#** scene in backstage ** (muse commentary)

[razowor-backup]

"Is 'gyatt' food?" He got too curious. Maybe hungry as well.

[multiverseofmisfits]

"Whose chest is softer? Ei's or Mavuika's?"

[razowor]

Everyone seems to be showing off their bodies. On the other hand, Razette could only look down on her chest and- oh.

[sunnytanj]

"What's a matter baby and why are they suddenly talking about it?"

[password-door-lock]

Mystictober Day 16-- Theater

You and Saeran discuss Zekyll and White before watching Zen’s performance (866 words).

“Do we have everything we need, my love?” Saeran asks as the two of you linger outside the door to the theater. 

You consider the question, patting your pockets. “Tickets, check. Here’s yours.” You hand Saeran the small cardstock slip. “VIP badges, check.” You tug at the sky blue lanyard around your neck, which indeed contains the laminated VIP badge which will get you backstage after the show. “Flowers for Zen, check.” Saeran is holding the bouquet, which he put together specifically for this event. “Shoes, pants, shirts, et cetera, check. Am I missing anything, dear?” 

Saeran giggles at your joke. “I don’t think so, my sweet. Let’s go in.”

“Alright. Let’s go in.”

You take Saeran’s arm with an air of elegance which only serves to exacerbate his giggling as you lead him into the wonderfully decorated venue for Zen’s performance. You’re over the moon to be seeing your friend’s latest musical, especially after hearing so much about it on the messenger. You and Saeran settle into your assigned seats, which, of course, allow an amazing view of the stage.

“It’s a good thing they postponed this until after the trouble with your father was over,” you whisper to Saeran as the other members of the audience begin to file in. “I would’ve hated to miss Zen’s show.”

You know Zen has worked very hard for this— as has Yoosung, for that matter— and that he would have been devastated if you and the twins had missed the production. The director was very understanding of the safety concerns faced by the entire RFA, including Zen, and so he agreed to the rescheduling. The entire group will be able to make it to the theater, and then to the late dinner you’ve planned for this evening. 

“And it gave me time to read the book,” Saeran reminds you. He’s spent the past day-and-a-half or so utterly engrossed in his copy of The Strange Case of Dr. Zekyll and Mr. White. The novel is short, but Saeran, as it turns out, is a very close reader. He annotates his books carefully, with neat commentary written on removable notes so as not to damage the pages. 

“Hm,” you hum. “What did you think of it?” This subject has been bothering you for a while— you worry that Saeran might not feel comfortable with the portrayal of Mr. White, considering the things that he was told about himself at Magenta. As you understand it, one of his reasons for reading the book prior to the show was to ensure that he’d be prepared for the topics of the musical. An adaptation like this could easily turn into a cruel caricature if not executed with requisite care. 

“The novel is just about how everyone has a mix of good and evil in them,” he explains, “Mr. White was created by the author to make the point that nobody in real life is completely evil. I don’t relate to the story very much… Saeran wasn’t evil, and neither was Ray, no matter what Rika told me. I’m strong enough now to understand that’s the case, but the book was still interesting to read.” Per usual, Saeran’s understanding of the media is nuanced and complex. You get the feeling that he wants to say more, and you’re looking forward to talking it through with him on the drive home. 

“It was written a long time ago,” you muse. “But I can’t wait to see Zen playing both characters. I know this was a huge challenge for him.”

“Mm,” Saeran offers you a contemplative hum, “Especially considering that White is supposed to be shorter than Zekyll. I wonder how they’ll show the scene where Zekyll’s employee meets White and doesn’t recognize him.” 

“Well, I guess that’s the magic of theater,” you shrug. “I’m sure the costume changes are going to have to be really quick.” But you know Zen can handle it. He once told you that his fastest complete costume change took him only fourteen seconds.

“It might get confusing to have one actor playing both parts,” Saeran muses, “But Zen is good at his job. I’m sure he’ll pull it off. Although… I’m curious to see how the adaptation will be structured, since the book doesn’t have much plot until the very end when the main character reads the doctor’s letter. If they show the story in chronological order, it might ruin the mystery.”

“You know what, now that I think about it, what happens in Zekyll and White?” You’re familiar with the concept, of course, but you don’t know anything about the actual plot of the novel. Maybe you should’ve read it alongside Saeran to better prepare for the show. 

“Shh, my love,” Saeran shushes you gently, with a loving hand on your wrist. “The lights are coming down. You’ll just have to wait and see what happens, won’t you?”

