The Hautie Couturist

Balenciaga On My Mind

2012-01-21T21:42:00.000-08:00

This week I will mostly be thinking about Balenciaga.

Born on 21st January 1895, Cristobal Balenciaga was a directional force in women's fashion. A contemporary of Christian Dior, his silhouettes were just as revolutionary. A genius with shape, his creations were defined by proportion. In contrast to the sculpting corsetry of the 1950s, in his designs, instead of constraining the female form, he cocooned it in elegance and artistry.

Goodbye 2011

2012-01-15T02:00:00.000-08:00

London's Blooming

2011-09-26T01:45:00.000-07:00

London got its first glimpse of spring/summer 2012 last week as London Fashion Week reached its climax. Catwalks were brought to life with feminine florals, bold blues and iridescent metallics breathing a fresh spirit for the new season.

Flower power has taken on refined edge. Alice Temperley, celebrating her 10th year in the industry, showed large magnolia prints on elegant, 1930s shaped gowns in a collection that was more about cut and silhouette than her signature embellishments.

Erdem channelled the English country garden feel with patterns of cornflowers, hydrangeas and poppies. Hedging towards a more grown up glamour, dresses were tailored to closely follow the lines of the body with off-the-shoulder necklines giving glimpses of fresh.

Matthew Williamson meanwhile combined nature with graphic modernity. Drawing on Japanese influences, his lines were clean and simple. In a contemporary twist fresh prints of what appeared to be pretty, oriental blossom were in close up, made up of lots of tiny Tokyo skyscrapers.

And with modernity adding a fresh edge to florals, Christopher Kane set the critics’ hearts on fire with a collection accented with solarised poppy prints and decoupage-effect, flower cut-outs collaged on sheer organza.

Metallics too were abundant, adding a futuristic look to spring/summer 2012. Antonio Beradi added strength to romantic chiffons with patent leather power-shoulder pieces, his pearlescent finishes keeping a look of pure femininity.

Silver and gold embellishments created a watery effect at Christopher Kane, models shimmering like moonlit rivers as they walked. Whilst at Giles Deacon, Swan Lake took to the runway, his ballet inspired theme translating into silver dresses and skirts with laser cut, doily-like patterns.

Blue looks set to be a dominant colour with the coolest shades being the lightest and brightest. Cornflower sits well with the floral theme and dominated the other blue tones. Erdem paired it with heathery blues and contrasted with soft white whilst Richard Nicholl lifted the pastel shade with flashes of aqua. Forget darker tones, it’s the brighter blues shaping the London look in 2012.

The Ultimate Summer Fantasy

2011-09-02T23:25:00.000-07:00

Dress How You Dream to Live
Compare and contrast, this season is a contradiction of the archetypal summer image. Close your eyes and picture a glorious summer’s day. What do you see – blooms of brightly coloured flowers dancing in the sun or the bold stripes of deckchairs on the beach and graphic lines of the Breton resort wear of the super chic jet set? 2011 spring/summer fashion is bringing your fantasy to life – it’s not about setting the perfect scene, it’s about wearing it!

Exotic Destinations
Get on board with Dior for a cruise around the South Pacific. Hawaiian prints, sarong-style dresses and flower garlands embrace a tropical flavour in fruity shades of orange, lime, pineapple yellow and fuchsia pink.

For more of the exotic, taste the Orient with Louis Vuitton. Eastern orchids and origami-like Iris’ patterned Cheongsam dresses and mandarin coats with opulent jewel shades adding a quirky, modern twist.

Flower Show
Get into a twenty-first century state of summer and look for florals with a graphic feel. At Jil Sander, Raf Simons took the English country garden and transformed floral snapshots into a kaleidoscopic maxi dress. While at Alexander McQueen, leafy garlands were transformed into Eastern dragons by computer-aided design.

For the feminine at heart, take the vintage approach. John Galliano prettied up Oriental motifs with soft, flowing chiffons and a 1920s flavour whilst Alberta Ferretti went for a wistful, woodland feel. Go one step further with playful D&G and mix pastel bouquets with oversized gingham checks – think picnic in the country side: sunny afternoons, English meadows and a skirt that would make the perfect picnic rug!

Carry On Chic
Looking for a sleeker way to make a statement? Stripes are your thing. Simple yet striking, they make a dynamic style statement.

Junya Watanabe played up the resort feel with lines of navy and white, a caricature almost of Coco Chanel holidaying at Deauville circa 1920-something. At Prada too, stripes were spliced with a sense of humour as Muiccia took us to Mexico. Bold blocks of crayon colours were paired with cartoonish prints of monkeys and bananas, striped, fur scarves and sombreros in contrasting rings of colour.

City Cool
At Jil Sander, the frenetic floral patterns contrasted strongly against a collection dominated by the bold simplicity of two colours alternating in geometric lines.

For that essence of summer refinement which stripes seem to epitomise look to Max Mara. In a collection of super-chic, minimal and easy-to-wear styles, black and white stripes created a focal point for the ultimate ‘I’ve just stepped off my yacht’ capsule wardrobe.

At Celine too, minimalist lines and a paired back colour palette heavy with white and cream, was lifted with streaks of orange, teal and royal blue – perfect for breathing a fresh, holiday feel into urban, work wear. And again for the city-slicker, Marc Jacobs has brought stripes to the streets of NYC. Simple, playful lines combine with a colour story of burnt orange, ivory and khaki giving the young at heart a taste of sophistication.

G- Force

2011-08-27T22:52:00.000-07:00

From family business to fashion empire; from film star clients to family feuds; from Florence to the brink of financial ruin and back again, Gucci has seen it all. In the fickle world of fashion, surviving 90 years is no mean feat, given Gucci’s turbulent history it’s more like a miracle.

High fashion is so intrinsically linked to runway shows, ready-to-wear and red carpet glamour that it has become this that defines a label. The bags, the shoes, the accessories are a licensing dream but often we think of them as extras, a bonus opportunity for fashion houses to further market their brands. But for Gucci, this was where it all began.

Luxury Leathers
Paying his dues working in the exclusive hotels of Paris and London, the young Guccio Gucci was inspired by the luxury luggage of the sophisticated guests he served. Taking this with him on his return to his hometown of Florence, he founded a humble workshop specialising in classically-styled, leather goods.

With his three sons, Aldo, Vasco and Rodolfo, Gucci expanded to Milan and Rome where by the 1950s, the boutiques were being visited by Hollywood stars such as Elizabeth Taylor, Clark Gable and Sophia Loren. Gucci was becoming synonymous with luxury and glamour.

Boom to Bust
The direction that Guccio had envisaged was becoming a reality. The association of his label with the allure of wealth strengthened throughout the following decades and they were in a perfect position for the boom years of the 1980s and the ‘logomania’ that ensued. The double ‘G’ logo became a status symbol, their horsebit loafers became a yuppy fashion statement; Gucci was a luxe label for everyone from Sloane rangers to rock stars.

But by the end of the decade things were looking less golden. The brand’s luxury edge was being spoilt by too many licensees and the business contaminated by family feuds. Roldolfo’s son Maurizio had taken over the company direction in 1983, which included the sacking of his uncle, Aldo and led to him selling the family business by 1988.

Ford Focus
In many ways this proved Gucci’s saviour. Dawn Mello, who’d made her name transforming the fortunes of US store Bergdof Goodman, was brought in re-establish Gucci’s fine reputation. Perhaps her crowning move was to take a chance on the relatively unknown Tom Ford, whom she appointed in 1990.

Four years later, Ford was running the show as creative director. Bling was still the thing. Ford still loved the double G logo for instance but he slimmed it back to its 1970s shape to fit his new, streamline aesthetic. Now, as well as the glamour of a luxury label, Ford was giving Gucci sex appeal, epitomised by silk shirts unbuttoned to the waist and velvet trousers slung low from the hips.

For a decade Ford powered not just Gucci’s style but much of its business direction as well. Along with chief executive, Domenico de Sole, the brand became more than just a fashion house, it became the Gucci Group, taking in Yves Saint Laurent Rive Gauche, Bottega Veneta and Sergio Rossi as well as sharing in Stella McCartney, Alexander McQueen and Balenciaga.

But the beginning of the new millennium saw a struggle for power amongst its share holders resulting in a new majority influence. Can it be just a coincidence that both de Sole and Ford left not a year later in 2004 when their contracts expired?

A New Golden Girl
In many ways though, fresh blood has brought new life to the label for the new century. Ford’s initial successor, Alessaandra Facchinetti was a shaky start, being replaced after only two seasons, but the next appointment of Frida Giannini was a master stroke.

If Ford’s Gucci was all about sex, his muse a feline temptress, an alpha woman, then Giannini’s Gucci is all about femininity and romance. Her ethos is softer, her tastes more eclectic and the Gucci woman is richer and more exotic for it.

She is re-investing time in the Gucci archive and what we are seeing now is the very essence of the label. Whilst her accessories pay dutiful homage to the brand’s heritage, her design handwriting is gracing a new generation with beautiful clothing. I’m sure Guccio would be very proud.

Spring/Summer 2011 Trend Forecast

2011-08-19T18:41:00.000-07:00

The Trend: Colour Blocking
Brighten up your days with an injection of colour. Make a statement and plum for one shade from head-to-toe (orange is looking hot, hot, hot!)

It seems a shame to limit yourself to just one shade when then there's so many more to play with. Go, like Gucci, with blocks of contrasting colours: add opluence to the opluence of rich violet, teal and cobalt with metallic accessories in glorious gold.

DON'T BE AFRAID TO: Throw out the rule book. Who said pink and red don't go together? Not Marc Jacobs or Sonia Rykiel that's for sure!

The Decade: Seventies Chic
70s fever swept the catwalks. From Studio 54 glam at Marc Jacobs to Salvatore Ferragmo's nostalgic look at retro, St Tropez chic, the decade's long flowing lines are doing much to shape the silhouettes of spring/summer '11.

What this means for the high street? Maxi lengths will dominate. Whether your style's disco diva or boho babe, there'll be a look to suit.

TREND TIP: This season's look is 70s chic not an ABBA theme party. Keep the look long, flowing and ladylike.

The Pretty Factor: White Lace
Take a break from colour and freshen up with a white hot trend for lace and crochet. Alberta Ferretti went for sheer, vintage style gowns whilst Ralph Lauren added a tougher edge, contrasting petticoat looks with Wild West suedes.

For the ultimate summer styles take inspiration from Dolce and Gabbana who added a gypsy flavour to broderie anglais. Virginal white it may be but this season it's a look for women of the world. Look out for peek a boo lace panels, super sheer cottons and don't be afraid to flash some flesh!

The Must-Have: The Maxi Skirt
A maxi-skirt should be on every summer shopping list. Popular on runways from Paris to Milan, New York to London they reflect many of the season's key trends.

Raf Simon's creations for Jil Sander have been a huge influence on the high street. Bold, bright ankle length skirts with gathered waists are already in stores.

STYLE TIP: Style like a true fashionista and pair with a plain, white T-shirt.

The Influence: The Orient
Feel the oriental flavour as fashion pays homage to the Kimono. Haider Ackermann took the clean lines of the Japanese signature piece and created a languid look that is all feminine. At Dries Van Noten the kimono shape became dresses of liquid silk whilst Alexander Wang used the block to create padded, wrap jackets.

In another direction, the Chinese influence was also visible. At Louis Vuitton, its impact was strong as traditional Cheogsam dress and Manderin coats were mixed with a 1920s silhouette and glam rock, lurex in crayon colours.

Philosophy di Alberta Ferretti also injected the season's colour happy shades into exotic, Asian styles whilst at John Galliano floral, oriental prints stylised his bias cut gowns.

TRENDS WITH BENEFITS: Kimons make great layering pieces. Contrast clean oriental lines with floaty feminine fabrics and floral prints.

The Accessory: Anything Metallic
Metallics are proving real eye-catchers this season. Gucci are leading the trend, tying together an ecclectic mix of tribal styles, safari chic and electric glam with gorgeous golds - obi belts, strappy stilettoes and tassled clutch bags.

Go for gold with jewellery. Think big hoop earrings and long medallions for a retro flavour or, for a modern edge, chuunky collars and cuffs.

Spring/summer's Rainbow Song

2011-08-05T04:07:00.000-07:00

A carnival of oranges and yellows, electric blues, rich reds and playful pinks, spring/summer will be singing out in all shades of the rainbow.

Colour blocking was a favourite look amongst designers. Entire outfits of one block colour walked out on runways followed by another block of a different colour, again and again until whole colour wheel was represented. With minimalist, sack-like sheaths Costume National let colour make the statement. At Haider Ackerman meanwhile, shades of yellow, red, teal and cobalt only added to the drama of his revealing, body-con dresses.

Yellow added vibrancy at Max Mara, breaking up a series of neutral basics, and at Giambattista Valli also, where brilliant banana added a pop feel to shapes of sixties couture. Pink too was popular with shades of raspberry feminising Lanvin's warrior women, adding romance at Nina Ricci, and a touch of girlish playfulness at Sonia Rykiel.

At Jil Sander, colour blocking was kept to the lower body with maxi skirts in bold, primary and secondary shades. Pair long skirts with plain white T-shirts for effortless summer dressing that will be a big look for the season.

Marc Jacobs took an alternative approach for Louis Vuitton, piecing together bold blocks of colour to pattern 1920s silhouettes. Versace too introduced pattern, using the geometric, Romanesque print of their textiles to shape cut-aways on structured mini dresses.

The good thing about bright colours is you don't need much to make an impact. Head-to-toe colour is stunning but separates still catch the eye and can be re-styled to suit your mood. Outfits needn't be fussy, keep lines simple and let the colour speak for itself.

Polo Perfect

2011-07-25T04:33:00.000-07:00

We're in that transitional period between seasons. We have created a solid base of winter looks and basics, new, summer season pieces are appearing in stores, and we're frustrated in waiting for the cold, wet weather to turn into spring. Take a fashionable note from the autumn/winter runways with a polo neck jumper to wear under everything and anything. It's a perfect facilitator for the transitional wardrobe.

Fine knit, polo neck sweaters are just the thing to sit under statement outerwear. The high necks won't clutter the lines of jackets, giving a clean line and a sleek silhouette. Simple black polos clarified the message at Proenza Schouler, Moschino and Blu Marine.

Even at Versace, where they're not normally shy about flashing some flesh, super-fine polos showcased luxurious leathers. They featured firmly at Karl Lagerfeld and Hermes too, where they tamed outlandish PVC and sexy skins respectively.

Thick knit polos conjured up 1970s nostalgia at Chloe and Salvatore Ferragamo. In shades from caramel to chocolate, these are winter luxe peices that will transend the trends.

Making a feature of the neckline, Tommy Hilfiger kept to slim-fit bodies with slouching, oversized polos. At Etro too, necks lolled wide and loose, sitting between lapels of wool coats and blazers.

Pretty polos came from Ralph Laure. Crocheted, fine knits gave a lacy effect and were styled under floating, floral chiffons. Follow the lead for a great way to wear early, summer buys now. Layering a fine knit sweater under lighter fabrics will keep your style new and fresh whilst keeping that lingering winter chill at bay.

Zara Lost in Translation

2011-07-03T01:04:00.000-07:00

With the queues outside the newly opened Zara looking set to spend another weekend snaking around Melbourne’s Bourke Street Mall, I had to pick my time carefully. So, sacrificing my Friday night for the sake of fashion, I braved the crowds to see if all the fuss is really justified.

Being familiar with Zara stores in the UK I have been eagerly awaiting the arrival of the brand in Australia just not quite enough to queue to see it. The shop after all will still be here in a few weeks time when the novelty and the crowds have worn down and, given Zara’s fast turn-around of stock, there’ll be shiny new offerings on the shop floor that haven’t been trampled by the masses.

As a high street brand in Europe, Zara is a cut above. Whilst offering trend led fashion at affordable price points its designs promise clean, sophisticated lines that appeal to women aged from 20 to fashionable 50 year olds. It does a great line in basics making it the perfect place for work wear and also a one stop shop for constructing the ultimate capsule wardrobe.

Another great thing about Zara is the quality of its products. Yes it is fast fashion for the mass market but its pieces will last long after the trends have passed. Its tailoring is wonderfully sophisticated for the market level and its leather, sheepskins and coats, though they may come with a slightly higher price tag, are well worth the investment.

It’s no wonder then that Melburnians should be so excited at the prospect of Zara’s arrival, it promises everything that is lacking from the Australian high street. There’s always the fear however, that the restrictions and tastes of a new market will impact on what a brand will offer and from what I can tell so far, that seems to be the case with Zara. The magic seems to have been lost in translation.

With mens, womens and childrenswear spread over three floors the potential is incredible. Its clean layout and vast floor space also mean it’ll be a dream to navigate once the throng begins to wane. What will be left however, once the hype has quietened is just another range of shapeless, listless garments with little to set them apart from the rest of the Australian high street market.

As a plus point though, the prices are low. I’d say they’re even lower than their retail prices in the UK where prices generally are much better value than here, which is great for driving competition and for the fashionable consumer.

Style however, is the key word so keep it in mind when scouring Zara for a bargain. Its doors may be newly opened but it won’t be the foreseeable future that they’ll be closing. From this first look Zara needs time to her feet on foreign shores and as a fashion commentator and fashion lover, I can’t wait until she does.

Camel Coated Luxe

2011-06-16T04:43:00.000-07:00

Camel is one of those colours that just looks expensive. It’s warm, rich tone lends itself to luxe fibres (think thick wool overcoats, soft cashmere and the ripples of caramel silk) and consequently it’s become a fashion classic. This season it’s made it back onto the trend radar and it’s hotter than ever!

