Paris Fashion Week: Dries van Noten and Rochas spring/summer 2013 collection
It’s the final leg of fashion month and weary editors, retailers, photographers and bloggers descend on the French capital after attending a few hundred shows in the past few weeks in New York, London and Milan.
The weather greeting their arrival matches their mood as the spring 2013 collections take to the runways in Paris this week. Heavy dark clouds threaten all day, before finally the sky opens, unleashing a deluge on those scampering from show to show below.
Hardly unusual for Paris in late September. But what is remarkable — because fashion folk are not exactly known for embracing practical notions — is the sight of two guests at the Rochas showwith blue plastic bags wrapped around their expensive shoes to protect them from the torrent.
Watching them one had to wonder: are they really wearing zippy bags or is this some avant garde footwear?
Despite the gloomy weather, two shows, Rochas and Dries Van Noten, looked forward to spring 2013 with clothes that were ultra light and airy.
At Dries Van Noten, there are many elements at play, layered one upon the other. Textured fabrics created from clusters of rosettes or ribbons looked featherweight light. Van Noten took grunge tartans and plaids — usually an autumnal wool fabric but here, they are gossamer thin and sheer.
Some looks had a pyjama jacket or silk robe thrown over the whole thing. If this sounds like a mash-up — it is, but in the most poetic and charming way.
Later at Rochas, designer Marco Zanini, also go light, airy yet ultra feminine. Two shapes play off each other; 1950s style full skirts versus slinky slim fitting sheath dresses.
But Zanini keeps it from going all the way to Mad Men territory, throwing tough white boxing boots in the mix.
Thursday, September 27, 2012
Thursday, September 20, 2012
Fast fashion's failure
Fast fashion's failure
The wonderfully gothic Duomo cathedral dominates Milan’s central square. It once was white, but now marred by grime and plenty of pigeon poo, the enormous church is the seat of the Archbishop of Milan and is possibly the city’s greatest tourist attraction.
Arguably, because where churches were the gathering places of communities, temples of consumerism now play that role. Just a few steps from the Piazza di Duomo you’ll find the new meccas for mingling while worshipping at the altar of international fast fashion.
Zara, Gap, H & M and Abercrombie & Fitch: they are all there on the Corso Vittorio Emanuele and they all offer a much better selection than what is available in their Australian stores in a far better environment for shopping.
Disclaimer: I never shop in international fast fashion chains in Australia. I’ve been to Zara only a handful of times in Sydney, and mostly with my press hat on. I attended the first Zara opening in Pitt St last year, the opening of the second Sydney store in Bondi Junction last week, and I’ve popped in a handful of times when passing by with friends.
I’d like to say my infrequency in darkening the doors of global chains in Australia is an ethics issue: that I want to support Australian designers and that the very notion of fast fashion and its sometimes questionable practices does not sit well with me. And that’s partly true. The notion of disposable clothing also makes me feel a little ill – and yes, I do get paid to write about fashion for a living – but I loathe the mentality of wear it one season and chuck it the next. That’s generally how you’ll spot a veteran fashion editor or stylist: they’re the ones dressed mostly in boring black or a signature look (Anna’s bob and skirts and cardigans, Carine’s rock’n’roll spray on jeans and heels) while other rookies run the fashion blogger gauntlet outside the shows in whatever new trend is most likely to get them photographed.
But mostly, I don’t shop in the local versions because they have an inferior range to what is available overseas, where the service is also excellent and they are run like well-oiled machines.
For example, the Zara store on Corso Vittorio Emanuele spans four sprawling stores of a massive 4,500 square metre sprawling space that is guarded by faceless mannequins at the entrance dressed in the new season collections. Actually, new season is incorrect - they are most likely the new week’s collections as the stock is replenished at least that often.
Australian retailers are generally slower to do this – the distance factor and logistics - and always have less of a selection than stores in countries with larger populations.
Floral print denim, Balmain-inspired quilted leather jackets, military, minimal and ladylike designs, you’ll find them all in Zara and H&M in Milan with a better price and a better selection than what we get in Sydney.
As I mentioned earlier, it’s largely due to economies of scale (no pun intended).
But when you walk down any retail strip in Milan, you realise chains can open bigger and better stores in Europe because Europeans simply like to shop more.
It’s an international sport over here, where yesterday on a balmy 25-degree-day I spotted several women toddling down Via Montelapoleone, Milan’s most luxurious shopping strip, dressed in furs, capes, diamonds and Louboutins for a spot of retail therapy on a weekday. On a weekend you can forget about being able to walk the strip without a bodyguard to guide the way or it taking five times as long due to the heaving throngs perusing the windows of Louis Vuitton, Celine, Giorgio Armani and all the other luxury brands that have hung out shingles there that draw locals as well as tourists like flies. On a pleasant weekend in Sydney people think first of throwing on thongs then heading to the beach, a picnic or the pool, whereas in Milan they think about dressing to the nines and being seen on the strip giving their credit card a serious workout.
Shopping as a leisure activity in Europe has turned fashion into big business, and all people with budgets ranging from Zara prices to Zegna prices have benefited. Until we become more rampantly consumerist we are never going to get the breadth and depth of the Zara offer in Milan or any of the other international fashion capitals. And surely it’s not in the Australian nature to become this way anyhow?
Colleagues and friends constantly bemoan the lack of choice in the Australian outposts of fast fashion chains compared with what they sell elsewhere, yet given our smaller population and relative disinterest in shopping, how could it be any other way?
Yesterday I picked up a few things in the new Milan COS, a more upscale and high fashion chain owned by H&M. I bought a navy shift dress, an oatmeal wool jumper, some lingerie and a pale grey blouse, which set me back €260 for the lot. It was the first time I’d purchased from a chain store in years and I have to admit that it felt good, particularly given I’d passed on a pair of €995 Valentino heels I’d perused earlier.
Would I go on the same shopping spree in Zara or Gap in Australia? No. It’s partly the lack of local selection that is to my personal taste, not to mention the other reasons I mentioned earlier. But when in Rome - or Milan, or Paris - it appears I’m happy to forgo my fast fashion principles and shop up a storm.
The wonderfully gothic Duomo cathedral dominates Milan’s central square. It once was white, but now marred by grime and plenty of pigeon poo, the enormous church is the seat of the Archbishop of Milan and is possibly the city’s greatest tourist attraction.
Arguably, because where churches were the gathering places of communities, temples of consumerism now play that role. Just a few steps from the Piazza di Duomo you’ll find the new meccas for mingling while worshipping at the altar of international fast fashion.
Zara, Gap, H & M and Abercrombie & Fitch: they are all there on the Corso Vittorio Emanuele and they all offer a much better selection than what is available in their Australian stores in a far better environment for shopping.
Disclaimer: I never shop in international fast fashion chains in Australia. I’ve been to Zara only a handful of times in Sydney, and mostly with my press hat on. I attended the first Zara opening in Pitt St last year, the opening of the second Sydney store in Bondi Junction last week, and I’ve popped in a handful of times when passing by with friends.
I’d like to say my infrequency in darkening the doors of global chains in Australia is an ethics issue: that I want to support Australian designers and that the very notion of fast fashion and its sometimes questionable practices does not sit well with me. And that’s partly true. The notion of disposable clothing also makes me feel a little ill – and yes, I do get paid to write about fashion for a living – but I loathe the mentality of wear it one season and chuck it the next. That’s generally how you’ll spot a veteran fashion editor or stylist: they’re the ones dressed mostly in boring black or a signature look (Anna’s bob and skirts and cardigans, Carine’s rock’n’roll spray on jeans and heels) while other rookies run the fashion blogger gauntlet outside the shows in whatever new trend is most likely to get them photographed.
But mostly, I don’t shop in the local versions because they have an inferior range to what is available overseas, where the service is also excellent and they are run like well-oiled machines.
For example, the Zara store on Corso Vittorio Emanuele spans four sprawling stores of a massive 4,500 square metre sprawling space that is guarded by faceless mannequins at the entrance dressed in the new season collections. Actually, new season is incorrect - they are most likely the new week’s collections as the stock is replenished at least that often.
Australian retailers are generally slower to do this – the distance factor and logistics - and always have less of a selection than stores in countries with larger populations.
Floral print denim, Balmain-inspired quilted leather jackets, military, minimal and ladylike designs, you’ll find them all in Zara and H&M in Milan with a better price and a better selection than what we get in Sydney.
As I mentioned earlier, it’s largely due to economies of scale (no pun intended).
But when you walk down any retail strip in Milan, you realise chains can open bigger and better stores in Europe because Europeans simply like to shop more.
It’s an international sport over here, where yesterday on a balmy 25-degree-day I spotted several women toddling down Via Montelapoleone, Milan’s most luxurious shopping strip, dressed in furs, capes, diamonds and Louboutins for a spot of retail therapy on a weekday. On a weekend you can forget about being able to walk the strip without a bodyguard to guide the way or it taking five times as long due to the heaving throngs perusing the windows of Louis Vuitton, Celine, Giorgio Armani and all the other luxury brands that have hung out shingles there that draw locals as well as tourists like flies. On a pleasant weekend in Sydney people think first of throwing on thongs then heading to the beach, a picnic or the pool, whereas in Milan they think about dressing to the nines and being seen on the strip giving their credit card a serious workout.
Shopping as a leisure activity in Europe has turned fashion into big business, and all people with budgets ranging from Zara prices to Zegna prices have benefited. Until we become more rampantly consumerist we are never going to get the breadth and depth of the Zara offer in Milan or any of the other international fashion capitals. And surely it’s not in the Australian nature to become this way anyhow?
Colleagues and friends constantly bemoan the lack of choice in the Australian outposts of fast fashion chains compared with what they sell elsewhere, yet given our smaller population and relative disinterest in shopping, how could it be any other way?
Yesterday I picked up a few things in the new Milan COS, a more upscale and high fashion chain owned by H&M. I bought a navy shift dress, an oatmeal wool jumper, some lingerie and a pale grey blouse, which set me back €260 for the lot. It was the first time I’d purchased from a chain store in years and I have to admit that it felt good, particularly given I’d passed on a pair of €995 Valentino heels I’d perused earlier.
Would I go on the same shopping spree in Zara or Gap in Australia? No. It’s partly the lack of local selection that is to my personal taste, not to mention the other reasons I mentioned earlier. But when in Rome - or Milan, or Paris - it appears I’m happy to forgo my fast fashion principles and shop up a storm.
