Uvenio Couture Returns......

    

Uvenio's Night Breed Collection

The excellent photographer of Andy Haughton, the shoot was for the Fantastic Magazine and the shoot was taken in the East Village at his studio. The Fantastic editor, Randy Newman emailed me and asked me if he can use my Night Breed underwear collection. And of course, I said yes! Since my designs have been seen in several Fantastic Magazines. With the sizzling male models I have worked with appeared again in my designs, Joey Morgan, Keith Ambers and Frankie Settleson. And those guys really brought their sex appeal and masculine looks into the Night Breed Collection....! And with the help of my stylist Peter Levin, he done an incredible job getting the props and fabrics to complete the looks. Check it out in the upcoming issue
Fantastic Magazines! 

    

Christopher Uvenio Gothic Couture appears in 2 Magazine!

 

 British born top male model Danny Schwarz with the amazing British photographer Terry Gates. My designs were sent overseas since I had to stay in New York and explained to the photographer the theme of construction, details, accessories and theme of Gothic Couture. And yes Danny Schwarz is totally in an unusually eye-catching photo in my collection by Terry Gates for 2 Magazines, a menswear magazine based in London. 

     

FABULOUS NEWS! Marc Jacobs is not going to DIOR!

 

Is THIERRY MULGER gonna take over DIOR? There's a Talk!

Thierry Mugler was born in 1948, in Strasbourg, France. Mugler studied design before moving to Paris in 1970, where he worked as a window-dresser. Mugler was a visionary, he was one of the highly energetic and creative people. He trained as a ballet dancer in his youth, made his name with futuristic and mind boggling couture designs with his fashion label and gave the world a new definition of “women”.   Mugler’s women were confident, sexy with attitude, powerful and futuristic. It all showed in his iconic details in his work. He created a very identifiable style with a new feminine silhoutte where shapes and curves are accentuated by the strictness of the cut. Mugler produced a very clear-cut, precise and structured image with a shouldered, slender cut for a classic silhouette.

 

Mugler’s work was strong and angular, shoulders were wide and padded; waists were wasp-like. The look was dramatic and unforgettable. It showed the power of women, but still maintain her femininity. Mugler’s collections came in solid, dominating colours. Collars had exaggerated points, or flamelike cutouts. He was very much inspired by the insect kingdom. He emphasized his futuristic aesthetic through the addition of unusual materials, such as pvc, metal, or vinyl. This suggest a dimension both overbearing and glamor.   

He had his height of success in the late seventies and eighties, full of wide shoulders and nipped in waists. Bright colour was prominent, as was experimentation with fabrications such as PVC. In his most extreme runway garments, PVC was often used, as were space and robot themes.
   In 1992, Thierry Mugler created his first Haute Couture collection. His work had gained him the recognition of the big influence of the French luxury which were promoted worldwide and internationally.

 In 1992, Mugler directed the video for George Michael’s “Too Funky,” featuring a parade of Mugler fashions, including the famous motorcycle dress. Since then, Mugler has projected himself in different area such as directed film clips and designing costumes for celebrities. However, in 2000, he decides to retire from the Parisian stage to devote himself to photography and staging.

  More recently, Thierry Mugler collaborated with Cirque du Soleil on its 2003 show “Zumanity” in Las Vegas. Mugler also published books featuring his fashion designs and photography.  The 1990’s Mugler started his partnership with Clarins for the famous fragrance ‘Angel’. It has proved to be the all time success. Followed by “Alien”>

 Thierry Mugler’s latest fragrance WOMANITY shows how powerful are the Mugler’s women. Thierry Mugler is now known best for its perfume division. The couture division was closed in 2003, and all Thierry Mugler ready-to-wear is now produced under license agreements, as is a line of eyewear.

Great to see my former boss, ANNA SUI!