It’s a super-sophisticated look that doesn’t need much dressing up. Keep outfits tonal, go for head to toe camel and play with texture to create contrast. Satin blouses were popular, shown at both Chloe and Gucci whilst Prada opted for chunky, fisherman-style knits and Michael Kors did slinky cashmere.

Enhance the depth of shade with leather accessories. Black works well as a contrast but rich mahogany tones add that look of expensive elegance.

Embrace camel’s heritage. A classic look comes from a classic source: Salvatore Ferragamo channelled a 1930s heroine combining Greta Garbo chic and country-style tailoring.

Following a similar silhouette, Hannah McGibbon updated the working wardrobe of the 1970s woman with pussy bow blouses and high waisted, wide legged pants. Gucci meanwhile took the glamorous approach adding a hint of disco to keep camel lively for 2011.

Now is the time to invest in a statement piece. Camel doesn’t date so you can afford to splash out on something that’ll last a lifetime. A camel overcoat is perfect: look to the clean lines of Nicole Fahri for a fresh but classic feel; go for something different such as Salvatore Ferragamo’s cape-like jackets or blow the budget altogether with a decadent caramel fur as seen at Michael Kors.It’s the look of luxury that's fitting fashions for now and style for ever!

Portraits of Dusk

2011-06-07T04:17:00.000-07:00

From the roof tops of New York and a skyline rosy with the glow of dusk comes the latest range from jet-setting jewellery designer, Samantha Wills.

Setting the scene, pink and amber gemstones capture the blush of the setting sun, antique gold radiating its warmth. Shaped by Deco style and a taste of late Studio 54chic re-styled by the 21st century muse, the collection is raw glamour at its freshest.

This urban inspiration is moving the brand, famous for its Boho chic, in a new direction. There is still plenty of Wills’ signature style to satisfy her already devoted fans with ethnic designs in earthy colourways and stunning turquoise stones. The influence of the city is however, very evident in this latest range, shaping the collection with a much cooler, slicker vibe.

Combining her natural Boho origins with more stylised inspirations, she has created a new level of sophistication in her designs. Where she features moonstones to capture the tone of sundown, the settings are geometric; with white jade she uses an earthy stone to create a monochrome contrast to glamorous, black onyx.

Swarovski crystals add a new edge of sparkle and gold chains saved from the Age of Excess are freshened up for the new millennium. While rough cuts of raw pyrite set on chunky gunmetal cuffs and rings add another dimension again to the collection.

This new direction is reflected in the beautiful campaign shots. Photographed by Lachlan Bailey, styled by Alistair Mckimm and featuring Chanel model, Heidi Mount they mark a new phase for the label, proudly displaying its ambitions for the future.

With the essence of the brand so closely connected to the spirit of the Samantha Wills herself, it could be that this new approach is a result of the changes in her own lifestyle. From selling her creations at Bondi market, she now lives in New York City as the ambassador for her signature range.

More than this though, Wills is responding to demand. With the label already achieving success in the Japanese market and with an increasing number of A-list stars, such as Drew Barrymore, Kate Bosworth and Rihanna requesting her designs for the red carpet, launching in the US seems to be the natural next step.

So whilst this collection is bringing a taste of NYC back to her home shores, it is certain that Samantha Wills will soon be taking the spirit of Australian style right back to New York, Hollywood and beyond!

'Portraits of Dusk' by Samantha Wills will be jetting into stores from July.

Legs Eleven

2011-05-31T23:17:00.000-07:00

With skirt lengths rising to thigh-skimming heights this winter here’s eleven of the hottest ways to show off your lovely legs!

Boots
1) Yeti-style: Proving that Chanel can do the Arctic better than Big Foot, Karl Lagerfeld offered fur in abundance including ankle, knee and thigh high boots! D&G took a similar line in snow-faring luxury with furry knee-highs adding opulence to ski-inspired knitwear whilst Zac Posen took his furs to the disco, bleaching cute little ankle biters with shades of fluro pink.

A word of warning, fur maybe a hot look this season but it’s not a practical fabric for footwear (step in a puddle and it gets soggy and matted; can anyone smell wet dog?), fur trimmings a la Ralph Lauren may be the best way to go and for buyers on a budget, sheep skin is a good option.

This style is super thick and the effect can be unflattering on the width of our calves. Skirt lengths should be micro-mini to keep legs in proportion.

2) Thigh-high: The ultimate in sex appeal, this season over-the-knee boots are casting off their street-walker connotations in favour of lavish luxury. They were given an equestrian flavour at Dior in shades of chestnut brown and black beauty, and at Burberry Prorsum opulent snakeskin softened the weight of military-style tailoring.

Remember to keep heels perilously high. Flat thigh-highs and the ‘swashbuckler’ look may have been hot when Pirates of the Caribbean was first released but we’re on the fourth film now and the look is a little tired.

Tights
3) Lacy: Pull winter’s lace trend into leg wear. If you’re not sure about a see-through lacy skirt or blouse then hosiery is a more subtle option. Bottega Veneta opted for traditional fishnet lattice work whilst at Gucci fine lace patterns furthered the glamour of sequined skirts.

Paul and Joe’s crocheted styles are a good look for day wear, layered under knitted socks and slouchy boots they are relaxed and casual yet still girlishly pretty (not to mention super warm and cosy!).

4) Patterned: What better way to sum up the mood of your outfit than through the pattern of your tights? Lowe epitomised lady-like chic with silky black stockings, sheer save for a sprinkling of textural polka dots. At Vivienne Westwood psychedelic patterns captured her ‘after party at the costume ball’ tone. Meanwhile Rick Owens ran monochrome triangles down his models’ legs, the geometric patterns reflecting his futuristic feeling.

5) Opaque: Block colour is just as strong. Knitted tights with thick ribbing were seen on catwalks from Prada (with a contrasting knit plait running down the front) to DKNY. In school girl grey they offer a subversive sex appeal and breathe youth into any outfit.

A change from standard black denier, white tights are creating a strong statement. Chanel doubled the impact pairing them with white calf-length boots whilst the likes of Sonia Rykiel and BCBG Max Azria played up the contrast.

Socks
6) Over the Knee: Socks are a big look this winter and there’s a length to fit all tastes. At Dior, John Galliano mirrored his thigh-high boots with over-the-knee socks, adding frilly tops for a garter-like look. Alternatively, Sportmax channelled the preppy look (see opaque tights above), slouching knitted socks below wool and tweed tailoring.

7) Knee High: Perhaps the easiest length to carry off, the knee-high look proved versatile across catwalks. Vivienne Westwood patterned hers whilst at Marni the look was sheer. Prada kept them chunky with thick roll-down tops while Dolce and Gabbana went for fine and slouchy.

8) Calf: Perhaps the most difficult to pull off (and the most difficult to keep up!), calf-length is an option for the bravehearted. Dolce and Gabbana and Marc by Marc Jacobs used fine knits to compliment their lady-like chic whilst DKNY slouching socks played to the school girl look.

9) Ankle: Marc Jacobs favoured longer length skirts so with hems grazing the calf he opted for girlish ankle socks. Complete the look with delicate, dancer-like pumps.

Pants
10) If you have to go for pants make them the sequined, cropped style Isabel Marant sent down her catwalk. Team with a slouchy knitted jumper and flats for the ultimate in winter cool.

Bare
11) If you can brave the cold, go bare legged. Lanvin’s warrior women had strong shoulders but short hemlines, flashing the flesh of their greatest weapons. Legs were long and Twiggy-like at Mui Mui as micro minis channelled the look of a 1960s youth whilst Balmain’s rock chick muse is just far too cool for hosiery.

Keep legs looking sleek and smooth to really work this look (goosebumps look too much like you’re suffering for your fashion). The style is clean and fresh; cool glamour so don’t confuse the message: if skirts are short keep necklines high and simple – your lovely legs will be making all the statement you’ll need!

Accessories Special Part 2: The Novelty Factor

2011-05-23T20:47:00.000-07:00

Big trends aside, there's a lot to be said for the season's novelty items. By 'novelty'I don't mean gimmicky, rather those quirky touches that make fashion that bit more fun.

Prada handbags for eaxmple have the look of chunky, knitted jumpers. D & G's ski-inspired collection saw Alpine patterned knitwear everywear from woollen hats and scarves to hotpants, boots and handbags, making it even more acceptable to wrap up in winter woollies as the weather turns colder.

For that special something look to Alexander McQueen. Platform shoes were moulded and coloured in gogeous gold, and mules were bridges with ehite feathers like angels'wings. Accessories that'll have you on cloud 9!

Accesories Special - Call of the Wild

2011-04-24T23:34:00.000-07:00

From Yeti boots to rhinestone-studded ski goggles, Mohican haired shoes to lace-lensed sunglasses, accessories are making the statement for autumn/winter 2011. Here begins your complete guide to the season’s hottest accompaniments.

Join the Hautie Couturist for some safari styling in the first of her accessories specials...

The call of the wild is loud and clear this season with furs and animal prints dictating colour and texture.

At Dior and Louis Vuitton styling was lady-like with hand held fur bags for their 1950s muses.

For Chanel, Karl Lagerfeld combined fur with the Houses’ signature features adding chain shoulder straps and contrasting it with quilted and tweed textures.

Footwear too is getting a stroke of fur. Chanel’s Arctic adventure inspired Yeti-like boots with clear Perspex heels looking like stilettos made from icicles. D&G too were feeling the cold, offering both warmth and comfort with shaggy fur boots.

The most original use of fur though, came from Yves Saint Laurent where Mohican-style strips ran up fronts and down heels of shoes in electric blue and ultra violet.

If it’s not fur then it’s print referencing the animal kingdom. Leopard spots feature on bags at Chloe, Ralph Lauren and Cavalli whilst Valentino went monochrome with a flash of zebra stripes.

Skins are a prerequisite for accessories but this season’s taste for the exotic sees textural skins dominating. Snake and crocodile with their scaly surfaces were seen at Lanvin, Louis Vuitton and on neat little envelope bags at Celine.

The look is animal luxe. Harking back to the days when a fur coat was a wardrobe staple, styling should be polished not trashy. Black leathers and skins need a soft sheen and should be matched with sky-high heels. Play up the heritage factor and soften leopard patterns with rustic brown leather. The mood? Think African Queen not jungle Jane.

Happy Feet

2011-03-22T13:14:00.000-07:00

This week I'm loving my new Ebony Bow shoes from Shoes by Bowtie (http://www.shoesbybowtie.com.au/). Shiny black with a gathered front and ribbon tie fastening I'm channelling 40s pin-up girl glamour with a twist of Minnie Mouse style fun. Looking for heels? This is the website to check out. Heels are gloriously high and styles sophisticated with a funky, modern edge. Designed sprecifically with small feet in mind, Bowtie shoes are a big step up from the children's stores previously frequented by founder Katherine and her petite-footed followers. Shoes by Bowtie puts no limits on fashionability. They may cater for petite feet but with sizes from 2 to 10 they are really pushing boundaries, proving that whatever your age, shape or shoe size, every girl is entitled to fashionable footwear. http://www.shoesbybowtie.com.au/ www.high-heels.com.au

Tweeds Taking on Paris

2011-03-10T18:13:00.000-08:00

What happen when you combine 1940s tailoring with 1970s psychedelia? The biggest trend to come out of Paris Fashion Week!

Forties tailoring was the essence of autumn/winter at Dior where wool suiting took on a wartime silhouette in shades of rich autumnal shades: tree bark brown, bottle green and burgundy.

Vivienne Westwood and Vionnet too took on this tailored inspiration juxta posing strong, classic shapes with vivid and swirling prints.

At Yves Saint Laurent the tweed look, graphic Prince of Wales check and houndstooth designs were contrasted with a bevy of elegant maxi dresses, their long, clean lines adding sophistication to the Studio 54 look.

Again at Alexander McQueen, tweed was at the core of the collection, tightly tailored with zip panels and bondage-like straps giving the look a bite of modernity and revealing that flash of McQueen sex appeal.

Fashionable Fun in Milan

2011-03-03T12:46:00.000-08:00

Just because the news is full of doom and gloom doesn’t mean the catwalks need to be. Spirits were high at Milan Fashion Week as the designers showed us that Autumn/Winter 11-12 is about having fun, with some very distinctive results.

Dolce and Gabbana went back to the 1980s. Masculine tailoring dominated as the Dolce girl took on the male guise of the eighties mod. Drop crotch pants and waistcoats featured heavily as did other styling traits associated with tailoring like braces and pointy-toed brogues.

Star motifs printed onto billowing chiffon added a lighter note whilst the fabric’s see-through quality alluded to the brand’s signature sex appeal.

The biggest suprise? The reinvention of the bumbag with mini handbags attached to waist cinching belts.

Pucci discovered the glories of Goya and the Baroque. The mood was rich yet dark with a flavour of something magical like an enchanted forest at midnight, half aglow with fairy dust.

Colours were rich and brooding: bottle greens and winey reds enlivened with accents of vivid sky blue. Fabrics played to the darker mood with opulent velvets and devore patterns, elaborate embellishments and precious skins of suede and alligator.

The silhouette was a sensual one with glimpse of lacy bra and cleavage lifted to the moon.

The fun factor in an otherwise heady collection came in the form of suede lederhosen. Austrian folk dressing was touched upon in the autumn/winter 10-11 ranges so this could be a look that’s set to take hold. Lederhosen may be the new harem pant.

Milan wouldn’t be Milan without Prada and Muiccia was at her creative best. Sixties-style, shift dresses shaped the collection with dropped waists and mini hemlines. Oversized, plaid prints added playful colour whilst asymmetric plackets and big buttons added quirkiness. Young, fun and I’m so glad this is fashion!

London Alive with Colour

2011-03-01T18:18:00.000-08:00

The latest looks from London Fashion Week are all about colour. Noticeably brighter and bolder than we've seen in recent years, autumn/winter 2011-12 is not a season for shrinking violets. Opulent jewel tones are taking centre stage in shades of ruby, emerald and sapphire with teal and mustards adding a playful contrast.

At Burberry Prorsum big wool coats added blocks of statement colour whilst Christopher Kane dresses featured vivid flashes in stained glass-like panels.

With every designer applying their own panache the looks were diverse. Lousie Gray played up her quirky side with checked mohair spotted with foil dots. Erdem meanwhile took the opulent approach with embroidered, rich velvets, picking up on another of the season's key looks - embellishment.

It's Joanthan Saunders who best encapsulates the mood. His heady mix of swirling, William Morris inspired prints embrace the regal depth of an Art Nouveau palette.

The Galliano Controversy

2011-02-28T13:39:00.000-08:00

Will he stay or will he go? The controversy surrounding John Galliano continues as his postition at the head of Christian Dior still hangs in the balance.

Since his arrest for assault on Thursday night and his alleged anti-Semitic comments, Galliano has been suspended from the House of Dior pending a company investigation.

With the Dior show scheduled for next Friday it's yet unclear whether the designer will get to make his now legendary catwalk appearance or indeed, if this show will be his last for the renowned fashion House.

2011-02-14T02:37:00.000-08:00

With autumn/winter collections hitting stores now, the Hautie Couturist begins a series of the top trends you can expect to see:

SECOND SKINS
Furs are back, bringing ladylike chic to the fore. Lanvin and Michael Kors used furs lavishly, adding opulence whilst Gucci applied them to short, boxy jackets to keep the look young and fresh.

Karl Lagerfeld took the Chanel women to the Arctic and kitted her out with fur trimmed tweeds, boots and even Yeti pants!

If you have no objection to real furs then vintage is the affordable way to go. Fox fur stoles are easy to come by and can be worn as shawls or added as trims to cheaper jackets and coats.

The high street interpretation will tend towards Roberto Cavalli-inspired boho glam. Shaggy fur gillets and boxy jackets will be worn over long flowing skirts and maxi dresses.

Like a slicker look? Then leather is a strong trend. A leather jacket is always a classic but this season you’ll see it done every which way.

Leathers were supple at Celine for super soft tops and skirts, and there was even a pussy bow blouse from Gianfranco Ferre.

The leather suits also made an appearance on catwalks: Moschino up-dated the square, Chanel-like silhouette whilst Bottega Veneta created a slouchy, men’s style pant suit.

Burberry Prorsum had the defining show of the season though, reviving the aviator jacket with brown leathers and sheepskins. Wear them over dresses of ruched chiffon in shades of khaki and earthy tones for a more feminine take on the fighter pilot.

Autumn Winter 11 by Thursday Sunday

2011-02-06T18:17:00.000-08:00

With academic backgrounds in commerce and graphic design, setting up a fashion label might not seem like a natural career progression. However for Iris Cuaresma and Mara Tonetti, Thursday Sunday was the instinctive outlet for their creative passions and burgeoning inspirations.

Perhaps because of their intuitive approach, Thursday Sunday has a very organic look. Each piece in the collection feels like it’s grown from the next; they sit together like trees in a forest.

Their focus on natural fabrics and textures enhances this mood. That they source all their fibres locally adds further to this eco-consciousness as well it seems, as fuelling their creativity. ‘Locally sourced fabric is easily available we can drive down, source our fabric and actually have it there in front of us to really get the feel of it.’

The autumn/winter 2011 collection is the ultimate culmination of their ethos. In shades of oatmeal and chestnut with accents of burnt orange and plum jam, the range evokes all the colours of falling autumn leaves.

Such warmth and comfort is reflected in their tailoring, which is soft not severe, highlighting the shoulders and waist but not empowering them.

Texture though is the focus with hand knitted wool jumpers (a favourite with the designers) evoking the label’s earthy feel. They’re perfect to snuggle up in ready for winter hibernation!