Tuesday, September 18, 2012
Westwood highlights gala London fashion shows
Westwood highlights gala London fashion shows
Few designers could, or would, overshadow the models wearing their outfits.
But Vivienne Westwood did just that Sunday, closing her London Fashion Week show by walking down the catwalk wearing a crazy printed T-shirt, shorts and makeup that looked as if she had a giant black eye. It was all in the name of fighting climate change, the onetime punk priestess’ favorite cause.
Westwood turned her highly anticipated show into a soapbox, using two models to unfurl a banner proclaiming a climate revolution, then strutting down the catwalk to call attention to the need for change.
The orange-haired diva was greeted with thunderous applause, partly out of adoration for her unique personality, and also in appreciation for a show that somehow made a bizarre combination of late 1950s and early 1960s looks seem at once glamorous and tongue-in-cheek.
“I loved it,” former model Jo Wood said. “There was so much there that I wanted – and I love Vivienne as a person. She’s the one show I won’t miss. She always does what she believes in, and we should all be organic.”
Westwood’s show was one of Sunday’s highlights on Day Three of London’s twice-a-year extravaganza, which British Fashion Council chief Harold Tillman said was off to a flying start.
“The crowds are beyond expectations and the shows have been very professional and very fresh,” said Tillman, who believes the Olympics have left Britain suffused in a pleasant afterglow. “People are feeling very good.”
The Westwood show itself was unusual, with many of the models sporting distinctive makeup that gave their faces green, pink or lavender glows.
This contrasted sharply with some severe outfits dating from just before the “Mad Men” era, when U.S. first lady Mamie Eisenhower helped set conservative fashion trends.
Some outfits looked silly, others – evoking the Jackie Kennedy era that came a few years later – appeared wonderfully retro and chic.
Did the ensembles work? The iconoclastic Westwood claimed she simply didn’t care, insisting she was only interested in using fashion as a way to air her views on the environment.
Sunday was the most hectic day during London Fashion Week, packed with a full schedule of popular names that included Preen, Paul Smith, Temperley and Mary Katrantzou.
The day culminated with a theatrical comeback show by celebrity hat maker Philip Treacy, opened by Treacy’s friend Lady Gaga.
The star-studded fashion bash was also attended by Grace Jones and Kim Cattrall.
ALICE TEMPERLEY
Westwood wasn’t the only person looking to the ’50s and ’60s for sizzle and spice.
Sophia Loren was the inspiration behind Alice Temperley’s London catwalk show Sunday, an elegant concoction of ’50s full skirts fit for a royal garden party.
Temperley, a favorite of Kate and Pippa Middleton, said she wanted to update the 1950s couture look and make it accessible.
The designer said the conical hats the models wore exemplified the classic couture feel of the spring collection, which was set in a grand chandeliered hall.
“I wanted to create something modern and sleek, something that gives the feeling of the dream of couture,” she said of the hats, which were similar to the style worn by Audrey Hepburn in “Breakfast at Tiffany’s.”
Working from a soft palette dominated by powder blue and ivory, Temperley showed off flirty, tea-length circle skirts and dresses that accentuated a tiny waist.
A theme was skirts with semi-sheer horizontal organza stripes, which Temperley said was to show a bit of leg and make the retro look more fun.
Textures were both luxurious and soft with lace, silk, brocade and tulle with flower appliques.
Temperley is best known for her romantic evening and bridal gowns, and is launching a more affordable line at British department store John Lewis.
Kate Middleton, now known as the Duchess of Cambridge, wore a Temperley ice blue dress with white lace sleeves to a tea party in Malaysia Friday.
JONATHAN SAUNDERS
Loud clashing colors, full-on sequins, holographic stripes – Jonathan Saunders’ catwalk show Sunday had it all. It’s safe to say these aren’t clothes for the shy woman.
Saunders, who chose to stage his spring collection in the industrial underbelly of the Tate Modern museum, opened with a series of silver and gold separates with a holographic sheen.
Skirts and dresses made of a plastic-like material with large circle discs came next, the discs glimmering like fish scales in the spotlight.
But the star of the show was stripes, stripes and more stripes.
There were bright lime trouser suits and dresses in thick horizontal stripes, a black and white dress in a chevron stripe, and dresses with flowing stripes of a clashing color that cleverly followed the bias cut of the garment.
Saunders upped the ’70s disco feel with a series of sequined dresses in bright stripes of color: Black with blue and silver, and black with red and green.
On another designer it could have looked tacky, but on Saunders, it somehow all worked.
MARIOS SCHWAB
While other designers work summery watercolor hues and bold prints, Marios Schwab’s catwalk show Sunday was a darkly seductive affair of shredded leather, smoldering midnight tones and tribal detailing.
Inspired by Amazonian warriors, Schwab opened his show with a series of dresses in sheer layers of black and oxblood, decorated with leather tassels.
These tassels appeared throughout the show – adorning high heels or flat lace-up gladiator sandals, on lapels, in short parallel rows down the bodice, or strategically shielding the body on sheer gowns.
Schwab also created texture with pleating, which was used first on leather dresses in fuchsia and inky blue, then later on chiffon skirts paired with lace tops in the same hue.
Schwab’s designs always play on seduction, and his spring collection was no exception.
Models’ bare bodies were just visible under the layers of material, and at times high slits on the pleated leather skirts revealed flesh-toned mesh layers beneath.
The final pieces – nude or sheer black high-collared column gowns embellished with tassels and beading – were dramatic showstoppers.
The designer’s show was packed, with front row guests including Japanese Vogue’s editor Anna Dello Russo.
Few designers could, or would, overshadow the models wearing their outfits.
But Vivienne Westwood did just that Sunday, closing her London Fashion Week show by walking down the catwalk wearing a crazy printed T-shirt, shorts and makeup that looked as if she had a giant black eye. It was all in the name of fighting climate change, the onetime punk priestess’ favorite cause.
Westwood turned her highly anticipated show into a soapbox, using two models to unfurl a banner proclaiming a climate revolution, then strutting down the catwalk to call attention to the need for change.
The orange-haired diva was greeted with thunderous applause, partly out of adoration for her unique personality, and also in appreciation for a show that somehow made a bizarre combination of late 1950s and early 1960s looks seem at once glamorous and tongue-in-cheek.
“I loved it,” former model Jo Wood said. “There was so much there that I wanted – and I love Vivienne as a person. She’s the one show I won’t miss. She always does what she believes in, and we should all be organic.”
Westwood’s show was one of Sunday’s highlights on Day Three of London’s twice-a-year extravaganza, which British Fashion Council chief Harold Tillman said was off to a flying start.
“The crowds are beyond expectations and the shows have been very professional and very fresh,” said Tillman, who believes the Olympics have left Britain suffused in a pleasant afterglow. “People are feeling very good.”
The Westwood show itself was unusual, with many of the models sporting distinctive makeup that gave their faces green, pink or lavender glows.
This contrasted sharply with some severe outfits dating from just before the “Mad Men” era, when U.S. first lady Mamie Eisenhower helped set conservative fashion trends.
Some outfits looked silly, others – evoking the Jackie Kennedy era that came a few years later – appeared wonderfully retro and chic.
Did the ensembles work? The iconoclastic Westwood claimed she simply didn’t care, insisting she was only interested in using fashion as a way to air her views on the environment.
Sunday was the most hectic day during London Fashion Week, packed with a full schedule of popular names that included Preen, Paul Smith, Temperley and Mary Katrantzou.
The day culminated with a theatrical comeback show by celebrity hat maker Philip Treacy, opened by Treacy’s friend Lady Gaga.
The star-studded fashion bash was also attended by Grace Jones and Kim Cattrall.
ALICE TEMPERLEY
Westwood wasn’t the only person looking to the ’50s and ’60s for sizzle and spice.
Sophia Loren was the inspiration behind Alice Temperley’s London catwalk show Sunday, an elegant concoction of ’50s full skirts fit for a royal garden party.
Temperley, a favorite of Kate and Pippa Middleton, said she wanted to update the 1950s couture look and make it accessible.
The designer said the conical hats the models wore exemplified the classic couture feel of the spring collection, which was set in a grand chandeliered hall.
“I wanted to create something modern and sleek, something that gives the feeling of the dream of couture,” she said of the hats, which were similar to the style worn by Audrey Hepburn in “Breakfast at Tiffany’s.”
Working from a soft palette dominated by powder blue and ivory, Temperley showed off flirty, tea-length circle skirts and dresses that accentuated a tiny waist.
A theme was skirts with semi-sheer horizontal organza stripes, which Temperley said was to show a bit of leg and make the retro look more fun.
Textures were both luxurious and soft with lace, silk, brocade and tulle with flower appliques.
Temperley is best known for her romantic evening and bridal gowns, and is launching a more affordable line at British department store John Lewis.
Kate Middleton, now known as the Duchess of Cambridge, wore a Temperley ice blue dress with white lace sleeves to a tea party in Malaysia Friday.
JONATHAN SAUNDERS
Loud clashing colors, full-on sequins, holographic stripes – Jonathan Saunders’ catwalk show Sunday had it all. It’s safe to say these aren’t clothes for the shy woman.
Saunders, who chose to stage his spring collection in the industrial underbelly of the Tate Modern museum, opened with a series of silver and gold separates with a holographic sheen.
Skirts and dresses made of a plastic-like material with large circle discs came next, the discs glimmering like fish scales in the spotlight.
But the star of the show was stripes, stripes and more stripes.
There were bright lime trouser suits and dresses in thick horizontal stripes, a black and white dress in a chevron stripe, and dresses with flowing stripes of a clashing color that cleverly followed the bias cut of the garment.
Saunders upped the ’70s disco feel with a series of sequined dresses in bright stripes of color: Black with blue and silver, and black with red and green.
On another designer it could have looked tacky, but on Saunders, it somehow all worked.
MARIOS SCHWAB
While other designers work summery watercolor hues and bold prints, Marios Schwab’s catwalk show Sunday was a darkly seductive affair of shredded leather, smoldering midnight tones and tribal detailing.
Inspired by Amazonian warriors, Schwab opened his show with a series of dresses in sheer layers of black and oxblood, decorated with leather tassels.
These tassels appeared throughout the show – adorning high heels or flat lace-up gladiator sandals, on lapels, in short parallel rows down the bodice, or strategically shielding the body on sheer gowns.
Schwab also created texture with pleating, which was used first on leather dresses in fuchsia and inky blue, then later on chiffon skirts paired with lace tops in the same hue.
Schwab’s designs always play on seduction, and his spring collection was no exception.