It was on a beautiful day last week, I had to run to the CFDA and met with Stan Herman, a designer legend who is one of the classiest friend I know. He always been respectful and remembers my name, who doesn't, just joking. As Anna Sui looked at me and said you look familiar, I mentioned to her that I freelanced with her a few years...than she says Christopher...I was in shocked with a smile, and she says the Draper, I said yes that was me,when I worked for her, she always loved how I was draping several of her designs a few years back....
YES! Everyone knows she is a tough designer and very talented, it was a pleasant chat I had with her for a few minutes since she and I left the CFDA building. She asked me for my business card and given her my cell number as well. (This is Anna Sui last spring Fashion week, when I attended her show and went backstage to see an old friend who does makeup for every Anna Sui's shows, below is Anna and an old friend, Deanna Perkins who done the makeups for her shows).

I of course head back to FIT and mentioned to everyone how great to see Anna Sui, a woman with such history and love her style. For a few days, I thought about the past when I was working with her, she was quite impress and called me the Draper! ;)

SHOCKING: Dolce & Gabbana closing its diffusion line D&G!!

The company announced today that they're folding their diffusion line, D&G, into their signature Dolce & Gabbana collection. The spring 2012 D&G show that walked today in Milan is understood to be their last. Domenico Dolce and Stefano Gabbana issued a statement saying that the decision would allow them to put "even more strength and energy to our collections."

why is the D&G spring collection 2012 so Gianni Versace of the 90's? D&G is becoming VERSACE?!

  

 

the lady......DAPHNE GUINNESS

Museum at FIT, Special Exhibitions Gallery

September 16, 2011 – January 7, 2012

 

While there have been many exhibitions devoted to great fashion designers, only a few have focused on individual women of style. Yet certain singular women play a crucial role in fashion. Known as fashion or style icons, they are a special type of fashion insider, one who not only inspires designers and brings their clothes to life, but actually creates a look that affects the way other people dress and/or think about dressing.

 Daphne Guinness, one of today’s most original fashion icons, is the subject of the upcoming exhibition Daphne Guinness at The Museum at FIT. Opening on September 16, 2011 and on view through January 7, 2012, the exhibition will feature approximately 100 garments and accessories from Guinness’s personal collection, plus films, videos, and images, of and by her.  

From her platinum-and-black striped hair to her towering 10-inch heels, from her to-die-for couture collection to her amazing jewelry, Daphne Guinness completely embodies the rarified personal style of a fashion icon. “She is one of the – if not the – most stylish women living,” says designer and film director Tom Ford. Her fans in the blogosphere describe her as “the ultimate fashion fantasy.”

 Daphne Guinness will reveal how Guinness, who is not only a serious collector of couture but also a creative force in her own right, uses fashion to transform herself. As her friend, art historian, John Richardson, puts it: “She’s the object of her own creativity. Her persona is her own masterpiece.”

Although Guinness has inspired some of the world’s greatest couturiers – from Karl Lagerfeld to Valentino – she says that she is “not a muse,” but more like “a bee” flitting from one designer to another. This is proven by the array of designers whose work will be on display. A close friend of the late Alexander McQueen, the exhibition will include more than two dozen McQueen garments which have never been displayed. Also featured will be extraordinary haute couture from Chanel, Dior, Givenchy, Lacroix, and Valentino, as well as demi-couture by Azzedine Alaia, Tom Ford, Dolce & Gabbana, and Rick Owens, and futuristic styles by young designers such as Gareth Pugh. Clothes that Guinness has designed herself will show her love of uniforms.  

Another exhibition highlight will be a wide range of extraordinary accessories, many of which were created in collaboration with Guinness. These include Philip Treacy’s hats and Shaun Leane’s “armor” jewelry, not to mention towering platform shoes made especially for her by Christian Louboutin and Noritaka Tatehana.

 Several of Guinness’s films will be shown, including The Phenomenology of the Body (which explores the politics of clothing), Mnemosyne (which was inspired by her perfume), and Tribute to Alexander McQueen, as well as numerous images and videos.

