Return of the King Part II...

What better way is there to start off the new year than getting a look at what was no doubt one of the most eagerly anticipated and hyped up fashion events in years. That's right kids, after nearly four months of waiting we, the viewing public, finally get to see Tom Ford's womenswear debut in full. By now I'm sure everybody has seen at least some of the teaser images that have been floating around the net. The clothes have shown up in a number of magazines and last month Harper's Bazaar previewed a handful of official runway images. Now I can only speak for myself, but seeing those eight or nine runway photos didn't satisfy my craving at all, quite the contrary in fact. They made me crave more. Well, now we have more and I'd say I'm satisfied.

Fabulous, no? The editing really creates a sense of excitement, of being there in the midst of it all. Watching it is actually kind of hypnotic, and even now having watched it, oh, a dozen times at least I still can't help but smile. Don't get me wrong, I'm crushed that it's been edited down to what is essentially a tease, and it sucks that we don't get to hear any of the commentary Mr. Ford was providing along with the show, but given the choice between a short video and no video at all guess which one I would choose. And btw, can I just say that I think the Karen Elson song playing over the footage is perfect for the presentation. I guess we'll never know if it was actually used in the show, but it's a great fit.

Before I go into the collection I have to get this out of the way first: I HATE the quality of the photography. I know that it was intentional, but I don't think all of the photos do justice to the clothes or the women wearing them. Now, I tried to be brief and concise while writing about this collection, I really did, but it just wasn't working. Each look left me with something to say, so bear with me...

• The first look confuses me. Maybe it's the kind of thing you need to see in person, but I'm afraid I just don't get it looking at this picture and the video.
  
• Love the painted fringe dress on Liya. Something about it combined with the big, intricate updo and the bohemian-esque earrings gives me a kind of mid-Sixties vibe. It's such a dramatic look.
• The smokings on Emmanuelle Seigner and Lauren Hutton are pretty much perfection, end of story.

• I'm in love with the entire look on Natalia Vodianova. From the pompadour down it's got a haughty sex appeal that really works. The skirt has a gorgeous silhouette.
  
• I like the dress in different shades of pink, but seeing something so femme and girlish from Tom Ford is kind of throwing me for a loop.
  
• The purple chiffon wrap dress on Joan Smalls is beautiful, although I don't know if I love the color of that bolero with it. That's also not the best picture of her, and she's gorgeous so there's really no excuse.
  
• Karen's cobalt fringed dress is easily one of the most striking pieces in the collection. It's such a simple design when you think about it, but between that amazing color and the all-over fringe it makes for a look that's hard to forget. I think I preferred it with stockings the way it was styled in Vogue.
  

• I die for Rachel Feinstein. She looks so sexy and vibrant and gorgeous. That red hair suits her perfectly, in fact the first time I saw her photo it didn't even dawn on me that it's not her normal hair color.
• The words leopard print pant suit don't necessarily paint the prettiest of pictures, but damn is that suit fierce. I never say fierce, so you know it must be true if that's the only word that I can think of.
• I don't really love Julia Restoin-Roitfeld in her leather skirt suit. The pieces are nice, but the whole look with the Winehouse hair, raccoon eyes and fishnet boots renders it a little vulgar.
• Anja's white suede trench coat on the other hand is gorgeous, though highly impractical if you ever want to venture outside of your walk-in closet. Nice touch tying the coat in with his Private Blend fragrance White Suede.
  

• I don't love the saharienne kind of look on Jac, but I think it's really just the color that's bothering me. Olive green really doesn't relate to anything else in the collection.
  
• The white skirt suit is beautiful. I love the longer silhouette, and I'd really love to see a close-up of the stitching on the skirt.
• The only complaint that I have about Chanel Iman in an overblown Prince of Wale's check smoking is that I might have preferred it with a fedora instead of that cloche. Other than that the suit is fantastic. So, so chic.
  
• I really like Abbey's Faye Dunaway as Bonnie Parker look. It's no the most exciting outfit in the collection, but it's styled really well. It's got a great silhouette, too.

• The look on Karlie and the leopard dress that came next seem like filler looks to me. They're not bad, they're just lost in a sea of impact-making looks.
  
• Carolyn Murphy's look is impeccable, definitely one of my favorites. It's very simple, bordering on boring, but the styling of that little black dress really takes it somewhere else. I'm a sucker for an open back.
  
