Yohji Yamamoto - New Exhibition

Next spring the Victoria & Albert Museum in London will open the first UK solo exhibition celebrating the life and work of Yohji Yamamoto, one of the world's most influential and enigmatic fashion designers. This installation-based retrospective, taking place 30 years after his Paris debut, will feature over 80 garments spanning Yamamoto’s career. The exhibition will explore the work of a designer who has challenged, provoked and inspired the fashion world.

Yamamoto’s visionary designs will be exhibited on mannequins amongst the treasures of the V&A. Placed in hidden corners of the Museum, the silhouettes will create a direct dialogue between Yamamoto’s work and the different spaces in which they are displayed.
The exhibition will be designed by Yamamoto's long-time collaborator, scenographer and lighting designer Masao Nihei. The main exhibition space will see over 60 garments from Yamamoto’s womenswear and menswear collections accompanied by a mixed-media timeline showing excerpts from his fashion shows, films and performances, graphic material and select photographs which will contextualise his career. Following Yamamoto’s previous solo exhibitions, this UK retrospective will exhibit items from his menswear collections for the first time.

Yohji Yamamoto was born in Tokyo in 1943 and trained at Keio University then Bunka Fashion College. By 1972 he set up his own company, Y’s Incorporated. From the start of his career Yamamoto’s work was recognised for challenging the conventions of fashion. The asymmetric cuts and seemingly unflattering curves of his early work contradicted the close-fitted styles of the catwalks and he has refused traditional norms of fashion ever since.
Yamamoto’s designs have rewritten notions of beauty in fashion, and the playful androgyny of his work creates new modalities of gender identity. His collections are recognised for subverting gender stereotypes and have featured women wearing garments traditionally associated with menswear. Yamamoto's fabrics are central to his design practise and are a trademark of his work. Supporting craftspeople in and around Kyoto, his textiles are created to specification often employing traditional Japanese dyeing and embroidery techniques such as Shibori and Yu-zen. The selection of works on show will give visitors the opportunity to study examples of Yamamoto’s application of traditional Japanese techniques.

The exhibition will also record the breadth of some of Yamamoto’s key collaborations achieved through his career. Partnerships with fashion photographer Nick Knight, graphic designer Peter Saville, art director Marc Ascoli, choreographer Pina Bausch and filmmakers Takeshi Kitano and Win Wenders amongst many others, will be represented by a mixed-media timeline in the main exhibition space, and will demonstrate an important, creative dialogue which flows through his work.

Warehouse - Loving The Prints

I grew out of Warehouse clothing, (literally - an increasing bust size does that for you), a good few years ago.  But they have consistently produced some interesting garments that are both edgy and yet glamorous.  Using silks and linens in the summer and wools and satins in the winter, they provide glamorous seasonal fabrics to young, co-ordinated women.  This season they have experimented with different collections within their stores.

Walking into Warehouse this week, I was struck by the brilliant prints of their "Wonderland" collection. The Swallow blouse (left) and the floral waterfall shift dress (right) are especially nice.  Very Erdem!  If you're looking for a little bit of vintage style, but not from a charity shop, then I would recommend these. Find them at: http://www.warehouse.co.uk/

Kate Middleton - The Myths Begin

The wait is over.  'Waity Katie' has bagged her prince.  Waity Katie? Is this too harsh?  Not really.  Would you wait for over eight years for your boyfriend to propose? Especially if he had dumped you at some point in the middle?  Well, you might do, if you were going to be made a Princess and in all probability, a Queen.  But it is not this that bothers me about the couples engagement.  It is the media's obsession with headlines, bylines and name tags that astounds me.
Several journalists have started dubbing Kate Middleton as a "fashion icon".  This is blatantly untrue. As is a number of other 'claims' in the media. Let's look at just a few of these...

Claim 1. "Kate is a fashion icon" - No, she's not.  We haven't all gone mad to wear what she has worn over the last 8 years. If she becomes a fashion or any other kind of icon, (a possibility over time), then that will be because we have bought into her style.  This hasn't happened as yet.  I suspect it will though. Business is business.

Claim 2. "Kate is the new People's Princess" - No, she's not.  That position, if it is one, has to be earned. She has done nothing to earn this so called acolade. She is middle class, so not aristocracy like Lady Diana Spencer.  Kate found work through a friend of the family, as did Diana, and now Kate 'works' for her own family firm.  This is nothing like the experience of job hunting for the majority of the 'people' in the UK. Most of whom have had to go through copious amounts of letter and CV/Resume writing and a rigorous interview process, before holding down the said job for years.  And all this without the cushion of a wealthy family behind them. But this is not the reason why Diana was called the People's Princess. It was because of her affinity with the public and her spearheading certain causes that were overlooked by the rest of the Royal Family.
But Kate doesn't champion the needy - purely because she hasn't had to and has never been asked to. Let's see what causes she chooses to support first, before we give her a populist title.
 
Claim 3. "Kate has had the same pressure from the tabloids and paparazzi as Lady Diana Spencer had" - Not quite. Kate has had it for longer. Diana had it for 6 months.  But Kate had help from the Buckingham Palace Press Office and a team of advisers. Not to mention her own personal bodyguard and legal team. Diana had none of this. She had no help or advice from anyone professional or official before she was engaged.

Claim 4. "Kate is just like Diana and is her natural successor" - Blatantly untrue. It is pointless to claim this and it's quite damaging to Kate.  There will never be another Diana. There were, however, some similarities  between them, that I spotted during the engagement interview.  Her choice of words for example, such as "daunting", were ones used by Diana on her engagement.  But this is to be expected perhaps. It IS daunting!

Clearly there will be more myths to dispel as the weeks and months go on. But from what I saw yesterday, a few questions were answered. Here was a woman who knew her own mind, who was not going to bow down for her prince, who was not happy that they split up a few years ago (THAT tells its own story), and had wondered if marriage had actually been in William's mind at all.  Consequently, with all the easy rhetoric used by the media, there is only one tag that does seem to be extraordinarily accurate.  Waity Katie indeed.

Carven - Architecturally Sound

Carmen de Tommaso was a French couturier who founded the house of Carven in 1945 at the age of 36.  Petite, at just over 5 feet tall, she continued to design until she was 84.  Last year, she celebrated her 100th birthday with a party, the invitation list reading as a 'who's who' of the fashion elite.