 Daphne Guinness will be co-curated by Daphne Guinness and Valerie Steele, director and chief curator. of The Museum at FIT, with the assistance of Fred Dennis, senior curator of Costume. The exhibition’s design, by Ken Nintzel, will be inspired by Guinness’s New York apartment.  

The exhibition will be accompanied by a book, also titled Daphne Guinness, written by Valerie Steele and Daphne Guinness, and published by Yale University Press. All royalties from sales of the book will benefit the Fashion Institute of Technology. The museum’s annual Fashion Symposium will take place on November 3-4, 2011 in conjunction with the exhibition, Daphne Guinness. The topic of the symposium will be “Fashion Icons and Insiders.”

FASHIONABLY Meow!

Mulger would have been the PERFECT CHOICE to take over Dior, not Marc Jacob!

Marc Jacob signs with DIOR!!!!

BAD MOVE for Dior! I want MULGER for DIOR!

simply divine Ms. Vreeland!

"Why don't you... wash your blond child's hair in dead champagne, as they do in France?"- Diana Vreeland

Harper's Bazaar 1937-1962Her publishing career began in 1937 as columnist for Harper's Bazaar. In 1937, the Vreelands moved from London to New York City. They found New York City to be extremely expensive. Carmel Snow, the editor of Harper's Bazaar, was impressed with Vreeland's clothing style and asked her to work at the magazine. From 1937 until her resignation, Diana Vreeland ran a column for Harper's Bazaar called "Why Don't You?". One example is a suggestion she made in the column, "Why don't you.... Turn your child into an Infanta for a fancy-dress party?"  According to Vreeland, "The one that seemed to cause the most attention was **** "[Why Don't You] [w]ash your blond child's hair in dead champagne, as they do in France." Vreeland says that S.J. Perelman wrote a parody of it for the New Yorker magazine that outraged her then editor Carmel Snow

. Diana Vreeland "discovered" actress Lauren Bacall in the nineteen forties. A Harper's Bazaar cover from the early forties shows Lauren Bacall posing near a Red Cross office. Based on editor Vreeland's decision, "[t]here is an extraordinary photograph in which Bacall is leaning against the outside door of a Red Cross blood donor room. She wears a chic suit, gloves, a cloche hat with long waves of hair falling from it". Vreeland was noted for taking fashion seriously. She commented in 1946 that "[T]he bikini is the most important thing since the atom bomb". Vreeland disliked the common approach to dressing that she saw in the United States in the forties. She detested "strappy high heel shoes" and the "crêpe de chine dresses" that women wore even in the heat of the summer in the country.
Poor, darling fellow - he died of food. He was killed by the dinner table.

 Until her resignation at Harper's Bazaar, she worked closely with Louise Dahl-Wolfe, Richard Avedon, Nancy White and Alexey Brodovitch. Diana Vreeland became Fashion Editor for the magazine. Richard Avedon said when he first met Diana Vreeland and worked for Harper's Bazaar, "Vreeland returned to her desk, looked up at me for the first time and said, 'Aberdeen, Aberdeen, doesn't it make you want to cry?' Well, it did. I went back to Carmel Snow and said, 'I can't work with that woman. She calls me Aberdeen.' And Carmel Snow said, 'You're going to work with her.' And I did, to my enormous benefit, for almost 40 years." Avedon said at the time of her death: '"She was and remains the only genius fashion editor."