• The dress on Daria has already appeared in two editorials, once in American Vogue and once in Vogue Paris, and both times it looked amazing. The silhouette is just so unlike anything I would expect from Tom Ford. Here though the shape has none of the drama or precision that it did in the magazines. I also don't like those shoes with it.

• I didn't really love the metallic embroidered jacket Freja's wearing when it first appeared in Vogue. Even though it recalls Ford's last YSL collection it read as a little too dated to me. Apparently it's grown on me since because I really like the look here. The jacket photographs beautifully.
• The styling on Victoria Fernandez is great. Lingerie under mannish tailoring seems like such a cliche, but clearly it works, and I'm digging the cat eye shades under the veil. You don't see enough veils these days.
• Love Stella's outfit. That jacket is stunning. For some reason when I first saw images of this look I assumed the skirt was floor length. I think I might have loved it even more if it was.
  
• Beyonce is wearing a lot of look, and I guess that suits her personality. The dress itself looks gorgeous in that shot. Unfortunately the lighting didn't do Bey any favors.

• I still can't make up my mind about the gown on Marisa Berenson. On the one hand it looks like something that Travis Banton might have designed for Marlene Dietrich; on the other I'm not so sure that that's a bad thing.
• I wish we could see all of Rita Wilson's look, although from what I do see I think I like it.
• The tuxedo on Edita is, like all of the other suits in this collection, perfection. Cummerbunds are the new belt.
  
• The painted fringe dress on Du Juan is actually the one look I'm having the most trouble making up my mind about. The print and colors are really beautiful and so unusual looking, but I'm not 100% sure that the whole look isn't too much.
  

• I didn't really love the kimono-sleeved le smoking jumpsuit worn by Lou Doillon when I saw it on Lara Stone in W magazine last month. Seeing it now it takes on a whole new feeling. On the right woman, in this case Lou, that piece is unbelievably striking. It has entrance maker written all over it.
  
• Julianne looks fabulous in her fringed and feathered gown, and judging by the picture she knew it. She was so fabulous in the video.
  
• Considering that Lisa Eisner's gown is one of the simplest pieces in the entire collection it also happens to be one of the most dramatic, I think. That sharp column of black, barely touching the body inside and plunging in the front to show the top of the corset is so unlike anything that's been seen on a red carpet in god knows how many years that I can't help but love it. A dress like that is the perfect antidote to Marchesa-syndrome. To me it's the most Gucci-esque piece in the collection.
  
• And finally there's Daphne Guinness in a look that only Daphne Guinness could ever pull off. It's so over the top, from the two-tone bouffant and patented Tom Ford smokey eye (which is a good look for her) to the feathered shoes. I love how the gown just seems to melt on her body. It's a lot of look, even more than Beyonce's, but it suits her perfectly.

Not that I'm surprised or anything, and I doubt any of you reading this are either, but I really ended up loving this collection. As plenty of people have already pointed out it's nothing new or radical, but that was never what Ford was about anyway. His strength was always his ability to take something old, or classic, or retro and rework it for the here and now. But while none of this is new or radical I do think that the overall feel of the collection is very fresh. These 32 looks are extremely dressed up and "done", which is the antithesis of what fashion and style have been about for years now. I love that the collection is unapologetic about that. Conviction to a mood is classic Tom Ford. As for the clothes themselves I think that there's a great variety. Not only are these clothes addressing women of different sizes, shapes and ages, they're addressing different styles and tastes as well. The woman who is going to wear the black column gown worn by Lisa Eisner probably wouldn't be the type to wear the sequined mesh sheath on Beyonce, just like the woman who'd choose a black silk tuxedo for an evening event probably wouldn't go near a ruched ballet pink georgette dress like the one Rinko Kikuchi has on. I think that's one of the best things about this collection, that rather than just talking about addressing different women Mr. Ford actually did. It's not about one specific look for one specific kind of customer like his work at Gucci and YSL was. At the same time though you can clearly see echoes of his Gucci and YSL women throughout, although to me it doesn't look distinctly like either of them, which I think that is a good thing. There is enough difference to separate his past from his present which definitely gives him license to play in the future. I'm extremely excited to see where Ford will take this collection now that he's back to doing what he does best, and while I know that this show is supposed to have been a one-off kind of event that doesn't mean I'm not holding out hope that Tom will change his tune and take up a more permanent residence on a runway of his own. If there's one thing that his hiatus from the fashion ranks made perfectly clear it's that fashion really isn't as exciting when he's not apart of it.

video and images from tomford.com

Return of the King...