Dressing European royalty, Hollywood actresses and the chic inhabitants of Paris, her business grew steadily over the decades.  She excelled at making the diminutive look tall and elegant and brought an innovative thread to the French fashion scene. 

Her designs featured architectural prints, including some using trompe l'oeil, the art of making an image appear three dimensionally.  No doubt, these ideas came from Madame Carven's background of study in interior design and architecture. 

But it is this inventive streak and other Carven signatures, that have been recreated by the House's current creative director, Guillaume Henry.  Spring Summer 2011 is shaping up to be as statuesque as Madame Carven herself.

Will the longer length last?



Carolina Herrera

Good grief, I hope so. Just as we're getting used to the new proportions, it would be cruel to throw us into mini's again, no matter how good our legs are.
For some, of course, the longer length never completely went away. So, if you don't like your legs, but if you do like a bit of drama, and if you think you'd be sartorially happier living in Jane Austen's time or if you just feel the cold, then longer skirts are clearly for you.

And, luckily, they're not going anywhere for the time being either, because designers have been quick to continue the longer trend into next spring and summer. 

Marc Jacobs

Why? Well, it enables them to delve into various era's that are 'long centric'. The 1920's is one such era. Cue a whole load of flapper dresses in frosty colours with heavy beading? Not quite, but with this style, this naturally means that the waist is going to drop (more of this later), and we'll all be slicking our hair down, Gloria Swanson style.
I blame Miuccia Prada. She started this whole length craze and until she says otherwise, lengths are staying firmly under the knee. Take a look at her spring/summer collection for next year if you want a few pointers on the hairstyle; otherwise, think long and flowing for next year.

There's also going to be a 70's influence next year. That, potentially, will be a bigger trend than any flapper influence. It's not going to be quite as psychedellic as some 70's revivals - but you are going to see some lurid colours, floral prints and whimsical silhouettes; all with a slower, more relaxed demeanour. Think Hawaii 5.0. on Valium.

Chado Ralph Rucci - The best in America

Who is he and why should you know about him?  Put simply, he's one of the best couturiers in America.

I don't use the term 'couturier' lightly. Ever.  But Rucci has such an attention to detail, naturally paramount in all couturiers, and uses such high quality fabrics, that he is instantly raised to the workmanship level of Oscar de la Renta and Carolina Herrera, by those who examine his work. 
Of course, he is currently championed by that flamboyant maverick, Andre Leon Talley, and this alone should give you an idea of just how well regarded he is by industry greats. But it is his clothes that, thankfully, speak for themselves.  I myself discovered him by watching Fashion TV one summer. 
Watching the Spring/Summer 2010 catwalk show from my holiday hotel room, a beautiful white jacket with circular cutaway detail caught my eye (left).  It was this incredible piece that prompted me to have a closer look at this understated but prolific designer.  I have been a fan of his ever since. You should be too. See his work at: http://www.style.com/fashionshows/complete/S2011RTW-CHADO

Marc Cain - Image is Everything

The new Marc Cain collection for Spring Summer 2011 has an interesting feel to it; full of flattering separates and edgy silhouettes.  But before I tell you about that, can we just talk about the Marc Cain advertisment campaigns for a moment?




For some time now, I have been drawn to this German based fashion brand, simply because of these ad campaigns.  Showcasing their recent collections on one, two or three models with platinum, vertiginous hair on stark, angular backgrounds, (train carriages, windows), they achieved what I call an 'Arresting Image'.  Meaning, an image that stops you in your tracks as you glance through the magazine.  It's not often that you see one.  Let's face it, we're bombarded with images all the time, so anything that is a little out of the norm is very welcome.  How boring, and frankly condescending, are the usual shots of a girl, half dressed, legs splayed and pouting provocatively; often photographs doing away with the very product they are selling.

The Marc Cain images, in comparison, are glamorous and eye catching. They set the clothes in an interesting environment, with an intriguing lifestyle attached. They hold your attention. These 2008/2009 photographs were brilliantly executed (by Seregel) and the latest Marc Cain campaign is no different. I call it 'on the rocks'. Head to their website for a good look: http://www.marc-cain.com/.

Whilst their new campaign for spring summer 2011 does not have quite the same impact as the 2008 shots, it matters not.  The is one fashion house that benefits from and capitalises on its German managment team. Gut gemacht!

Rebranding A Classic - Viyella



Ottoman/Sequin Dress

Viyella, that quintessentially British brand, is on the way up.  There are some brands that are ripe for picking and Viyella is one of them.  Traditionally a middle-aged, safe haven for those that don't want a fuss, but do want quality, Viyella was, keeping with the ripe fruit analogy, about to fall from the tree of fashion. Indeed, it did actually fall; going into administration, then thankfully, it was rescued by another British heavyweight, Austin Reed.
Realising that growth, through change, is the fashion way, the Gods (in this case, the management team at Austin Reed), have decreed that Viyella takes its rightful place among the elders of Britsh fashion.

For the second season running, India Hicks, (she of 'bridesmaid to the Princess of Wales' fame), is their muse. She represents a fresh, sophisticated and intellectual customer. Someone who, perhaps, has not tried Viyella before. Who is this woman likely to be?  Firstly, she's an explorer.  Why else would you choose a brand that's been on the periphery of British fashion for years. She's also savvy, international and a forward thinker.
With 'heritage' a trend; not just because of its craft and handmade connotations, but because backward glancing, past life coverting and nostalgic era desiring is going to grow and grow; a direct consequence of the digital era.  Viyella are wisely tapping into this feeling. 


Wool Mix Car Coat

Still, the safari dresses, urban bohemian prints and smarter, sharper fabrics for next spring and summer, make for a glamorous, intelligent, yet modern collection.

Of course, there is still their faithful customer - one that is not always catered for in this youth centric industry.  Very sensibly, as it turns out, they have not discarded her, but are tempting her with bright tweed suits and colour blocking twin sets.
Reassuringly, the brand still looks to the British countryside for it's inspiration and this keeping to its 'heritage' roots, has served it well for decades. But it is clearly time for change.  This will take time of course. Time to eradicate the dated trouser shapes and the retro jersey prints and replace them with the contemporary shapes and luxury fabrics that today's mature customer demands.
Current season eye catchers are the cream wool car coat, black ottoman shift dress and pretty circle print scarf.  I do hope the brand does well.  It's always nerve racking to see fashion house evolution, but with maxi dresses and polka dot midi dresses to come, it does seem that this stalwart of the fashion industry is ringing the changes and is happily here to stay.    Find them at: http://www.viyella.co.uk/

What's New?