 In 1955, the Vreelands moved to a new apartment which was decorated exclusively in red. Diana Vreeland had Billy Baldwin[disambiguation needed] decorate her apartment. She said, "I want this place to look like a garden, but a garden in hell."Regular attendees at the parties the Vreelands threw were socialite C.Z. Guest, composer Cole Porter and British photographer Cecil Beaton  In 1957's Paramount movie musical Funny Face, the character of Maggie Prescott (as portrayed by Kay Thompson) was based on Vreeland   

In 1960, John F. Kennedy became president and Diana Vreeland advised the First Lady Jacqueline Kennedy in matters of style. "Vreeland advised Jackie throughout the campaign and helped connect her with fashion designer Oleg Cassini, who became chief designer to the first lady." "I can remember Jackie Kennedy, right after she moved into the White House. It wasn't even like a country club, if you see what I mean-plain." Vreeland occasionally gave Mrs. Kennedy advice about clothing during her husband's administration, and small advice about what to wear on Inauguration Day in 1961.  

In spite of being extremely successful, Diana Vreeland made a small amount of money from the Hearst Corporation, which owned Harper's Bazaar. Vreeland says that she was paid eighteen thousand dollars a year from 1937 with a raise finally in 1959 of one thousand dollars. "San Simeon must have been where the Hearst money went, I certainly never saw any of it."  Vogue 1963-1971 and the Metropolitan Museum of ArtAccording to some sources, hurt that she was passed over for promotion at Harper's Bazaar in 1957, she joined Vogue in 1963. 

The only real elegance is in the mind; if you've got that, the rest really comes from it. 

 She was editor-in-chief until 1971.Vreeland enjoyed the sixties enormously because she felt that uniqueness was being celebrated. "If you had a bump on your nose, it made no difference so long as you had a marvelous body and good carriage."    During her tenure at the magazine, she discovered the sixties "youthquake" star Edie Sedgwick. In 1984, Vreeland explained how she saw fashion magazines.

Elegance is innate. It has nothing to do with being well dressed. Elegance is refusal.

"What these magazines gave was a point of view. Most people haven't got a point of view; they need to have it given to them-and what's more, they expect it from you. It must have been 1966 or '67. I published this big fashion slogan: This is the year of do it yourself. E]very store in the country telephoned to say, 'Look, you have to tell people. No one wants to do it themselves-they want direction and to follow a leader!'"

 Balenciaga did the most delicious evening clothes. Clothes aren't delicious any more.    

After she was fired from Vogue, she became consultant to the Costume Institute of the Metropolitan Museum of Art in New York in 1971. By 1984, according to Vreeland's account, she had organized twelve exhibitions.Artist Greer Lankton created a life size portrait doll of Vreeland that is on display at the museum.   Later years In 1984, Vreeland wrote her autobiography, D.V.. At age 86, she died in 1989.

 

0h my 0h my..when did Dracula and Wolfman get sexy and....NUDE?!

I am use to seeing the Dracula being very sauve, luxery, elegant and the were wolf man be hairy and scary, I was brought up with those kinds of trademark being elegant actors like Bela Lugosi..This generation is not what Dracula and Wolfman  seem to be...The new Draculas and Wolfmen ttends to be sexy, masculine, and appear nude..lots of nude on True Blood and Twilights. It seems like Dracula of my generation is to be scary and classic comparing to this generation is about romance, sex and nude!

Today, Dracula is widely regarded as a classic of the era and of its genre. In 2000, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". To many film lovers and critics alike, Lugosi's portrayal is widely regarded as the definitive Dracula. Lugosi had a powerful presence and authority on-screen. The slow, deliberate pacing of his performance ("I … bid you … welcome!" and "I never drink … wine!") gave his Dracula the air of a walking, talking corpse, which terrified 1931 movie audiences. He was just as compelling with no dialogue, and the many close-ups of Lugosi's face in icy silence jumped off the screen. With this mesmerizing performance, Dracula became Bela Lugosi's signature role, his Dracula a cultural icon, and he himself a legend in the classic Universal Horror film series. However, Dracula would ultimately become a role which would prove to be both a blessing and a curse. Despite his earlier stage successes in a variety of roles, from the moment Lugosi donned the cape on screen, it would forever see him typecast as the Count.  