Models’ bare bodies were just visible under the layers of material, and at times high slits on the pleated leather skirts revealed flesh-toned mesh layers beneath.
The final pieces – nude or sheer black high-collared column gowns embellished with tassels and beading – were dramatic showstoppers.
The designer’s show was packed, with front row guests including Japanese Vogue’s editor Anna Dello Russo.
Monday, September 17, 2012
Mulberry fashion a week of new beginnings
Mulberry fashion a week of new beginnings
Somerset fashion powerhouse Mulberry and designer Alice Temperley will hope to steal the show at London Fashion Week in the coming days, which began with a flash of theatrical fanfare on Friday.
Mulberry will attempt to break from its successful Bayswater and Alexa lines of past years when it debuts a new range tomorrow.
Currently in the process of building a new factory in Bridgwater, Mulberry’s spiritual home is still Chilcompton in Somerset, where the new work of creative director Emma Hill will be pieced together. She hopes Tuesday’s show will freshen up a range that has driven Mulberry to new heights in recent years.
She said: “Mulberry is really starting to find a home in locations worldwide – we have a number of exciting store openings, including a new flagship store opening in Singapore and great locations in the US.
“We’re also expanding our ability to manufacture in the UK by opening a new factory in Somerset next year. This is in addition to the recently completed expansion of our current factory location. We're well and truly gearing up for our next show at London Fashion Week – seeing in another season filled with exciting new product, colour and personality.”
Meanwhile Alice Temperley, brought up at her father Julian’s cider farm near Kingsbury Episcopi, will be hoping to build on the success of the recent launch of her new range, Somerset.
Inspired by the countryside where she grew up, it has quickly become John Lewis’ biggest selling fashion brand in the days since the launch. Her designs will be exhibited at 4pm tomorrow.
Yesterday, the first catwalk show of the event was Antoni & Alison, which saw the design duo showcase their spring/summer 2013 designs.
Antoni Burakowski said he and Alison Roberts had gone back to basics with the collection, made up of floaty dresses with colourful and striking patterns on them.
Roberts summed up their designs as “chic and beautiful and arty”.
The show was introduced with a theatrical fanfare from a brass band, with the 24th Invicta Rifles continuing to play as the models sashayed down the runway.
The event, which runs until Tuesday, will see top designers from Britain and all over the world display their collections.
Highlights today are expected to include Emilia Wickstead, Felder Felder and PPQ, with Burberry, Matthew Williamson and the Vivienne Westwood Red Label to come on later days.
Libby Banks, editor of fashion website mydaily.co.uk, said she expected the success of the Olympics and Paralympics to translate to fashion with British designers becoming bolder and more experimental than ever.
She said: “Britishness is cool again, I think we have got a new confidence.
“After the summer that we’ve had, I expect that designers will channel it into their work, and we’ll see a celebration of Britishness and also a confidence to do something completely different and new.”
British designer Caroline Charles also showed her collection on the Courtyard Show Space catwalk at main venue Somerset House.
Her beachwear designs were a riot of colour with tropical prints and jazzy patterns inspired by Latin America.
They contrasted with white floaty summer dresses and monochrome formal wear which was also shown.
Caroline Rush, chief executive of the British Fashion Council which organises London Fashion Week, said the event had got off to a ``fantastic'' start.
She said: “It’s been a really strong start, it’s always a little bit of a whirlwind on the first day but I think there’s a real buzz out there and a lot of excitement.”
Asked what sets London apart from the other big fashion weeks – Paris, New York and Milan – she said: “We have a real breadth of talent here that the others don’t have.
“We have great brands, we have incredible iconic designers, and we also have this real energy from our young and emerging designers, and it’s that creativity and the innovation that comes out of London that sets us apart.”
Ms Rush said she expected the biggest shows to be Burberry, Mulberry and milliner Philip Treacy, who is returning to London to do a catwalk show after more than a decade away.
Christopher Kane, Jonathan Saunders, Erdem and Roksanda Ilincic are also likely to be highlights, she said.
She said of them: “They are a real group of strong, young businesses that have got an opportunity to be our brands of the future.
“London Fashion Week provides an incredible platform as we have a global audience, live streaming shows to hundreds of thousands of people.”
Ms Rush said the UK fashion industry provides a £21 billion direct contribution to the economy every year and employs more than 800,000 people.
She added: “I think people look at Fashion Week and they see the glamour and excitement but don’t really put in into the context of driving this huge industry that has a huge impact on the economy.
“The more we put into events like London Fashion Week and the more we put into supporting homegrown design and businesses, the more that’s only going to continue to grow.”
Maria Grachvogel also showed at Somerset House, showcasing her typical sleek, modern look.
The collection was full of dresses and jumpsuits in white, beige and taupe sheer, floaty fabrics, while there was also some brighter colour with green, yellow and pink pieces.
Elsewhere, celebrities including Kelly Brook and Radio 1 presenter Jameela Jamil attended the Zoe Jordan catwalk show at Mercer Street Studios in Covent Garden.
Somerset fashion powerhouse Mulberry and designer Alice Temperley will hope to steal the show at London Fashion Week in the coming days, which began with a flash of theatrical fanfare on Friday.
Mulberry will attempt to break from its successful Bayswater and Alexa lines of past years when it debuts a new range tomorrow.
Currently in the process of building a new factory in Bridgwater, Mulberry’s spiritual home is still Chilcompton in Somerset, where the new work of creative director Emma Hill will be pieced together. She hopes Tuesday’s show will freshen up a range that has driven Mulberry to new heights in recent years.
She said: “Mulberry is really starting to find a home in locations worldwide – we have a number of exciting store openings, including a new flagship store opening in Singapore and great locations in the US.
“We’re also expanding our ability to manufacture in the UK by opening a new factory in Somerset next year. This is in addition to the recently completed expansion of our current factory location. We're well and truly gearing up for our next show at London Fashion Week – seeing in another season filled with exciting new product, colour and personality.”
Meanwhile Alice Temperley, brought up at her father Julian’s cider farm near Kingsbury Episcopi, will be hoping to build on the success of the recent launch of her new range, Somerset.
Inspired by the countryside where she grew up, it has quickly become John Lewis’ biggest selling fashion brand in the days since the launch. Her designs will be exhibited at 4pm tomorrow.
Yesterday, the first catwalk show of the event was Antoni & Alison, which saw the design duo showcase their spring/summer 2013 designs.
Antoni Burakowski said he and Alison Roberts had gone back to basics with the collection, made up of floaty dresses with colourful and striking patterns on them.
Roberts summed up their designs as “chic and beautiful and arty”.
The show was introduced with a theatrical fanfare from a brass band, with the 24th Invicta Rifles continuing to play as the models sashayed down the runway.
The event, which runs until Tuesday, will see top designers from Britain and all over the world display their collections.
Highlights today are expected to include Emilia Wickstead, Felder Felder and PPQ, with Burberry, Matthew Williamson and the Vivienne Westwood Red Label to come on later days.
Libby Banks, editor of fashion website mydaily.co.uk, said she expected the success of the Olympics and Paralympics to translate to fashion with British designers becoming bolder and more experimental than ever.
She said: “Britishness is cool again, I think we have got a new confidence.
“After the summer that we’ve had, I expect that designers will channel it into their work, and we’ll see a celebration of Britishness and also a confidence to do something completely different and new.”
British designer Caroline Charles also showed her collection on the Courtyard Show Space catwalk at main venue Somerset House.
Her beachwear designs were a riot of colour with tropical prints and jazzy patterns inspired by Latin America.
They contrasted with white floaty summer dresses and monochrome formal wear which was also shown.
Caroline Rush, chief executive of the British Fashion Council which organises London Fashion Week, said the event had got off to a ``fantastic'' start.
She said: “It’s been a really strong start, it’s always a little bit of a whirlwind on the first day but I think there’s a real buzz out there and a lot of excitement.”
Asked what sets London apart from the other big fashion weeks – Paris, New York and Milan – she said: “We have a real breadth of talent here that the others don’t have.
“We have great brands, we have incredible iconic designers, and we also have this real energy from our young and emerging designers, and it’s that creativity and the innovation that comes out of London that sets us apart.”
Ms Rush said she expected the biggest shows to be Burberry, Mulberry and milliner Philip Treacy, who is returning to London to do a catwalk show after more than a decade away.
Christopher Kane, Jonathan Saunders, Erdem and Roksanda Ilincic are also likely to be highlights, she said.
She said of them: “They are a real group of strong, young businesses that have got an opportunity to be our brands of the future.
“London Fashion Week provides an incredible platform as we have a global audience, live streaming shows to hundreds of thousands of people.”
Ms Rush said the UK fashion industry provides a £21 billion direct contribution to the economy every year and employs more than 800,000 people.
She added: “I think people look at Fashion Week and they see the glamour and excitement but don’t really put in into the context of driving this huge industry that has a huge impact on the economy.
“The more we put into events like London Fashion Week and the more we put into supporting homegrown design and businesses, the more that’s only going to continue to grow.”
Maria Grachvogel also showed at Somerset House, showcasing her typical sleek, modern look.
The collection was full of dresses and jumpsuits in white, beige and taupe sheer, floaty fabrics, while there was also some brighter colour with green, yellow and pink pieces.
Elsewhere, celebrities including Kelly Brook and Radio 1 presenter Jameela Jamil attended the Zoe Jordan catwalk show at Mercer Street Studios in Covent Garden.
Saturday, September 15, 2012
Fashion Police' patrol New York Fashion Week
Fashion Police' patrol New York Fashion Week
No celebrity was safe when Fashion Police hosts Joan Rivers, Kelly Osbourne and George Kotsiopoulos rolled into town for New York Fashion Week. Joined by guest host Kimora Lee Simmons — filling in for new mom Giuliana Rancic – the panel welcomed guests like Naomi Campbell and Adam Lambert, and made the most of the opportunity to roast Heidi Klum, Allison Williams and Victoria Beckham for their sartorial missteps.
EW sat down with the foursome to discuss trends, style advice and pop culture obsessions, and we were actually a little surprised to find out just how seriously they take fashion.
EW: Based on what you’ve seen on the runways here, what are the biggest trends for spring 2013?
Joan: I love the larger prints that are going to continue right through until next spring, that’s beautiful. I love the casual, fresh look, I see a lot of that going on. And color, color, color! I haven’t actually seen a lot of black.
Kelly: Chris Benz was just amazing. His colors and his patterns were just incredible. I have to say the Marc Jacobs show, I loved it. I loved the monochromatic look and the throwback to Edie Sedgewick and the houndstooth. It was an amazing show.