And it’s this love of texture and wool that’ll be leading the look for their spring/summer range too. The summer knit – a challenge for the Australian climate – but I’m curious to see how they rise to it.

Thursday Sunday is stocked in Design a Space, 142 Chapel Street, Windsor. Watch out for their online store coming in 2011.

Launching Today - Romersk Sleepwear

2011-01-30T18:44:00.000-08:00

With her first range of sleepwear products designer Sophie Chan Andreassend is chanelling cutesy, fifties femininity: cotton bloomers and silky shorts; love hearts and funky florals.

Beautifully finished with French seams and bias binding, Romersk is a class above some of its high street competitors. All prints are unique to the label and each piece comes in its own zip-up carry pouch.

Check out 'Pillowtalk' at www.romersk.com

Fashion Flash!

2011-01-24T18:33:00.000-08:00

I've just seen the Black Swan - dangerously dark but the Hautie Couturist's predicting a wave of ballet-inspired trends.

Something for the Weekend: GPO

2011-01-20T18:30:00.001-08:00

SHOPPING STYLE

Modern fashion in Victorian proportions; contemporary shopping in architectural grandeur.

GOOD FOR:

Australian designers e.g. Lisa Ho, Akira, Manning Cartel, Wayne Cooper etc.

'The urban statement' - avant garde draping in city colours: concrete and steely greys, petrol blue and deconstructionist black e.g. Alpha 60, Acne and Willow.

SALE SPOTS

Sass & Bide - Pick up their heavily embellished pieces now selling at half price!

Just remember when browsing through their racks, printed pants are hot this season but will you really be wanting to wear them again in a few seasons' time?

Like Sass & Bide but not their price tags? Check out Hussy on level 2 for affordable immitations.

Lisa Ho - Sophisticate your wardrobe with Lisa Ho's contemporary chic. There's some gorgeous silk shift dresses on her sale rails with very gorgeous discounts!

Karen Millen - Save a fortune by planning ahead for your forthcoming events: think about the races for instance(the autumn carnival perhaps if spring seems a long way off) and get your accessories sorted now.

They don't have many worthy dresses left but Karen Millen's jewel encrusted satin shoes and clutch bags are well worth a punt. Go for neutral base shades and you can match them to any outfit, any trend.

GIVE IT A MISS

Leona Edmiston - Her colourful, retro prints are appealing but the fabrics, really! The feel of cheap nylon went out in the 1970s.

THE 'Ooo' FACTOR

Anaessia - New to the GPO, this Sydney label has the prettiest window displays: piroeting mannequins in the cutest little dresses - tutu skirts and sparkling sequins.

Ones to Watch: A/W 11

2011-01-16T18:14:00.000-08:00

Burberry Prorsum A/W 11 - vogue.com

THE MUST-HAVE

Aviator Jackets - see Burberry Prorsum for inspiration.

THE MUSE

Emma Watson - her fashionable star is still ascending.

THE DESIGNER

Isabel Marant - rock chic done French style; skin tight, sequinned pants & slouchy knitted sweaters are a big luck for autumn/winter.

THE TREND

Texture & Contrast - shiny & matt/rough & smooth/long & short; from supple leathers and woolly knits, to maxi dresses worn under cropped, fur gillets and overcoats thrown over slinky cocktail dresses it's going to be a season of mixing more than matching!

THE TALKING POINT

The Royal Wedding - From the Issa dress she wore to announce her engagement to anything else that Kate Middleton will be wearing this year, her wardrobe is going to be a hot topic for all fashion critics.

MY LOVE

Fair Isle Knits - See D&G A/W11 for inspiration. Bring on the snow! Knitted playsuit anyone?

New Year's Resolution

2011-01-10T12:35:00.000-08:00

A new year, a new start and that goes for the Hautie Couturist as well. My resolution? To bring you a revolution in fashion blogging.

The Hautie Couturist will be bringing you trend forecasts as well as reports, designer bios as well as reviews, and all sorts of inspiring imagery to tickle all your design fancies.

Stay tuned, it’s going to be one hell of a fabulous year!

Lots of love,
The Hautie Couturist
xxx

Race Wear Goes Nude

2010-10-20T12:37:00.000-07:00

This sporting season racing chic is all about the flesh. I’m not talking about baring all but the pinky-beige skin tone shades that are defining feminine fashions; going nude is taking on a whole new meaning.

Despite them being notoriously hard to wear (choose the wrong shade and you risk looking pasty and ill) the flesh tones that have dominated the catwalks in recent seasons are making a statement for racing chic. The look is delicate and feminine (think ‘vintage rose’) as dresses float and flounce in all shades of nude.

Worry not about finding the ‘perfect’ flesh tone. Whilst ‘flesh’ looks great on darker skins, paler skin tones are best to take a wider approach to the trend. ‘Nearly nude’ fits the fashion equally as well and includes every shade from ivory to mushroom.

You can always add colour with your accessories. Black provides a glamorous contrast whilst bold coral pink offers a fresher alternative.

Just remember to keep the look feminine and pretty with soft fabrics and dusty hues. The mood should be ‘barely’ there and not ‘sins of the flesh’!

Yeojin Bae wins Fashions in the Field

2010-10-12T00:46:00.000-07:00

Yeojin Bae took the Designers Award at the Caulfield Cup fashions in the field on Saturday.

From her spring/summer collection, her navy sack dress with billowing sleeves as orient-inspired foliage pattern won over the judges.

But the outfit’s undoubted crowning glory was the hat. Tilting forwards from high on the head both its simple shape and pinky flesh colour were thoroughly fresh and modern.

The Oos and Aaahs from New York Fashion Week

2010-10-03T13:36:00.000-07:00

The ‘ooos’ and ‘aahs’ from the catwalks at New York Fashion Week:

‘Ooos’ for Marc Jacobs, his latest 70s nostalgia collection lighting up the runway with all shades of pinks and purples, coppers and golds. There were jumpsuits ad peasant blouses in retro, geometric prints, lame hot pants and high-waisted pants, even a homage to the Missoni stripe.

A floral theme to accessories brought the Studio 54 look outdoors. Pick up some styling tips for the coming racing season with big, colourful straw hats and oversized flowers, which adorned everything from headpieces to wide, obi-like belts.

It was all ‘aaahs’ for Donna Karan’s super sophisticated collection as her usual urban chic was transported from the concrete jungle to desert plains. The palette was neutral, all stone and sandy tones with the play all about texture as craggy, crinkled jackets contrasted liquid silk dresses. Feminine and organic but with the elegance of true New York sophistication. Aah, yes please!

Summer and the Livin' is Easy

2010-09-12T00:01:00.000-07:00

Summer is feeling all too easy. Fabrics are natural, colours neutral and utility touches make it all so practical.

Utility is the theme that’s shaping so many of the season’s key looks. Feature pockets link safari and military styles, and with twenty-first century clean lines and tailoring (softened for summer) the look is effortless and easy.

Look to Chloe, Louis Vuitton and Oscar de la Renta for safari-style functionality. Embrace life on the savannah with tribal prints by Marc Jacobs and Kenzo or camouflage up in delicate silken prints by Stella McCartney. Pair with ankle-skimming combat pants in khaki greens or beige and multi-pocketed jackets.

The classic white shirt runs between looks: cool and fresh against sandy safari tones or a modern contrast to combat khakis.

Colours this season are kept soft and neutral, fabrics are shaping the season. Keep them pure and natural with organic linens and wovens with raw edges and freying hems.

Even summer’s fairytale dresses have an organic feel; they look like they’ve grown up quite literally from swathes of fabric – wispy chiffons and frothy tulles – being draped and layered around the body. The style was all Grecian goddess at Gianfranco Ferre, Chanel and Givenchy whilst Valentino and Luisa Beccaria went for girlish ruffles.

Shorts for the office, for the weekend and even shorts for evening are looking hot. Keep them crisp and tailored, and team with a smart suit jacket or waistcoat for work; let them slouch with a soft T-shirt for play; and shimmer in silky metallics for after five.

Indeed glitz and gaudiness, a striking contrast the neutral/natural trend, are looking strong for evening. This season dressing up means glamming up with iridescent fabrics, sequins, chains or anything else that could possibly glitter or glisten for that matter!

Watch out - New York Fashion Week reveiw coming soon

Valentino: Past, Present & Future

2010-08-09T04:12:00.000-07:00

To coincide with the launch of the Brisbane Fashion Festival, Queensland’s Gallery of Modern Art opened Valentino: Past, Present and Future, a retrospective of Valentino Garavanis’ life’s work and a celebration of one of couture’s masters.

One hundred dresses showcase five decades of creativity. Whilst it’s primarily a collection of glamorous gowns (there was less than a handful of daywear and even that was luxurious woollen tailoring, the type worn by the likes of Jackie Kennedy in the sixties) it would be unfair to describe it as anything less than comprehensive, fabulous eveningwear is after all what has defined the house of Valentino.

The selection of gowns span his first collection to his last and all his looks in between. There are red carpet gowns worn by screen legends from Elizabeth Taylor to Julia Roberts; the silk satin dress that was the subject of his creative musings during the recent film documentary centred round the man behind the label; and even the new generation of Valentino under the creative direction of Maria Grazia Chiuri and Pier Paolo Piccoli.

There were gowns too in what is now trademark ‘Valentino’ red. These however, have more of a cameo than a starring role. They’re sufficient to show their part in his success (the red gown is synonymous with the Valentino name) yet concise enough to recognise his achievements extend beyond mere colour association.

What struck me most about the exhibition was the sheer beauty of every single piece in it. Throughout the psychedelic sixties, the lurid seventies, excessive eighties and even the post-modern nineties, Valentino has stayed true to his vision of femininity. He has the ability to engage with an era without being consumed by it, to flirt with its style rather than blindly following (or inventing) a crazy trend.

His creations are often opulent, sometimes to the point of extravagance. They can also be elegant or pretty or sometimes just plain fun but whatever their mood they are always timeless - a room full of dresses spanning fifty years and it’s nearly impossible to define them by decade.

That should be the distinction of a great fashion designer – a createur who can imagine beauty that’s not limited to an era; who has an ethos that does not only define one generation but includes the multitude. To be great one has to be able to think beyond the dictates of society and follow one’s beliefs, and for that this exhibition proves Valentino is truly a master of his craft.

Summer Sophistication by Yeojin Bae

2010-07-18T14:50:00.000-07:00

Yeojin Bae is offering a glimpse of the 1980s for spring/summer 2010-11. Still as sharp and sophisticated as ever, we’re not talking eighties clichés here, there’s no power-dressing shoulder pads or Fame-esque leg warmers. It’s all about eighties elegance: the suave cool of Duran Duran and James Bond style glamour as Bae refines the Age of Excess for the twenty-first century.

Sophisticated tailoring has a masculine edge as skinny-legged cigarette pants and crisp tuxedo jackets define the collection. Shoulders are balanced by one-button jackets that skim over waists and by-pass hips, creating a look of boyish leanness.

Femininity comes by way of micro-mini hemlines. Long, lithe limbs are showcased in super short shift dresses; dropped waists sitting well with the slim line of the mannish trouser suits.

The feel is classic Calvin Klein, but younger. Suiting is styled with collarless shirts and slouchy, marle Tees. Traditional tailoring is interspersed with lighter, linen dresses for the heat of the Antipodean summer.

Colours are fresh. Bae’s blend of earthy and urban tones create a dynamic palette to carry you through the season and beyond. Persimmon and chocolate brown are mixed with petrol blue and minimalist white; with two-tone colour blocking dividing up dresses and skirts adding still to the modernist feel.

In her words, the message is relaxed sophistication; a re-evaluation of wardrobe basics - concepts that she promotes from season to season. Yeojin Bae may be consistent but she is never dull. Her collection may centre around key classics but with Bae’s easy-going chic you can be sure they’ll take on a thoroughly modern meaning.

YSL - Why Indeed?

2010-07-01T14:29:00.000-07:00

I don’t think you’re supposed to go to a retrospective and come out thinking the featured artist was less of genius than before you went in. But, even after queuing for over an hour for the privilege, that’s exactly what the Yves Saint Laurent exhibition at the Petit Palais in Paris left me wondering.

This is not a reflection on the vastness of the event, there were hundreds and hundreds of outfits ranging from his most famous creations to lesser known pieces and those dreamed up for his celebrity clientele. As far as overviews go this one was very comprehensive.

Having said that however, what was perhaps one of his most influential looks, Le Smoking was grossly underplayed. The simple, mannish tuxedo suits that first appeared in 1966 and which he went on to reinvent throughout his career, created a statement in a time when women wearing trousers was still not commonplace. They deserved more than for their black crepe to be dressed on black mannequins and racked up on a black wall – the look was lost in the shadows.

According to all fashion texts, Saint Laurent is always proclaimed to be a visionary. Even from his early career at the house of Dior his brilliance was praised for keeping the staid world of haute couture alive in the face of a new wave of youth culture and its street fashions.

There seemed to be little evidence though, of a revolutionary amongst the collection of his early works. In fact, considering what was occurring in fashion during this period with Mary Quant’s quickly shrinking mini skirts and the futuristic look of Andre Courreges space age-inspired creations, Saint Laurent’s style looked downright old fashioned!

Considering that was perhaps the most defining period of his career, I didn’t hold out much hope for what was to follow. Indeed, as the 1970s drew on his endeavours were increasingly like costume rather than fashion (haute couture or not!) as he explored African and gypsy themes.

Despite my haughty, often critical tone, I can be so easily won over by a beautiful gown (it is my greatest weakness as a fashion commentator) but Saint Laurent couldn’t even do that! Granted, his eveningwear peak did seem to be in the 1980s when it was extremely difficult apparently to produce anything even remotely attractive; but for a designer to fail to come up with one or two stunning ball gowns in a forty year career doesn’t make for good couture credentials.

That Je Ne C'est Quoi

2010-06-14T05:25:00.000-07:00

I’m in Paris and I’m contemplating that chic for which French women are renowned. I’ve been sitting staring for a good ten minutes now, captivated by this one woman smoking outside a cafe. Her clothes aren’t apparently glamorous and she is not especially beautiful but my gaze is drawn to her just as my eyes have followed so many other Parisian women on my trip so far. It’s a powerful formula they’ve got and I want to know what it is.

Factor one in the equation seems to be smartness, a mode of dressing that had seemed to go out of fashion when the Baby Boomers came of age. With the exception of the frizzy haired, backpack carrying, sensible-shoe wearing Euro-students, as a nation the French are immaculately turned out. I first noticed it amongst the Italians on a visit to Rome but it appears that Parisian’s too pride themselves on being perfectly dressed to the extent that every garment looks as though it’s being worn for the first time.

Shabby chic carries little credence in Paris even in terms of denims. Of course jeans are just as acceptable as they are anywhere else but there is not a skinny leg or boyfriend cut to be seen. Classical shapes with a medium stonewash only please, and forget about the distressed look as well, trailing hems and frayed edges are not a sign of laidback cool it just means you’re too poor/lazy to buy a new pair. Even ripped jeans look like they’re on their maiden journey, slashes clearly present by design not wear and tear.

Parisian dressing then is probably not sounding very individual and surprisingly, considering it is the world capital of fashion, it isn’t. Fashion in Paris is actually something of a uniform, with a typical outfit consisting of jeans/trousers with a subtle bootleg, and neat, fitted shirt with a blazer worn over the top, and a scarf draped to dress the neckline. Shoes are flat ballet pumps, and trench coats are a must-have item.

And colours too sound as uneventful as the outfits, combining neutral shades with black, brown or navy.

There is no evidence of any cutting edge fashion or indeed much in the way of trend-led styles; the mood is very much more conservative. Yet it is true, Parisian women do have that je ne c’est quoi because despite sounding like throwbacks to the Sloane Rangers, instead of looking all prim and proper in their garb, they simply ooze sophistication and elegance.

And it’s not a complex formula. Smartness + simplicity (+ good grooming) = French Chic. It’s not about dressing to express your personality or about setting or following any trends. Dressing French style is about sticking to the rules and, if you like, conforming.

Yet beyond their uniform mode of dress it is possible to gauge something of their characters. These women come across as strong, seductively self-assured and sexy. They might not wear their lives on their sleeves, their favourite designer label across their chests or the name of their favourite band on their T-shirts but there is something much more interesting about what is not said; an air of mystery is created and perhaps that is the real secret to achieving that je ne c’est quoi.

Logies Looking Lovely

2010-05-03T05:07:00.000-07:00

Vintage Glamour Steals the Show

Femininity fashioned red carpet glamour at last night’s Logies as long, flowing gowns in soft chiffons and dusty pastel shades recalled the romance of a bygone era. A vintage feeling inspired many if not all of the evening’s looks, as the stars played it safe with girly prettiness.

The asymmetric shoulder of Grecian style dresses proved the most striking silhouette of the event as the actresses addressed their inner goddesses. Gathered panels detailed fitted bodices with long skirts falling gracefully to the floor. Nikki Phillips highlighted her lithe figure with the low V of her backless gown, emphasising the classical look with a single gold band on her forearm.

The Grecian look too was a favourite amongst the Home and Away beauties. Amy Mathews dress was a masterpiece of toga style wrapping, the white silk draping and falling in delicate ruffles around her body. Ada Nicodemou looked pretty in dusty rose pink with a flower corsage heightening the feminine statement. Esther Anderson followed with the one-shoulder silhouette whilst her on-screen daughter, Rebecca Breeds kept the look contemporary with a cropped hemline.