 

True Blood is an American television series created and produced by Alan Ball. It is based on The Southern Vampire Mysteries series of novels by Charlaine Harris, detailing the co-existence of vampires and humans in Bon Temps, a fictional, small town in the state of Louisiana. The series centers on Sookie Stackhouse (played by actress Anna Paquin), a telepathic waitress who falls in love with vampire Bill Compton (Stephen
 Moyer).   The show is broadcast on the premium cable network HBO in the United States. It is produced by HBO in association with Ball's production company, Your Face Goes Here Entertainment. It premiered on September 7, 2008.The series has received critical acclaim and won several awards, including one Golden Globe and an Emmy. 

                              

The Wolf Man proved popular, and so Lon Chaney reprised his signature role in four more Universal films, though unlike his contemporary "monsters," Larry Talbot never enjoyed the chance to have a sequel all to himself. Frankenstein Meets the Wolf Man (1943) had Talbot’s grave opened on a full moon night, causing him to rise again (making him, in the subsequent films, technically one of the undead). He seeks out Dr. Frankenstein for a cure, but finds the monster (Béla Lugosi) instead. The two square off at the climax, but the fight ends in a draw when a dam is exploded and Frankenstein’s castle is flooded.

 In House of Frankenstein (1944), Talbot is once again resurrected and is promised a cure via a brain transplant, but is shot dead with a silver bullet instead. He returns with no explanation in House of Dracula (1945), and is finally cured of his condition. But he was afflicted once again, in the comedy film Abbott and Costello Meet Frankenstein (1948). 

This time the Wolf Man is a hero of sorts, saving Wilbur Grey (Lou Costello) from having his brain transplanted by Dracula (Bela Lugosi) into the head of the Monster (Glenn Strange). Grabbing the vampire as he turns into a bat, the Wolf Man dives over a balcony into the sea, taking Dracula with him.
 

The Twilight series falls under the genre of young adult, fantasy, and romance, though Meyer categorized her first book, Twilight, as "suspense romance horror comedy."] However, she states that she considers her books as "romance more than anything else.:" The series explores the unorthodox romance between human Bella and vampire Edward, as well as the love triangle between Bella, Edward, and Jacob, a werewolf.[12] The books avoid delving into provocative sex, drugs, and harsh swearing because, according to Meyer, "I don't think teens need to read about gratuitous sex. The books are written in first-person narrative, primarily through Bella's eyes with the epilogue of the third book and a part of the fourth book being from Jacob's point of view. When asked about the structure of the novel, Meyer described her difficulty to pinpoint the premise of the novels to any specific category:

 

I have a hard time with that. Because if I say to someone, 'You know, it's about vampires,' then immediately they have this mental image of what the book is like. And it's so not like the other vampire books out there–Anne Rice's and the few that I've read. It isn't that kind of dark and dreary and blood-thirsty world. Then when you say, 'It's set in high school,' a lot of people immediately put it in another pool. It's easy to pigeonhole with different descriptions.
 

The books are based on the vampire myth, but Twilight vampires differ in a number of particulars from the general vampire lore. For instance, Twilight vampires have strong piercing teeth rather than fangs; they glitter in sunlight rather than burn; and they can drink animal blood as well as human blood. Meyer comments that her vampire mythology differs from that of other authors because she wasn't informed about the canon vampires, saying,  

  

Inspiration and themes According to the author, her books are "about life, not death" and "love, not lust." Each book in the series was inspired by and loosely based on a different literary classic: Twilight on Jane Austen's Pride and Prejudice, New Moon on Shakespeare's Romeo and Juliet, Eclipse on Emily Brontë's Wuthering Heights, and Breaking Dawn on a second Shakespeare play, A Midsummer Night's Dream .Meyer also states that Orson Scott Card and L. M. Montgomery's Anne of Green Gables series are a big influence on her writing.  

And yes, I live for Halloween, and yes, Halloween is my favorite Holiday next to Christmas...why? Because Halloween is my Birthday! ;)