Being 'away' for a while, certainly cleanses the soul. After a bit of a break and a very welcome trip to New York, I am now back in the fashion saddle, as it were. There's lots to report on of course. This seasons latest wear, next seasons trends and pointers and interesting industry news are all up for grabs.
Where does one start?

Firstly, I couldn't resist. It had to be done. I couldn't walk away. We were made for each. We are 'at one' together. Of course, I am talking about Zara's checked cape (left). Naturelment. What else? This genius piece of clothing has been all over London with me. This cape, being one of my favourite pieces this season, was bound to catch my eye. Brilliantly crafted so that it sits tailored on the shoulder, with a simple fastening and deep arm holes, it is made of wool, which gives, despite the 'blowy' nature of a cape, a distinct warmth and protection from the elements. I will be wearing it even when it's totally out of fashion.

Secondly, today's trip to Fashion Press Week at the Saatchi Gallery in London put a smile on my face, no mean feat, considering the jet lag felt this morning... but it is talking to the representatives of the brands that I really enjoy.  For both styling my clients and writing for fashion, it's crucial that you get the chance to speak to the representatives to get an overview of the collections and direction they're going. So, these revelations are up next...

Fresh Folk - Fendi

There seems to be a strong element of prettiness on the Milan catwalks this season. And considering that Fendi was historically a furrier, it does seem rather refreshing that they are able to embrace an altogether more ‘folksy’ look for spring/summer 2011.

The folksy, bordering on gypsy, theme manifest itself through drawstring waists and collars, off the shoulder ruffles and summer colours of turquoise, tangerine and cobalt blue. Mixed together with some prints in graphic blue and white, and some intriguing floral needlework, it made for a surprising departure from the hard leathers and soft furs from Fendi’s usual signature collections.

Summer is the season that enables designers to rework lasting favourites and white linen is, of course, a perennial favourite, but puffed and flounced sleeves? It was these shapes that seemed new for Fendi. Or perhaps Lagerfeld has just reinvented them this season after so much time away. The emphasis on the shoulder, that angle of strength and power over the last few seasons, has shifted, down the arm, to the sleeve and it was this, together with cocoon skirts, wide shift dresses and floaty georgettes, that made the collection very fluid and light. A chic, wide sleeved, shirt dress was particularly indicative of this sinuous theme and the return of many other looks: tulip wrap skirts, orange lipstick and cuffs and shoes in primary colours, nodded to another influence that we’re seeing a fair bit of: the seventies

Suffice to say that Fendi’s woman still has that alluring yet dominant edge, but it seems that this season, she has gone on holiday and relaxed a little.

Addicted To Glamour - Gucci

Oh to be a Gucci woman! Those glossy scarlet lips, that slicked back hair; so reminiscent of Robert Palmer’s video for Addicted To Love. She surely answers that need in women to flex some feminine power; but then Frida Giannini is just such a woman. This season, her brilliant use of colour from the vivid lilac and Seville orange to the emerald and black at the start of the show, demonstrated that she meant business and that even though this was a collection for the summer, she was not going to compromise on the high octane glamour that Gucci is known for.

Gold cummerbunds and clutches and body skimming jumpsuits in silk jerseys and satins interspersed with classic black daywear, reinforced the authoritative theme. But there was a slightly safari feel to some of the collection too; with buttoned pockets and woven leather straps on shoulder bags. However, it was current and did not labour the point. It merely referred to the wildlife, with hard polished croc leather jackets and African plain toned separates.

Of course, Gucci started as an artisan leather manufacturer and here, they excelled. Python holdalls, fabulous black, leatherworked peep-toe boots and sleeveless jackets in soft, nude colours. All Gucci elements were represented. Fringing and tassels, sometimes both at the same time, were juxtaposed with the quiet palate of expensive looking neutrals that Gucci does so well.

She closed with some bright cocktail wear in shimmering emerald and gleaming midnight. These will be popular with Gucci’s celebrities, even though most won’t know how to wear it and will be unable to carry it off. But it was another triumph for Giannini nonetheless.

Edwardian Fairytale - Alberta Ferretti

There was a slightly historical feel to Alberta Ferretti’s latest show. Faded colours and delicate layering, gave an almost out-of-the-attic feel to the clothes.

Beginning with a sweeping, sheer floral dress, Ferretti marshalled a fairytale mood onto the catwalk. Gone were the smart, contemporary separates of last season and in their place were a whimsical Edwardian dessert; with lace, crochet and romance as the ingredients. Sheer blouses with lace panels, either randomly spread or deliberate in their placing, and softly falling silk chiffon gowns, glided peacefully down the runway. Everything ushering in a garden freshness that shouted young and dewy.

The other side to this assemblage was the distinct 70’s vibe that prevailed throughout the collection. This was shown by the centre parted, ungroomed hair and the wide brimmed, slightly fraying, floppy hats. But it wasn’t a particularly youthful group of garments overall. They were clearly made for a woman, not a girl; and this was demonstrated by nice touches such as floral linings in jackets and elegant lace-up-the-leg sandals. It was as if the 70’s flower child had grown up to be a woman, a sort of serene hippy.

So who’s going to wear this? Well, Ferretti’s corporate breathing customers may well lap it up, as it will be a new thing for them, but I think this will also appeal to the gentler, homespun woman who spends her days in the country under sunny skies.

Beach Easy - Michael Kors

With show notes going on about a ‘sunshine state of mind’ it was not surprising that Michael Kors’ latest offering was heading to the beach. White jersey, chunky knits and sun kissed leather accessories, all added up to an effortless dressing. It was easy to interpret it as eliminating one of the stresses of modern living, but still answering the woman who had to keep going with her life.
Ribbed marl sweater dresses, frayed edging, satin separates and bright slouch jersey columns worn with wavy hair, pulled into low swept ponytails, conveyed a nonchalant and above-it-all air.

Despite this, Kors managed to retain those smart elements of his label by including polished leather coats, fresh green shift dresses, crisp white shirts and oversized blazers with skinny belts. Particularly stunning was a saffron a-line shift dress with three quarter length sleeves. Its simplicity epitomises Kors’ mood at the moment, one of nostalgia, perhaps for relaxed and easier times.