Leading on from the Goddesses were the Starlets, who took the essence of classical style and embellished with a touch of glamour, bringing 1930s Hollywood to Melbourne. Matthew Eager’s gown for Emily Symons embraced the principles of Grecian-style draping but with a low décolletage and belt tie at the waist, she held all the allure of a silver screen siren. As did Sonia Kruger in a floor skimming bias cut dress in olive green; her demure, high neckline with a twist at the front giving way to a revealing cowl drape at the back.

The next progression saw the Starlets give way to the Showgirls with corset bodices, fabulous fishtales and more than a sprinkling of sequins transforming the Atrium at Crown Towers into a scene from the Moulin Rouge.

Carrie Bickmore went all out dramatic with the net ruffles that sat behind the neckline of bustier also making up a lively train for her floorlength skirt. Rhonda Burchmore played the vamp in scarlet whilst New Zealand actress Camille Keeman prettied things up in ivory.

A younger edge came with Collette Dinnigan’s jewel encrusted creation for Tessa James. The tulle frills of her above-the-knee skirt lightened the weight of her encrusted corset creating a look that was uniquely stylish and sassy.

Queen of the gowns however, was Jessica Marais who looked simply stunning in a lacy, lingerie-style bustier and black satin skirt with a floor-skimming fishtale. Classic yet sexy. Margot Robbie recovered from last year’s flamenco-style ensemble, looking refined in white. The clean lines of her floorlength gown punctuated with a peplum at the waist and a jewel encrusted shoulderline enhanced a classic hourglass silhouette.

The alternative to the fuss of flowing gowns and sparkling embellishments, Claudia Karvan kept it strikingly simple in a short black tailored dress. A homage to forties tailoring with ¾ sleeves and strong shoulders the look was completed with matching black gloves, its open neckline, exposing flesh to the waist adding a sexy twist.

With classic, vintage elegance a running theme, there was nothing particularly daring or avant garde on the red carpet this year, which seemingly reduced the number fashion faux pas’ too. Brynn Gordon may even be excused from worst dressed lists now as her tasteless dresses fashion her a niche as a celebrity caricature.

Colour proved the main stumbling block with Kerri-Anne Kennerley and Better Homes and Gardens presenter Tara Dennis both opting for horrific shades sugary blue that should have been left in the 1970s. Jessica McNamee also chose the wrong colour, her burnt orange gown doing nothing to flatter her skin tone.

Fortunately though, mistakes were few and far between. The legend of red carpet beauty and glamour remains intact for another year!

The Purple Principle

2010-04-13T15:20:00.000-07:00

Princely purple is the opulent accent to winter's grayscale palette. Not for shirinking violets, lilacs and pastel tones don't even register on the spectrum as hues keep rich and regal.

Colour blocking creates the most striking effect. Think in purple from head-to-toe, matching accessories from handbags to shoes as seen at Louis Vuitton and Carolina Herrera. Neat little clutch bags are non too intrusive and if the budget stretches, look great clasped in purple leather gloved hands a la Ermanno Scervino.

For added impact Marc Jacobs figured Teal into the equation, his patterened tights as livid as Alberta Ferretti's turquoise feathered handbags. A more neutral base of mushroom or taupe however, can provide a much softer alternative.

Deepest indigo creates a strong statement for outerwear. Marc Jocobs harnessed its power for his capes as did Stella McCartney for her elongated jackets whilst Dries van Noten took on the trench.

If House of Holland's striped trouser suit is anything to go by it's best to invest in a dress. At the home of understatement, Raf Simons let the colour do the talking with his simple, short-sleeved day dress for Jil Sander.

The speciality of the season is the party dress: fabricated in shimmering silks or vuluptuous velvets they add depth and intensity to this seductive shade.

Marc Jacobs worked the eighties vibe with a plum puffball minidress whilst Graeme Black created his own texture with his geometric print offering a kaleidescope of purple tones.

A shade with a sultry side, embrace it sumptuousness in rich velvet and brocade. Krizia fell for Hollywood glamour with a floorlength gown in burgundy velour, the look completed with a fur stole in dusty mink. Dolce and Gabbana meanwhile looked as though they'd ransacked a theatre for its velvet drapes; their corsetted minidresses belted at the waist with corded tassels were as opulent as the royal box from which they had been snatched.

Vivienne Westwood too looked to the lavish for her Red Label Collection. Her rich brocade dress with oragami folded sleeves, styled with shoes in matching fabric, was the the epitome of the season's purple principle.

Shoulder Action

2010-04-05T15:25:00.000-07:00

So stylish is the suped-up shoulder that it has infiltrated every trend going this season. From suiting to satin, from ermine to eveningwear designers are giving it some serious shoulder action.

Despite suiting's armour-like rigidity, the look is ultra feminine, a far cry from the macho power dressing of the 1980s. The arc of shoulders at Balmain and Gianfranco Ferre added drama rather than severity, as did the circular sleeveheads pioneered by Dolce and Gabbana, and refined by Antonio Beradi.

The joy of the strong shoulder is its illusion of narrowing on the waist. An age old trick, it was seized upon by Alber Elbaz with his beautiful dresses for Lanvin, inspired by the silhouettes of the late 1930s. Triangular torsos shaped suiting for daywear and gave structure to floor length gowns for the most opulent evenings imaginable.

Donna Karan too made reference to this figure, contrasting strong shoulders with body-hugging jersey.

The rounded shoulder may be softer than Balmain's up-turned shapes but it is nonetheless modern. Seen at Balenciaga and Elie Saab, this look represents the true power of woman, considerate of her softly curving form.

A softer approach to the trend leaves the shoulder pad in the dressing up box and focuses on the sleeves, with voluminous gathers defining the shoulder-based silhouette. This wasn't much of a compromise at Dolce andGabbana however, where oversized sleeveheads stood neck high above the shoulders!

Of course there are more wearable options. Stella McCartney and Jaegar London featured blooming sleeves to stylize billowing, sheer blouses.

Strong shoulders are ultimately the season's biggest statement and to pull them off you must wear them with certainty. With the structure of armour sport them as if they are: harness the power they affect and be a superwoman if only for a day.

The Glories of Gertrude Street

2010-03-06T19:54:00.000-08:00

Somewhat overshadowed by its Brunswick Street neighbour, Gertrude Street is a place for people in the know. The vibe is still arty but being less of a thoroughfare by design it is a lot quieter and feels all the more sophisticated for it. The home of creative, young professionals, it’s more refined than much of Fitzroy, a true diamond in the rough.

The Deconstructionists
Gertrude Street pays homage to the Deconstructionists, the likes of Comme des Garcons and Yohji Yamamoto with stores such as Left and Assin stocking Comme specifically and others, notably E.S.S. offering its own interpretation.

With its range of womenswear varying little from its men’s line, E.S.S Laboratory displays a unisex attitude to dress, with lots of loose fitting shapes in natural cottons. Look out for their oversized sleeves and boomerang-legged trousers.

The Alternative
Interweaving the minimalism and monochromes of the Deconstructionists, Gertrude Street shines a rainbow of colourful prints.

Obus went for big and bright primary prints whilst Leonard Street opted for dusty florals, and although not patterned, their jumpsuits in lemon and cornflower blue looked particularly fresh.

Since Grey featured bird patterns in muted tones but it is another of their labels, Khoi Dinh Tran by a Melbourne-based brother and sister team, that offers the most interesting garment shapes.

Vintage
Shopping for vintage clothing on Gertrude Street is a pleasure. There’s no foisty smell for one thing, and the racks are well merchandised with organised collections that are spaced with room to browse. My favourite, Circa Vintage Clothing, which caters for both men and women, had the most beautiful 1930s wedding gown in ivory satin – a fabulous show piece and priced at a reasonable $650.

I ended up buying however, from Garb, the vintage clothing range stocked in the back right-hand corner of industrial furniture store Industria. The garments are limited but the quality is good and the prices are some of the most affordable I’ve seen in Melbourne.

The Punctuations
Punctuating the boutiques are some fine specialist stores. Here’s the pick:
· Three Quarters – Stylish retro design from Scandinavia: the heritage behind IKEA but with quality the flat-pack emporium can only dream of.
· Artisan Books – Selling more than just coffee table books, it offers practical, instructional material on many aspects of craft and design. Worthy of mention is its inclusive fashion section which includes various titles on numerous sewing techniques, and pattern cutting.
· Melissa Jackson, milliner – The Spring Racing Carnival may seem like a long way off but it’s never too soon to be inspired!
· Eno-Teca – Cafes are aplenty in this part of the city, and Eno-Teca feels more like a wine bar than a coffee shop, but it’s well worth a visit. The coffee is delicious, as one fellow patron remarked “This coffee is great – not just good but great.”

The Nature of Style - Kirrily Johnstone a/w 2010

2010-01-23T22:27:00.001-08:00

The story begins as dusk falls on a cool winter night. As the grey sky hangs heavy with the threat of rain, a solitary couple are trudging across wet, sandy plains; two nomads sharing company and clothes. These are the ‘Cave Dwellers’ behind Kirrily Johnstone’s autumn/winter collection for 2010.

The collection has a natural feel to it. The colour story is earthy with a base palette of khaki, camel and burnt chocolate freshened with dove grey. That most garments come in an alternative black colourway may indulge the monochrome-loving urbanite but it serves also to keep it current and ultimately, saleable.

The look too, is quite organic. Free- falling jersey tops, dresses and maxi skirts are gathered with drawstring detailing, adding ruching and drape to otherwise simple shapes. Long, knitted scarves with plaits and tassels swathe necks and trail from coats, skimming the floor; and circles of leather are wrapped around waists to make dirndl skirts.

There is something fundamental about the collection. The image of the Cave Dweller relying on the land for her cloth, hunting her own animal skins and spinning her own yarns harks back to a bygone era, a simpler time when clothing was for warmth and modesty. Yet the idea of her customising garments with drawstring ties for example adds a modern notion of styling to the picture. It proves that sometimes it’s not who you are or what you are wearing but how you are wearing it that creates the statement.

For the Cave Dweller, braving the elements can be a challenge and this is reflected in the dominance of outerwear throughout the collection. There are ankle length coats, capes, knitted blazers and something delightfully named a ‘wanderer’, which is a sort of cross between a cape, a jacket and a long cardigan with lusciously draping volume. The Cave Dweller might pull it on for a brief trip out foraging or, in reality it would be great to pull on to pop out for a coffee on an autumn afternoon.

Warmth and comfort were clearly key factors in determining many of the styles. There is a strong emphasis on knitwear, which is a big trend for autumn/winter, with jumper-dresses, long scarves and oversized cardigans creating pieces to wrap up and get cosy in. Long-johns are present too, suggestive of that basic practicality again, and with their stretch fabric and harem-like drop-crotch, they look supremely comfortable.

There is more to this collection however, than simple going back to nature, this is Mother Earth does luxury. Knitwear is angora, boots and bags are pony skin, and the more tailored pieces are cashmere: the stunning ankle-length coat and the formal, long john-style pants. And let’s not forget, leather may be an animal resource but purchasing it in a shop is not as cheap as hunting the beast yourself.

Perhaps this is another insight into the fundamentals of fashion, that fabrication is the key to success. Simple styles in quality materials can look more effective than over-designed pieces created for fashions sake.

That said however, there is still something of the trend-led on offer. Loose jersey silhouettes are defined at the shoulder with asymmetric sequined patches, and sequined stripes add a touch of glamour for those disco-going Dwellers.

Halston's Heritage

2010-01-17T13:43:00.000-08:00

Halston, both the man and the brand, became synonymous with the disco glitterati. He played as hard as he worked and his favourite playground was nightclub, Studio 54. Partying with the likes of Bianca Jagger and Liza Minelli, they became his friends as well as his clothes horses. His look would define that of the party set throughout the 1970s and into the eighties.

His style was sleek and minimal. He let the drape of beautiful fabrics and the lithe bodies of his muses make the statement. So pure was his ethos that he removed the need for buttons and zips to preserve his clean lines. Through such simplicity a new luxury was born.

With his high-profile clientele, Halston pioneered the celebrity endorsement; his social scene and lifestyle doing much to form his brand’s identity. His marketing techniques just as much as the fashions he designed placed him a head of his time. He was also one of the first designers to recognise the potential of licensing, a formula now vital to the survival of fashion houses.

He would however, become a victim of these very things that defined his success. His unwillingness to allow junior designers to handle licensed products made it impossible for him to meet deadlines, a problem not helped by his excessive drug use. In 1984 he was sacked from his own company and lost the rights to the Halston name.

His panache and personality were central to the brand’s achievements and without him as figurehead, the label floundered. Whilst his look may have stylised the disco-going decade, his design principles are surprisingly contemporary. In theory, they have all the fundamentals for a modern revival and yet two previous attempts to do so have failed. It’s relaunch in February 2008 is third time lucky.

The Future
This latest reinvention is the brainchild of Tamara Mellon who, following her amazing transformation of the Jimmy Choo brand is better qualified than most for such an undertaking. Engaging the services of designer, Marco Zanini with his decade of experience at Versace, looked to be a prestigious beginning but so far the Halston resurrection has done little to inspire much acclaim. But quick to adapt, the company is already evolving in a new direction.

In July 2009, London-based designer Marios Schwab replaced Zanini as Creative Director. His goal now is to invigorate the Halston mainline with a fresh and contemporary vision, leaving the homage-paying to the new Halston Heritage line.

Halston Heritage will draw directly from the label’s archives and this is possibly where Sarah Jessica Parker’s role will come into play. Where little original design is involved, perhaps her input will be required to select and veto the garments for redevelopment. With the diffusion line offering more affordable price points than the mainline, maybe it is a project close to her heart following her ‘Bitten’ clothing range for a US budget retailer.

It seems somewhat fitting that these latest developments should follow the founder’s precedents. Just as Halston opened up his market through licensing so Halston Heritage will make his designs affordable for the average purse. And was it not for the celebrity endorsement, his brand may never have reached the heights it did. As for its future, all eyes will be on Schwab at New York Fashion Week, to see how he has adapted the Halston philosophy for 2010.

SJP to Take on Creative Role at Halston

2010-01-14T13:16:00.000-08:00

Rumours that Sarah Jessica Parker will take on a creative role for Halston Heritage, the diffusion line of recently-revived label Halston, were confirmed yesterday. Whilst her exact position in the company has not yet been revealed, it is thought she will become a Creative Director, though how she'll sit with exisitng Creative Director, Marios Schwab, we'll have to wait and see.

Chanel No. 1

2010-01-03T19:46:00.000-08:00

Gabrielle Chanel: 19 August 1883 – 10 January 1971

If fashion designers wish to secure their legends live on long after they have expired, retired or gone bankrupt, they must create a signature style. Christian Dior for example, secured his place in the fashion hall of fame with his ‘New Look’. A successful designer need have only one groundbreaking creation, like Mary Quant with the miniskirt, to secure a place in history. To create such a phenomenon is no mean feat but what then for Gabrielle Chanel, a designer who, pioneering no less than three innovations, shaped modern fashion?

From the very beginning of her career Chanel defied conventions. She disregarded the luxurious traditions of haute couture, favouring cheap, cotton knit fabrics that better fitted her predilection for comfort and ease of movement. It was this ethos that defined her silhouette: simple and boyish; and also contributed to her promotion of women’s trousers in a time before they were considered acceptable for ladies.

Her love of sport and the outdoors shaped her philosophy and her designs. Understanding the restrictions of corsets and ankle-length skirts on an active lifestyle, Chanel was introducing sportswear garments as early as 1920. Compared to today’s high-tech, streamlined activewear, her efforts seem more akin to leisurewear but her innovation was a formative step in the development of the genre.

Conversely, the architect of masculine-influenced sportswear also popularised one of the most recognisable symbols of femininity – the little black dress. An eternal classic, Chanel first showed the ‘LBD’ in 1926. Not only did she continue to reinvent it throughout her career but the style has been adapted and updated by practically every designer since. As she once said, “A fashion that goes out of fashion overnight is a distraction, not a fashion.”

The success of her comeback collection fifteen years after retiring proved the timelessness of her approach to fashion. Having closed her salon in 1939, and in spite of her controversial relationship with a Nazi officer during World War II, she unveiled yet another fashion statement in 1954: the tweed suit. Perhaps her most instantly recognisable creation, not only has it secured her legacy for the twenty-first century, but it contributed to the creation of another style icon. It was this style, worn with the two-tone pumps and quilted handbag, that became Jacqueline Kennedy’s signature look.

The impact of Chanel on fashion cannot be overestimated. She introduced some of the most significant changes to women’s wardrobes, introducing freedoms that had previously been the privilege of men. A revolutionary, her ethos ensured her creations are as relevant now as the day she designed them. So if there is a golden room at the end of that fashion hall of fame, no one is more worthy of a key to its door than Gabrielle Chanel.

The Advent of Alabakov

2009-12-08T21:55:00.000-08:00

Heading into December and the countdown is on, not only for Christmas but for the release of Melbourne label, Alabakov’s latest range of clothing. As unique as its name, Alabakov has eschewed fashion’s tradition for bi-annual, seasonal collections, opting instead for a monthly showcase of pieces. With her innovative approach, designer Stephanie Carello ensures that while seasonal trends may stagnate, her brand always has something fresh to offer.

Strong silhouettes were a major feature on international catwalks and Carello’s vision for December encapsulates the shapely trend. Shift dresses dominate, moulded to the body with structured panelling. Powerful shoulders balance curvaceous hips to emphasise slender waists. Contrasting a sharp silhouette of clean lines and strict tailoring with the ultimate symbols of femininity, sleek dresses and hourglasses silhouettes, the look is modern chic.

Print is prominent, and the inspiration for the colour palette. Graphic florals entwine a body, a swirl of black and purple on white, the supporting story picking up navy and cobalt blues.