“Oh, you’re right, darling,” you whisper. You were too engrossed in the discussion to notice the lowered lights without prompting, apparently. “We’ll have to continue this discussion later, though. I want to hear your thoughts about the play.”

“Mhm,” Saeran agrees, holding your hand tight as the curtain is raised. 

[goldzweig]

12:15pm - GRAPEVINE EPISODE #46: The episode fades in to the sound of various clips from news coverage of the music festival over the weekend.

Each piece of audio sets the scene - there’s a “before” video in which someone expresses excitement, having just reviewed the lineup. Another, from a local radio station, announcing the location, the date, the headlining bands. There’s all the usual buzz words - anticipated, must-attend, free. Overestimations of the festival as the event to ring in the end of summer. The clips are disparate, and overlapping, layering until it’s hard to make out any one voice.

And then, there’s a volta as the overlapping voices give way to one a single clip, pulled from a small-time YouTube "news” channel, layered over a very funky song. The voice reports: “Attendees of a local New York City music festival are still trying to determine what exactly happened at the event over the weekend, after an unlisted act took the stage and the entire audience broke out into an impressive flash mob that none of them recall rehearsing for. I’m in the studio with-” And the voice fades out, cut off by artfully edited in static, as the intro tapers off, finally giving way to a familiar voice.

“If you live in New York, maybe you heard about what happened at this festival over the weekend. Or maybe you didn’t. Let’s face it, so much fucked up shit happens around here, I don’t blame you if you can’t keep up with all of it. 

“It’s easy to tune it out, to let it fade into the background like an underscore. Until it happens to you. And the real stories? The real stories are so much fucking weirder and better than any of the rumors.

“So if you haven’t heard about New York’s latest wild one, stick around. Because fuck, guys. Do I have a story for you.”

-- Objectively, it’s the most interesting, coherent episode of her podcast she’s put out so far, and for good reason. Her raw audio isn’t the best at times, muffled when she had to shove her microphone in her purse, almost entirely drowned out by the sound of her drumming, but when she trims away at the excess or unusable material, the narrative almost writes itself. 

Throughout, the raw footage is dispersed with exposition, clarifying details where the actual events are shaky, using the audio to corroborate her story, using the explanation to corroborate the wild rumors that have been circulating since the event. 

This is how she frames the events:

It starts in media res. An unscheduled act has taken the stage in the middle of a planned event, after what sounds like an altercation takes place backstage. As soon as S Ray, the musician in question, starts playing, the audience falls into a trance, dancing in synchronicity. This is where Rivkah’s recorder clicks on, and she starts pulling audio. 

She describes the feeling, even with her headphones on, of feeling detached from herself, compelled away from her own sense of free will. She explains how the they discovered that the more interference they created with her ability to hear the music, the more sound of mind they felt. She highlights the moment she turns up the levels on her Zoom recorder, filling the audio with the sound of static to cancel the noise until she could get a chance to put the earplugs in, and readjust the levels. 

And then, the story takes a turn, sounding more and more like the plot of a very weird movie. She leans heavily on the audio to make her tale at all believable. Rivkah leaves in the best clips - realtime jokes they exchanged, S Ray’s music in the background, about mind control and synchronized dancing. Making sure each of them had earplugs in and secure - in the ears, not up the nose. The audio of Rivkah bickering with Parker over who thought of the idea for a Battle of the Bands-esque scenario first. The group decides, with little commentary from Rivkah’s retrospective, to take up instruments and attempt to drown out the sound of S Ray’s song, in the hopes of freeing the zombified audience.

She plays the first few notes of their song, their amateur attempt at fighting back with the power of music. Here, Rivkah stops the tape. She reels, even with her script in front of her, for the right words to describe what happened visually. The sound avatars that emerged from each of them as their took up their instrumental weapons. She describes her own, the garish golden kangaroo, and S Ray’s, the cricket. She spends five minutes speaking in pure, unadulterated animation, and slowly brings the music into the background, competing songs eventually taking center stage.

And finally, the crowd comes back to life with their victory. To polish it off, Rivkah leaves in the clip of her rushing the mic at the end, plugging her own podcast to the disconcerted audience, before hopping off the stage - and the audio cuts out for good.

After almost all the facts are on the table, she gives herself the liberty of editorializing, bookending the story by cycling back to the very beginning. At the food tents, at a table selling water (and also jerk chicken), a man in fantastically vintage clothing hands off earplugs to each of them - which was weird, but charmingly eccentric - and makes a point to advertise his SoundCloud, passing off a business card. 