But mostly it was sweater dressing. Comfy basics that sit in your closet for years because they match everything and wear well, in fact, they’re better with age, but overwhelmingly because they’re comfortable. Made for the woman who is on the run for most of the day or the girl that needs simple smart basics for a trip to the Hamptons, these clothes will need little attention and allow carefree, minimal packing; even that smart leather strapped swimsuit.

Sheer Magic - Vera Wang

From the backdrop of a twilight forest, Vera Wang astonished her audience with a sumptuous fashion feast. Wang always shows a fascinating collection and next seasons vision was equally compelling. The juxtaposition of hard and soft is a Wang signature and she did not disappoint those women who rely on her for both powerful yet soft garments.

The first outfit was a layered black tulle top that was both slipped off the shoulder and yet cropped above the waist. Worn with black satin trousers tucked into black, open toe, ankle boots, you were prepared for it to be an all black, or at least dark, collection. But then an assault for the senses.
Gossamer draped dresses in sorbet colours with asymmetrical trains trailing behind; obi inspired quilted waistcoats, painted oriental dresses and stiff silk Mikado jackets left you hurriedly trying to take it all in. The asymmetrical trend is still huge in New York and one shouldered, draped dresses in silks and georgettes were anchored with knotty silk belts. Stand out looks were pleated heavy silk blouses worn with tailored shorts and a damson sequined shrug that looked like it was made of crystals or stalagmites.
Wang said she wanted the clothes to speak for themselves and accordingly the models wore their hair away from the face and neck, in exaggerated off centre beehives. A sort of bed head Geisha. Make up centred on shine with little or no colour and the silhouette, which was largely a narrow one, was both whimsical and structural at the same time.
Today’s woman needs choice and Wang gave them a sculptural collection that either stood away from the body in structured dresses and tops or snugly fitted the body’s contours by swathe and sheer. In these uncertain times, the smart Wang customers can be assured that she has delivered her potent formula yet again.

Modern Vintage - Halston

There are some vintage names that have a lot to live up to. Halston, being one of the greats from the sixties and seventies, is one such name. In its reincarnation by Tamara Mellon and Harvey Weinstein, it has been given the chance to show a twenty first century audience, the spirit of the late Roy Halston. But with Marios Schwab as Creative Director, this has not been an easy task. There seems little point in reviving a label, if you are not going to infuse the collection with the essence of the original genius. But this season, it seems that Schwab has done this.


Modern, floaty, tribal print dresses were followed by striking, Grecian sheaths in taupes and pastels. Some of the prints called to mind the colours of Monet’s Waterlilies and it was this referencing of the past, this peer into the archives, which found its influence in the bias cut satin slips, worn with retro style headbands. It was a nod to that strong woman of Studio 54 but it was current and fresh.
There was a brilliantly effective use of black jersey with gold leather and again, we saw an oriental inspired wrap jacket; a look very prevalent during this week in New York.

The vintage Halston drapery is thankfully coming through, though some of the tangerine jersey columns were a little complicated. However, it was a more than welcome change from his unreflective last season and one that he can justifiably be proud of.

Riot Of Colour - Marc Jacobs

As usual, the Marc Jacobs show was heavily anticipated. With this and his customary practice of starting the show at the scheduled time, he was ensured an attentive and enthusiastic reception. Both instances would have put the waiting audience in a good mood but what I like about Jacobs’ is his ability to not dress anything up to be more than it is. Stating that the “clothes are just clothes” does somewhat endear him to editors and journalists who are trying to decipher a coherent message for the consumer, without the sometimes fantastical protestations of the designer. Jacobs was aware of all the references to the 70’s and 40’s; but he just presented his ideas and left us to interpret them how we wanted to.

This show that had all the hallmarks of a Hawaii 5.0 episode, from the single exotic blooms used both as chokers and in the models hair to the two tone clutch bags, was never going to be quiet.
The Grace Coddington style hair was crimped and frizzy and parted to the side with flowers or diamante clips. Along with berry stained lips and midnight smoky eyes it gave a seductive Dorothy Lamour, 40’s feel to the outfits, that were predominantly of a disco groove.
Best examples of this were square framed sunglasses, high-waisted trousers, scarves tied over the head under large straw sunhats, satin shine hot pants, and golden glitter wedges.

It was Studio 54 glamour but with an uptown swing as the models marched on in clashing colours of crimson and rose pink. Vibrant 70’s geometric prints flowed over chocolate leather skirts and there was an interesting take on a suit. A high necked, saffron linen jacket, buttoned through and belted over a wide cropped trouser, expressed an independent mood that you could imagine during those heady days in uptown New York.

Most were not surprised that Jacobs bucked the trend for simplicity and piled on the excess with fervour. It takes bravery and a certain freedom of spirit to produce a collection so full of colour and contradictory to the times. But it was not a cerebral show. He was not trying to convey a serious, political message. He wanted to have fun. To him it was cathartic. To us, it was a blissful riot.

Whimsical Romance - Donna Karan

After a previous season that was near on all black, Donna Karan perhaps played to stereotype by going for an exclusively lighter palate for this coming spring and summer.

With cream, oyster, oatmeal and caramel being the only colours in favour, the collection had a innocent and spiritual feeling reinforced by the upswept hair on the models, rolled up and away to reveal the nape of the neck. Indeed, the body was much on show with exposed backs, asymmetrical straps and bare legs with wedge sandals to accessorise.

Despite the bareness, some of the collection was unremarkable. Cropped trousers with a capped sleeved smock was never going to break any records but then after 25 years in the business, Karan could claim to know what women want to wear. Judging by this latest offering, it appears to be bias cut, satin slip dresses with fluted sleeves and pretty, lightly printed, silk dresses with easy sandals.
If there was any structure, it was on the crushed jackets that were embellished only with lady-like corsages. Other intriguing examples were a floral print suit and a crushed caramel trench coat.

It was not a quintessential Donna Karan collection but with a name as blunt as Raw Romance, this collection was something different for her customer. It remains to be seen if they will respond favourably.