EW: Coco Chanel was known for saying a woman should remove one accessory before she walks out the door, what’s your best fashion advice?
Kelly: Don’t take it too seriously and have fun. If you don’t like wearing it, don’t wear it.
Kimora: I’d probably say, always be comfortable in your own skin. Having said that, I will also say fashion is pain. [It's] a contradiction, but hey!
Joan: Yves Saint Laurent said that fashion knows no pain and glamour has no alarm clock, but my one rule is just have fun with it! What’s the worst that going to happen? You’re going to look like an idiot and then you go home and the next day you won’t. Don’t take it so seriously! What’s so terrible if something doesn’t work? Laugh about it!
George: Mine would be don’t be a slave to trends, kind of feel out what’s right for your body. And definitely don’t wear all these trends at the same time.
EW: What are your pop culture influences?
Joan: I mean Sex and the City changed everything for young women. It gave them the permission to try all kinds of things.
George: For my personal style it’s James Dean, Steve McQueen, those kinds of people who are always classic. But as a stylist, I need to be aware of the history of fashion and iconic women like Marilyn Monroe, Sophia Loren, Audrey Hepburn, because I dress so many different body types.
Kelly: I got my influences from watching old movies and my mom’s old books from when she was a kid. My mom [Sharon Osbourne] has all of these old books from when she was younger and I found a Vadal Sasson book from the ’60s that has every hair style he invented. I went through it and tried every one from the age of like 16.
EW: How does fashion influence pop culture and how does pop culture influence fashion?
Kimora: These days it all goes hand in hand. When you’re a designer creating clothes for the runway you rely on music, you rely on the celebrities, most of whom are music stars or movie stars. Likewise they bring what they do to a higher level by relying on fashion. It’s all connected.
Joan: The ones we look at on this show that we go, ‘Wow, wow, wow!’ Rihanna, Nicki Minaj is just amazing — well she can go too far but, musicians influence fashion much more than actresses do.
George: Fashion is just a reflection of what’s going on in society. That old adage goes, when the stock markets fall, the hemlines drop, and that’s true even with the current zeitgeist. We’ve got retro, Mad Men inspired fashion, or influence from that HBO show Boardwalk Empire. The Great Gatsby is coming up and I’m sure that’s going to influence things too.
EW: How has fashion changed since you began your career?
Joan: Oh it’s changed radically! Women have lost the opportunity to dress up. In my day — and here I go again — we dressed to go to the theater, to go out to dinner. When you dressed up, you knew it was going to be big. I don’t want to see flip-flops and jeans and a T-shirt on a Saturday night at the Metropolitan Opera. I’m sorry, that’s something you get dressed up for.
Kimora: I’ve been on a runway since I was 12 years old and I feel like everything in fashion that happens, and that has happened, repeats itself, only in a different way. There might be things you say ‘that’s a don’t,’ or ‘I wish I hadn’t done that,’ but it’s all cyclical and that’s what I love about it.
George: For me some major things have happened. First of all, when I said I was a stylist 15 years ago, people would be like, ‘Oh, you do hair?’ Now you say you’re a stylist and everyone knows what you are. Also, fashion is accessible at every single price point now. That was not true 15 years ago. You can get a fabulous belt for $29 from Zara.
Kelly: This belt is a Lanvin-inspired piece from there!
George: In the past 20 years, fashion has just been a rehash of the last 90 years. There’s nothing new.
Joan: Fashion is a rehash! Just look, the bustle’s back with the Kardashians.
Watch Joan, George, Kelly and Kimora give their take on New York Fashion Week tonight at 10pm EST on E.
No celebrity was safe when Fashion Police hosts Joan Rivers, Kelly Osbourne and George Kotsiopoulos rolled into town for New York Fashion Week. Joined by guest host Kimora Lee Simmons — filling in for new mom Giuliana Rancic – the panel welcomed guests like Naomi Campbell and Adam Lambert, and made the most of the opportunity to roast Heidi Klum, Allison Williams and Victoria Beckham for their sartorial missteps.
EW sat down with the foursome to discuss trends, style advice and pop culture obsessions, and we were actually a little surprised to find out just how seriously they take fashion.
EW: Based on what you’ve seen on the runways here, what are the biggest trends for spring 2013?
Joan: I love the larger prints that are going to continue right through until next spring, that’s beautiful. I love the casual, fresh look, I see a lot of that going on. And color, color, color! I haven’t actually seen a lot of black.
Kelly: Chris Benz was just amazing. His colors and his patterns were just incredible. I have to say the Marc Jacobs show, I loved it. I loved the monochromatic look and the throwback to Edie Sedgewick and the houndstooth. It was an amazing show.
EW: Coco Chanel was known for saying a woman should remove one accessory before she walks out the door, what’s your best fashion advice?
Kelly: Don’t take it too seriously and have fun. If you don’t like wearing it, don’t wear it.
Kimora: I’d probably say, always be comfortable in your own skin. Having said that, I will also say fashion is pain. [It's] a contradiction, but hey!
Joan: Yves Saint Laurent said that fashion knows no pain and glamour has no alarm clock, but my one rule is just have fun with it! What’s the worst that going to happen? You’re going to look like an idiot and then you go home and the next day you won’t. Don’t take it so seriously! What’s so terrible if something doesn’t work? Laugh about it!
George: Mine would be don’t be a slave to trends, kind of feel out what’s right for your body. And definitely don’t wear all these trends at the same time.
EW: What are your pop culture influences?
Joan: I mean Sex and the City changed everything for young women. It gave them the permission to try all kinds of things.
George: For my personal style it’s James Dean, Steve McQueen, those kinds of people who are always classic. But as a stylist, I need to be aware of the history of fashion and iconic women like Marilyn Monroe, Sophia Loren, Audrey Hepburn, because I dress so many different body types.
Kelly: I got my influences from watching old movies and my mom’s old books from when she was a kid. My mom [Sharon Osbourne] has all of these old books from when she was younger and I found a Vadal Sasson book from the ’60s that has every hair style he invented. I went through it and tried every one from the age of like 16.
EW: How does fashion influence pop culture and how does pop culture influence fashion?
Kimora: These days it all goes hand in hand. When you’re a designer creating clothes for the runway you rely on music, you rely on the celebrities, most of whom are music stars or movie stars. Likewise they bring what they do to a higher level by relying on fashion. It’s all connected.
Joan: The ones we look at on this show that we go, ‘Wow, wow, wow!’ Rihanna, Nicki Minaj is just amazing — well she can go too far but, musicians influence fashion much more than actresses do.
George: Fashion is just a reflection of what’s going on in society. That old adage goes, when the stock markets fall, the hemlines drop, and that’s true even with the current zeitgeist. We’ve got retro, Mad Men inspired fashion, or influence from that HBO show Boardwalk Empire. The Great Gatsby is coming up and I’m sure that’s going to influence things too.
EW: How has fashion changed since you began your career?
Joan: Oh it’s changed radically! Women have lost the opportunity to dress up. In my day — and here I go again — we dressed to go to the theater, to go out to dinner. When you dressed up, you knew it was going to be big. I don’t want to see flip-flops and jeans and a T-shirt on a Saturday night at the Metropolitan Opera. I’m sorry, that’s something you get dressed up for.
Kimora: I’ve been on a runway since I was 12 years old and I feel like everything in fashion that happens, and that has happened, repeats itself, only in a different way. There might be things you say ‘that’s a don’t,’ or ‘I wish I hadn’t done that,’ but it’s all cyclical and that’s what I love about it.
George: For me some major things have happened. First of all, when I said I was a stylist 15 years ago, people would be like, ‘Oh, you do hair?’ Now you say you’re a stylist and everyone knows what you are. Also, fashion is accessible at every single price point now. That was not true 15 years ago. You can get a fabulous belt for $29 from Zara.
Kelly: This belt is a Lanvin-inspired piece from there!
George: In the past 20 years, fashion has just been a rehash of the last 90 years. There’s nothing new.
Joan: Fashion is a rehash! Just look, the bustle’s back with the Kardashians.
Watch Joan, George, Kelly and Kimora give their take on New York Fashion Week tonight at 10pm EST on E.
Friday, September 14, 2012
Fashion Week Goes the Law-School Route
Fashion Week Goes the Law-School Route
It could have had a clever campy name, such as "Fashion Brief" or "Legal Runway," but Fordham University Law School's Fashion Law Institute simply billed its event last week during Mercedes-Benz Fashion Week as a fashion presentation. The affair was held at the Box in New York's Lincoln Center to commemorate FLI's second anniversary.
Founded in September 2010, the school offers seven courses, including fashion law and finance, fashion ethics, sustainability and development, and fashion-modeling law. Additionally, seminars, open to anyone interested, are given several times a year with intriguing titles such as "Law of the Fashion Show," "Law and the Little Black Dress" and "Nice Ice: Ethical Alternatives to Conflict Diamonds."
Lawyers and law students can attend an annual weeklong summer boot camp to get a crash course in fashion legalese. Plus, attorneys volunteer to give free advice to rising designers and models at the school's pop-up legal clinics.
The fashion-installation idea came about after a panel discussion at the school earlier this year. "We had met these wonderful designers for whom a show at Fashion Week would not be financially feasible," Susan Scafidi, the institute's academic director and an innovator in the field of fashion law, told The Root. "So why not have our own show?"
It featured hair, makeup and nail sponsors, as well as designs by seven of the designers who used the clinic's services: Dimitry Said Chamy, whose installation was made from recycled milk containers; Emmett McCarthy, a former Project Runway contestant, who showed his breezy EMC2 clothing made of floral fabric; Rachel Dooley, who showed her Gemma Redux mixed-metal and vintage-jewelry designs; Maureen Cahill and Elizabeth Crotty, with their line of Keely Rea bathing suits and resort wear; Kelima K, usually a bridal designer, who featured asymmetrical dresses and one standout voluminous kimono; and Sarah Canner, who showed her Vespertine biking designs -- vests and jackets over white shirtdresses.
Twenty-four paid models from five agencies were acquired through contacts and the lawyers who teach the modeling-law class. Models stood in a row on the platform and periodically rotated en masse while members of the fashion and law communities visited, stared, praised, photographed, mingled, sipped spirits and bopped to a DJ's rhythms.