As for S Ray, she paints him as neither good nor bad. She confesses to his his talent, but voices a concern for the ethics of what can only be described as... mind control? She comments on the passivity in the media coverage, the complacency of New York in its acceptance of and desensitization to the weird. She reflects on the beauty in synchronicity of observing the crowd in unison, and finally - she admits to what she doesn’t know. She doesn’t know why it happened, or how, or if it ever will again. “If I had to guess,” she muses towards the end of the hour, “I can’t imagine that’s the last I’ll ever hear about that guy.” 

As a closing thought, she offers the only source she can for anyone that, like her, is still looking for more, true answers: Ray’s music, available now on SoundCloud. She promises to make the link available on her website. She advises anyone interested in the uncut audio to shoot her an email. And she signs off.

[diaryofasupergroupie]

Groupie Initiation (pt. 2)

My awakening of the previous night brought me into a state of need and urgency. I remember not being able to believe that people behaved like that. People would meet each other open the doors of the tour van and ravage their lips. I was never religious but getting kissed like that made me believe in sin. The school girl I still was left me replaying the words from the previous night over and over in my head. We have more shows this week, you should come. How dare he invite me to a world I knew nothing about! How dare he kiss me like I was a woman and then leave without telling me an address, a number, a time. At the start musicians will expect you to do all the leg work. You are a complete nobody no matter how pretty or funny or outrageous you are. They are a whole lot of somebodies – an immediate power imbalance that nobody in the scene wants to talk about.

I searched Myspace – now you have an insight on when I entered the scene - and I rifled through magazines and found their gig – a bus ride away. My sense of danger has never been good. Taking risks comes natural to me. I caught a bus that night all fishnet stockings, borrowed heels and hopeful eyes. I didn’t have my bus fair home. I didn’t tell anyone where I was really headed. All I brought was my cousin’s lipstick and a lighter. It was going to be a conversation starter with L and then the whole band. We would all joke about it and then D would kiss me again. The mind set of a teenager that obsessed with music and this new scene she had found was making her delusional. These were all also things no one should ever do. Each one of them could get a fourteen year old girl who wore her heart on her sleeve killed – besides maybe offering D a lighter.

I found the venue and headed in the equally dank, dark, grimy shoebox of a place without any ticket or money. My little heart was pounding and the only thing pulling me forwards was the way that the music had touched my soul in a way nothing else in my short life had. The man inside asked for my ticket. He was a huge bouncer like man that scared the life out of me. I actually came to know him quite well later – he was old Army and has three kids, two in university. I probably took a deep breath or maybe I stopped breathing all together. Most likely the latter, I used to panic a lot. “My tickets are inside.” I squeaked out and he let me past but regarded me with dangerous suspicion. I had broken the first barrier but I didn’t know enough about getting to the band to know what the next one was. Even that wouldn’t fly if I tried to enter the scene now.

Roadies were setting up onstage and were shouting orders while the early fans waited. They were barking at each other and flitting past security and through a doorway. They all had stickers on with their name written in scribbles. Tour laminates only really took place when bands start progressing. When they’re not big enough the expense is always too much. I didn’t have one of the stickers so I hung around the stage. My head went from side to side like an animal with paranoia someone was going to kick me out and leave me wanting. Eventually a group of them went backstage and I followed close behind. The best way to get back your first time is to blend. But that wouldn’t be possible now, security is so much tighter. You need to know someone to get back there. That’s why you can’t use this post as a guideline. It’s a lot harder now and you can’t just sneak backstage, especially if you’re not in a shoebox of a venue.

I followed the group of men wearing tired clothes and the door opened. Out walked D and L. D saw me and grinned. He was never charming back then, he was unapologetic. He called out to me and gave me a hug making the frenzy of anticipation that had held me all day get loose. Then I was pulled back and the big tough bouncer type looked down on me. I felt like all my hopes had been scattered, all my wishes had been dashed. I was here. I had everything in my grasp. “She’s with us.” D said. I felt like I had really achieved something. He let me go and I clung to D like a toddler clings to its mother. He gave me a quick kiss to remind me I was here and it wasn’t all just something I had made up in my head.

He took me to a room where the band were and I knew it was real. It’s a hard thing to describe to someone who has never been backstage, even in those tiny little rooms in those tiny little venues. Backstage isn’t a place, it’s a feeling. This time I’ll talk about that room and not the ones you get in arenas. It was tiny with a table for booze and some fold up chairs in the corner. There was a bowl of skittles balancing on an abandoned kick drum that someone was pouring cheap vodka into. The people are packed in like sardines and you can feel everyone’s breath when you make your way forward to get a drink. D poured me some vodka with soda and I took an unhealthy gulp. I had only drank a handful of times before. There were band guys on one side of the room, girls on the other and the odd one had fought through into no man’s land. It was like a school dance, except much edgier.