Historical Beauty - Carolina Herrera

From the T-bar shoes to the wide straw hats, there was a colonial feel to Carolina Herrera’s latest show. She stated that influences ranged from Korea to botanical plates and both of these elements were evident in the clothes. It was a collection that showed an old style glamour that is rarely seen and only from a true couturier. Zero or minimal jewellery left the clothes to speak for themselves but Herrera knew that’s what this product demanded.

The elegant compilation included oriental inspired wrap jackets in faded floral prints, black sheer sleeved blouses over wide palazzo pants and an incredible silk fitted dress that appeared as though made out of painted black lacquer.
Next came exquisite silk shift dresses worn with a contrasting single silk cord belt. These glided gracefully down the runway with only a wide neckline or a single structured bow as decoration.
Suiting followed, with painted panels, even on sleeves, reflecting those botanical prints. The choice of wide natural straw hats gave the collection a formal but charming overtone, which owed much to history and hinted at a more enigmatic time.
Evening wear was not forgotten with a series of painted silk gowns that were both regal and modern simultaneously and rich embroidered satin cocktail wear, ensured that the wealthy Herrera customer had every eventuality covered.

It was an inspired collection with every item, quite literally, a work of art. Art, like beauty, is often in the eye of the beholder and the word I heard most after the collection was “beautiful”. Bravo Carolina.

Goddess Prints - Diane von Furstenberg

After last season’s man’s-life-in-a-woman’s-body ethos, Diane von Furstenberg has taken a man on as her new creative partner. Perhaps this decision was meant to strengthen this ethos. So had the appointment been worth it?

Yvan Mispelaere, hails from France and accordingly there was an artesian leaning to this new collection. A vast array of prints appeared on every kind of garment from dresses to playsuits, and oversized jackets to camisoles. These prints were sometimes abstract and often clashed with others but somehow the look gelled and gave a real feeling of summer in the city. With the models scraped back hair, matt red lips and round sunglasses, the show took on a bohemian mood. But the collection was distinctly glossy, grown up and supremely wearable. Whether you’re a lady that lunches or a business woman, these clothes were powerful enough to define you as creative and as forward as von Furstenberg herself.

Silks and cottons in summer colours of lemon and mint, purple and lilac or black and white gave an optimistic and happy mood. These prints and colours were also carried forward into accessories such as bum bags (yes, really) and large structured shoppers. Dotted amongst the prints were several colour blocking outfits, all seemingly thrown together. These were amongst the most eye catching, probably because they gave your eye a rest from the complicated coupling of tribal and geometric shapes. Other items to watch were handkerchief hemmed wrap skirts and oversize hoody jackets. It was all very simple, practical and yet beautifully done. Perhaps a little masculine influence has paid off after all.

Contradictory Vibes - Thakoon

Thakoon has been hailed as one of the shining stars of the New York fashion industry. In his latest collection, he did not demonstrate this with a groundbreaking collection. He merely showed that he was confident enough to go his own way and to try something different. Something a little paradoxical.

A white double breasted trouser suit with narrow trousers was as covered up as it got as this collection of garments was ‘heavy on sheerness’, a contradiction in terms, surely. And there is no disputing that Thakoon is, like many designers this season, channelling an airy and light hearted vibe.

Faded blue floral prints on wispy dresses , full, gathered-at-the-hip mini’s, worn with bra tops and open satin shirts, nodded to a bohemian 90’s era and asymmetrical hemlines and necklines added to the if-you’ve-got-it-show-it mentality. But this wasn’t gratuitous flesh on show. Thakoon conveyed a nonchalant mood. This casualness, shown by the rolled up trousers and gauzy knitted separates, owes much to his downtown history.

There were glitzy elements too – sequin skirts and dresses and a snake-like printed t-shirt dress were stand out pieces. But it was the detail that distracted you from the cut or the fabric.
With oversized hooks and eyes acting as fastenings and occasionally doubling as embellishments, your eye is drawn to the cinching of fabric rather than to the bareness of surrounding skin. It makes for a very independent and individual look – not one for an older clientele, but one that a young customer wants and Thakoon has definitely provided it.

Summer Spirit - Derek Lam

In comparison to his previous season’s city-western theme, Lam’s new offering was one of tailored casuality. It is perhaps not surprising that he chose to continue the simplicity that has taken root in the fashion industry of late, but then he does suit this type of collection. One that shows both his San Francisco origin and his twelve years at Michael Kors.

Opening the show, with tailored blue denim separates over strappy wedges showed that Lam has embraced a young and fresher mood. Indeed, the collection conveyed a feeling of summer lightness throughout. The models’ long, clean, moving hair and minimal make up reinforced this lightness. As did the restrained accessories. Slouchy suede bags in champagne and dark ochre, ivory cuffs and double belts worn over knee length full skirts were the chosen accompaniments.

Fabulous white trench coats, suede shorts with black jersey t-shirts and simple white blouses with neutral separates, showed that Lam wasn’t out to blind us with science. He did mix things up a little though. Fitted playsuits and maxi dresses in tribal prints punctuated the unadorned dresses and separates. There was one bright splash of colour. A mustard yellow, linen tunic over shorts added a shot of heat. Other highlights included a sensational long sleeved, white column dress that needed no accessories to detract from its beauty.

With an assembly of neutrals ensuring an expensive, uptown theme, the collection was, overall, a conservative one. Keeping the colours to black, white, grey and blue, Lam produced an almost capsule wardrobe for the stylish women of New York and returned a quietness and logic that has been missing in New York for some time. It remains to be seen whether this brilliant designer will keep to this straightforward formula or will venture into a more elaborate aesthetic.

Urban Purity - Alexander Wang

A typically New York collection from Alexander Wang; and a departure from his usual sharp edged jackets and plethora of black. By his own admission, purity was an inspiration and this collection went right to the heart of the word.

From the predominantly white palate and the raw edging to the models bare faced, over oiled skin and painted hair, Wang’s collection was a calm current flowing through an ocean city still reeling from the fiscal problems of the past few years. For Wang, clearly concentrating on simplicity, showed that he can provide sensitive day wear, as well as his strong, metropolitan evening wear.

Canvas jackets with patch pockets and press studs worn over long dresses of almost parachute material gave the collection an urban ethereal mood. Gone were the dark hues and sexy prowler attitude of previous seasons. In its place were karate inspired jackets over cropped trousers, giving a sportwear feel that was enforced by ribbed cuffs on white silk bomber jackets and trainer laces on mushroom, open toed ankle boots.