But the event might not have been possible without Scafidi. She has been able to attract formidable sponsors (including designer Diane von Furstenberg and the Council of Fashion Designers of America) for funding, and seasoned lawyers to help staff the clinics. In addition, Scafidi's attention to detail means that seminar participants often receive cool swag like attractive black shopping totes, and volunteers sport flashy lapel pins with FLI's logo: a gavel formed by a thread spool and needle.
It could have had a clever campy name, such as "Fashion Brief" or "Legal Runway," but Fordham University Law School's Fashion Law Institute simply billed its event last week during Mercedes-Benz Fashion Week as a fashion presentation. The affair was held at the Box in New York's Lincoln Center to commemorate FLI's second anniversary.
Founded in September 2010, the school offers seven courses, including fashion law and finance, fashion ethics, sustainability and development, and fashion-modeling law. Additionally, seminars, open to anyone interested, are given several times a year with intriguing titles such as "Law of the Fashion Show," "Law and the Little Black Dress" and "Nice Ice: Ethical Alternatives to Conflict Diamonds."
Lawyers and law students can attend an annual weeklong summer boot camp to get a crash course in fashion legalese. Plus, attorneys volunteer to give free advice to rising designers and models at the school's pop-up legal clinics.
The fashion-installation idea came about after a panel discussion at the school earlier this year. "We had met these wonderful designers for whom a show at Fashion Week would not be financially feasible," Susan Scafidi, the institute's academic director and an innovator in the field of fashion law, told The Root. "So why not have our own show?"
It featured hair, makeup and nail sponsors, as well as designs by seven of the designers who used the clinic's services: Dimitry Said Chamy, whose installation was made from recycled milk containers; Emmett McCarthy, a former Project Runway contestant, who showed his breezy EMC2 clothing made of floral fabric; Rachel Dooley, who showed her Gemma Redux mixed-metal and vintage-jewelry designs; Maureen Cahill and Elizabeth Crotty, with their line of Keely Rea bathing suits and resort wear; Kelima K, usually a bridal designer, who featured asymmetrical dresses and one standout voluminous kimono; and Sarah Canner, who showed her Vespertine biking designs -- vests and jackets over white shirtdresses.
Twenty-four paid models from five agencies were acquired through contacts and the lawyers who teach the modeling-law class. Models stood in a row on the platform and periodically rotated en masse while members of the fashion and law communities visited, stared, praised, photographed, mingled, sipped spirits and bopped to a DJ's rhythms.
But the event might not have been possible without Scafidi. She has been able to attract formidable sponsors (including designer Diane von Furstenberg and the Council of Fashion Designers of America) for funding, and seasoned lawyers to help staff the clinics. In addition, Scafidi's attention to detail means that seminar participants often receive cool swag like attractive black shopping totes, and volunteers sport flashy lapel pins with FLI's logo: a gavel formed by a thread spool and needle.
Thursday, September 13, 2012
Fashion Week NYC: Cyndi Lauper Sings, Adam Lambert Debuts Silver Hair
Fashion Week NYC: Cyndi Lauper Sings, Adam Lambert Debuts Silver Hair
The end of New York Fashion Week is near, and the Tuesday (Sept. 11) shows brought an exciting array of Lady Gaga-worthy fashions and hip '80s pop looks that prove girls still just want to have fun. Read on to see which musicians scoped out the Betsey Johnson show, who debuted a new single at the ELLE and Style 360 show, and which "American Idol" alum dyed his hair silver.
Betsey Johnson
Timeless diva and '80s icon Cyndi Lauper performed her hit girl-powered tracks at the Betsey Johnson runway show Tuesday, rocking a black tulle Johnson creation as she frolicked around a glittery black and pink stage. "I've been a Betsey fan since 1980," Lauper told the crowd before performing "Girls Just Wanna Have Fun" and "She Bop." "So this is for you, Betsey!"
The show, a retrospective of Johnson's 40-year career, was also special because the designer was celebrating her 70th birthday! DJ Jon Jon Battles was spinning a mix of hip-hop tunes as Johnson's most flamboyant and creative deigns from the past and present marched down the catwalk. She ended the show with one of her signature cartwheels as 50 Cent's "In da Club" blasted through the tent.
Lil Kim joined in the celebration, looking onto the runway party from the front row. She was wearing a black, blue, purple and green striped Betsey Johnson dress, layered under an electric green corset and paired with blue pumps.
Tory Burch
"King of the Bongo" by Manu Chao set the mood for a relaxed, light and feminine collection at Tory Burch. The radiant spring fashions included sunflower yellow dresses and fitted jackets. A modern take on classic American sportswear, Burch's collection featured unique, tie-dyed patterns created by women in Guinea.
Fashion's favorite hip-hop artist, Theophilus London, sat front row as models took to the runway in Burch's cheerful collection. "I really loved this collection and the ambient sound that played," London told Billboard. The rapper rocked a pair of black trousers with a white lettering print, distressed leather jacket, green cap, shades and a pair of Kanye's Nike Air Yeezy's.
The Blonds
A '60s Barbie-inspired S&M fantasy was created at the Blonds' 2013 spring show. Models clad in Gaga-worthy red and pink graphic jumpers, 3D flower power bustiers, patent leather jackets, and Priscilla Presley-inspired blonde wigs strutted down the catwalk to an ambient pop-infused sound. One of the best looks from the avant-garde line was a glittering white swimsuit with a graphic lipstick print over it. Although a male modeled this, we would love to see Lady Gaga stun in the sparkling bottoms with a black corset and a pair of nude heals!
The end of New York Fashion Week is near, and the Tuesday (Sept. 11) shows brought an exciting array of Lady Gaga-worthy fashions and hip '80s pop looks that prove girls still just want to have fun. Read on to see which musicians scoped out the Betsey Johnson show, who debuted a new single at the ELLE and Style 360 show, and which "American Idol" alum dyed his hair silver.
Betsey Johnson
Timeless diva and '80s icon Cyndi Lauper performed her hit girl-powered tracks at the Betsey Johnson runway show Tuesday, rocking a black tulle Johnson creation as she frolicked around a glittery black and pink stage. "I've been a Betsey fan since 1980," Lauper told the crowd before performing "Girls Just Wanna Have Fun" and "She Bop." "So this is for you, Betsey!"
The show, a retrospective of Johnson's 40-year career, was also special because the designer was celebrating her 70th birthday! DJ Jon Jon Battles was spinning a mix of hip-hop tunes as Johnson's most flamboyant and creative deigns from the past and present marched down the catwalk. She ended the show with one of her signature cartwheels as 50 Cent's "In da Club" blasted through the tent.
Lil Kim joined in the celebration, looking onto the runway party from the front row. She was wearing a black, blue, purple and green striped Betsey Johnson dress, layered under an electric green corset and paired with blue pumps.
Tory Burch
"King of the Bongo" by Manu Chao set the mood for a relaxed, light and feminine collection at Tory Burch. The radiant spring fashions included sunflower yellow dresses and fitted jackets. A modern take on classic American sportswear, Burch's collection featured unique, tie-dyed patterns created by women in Guinea.
Fashion's favorite hip-hop artist, Theophilus London, sat front row as models took to the runway in Burch's cheerful collection. "I really loved this collection and the ambient sound that played," London told Billboard. The rapper rocked a pair of black trousers with a white lettering print, distressed leather jacket, green cap, shades and a pair of Kanye's Nike Air Yeezy's.
The Blonds
A '60s Barbie-inspired S&M fantasy was created at the Blonds' 2013 spring show. Models clad in Gaga-worthy red and pink graphic jumpers, 3D flower power bustiers, patent leather jackets, and Priscilla Presley-inspired blonde wigs strutted down the catwalk to an ambient pop-infused sound. One of the best looks from the avant-garde line was a glittering white swimsuit with a graphic lipstick print over it. Although a male modeled this, we would love to see Lady Gaga stun in the sparkling bottoms with a black corset and a pair of nude heals!
Wednesday, September 12, 2012
Fashion inspired by faraway lands in New York
Fashion inspired by faraway lands in New York
Every so often at Fashion Week, there is a moment when the runway is transported from the bustle of New York to a different time or place.
Who needs a plane ticket to join the jet set? Might as well let your clothes do the globe-trotting.
At Vera Wang on Tuesday, it was an idealised India. Tory Burch’s muse was a preppy American who goes out to see the world. J. Crew had in mind a beach vacation.
“If you see a great dress, you can build a lot around it. If you’re doing a music video, the designer inspiration can even give the idea for the video,” said Ty Hunter, Beyonce’s stylist, who was among the editors, retailers and celebrities gathered at Lincoln Centre on day six of Merdedes-Benz Fashion Week.
Fashion Week continues through Thursday before the fashion crowd heads to London, Milan and Paris.
VERA WANG
Vera Wang’s India-inspired clothes were quiet, delicate and lovely, sometimes requiring a trained eye to notice Wang’s nod to the Nehru collar or choli jacket. They invoked India without ornate trappings or touristy gimmicks.
Wang’s A-list crowd (Stacy Keibler caused a front-row frenzy) could appreciate the soutache embroidery, which looks a bit like braided lace, that decorated a white sleeveless V-neck shift, and the chartreuse brocade peplum top with gold jeweled epaulettes paired with a chantilly hand-pieced lace sheath.
The collarless, sleeveless tailored jackets were a bit more obvious in their reference to India, but not too much so.
“The collection is out of India, but India is just the starting point,” Wang said in a backstage interview. “There is no belly dancing, there are no sarongs, there are no saris. It is about the sort of discipline about Indian men’s clothes like Nehru, against the mystery and sensuality of Indian women — but not literally.”
THE ROW
Here’s how far Mary-Kate and Ashley Olsen have come with their fashion collection The Row: Sitting at the spring preview, it becomes clear that other designers at New York Fashion Week have been mimicking the layered-yet-airy refined look that is at the heart of this label.
This was the real deal, though, with the Olsens piling on the models long and fluid duster coats, tunics and dresses on Monday, sometimes paired with pajama pants and other times with slouchy skinny-leg silk ones.
The Row did hit on the emerging lingerie trend, although they don’t get credit for starting that one. That seems to be a collective statement coming from fashion insiders as they put next season into focus.
Almost every outfit here was a single colour, head to toe. There was no embellishment so the clothes had to speak for themselves. In their notes, the Olsen twins said the collection “celebrates a spirit of subtle colors and exquisite layering.”
It was another example of the easy elegance that earned them the Council of Fashion Designers of America’s award earlier this year as the top womenswear designers.
BADGLEY-MISCHKA
Mark Badgley and James Mischka seem to like movies a lot. Old movies.