It's been six long years since Tom Ford took his last bow on a fashion runway, although take it from me at times it's felt like an eternity. There have truly been moments when I have been keenly aware that something was missing from fashion, and not surprisingly those times have usually coincided with fashion week. What I'm about to say might sound like I'm giving Ford too much credit, but I honestly believe that when Tom left Gucci fashion lost a bit of it's luster and excitement, and it still hasn't entirely recovered from that loss. While his departure certainly hasn't been the only cause of that, nor has it been the biggest blow to fashion, looking back it does seem like his farewell was the beginning of the end. Slowly fashion has become less glamorous and less seductive, not to mention that any kind of mystique surrounding the industry has been completely obliterated thanks to factors like the increasing influence of celebrities in fashion, the insane popularity of fashion among people who don't actually know anything about it, and the marketing of fashion as yet another form of entertainment. It also just seems like real fashion moments have become fewer and farther apart. Not all designers can create true excitement with a runway show, or an ad campaign, or a fragrance launch and whether you like him or loathe him the fact is that Tom Ford was, and is, capable of working a fashion moment for all it's worth.

In the six years since he bowed out of the theater of fashion he has collaborated with Estée Lauder, branded his name on status symbol eyewear, created a line of successful luxury fragrances, launched a full-scale menswear collection, dressed countless celebrities in said menswear, opened about 20 free-standing Tom Ford boutiques internationally, directed a critically acclaimed film, and recently expanded into cosmetics with his new line of lipsticks and soon-to-be-released nail lacquers. Writing it all down in one sentence kind of makes you appreciate just how busy he's been, and lord knows a self-proclaimed perfectionist like Ford isn't going to let any product with his name on it escape inspection. But despite all that he's done in the last six years the one thing that his fans have been most concerned with was when Ford would finally go back to designing womenswear and showing on a runway. Back in September right at the start of New York fashion week, after years of waiting, speculation, and wondering "what would it be like?" the news spread like wildfire that Ford would finally be launching his women's collection with an intimate presentation at his Madison Avenue flagship. As the scoop leaked we found out that not only would celebrities be modeling the clothes but that photography of any kind was strictly prohibited. That news just about killed my buzz until the reviews from the show started pouring in the day after it took place. In all seriousness I cannot for the life of me remember a show that garnered such unanimously glowing reviews from those in attendance, and the descriptions of the scene, the clothes and the impressive cast of celebrities, style icons, veteran supermodels and in demand new faces that graced the catwalk only stoked the flames of anticipation. With the reviews there were a few snapshots that quickly made the online rounds, adding to the excitement. It was after the show that the reason for the media ban was announced; Ford would not only be relaunching his website with photos and video footage of the presentation come winter, but he would also be guest editing the December/January issue of Vogue Paris where the collection would be featured in it's entirety. What we didn't know was that American Vogue would also have a feature on Ford's women's debut and that the feature would be available before Vogue Paris. So here it is, kids. Savor it, because who knows how long it will be before we get more.

Gorgeous, not that I'm at all surprised. I don't know about you, but for me winter can't come soon enough. Needless to say that when it does, and when the rest of the features finally become available I will be reviewing the entire collection as soon as the euphoria wears off.

all images from vogue.com thanks to Flashbang at tFS

Walk on the Wild Side...

Here in the Northeast fall is in full swing, and while I'm already sick of the shortened days and I'm absolutely dreading winter I do take some comfort in the fact that this time of year suits my perfume personality better than any other. I've already put all of my crisp citruses, beachy tropical stuff and light eau de colognes in storage and broken out the woods, incenses and ambers. Along with my regular lineup I have a whole slew of new samples that I've been dying to try out.