Hemlines were long, layering used effectively and the waist dropped. Separates were clearly the mainstay with a few shapeless silk dresses in mint and terracotta thrown in. Graffiti prints and minimal gold and silver patching were the only embellishments though Wang did play with texture in the form of tonal chunky knits that slouched coolly off shoulders and delivered a comfortable and stress free way of dressing for his young, hip customer.
Abandoning any reactionary power dressing mentality at this austere time, Wang’s summer, using the optimism and energy of youth, is shaping up to be a relaxed one.

Cheryl in Vogue

The love affair between Cheryl Cole and the media has not abated judging by next month's Vogue cover.  This is the second time Miss Cole has graced the cover of the fashion giant and, speaking again to Christa D'Souza, she bares her soul and discusses the end of her marriage and her subsequent future plans.  Looking demure and clasping some fresh flowers, let's hope her next beau will be more deserving than the last one.

Pretty In Pink

Fashion's Big Night Out

This event is going to be huge. The only slight drag is the tube strike. Firstly, what on earth is a big night out in fashion terms? Well, this annual event aims to boost commerce, give the retailers something to shout about, give the consumers a reason to shop about and generally celebrate fashion as only the industry knows how. What's going on? What's not going on is a more insightful question to ask.

The lovely Mr Armani will be hosting Alex Shulman, Editor of Vogue, at his Bond Street store. I will also be in attendance; I do like a bit of Armani. Other stores on my hit list for Tuesday are Agent Provocateur, who have DJ's, champagne and goody bags on offer; Aquascutum have oysters and wine, Banana Republic have canapes and mini manicures, and there are style lessons taking place at Browns.

I am personally looking forward to Diane von Furstenberg who is transforming her store on Bruton Street into Studio 54. Make up, cocktails from Claridges and professional photography are all on hand. I cannae wait!

Airport Chic

The Latimer

It is a truth universally acknowledged that a woman in possession of stylish luggage will be in want of a weekend away.  Be that as it may, it does not deter some people from bringing the most horrendous luggage to the airport such as huge fuchsia plastic monstrosities and weathered royal blue nylon.  Fortunately, there are some stylish examples around this autumn to replace these eyesores.

Le Pliage

Longchamps’ Le Pliage is an eye catching carry-on that packs a continental punch.  At £175, it’s a little expensive, but will last for years.  Nicer still is Anya Hindmarch’s Latimer.  Structured, in a great print and a greater price at £395.  If you need something a little larger, then Orla Keily’s Tripp Cabin Upright , a bargain at £123, will be easily spotted on the luggage carousel at Heathrow.  Bon voyage.

Love It, Hate It - The Cameo

LOVE IT!

Floral Pendant
TopShop

“Wave your hands in the air, like you don’t care”.  So sang Cameo in their 1986 hit, “Word Up”. Quite. Cameo’s, those old fashioned jewellery pieces of raised pictures in shell or stone, are having a moment.  This interests me for two reasons.  Firstly, what a great item to make a return.  All that beauty, nostalgia and, dare I say it, taste. Secondly, I am officially ahead of the curve, having bought a pair of cameo earrings on instinct about 6 months ago. In fashion speak, this doesn’t mean I am an early adopter; i.e. those that see a trend launch, jump on it post haste, lead the way and consequently demonstrate know-how to their fellow commuters.  It means that I am a trend setter!  Yes, a setter, (not to be confused with a red-setter, though with my colouring, I wouldn’t blame you for getting it mixed up).  But, now that Grazia has devoted an article to cameo inspired jewellery, we can safely say that the cameo is back on the menu.

Blushing Bride
Princess Victoria of Sweden

Although cameo’s can be seen as rather fussy and they certainly appear to fly in the face of this season’s pared down minimalism, they do sit incredibly well in uber trend vintage, a movement that’s still not showing signs of abating. Celebrities, especially those with canny stylists, first picked up on cameo jewellery last year, La Roux and Pixie Lott to name two and this June, Crown Princess Victoria of Sweden wore a stunning cameo tiara at her wedding.  The high street have taken notice and this season, TopShop, ASOS and Miss Selfridge are all showing trinkets in this lovely style.

Facing Forward
The Romilly

But it’s not just jewellery that has had the cameo make over.  Lulu Guinness’ Cameo Romilly bag, £195 from ASOS, is simply divine and is a smart option for smart ladies and if you’d rather wear cameo in a different way altogether, then opt for Next’s tan leather and cameo belt, a snip at £18.

Original Word - "Wintage"

This week's Original Word from Style Conscious is:

"Wintage" - the act of wearing last winter's old clothing.

As in - Q: "Is that new?" A: "No, I'm in wintage".

To Groom Or Not To Groom

What exactly does ‘grooming’ mean? That your hair doesn’t have split ends? That your nails are all the same length? That you’ve won awards at equestrian events? Who is seriously going to notice those first two? The answer to that last question is: everyone.
Years ago, I was working in an office when the HR Director came up to me and said, “You know Belinda, you always have nice jewellery but when I see you wearing rings, it always makes me sad because your nails are always different lengths. Why is that?” Courtesy prevents me from telling you what my answer was but it struck me then as it does now. The fact that she’d felt compelled to ask me was the main thing, but the fact that she had noticed them was, perhaps, more extraordinary. But then people notice different things. Especially women, about other women. I always look at bags. My mother looks at shoes. My best friend looks at jewellery. But those are mere accessories. You can buy new accessories to make you current and look shiny, in a Girls Aloud sort of way.

But when it comes to ‘grooming’, you’re talking about the entire package. And what a David-Beckham-on-a-three-storey-high-billboard package it is too.
There was a time when I did go for regular facials, massages and manicures. This was in my twenties when I didn’t have a mortgage of course. As a writer, I don’t have to be groomed. But a close friend works in sales. Now, there’s a profession where you have to be groomed. The stakes rise to acrylic nails and hair extensions. That’s serious maintenance. Everything takes a considerable amount of time to upkeep. Not to mention the financial outlay.


Why subscribe to it? Well, for one thing, it gives women time away from work (or children if you’re insane enough to have them). One beauty editor told me she sees it as “self preservation”. Trying not to immediately envision her encased in vinegar, pickled egg style, with a National Trust sign over her, I asked her if she really thought grooming made a difference. She flashed me a pointed look and said “well, perhaps not for everyone”.