D asked me what I thought and I didn’t know a cool way to say everyone here were beautiful people who drank and smoked and did other equally rebellious things while I was pretending to be one of them secretly thinking about my curfew. I told D that it was cool but I had done this tons of times. He called me a liar. Everyone in the scene knows everyone, even the American girls know the British girls. I didn’t know that then though. He called over one of the girls in no man’s land and she was my first every experience of what a groupie was. There are different kinds of groupies, two kinds were there that night. There are those who wear tight dresses, too much make-up and are there to sleep with the band. Today they would just be called band whores – them suck off the band to name drop type girls. Then there were the other girls – the flower child, psychedelics, no bra, dreaming of the 60’s type girls. She was one of them girls who walked on air, that Woodstock type. She was a magical pixie with red wavy hair that brushed her waist. She was like Ariel on acid. Her skinny arms wrapped around me and pulled me to her chest engulfing me with her free spirit she would throw around like confetti and that clung to everything around her like glitter.

Her name was V. She was fifteen pretending to be eighteen. V linked arms with me and led me through the mass of bodies. She had a line of blue WKD bottles that were entirely reminiscent of a certain time and a certain place. In my ear she whispered a commentary to the backstage debauchery that in retrospect was very timid compared to what it would be like when the crowd changed later. There were girls standing in one corner who looked glamorous and alluring with long eyelashes and breasts that filled out their bras. They were with another band, a much bigger band. They were the old ones who were retiring. Groupies have a sell by date with anything over twenty eight getting thrown in the used pile. Everyone talks about the size of Connie Hamzy’s balls but no one actually wants to be her – on her knees, sucking off the singer, guitarist, drummer, bass player, tour manager, roadie and intern at the age of fifty. V and a couple of other girls were the next generation. They were first generation – groupies who didn’t know anyone. First generations are the ones who made their way backstage because of their own resilience. They were committed to the cause.

I said earlier that backstage isn’t a place it’s a feeling. Backstage is loud music, free beer and freedom. It is dancing on tables, junk food mixed with spirits, girls being pulled onto the knees of men who have guitars resting on the other. Backstage is the spirit of the music industry, the good parts without any of the deadlines or trivial interests. I was fourteen and out of my depth but I knew backstage was a place filled with geniuses and their muses doing what felt good because it felt good. That is why you can’t separate sex, drugs and rock’n’roll. You do what feels good. It is a selfish place.

D pulled me out with him when he went to go out. The older girls were watching me like disapproving mothers. D was their son and I was his shiny new toy. Who knew when he would use me and get bored? If you let them they will. He pushed me against the wall of the corridor in front of everyone and kissed me as he did before. His lips were against mine and everyone saw. God, I thought I had made it. I felt so important. He treated me rough and did what he wanted, no wonder I was always left wanting more. I was a girl who had been raised to take a peck on the cheek and he was showing me the reason we were born with lips. Deep in my stomach I felt a knot and it loosened when he pulled away. I tried to catch my breath but I would have given it all to him. He kissed me again which such vigour. I felt needed. There was so much need in between our lips.

Then he was grabbed by his shirt and pulled roughly against the opposite wall. L pushed him forwards and away from me leaving me exhausted and panting with no one looking up or even caring about the obvious display of blooming womanhood. V grabbed my hand and took me out after the band and to the back of the venue. Now girls stand side stage but back then they stood at the back unless they were brought on stage by the amp or behind the drummer. She didn’t say anything to me while the band played. We were one in the same, I found my soul sister. I didn’t talk or move. We felt the music and it went from the stage deep inside of me bringing feelings of unbridled ecstasy. To feel the music deep inside of you and get lost in it while the men who play it lose themselves too is goosebumps over the skin and sharp inhales leaving you breathless. To know those men know you and could be getting lost in you is selfish joy and school girl daydreams.

The gig had good music that had hot and sweaty bodies crashing into one another. V took me backstage and D came to me in the corridor. He was sweaty and his hair fell into his face as he pushed me into the pathetic excuse for a green room and pulled me down onto his lap. He pecked my neck which is daring and exciting when kisses have only been had on the lips. He tried to put his hand inside my tank top and through the attention and groupie baptism I had the sense to bat his hands away. He listened as he would always listen and kept me on his lap while the next band played. There were feet on the table and the bowl of skittles and vodka was being passed around but his arms were around my waist in ownership and this new girl wasn’t up for anyone. He had called dibs on the virgin pretending to be something she wasn’t.

