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sexrova: Louis Steyaert by Brett Lloyd, SSAW Magazine Spring 2013
Tian Yi photographed by Oliver Stalmans for Elle Vietnam May 2013
Nicknamed the “Peter Pan of fashion”, the “bad boy of couture” and the “angel with promise”, Jérôme Dreyfuss made a dazzling debut in the world of fashion. In 1997, before he had even presented his first fashion show, he had already been singled out for praise in the press. In a milieu where nothing is done half-way or dispassionately, the appearance at a Parisian party of Isabella Blow, high priestess of the avant-garde, wearing a dress made exclusively of layers of Scotch tape created a sensation that reverberated all the way to the Sunday Times and Vanity Fair, thus launching the career of the unknown young designer. In March of the following year, the virtually self-taught Dreyfuss presented his first collection in a joint show with Gaspard Yurkievich. His designs, which he calls “couture-to-wear”, work with daring juxtapositions of opposites in an unrestrained style that fearlessly mixes all genres. Very Victorian collars adorn see-through blouses worn with cow-skin ”little urban savage” skirts. Sedate square-tailored suits appear alongside sensual sheath dresses. The attention to detail in the accessories and decoration makes certain creations stand out, like the bleached-out denim dresses, the feathered head-dresses and breastplate necklaces, or the safety pin dresses. After studying briefly at Esmod and working as an intern for John Galliano, Jérôme Dreyfuss discovered his calling. As as assistant at Givenchy, he become a design consultant for the Elite Model Look international models’ competition and created a line of bags and shoes for the well-known agency. In October 1997, with the backing of an Indian financier, he founded his own company. In 1998, he received an ANDAM fellowship which enabled him to create his second collection.  Short evening dress in embroidered mesh with bare back and choker collar.Jérôme Dreyfuss (1998)  ANDAM: La Mode Contemporaine, STEIDLtext florence müller photography ola bergengren styling mattias karlsson
Jalouse, February 1997Lois & Nikki by Anette Aurell
Photographed by Willy Vanderperre for A Magazine curated by Haider Ackermann
comme des garçons s/s 1997 “lumps and bumps”
by Steven Klein for L’uomo Vogue
Veronique Branquinho fall 2000-01 This collection intends to present classical fabrics - which are considered as timeless and old fashioned - in a new and modern way. By mixing tailored pieces in Prince of Wales, Herringbone, pied-de-poule and gun club fabrics, with enlarged hounds tooth and herringbone detailed knitwear, a youthful silhouette is created.Knee length skirts with double hem are presented with woollen leggings in jacquard jersey and heavy knitwear tops or feminine silk blouses. Masculine but elegant tweed trench coats with contrasting fabric on the collar are mixed with wide and straight checked pants. Skirts and pants have sophisticated detailing such as a smoking or a plaited belt. Other striking details include bat-wing sleeves cut with a narrow shoulder and long jumper dresses worn with pants. As for coats, they are long and wide with pleated back, or collarless with a large volume on the body and straight on the hips. Turtlenecks are worn under woollen shirts with a woollen or silk neckerchief. Above these pieces a vest and undercoat are presented. by annick geenen, young belgian fashion design
delfine bafort backstage at christian lacroix spring summer 2002 
lipcrack-deactivated20130524: cool blog & i love your short hair!

thanks! growing it out though

alonesomes: “I love you I want the best for you”
cotonblanc: Detour, August 1997
midnight-charm: Eleonora Baumann by Brett Lloyd for SSAW S/S 2013
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