For their Spring 2013 collection, the designer duo picked a 1935 film version of Shakespeare’s “A Midsummer Night’s Dream” — a play that takes place in the spring, after all.
The film starred James Cagney, but the star of the Badgley Mischka collection was their fabrics — “springlike fabrics, but with depth to them,” explained Mischka backstage. Lots of tulle and chiffon, for example.
Among the more interesting fabrics was a “hologram tweed” — a shimmery tweed used both in a casual pant, paired with an ivory organza bustier, and in a jacket, paired with an organza and chiffon skirt.
But though there were a number of separates featured, Badgley and Mischka are known for their eveningwear, loved by celebrities and socialites (the crowd included Kevin Jonas and gymnast Aly Raisman). And there was plenty of that, for example a filmy celadon-coloured tulle and organza gown, and another tulle-and-organza creation in a brilliant coral — the show-closing gown.
TORY BURCH
Imagine this young woman, all preppy and proper. She buys a ticket to Africa, to India and then to Mexico. She’s hooked on exotic lands, and she loves bringing home the treasures she finds there.
That’s the muse who dominated Tory Burch’s runway. Her first look was for departure day: a prim wheat-print silk faille day dress with a suitcase-style handbag in the matching print.
By Look No. 4, she’s loosened up and wearing an eyelet sundress. Halfway through the spring collection, she’s wearing an embellished crocheted jacket, a knit T-shirt and fringed, crocheted raffia skirt. She has a fringed knit poncho with a hood that’s decorated with a floral applique.
Probably to the shock of her friends and family back home, this woman even wears tie-dye.
“This was an experiment in layering, an American remix,” explained Burch. “She’s layering on all the things she’s discovering. She wears an evening gown with Moroccan moccasins.”
THEYSKENS THEORY
The Theyskens Theory line marries edgy-style darling Olivier Theyskens with accessible Theory, but the new spring collection presented a singular vision. It was an all-day wardrobe for the cool urbanite who might be a little more romantic than she thought.
She likes strong shoulders, even when she’s wearing a knit T-shirt dress. She also wears a lot of cropped pleated pants, often leather ones, with high waistbands, and cropped jackets.
When she wears a coat, it’s long like a duster.
While Monday’s preview was for spring, the mostly dark palette suited the hideaway venue in an unused part of a midtown post office. Theyskens, however, did embrace some strikingly light shades of denim.
VICTORIA, VICTORIA BECKHAM
Easy, sporty dresses in sunbleached colours, friendly prints and a bird or two reflect California’s influence on Victoria Beckham and her more affordable Victoria line.
Against bright white walls at Milk Studios, with a sweeping view of the Hudson River downtown, Beckham held her adorable toddler Harper (in a white romper) during the laid-back show, her second in a week and the third for the more casual line.
A dreamy “cloudy moon” print in a sloped-hem sleeveless dress above the knee had a muted white orb on top, fading into a sky of mauve and blue. She used the same pattern in a different silhouette with pleats along a seam at the waist that offered a roomy fit.
There were sheer panels at side seams in several dresses, including one in midnight blue, and patch pockets on others in black and military green, including one with short sleeves worn by Beckham herself. Beckham’s usual attention to construction and detail was apparent.
“This is my fun side,” Beckham said before one of several small seatings offering a more intimate look at the spring collection. “It’s what I wear for the other half of my life. I have four kids. I really do like to have fun.”
ALICE AND OLIVIA
Stacey Bendet, founder and designer of Alice and Olivia, predicts a breath of fresh air this spring.
No gloom and doom for her. The styles she offered up for next season at a preview Monday were unabashedly happy, colorful and made to put a smile on the wearer’s face - no questions asked.
“I started with the whole concept of going back to the American dream,” Bendet said. “I wanted a return to optimism and feeling good.”
Basically, Bendet was looking for an excuse to have a party. Where else would one wear a sparkly red-and-white squiggle-pattern bustier and flared miniskirt, or a silver halter dress with an open back and full skirt?
She mined the 1950s and its feminine silhouettes and bright colors for inspiration, so the collection has its share of swinging hemlines and bustiers. There were updates, though, including digital floral prints and a peach leather motocross jacket.
Every so often at Fashion Week, there is a moment when the runway is transported from the bustle of New York to a different time or place.
Who needs a plane ticket to join the jet set? Might as well let your clothes do the globe-trotting.
At Vera Wang on Tuesday, it was an idealised India. Tory Burch’s muse was a preppy American who goes out to see the world. J. Crew had in mind a beach vacation.
“If you see a great dress, you can build a lot around it. If you’re doing a music video, the designer inspiration can even give the idea for the video,” said Ty Hunter, Beyonce’s stylist, who was among the editors, retailers and celebrities gathered at Lincoln Centre on day six of Merdedes-Benz Fashion Week.
Fashion Week continues through Thursday before the fashion crowd heads to London, Milan and Paris.
VERA WANG
Vera Wang’s India-inspired clothes were quiet, delicate and lovely, sometimes requiring a trained eye to notice Wang’s nod to the Nehru collar or choli jacket. They invoked India without ornate trappings or touristy gimmicks.
Wang’s A-list crowd (Stacy Keibler caused a front-row frenzy) could appreciate the soutache embroidery, which looks a bit like braided lace, that decorated a white sleeveless V-neck shift, and the chartreuse brocade peplum top with gold jeweled epaulettes paired with a chantilly hand-pieced lace sheath.
The collarless, sleeveless tailored jackets were a bit more obvious in their reference to India, but not too much so.
“The collection is out of India, but India is just the starting point,” Wang said in a backstage interview. “There is no belly dancing, there are no sarongs, there are no saris. It is about the sort of discipline about Indian men’s clothes like Nehru, against the mystery and sensuality of Indian women — but not literally.”
THE ROW
Here’s how far Mary-Kate and Ashley Olsen have come with their fashion collection The Row: Sitting at the spring preview, it becomes clear that other designers at New York Fashion Week have been mimicking the layered-yet-airy refined look that is at the heart of this label.
This was the real deal, though, with the Olsens piling on the models long and fluid duster coats, tunics and dresses on Monday, sometimes paired with pajama pants and other times with slouchy skinny-leg silk ones.
The Row did hit on the emerging lingerie trend, although they don’t get credit for starting that one. That seems to be a collective statement coming from fashion insiders as they put next season into focus.
Almost every outfit here was a single colour, head to toe. There was no embellishment so the clothes had to speak for themselves. In their notes, the Olsen twins said the collection “celebrates a spirit of subtle colors and exquisite layering.”
It was another example of the easy elegance that earned them the Council of Fashion Designers of America’s award earlier this year as the top womenswear designers.
BADGLEY-MISCHKA
Mark Badgley and James Mischka seem to like movies a lot. Old movies.
For their Spring 2013 collection, the designer duo picked a 1935 film version of Shakespeare’s “A Midsummer Night’s Dream” — a play that takes place in the spring, after all.
The film starred James Cagney, but the star of the Badgley Mischka collection was their fabrics — “springlike fabrics, but with depth to them,” explained Mischka backstage. Lots of tulle and chiffon, for example.
Among the more interesting fabrics was a “hologram tweed” — a shimmery tweed used both in a casual pant, paired with an ivory organza bustier, and in a jacket, paired with an organza and chiffon skirt.
But though there were a number of separates featured, Badgley and Mischka are known for their eveningwear, loved by celebrities and socialites (the crowd included Kevin Jonas and gymnast Aly Raisman). And there was plenty of that, for example a filmy celadon-coloured tulle and organza gown, and another tulle-and-organza creation in a brilliant coral — the show-closing gown.
TORY BURCH
Imagine this young woman, all preppy and proper. She buys a ticket to Africa, to India and then to Mexico. She’s hooked on exotic lands, and she loves bringing home the treasures she finds there.
That’s the muse who dominated Tory Burch’s runway. Her first look was for departure day: a prim wheat-print silk faille day dress with a suitcase-style handbag in the matching print.
By Look No. 4, she’s loosened up and wearing an eyelet sundress. Halfway through the spring collection, she’s wearing an embellished crocheted jacket, a knit T-shirt and fringed, crocheted raffia skirt. She has a fringed knit poncho with a hood that’s decorated with a floral applique.
Probably to the shock of her friends and family back home, this woman even wears tie-dye.
“This was an experiment in layering, an American remix,” explained Burch. “She’s layering on all the things she’s discovering. She wears an evening gown with Moroccan moccasins.”
THEYSKENS THEORY
The Theyskens Theory line marries edgy-style darling Olivier Theyskens with accessible Theory, but the new spring collection presented a singular vision. It was an all-day wardrobe for the cool urbanite who might be a little more romantic than she thought.
She likes strong shoulders, even when she’s wearing a knit T-shirt dress. She also wears a lot of cropped pleated pants, often leather ones, with high waistbands, and cropped jackets.
When she wears a coat, it’s long like a duster.
While Monday’s preview was for spring, the mostly dark palette suited the hideaway venue in an unused part of a midtown post office. Theyskens, however, did embrace some strikingly light shades of denim.
VICTORIA, VICTORIA BECKHAM
Easy, sporty dresses in sunbleached colours, friendly prints and a bird or two reflect California’s influence on Victoria Beckham and her more affordable Victoria line.
Against bright white walls at Milk Studios, with a sweeping view of the Hudson River downtown, Beckham held her adorable toddler Harper (in a white romper) during the laid-back show, her second in a week and the third for the more casual line.
A dreamy “cloudy moon” print in a sloped-hem sleeveless dress above the knee had a muted white orb on top, fading into a sky of mauve and blue. She used the same pattern in a different silhouette with pleats along a seam at the waist that offered a roomy fit.
There were sheer panels at side seams in several dresses, including one in midnight blue, and patch pockets on others in black and military green, including one with short sleeves worn by Beckham herself. Beckham’s usual attention to construction and detail was apparent.
“This is my fun side,” Beckham said before one of several small seatings offering a more intimate look at the spring collection. “It’s what I wear for the other half of my life. I have four kids. I really do like to have fun.”
ALICE AND OLIVIA
Stacey Bendet, founder and designer of Alice and Olivia, predicts a breath of fresh air this spring.
No gloom and doom for her. The styles she offered up for next season at a preview Monday were unabashedly happy, colorful and made to put a smile on the wearer’s face - no questions asked.
“I started with the whole concept of going back to the American dream,” Bendet said. “I wanted a return to optimism and feeling good.”