The clean-up after was quick and all the other girls were drunk. A paid for a taxi back to our city for V and I. Before we left D gave me a quick kiss and took my number where he definitely saved my name followed by my city. The words he said ignited a need in me like he did the night before. “You’re different, you should keep coming to shows.” You can’t get a taste of being in the music no matter how briefly and just go back to drinking in parks and on the street. The music and the men who make it works its way inside of you. It did me, and I never could get it out.                 

[ladystylestores]

Buyers Weigh In – WWD

https://ift.tt/3gQaqhs

PARIS — The biggest winner of the virtual fashion week, it seems, was the real-life fashion show. 

A handful of buyers weighed in on the virtual presentations, which were broadly appreciated — varied and lively as they were — but many opined that nothing beats being in the same room.

Loewe stood out as a favorite of buyers, both for the collection and presentation, bridging the physical-digital divide with an interactive box of goodies that included fabric swatches and pop-out glasses stamped in cardboard. Casablanca caught attention, too, for a snazzy video presentation that swept the viewer off to a tropical paradise, where men in silky white shirts grooved to jazzy music before taking off in a bright red vintage sports car.

Dior men’s figured high on the list of buyer favorites, too, with particular praise for the collaboration with artist Amoako Boafo.

Brands take note: buyers said they want to see clothing in videos rather than a teaser. They did appreciate peeks into the design process — as offered by Rick Owens — or catching a whiff of what it’s like backstage at a fashion show — as seen in the Hermès film. Issey Miyake was also singled out, for the collection and spirited dance presentation. 

As for trends, fluid and easy elegance reigned, and pastels dominated the color palettes.

Here, a roundup of the Paris highlights from retailers.

Damien Paul, head of men’s wear, Matchesfashion, London

Favorite collections: Loewe, Rick Owens, Issey Miyake Homme Plissé and Hermès.

Best presentation: I enjoyed a lot of the presentations and the digital content, but the concept for Rick Owens stood out. It felt like a very special behind-the-scenes moment with the designer and to watch him style his muse felt like you were backstage moments before the show. When would you ever get to see that?

I also felt that Y/Project’s approach worked: Glenn Marten’s work is multilayered and to see how he and the team styled garments that could be work in myriad ways was a very clever approach.

Trendspotting: There’s a sense of optimism. A lot of designers have stuck to their core brand DNA — there’s a sense that they want to be true to their house codes. There are flashes of color in unexpected places and it’s also interesting to see how the silhouette is becoming more relaxed and looser. That said, men’s wear has always been more about themes over big sweeping headline trends and this certainly chimes true this season.

Must-have item: I have to be honest and say this is something that I find far easier to identify having been at shows and showrooms in person.

Video format: One thing I would note is that some of the mood videos, whilst completely engaging, didn’t really show any of the product. As a buyer, I always want to see the clothes, how it works on the body, to see it in movement and I felt some content didn’t show this in the best light. It’s a small note on what was overall a really positive fashion week.

A spring 2021 men’s look for Rick Owens.  Courtesy Photo

Bruce Pask, men’s fashion director, Bergdorf Goodman and Neiman Marcus

Favorite collections: Casablanca’s tropical getaway studio set was a great backdrop for the vivid, colorful collection of silky printed resort wear that is the brand’s signature.

I found the jubilant movement and dancing in the Homme Plissé Issey Miyake video so engaging; an inventive way to feature the collection that very much approximated their vibrant shows.

I appreciated that Yohji Yamamoto staged what seemed like an actual runway show, with lovely, intimate close-ups and on-screen descriptions of garments that were incredibly helpful and insightful. I also really enjoyed the behind-the-scenes video of Rick Owens shooting his collection’s look book, with his off-the-cuff commentary and conversation that was entertaining and interesting. [And I] enjoyed Mike Amiri’s very personal take on the creation of his collection, providing rare insight that was perfectly suited to the video format.

Jonathan Anderson’s show in a box for Loewe created with M|M Studio was truly inventive, providing tactile pieces, inspiration and presenting outfits in a way that really put focus on craftsmanship and the artisanal nature that is such a hallmark of the brand. The full day of curated video programming that accompanied the collection presentation was truly impressive: amazing, insightful videos that featured craftspeople and artists who helped to create or inspire the collection and interesting conversations with creators. It was ambitious and fascinating.