Seemingly a contradictory note, the drape in one dress bodice is a concession to the structured theme. Playing with her concept, Carello has taken the strong shouldered look and developed it into a cocoon-like dress top which, cut in a softly falling fabric gives an alternative edge to the collection. It is also something of a taster for January’s models, with drape largely determining the forthcoming range of skirts and dresses.

This month-by-month approach has allowed Carello certain creative freedoms. Every collection has a separate inspiration, each offers different colours and fabrications even the styling and photography have a fresh angle. Nevertheless, with the label’s founding philosophy centred round fine workmanship and timeless design, and Carello’s own European attitude to dressing up, a distinctive identity is developing: the Alabakov girl embraces her femininity, she is confident and sassy, and fabulous fashion is her ultimate flirtation.

The label is evolving. Still new, a product of 2009, Alabakov may have started life as an internet brand but already it’s starting to attract stockists. Whilst monthly collections and web sales were vital at the conception, seasonal ranges are necessary for the label’s development. With this in mind, Carello has a target of spring/summer 2010-11 for her first seasonal launch.

Her vision for next spring is the ‘Porcelain Lady’. The inspiration is ‘new’ and ‘natural’, and the look will embrace full skirts and kimono sleeves. Fabrics such as sheer organza are a nod to the nude, see-through trend seen on the summer catwalks.

It is a sizeable target but one that Carello is more than equipped to handle. She may still be young but she has a wealth of experience in all areas of fashion, from retail sales and buying to visual merchandising and product development for some of Australia’s best known brands.
Perhaps more revealing though, she is more or less self taught, attending RMIT just to refine her skills. She has an unrelenting passion for design and her creative energy is overwhelming. Her enthusiasm and motivation are an unstoppable driving force, and will no doubt ensure the label’s longevity. Now’s the time to get ahead of the trend and pick up some Alabakov before it’s unleashed on the mainstream.

Summer by Eduardo Calucag

2009-10-27T17:45:00.000-07:00

Forecast as Australian fashion’s next big thing, Eduardo Calucag is the designer to watch. From an obscure debut at Melbourne Spring Fashion Week in 2007 he has, after his spring/summer show at Rosemount Australian Fashion Week in April this year, become Australia’s latest fashion protégé. And with his effortlessly chic and feminine vision for the season ahead, Calucag’s future certainly looks like being a stylish one.

Born, and trained in Canada, Calucag emigrated to Melbourne in 2006, setting up his own label in 2007 after almost a decade in the industry. Though he may not be a native, his spring/summer collection seems to capture the very essence of Australian style. It is light, airy and easy to wear: the soft caress of silky satin dresses that skirt the body’s contours; the cool crispness of a white shirt on a sunny spring day. It is the nonchalance of timeless elegance, the aspiration of a lifestyle we’d love to have: the gleaming gold of softly tailored trousers; polka dots for a polo match or a day at the races.

Hemlines float with an air of youth, slip-like mini dresses skimming the thigh, and frivolous frills are simplified to make refined trimmings and two-tiered skirts. With a colour story of latte, mocha and sandstone the colour of Collins Street in the sunshine, it was a show of urban sophistication with an accent of a yellowy green, the shade of lime marmalade, to freshen the palette.

In terms of key pieces, the jumpsuit is a persevering trend and Calucag’s neat silhouette with tapered trousers and belted waist oozes city chic. His catwalk opener, a white cotton dress with short, puffy sleeves and a large frill edging an oversized neckline seems to epitomise summer style. His asymmetric mini skirt however, draped to look like a wrap-over, is the most beautiful piece in the collection and alludes to some deeper skills that have not yet been employed to their full potential. With the catwalks already being primed for the autumn/winter collections though, we won’t have to wait long to see if this new star can fulfil his promise.

Myer Missing the Mark

2009-09-14T17:47:00.000-07:00

The Myer fashion show for Melbourne Spring Fashion Week promised a riot of colour. The latest window displays juxtapose pretty dresses with colourful paint pots whilst the spring advertising campaign stars Jennifer Hawkins pictured against a backdrop of rainbow shades; even the show’s MC introduced a catwalk celebrating a season of colour. But the intensity seemed somewhat diluted and it was more than just the colour palette left looking a bit dull.

Sending out groups of all black or all white outfits diluted their colourful message, a shame seeing it was the bright, bold collections that proved the most interesting. What colour story there was sited complimentary colours orange and blue as the mainstay of the season, exemplified with outfits by Karen Walker and Wayne by Wayne Cooper.

Aurelio Costarella too had a taste for orange with a flouncy orange top worn over a tight, beaded mini skirt (and modelled by Jennifer Hawkins for added impact) becoming the definitive show piece.

Whilst Myer failed to satisfy the coming season’s thirst for colour, they did pick up another of its main trends. Frills and ruffles were strongly featured with Aurelio Costarella again answering the call with tiered and ruffled dresses, with Karen Walker, Wayne by Wayne Cooper and Manning Cartell also decorating the skirts of their dresses with layers of frills. Sea Folly carried the trend through to swimwear with the cutest frilled polka dot bikini.

Shoulders were also given suitable recognition with power dressing jackets and asymmetric, Grecian draping accentuating the silhouette. Bettina Liano’s deconstructed dress was the ultimate statement with huge sleeve heads puffing up from the shoulder whilst Cue’s black and gold striped jacket could have walked straight off the set of Dynasty.

One-shoulder dresses offer a subtler way to enhance the silhouette with Wayne by Wayne Cooper and NF by Nicola Finetti embracing the trend for elegant eveningwear.

It’s the same designers getting mentioned here and their collections are the ones to hunt down this season. Indeed, if the catwalk show is anything to go by they’re certainly the only reason to head to Myer this spring. Having checked out the rails on the shop floor however, there were some treats that didn’t get a showcase and ranges such as Cooper Street for example, had more to offer than the stylists suggested.

Hunt Them Out:

Aurelio Costarella for all out, elegant glamour

Karen Walker for sophisticated daywear

Manning Cartell for something feminine but funky, for those who still carry off miniskirts

Wayne by Wayne Cooper for designer style on a budget

A Field Day for Colour

2009-09-14T17:42:00.000-07:00

Spring was blossoming yesterday at the David Jones Spring Racewear Review show as a carnival of juicy shades were presented against a white runway edged with bouquets of colourful flowers.

Colour proved a theme of the show: mustard and yellow shone out whilst pillar box red was stunningly styled against monochrome ensembles. There was even a glimpse of spring/summer’s ‘it’ colour fuchsia with a structured dress with bow detail by Alannah Hill.

Graphic prints heightened a bold colour statement, adding impact to outfits of separates. For best effect, keep pattern to one half of the body: a bold printed skirt with a bright but plain top.

Frills and tiers are an important trend for summer and were paid suitable tribute on the catwalk. Blousy vests featured ruffled fronts whilst skirts by Thurley and Alannah Hill were layered down to the knee.

Although colour was the prevailing statement, there was still room for a show stealing dress. In burnt orange, the dress by Willow edged towards the subtle end of the show’s colour spectrum. It’s figure moulding cut, chunky back zip and front split created sex appeal while the frill that striped the centre front kept it right on trend for spring.

Hats of course, are the essence of every raceday outfit and David Jones showed something for everyone. There was strong and edgy like the trilby that opened the show through to classic and feathery, flowers on headbands that hinted at headwear and even a hat by millinery king Phillip Treacy.

Racing thoroughbred, Emma Freedman (who, coming from a background of jockeys, breeders and trainers, has probably been to the races more times than the Queen’s attended Ascot) was on hand to share her racewear expertise. Her top tips: keep skirt lengths to knee to satisfy raceday etiquette, and take a handbag big enough to fit your form guide as well as your lipstick!

First published 1st September 2009

Vintage Details

2009-08-11T00:07:00.000-07:00

Here's some beautiful vinatge details I discovered. Why don't they make clothes like this anymore?

Boutiques on Brunswick

2009-08-05T15:41:00.000-07:00

Brunswick Street certainly has a unique vibe. It’s alive with arty, grungy and generally alternative types and I self consciously consider that I lack the body piercings to belong in this end of town. In Fitzroy however, anything and anyone goes, even an overdressed fashionista like myself it would seem. My reticence is soon lost in the liberal, laidback mood leaving me free to savour the sights, sounds and shopping of one of Melbourne’s most hyped fashion centres.

The Brand New Vintage
That ‘Brand New Vintage’ look (retro inspired styles without the foisty smell) dominates Brunswick Street style: seen in the likes of Leghorn Rouge, its sister store Quick Brown Fox and Kinki Gerlinki, these stores stock cute and quirky pieces with a vintage influence. Their novelty value however, reveals their Asian sourcing just as their price points reflect the quality of their fabrics.
With their eclectic mix of clothing and accessories they create the feeling of one-of-a-kind bazaars despite having branches across the city. Leghorn Rouge is the one to watch, selling the samples that inspire the mass produced lines of Quick Brown Fox. Specialising in accessories, their key piece for the season is a pair of Ugg-shaped canvas boots with contrasting patterned trim for $119, which epitomise the Leghorn look. As the sales assistant was proud to point out, you wouldn’t find footwear like this in Sydney!

True Vintage
For die-hard vintage aficionados, there are an abundance of true vintage stores, their rails crammed with cowboy checked shirts and leather jackets for the boys, and sixties and seventies patterned synthetics for girls.

The Alternative
For something more sophisticated, Gorman is the place to go. With the price of tops starting at $199, it’s as close to high fashion as Brunswick Street gets. Clothing for the urban sophisticate, monochrome basics are lifted with splashes of oh-so-fashionable neon, or ready yourself for spring with their bright ‘African violet’ prints.

The Home-Grown Showcase
If Melbourne’s vibrant fashion scene is perfect for cultivating home-grown designers then Fitzroy is the ideal glass house in which they can flourish. Fat offers the widest range of labels offering well-known Aussie brands such as Antipodium, Romance Was Born and Sass and Bide. But with jeanswear dominating the rails it left the innovation to Alphaville.
Alphaville’s house label, Alpha60 displays true conceptual design. Its soft tailoring in a cool urban colour palette of black, bluestone and steely greys embodies Melburnian city chic. The quality of the fabrics is a cut above the rest of Brunswick Street, the complete package of design and production making the price tags seem almost cheap. Their pleated scarves are a testimony to their style, making a statement of any outfit for only $120.
Also worth checking out is Friends of Couture at Scarlett and Sly. Based at Sydney Road, Brunswick you don’t get much more home-grown than this. Their knitwear is adorable, with lavishly embellished cardigans illustrating their gift of reinterpreting vintage styles with modern wit.

The Hidden Gem
I don’t usually hold factory clearance outlets in particularly high regard so as I stepped into the one on Brunswick Street I was fully expecting to walk straight back out again. It was an Alannah Hill label that caught my eye, then another one, then another and another, the place was half full of discounted Alannah Hill pieces. Whether they’re seconds or passed seasons stock, I couldn’t say, but the pretty camisoles and floral skirts are typical of Hill’s designs at a fraction of the cost.
Upstairs a wonderland of fabrics awaits with an entire wall lined with rolls of Alannah Hill remnants. Superior fabrics with gorgeous prints are for sale, some from as little as $10 a metre. All you need now is the sewing machine!

The Punctuations
Punctuating the run of fashion boutiques, Brunswick Street has plenty else to offer. Here’s the pick:
• The Grub Street Bookstore – 2nd hand book dealers. The little Shakespeare series with the claret coloured hardbacks and gold lettering will add grandeur to any bookshelf.
• Kleins Perfumery – Delectable bathroom treats from candles and cosmetics to flowery soaps like Granny used to have. Great for gifts, indulgent treats and good old fashioned scents.
• The Brunswick Street Bookstore – The secret hoard of design books hidden away upstairs is well worth a browse; inspiration for budding, burgeoning and even beleaguered artistes.
• Kami – Novelty paper store with beautiful floral prints used on anything from photo albums to gift cards, and notebooks that are just too pretty to use.

Pretty Polly
The end of Brunswick Street in sight, take a moment to indulge in some Art Nouveau opulence with a cocktail at Polly. Fitting for its location, its theme is done in the spirit of novelty rather than polished authenticity but it is all the more charming for it. Recline on a sofa, soak up the spirit and hopefully sip a few of your own!

Angst in Your Pants? - How to Pull Off Harem Pants

2009-07-28T15:44:00.000-07:00

Baggy, saggy and mocked for their associations with a faded, eighties rap star, this season’s hottest trend is under fire. Having dominated the catwalks, harem pants have become the must-have item, disseminating from high fashion to the high street. They may be the latest thing but their avant-garde shape certainly makes them a challenge to pull off. Are these pants worth the angst?

Defined as baggy trousers tapered from the knee down, this is key to making the look work. Don’t fall for the ‘oh so comfy’ looking jersey pants that banana to the ankle. Not only do they swamp the figure but they rob it of femininity. Strictly speaking, they’re not harem pants but with their unflattering shape, they are responsible for much of the bad press.

On the catwalk, harem pants were refined to create a more tailored silhouette – think jodhpur rather than parachute, with trousers fitted over the calves, the tighter the better, or failing that, cropped below the knee Alexander McQueen style.
Though they’ve been given a bad rap, this season’s inspiration is more Paul Poiret than MC Hammer. The early twentieth century couturier championed harem pants before trousers were even acceptable for women, and his passion for exotic luxe can be felt in their 2009 incarnations. Full of evening glamour, Chloe and Just Cavalli showed harem-style trousers in jewel coloured satins whilst Derek Lam’s glittered in gold lame.

For the ultimate styling reference however, look to Ralph Lauren. Combining the opulence of Orientalism with safari chic, and pairing harem pants with sequins has coined the season’s signature look.

Not to be confused with combat trousers or pyjama bottoms, harem pants should be dressed to impress. Whilst Lauren-style glitz is all the better, at the very least the style demands high heels. Slim down the voluminous silhouette with a fitted top and emphasise the waist by tucking it in, even add a statement belt for extra definition. The final touch: an assertive strut of confidence in your own stylishness.

Plastic Fantastic

2009-07-28T15:36:00.000-07:00

Most fashion models are considered passed it long before they reach fifty but one in particular is still going strong. Flavouring the childhoods of little girls all around the world, Barbie has gone from mannequin to superstar. As she celebrates her fiftieth birthday this year, it seems she has become more than just a toy: Barbie is an icon. So what’s the secret to her success?

Eternal youth is probably an advantage. In a society so obsessed with being young and beautiful, Barbie is fortunate enough to be able to conform. She looks practically adolescent today compared to the responsible looking ‘Doctor Barbie’ that I recall from my girlhood, and even more noticeably so against the mature, maternal appearance of the first Barbie in 1959.

Nevertheless, it is that ability to adapt that has ensured her survival. She can be transformed to fit trends as and when they change, dropping her matriarchal poise with the influence of Jacqueline Kennedy and Brit model ‘Twiggy’ in the 1960s for instance. The same is true even beyond her physical appearance. In terms of her careers too, Barbie has gone from being a mere clothes stand to a pilot, a police officer and a business woman, leading the field in equal opportunities. She is therefore, of significant value as a social barometer, her looks and incarnations charting the moods of the late twentieth century.

Too true it would seem, as the 1970s proved. Bringing a period of questionable taste to the real world, the repercussions filtered through to Barbie land and from the mid seventies through much of the 1980s her costumes took a turn for the worse. Models such as ‘Superstar Barbie’ were vague and fanciful, and all fashion direction was lost in a cloud of sugary pink and sparkly lurex. Her credibility floundered.

Like most icons, Barbie has provoked controversy. Coming under increasing criticism for her unrealistic body image, the widening of her waist in 1997 reflected the strength of public feeling. More and more she was being considered as politically incorrect so much so that the term ‘Barbie’ is now regarded as derogatory, suggesting shallowness and superficiality as summed up in nineties hit single ‘Barbie Girl’.

She may have assumed many guises over the years but she has never lost her fundamental identity. In spite of some recent, dubious attempts to revamp her image, ‘Totally Stylin’ Tattoo Barbie’ for example, she remains a wholesome figure. Which is why, in the face of a society that regards little that is wholesome to be ‘cool’, she can be appreciated by both adults and children alike.

Consequently, in the style of a true legend, she has risen again. With her landmark birthday, Barbie is experiencing unprecedented recognition (well, for an inanimate object at least). Inspiring a pair of peep toes in her signature ‘Barbie Pink’ by the shoe master Christian Louboutin, she has been muse for Karl Lagerfeld’s photography, and she’s even the face of Bulgari’s latest campaign for the charity Save the Children. As is fitting for our fame-gripped culture, she is becoming something of a pseudo celebrity!

That is the great thing about Barbie, her flexibility to become whatever we want her to be. She can be an astronaut or a dancer, a doctor or a fashion plate; her only limitations are in the minds of her critics. She is as free as the imaginations of those who play with her. So as long as we have fantasies to fulfil Barbie will live
forever!

Fantastic Florals

2009-06-19T00:01:00.000-07:00

There is perhaps nothing so evocative of summer as an English country garden in bloom: aprons of colourful petals alive with butterflies and bumblebees, the scent of freshly cut grass hanging heavy in the air. Fashion too is blossoming as Vogue inspires a cool edge to the traditional English rose.

Styling this season adeptly manoeuvres the trap of flouncy florals with a fresh and breezy approach. Colour palettes are kept cool with blues and grey tones whilst small, organic prints evoke the natural beauty of wild country hedgerows.