Basically, Bendet was looking for an excuse to have a party. Where else would one wear a sparkly red-and-white squiggle-pattern bustier and flared miniskirt, or a silver halter dress with an open back and full skirt?
She mined the 1950s and its feminine silhouettes and bright colors for inspiration, so the collection has its share of swinging hemlines and bustiers. There were updates, though, including digital floral prints and a peach leather motocross jacket.
Tuesday, September 11, 2012
French fashion tycoon's threat to move shakes Socialist govt's plan to tax super rich
French fashion tycoon's threat to move shakes Socialist govt's plan to tax super rich
PARIS - Bernard Arnault — the richest man in Europe — has ignited an uproar in France over taxes, citizenship, patriotism and what policies the government needs to promote growth.
It's a pretty impressive achievement for one little statement.
Arnault — the CEO of French fashion giant LVMH, owner of houses like Louis Vuitton and Christian Dior — is the symbol of France's treasured luxury fashion industry.
So when the face of "Made in France" confirmed Sunday that he had applied for dual citizenship in Belgium it struck deep chord in France's national pride.
Despite his protests, many thought it was an attempt to dodge the new Socialist government's planned 75 per cent tax on the country's wealthiest.
One French paper's front-page headline called him a "rich jerk" on Monday and French President Francois Hollande questioned Arnault's patriotism.
But beyond the name-calling, the debacle highlighted a very French contradiction: A country that prides itself on producing exorbitantly-priced luxury fashion has tax policies that target the very people rich enough to buy French goods.
Arnault is the world's fourth-richest man, whose personal fortune Forbes magazine estimates at $41 billion.
His application to Belgium comes as Hollande prepares to implement a 75 per cent tax on those that earn more than €1 million ($1.28 million) a year — although it was hinted the plan could be watered down.
"If I was in his shoes I might also think that I don't have a choice and would leave," said 34-year-old Jean-Baptiste Lete, a Paris resident walking in the city Monday.
It wouldn't be the first time that Arnault dodged a Socialist named Francois. He emigrated to the U.S. in 1981 when President Francois Mitterrand swept to power — and returned when the country's tax policies became more conservative.
As a Belgian, Arnault would pay a maximum of 50 per cent on his income. More appealingly, he could take advantage of the cherished tax-free status that Belgians hold in Monaco - provided he renounced his French nationality. French nationals living in Monaco are taxed in France.
Arnault vociferously denied that his decision had anything to do with tax evasion and said he will continue paying French taxes, but his comments convinced few.
"I can't believe it," businessman Bernard Tapie was quoted as saying in the Le Parisien paper. "When you're the citizen of a country, you need to know how to enjoy the good part but also accept the downsides. Symbolically, this is a catastrophe."
The move was being called a public relations disaster that highlights the French economy's lack of competitiveness. The French are still reeling over British Prime Minister David Cameron's vow to "roll out the red carpet" for French firms if Hollande followed through on his plan to raise taxes for the wealthy.
Francois Fillon, France's former Conservative prime minister, directly blamed the Socialist government's tax policy.
"This will spread like wildfire. And all over the planet they'll say that France is the country that doesn't like success," he said.
Others placed the blame firmly on Arnault himself. The Liberation newspaper Monday featured a photo of a smug-looking and immaculately suited Arnault holding a suitcase alongside the headline: "Get lost, rich jerk."
On Monday, LVMH issued a statement saying that Arnault will sue the newspaper for "public insult."
Finance Minister Pierre Moscovici was worried about France's global image.
"He is at the helm of luxury houses whose brands are French symbols," the minister told BFM TV. "He didn't realize how it would be perceived, it was sort of irresponsible."
Some critics say the Socialists had it coming, reminding all that Hollande once famously said: "I dislike the rich."
On the other side of the border, the news was greeted with open arms.
"Welcome, Mr. Arnault" read Monday's editorial headline in the Belgian daily La Libre — which claims the billionaire has been living in a suburb of Brussels for several months already.
PARIS - Bernard Arnault — the richest man in Europe — has ignited an uproar in France over taxes, citizenship, patriotism and what policies the government needs to promote growth.
It's a pretty impressive achievement for one little statement.
Arnault — the CEO of French fashion giant LVMH, owner of houses like Louis Vuitton and Christian Dior — is the symbol of France's treasured luxury fashion industry.
So when the face of "Made in France" confirmed Sunday that he had applied for dual citizenship in Belgium it struck deep chord in France's national pride.
Despite his protests, many thought it was an attempt to dodge the new Socialist government's planned 75 per cent tax on the country's wealthiest.
One French paper's front-page headline called him a "rich jerk" on Monday and French President Francois Hollande questioned Arnault's patriotism.
But beyond the name-calling, the debacle highlighted a very French contradiction: A country that prides itself on producing exorbitantly-priced luxury fashion has tax policies that target the very people rich enough to buy French goods.
Arnault is the world's fourth-richest man, whose personal fortune Forbes magazine estimates at $41 billion.
His application to Belgium comes as Hollande prepares to implement a 75 per cent tax on those that earn more than €1 million ($1.28 million) a year — although it was hinted the plan could be watered down.
"If I was in his shoes I might also think that I don't have a choice and would leave," said 34-year-old Jean-Baptiste Lete, a Paris resident walking in the city Monday.
It wouldn't be the first time that Arnault dodged a Socialist named Francois. He emigrated to the U.S. in 1981 when President Francois Mitterrand swept to power — and returned when the country's tax policies became more conservative.
As a Belgian, Arnault would pay a maximum of 50 per cent on his income. More appealingly, he could take advantage of the cherished tax-free status that Belgians hold in Monaco - provided he renounced his French nationality. French nationals living in Monaco are taxed in France.
Arnault vociferously denied that his decision had anything to do with tax evasion and said he will continue paying French taxes, but his comments convinced few.
"I can't believe it," businessman Bernard Tapie was quoted as saying in the Le Parisien paper. "When you're the citizen of a country, you need to know how to enjoy the good part but also accept the downsides. Symbolically, this is a catastrophe."
The move was being called a public relations disaster that highlights the French economy's lack of competitiveness. The French are still reeling over British Prime Minister David Cameron's vow to "roll out the red carpet" for French firms if Hollande followed through on his plan to raise taxes for the wealthy.
Francois Fillon, France's former Conservative prime minister, directly blamed the Socialist government's tax policy.
"This will spread like wildfire. And all over the planet they'll say that France is the country that doesn't like success," he said.
Others placed the blame firmly on Arnault himself. The Liberation newspaper Monday featured a photo of a smug-looking and immaculately suited Arnault holding a suitcase alongside the headline: "Get lost, rich jerk."
On Monday, LVMH issued a statement saying that Arnault will sue the newspaper for "public insult."
Finance Minister Pierre Moscovici was worried about France's global image.
"He is at the helm of luxury houses whose brands are French symbols," the minister told BFM TV. "He didn't realize how it would be perceived, it was sort of irresponsible."
Some critics say the Socialists had it coming, reminding all that Hollande once famously said: "I dislike the rich."
On the other side of the border, the news was greeted with open arms.
"Welcome, Mr. Arnault" read Monday's editorial headline in the Belgian daily La Libre — which claims the billionaire has been living in a suburb of Brussels for several months already.
Monday, September 10, 2012
Fashion Week NYC: Alicia Keys Wore White to Edun, A$AP Rocky Watched Alexander WangEdun
Fashion Week NYC: Alicia Keys Wore White to Edun, A$AP Rocky Watched Alexander WangEdun
Edun, the label founded by U2 rocker Bono and his wife, stitched together a sweet and sour spring collection Saturday at NYFW. Created in 2005, the hip young label was founded to promote change through a trading relationship with Africa. At first glance, the new spring line appears soft and welcoming, but then stings with a sour bite. Delicate fabrics like silk and chiffon are juxtaposed with dark cargo slacks and structured utility vests.
Sitting front row was Alicia Keys, who jetted over to NYFW after her dazzling performance at the VMAs Thursday night. Keys stayed on trend in oversized round shades, a billowing white blouse and white pants detailed with a black racing stripe. R.E.M. vocalist Michael Stipe was also front row to support Bono, wearing an all-white look. He accented the look with a blue and red checkered shirt and glasses with orange lenses.
Mara Hoffman
What is gray, gold and tight all over? Lil' Kim's outfit at the Mara Hoffman spring 2013 show. The controversial rapper attended the show in clothes that contrasted Hoffman's energetic and bright collection. Kim missed the mark in a gold ankle-length dress and white shirt under a skin tight gray vest. "My outfit is Ralph Lauren & my shoes are Versace today for Mercedes Benz Fashion Week," Lil' Kim tweeted Saturday afternoon. Her fashion blunder was a bit of a let down, especially because Buffalo, N.Y. native Mara Hoffman created such a sweet, tropical, playful look for spring 2013.
Jill Stuart
As DJ Brendan Fallis was spinning a medley of Niki & the Dove, Lykke Li, and Ladyhawke, a feminine spring fantasy blossomed on the runway at Jill Stuart's show. White, peach, nude and teal colors took form on ladylike lace, sequin and silk dresses. Theophilus London sat front row, watching models strut down the runway in Stuart's subtly sexy lingerie-inspired collection. London brought his unique fashion swagger to the runway, rocking a dapper white shirt, red pants, black wide-rimmed fedora and his own design of limited-edition Del Toro slippers.
Alexander Wang
Songs by Baauer, Jay Fay & Ra Cailum, and DJ Sliink played as an unrestricted bondage-tinged collection ruled the catwalk. Alexander Wang threw an S&M rave at his spring 2013 show, where the attire consisted of white boudoir-inspired leather creations decorated with cut-out racing stripes and laser-cut flourishes.
Edun, the label founded by U2 rocker Bono and his wife, stitched together a sweet and sour spring collection Saturday at NYFW. Created in 2005, the hip young label was founded to promote change through a trading relationship with Africa. At first glance, the new spring line appears soft and welcoming, but then stings with a sour bite. Delicate fabrics like silk and chiffon are juxtaposed with dark cargo slacks and structured utility vests.
Sitting front row was Alicia Keys, who jetted over to NYFW after her dazzling performance at the VMAs Thursday night. Keys stayed on trend in oversized round shades, a billowing white blouse and white pants detailed with a black racing stripe. R.E.M. vocalist Michael Stipe was also front row to support Bono, wearing an all-white look. He accented the look with a blue and red checkered shirt and glasses with orange lenses.