Retreating to the safety of my friends, a quick vox-pop gave some surprising replies on the meaning of grooming. “It’s about being put together,” said one. Another came up with, “isn’t that about dandruff and laddered tights?” But my personal favourite was, “it’s what you do when you don’t have a life”. And therein lies the rub. You are questioned seriously if you don’t pledge yourself to grooming and chastised if you do.


I’d like to say grooming is a dying art, but that wouldn’t be true. Young women care very much about what they look like. But they don’t seem to bother about the details anymore. There are a new set of rules. Shoes down at heel are now acceptable. An uneven fake tan is not. This doesn’t wash with the older generation of course. If your heels are falling off then you’re sloppy, or worse still, poor. It’s an immediate indicator of your ability to take care of yourself because you instantly know if someone is groomed, don’t you? Britney Spears is not, Cat Deeley is. Newsreaders have to be. Radio DJ’s don’t; in fact, it appears to be career enhancing if they’re not. And me? Well, I’m just off to get a manicure.

Love It, Hate It - The Brooch

LOVE IT!

Brooches. Don’t you just love ‘em? No? Well, neither did I until now. It’s not that they’re having a renaissance, they’re not. But as this season is all about paring down and simplicity, brooches have a chance to catch the trend zeitgeist.

A few years ago, there was an explosion of corsages on the high street. Remember those? Every girl and woman worth their buttonholes were wearing a frilly chrysanthemum or a silk rose in full bloom. No-one was sure about them early on, (weren’t corsages a bit Edwardian? A bit The Age Of Innocence?), but when we saw how eye catching, how simple, how stylish they were...well, we all gave up the fight and adopted our bosom flora. They went stratospheric. Such is the power of an accessory trend. And now we have the chance to replicate the look, with a substantial dose of glamour I might add.

The issue is, the statement necklace is on its way out. This item has, over time, grown as big as the trend so that some examples are less of a ‘statement’, more an inaugural address. This is where the savvy brooch comes into its own. By their nature, brooches are singular and therefore convey subtlety. They say ‘understated’, ‘good taste’, ‘brave’ and if you want to get a bit deep about it, ‘cerebral’. You see, a brooch is the antithesis of an enormous pair of ear-stretching earrings or an armful of bangles. It sits on your shoulder, lapel, sleeve, collar, breast - in fact, wherever you want, the choice is yours and, done correctly, there’s less “I’m channelling Queen Mary”, more “I’m channelling Mary Portas”. What other piece of jewellery does that?

Butler & Wilson's Multiflower
£58.00

Naturally, as with all things, there’s a wide range of prices to match all this choice. There are some corkers out there.

At the top end of the scale is Tiffany with a Bird on a Rock in aquamarine, diamonds and 18k gold by Jean Schlumberger - £60,000.
Slightly easier on the overdraft is Butler & Wilson’s crystal multiflower with pearl drop and swarovski crystal at £58.00
And if you’ve only got spare change to deal with then how about Ebay’s jade, pearl and emerald paste brooch, a snip at £1.99.

Ah yes, Ebay. Recently, I’ve spent many happy hours on there, tracking down some art deco style brooches (vintage and new) to wear in the new season.
Reaction has been swift. “Where did you get that from?” demanded one friend. “That looks elegant”, cooed another. Well, yes, I know. They do indeed evoke a time more elegant, more restrained. There’s something about them really. They are a real piece of jewellery. And that, I hope, says an awful lot about the wearer.

In The Spotlight - River Island

I was there at the beginning of course. River Island’s launch I mean. I remember it so clearly. The stores all had laminate flooring with a bit of Aztec carpet thrown in and around the changing rooms. The music was jazz and other 1920s-1930’s grooves. The furnishings were old fashioned (vintage wasn’t a proper word back then) and it was very New England, very Ralph Lauren. They had mahogany framed mirrors and the lighting..well, it was low and distributed through gold plated lamps with frosted glass flower shades. Frankly, it looked like it was powered by gas.  The labels in the garments read “Charlotte Halton for River Island”, (was she really the designer?), and there were large branded paper bags at the cash till; not unlike Zara today.

And the clothes themselves? Much like Next, they were either formal and smart or casual and country; but with a strand of glamour running through them. There was nothing urban about them. An ivy green velvet wrap dress sat next to a beige pinstripe trouser suit with wide lapels and even wider legged trousers. This was teamed with a cream spriggy cotton shirt. At that time, for them, ‘Boho’ was huge; (this was waaay before Sienna ‘invented’ it). They were ahead of the curve and were channelling a new look on a high street that looked very different from its current manifestation.

You have to remember that Topshop wasn’t the giant it is today. In fact, its sister Miss Selfridge was the market leader back then. Producing items as diverse as a pink iris-print cotton sun dress, a tomato red short trapeze coat and platform strappy shoes (you’ve seen one pair, you’ve seen them all), they had the market sewn up. Topshop was for basics. Vests, leggings, tube skirts and yet more vests. River Island didn’t chase either market. Where Miss Selfridge was style personified, Next was work-wear (anything else there was terrifyingly bland), River Island was dressy and stylish. They teamed great design with superb fabrics and presented it in a coherent and engaging atmosphere. In short, they were different.
Since that fateful year, 1988, River Island has been through many incarnations, not all to my liking. They went chasing the edgy market, with some success of course. But it all got seriously bling. Their accessories, once ground breaking (they were amongst the first to buy and copy into the ‘it bag’), became emblazoned with a massive R and I. And as anyone knows, if you’re going to flex your brands, you want a designer name that you can be proud of or one that gives you kudos. River Island at this point, was neither.

But I am glad to say that River Island has turned a corner. The other day, I popped into my local branch when I spied, at the entrance, a pair of brown/black patterned tie-belted peg trousers in a light and soft fabric. They were undeniably stylish. Today, I went back to see if this was an apparition and I can reveal, my avid readers, that it was not. There was a trench coat with ruched shoulders, a waist length, soft, short sleeved knit, jersey maxi dresses with either plain or with a simple foil print, a functional green parker with faux sheepskin lined hood. River Island is once again embracing simple and credible style. To this end, I splurged (there is no other word for it) on a faux fur jacket, not unlike the one here (left). What possessed me to go inside this time? A very simple window display. Not as ornate as Zara of course, but River Island could do something similar I feel with spectacular results.
Is this the start of something new? Is River Island going to be my new stopping point on the highstreet? I think it might be. As for Charlotte Halton...I never did find out who she was.  Welcome back River Island.

