Valentin Yudashkin sent down an absolutely gorgeous and delicately feminine collection for his Spring/Summer 2015 collection. Flower appliqué and immaculately precise stitching accompanied ethereal silhouettes. There were billowing skirts, elegant daywear and pink floral pieces that personified Hans Christian Andersen’s Thumbelina. Hand-painted watercolors and pastels juxtaposed the metallic filigree in a strikingly luxurious way. When you lacquer something in gold, it becomes that much more precious.

The models looked like walking vases - an open canvas for blooming life and rejuvenation. The dresses could be mistaken for floral couture, as if a garden was blooming directly on them. A palette that consisted of the colors of clouds could only be fit for a modern Disney princess and her woodland nymph counterpart.

Photographed by Vogue Italia

aesthetic goals



Rhys Cooper Femme Fatale

  1. Australian based screen-print artist Rhys Cooper. With a brand new body of work, Rhys embarks on a portrait series of influential women from the world of popular culture. His ‘femme fatales’ come from all over, from childhood stories to comic books, these women are iconic in one prolific way or another. Themes of female power and womanly authority play a large role in this new body of work and imagery of a violent nature, such as barbed thorns and ferocious winds all attribute to the fierce quality of these ladies and create a tense and seductive platform for Rhys’s figures. 

Packed with immense detail and vibrant punchy colors, this series of screen prints are mostly all confined to Rhys’s signature narrow format. This preparation transforms these portraits into war-like banners, especially considering their aggressive aesthetic. With their bold illustrative nature and dark motifs, Rhys transforms the ideological social constructs of femininity and creates a spectacular twist on female heroines, leaving the viewer both a bit terrified and intrigued. 

Femme Fatale seeks to explore the communal social consciousness by presenting figures are both instantly recognizable yet also utterly brand new and unique. His twists on the iconic female leads of childhood takes a mature twist; delving into Rhys’s work is like entering a shadowy surreal world, akin to a fantastical nightmare with a strong female lead.



Dan Tobin Smith's sweeping color gradient installation

Dan Tobin Smith's sweeping color gradient installation in his London studio is a sight behold. he wanted to create a huge installation out of thousands of unwanted objects. The result, The First Law of Kipple, opens in a couple of weeks and some early images of it suggest he’s turned all that waste into something rather beautiful…

Tobin Smith has assembled the 200 square metre installation in his studio as part of London Design Festival 2014. It is made up of thousands of objects that he has collected and that have been donated by the public via the website CallForKipple.com.

The objects are arranged chromatically and have been laid out across the studio floor with such care that the colours blend into one another seamlessly: reds flow into browns, pinks and purples; sea greens into shades of turquoise and dark blue.

When it opens on September 13, visitors will be able to walk through the work via a series of pathways.



'Sankai Juku’

Dance of the Dark Soul: Japanese Butoh.

Sankai Juku, “Unetsu”, 1987

The first series of photos to launch the new Theatre in Pictures project is by Alan Eglinton, a Paris-based freelance photographer. The subject is the Japanese Butoh company, Sankai Juku, and their celebrated work Unetsu – The Egg stands out of Curiosity, first performed in 1986. The two kanji that form the word ‘Unetsu’ (卵熱) translate as egg/ovum and heat/fever. The company was founded in 1975 by Amagatsu Ushio and the name ‘Sankai Juku’ translates as ’studio/school between mountain and sea’. Sankai Juku’s work is an important component of the ‘Second Wave’ of Butoh since it began in the 1960s. The photos included here are of a 2006 production at the Vaison-la-Romaine Dance Festival, France.

All images are © copyright of Alan Eglinton.




 Christian Gaillard

One cannot but admire the extravagant costumes worn by toreros, which echo the flamboyant style of 19th-century dandies and are meticulously embroidered using shiny golden and silver thread — thus earning them the name ‘suit of lights’ (or ‘traje de luces’ in Spanish).   in a detailed, almost photorealistic style. Influenced by the style of Spanish master Diego Velázquez, Gaillard’s subjects are placed against a dark background with their backs turned to the viewer, thus making their dazzling costumes the centre of attention.

Christian Gaillard’s impressive paintings are currently on display at the Connoisseur Art Gallery in Hong Kong, as part of the artist’s third solo exhibition in the city titled ‘De Luz’ (16-28 October, 2014)

NB: We are interrested by embroidery of Spanish extravagant costumes.
Because regarding bullfighting, we condemn these cruel old practices, bloody and sadistic. Knowing that the bulls are practically blind!