Thus far I've sampled about a third of the 21 individual scents in Tom Ford's Private Blend collection, which is his own niche-style line. Of those that I've sampled I've only ever worn four of them, and of the ones I've worn Tuscan Leather was the one that made the biggest impact on me. When I first smelled Tuscan Leather, and it was probably close to a year ago, I wasn't at all familiar with leather fragrances, but something about it called to me and I decided to put some on my wrist for the day. It didn't take long for me to love it. There is something very, very sexy about Tuscan Leather. I've always felt that there was something inherently sexy about leather clothing, but I always assumed that it's the look of it and, more than anything else, the attitude it conveys. I never really thought that the smell had anything to do with it's appeal, and frankly I still don't. But it could be that Tuscan Leather is so evocative of the way new leather smells that it paints a clear mental image of the way it looks and feels as well.

To me the spirit of TL is more Elvis' 1968 comeback special or Marlon Brando in "The Wild One" than pre-gentrification Meatpacking District or Folsom Street Fair. It hints at the wearer's bad boy side without going into specifics about what kind of kinky stuff they're into. While that smoky leather stage lasts the feel of this Eau de Parfum is very masculine, even to the point of being butch. At some point, I'd say between the 30 and 60 minute marks, the scent changes subtly. It's almost like a creamy haze spreads over the leather, softening the rough edges and taming the smoke without completely neutering it. That creamy, hazy, softened leather is what remains as the fragrance gradually fades out, and let me tell you, the fragrance fades out very slowly. While I've never actually timed it, I'd guess that one or two dabs of Tuscan Leather lasts for a solid 7 hours, probably longer.

I've truly enjoyed Tuscan Leather each time that I've worn it, and I'm thrilled that it's finally cool enough to wear it. It's probably the butchest, most unabashedly masculine fragrance currently residing in my scent wardrobe. Price notwithstanding (you could buy a decent leather jacket for the same price as a small bottle of this juice) I could easily see myself using it as an everyday kind of fragrance. To me there's nothing about it that's particularly dressy, not that it's really casual either. I guess depending on the setting it could go either way. What does limit it though is it's potency and it's strength. I couldn't picture myself wearing Tuscan Leather once the temperature tops 60° F. The name alone kind of tells you that it's a bit too heavy for the heat. To me Tuscan Leather is the perfume equivalent of a five o'clock shadow; a little rugged, a little dirty, and so very sexy. It's definitely my type.

images from musicaloud.com and fragrantica.com

Something Old, Something Nu...

Engrossing myself in the world of fragrance has brought about many different emotions ranging from sheer boredom to pure ecstasy. Falling into the latter category is one of the fragrances I am currently obsessing over, Yves Saint Laurent's now discontinued Nu Eau de Parfum. Blame it on ignorance, but while this feminine release was still on the shelves I paid it absolutely no attention. I'm not even sure why to be completely honest. I don't think it was because it was marketed as a women's scent and I was not yet in my "I don't give a f*** how it's categorized" phase. I distinctly remember sampling Alexander McQueen's Kingdom when it came out in 2003, despite the fact that it was also sold at the women's counter. Honestly I think I was just unaware of it, shocking given my well documented obsession with all things Tom Ford. Nu was his first contribution to YSL's fragrance division after all, and having now smelled it for close to six months I can say that it was a great first effort. What a shame that it was killed off, because it's absolutely gorgeous.

the ad campaign photographed by Mario Sorrenti

I've very quickly learned that I respond well to incense fragrances in general, and that's exactly what Nu is. Mixed in are bergamot, black pepper, white orchid, sandalwood, vetiver and some other notes that vary depending on whose word you take for it. It must be the fact that any bottle of Nu is about 5 years old by now, but I got absolutely no bergamot top notes from the sample I ordered, not that I'm complaining. When I popped the cap on that vial I knew I was a goner. It was love at first sniff as the 'fumies say. That first intoxicating whiff was like a drug. First off, it's quite genderless. I had read plenty of reviews that had said it was, but smelling it in person convinced me of it's possibilities as a unisex fragrance. The white orchid does make an appearance but it doesn't scream FLORAL, it just kind of hints at it and combined with the incense and pepper, which really balance it out, the overall effect is at the same time exotic and urbane. It's quite stark in that the composition is very simple and also very linear, at least on me. My one complaint, which I guess is relatively minor, is projection. Even though Nu goes on strong it mellows out considerably, and while it's probably got more projection than a "skin scent" it's still relatively quiet. I'm honestly not sure what breed of perfume Nu would be categorized as (neo-minimalist oriental?) but like a lot of incense fragrances I find it both sensual and serene, not a bad mix of qualities if you ask me.