Cecile Dress: £69.99
Ava Faux Fur Coat: £69.99

Muse Of The Moment

CAT DEELEY


Why?
She's the golden girl who hasn't lost track of her roots. A very British babe who necks cocktails like the rest of us.

What we love:
Ambitious and strong, she's a natural role model for the media generation. Wears everything well; she rocks mini dresses like a fresh faced teenager.

If we could change one thing:
Her distinctive mane of hair could do with an update but, overall, she's pretty darn perfect.

What's In Now...

At the risk of sounding like every other fashion editor right now, I do feel that you all need to know (be told) what you should be wearing in the next six months when the weather is colder. It’s shaping up to be a very dramatic season, sartorially speaking, which means it’s time to clear those wardrobes out and get rid of that cut-away swimsuit and any other summer nonsense. Statement necklaces? – old news, harem trousers? – give me a break, Star Trek shoulders? – do me a favour; it’s time for some decent clothes (read that how you want to). So here are some handy guidelines for you:

FUR - Potentially one of the biggest stories of the season. Some don’t think it’ll be that big. But it’s been a growing trend over the last few winters and I think it’ll be even bigger this season. Don’t think you have to wear the real thing. No-one has to these days as fake fur is so authentic. Yes, I do realise that’s a contradiction in terms, but bear with me. It’s warm, looks glamorous and says that you have balls. In fact, it sums me up in a fabric.
What should you go for? Well, like most trends, you have a choice. Short mink-like trapeze jackets, ¾ length shaggy coats, shearling aviator jackets, lambswool gillets and a whole host of accessories to bring out the inner yeti in you.
How should you wear it? Sparingly. Go for one item on the body at the time and, advised like a good bartender, don’t mix your fur.


CAPES – I’ve been doing these for years (she said smugly) and I can tell you, there’s no quicker way to add drama to your wardrobe. You’ll get stared at on the tube or train (buses are for the young, old and unfashionable) but that’s a good thing. Who wants to blend in? If you can’t do a cape, do a pashmina (yes, they do still exist) and wrap it around and fasten it with a brooch. Yes, I did say a brooch. Do I have to explain about those too? OK then. Later.
Capes are easy to use, go brilliantly over suits, for those of you that still have to wear the infernal things, and you can hide/protect/forget about your bag underneath them. Marvellous stuff.
What should you go for? Capes come in all lengths and some come with belts to really help you out. Keep it neutral; black, navy (flattering on the skin) or camel. Steer clear of red unless you want a wolf after you.
How should you wear it? With panache! Have all your items organised in your bag so you don’t flap about at doors or in shops, Batman style.

SIMPLICITY – Undoubtedly the biggest story of the season, though technically it started last season at Celine and head designer, Phoebe Philo, has continued the trend for this winter. Think quiet clothes, no embellishment. Frills, fringes and sequins are all out, (except at Valentino where they obviously couldn’t control themselves). Go for cut and quality fabric instead. This trend is all about clean lines and fit. You could say it’s subdued. But before you all start shouting ‘boring!’, let me tell you that it isn’t. It’s bliss. It’s the way clothes for women are meant to be. All that time wondering what goes with what will be a thing of the past. Your wardrobe will be so simple you’ll not worry about it for six months. This is a trend for sorted women, not dithering girls.
What should you go for? Muted colours and classic garments. Camel coats (though they will be everywhere), navy trousers, plain cashmere sweaters, leather skirts, silk t-shirts. Think soft fabrics, think sharp tailoring and remember that simplicity is the master. This season has it in droves.
How should you wear it? With strength and a bit of effort. When you’re simply dressed, people notice your clothes more. Keep your hair clean and tidy, your accessories to a minimum (that includes jewellery) and your shoes polished.

THE NEW BOOT CUT TROUSERS – “Woohooo! They’re back!” I hear you all shout. Yes, right. That’s all well and good but these are not the boot-cuts you remember from yesteryear. These are better (gasp). Why? These are high-waisted which means that they give you the appearance of legs the length of a supermodel (gasp again). I happen to be a convert to high waisted trousers for the simple reason that they are so comfortable. High waisted actually means they sit on the waist. Not under the bust (everyone thinks this) and not on or under the hip. What else is new about these? The hem. It’s a very slim boot cut. So, very tailored to the thigh (I said tailored, not tight), straight down from the knee, then a small flick at the bottom. So not a kick-flare in any guise, and not a typical prominent boot cut.
What should you go for? Good quality fabric, no bullet proof material please – these trousers have to flow. Secondly, make sure they are long. Choose your heel height and alter the trousers accordingly. There is nothing more leg shortening than trousers at the wrong height.
How should you wear it? With a simple top – tucked in. You will ruin the illusion if you have material swimming about your hips. Slinky satin blouses, fitted sweaters, tailored t-shirts. Keep any jacket you wear short too. There is no getting away from it though; this is a trouser that needs to be worn with a heel. Thank god kitten heels are back in, that’s all I can say.

THE NEW SKIRT LENGTH – Well, it had to happen at some point. We can’t go round in mini’s forever. Skirts are decidedly below the knee this season. I am a little worried. For a start, the average teenager will probably keel over at the thought of all that excess fabric on their thighs. Furthermore, we’ve all had mini’s on for so long, I think it’ll take divine intervention to change things, or as I call it, an Act Of Kate Moss. It’s an austere length for an austere time. Covered up and a little bit furtive. A bit like an investment banker who got us into this austere mess really.
What should you go for? You have three choices: a) The Midi. This is full skirted and either just below the knee or mid-calf; b) The Pencil. Needs no introduction but again, it’s on the knee and is as fitted as it ever was; or c) The Maxi. Floor length and either a straight column or on the bias. Your choice of fabric, from jersey to wool.
How should you wear it? Any longer length skirt dictates a simple, fitted top. The waist is particularly important for this trend. Get your belts out and tuck those tops and shirts in. This will automatically emphasise any curves but the length of the skirts will balance those out. It’s all about proportion. And apart from the Maxi, this is another trend that requires heels. Sorry about that.


Al photos: http://www.style.com/