The latest phase of floral dressing is all about contrast, feminine patterns with a masculine silhouette, light and delicate florals worn with tougher textiles. Classic, Liberty print shirts exemplify the mood. Team with harem pants for a double hit of stylishness or alternatively, embrace ‘la difference’ with a boyfriend blazer worn nonchalantly over a pretty vintage dress.

Not known for its spend thrift ways, Vogue’s tips for customising existing pieces were somewhat surprising. Don’t let it be said that the Hautie Couturist is above Make-Do-and-Mend however. Could there be an easier way of updating an outfit than replacing the laces of gladiator sandals with floral ties or by threading strips of fabric through a chunky chain necklace? Why not go one step further and replace button fastenings with strips of flowery fabric to create pretty bow bindings.

In terms of accessories, silk scarves and handkerchiefs hold plenty of vintage appeal but try wearing them wrapped around wrists or as headbands for a modern twist.

It’s very much about approaching florals from a new angle so don’t be afraid to experiment with contradicting patterns and textures. Structured box, clutch bags add definition to light, summery pieces whilst plaid patterns mixed in with flowery pieces offer a masculine contradiction. Whatever your approach, where your prints with pride and ensure you’re more than just a wallflower this summer.

Reiss Red Hot for Summer

2009-05-26T02:42:00.000-07:00

The credit crunch may be leaving us with less money to burn but it hasn’t dampened our desire to look any less fashionable. Fortunately this season there is an answer as Reiss brings high fashion to the high street.

Whilst Reiss has always stood a sartorial step above other affordable high street labels, its spring/summer 2009 collection has lifted it to an altogether higher plain. The quality of its fabrics, the class of its cuts and its stylistic quirks have already carved it a niche market at the very top of the high street but it’s Reiss’ interpretations of this season’s key trends that have made it one of the hottest labels of 2009.

The most direct of its catwalk translations is the jumpsuit, embracing the style for beachwear, casualwear, and following Stella McCartney’s lead with a tuxedo rompersuit to cover eveningwear as well.

In tailoring its separates too it doesn’t disappoint. Experimenting with this season’s diverse trouser shapes it offers a variety of stylish options including a particularly covetable pair of harem pants.

Embracing the feel created by the likes of Lanvin and MuiMui, its short skirts and bright colours suggest a youthful vibrancy. Mini hems are balanced with proper waists and rounded hips, with asymmetric tops adding a touch of classicism. Aquas and corals answer summer’s call for bold blocks of colour.

Fringing and frills, both popular on the catwalks, have also been interpreted in Reiss’ inimitable way. Keeping fringes short and neat, they swathe across strapless dresses and straight skirts whilst frills cascade around and down necklines like silk/satin waterfalls.

A homage to designer luxury, its accessories are a joy to behold. Larger, structured bags offer a ladylike chic felt at Prada for the last few seasons whilst tiny boxes covered in colourful faux-skins are suspended from wrists catwalk-style, with short metal chains.

Their shoes too are simply divine: look out for its open toed platform sandals, bang on trend with frill corsages across the toes. Sitting at the top of my wish list is the most fantastic reptile-effect pair with latticework fronts and peep toes. In white and black with a hint of gold trim, they ooze Chanel chic although in eye-catching emerald they are a must-have for any flamboyant fashionista.

Bravo to Stylish Rome

2009-04-23T06:06:00.000-07:00

So it may not be Milan, the recognised centre of Italian fashion, but sitting somewhere in the middle, bridging the north/south divide, surely Rome should be the median of true Italian style. But whilst Italy may be home to some of the world’s best loved fashion houses, the principles of its leading brands seem to be poles apart. From the glitzy glamour of Versace and Roberto Cavalli to the simple chic of Armani and Bottega Veneta, there would appear to be a distinct contrast in design. How would the heart of Italy embrace these conflicting messages?

Street style was strikingly immaculate. Romans were instantly distinguishable from the masses of travel-worn tourists by their neatness of dress: their well-cut, well fitting clothes looking as pristine as if they had just been purchased that morning. The feel was smart and classic and yet in spite of which, denim prevailed as the fabric of choice.

Italian jeanswear bears only a passing resemblance to the jeans that litter our high streets: from the frayed hems, rips and faded colours of distressed denim (whether it be from over wearing a much loved piece or Abercrombie and Fitch induced) to the sagging crotches and baggy knees of Lycra-infused denim; jeans in the UK are the ultimate in casual clothing, the antithesis of ‘smart’. The Italians however, provide a living argument to dispute this.

For a start there was not a frayed edge in sight. Hems sat neatly on top of shoes, not trailing on the ground and as if to further ensure this, turn-ups were a popular choice amongst men. Women on the other hand preferred to tuck the legs of their jeans into knee-high boots (usually brown). Colour washes were a dark indigo with a brand new, never-been-washed depth to them.

Furthermore, the jeans actually seemed to fit the wearer. There was not a muffin top in sight nor any sign of boys’ underpanted bottoms. Their styles were worn more on the waist, neatly cupping pert, pasta-filled bottoms; fitting tight to the thighs on women whilst the men opted for a straighter, slim leg.

A shirt and sweater combination was the favoured accompaniment. Fitted shirts were worn open-collared under fine gauge, V-neck sweaters. Women stuck to neutral, earthy tones and it was the men that flirted with colour, embracing their feminine sides in pretty pastel shades.

As perfect outerwear for spring, the Mac was the ultimate top dressing for ladieswear. Typically the style was classic: conservatively mid-thigh length, double breasted and worn belted at the waist with colours remaining understated, either black or nude beige. Gillets meanwhile, were the choice for sharp-suited males, slipped over tailored jackets to keep out the spring chill on the daily commute.

Everything co-ordinates, the shoes, belts and bags all match and the prevalence of brown leather even corresponds to the abundantly earthy-toned wardrobes. The quality is indisputable: leather is a lasting, lifetime investment not a throw away plastic, Primark purchase. Accessories are the key to Roman style, adding polish to their often casual and unremarkable clothing.

The cobbled streets and hills of Rome make stiletto heels even more of a challenge than usual so that explains the flatter, sporty styles pacing the pavements: smart trainers of knee boots with small block or wedge heels.

The no-nonsense, hands free messenger-style bag was everywhere even on the men. The Gucci logo was the most outwardly popular, with Louis Vuitton following closely, their brown and gold prints complimenting the woody shades favoured by the Romans.

As smart and as expensive as Italian women appear, there is a noticeable absence of fashion trends. It would appear that their wardrobes consist of investment pieces that last season after season; classic items that don’t date.

Fashion seems to be more fun for Italian men, who aren’t afraid to flirt with flamboyancy. Suiting is their main form of expression so they do it in style. Good quality, their suits always seem made-to-measure even if they are probably just off the peg, hugging closely to sculpted, Romanesque figures. Rather than bog standard black, they play with colour and pattern: tan for instance, to compliment their Mediterranean skintones, or dove grey plaid with a contrasting flash of colour checking through.

It was also refreshing to see that the Italian’s impeccable presentation does not whither with age. Whereas old-age dressing in Britain conjures up images akin to Nora Batty, in Rome you’re never too old to make an effort. It is not a case of mutton dressed as lamb either, it’s all very tasteful and age appropriate. The men in suits and ties; the women in tweed skirts falling below the knees, a little heel to their court shoes, a full compliment of jewellery, and clutch-fastening handbags swinging gracefully from their arms. Style from a by-gone generation.

The Romans all looked so trim and slim and whilst it may not strictly speaking, be a note on fashion, its link with our current obsession with body image makes it a relevant observation. Granted there was a noticeable lack of fast food chains (only the golden arches of McDonald’s popping up in tourist hotspots) and let’s face it, with the delights of Italian cuisine why would they need them? Yet in spite of a diet centred round bread and cheese, pizza and pasta, there was not an overweight Italian to be seen. Perhaps carbs aren’t the enemy after all.

So whilst Rome bore little evidence of seasonal trends it was curious to witness the divergent fashion focus between Roman women and their peacock male counterparts. What’s more inspiring however, is the effort that they all put into their presentation; regardless of their jeanswear they were dressed to impress at all times. They proved that style is not always about following the latest fads but its the simplest of touches from buying clothes that fit correctly to co-ordinating outfits and accessories that can add that millionaire polish.

All For The All-In-One

2009-03-21T23:39:00.000-07:00

A favourite throughout last year’s spring/summer collections, the jumpsuit is back in the game for 2009 proving to be a versatile component for a multitude of looks. This season’s prime style however, is languid and loose: soft fabrics allow the all-in-one to drape and fall from the body, dressing the silhouette but never constraining it.

Derek Lam epitomised sporty luxe with his silk jumpsuit in buttery beige: a trio of drawstrings added shape to the figure whilst the gently rounded neckline, popper fastenings and low slung pockets added a casual air.

Following a similar leisurewear feel was Donna Karan for DKNY who styled a silk, pewter romper suit over a coloured vest top, with a draped pashmina and chunky trainers.

Meanwhile, Marc Jacobs’ look was pure sportswear, his cotton jersey fabric embodying the mood. Again a drawstring defined the silhouette, sitting low on the hips; and the rolled up bottoms of his trousers added to his gym-wear style.

With a smarter take on the look, Etro went for safari neutrals for their V-neck all-in-one with softly tailored lapels. Yet again the waist was low and the trousers were wide but turn-ups added a smart detail that was continued through to the styling: a sandy coloured sports blazer with a patterned handkerchief in the breast pocket finished the ensemble.

Salvatore Ferragamo combined another of spring’s key trends: asymmetry with the jumpsuit shape. His blousy silk number was conservative on its left side whilst an oversized collar to the right fell softly like a frill, barely covering the décolletage.

Bottega Veneta too followed with the notion of combining a shirt-like style with flowing silk fabrics. A buttoned up collar and two breast, flap pockets led down to a covered belt at a soft waist, which marked the change into voluminous trousers that tapered to the ankle.

Elsewhere, tailoring tricks in traditional suiting fabrics made the all-in-one as perfect for the office as for the weekend. Georgio Armani led the way with a sleeveless, silver-grey style. Its quietly straight neckline, concealed placket and tapering trouser legs gave it an edge of propriety whilst the gathered straps and the five pleats at the front of the trousers offered something of a twist on the constraints of tailoring.

Similarly, Stella McCartney adapted tuxedo-style suiting to create jumpsuits with plunging necklines, flap pockets and large lapels that fell into fly fastenings.

So, the all-in-one has traversed sportswear, smart casual and even the tightly governed realms of tailoring; as if the versatility of this garment has not been tested enough, it made an effortless appearance as eveningwear as well.

Embracing its languid possibilities, both Marios Schwab and Halston used silk jersey to create body- skimming jumpsuits. Halston’s efforts showed blouson tops gathered into the waist whilst Schawab allowed the fabric to follow the female form, creating a statement at the waist with a wide belt of metallic rope.

Perhaps less subtle in its statement and less flattering with its silhouette, Chloe created a strapless black romper with a pretty bow over the bust, tying in fabric which gathered like a frill to rise up the décolletage, but which ballooned out and down from the Empire-line, creating an egg shape as it narrowed to the ankle.

For all out glamour look instead to Karl Lagerfeld who combined numerous trends to create his stunning jumpsuit. In a grey/black metallic organza, the one shouldered bodice was met at the middle with a wide, black belt adding definition before the trousers ballooned out over the thighs to the knees where they were reigned in, leg-of-mutton style, to fit tightly over the calves, and finished off with neat rows of covered buttons running down the outer leg.

All in all, the all-in-one really is what it claims to be. It is effortless dressing at its best and will put an end to most wardrobe dilemmas. If you’ve resisted the style so far (why?) spring/summer 2009 offers so many wearable options that now is the perfect time to invest. It’s all for one and one for the all-in-one!

Colour and Contrast Headline in Milan - Milan A/W09-10

2009-03-05T02:29:00.000-08:00

The curtain has fallen on the Milan runways for another season but what a show it has been. With a strong feeling of romance running through the collections, opulent fabrics and a touch of Hollywood glamour, fashion’s big name designers are bringing a much needed dose of escapism for autumn/winter 2009-10.

In terms of fabrication at least, it seems like sheers and metallics are all we’ve been talking about for the past few years and once again they are looking prevalent for next season with their contrasting textures fitting the ‘soft versus hard’ theme running through the shows. Alessandro Dell’Acqua for example, played heavily on textural differences: knitting chainmail into chiffon and sitting furs under jersey hoodies.

It was Prada however, that best summed up the trend with a unique collection reminiscent of country living. Thick tweeds and ribbed knits contrasted with softly fitting velvet tops with plunging v-necks whilst waders and wellingtons inspired over-knee boots and thin leather straps were made into that ultimate symbol of femininity: suspenders.

This mood was also felt at Burberry where Christopher Bailey combined tweeds and cabled, fisherman knits with skirts of layered tulle that fell like long tutus below the knee.

Brocades and jacquards were the ultimate statement of opulence. Dolce and Gabbana embraced their theatrical element for their ‘night at the opera’ inspired collection for D&G, and included it too in the glamour of their mainline collection. Alberta Ferretti meanwhile accentuated the richness of her brocade coats with a jewel-like colour palette.

Colour was an important tool in many of the shows. Typically for winter, black and sludgy tones provided the mainstay but flashes of fuchsia and cobalt were vital punctuators. Gucci took a step back to the 1980s, flashing through hot pinks and electric blues for that disco vibe. Peter Dundas concurred in his first collection for Pucci, creating a younger, rock chick style for the established house.

Bright pink too was key in highlighting Dolce and Gabbana’s largely monochrome show, the black and white base inspired by old Hollywood, which their Marilyn Monroe prints epitomized. Less of a nostalgic reminiscence however, the collection was more of a homage to retro style with fifties prom dresses and polka dot patterns.

The same can be said for the other labels displaying a vintage influence: at D&G for example with their pastiche of Victoriana and at Bottega Veneta, where Thomas Maier’s slip dresses and ruched bustiers alluded to vintage lingerie; his Grecian evening gowns, which also featured at Versace, evoking the spirit of 1930s glamour.

Big sleeves are the stand out shape for the season, and stand out you most certainly will if Dolce and Gabbana have anything to do with it: balancing their puffy sleeve heads with Elizabethan shaped hips for D&G they took the look to the extreme, almost characituring it for their mainline. Alberta Ferretti featured a similar, leg-of-mutton shape but in soft fabrics the look was one of subtle volume and gentle draping.

Elsewhere sleeves were just as important, with bell shapes cladding arms at Salvatore Ferragamo, and banana-like arcs echoing the curves at Jil Sander. The significance of masculine tailoring and the prevalence of the mannish overcoat also encouraged wide sleeves whether they’re teamed with oversized, slouchy shoulders as at Prada, or worn with the polished aplomb of the Versace woman.

Indeed, autumn/winter’s silhouette is most definitely top heavy: high necks and polos were a strong feature, taken to the extreme at Salvatore Ferragamo and Bottega Veneta where sheer fabrics grew up from lower cut necklines to cover the décolletage. The dominance of skinny-legged trousers served to accentuate the shape, to extremes at Pucci where big fur jackets created a lollipop profile.

In general, the directional approach of Muiccia Prada makes her mainline show the most eagerly anticipated on the Italian circuit but this season there was a new contender. With his spring/summer collection for Jil Sander, the beauty and sex appeal of Raf Simons fringed creations put the understated and sometimes severe label back on the fashion radar as well as coining a key look for 2009. The fashion press were keen to see how he would follow up on such success.

Teasingly, the show began with the typical clean lines and austerity for which Sander was renowned but, in a show of two halves, the lights went down and a new epoch emerged. Sculptural shapes and waving seams cocooned the body, curving at the neck and hips, flashes of sunny yellow, burnt orange or fuchsia peeling through the height of their form.

Graphically futuristic it first appears dramatically different from anything else Milan had to offer, but underlying consistencies were ever present. Sleeves were a structural feature, shoulders were strong and necklines high, and his streaks of colour were indicative of the importance of contrast for autumn/winter.

A Tale of Two Halves - Paris S/S09

2009-03-03T03:14:00.000-08:00

Paris Fashion Week is usually the creative highlight of the fashion week circuit, a grand finale after four weeks of catwalk shows. But it seemed the effects of the credit crunch had reached fashions’ inner circle as the createurs moved away from the avant-garde offering instead a host of more wearable styles for spring/summer 2009.

Whilst seemingly united in their approach to more commercial trends, the designers were somewhat split on which inspirational road to take. Futurism was a major influence for many of them, with Nicholas Ghesquiere leading the field with Balenciaga’s modernisation of a 1920s Futurist aesthetic: dropped waists accompanied corrugated metallic jackets with geometric patterns in yellow, blue, mint green and silver.

Metallics were a common denominator throughout the Space-Age twenty-second century themed collections, as too was a strong silhouette. Shoulders were the primary feature, wide and round at Balenciaga, and sculpturally sharp at Gareth Pugh and Alexander McQueen. Powerful shoulders were also emphasised with structured mini dresses that fitted like corsets to sculpt hourglass figures at McQueen, Balenciaga and Hussein Chalayan.

In correspondence to the futuristic edge, prints were bold and graphic. McQueen for example, featured jewelled patterns viewed with kaleidescope-like distortion whilst Chalayan included textiles inspired by the universe and the Milky Way.

Meanwhile, Karl Lagerfeld was leading an alternative mood, following fashion’s time honoured tradition of reverting to romanticism in times of crisis. His collection for Chanel harked back to the elegant femininity of the Depression era with tiers of tulle, and frills and feathers.

Following suit was John Galliano with his layered sheers and frills (which he also featured in his collection for Christian Dior) whilst his ruching details and drawstrings provided the definition for an otherwise loose silhouette.

