MARLON TEIXEIRA FOR EL PALACIO DE HIERRO
MARLON TEIXEIRA (WHILHELMINA)
«YA TENGO MI PROPIA COMPAÑIA»
EL PALACIO DE HIERRO
Entradas etiquetadas como ‘MARLON TEIXEIRA’
Vídeo
MARLON TEIXEIRA BY NICOLAS VALOIS
MARLON TEIXEIRA
PHOTOGRAPHER NICOLAS VALOIS
BRASILEÑO
1,88 M, OJOS AZULES, 2O AÑOS.
AGENCIAS WHILHELMINA NY, FASHION MILAN, MGM PARIS.
MARLON TEIXEIRA BY SANTIAGO RUISEÑOR FOR ELLE MAN MÉXICO
MARLON TEIXEIRA (WHILHELMINA)
«IT TAKES TIME TO BE A MAN»
«ES BRASILEÑO, TIENE 20 AÑOS Y ES MULTIFACETICO. SU NOMBRE ES MARLON TEIXEIRA.»
ELLE MAN MÉXICO NOVEMBER 2011
PHOTOGRAPHER SANTIAGO RUISEÑOR
MARLON TEIXEIRA FOR ESSENTIAL HOMME NOVEMBER/DECEMBER 2011
MARLON TEIXEIRA (WHILHELMINA)
«A MAN ALONE»
ESSENTIAL HOMME NOVEMBER / DECEMBER 2011
PHOTOGRAPHER SAVERIO CARDIA
MARLON TEIXEIRA FOR FIASCO MAGAZINE «THE SENSUAL ISSUE»
FIASCO MAGAZINE ISSUE 12 2011
«THE SENSUAL ISSUE»
MARLON TEIXEIRA (WHILHELMINA)
«WE´VE BEEN EXPECTING YOU»
BY ANTHONY MEYER
EL BRASILEÑO DE MAS SEXY
MARLON TEIXEIRA «THAT BOY FROM BRAZIL»
MARLON TEIXEIRAS (WHILHELMINA)
CLIENT SUMMER 2011 COVER
EL BRASILEÑO DE 1.88 M NOS VUELVE A SORPRENDER CON ESTAS FOTOS.
«THAT BOY FROM BRAZIL»
BY DIMITRIS THEOCHARIS
JOHN GALLIANO SPRING 2012
John Galliano went to trial on Wednesday here in Paris, where a packed courtroom sat for seven hours, listening to the designer and witnesses remember (and not remember) the now-infamous evening at La Perle. And tonight, a no-less-packed house—standing-room types stood on stairways that climbed literally to the rafters—took in the first John Galliano menswear collection without Galliano.
Big Splash-as the show was named in homage to the 1974 David Hockney doc, A Bigger Splash—took sixties London for its stomping grounds. Pop Art scenemakers provided the juice. First Peter Blake, who inspired military coats and handcrafts like Navajo knits. Then David Hockney, he of the owlish glasses and the thatch of blond, the floppy bow ties, and the color-pop socks. The impossibly beautiful Peter Schlesinger—Hockney’s model, muse, and lover—was the basis for the tanned and trunk-clad hunks that made up the undies-and-swim portion that continues to be essential to any Galliano show. And the Mayfair and Soho after-party scene was an excuse (not a bad one, either) for evening deshabille: sausage-tight satin pants snaking with silvery pin details, Le Smokings sans shirts, and so on.
The mood was a smidge more pop (soundtrack by the Kinks!) and less operatic than some of the baroque snowfall-and-sandstorm spectacles the house namesake used to stage. But the clothes were not dissimilar from seasons past. Credit for that goes to the house’s stalwart guiding spirit, Bill Gaytten, a 23-year veteran of the label (and member of the Dior design studio where, at least for the present, he will also stay). He has long been as much a part of Galliano’s brand as the man himself. And after the final two models—long-haired, mustachioed JG doppelgangers—took their turns (just as the designer used to do a full runway spin), it was Gaytten who came out to give a timid bow to an appreciative roar. Dior CEO Sidney Toledano applauded from the front row. And so the world turns.
GIORGIO ARMANI SPRING 2012
Prints are a big story for next Spring’s menswear, but when Giorgio Armani titled his new collection Printwear, it was never going to mean a world of flowers or ikat or any of the other ideas that have already presented themselves for 2012. Subtle geometry was Armani’s concession to the coming trend, like the check on a sweater that quietly dissolved into ombré, or the zigzags and houndstooths fading out on a cotton shirt and pants so light they were almost gauzy.
Lightness is Armani’s current obsession, as we learned at Emporio the other day. But if that collection was pared to the point of plainness, this one showed why Armani is Uomo Numero Uno. A dove gray cardigan jacket swathing a sweater and pants was silvery and serene, but it’s scarcely new in the Armani vocabulary. There was, however, something going on with the jackets, with the way the fabrics molded smoothly across the shoulders, that you sensed rather than saw. Impossible to define. Maybe that’s exactly what it was—more definition without more structure. Masterful.
Elsewhere, Armani’s shifts in silhouettes were easier to nail. There was a slight flare to a double-breasted jacket. Generously cut trousers either tapered to the ankle, where they buttoned for a pegged effect, or were nipped at the knee to form a soft jodhpur shape. That’s how Armani manages to alter perceptions of the most basic components of a man’s wardrobe. Why you would be seduced by nipped-at-the-knee pants is a story for another time, but Armani is likely the only designer of his stature who could interest you in a pair.
Same with his shoes. The espadrille is the definitive holiday footwear of the leisured classes, but Armani took it into the city, slipping a rope sole under a brogue or a boat shoe. Maybe not as playfully extreme as Miuccia Prada’s potted history of the sole for the Spring just finished, but Armani’s mutant footwear probably has a better chance of insinuating itself into boardrooms. And where the shoe leads, the soul follows.
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MARLON TEIXEIRA «IN BED»
MARLON TEIXEIRA (WHILHELMINA)
GQ STYLE CHINA S/S 2011
FOTOS DE DUSAN RELJIN
BEST MALE MODELS 
Escrito
en 16 septiembre, 2012