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rencontre tanger tetouan script rencontre wordpress rencontre amitie perpignan Preferring to keep a low profile, Johnny Coca worked behind the scenes for many years, first in leather goods at Louis Vuitton and then at Céline, where he supervised the accessory lines. That’s where he worked alongside Michael Kors and first met Phoebe Philo. A master designer of innovative accessories with visionary forms, Coca is the genius behind Céline’s most coveted bags which now serve as icons of the brand. In 2014 he was appointed as creative director of Mulberry, an important stepping stone that has given him a comprehensive perspective on every aspect of rosa bonheur rencontres running a fashion house, programme rencontres de neurologie 2011 from silhouettes to store rencontre patrick bruel et céline bosquet concepts.
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rencontres amoureuses s evres site de rencontre romandie My background started in Sevilla, then continued in France where I completed my studies. I’m passionate about fashion. I went to an applied arts school near Bordeaux, then I moved up to Paris, then to Brest for two years to study at an automotive and aeronautics school. I loved cars. Then I went to École Boulle, though I was enrolled at an architecture school. It was nothing but furniture and product design, which I really enjoyed even though I’ve always loved fashion. Fashion felt like a place for privileged people to me, and since I was from the south of Spain, I never thought I would find a way in without any connections. I loved drawing. At six years old, I already started drawing nudes and I continued when I got to Paris. I was bored at school. When I was twenty-two I was attending two different schools at once and I was working at an architecture firm. Then I started working on storefront concepts for Louis Vuitton, that was in 1996, I believe. At that time, I started redrawing all the bags in the catalog for the storefronts. Since I loved fashion, it was natural for me to draw leather goods, and then one day I realized I wanted to make it my job. That’s when I met Yves Carcelle and showed him my work. A month later, without even finishing school, I got a proper job at Vuitton and stayed there for almost five years. I spent my life in the leather studios to understand construction, volume, and materials. I spent my time drawing, sometimes until three in the morning. I plastered all the walls in my house and office with drawings. Eventually I told them I was leaving, and I ended up as head of accessories at Céline when Michael Kors was still in charge. I stayed there for five years. I had a team of nearly twenty-five people, it was huge. I was so young and it was strange to have so many responsibilities. Looking back, it was hugely rewarding to develop all the accessory categories. It helped me learn all the concepts and techniques. When Michael Kors left, I didn’t know who would take his place, so I preferred to quit. I decided to take a tour of Italy, I felt it was the right time. Then I worked at Bally for four years. The company was part of an investment fund and their goal was to sell. It was a fun exercise for me. How could we boost sales? They sold the company for a staggering amount and for me, my work was done, I didn’t want to stay any longer. Then LVMH called me and asked me to work for Céline but I told them I had already done that for five years. (laughs) I eventually met Phoebe and thought she was incredible. We talked for hours and we realized we wanted the same things. I wanted a lot of freedom in terms of the product and not to have any constraints with strong codes. When Phoebe came on, all the codes vanished. Everything I wanted to draw was what she wanted to see, so it seemed like the perfect collaboration. So then I was in charge of all the accessory categories. I stayed there for over five and a half years. What interested me was to rethink things in a different way, to think about how to approach product development with a much more personal and radical vision. It was important not to follow, but instead to bring something totally different on a creative level. What can I do that hasn’t been done before and how can I approach function, while trying to work on construction, materials, volumes, and colors? My background was in design and architecture, so I naturally thought in terms of construction. I tried not to pay attention to what people expected form me, and to only think of a construction that would define a silhouette and an attitude. I was a huge fan of sunglasses, I collected them for a long time. It was interesting to see how I could rethink the proportions of sunglasses. You have a particular attitude when you wear them, and it’s all tied to the incline. I inclined them more towards the interior, I worked on the polish, I launched extremely flat lenses.
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a la rencontre de forrester download rencontrer julie zenatti When I’m working on a product, I start with the proportions, which leads me to the construction. For bags, you can use the same design in a dozen different ways, and that will completely change the construction. It’s also important to work on the silhouette. The starting point remains the question: what function do I need? Cabas, hobo, or bucket bag? Then it’s all a matter of finding the item’s identity. Aside from that, I draw, I love it. Always with very architectural lines, just like if I was designing a chair. I’m a maniac when it comes to perspective, I can’t stand people who forget about it. It drives me crazy. I spend so much time correcting everyone’s drawings! (laughs)
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ciao rencontre prostituées lettonie Yes, but I went to all the fittings with Phoebe. It was fairly simple with Mulberry, because after working on every aspect of the accessory, what was missing was the silhouette. I drew a lot of things resting against a silhouette. What’s interesting about that is that I can define my silhouette and introduce the accessories afterwards. At the end of the day, it’s always a balance between which element is most present. Will I accent the silhouette or the accessory? Accessorizing brings a silhouette together and makes it distinct. In my Spring/Summer 2018 collection with all the hats, the silhouette is unique but the accessory changes everything. The hats give the girls a strong ceremonial appearance. And when you remove the hat, the silhouette falls to pieces. I try to mix classics with unconventional items, just to break all the codes. That’s my main purpose at Mulberry. I want to bring in something different while maintaining an English identity, staying true to what England represents for its people and foreigners. Those are two totally different aspects. The English have such a vast culture, both in terms of music and art. Then there is the English countryside which is something completely different. As soon as you arrive at St. Pancras station, the Saint Martins School where I teach is just behind you. There are punks on one side and everyone going to the City on the other. There is a strong mix of cultures, but also a mix of professions. In France, the codes are much more ingrained and different in each neighborhood. Whenever I move somewhere, I love sitting on the café terraces and peoplewatching. It’s funny how each neighborhood has its own type of accessories that people wear. When they go buy groceries on Sunday morning, Parisians think they aren’t well-dressed but they’re wearing their nice tennis shoes with a nice coat. It’s totally different in London, where everyone tries to be extremely different.
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past participle of rencontrer rencontres carrières sciences po bordeaux club rencontres chateauroux I always wanted to be a creative director, but I didn’t want to put too much pressure on myself. My title is not what’s most important for me, I absolutely do not have a huge ego. I was happy working on boutique concepts because I like architecture, I was happy with communications because I like photography, art, and images. I like working on all the different aspects of a product, everything that will enhance or present the design in a different way. Having a global vision of things is much easier than working on a single category. I like working on a product’s presentation. What I like about galleries is that there is no concept of price, all the attention is focused on the object: how can you maximize its importance within a given space. We’re not trying to show off. We’re currently working on a new concept to better showcase our accessories by rethinking their environment. Being an artistic director means having a 360site de rencontre moldavie °rencontre hallencourt vision of everything we want to convey in terms of our message. It takes time because we’re not part of a corporate group, so we have fewer resources. We’re also working out how to take a very national brand and make it more international. In my view, we will have lived up to our challenge when we can expand the brand internationally.
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