off and brushed-out,” she said.

Under the brow, gray and gold eye shadows from the Trend Forecast Spring 16 Eye Palette were layered onto the lids and blended up into the brow bone, then dusted with Tenderling Blush. On skin, extra shine was taken down with Blot Film blotting paper and Lip Conditioner was smoothed over lips laid with foundation. | Cheap Ferragamo Sale CO UK | Cheap Ferragamo Sale CO UK MILAN (AP) — A calm is permeating many Milan runways, as designers tone down the colors and focus on form, creating quieter moments that nonetheless have much to contemplate.
As with any trend, it wasn't unanimous and there were some unbridled fashion moments.
Here are some highlights from the fifth day of Milan Fashion Week previews of womenswear looks for next spring and summer:

U.S. Open winner Flavia Pennetta got a spontaneous round of applause from the front row of Ferragamo on Sunday, the fifth day of Milan Fashion Week.
The all-Italian final game between Pennetta and fellow Puglia-native Roberta Vinci captivated the nation, and Pennetta, who has announced her retirement, is being feted as a national star.
Pennetta, wearing a red Ferragamo lace dress and knit shawl, fielded half a dozen TV interviews before the show, delaying slightly the start. Backstage, designer Massimiliano Giornetti gave her a big hug and laughed that he had heard the applause from behind the scenes. Giornetti said he is a long-time friend and fan of Pennetta's, and has dressed her for sporting events in the past.
"I was in Los Angeles when Flavia was playing the U.S Open. I was like texting every five minutes to Flavia because I am a big, super fan," Giornetti said.
Dolce&Gabbana's exuberant collection for next summer paid homage to their native Italy, from Palermo in the south to Verona in the north, giving the country a much-needed ego boost.
Some of the most eye-catching, spirited looks celebrated Italy's 1950s and 1960s heyday, when Audrey Heburn scooted around Rome in a scarf and Dean Martin crooned "That's amore." Designers Domenico Dolce and Stefano Gabbana dubbed the collection "Italy is Love," a turn on the Martin phraseology, and while there were many nostalgic skirted sundresses and crocheted suits, they also created more contemporary looks.
The theater was set up to look like a market, and models casually overtook one other as if they were out for a stroll. Every once in a while, one stopped to take a selfie, as if to underline the of-the-moment nature of the collection. In the ultimate social media-fashion hookup, the pictures were immediately posted to Instagram and flashed on screens hanging in the theater.
Amid the romantic pageantry, there were sheer ruched silk dresses with built-in bra tops and body-hugging ruffled sundresses featuring black graphic strokes. With a wink to the past, the duo created high-waist polka dot bikinis, long lacy caftans with sequin appliques of long-ago seaside performers, and pretty 1950 sundresses.
Models wore turbans and tiaras, as well as profusely bejeweled sunglasses fit for any diva, even if only of her town's market, and carried Dolce&Gabbana shopping bags along with purses shaped like cameras or simple shopping baskets. The grand finale featured a parade of silken mini dresses with painted tributes to Italy's many great cities and sites, from Roma to Pisa and Portofino to Taormina — fashion postcards celebrating the best of a country that is beloved but still seeing its way out of economic doldrums.
Massimiliano Giornetti's collection for Salvatore Ferragamo is simplicity itself, an expression of quiet.
Giornetti took inspiration from timeless portraits of women in pensive, solitary moments, which hung backstage as a story board, and deduced from them the gently folded fabric, the soft ruffles and the draping that characterized the collection.
A white shirt was gathered gently along the neckline at with the same broad border at the short sleeves for a modern, structural look. It paired with a high-waist shiny black skirt. Big ruffles softened the silhouette of sundresses and tiered dresses were easy and laid-back. Prints were absent, with the color pallet bringing vibrancy to the looks, black-and-white, contrasted by rust, blue, pink and green.
