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Showing posts with label Bruna Tenorio. Show all posts

Thursday, November 4, 2010

Bruna Tenorio Off Duty (Women, NY): exiting Emporio Armani

Sunday, August 29, 2010

ELLE BRAZIL SEPTEMBER 2010: BRUNA TENORIO

BRUNA TENORIO

ELLE BRAZIL SEPTEMBER 2010

Friday, April 23, 2010

Bruna Tenorio

Ageless beauty recognized by the industry, her consistency is our pride!
Bruna's angelic face gives us some hope for a brighter future.
This coming fall Bruna reappears in Ralph Lauren and Ports 1961 campaigns.

Bruna Confidential

Saturday, September 26, 2009

Moschino Cheap & Chic Spring 2010 RTW.

Skye Stracke

When a model trots by carrying a bag that reads "Fashion is full of chic," you know you're not in for an intellectual exercise.

Kim Noorda

Or maybe it was the giant pink backlit heart from which the girls emerged that said young, feel-good, fun.

Debora Muller

Rosella Jardini's Moschino Cheap & Chic collection took its inspiration from that era in the sixties when the mods were mixing with the flower children.

Kate Somers

To start with, there were floral prints: little daisies on a short ruffle-neck dress and big ones on ruched chiffon numbers; a couple of straw hats even came with petal brims. Inspired by the American artist Jim Dine, Jardini added patchworks of bright Pop colors—orange, blue, red, and yellow—to the story line, as seen on an A-line double-breasted jacket as well as a wrap blouse worn with black-and-white checked bloomers.

Iekeliene Stange

Keeping with the youthquake theme, hemlines were either ultrashort or grazed the models' satin flats.

Willemijn Koppelman

And the other accessories were just as cheeky. In addition to the aforementioned tote, there was a bag in hot pink with "Shocking" scribbled across it, and a nameplate necklace to match.

Yulia Kharlaponova

The collection might have been as light as the giant organza carnations that decorated the models' shoes, but that would seem to fit with the prevailing mood. When it comes to having escapism on the brain, Jardini has plenty of company so far this young fashion week in Milan.

Flo Gennaro

Daria Strokous

Stephanie Carta

Yasminka Muratovich

Bruna Tenorio

Daiane Conterato

Ernesta Petkeviciute

Uliana Tikhova

Polina Barbasova

Jennifer Messelier

Julia Frauche

Kate Somers

Caterina Ravaglia

Marlena Szoka

Debora Muller

Lena Lomkova

Isabelle Sauer

Willemijn Koppelman

Iekeliene Stange

Yulia Kharlaponova

Kim Noorda

Skye Stracke

Daria Strokous

Bruna Tenorio

Flo Gennaro

Stephanie Carta

Daiane Conterato

Ernesta Petkeviciute

Saturday, September 12, 2009

Yigal Azrouël Spring 2010.

Tao Okamoto

Looking sun-kissed and surf-ready, Laura Blokhina—walking the runway in a loose vest, slashed top, and pajama-easy shorts—was the very epitome of the Yigal Azrouël look…which, surprisingly, wasn't otherwise very much on view this season.

Iekeliene Stange

Azrouël (currently training for a marathon and, apparently, thinking streamlined) was aiming for something more "structured and much less layered than it has been in the past."

Bruna Tenorio

He attacked his garments like Edward Scissorhands. With a "scalpel-like" cut, as he put it, he sliced out stark appliqués, binding them over sheer fabrics (for an effect that was occasionally too much like a Léger bandage) and floating them over T-shirts that looked like a punk rocker's DIY project—only in much nicer fabric than you'd find in any Hanes six-pack. (Under the tees were sexy, slivered bandeaus that didn't look like you could make them at home.)

Laura Blokhina

Azrouël's use of negative space was most effective, however, on the dresses, like a white jersey gown with back slashes that looked like spinnakers and a short number with "porthole" shoulder peeps to wear for a night on the town.

Lisanne De Jong

Among all these jagged geometries, the signature Yigal Azrouël pieces (especially the jackets: a moto topper with studs and zippers, a loose leather-and-cotton parka, a linen blazer) were as welcome a sight as an old friend.

Jacquelyn Jablonski

If Azrouël's latest creative impetus didn't move the collection forward a full pace, it at least functioned to make the signature pieces sing.