His necklines featured the prettiest of peek-a-boo apertures with chiffon folded and cut like petals, recreating the delicate beauty of flower heads. This floral theme was continued through to his prints where flower patterns blurred in a haze of pastel colours.

Florals are the safe alternative to graphic prints, providing the mainstay of Antonio Marras’ collection for Kenzo, where he combined Victorian flower collectors with Alice in Wonderland.

In contrast to the usual correspondence between socio-economic strife and falling hemlines, lengths for spring/summer are looking rather micro-mini. Marc Jacobs had the shortest offerings for Louis Vuitton, and if there was any danger that his skirts weren’t revealing enough, some even feature sheer panels over the rear!

Elsewhere, mini skirts took on a more sculptural feel with the penchant for strapless dresses focusing attentions on the hips. At Lanvin, this curvaceous silhouette was given a softer edge with silks creating a blouson effect on tulip shape skirts.

As for the show-stopping spectaculars that we have now come to expect from the Parisian shows, they were a little thin on the ground. Galliano, normally the master showman was relatively quiet, making his stylistic statement through pantomime-like hats and wigs. McQueen on the other hand, had a veritable zoo of stuffed animals alongside his audience, with a mysterious figure dressed in a rabbit costume rounding off the show by taking a bow. Bunny suits, thankfully, were few and far between on the catwalks so worry not, the only rabbit hopping around next spring will be the Easter Bunny.

Published Autumn 2008

Milan Gets the Gold - Milan S/S09

2009-03-03T03:11:00.000-08:00

Nobody does flash glamour like the Italians and true to form, the designers at Milan Fashion Week lit up the catwalks with a rich array of precious metals, with lustrous golds and sparkling beadwork glinting luxuriously in defiance of the looming austerity of the credit crunch.

The premier of the metallic finish, gold was the winner. Versace went for all out luxe, giving reptile skins a golden sheen to highlight a predominantly monochrome collection. Alternatively, Prada offered a more organic approach with the antique gold of the crushed cottons and silks almost falling from the body.

Meanwhile, the runway at Alberta Ferretti oozed opulence, positively dripping with 1920s decadence. Lustrous silk satins glimmered in icy silver, shimmers of which continued through to the flapper-style fringing, marking out another key trend for spring/summer 2009. Jil Sander glammed up with iridescent tassels falling from the shoulders to tickle the ankles, whilst Alessandro Dell’Acqua’s fringing evoked the spirit of American Indians.

It showed through in London and its appearance (or rather lack of it) was again at the fore in Milan, with the transparent look a sheer favourite. Chiffon was everywhere: used for everything from skirts and blouses to trousers and stockings. At Gucci and D&G, great lengths of the fabric created billowing maxi dresses and floor-skimming skirts whilst Christopher Bailey used it as an overlay for his silk dresses at Burberry Prorsum.

A geometric influence was also evident among the collections, conveyed in both silhouette and in pattern. Versace created structured, box-like mini skirts, while Bottega Veneta favoured a more oval line. Circles dominated however, used to emphasize the shoulders at Dolce and Gabbana; the negative space around their tessellations forming peek-a-boo holes in Pucci’s cutaway designs; and the polka dot prints echoed the pattern of the circular plated overskirts worn like chain mail at Marni.

Although some textiles still favoured a floral flavour, the strongest look for spring/summer is undoubtedly the stripe. D&G went all out with their nautical theme whilst Marni contrasted spots with candy stripes, and Gucci accented jungle prints with graphic lined neck scarves.
Next season’s silhouette embraces shapes from the 1970s and 80s. The flowing lines of ethereal maxi dresses and kaftans were still present, and the seventies mood was also picked up in the tailoring of trouser suits at Gucci. But the new focus was on the shoulders with Bottega Veneta for example, keeping hips narrow to contrast with built-up shoulders, a subtle reference to the power dressing outline of eighties fashion.

Perhaps the most surprising of all the collections however, was at Dolce and Gabbana, as models stepped onto the catwalks in suits of silk pyjamas. Initially it seemed they had taken boudoir style a little too far but on closer inspection it was a comprehensive presentation that included many of the predominant trends for spring/summer: fabrics were luxurious silks, the prints were spots, and geometric shapes completed a structured silhouette. Gemstones added glitz on belts and bags while their short romper suits, bloomers and cropped trousers summarized some of the key garments for next season. It’s a style that will certainly give will give that just-got-out-of-bed look a whole new meaning!

Published Autumn 2008

A Weak Week for London Fashion - London S/S09

2009-03-03T03:05:00.000-08:00

The latest round of fashion weeks has given the perpetual fashion cycle added momentum, turning the focus from the current fall season to the brighter horizons of spring/summer 2009. Last week however, the drive seemed to stall as the London designers offered little to spark the imagination.

The catwalks were noticeably lacking in new trends as the collections rolled out a procession of diluted styles from last season. That seventies feeling was back again with plenty of floral maxi dresses, and safari influenced tailoring featured at Julien Macdonald and Amanda Wakeley with Jaegar London’s sludge-coloured suits showing a slip back to their old, grandma-dressing ways.

Florals reappeared as the pattern of choice, with chintz flowering a lacklustre collection from Nicole Fahri; and accenting a convoluted message from Luella, which cited the frumpy, royal wedding outfit and a confectioner’s colour palette as seen through a psychedelic glass as inspiration.

In an effort to update the floral trend House of Holland contrasted bright flowery patterns with polka dots. But the best interpretations were the larger prints like the giant tropical flower heads shown at Erdem.

Frills and tiers were also a popular choice featuring at Nathan Jenden, Graeme Black and Luella amongst others. Christopher Kane however, added a fresh twist forming his frills using circular shapes of material.

In keeping with this feminine aesthetic of florals and frills, delicate chiffon was the preferred fabric, and the sheerer the better. The perfect thing for flouncing sundresses, it was also used for the see-through blouses that appeared in abundance. Louise Goldin used it for the long shorts and vests that slipped under her padded, conceptual collection; whilst Nicole Fahri went a step too far, struggling to make a stylish statement with her chiffon leggings.

In terms of sheer success, Bora Aksu is the collection to watch. The collection, which combines movement and transparency with the rigidity of 1950s couture, offers sheer fabrics in layers and using the structural patterns of garment construction as decoration.

Colour was the strongest thing to come from London Fashion Week, with the designers seemingly wanting to brighten the gloom of the credit crunch. White was the primary base colour with black offering a graphic contrast but accenting these was a bold, rainbow palette. Shades from the red spectrum were particularly popular with orange highlighting Christopher Kane’s jungle theme, complimenting purple at Luella, and blossoming at Jaegar, with pink and banana yellow also providing a strong distinction.

The king of the collections however, was Marios Schwab. Inspired by the challenges of refining the dark side of desire, his was a sexy collection of jersey dresses that he moulded to the body with clever twists and drapery, or which he entwined in metallic rope epitomising London’s body conscious mood.

If London has anything to do with it, body con will be a big look for next spring/summer, with the one shoulder dress being the must have style. So make a mental note now and remember not to be too over indulgent this Christmas!

Published Autumn/ 2008

2008 - A Year of Mixed Fates

2009-03-03T03:00:00.000-08:00

If fashion is society’s cultural barometer then conditions for 2008 can at best be described as changeable. A bright and breezy start to the year was soon cast over with the passing of a fashion great and the clouds refused to lift as the gloom of the credit crunch closed in.

FAIR TRIALS, FISHTALES AND FOUR GIRLS IN CHICK FLICK CITY
February saw Vivienne Westwood grabbing the headlines with her return to the London stage at the capital’s fashion week. It may only have been her Red Label diffusion line that she was showing but it was not short of a shocking statement: placards reading ‘Fair Trial My Arse’ were marched out by models in a collection of clothing highlighted by a running theme of Guantanamo orange.

Fishtails were the ultimate in glamorous eveningwear, making a splash at the Oscars in March. Jean Paul Gaultier’s gown of silver sequins embroidered in a fish scale pattern epitomised the marine theme of his couture show; and worn by Marion Cotillard to the Academy Awards, it was not only the dress of the evening but the gown of the year.

Then, with almost as much anticipation as was had for some sunshine this summer, came the release of the Sex and the City film. With the focus being as much on the fashions as the plot, Vivienne Westwood achieved the best coup creating Carrie Bradshaw’s stunning wedding dress.

SHOW HOME
The must-see exhibition of the year was the Barbican’s Viktor and Rolf retrospective. The centrepiece of an oversized doll’s house containing mini replicas of their most significant pieces was representative of pair’s surrealist imaginations and accompanied their fifteen-year journey through the industry.

THE FINAL CURTAIN: FUNERLS, FAREWELLS AND FINANCIAL RUIN
June however, was marred by the death of Yves Saint Laurent. The pioneer of trousers for women, a forward thinker and a free spirit, his ashes were scattered near his home in Marrakesh.

His passing seemed to set a darker tone which found resonance in the monochrome colour palette for autumn/winter: Prada’s black lace, like that of a widow (albeit a sexy one) in mourning, suited the sombre mood; a coincidental yet timely mark of respect for the losses that were still to be felt.

The credit crunch took its toll on former royal favourite Hardy Amies. The poor fortunes of the company bearing the name of its late founder were compounded by the economic downturn, and in October it was forced into administration.

So too, it was a sad end to the year for Amanda Wakeley who, following a corporate takeover by former City trader Jason Granite, was compelled to step down from the label she created back in 1990.

As we look ahead into 2009, the future looks no more certain: the credit crunch is likely to cause more casualties along the way and fashion, as much as any other luxury industry is right in the firing line. But if the promise of the last catwalk circuit is anything to go by, spring/summer will be full of recession defying glitz; a defiant statement that at least with fashion you’ll be wearing the crunch well.

Autumn/Winter 2008-09

Shock Exit for Amanda Wakeley

2009-03-03T02:56:00.000-08:00

It’s the end of an era for British fashion as the darling designer of the society circle Amanda Wakeley, has been forced to resign from her own label. In a corporate takeover by the former City trader Jason Granite, the future of Amanda Wakeley, both the figurehead and the label, look uncertain.

Granite, who has a history as a debt trader and with his own distressed-assets fund, purchased the company from the Saudi billionaire Walid Juffali. His plans for the company are not yet clear but whilst some of his investments, the likes of Envy and Faith shoes, have remained intact others, Internacionale and Ponden Mill for example, have been liquidated.

With Wakeley herself already having been let go and reports that redundancy notices have already been handed to thirteen of the small fashion and design team, the company’s chances of survival are looking slim. It is an unlikely ending to the Amanda Wakeley story, which began as something of a fairytale.

The daughter of the second Baronet of Liss, she attended Cheltenham Ladies College before moving to New York to model. On her return to Britain, and with the help of a £20,000 loan from her father, she established her own fashion label and spent the 1990s dressing the likes of Queen Noor of Jordan and Princess Diana.

Her 1992 marriage to the millionaire Australian businessman Neil Gillon, upon their very own yacht seemed to be the happy-ever-after that the story needed but things were soon to take a nasty turn.

With Gillon’s business acumen it seemed natural for him to be involved in the company and between them they built up a business with a turnover of £2m a year. But the pressures of work soon took their toll on the relationship, and following the breakdown of their marriage Gillon sold the company leaving Wakeley as little more than an employee of the label she had founded.

Bought by the conglomerate International Clothing Designs (ICD), the business prospered but as ICD focused on building the brand they redirected funds away from promotion, putting an end to advertising as well as Wakeley’s catwalk shows. In an industry fuelled by media exposure, the Amanda Wakeley name faded into the background.

Her comeback show at London Fashion Week in February 2005 not only put her back on the fashion radar it undoubtedly helped to secure the sale of the label, which was on the market at the time, to Juffali, whose daughter was keen to break into the fashion industry.

Once one of the most successful British designers, it is a sad time for our fashion industry. With her paired-down, minimalist style and her philosophy of ‘simple ideas expressed strongly’ she has been described as Britain’s answer to Donna Karan. Indeed, with her reappearance on the catwalk circuit, and with some fresh appointments within the design team, the Wakeley label seemed to be re-emerging as a recognisable and coveted brand.

Wakeley herself may have had a gifted beginning but there is no doubt that she has countered struggles in subsequent times. Ultimately though, she is a survivor and is already looking forward to new opportunities in the New Year. Leaving 2008’s disappointments in the past, let’s hope that 2009 brings her some better fortunes.

Published Autumn/Winter 2008-09

Here It Commes

2009-03-03T02:53:00.000-08:00

Fashion’s focus will be fixed firmly on the high street next month, as H&M unveils the latest of its designer collaborations. This new range by Comme des Garçons’ founder Rei Kawakubo is invoking a good deal of hype as the fashion world anticipates the reinvigoration of the high street and its commercial style with Kawakubo’s uncompromising radicalism.

The notion of designers collaborating with high street labels is not a new one: it has been around since the late 1990s and has involved many stores, ranging from Debenhams to Topshop and New Look. H&M itself have already launched several successful collaborations with names that include Stella McCartney, Victor and Rolf, and more recently, Roberto Cavalli. This newest challenge however, combining Kawakubo’s creative spirit with the constraints of commerciality, looks to be the biggest to date yet it is one that both brand and designer have risen to.

The Japanese Kawakubo founded Comme des Garçon (so respected within the fashion industry, it is simply referred to as Comme) in Tokyo in1969 but it was the outrage that her first show in Paris provoked which propelled her to the forefront of fashion in the 1980s. Her controversial collection, sombre with her heavy use of black, evoked the destruction and starvation of post-apocalyptic Hiroshima. It was seen as a challenge to the Western ideals of feminine beauty and sexuality, which indeed Kawakubo has continued to confront ever since.

By questioning the qualifications of beauty, Kawakubo was able to experiment with accepted aesthetic concepts, manipulating bodily proportions and traditional garment construction resulting in stylistic innovations, the likes of which had never been seen before. Her ethos is perhaps best summarised by her 1996/97 collection which saw her garments loaded with asymmetrical lumps and bumps, alluding to a false form.

Her perverse portrayal of beauty has somewhat distanced her from the prominence of mainstream fashion but with this collaboration, she has the opportunity to bring her concept to the masses. The range, which includes fifty women’s and menswear garments, accessories and a fragrance, features the commercial looks of polka dots shirts and blouses with ruffled sleeves; boiled wool suiting provides the middle ground, with low-crotch trousers, and the heavy appearance of puffs and ruffles adding that conceptual touch.

Its launch on 13th November, coincides with the opening of a new H&M store in Harajuku, Tokyo, but far from merely being a commercial publicity stunt, Kawakubo’s collection will undoubtedly enrich the high street, and hopefully stimulate a move away from celebrity-led trends towards fashion with a more intellectual edge.

Published Autumn 2008

Jewel in the Crown

2009-03-03T02:50:00.000-08:00

It was a fresh October evening: dusk was falling and as most shops were pulling down the shutters on another day, at Lebeado, the night was just beginning. The glow of warm lighting flooded the street, onto which an open door led invitingly in to where the champagne was flowing and a soundtrack of eager conversation was playing out. To all intents and purposes it was another fashionable launch party, the difference being that Lebeado is a boutique like no other.

The brainchild of mother and daughter team, Jill and Kate Watkin, the name Lebeado cleverly summarises both their passion and their product: beads. It is more than a shop, and more than a small business, it is the vision of a new phenomenon as they look set to revolutionise not only the concept of bead craft but the way we buy jewellery as well.

Following the success of their first emporium, which opened in Durham in 2007, this latest opening in Newcastle-upon-Tyne marks the second step towards establishing a beading empire that will embrace the rest of the UK.

They may be communicating through retail but their enthusiastic sentiment is in no way contaminated by the promise of consumerism. Indeed, the magic of their shops will engulf anyone who steps over their threshold.

Like an old-fashioned sweet shop, the walls are lined with jars filled with beads of every shape and colour imaginable. They have Swarovski crystals that sparkle, and carved wooden ones that don’t; they have tribal beads, antique beads and even beads from ancient Rome; from glass and stone to ceramic and bone; with purse-stretching gems that are semi-precious to Fairtrade beads for the ethically conscious, there is something for every style and taste.

The feeling of being transported into another world is encouraged by the shop’s central feature, a wonderfully ornate Moroccan table and chairs, at which customers are welcomed to sit and come up with their own jewellery creations. The idea of a traditional craft is being revitalised with a fresh, social approach: not only do they run workshops but Lebeado offers beading parties as well, where you can gather together a group of friends, bring along a bottle of wine and gossip while you create a personal memento of the evening.

Furthermore, with a preview show prior to the launch night, the Watkins highlighted the relevance of jewellery in fashion. Models strutted down the catwalk decked in creations inspired by the top autumn/winter trends, which included Givenchy-style chains dripping with religious charms, and necklaces of oversized beads made from bangles.

It is an exciting venture, not just for the duo behind it but for the consumer as well. In an age when faceless chains and brands are stripping individuality from the market, Lebeado is inspiring creativity and uniqueness. It is a gem of an idea!

www.lebeado.co.uk
Published Autumn 2008

Show Stealing Oscar Style

2009-03-03T02:46:00.000-08:00

In spite of the on going writers strike and the threat it posed to the 2008 Oscar ceremony, Sunday 24 March saw the awards celebrate their 80th anniversary with all their usual glamour and prestige. As the stars arrived the battle commenced for the honorary title of best dressed; the weapon of choice was bold colour as the red carpet was bombarded with gowns of black or scarlet.

The most stunning charge of the red brigade came from Heidi Klum who wore a floor length dress custom made for her by John Galliano. Aside from its bright scarlet fabric a sculptural collar emerged organically from the bodice up and over the shoulder, around the neck, curving its way down the other side, to ensure it would be a dress to catch the eye. Furthermore, immediately after the event the gown was donated to a charity supporting action against heart disease in women.