While past Giornetti collections focused on Italian craftsmanship, the designer said this one explored a sense of lifestyle, and finding a balance between contrasts.
"It was what I was really looking for, a sense of lightness and a sense of simplicity," Giornetti said. "It is a collection much more about construction and less about surfaces."
The looks were finished with big dangling pearl earrings and matching pendant that swung gently with each step. Shoes were colorful and flat, including closed-toe sandals. Bags were mostly small shoulder bags.
Splat! Ketchup on your cocktail dress? Ink on your trousers? Egg on your face?
Mirko Fontana and Diego Marquez, the designers behind the au jour le jour label, have designed the answer, and it lies in a pop image of the popular laundry detergent Dash, which they made the central motif of the collection.
Speaking backstage before the show, Fontana called it "democratic fashion. Dash is a brand of washing detergent very popular in Italy."
The media-savvy young designers, whose 5-year-old brand is known for its easy-to-share motifs, got the go-ahead from Procter & Gamble, owners of the Dash brand, to use the image in their collection.
It shows up on go-go boots paired with a jacket with faux ink-spots, as hand-stitched sequins logo on tank dresses and as jewelry. Many garments bear fake stains from coffee, ketchup and egg, that sometimes have a camouflage effect.
They pair insisted the product placement wasn't promotional. "It's inspiration. We used something used by real people, and added some value to the fashion," Fontana said.
Missoni went tribal for next summer, with bold stripes and zig-zags, veering from disciplined black-and-white to explosions of color.
Angela Missoni said before the show that the collection goes back to roots: "Missoni roots in graphics, and the root of humanity, so I went back to Africa."
She combined dark tones of browns and blacks with red, fuchsia together with pink, or yellows with blues and greens.
The silhouette expresses the freedom of the looks. The dresses were fluid, both A-line and straight, while the pants were wide suggesting skirts or slim cigarette trouser. They were often worn with long, trailing ribbed knitwear that was nearly transparent. Long scarves are criss-crossed over the front and tied in the back to create a shrug.
Missoni said that for her, the ideal Missoni woman is ageless.
"When I can manage to dress, not always, but when I can manage to dress my daughters and their girlfriends, my girlfriends and my mother's girlfriends, this makes me so happy and I think I have achieved," she said. "Missoni is not about age but about your spirit."
At Missoni, fashion is a family business and taking a front-row spot was Johnny, the family bulldog, who spent most of the show napping.
Marni's looks for next season are post-pop art graphic, featuring architectural shapes, big shapes and bold, contrasting monotones.
With its oversized structural silhouette, big polka dots and graphic prints, the collection would make a great coloring book — except then you'd miss all the textures: fur, satin, velvet and sequins.
Pants are super-wide with an added element, a sort of wing or fin down the outside seam, as if they were a 1950s Cadillac. They are worn with layered tops, like a canary yellow apron-top with black straps over a forest green T-shirt.
Dresses were layered, often in unorthodox color combinations and with bold cutouts: a royal blue dress was worn over a yellow-perforated tunic topping a final red layer. When long, sleeves hung exaggeratedly over the hands. Sometimes contrasting sequins peeked out of the hemline cutouts, creating a sculptural effect.
Handbags, in unusual shapes like a folded tulip, have chunky chains that can be wrapped around the wrist like bracelets. A big bow sits on the shoulder in larger cross-body models — integrated as part of the geometry. Square-toed shoes finish the looks.
Sian Watson contributed to this report.

Sunday, October 11, 2015

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THERE WAS A TIME when no self-respecting fashion editor would be caught dead in a pair of flats. But these days, the front row have their feet firmly on the ground, in glamorous loafers, dainty pointy-toed flats, bejeweled sneakers or luxe pool sliders. High fashion, it seems, no longer requires high heels.