Like I said I'm obsessing over Nu, constantly scouring the internet and any of my reputable shady fragrance discounters for a good deal on it. But there's a part of me that's afraid to commit. It's this fear I have that after buying it, wearing it and enjoying it I'll find another incense that I like even more. I'm exactly the same way with big clothing/shoe buys, like the time I happened to be outlet shopping and popped into John Varvatos only to find that the entire store was 75% off the marked price. That means that the $1,500-ish leather jacket that looked fantastic on me was in the $375 range, the only catch was that it was final sale. I'm still kicking myself for not adding that jacket to my closet for fear that I'd find one I liked better. I never did, and the jacket was lost forever. There's also this little voice in the back of my head wondering aloud if I only want Nu so badly because it's rare. I mean I doubt I'd spend any time hunting something down that I don't like at all, but would I want to own it so badly if it wasn't for the fact that it's not easy to get? This is just a taste of the thinking that goes on whenever I'm about to go in for the kill. At this point I think I just need to take the plunge, if for no other reason than keeping my sanity.

image from mes-parfums.com

Quoth the raven...

I never thought I'd see a day when Tom Ford would be channeling Edgar Allen Poe for inspiration, and despite his new role in the directors chair I never really pictured him having an Alfred Hitchcock moment either. But if his newest ad campaign is any indication, Tom has a side to him that we've never seen before. Sure, he's tapped into the darker side of things with his fashion, but his brand of darkness has never been of the melancholy, terror filled variety, so seeing these new photos featuring that foreboding symbol of death, the raven, is kind of surprising.

There are many things we have already seen and might expect to see in any ad campaign that Tom Ford touches; ravens just don't happen to be one of those things. Bare nipples, however, are. But as predictable as a bare breast might be for a Tom Ford ad, a bird feeding on the blood seeping from a puncture in said breast is a completely bizarre and unusual sight. Overall I think the campaign is a nice mix of the twisted and the comical. I have to say, I had my reservations when I first read that Freja Beha Erichsen was cast as Tom's female model this season. While I'm not silly or immature enough to call Freja a "man" because she's on the androgynous side, I don't think she's the most sensual model in the world. That's fine of course, her look works for many other things, but for a designer who's M.O. is tapping into the most carnal of human desires you'd hope that the model chosen would match that. While my opinion hasn't changed in that respect, I do think that Freja looks good here. Nicholas Hoult on the other hand I have no complaints about. With those eyebrows of his he can pull of sinister pretty damn well. I find myself wishing it was a larger campaign, because even though the ravens look as fake as they probably are, the photos are pretty cool looking.

all images from tomford.com

Flashback: YSL Spring Summer 2001

I've been thinking a lot about this collection lately, mostly because in the eight-and-a-half years since it was presented nearly everything shown in it has returned to the forefront of fashion (read: pleated tapered trousers, shoulder pads, the 80s in general). But I've pretty much always had a soft spot for this particular collection, and it was definitely one that helped shape my own tastes when I first got into fashion. The whole package is just so desirable; perfectly styled, sharply dressed, the right mix of masculine and feminine with more than a hint of sex waiting to be revealed. The odd thing is that for his very first effort Tom Ford did a really good job of making a clear statement by injecting a lot of himself into YSL and not getting bogged down in the legacy of the house, which is pretty immense. Interestingly enough (or maybe not so interestingly, considering the bitch fest that Saint Laurent and Pierre Berge were throwing at the time) the collection was met with lukewarm-to-negative reviews, with the main criticism being that it was all Ford and no Saint Laurent, or as someone quoted in the NY Times review put it, the collection was "slick -- and 'slick' is not what you'd call Y.S.L."