Another lady in red was Anne Hathaway whose gown by the British label, Marchesa offered Hollywood glamour with a twist of Grecian elegance. A deep shade of blood, it was one-shouldered with a drape of fabric falling against the upper arm; another swathe fell from the bottom of the empire line bodice to hang elegantly across the skirt and form a small train at the back. With its very own corsage adorning the bust, it was a sophisticated and commanding choice with all the allure of vintage Hollywood.

Penelope Cruz spearheaded the reply from the black corner, stepping out with all guns blazing in Chanel haute couture. Her strapless gown fitted corset-like at the waist, falling into a long a fishtail skirt of jet tulle; with a draped panel swathed almost like an apron at the front, and copious amounts of feathers protruding from the top of the bodice and from under the drapery, it was a real show stopping number.

Jennifer Garner’s dress was much more effortless in its appearance but equally as stunning in its effect. The gown by Oscar de la Renta was again strapless; the tightly fitting bodice bandaged her slender curves to her lower thighs where it kicked out in tiers of intricate ruching.

However, wearing black does not always guarantee a fashionable success as Tilda Swinton proved. Her floor-length dress by Lanvin provoked much controversy amongst the fashion press: with a round neck and two shoulders but only one sleeve, it looked somewhat unfinished as she stepped up to accept her award for best supporting actress. It was her red carpet pose though, which best displayed the conceptual statement of the dress: the hand of her covered arm wrapped across her body to rest on its opposite shoulder allowing the sleeve to drape against the dress, the light on the black satin blurring the lines, making arm and body one.

There were a few starlets who opted for neutral shades against the armies of red and black. Renee Zellweger went for a silver Carolina Herrera frock festooned with sequins while Cameron Diaz wore the palest shade of pink but generally they lacked the impact of the bolder coloured gowns.

None of the dresses however, could rival that of Marion Cotillard. A Jean-Paul Gaultier creation of white and silver pearlised sequins embroidered like fish scales over the body and falling to a fishtail at the floor, gave the suggestion of a mermaid. Utterly unique yet with all the opulence of Hollywood, it was sensual and seductive but with a quirky edge that will ensure both the dress and its wearer will be immortalised in the Oscars wardrobe of fame.

Published Spring 2008

The Spirit of Chanel

2009-03-03T02:42:00.000-08:00

January 10th may not be a well known historical date, in fact it is probably lost to many in that haze of New Year grogginess and pile up of festive credit card statements. But it should not be forgotten for it marks the death of a legend, the passing of a revolutionary. So at the beginning of the year that will commemorate 125 years since her birth, it is time to remember the woman behind the name, time to celebrate the work of Gabrielle ‘Coco’ Chanel.

Once successful she never spoke of her early life which began in 1883 in Saumur, France. She was born, as the illegitimate child of market traders, into a poorhouse and later educated in a convent. However, it was probably this poverty that ignited her determined ambition, indeed the restrictions enforced on her upbringing by the conventions of society, may have led to a lifestyle that defied tradition.

However much one wishes to separate Chanel’s work from her scandalous private life, the latter was influential enough over the former to make it difficult. During her lifetime she took many lovers, most of which were rich and influential, and who had a profound effect on her work. They were responsible for establishing her in business, for gaining her entrance into fashionable society, and for much of inspiration. Her affair with the Duke of Westminster for instance, prompted her interest in tweed and patterned jersey where as the Russian Grand Duke Dimitri opened her eyes to the Byzantine and baroque.

Chanel began in millenary before she progressed, despite virtually no formal training, into clothing. She started as she meant to go on, defying the traditions of couture: using cheap, cotton knit fabric intended to be used for underwear to make pleated skirts and chemise frocks.

It was the 1920s however, when Chanel really left her mark on the fashion industry: as the pioneer of sportswear. For the first time it was becoming socially acceptable for women to take part in sport and Chanel, herself a keen sportswoman, understood the restrictions of corseted womenswear with ankle length skirts. Instead she promoted the notion of unisex clothing, wearing jodhpurs for riding, designing trousers for women, and taking the basis of her silhouette with its boyish shape: a dropped waist, and a lack of curves.

Conversely, the architect of masculine-influenced sportswear also popularised the most universally recognisable symbol of femininity – the little black dress. A timeless classic, which she first showed in 1926 but which she reinvented throughout her career, and which has been adapted by practically every designer since. It is the epitome of her design ethos, indeed she once said ‘A fashion that goes out of fashion overnight is a distraction, not a fashion.’

Gabrielle Chanel was the living proof of the longevity of her designs. Despite closing her salon in 1939, her associations with influential Nazis and the subsequent rumours of collaboration, she made a miraculous comeback, presenting a new collection in 1954. In it she unveiled another fashion classic: the tailored tweed suit, which was responsible not only in cementing her own place in fashion history but also for launching the legend of another style icon. It was this style, worn with the two-tone pumps and quilted bag with chain handle, that became Jackie Kennedy’s signature look.

The impact of Chanel on fashion cannot be overestimated. She introduced some of the most significant changes to women’s wardrobes: celebrating the demise of the corset, introducing freedoms that were previously the privilege of menswear, and immortalising the little black dress. A revolutionary, she defied the established rules to bring her ethos to the world with designs that are as relevant now as they were eighty years ago. Whilst the body of Chanel may have departed in 1971, her spirit is one that will live on, forever timeless.

Published Autumn/Winter 2007-08

Westwood Bringing 'World's End' to Newcastle

2009-03-03T02:34:00.000-08:00

Saturday October 6th saw Newcastle upon Tyne become only the sixth UK city to have a stand-alone Vivienne Westwood shop. With this privilege, Newcastle now sits alongside Birmingham, Leeds, Liverpool and Manchester. But it was from her Kings Road boutique in London that Westwood launched her fashion revolution some thirty-six years ago.

Opening first as a secondhand shop in 1971, the Kings Road store, under the name Let It Rock, specialised in rock n’ roll memorabilia and 1950s influenced designs. It morphed into Too Fast To Live, Too Young To Die in 1972 as Westwood’s interest shifted to rockers and the first signs of the infamous punk style could be seen with leather garments covered in zips and chains, T-shirts printed with slogans and pornographic images.

The boutique became Sex in 1974 which represented the increasingly hardcore line her designs were taking: featuring ripped clothing, zips and chains alongside pornographic slogans and images, and rubber S&M pieces.

The Sex Pistols whose founder Malcolm McLaren was Westwood’s lover and business partner, endorsed the store under its next incarnation as Seditionaries, wearing its clothes for their first gig. Just as Carnaby Street and the Biba store had been home to the youth culture generation in the sixties, Seditionaries became the hangout for the punk movement.

Following the commercialisation of punk, the boutique enjoyed its final transformation as World’s End in 1980. A year later Westwood presented her first catwalk collection, entitled Pirates. It featured asymmetric T-shirts, pirate style shirts and breeches, and marked a broadening in her ideology as her interest spread towards tradition and technique.

She continued to develop this philosophy after her split with McLaren, which was epitomised by her 1985 ‘Mini Crini’ collection. Inspired by Victorian crinolines and tailored jackets, and going against the power dressing trend which emphasised the shoulders, Westwood focused on small waists.

By using classic tailoring techniques she was able to reinvent her style yet again and she continued it through to the 1987 collection where she used Harris Tweed to make coats and jackets which she styled with twin-sets and pearls. Her 1993 ‘Anglomania’ collection, for which she designed her own tartan, was the culmination of her celebration of traditional English style.

Westwood’s style today is both witty and clever. It combines her anarchic spirit with the tailoring heritage of British fashion as she disrupts traditional pattern cutting with interesting twists and tucks. The results must be seen to be believed. I just feel sorry for the poor pattern cutters who have to logic the designs out!

Published Autumn 2007

Written in the Stars - The Rise of Roland Mouret

2009-03-03T02:29:00.000-08:00

2007 may have seen the grand masters of fashion revelling in a whirl of anniversary celebrations, as leaders of winter’s main style directions, but it has also witnessed the rebirth of one of the industry’s brightest stars, Roland Mouret.

The man Mouret, since his launch in 1998 has been the figurehead to the label that bears his name, become a favourite with the red carpet beauties, and created the most sought after dress of 2005 – the Galaxy. The same year however, saw his sudden resignation from the company amidst rumours of his fallout with the owner, which left him unemployed and without the rights even to his own name. With a story such as his, Mouret is perhaps an unlikely design hero but then the best often are.

He was born in 1961 in Lourdes, as the son of a butcher, moving to Paris aged twenty four for a brief spell at fashion school. There he was spotted in a nightclub by Jean Paul Gaultier, who snapped him up as a model for his catwalk. Modelling led to styling where he would drape fabric to create original pieces for magazines or music videos. It was not until he moved to London in the early 1990s though, when he first got his break as a designer for a streetwear label. But when the company floundered, he saw it as the push he needed to start out on his own.

He showed his debut collection at London Fashion Week in 1998. With one sewing machine and a budget of £2000, he created twelve looks, each one-off pieces made without patterns, with raw edges and fastened with hat pins because he did not know how do a buttonhole. It was not in production and not for sale. But (there is hope for all fashion students out there) it created enough of a stir for the editor of American Vogue, Anna Wintour to take a supporting interest in his career.

Struggling for funds with which to build his label, Mouret’s designs impressed the Scottish businesswoman, Sharai Meyers and along with her banker husband, Andre Meyers, they established the company with Mouret as its figurehead.

Meyer’s backing allowed him to break into America where he built a strong base for the business. By 2005, the company was set to make a profit, and had over £1m in orders for the spring collection, spurred on by the buzz surrounding the Galaxy dress. But Mouret was not an owner or even a part owner, he was merely an employee and disgruntled, he suddenly resigned in the middle of all the hype.

Two years later and Mouret is back in suitably dramatic style. With the help of his new business partner, the entertainment mogul Simon Fuller, Mouret unveiled his autumn/winter collection under the name RM in July exclusively on net-a-porter.com, and was inundated with a flurry of orders from across the world.

So what is it that makes Mouret’s creations so special? It’s the way he folds and moulds fabric around the body, embracing and enhancing womanly curves; the way he drapes and manipulates in such clever ways yet he still fits the form like a glove. His pieces are timelessly classic, as beautiful today as they would have been fifty years ago and indeed, as they will be in fifty years time.

The Galaxy dress rediscovered the hourglass silhouette, the model shape of womanly glamour, for the twenty first century. Mouret has continued this in his latest collection, with the Moon dress (one of the most popular of his new designs, it was worn by Victoria Beckham for David Beckham’s first LA Galaxy appearance this year) with its emphasis on the shoulders and hips. But not one to rest on his success, the remainder of the collection has a more relaxed, daytime feel, adding volume to skirts with sculptural pockets and large folds of fabric.

His spring/summer 08 collection due to be shown in January, is hotly anticipated, and one thing’s for certain, whilst many men may promise a woman the moon and stars, Roland Mouret is definitely the one who can deliver them.

Published Autumn/Winter 2007

Dior Celebrates Its 60th Year

2009-03-03T02:24:00.000-08:00

2007 brings up the sixtieth anniversary since Christian Dior burst into Parisian haute couture with what became known as the ‘New Look’. Consequently, this year’s autumn/winter collections feature many Dior-inspired designs. But what was so special about Dior and why has his legacy endured into the twenty-first century?

THE NEW LOOK
Establishing the House of Dior in 1947, his debut collection entitled the Corolle line was described by fashion editor Carmel Snow as a ‘new look’ and it stuck. The name epitomised the collection. The effects of World War II had had restrictive implications on fashion: fabrics were rationed and as a result clothing styles were limited. By 1947 the mood was ripe for change and Dior was the man to bring it. His soft shoulders, cinched waists and wide, full skirts that fell four inches below the knee were lavish and luxurious, satisfying the longing that the years of austerity had created.

His designs were his way of restoring femininity to women, which he felt had been lost to the practical, military look of the war years. He was not however, the only designer to adopt a more romantic style but the New Look phenomenon was credited to him primarily because he was a new name: in his first collection, Dior ignored any constraints and produced something dramatically different. Plus, like most successful people, he had the gift of perfect timing.
With his dramatic entrance, Dior was significant in restoring Paris as a fashion centre, a position it had lost as a result of the Nazi occupation. Having seized all the attention, he secured his control through a rapid succession of silhouettes that included the princess line and the A-line which dominated the era until his sudden death from a heart attack in 1957.

THE HOUSE OF DIOR
The House of Dior was kept alive with the appointment of a young Yves Saint Laurent as artistic director. Like his predecessor, his first collection was a hit but only three years later, his slinky ‘Beat look’ collection in 1960 proved too street for the couture house and he was ousted.

The House survived in the subsequent decades at the hands of Marc Bohan and then in 1989, Gianfranco Ferre although it struggled to regain the fashion limelight with haute couture sales falling after 1960.

Back with a bang forty years after Dior’s death, the Brit boy wonder John Galliano was summoned in the hope of reviving the couture industry.

A NEW TAKE ON AN OLD LOOK
The modern Dior woman may be more independent and ambitious than Dior’s vision of women in the 1950s but Galliano still envisages her with the same longing for femininity and romance. His designs epitomise these contradictions of twenty-first century life, merging the classic Dior silhouette with a variety of cultural references.

In order to celebrate the sixtieth year of the House of Dior and the decade since his appointment as Chief Designer, Galliano pays homage to its founder. Rather than taking his inspiration directly from Mr Dior though, he is looking instead at what inspired the great man. The result: a new take on what had become an old look; the perfect way to secure Dior’s legacy for the next generation of women.

Published Spring 2007

The Couture Fairytale

2009-03-03T01:36:00.000-08:00

John Galliano this season celebrates sixty years of the house of Dior as well as the decade he has been at its helm; Karl Lagerfeld marks his twentieth year as the head of Chanel and Valentino commemorates his forty-fifth anniversary in couture. Co-ordinating with these celebrations, the Victoria and Albert Museum unveiled its latest exhibition examining the ‘Golden Age of Couture’. Consequently, haute couture is the buzz word for the season.

HAUTE COUTURE -THE EARLY YEARS
The man responsible for haute couture and indeed the development of the fashion industry as we know it was Charles Frederick Worth. An Englishman in Paris, Worth established the first couture house in 1857. He was the first to produce regular collections, to show his creations to his clients in luxurious salons, and he was the first to present his gowns on models. He took trend choices out of the hands of the aristocracy bringing the power to the designer.

With the industrial boom of the late nineteenth century a new wealthy class developed. Previously a privilege of the French court, European aristocracy and elite American families became the new patrons of couture, using luxury goods to buy into the grand traditions they represented.

Thanks to Worth an industry grew which, by the 1920s employed 300, 000 workers and made up 15% of French exports. Even more significantly, it gave us the development of the brassiere thanks to Paul Poiret, that perennial favourite the little black dress courtesy of Gabrielle Chanel, and the discovery of the bias cut by Madeleine Vionnet amongst other things.

COUTURE'S FAIRY GODFATHER
The Nazi Occupation of Paris during World War II disrupted the couture industry. A dark period ensued with some houses such as Chanel and Balenciaga closing whilst many of the surviving names relied on the custom of Nazi officers, their wives and collaborators. Countries like Britain and America were forced to look to native designers for fashion direction, and in the desperate times of war and rationing clothing became practical and basic.

Then, out of the dying embers came a bright new spark to relight the couture flame – Christian Dior. Disillusioned with the austerity of war, he wanted to restore femininity to fashion, to create ‘flower-women’. His ‘New Look’ was pure couture: oceans of luxurious fabric, exquisite workmanship and lavish decoration. He was accompanied by the likes of Jaques Fath and Pierre Balmain but ultimately it was Dior that was the leader, redefining the silhouette as and when he pleased.

With the sensation that the New Look caused it was only natural that women all over the world should want a piece of it. For the American society ladies unable to make it to Paris, the couturiers sold their patterns to US department stores.

Dior took inspiration from this. He saw that there was opportunity within the middle market: that whilst not everyone could afford a made-to-measure dress, people were still eager to buy into the Dior name. He sold his ideas and his name to various companies as well as starting his own hosiery line; the notion of licensing was born.

If Worth was the father of couture, Dior was most definitely its fairy godfather. However, the decade in which he worked his magic proved a short term reprieve. By actively seeking the dissemination of couture it could even be argued that his long term impact actually brought about its demise.

THE NEW AGE
Couture became a victim of its success. The more ways there were to make money from it, through fragrances, accessories and ready-to-wear lines, the less important couture became to the customer. Today the industry runs at a loss; there are only 6 houses still open today with less than 2000 clients worldwide. Yet still it is not dead.

It survives as an art form. Now free from commercial obligations and restrictions, the focus is on creating fantastical masterpieces to capture the imagination and promote a brand. If today’s designer labels are the department stores then haute couture is undoubtedly the window display.

FAST FACTS
The couture industry today is vastly different to that which the grand masters would have known:

A collection would have consisted of between 150 and 200 designs, outfits suitable for everyday events: lunch, dinner and the theatre for example. Current collections are remarkable if they feature 50 outfits!
On his most expensive gown of 1948, Dior boasted that 689 people had worked on it compare with the 90 people that Valentino now employs in its salons.
Couture in the 1950s had a similar price point to today’s top-end ready-to-wear market: a made-to-measure Balenciaga evening gown cost £114 (in the context that the starting salary for a teacher was £8 per week) whereas nowadays, Valentino couture gowns cost upwards of £60,000!

Published Spring 2007