The spring runways must have been a sight for sore feet: Flats were everywhere, from Balenciaga’s crisscross ballerina editions (£305, ) to Chanel’s black and white ankle-strapped, cutout loafers (£740, ) and Dolce & Gabbana’s ornate Mary Janes (£875, ). Even Victoria Beckham—she of the skyscraper stilts—has not only embraced the grounded look on her runway with slick, mannish leopard flats, but also in her own wardrobe, stepping out in Saint Laurent lace-ups (£475, ).

But these are no ordinary runabouts we’re dealing with here. This season’s flat is a seriously souped-up creature that has taken the heelless look into new, dressed-up and—dare we say it—sexy territory.

“Everything spoke so vividly to my soul,” Stendhal wrote in the 19th century of the Renaissance artworks with which Florence is so richly endowed.

Today, a visitor to Florence could be stricken by a modern-day variant of that syndrome, simply faced with the treasures arrayed on counters and shelves in the city’s jewel-box shops and artisan ateliers. And it can happen at price points at both ends of the spectrum.

It could happen at the Officina Profumo-Farmaceutica di Santa Maria Novella, where shopping for sweet rosewater and ancient herbal elixirs is a near-religious experience. It could happen in a side-street showroom of one of the city’s bespoke shoemakers, where gleaming, handcrafted leather brogues look like sculptures too beautiful to touch, let alone put on one’s feet. Or at the atelier of Lorenzo Villoresi, as the perfumer performs the meditative alchemy that will result in a signature scent, or at Antico Setificio Fiorentino, where the centuries-old looms can lull you into a trance while they weave sumptuous silks fit for royalty.

But my Stendhal moment struck at Ferragamo.

Joined by my friend Jessie, who was visiting from New York, I walked the length of Via de’ Tornabuoni, the epicenter of Florentine Alta Moda. At the southern end of the street, in a grand medieval palazzo, is the flagship store that Salvatore Ferragamo opened in 1937. Today the stone edifice also houses the Ferragamo Museo, which documents the life of the shoemaker who created trendsetting designs for Hollywood stars like Marilyn Monroe.

But we were there for the shoes. We entered a hushed salon awash in hues of beige and the heady scent of leather. Along the walls was a rainbow — plum patent leather heels, blue suede moccasins, cherry-red flats with prim grosgrain bows. We were both drawn to a pair of seductively high heels in wool houndstooth. Terribly impractical for both my budget and the cobblestones with which all Italian residents must contend, the heels went home with Jessie. I contented myself with a more sensible splurge: classic ballerinas in supple black leather. (Prices go up to 1,000 euros for shoes — nearly $1,100 at $1.10 to the euro — though most fall between 300 to 500 euros.)

Yet like a love that slipped away, the houndstooth heels still haunt my thoughts on every return to Florence. I imagine a secondhand pair might one day turn up at my favorite vintage store, Marie Antoinette, which opened a year and a half ago in an alley behind Ferragamo. The shop stocks pristine secondhand as well as new pieces from local designers, so you can score like-new Gucci hobo bags, candy-colored Miu Miu heels and suede Proenza Schouler satchels for prices that are surprisingly reasonable, though still far from frugal — about half of what they cost new in the designer stores. Many bags are under 1,000 euros.

Truly great deals were once easy to find in Florence’s markets, like sprawling San Lorenzo where stall after stall is filled with leather goods of varying provenance and quality. Sadly, that is often no longer the case. Skeptics may save their euros for a purchase at the Scuola del Cuoio in Santa Croce, where you can watch master craftsmen make top-handle totes and roomy overnight bags that are sold on-site for a fraction of what they’d likely cost in the States. Most items are in the 300- to 400-euro range, more for exotic leathers.  Salvatore Ferragamo Low Heel Pumps Women's Shoes

But a little risk at the market can still yield great rewards. Years ago, my husband artfully bargained down the price of a cognac leather briefcase at the Mercato del Porcellino, ultimately obtained for 75 euros. It may not be Ferragamo, but after years of wear from daily use, the Italian leather has never looked better.