At the time it was shown I couldn't have cared less one way or the other, I just liked what I saw. Eight years worth of learning about fashion later and I can honestly say that I think the criticisms weren't entirely fair, and that you most certainly can equate the word slick with Saint Laurent so long as you bother to look beyond the respectable, fussy, bourgeois work that defined that latter half of his career to the erotic, scandalous, perverse things he did when he first established himself. No, this collection didn't look like Yves designed it but it did have an awful lot of what he originally stood for within it, interpreted through Ford's own aesthetic of course, which is exactly what should happen when a new designer is charged with working for an established house. That's the other thing that's gotten me thinking about this collection again, Stefano Pilati's recent work. When he started at the house his work was very feminine, very colorful and kinda fussy, much more like the work Yves did later in his career rather than the radical things he did when he started out. For the last two years though Pilati's work has grown progressively more severe, cold, and conceptual; the very opposite of Saint Laurent's ideal woman. Ford's own collections at the house went in the exact opposite direction, becoming more romantic, more overtly feminine and more subversive in their use of sexuality and seduction as he spent more time there. This all got me wondering; Why was Ford's work constantly criticized for not staying true to the house's DNA while Pilati's recent work is getting heaps of praise even though it's incredibly similar to what Ford did when he first took over? At the very least, Pilati's new work should be equally as criticized for not remaining completely true to the DNA of the house, because from where I'm sitting neither of them have addressed the whole of the Saint Laurent legacy, they've both chosen to focus on particular facet of it, which in truth is probably the smartest thing to do. But why criticize one person and praise the other when in reality they're doing the same thing, just in different ways? I just don't get it to be honest, and the only conclusion I can come up with is that a lot of people just wanted to find fault with Ford's work regardless of what he did. I'm not saying he was any more right for the house than Stefano Pilati is, but at the very least his cold, hard, sleek woman looked a hell of a lot more appealing. But you don't have to take my word for it...

Shown entirely in black or white, with the only shots of color being metallic gold or lavender wedge sandals and the occasional burgundy orchid tied around the models' necks, Ford concentrated mainly on sharp lines and construction, keeping texture and embellishment to a minimum. Le Smokings featured sharp shoulders, deep necklines and either pleated, tapered trousers or fuller cut cuffed trousers that fell over the foot. Occasionally they were worn with plunging, angular vests that looked like cummerbunds when worn under a jacket. For all of the structure though, there was a really sexy slouch to a lot of the tailoring, particularly in the pants. One of the recurring motifs throughout the collection was wrapping around the waists on dresses, tops and jackets, and I remember seeing the graphic black and white tank dress worn by Kate Moss in more than one editorial that spring. A top with a transparent back paired with a straight skirt was an update of Saint Laurent's iconic dress with the lace back photographed by Jeanloup Sieff in 1970, and paired under every look were boned garters and silk stockings. I have to say, I find something incredibly glamorous about sheer black stockings worn with a strappy sandal. And even though you can't see the garters on most of the looks, knowing that they're under the clothes is pretty f-ing sexy, especially on the more masculine inspired looks, don't you think? You can kind of see the garter underneath the second white smoking, and a clearer shot of it in the pic of Maggie Rizer from the side. Her look shown from the front is completely unremarkable, just a drapey knit top and silk trousers, but when you see that side view of her backstage the look takes on a whole new feel and you can't help but want to curse the photographers for not getting a shot of that on the runway.

As the collection moved from basic daytime separates styled with a decidedly after-dark feel into more traditional evening options, the wrapping that appeared throughout the collection became more structured, turning into obi-esque bands around the waist on some cocktail dresses and on a strapless bustier paired with trousers. The only real decoration shown in the collection made an appearence in the form of black feathers embroidered onto black dresses or on the lining of square panelled skirts with a train in the back. There was a trio of tulle covered mini dresses, tuxedo jackets spliced into asymmetrical harnesses or dresses, a gorgeous black satin three-piece smoking and an extremely sharp white bandage dress with the afforementioned obi detail. The final look was definitely where Ford let loose and had some fun, sending out an anatomically correct molded leather bustier complete with a diamond barbell pierced through the nipple, an homage to the copper molded bust and torso that Saint Laurent comissioned from sculpter Claude Lalanne in 1969 to be worn over chiffon evening gowns. I cannot fully express how much I love that particular piece. I know it probably makes me some pervy misogynist or something like that, but I love it. And I think this collection was a clear case of just how trained Ford's eye for details and presentation was as well. From the layered fringed hair that dipped over the models' eyes to the ribbons and orchids tied around their necks, right down to the tiny little "cigarette case" purses that came complete with lighters that slid out of the side. I kid you not, they came with working lighters. Check the blog header if you wanna see it for yourself. I might actually be convinced to take up smoking if I knew where to find one.

I really do think that given the current fashion climate, and the nearly ten years since it was shown, this collection definitely deserves a re-evaluation. It's just too chic to ignore.

All images from Firstview.com. To see the entire collection, click here.