I also enjoyed Olivier Rousteing’s “Balmain Sur Seine,” a splashy, beautiful trip through the history of Balmain aboard a mirrored bateau mouche with models, dancers and Yseult singing as they moved along the Seine. It was joyous, transporting and made me wish I was there with them.

Best in show: The digital experience that most approximated the magic of an in-person runway show was Hermès’ intricately choreographed “live” peek behind the scenes at the staging of an actual runway show. Véronique Nichanian is a precise, elegant designer who used the digital platform to present a concise, chic, lovely collection in an inspiring, engaging way with clever tracking shots and intimate backstage moments that were magical and possessed the sense of immediacy that is a hallmark of an actual runway show. It was the online experience that made me most miss being there in person and certainly made the case for the importance of the in-person runway show.

I also found the Dior short documentary film capturing the special collaboration between Kim Jones and African artist Amoako Boafo mesmerizing. It was a beautiful portrait of a partnership, presenting the artist, his inspiration, and highlighting his fascinating finger-painting technique and how Jones translated this portraiture into a very beautiful men’s wear collection. A definite highlight of Paris Fashion Week.

Trendspotting: We have definitely seen a big focus on clothing that is more relaxed and casual during this global pause that we have experienced and those trends are sure to continue, with new options needed that will provide both comfort as well as polish. I do also think that we are yearning to dress up, to have a sense of occasion. I am optimistic that when we are all able to safely reengage with each other, we will want to dress for those special moments.

Video format: I absolutely support that a digital format was the only safe, prudent way to present the collections at this very significant moment in time. There were quite a few brands and designers that admirably presented collections in show or presentation-like formats that were innovative, engaging and inspiring. There were also many video entries that served as nice representations of brands, but that may have been a bit short on product focus. Supply-chain disruptions and sample-making challenges for this season have to be taken into account, for sure, but our focus at shows is on new product so that must be a primary focus. I do hope that next season we will be safely back at shows, being inspired and wowed by all of the designers’ creations in person. There is simply no substitute to being present, witnessing the often boundless creativity of the designers we have the great opportunity to see.

A Dior men’s look for spring.  Jackie Nickerson/Courtesy of Dior

Chris Mcilroy, head of men’s wear, Harvey Nichols, London

Favorite collections: Dior, Loewe, Jil Sander and Amiri.

Best presentation: Loewe’s show in a box was a highlight, from the Adam Bainbridge medley of musical talents from around the world to the exploration of visionary artist Paul Cadmus and how his painting “The Inventor” inspired the jacquard, the key look from the collection, it was an engaging concept.

Trendspotting: I felt like brands were looking back into their archives for inspiration during such unprecedented times, focusing on quality and commerciality instead of on specific trends.

Must-have item: Anything from Amoako Boafo’s collaboration with Dior.

Video format: The video format was enjoyable and was a glimpse into what the future may hold, especially JW Anderson’s augmented reality technology whereby we got to experience the collection via live holograms brought into your own home. But for me, you still cannot beat seeing the collections in person and getting the excitement from holding the product in your hand.

  A Casablanca men’s look for spring.  Courtesy Photo

Dean Cook, head of men’s wear buying, Browns, London

Favorite collections: Casablanca stole the show. They always find a unique way of immersing you within their world and this online presentation was no different — it was a genuinely happy moment. I also loved what Y/Project was able to do in terms of practically showing the impeccable design of their clothes all while showcasing incredible product.

Best presentation: I loved what Loewe did. The tangible element was a great way to be able to connect with the brand and create a personal experience alongside the digital.

Trendspotting: I can’t be certain on the trends as yet — we are still attending global digital appointments and working through orders. Having spent many months at home, I believe there will be a lure to classic pieces that will live in your wardrobe for a long time. I foresee an investment in timeless pieces with real longevity, whatever that may be in the eyes of the customer.

Must-have item: I’ve seen a lot of great product, but nothing stands out to me as my must-have…yet.

Budgets: We haven’t reduced any budgets, but have carefully considered how and where we spend them. As production was hit, we’ve reviewed and adjusted how much and what we can buy from some of the brands as well as ensuring we are servicing the customer with seasonal product across all categories.

Video format: I love how innovative brands have been digitally and it’s been amazing to stay connected. But digital has a long way to go before it is able to compete with IRL experience. For next season, we will have to see where we are in terms of what we are able to do physically, but we look forward to continuing to be agile in terms of how we work and how we collaborate with international fashion weeks, brands and partners on the season.

A men’s look from Homme Plissé Issey Miyake for spring.  Courtesy Photo

  Federica Montelli, head of fashion at La Rinascente

Favorite collections: Dior, Loewe, Lanvin and Casablanca. I appreciated Jonathan Anderson’s show-in-a-box delivered directly to buyers and editors, as a different creative format. Also Y/Project’s multistyling video demonstration was quite effective, and I feel captured effectively the digital fashion week entertainment assumptions.

Best presentation: Loewe’s and JW Anderson’s show in a box. I also appreciated Casablanca’s video in its simplicity, as it displayed the collection quite effectively.

Top trends: A relaxed vibe and a genderless styling attitude, neutral “undyed” products and natural fibers or leathers. Floral patterns in shirts or knitwear. Artisanal fabrications in knitwear or accessories. There is a certain modularity to products, be they ready-to-wear or accessories, to be [adaptable] for different occasions of use and [to] extend their life. Simplicity means easy shapes and great focus on subtle details.

Must-have item: Invest in tops ­— fluid shirts, knitwear with intricate imagery in print or intarsia. A floral top or knit, as seen in Dior. Loose-cut pants in neutral colors. Shibori prints, as seen in Loewe. Modern sets in unexpected earthy colors, like brick red or green.

Budgets: Budgets will not match last spring-summer season’s, as we still don’t have visibility on when the worldwide economic situation and traveling by tourists will reprise in full force, even though we definitely hope for a strong spring 2021.

Suggestions for improvement: The many short videos felt too much like advertising and not enough like collection presentations. Does this imply that we are eagerly waiting to go back to the traditional catwalk next season?

A look from Hermès’ men’s collection.  Courtesy

Sam Lobban, vice president of designer ready-to-wear and new concepts, Nordstrom

Favorite collections: Dior Men, Loewe, Undercover, Issey Miyake Homme Plissé, Casablanca, Auralee, Rhude, Officine Générale.

Best presentation: I really enjoyed seeing both Hermès and Rick Owens’ take on a behind-the-scenes glimpse of the collection and/or runway process. Additionally, Thom Browne’s video with Moses Sumney was quite beautiful, and I also thought Kiko Kostadinov’s film by Robi Rodriguez was weird and subversive in a very strong and impactful way (as always with Kostadinov’s work, which is what makes it so interesting). Last but not least, Loewe’s show-in-a-box idea was super special as well.

Top trends: From what we’ve seen thus far, there are a lot of unstructured shapes, easy and comfortable fabrics with an overall cleaner but relaxed aesthetic. Color-wise, there have been a lot of pastels and neutrals along with pink and neon yellow as pops of color.

  Tyler Franch, vice president, fashion director, Hudson’s Bay

Favorite collections: JW Anderson for its modern take on craftsmanship and deconstruction, and his dedication to design lead offerings.

Best presentations: Loewe’s show-in-a-box and JW Anderson show-box concepts. Both offered a 360[-degree] immersive view of the collection as well as the intentions behind the process, while conveying an incredibly deep layer of storytelling, which is almost impossible to do with a real runway show.

One of the great impacts that the situation has had in the fashion industry and more specifically on the traditional fashion weeks model is that designers have been forced to rethink the ways in which they communicate their vision to their audience. Jonathan Anderson being a perfect example — offering genuine and incredibly humble insight into his collection in a way we wouldn’t have had access to otherwise.

Top trends: Soft masculinity, romanticism; utility; ease of wear, such as in relaxed tailoring, away-from-the-body silhouettes; return to craftsmanship; emotional prints; travel-inspired prints .

Must-have items: The soft pant — relaxed chinos, drawstring pants; the utility short; the artisan knit sweater; the artistic print shirt.

Suggestions for improvement: With the uncertainty of the future and the “new normal” offering challenges to the fashion community every day, the industry has to be more thoughtful than ever. A more focused collection with fewer looks, as seen at Hermès, for example, is a great way to keep the offering meaningful and will keep the digital audience and buyers captivated throughout the whole presentation.

  Daniel Todd, buying manager, Mr Porter

Favorite collections: Loewe, Rhude and Rick Owens impressed this season.

Best presentations: Amiri gave a great behind the scenes showcase.

Top trends: Bright color and volume.

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[flickdirect]

It's no secret that Walt Disney had a passion for flying. He had his own private jets and tried to incorporate flying into his many of his animated films. Of course, this enthusiasm naturally lent itself to telling the story of J. M. Barrie's classic character, Peter Pan. As a boy living in Neverland and refusing to grow up, Peter Pan could fly and was the leader of the Lost Boys. He was mischievous and free-spirited and went on many adventures. Disney's animated classic, Peter Pan, came to theaters in 1953 but today it will be once again sold in stores for a whole new generation to enjoy as part of Disney's Anniversary Edition.

I'm not sure if there is anyone out there who does not know the story of Peter Pan, but just in case here goes…Wendy (Kathryn Beaumont; Alice in Wonderland), John (Paul Collins; Executive Decision) and Michael (Tommy Luske; The Walt Disney Christmas Show) Darling are three British siblings who love make believe. Wendy, being the oldest, tells her younger brothers about Peter Pan (Bobby Driscoll; Treasure Island), a boy that never grew up and who lives in Neverland. He is the leader of the Lost Boys and his nemesis is Captain Hook (Hans Conried; The 5,000 Fingers of Dr. T). Mr. Darling gets annoyed with Wendy for telling her brothers these stories and filling their heads with "nonsense".

One night Peter Pan shows up in the Darling's nursery with his pixie, Tinkerbell, looking for his shadow. He convinces Wendy and the boys to go with him to Neverland. Once there they face harrowing experiences with Captain Hook and Wendy has to contend with a jealous Tinkerbell who is doing her best to try and sabotage Wendy. Of course, like any good Disney tale, Peter, the Darlings and the lost boys prevail in the end. Peter asks Wendy to stay and "mother" the lost boys but the three return to the safety of their London flat with an adventure and a story to remember.

The Anniversary Edition Blu-ray includes the Blu-ray, DVD, and Digital HD. The video is standard 1080p resolution with a 1.33 aspect ratio and mastered from the same negative as the previously released Diamond Edition. As with any Disney film, there is enough color to catch the eye without being overly obnoxious. The DTS-HD Master Audio 7.1 seems a little excessive considering the original movie was recorded in mono – the best technology of its time. Having said that the soundtrack is decent and clear.

This latest release has a few new extras to enjoy. My favorite is Stories from Walt's Office and is the first part in a series of musings that will be released over time with some other classic Disney films. There are also classic extras that have been previously released but are still interesting to watch. The extras include:

New Extras:

Stories from Walt's Office: Walt & Flight, A "Darling" Conversation with Wendy & John: Kathryn Beaumont and Paul Collins, "You Can Fly", and "Never Smile at a Crocodile"

Classic Extras: DisneyView Sing-along Version of the film, Growing Up with Nine Old Men, Deleted Songs, Deleted Scenes, Disney Song Select, Audio Commentary Hosted by Roy Disney, Music and More, and Backstage Disney: You Can Fly: The Making of 'Peter Pan', In Walt's Words: "Why I Made 'Peter Pan', Tinkerbell: A Fairy's Tale, The Peter Pan That Almost Was, The "Peter Pan" Story.

While not terribly long, at only 77 minutes, Peter Pan manages to spark the imagination of children everywhere – so much so that it is still one of the most popular rides at the Magic Kingdom in Orlando with wait times of up to 100 minutes. There is a whimsical feel to the story that children will love. And an added bonus is Tinkerbell is probably one of the first truly feminist Disney characters created which will delight little girls everywhere.

If you have young ones or are a new grandparent, I recommend picking this release up today if you don't already own it.

Grade: B+

About Allison Hazlett-Rose Allison Hazlett-Rose has always had a passion for the arts and uses her organization skills to help keep FlickDirect prosperous. Mrs. Hazlett-Rose oversees and supervises the correspondents and critics that are part of the FlickDirect team. Mrs. Hazlett-Rose attended Hofstra University where she earned her bachelors degree in communications and is a member of the Florida Film Critics Circle.

Read more reviews and content by Allison Hazlett-Rose.

via FlickDirect Entertainment News, Exlclusive Interviews, and Film Reviews

[razowor-backup]

"I crave for V I O L E N C E!"

Why are you even like this again?

[razowor-backup]

"Wolves should have the same fucking rights as humans."

[razowor-backup]

"I don't need an adult. I'm already a fucking adult."

[razowor-backup]

"So they also show off cakes in Sinday? Gotta show mine then."

"They say it'll look better with a face. So-"

Whose face is this supposed to be?!

[razowor-backup]

"Why are they calling people horny? I don't see any horns."

[razowor-backup]

"I remember when my best man Bennett got himself stuck in a treasure chest that only has wheat in it. How he tried to get out of there was funny as shit. Good times."

What others don't know is that he was the one who kicked his friend who ended up getting stuck there.

[razowor-backup]

"I'm so gonna fucking kill that goose," swore the wolf boy, getting uncomfortable with that neck brace on which felt worse than wearing the cone of shame.