Mara Hoffman
What is gray, gold and tight all over? Lil' Kim's outfit at the Mara Hoffman spring 2013 show. The controversial rapper attended the show in clothes that contrasted Hoffman's energetic and bright collection. Kim missed the mark in a gold ankle-length dress and white shirt under a skin tight gray vest. "My outfit is Ralph Lauren & my shoes are Versace today for Mercedes Benz Fashion Week," Lil' Kim tweeted Saturday afternoon. Her fashion blunder was a bit of a let down, especially because Buffalo, N.Y. native Mara Hoffman created such a sweet, tropical, playful look for spring 2013.
Jill Stuart
As DJ Brendan Fallis was spinning a medley of Niki & the Dove, Lykke Li, and Ladyhawke, a feminine spring fantasy blossomed on the runway at Jill Stuart's show. White, peach, nude and teal colors took form on ladylike lace, sequin and silk dresses. Theophilus London sat front row, watching models strut down the runway in Stuart's subtly sexy lingerie-inspired collection. London brought his unique fashion swagger to the runway, rocking a dapper white shirt, red pants, black wide-rimmed fedora and his own design of limited-edition Del Toro slippers.
Alexander Wang
Songs by Baauer, Jay Fay & Ra Cailum, and DJ Sliink played as an unrestricted bondage-tinged collection ruled the catwalk. Alexander Wang threw an S&M rave at his spring 2013 show, where the attire consisted of white boudoir-inspired leather creations decorated with cut-out racing stripes and laser-cut flourishes.
Saturday, September 8, 2012
Fashion Diary: Under the big top at New York Fashion Week
Fashion Diary: Under the big top at New York Fashion Week
Reality show stars-turned designers! Olympians fresh from performing feats of strength at the Summer Games! Peacockish bloggers taking pictures and typing on smartphones while walking on death-defying stilettos!
There is all that and more at the three-ring circus that is New York Fashion Week, which kicked off Thursday with designers, retailers and media new and old converging in Manhattan for the spring-summer 2013 collections.
The seven-day-long photo op includes runway shows and presentations held in warehouse spaces on Hudson River piers and at Chelsea art galleries, the Park Avenue Armory and tony places such as the Carlyle Hotel — as well as under the big top at Lincoln Center, the hub of fashion week.
In addition to the main acts such as Ralph Lauren, Michael Kors, Marc Jacobs and Tory Burch, there are lots of side-show attractions.
Sammi "Sweetheart" Giancola ("Jersey Shore" cast member and apparent fitness fanatic) is coming to fashion week for the first time to show her fashion fitness line with SXE Fitness, and Whitney Port (star of MTV's "The Hills" and "The City") is back with her Whitney Eve contemporary line, and no doubt some kind of cameras rolling.
Several former cast members of fashion reality programs are showing lines. Among them are Christian Siriano ("Project Runway" fourth season winner), who opened his first store in SoHo on Wednesday night with a bash that drew Heidi Klum and "Girls" star Allison Williams; Cesar Galindo (a 20-plus year veteran of the industry who appeared on Bravo's "The Fashion Show" last year); and Kara Laricks (first winner of NBC's "Fashion Star" for her androgynous designs).
For the front row, Olympians seem to be the most popular gets. Swimmer Ryan Lochte is making the rounds, thankfully without the grill, taking in the Joseph Abboud show and appearing at shoe designer Brian Atwood's swank party. And sprinter Sanya Richards-Ross turned up at BCGB, where she wore her super-high heels with what appeared to be cotton pads placed between the straps and her famously fast feet, to prevent blistering.
She's not here, but First Lady Michelle Obama seems to be on everyone's mind. Indeed, nearly four years into the administration, designers are still dying to dress her. Why? Because Tracy Reese, who made the gorgeous fuchsia and coral jacquard dress the first lady wore when she spoke Tuesday at the Democratic National Convention, has already seen a boost from the exposure. Her website crashed from so many hits, and ticket and interview requests have increased significantly, according to her representatives.
Meanwhile, the celebrity-as-designer trend is also making itself known. All eyes will be on Katie Holmes when she and stylist Jeanne Yang show Holmes & Yang for the first time during fashion week. The former Mrs. Tom Cruise is no doubt hoping that a presentation of the line, which launched in 2009, will be the fresh start she needs to enter the next phase of her life. (In further evidence that the fashion world is embracing Katie with open arms, it was announced last week that Bobbi Brown Cosmetics has named her the face of the beauty brand.)
Victoria Beckham is showing her high-end collection, as well as her lower-priced Victoria by Victoria Beckham line, while Avril Lavigne is presenting her Abbey Dawn line for Kohl's.
But enough with the circus, what about the clothes? Pantone has pronounced emerald green, dusk blue, African violet, tangerine, poppy red and something called "tender shoots" green the hot colors of the season. And trend forecaster WGSN predicts that cropped, tapered pants, tailored separates and longer shorts will make a big showing.
Made in China, made in Romania, made where? In the wake of the flak Ralph Lauren received over the news that the Olympic opening ceremony uniforms he provided for the U.S. team were made in China, you have to wonder if the consumer sentiment for Made in America goods will influence fashion designers and buyers this season.
Industry bible Women's Wear Daily published several stories on the subject Wednesday, suggesting that "like a phoenix, the American textile and manufacturing industry could be rising once again," due to a confluence of economic and social factors, including the Great Recession and higher wages in Asia. WWD also published results of a study conducted with market research firm NPD Group that indicated 21% of people surveyed would buy an American shirt over one that was made in another country so long as the price was no more than 25% higher.
"It's something I'm doing my due diligence on," Eric Jennings, men's fashion director of Saks Fifth Avenue, said when asked about buying more brands that manufacture in America. "I'd really like to find a made-in-America men's suiting brand that we could carry."
But for Stephanie Solomon, women's fashion director of Bloomingdale's, the issue is more complicated. "The center of the fashion universe is not the U.S., it's Paris," she said, referring to how designers in that city still hold sway over the direction of trends to come. "If you're a consumer interested in high fashion, and in the craft of high fashion, you're interested in what's coming from Europe."
Which is why, when New York Fashion Week ends Friday, the circus will pick up and move to London, Milan and Paris, where the last word on the spring season will finally come Oct. 3.
Reality show stars-turned designers! Olympians fresh from performing feats of strength at the Summer Games! Peacockish bloggers taking pictures and typing on smartphones while walking on death-defying stilettos!
There is all that and more at the three-ring circus that is New York Fashion Week, which kicked off Thursday with designers, retailers and media new and old converging in Manhattan for the spring-summer 2013 collections.
The seven-day-long photo op includes runway shows and presentations held in warehouse spaces on Hudson River piers and at Chelsea art galleries, the Park Avenue Armory and tony places such as the Carlyle Hotel — as well as under the big top at Lincoln Center, the hub of fashion week.
In addition to the main acts such as Ralph Lauren, Michael Kors, Marc Jacobs and Tory Burch, there are lots of side-show attractions.
Sammi "Sweetheart" Giancola ("Jersey Shore" cast member and apparent fitness fanatic) is coming to fashion week for the first time to show her fashion fitness line with SXE Fitness, and Whitney Port (star of MTV's "The Hills" and "The City") is back with her Whitney Eve contemporary line, and no doubt some kind of cameras rolling.
Several former cast members of fashion reality programs are showing lines. Among them are Christian Siriano ("Project Runway" fourth season winner), who opened his first store in SoHo on Wednesday night with a bash that drew Heidi Klum and "Girls" star Allison Williams; Cesar Galindo (a 20-plus year veteran of the industry who appeared on Bravo's "The Fashion Show" last year); and Kara Laricks (first winner of NBC's "Fashion Star" for her androgynous designs).
For the front row, Olympians seem to be the most popular gets. Swimmer Ryan Lochte is making the rounds, thankfully without the grill, taking in the Joseph Abboud show and appearing at shoe designer Brian Atwood's swank party. And sprinter Sanya Richards-Ross turned up at BCGB, where she wore her super-high heels with what appeared to be cotton pads placed between the straps and her famously fast feet, to prevent blistering.
She's not here, but First Lady Michelle Obama seems to be on everyone's mind. Indeed, nearly four years into the administration, designers are still dying to dress her. Why? Because Tracy Reese, who made the gorgeous fuchsia and coral jacquard dress the first lady wore when she spoke Tuesday at the Democratic National Convention, has already seen a boost from the exposure. Her website crashed from so many hits, and ticket and interview requests have increased significantly, according to her representatives.
Meanwhile, the celebrity-as-designer trend is also making itself known. All eyes will be on Katie Holmes when she and stylist Jeanne Yang show Holmes & Yang for the first time during fashion week. The former Mrs. Tom Cruise is no doubt hoping that a presentation of the line, which launched in 2009, will be the fresh start she needs to enter the next phase of her life. (In further evidence that the fashion world is embracing Katie with open arms, it was announced last week that Bobbi Brown Cosmetics has named her the face of the beauty brand.)
Victoria Beckham is showing her high-end collection, as well as her lower-priced Victoria by Victoria Beckham line, while Avril Lavigne is presenting her Abbey Dawn line for Kohl's.
But enough with the circus, what about the clothes? Pantone has pronounced emerald green, dusk blue, African violet, tangerine, poppy red and something called "tender shoots" green the hot colors of the season. And trend forecaster WGSN predicts that cropped, tapered pants, tailored separates and longer shorts will make a big showing.
Made in China, made in Romania, made where? In the wake of the flak Ralph Lauren received over the news that the Olympic opening ceremony uniforms he provided for the U.S. team were made in China, you have to wonder if the consumer sentiment for Made in America goods will influence fashion designers and buyers this season.
Industry bible Women's Wear Daily published several stories on the subject Wednesday, suggesting that "like a phoenix, the American textile and manufacturing industry could be rising once again," due to a confluence of economic and social factors, including the Great Recession and higher wages in Asia. WWD also published results of a study conducted with market research firm NPD Group that indicated 21% of people surveyed would buy an American shirt over one that was made in another country so long as the price was no more than 25% higher.
"It's something I'm doing my due diligence on," Eric Jennings, men's fashion director of Saks Fifth Avenue, said when asked about buying more brands that manufacture in America. "I'd really like to find a made-in-America men's suiting brand that we could carry."
But for Stephanie Solomon, women's fashion director of Bloomingdale's, the issue is more complicated. "The center of the fashion universe is not the U.S., it's Paris," she said, referring to how designers in that city still hold sway over the direction of trends to come. "If you're a consumer interested in high fashion, and in the craft of high fashion, you're interested in what's coming from Europe."
Which is why, when New York Fashion Week ends Friday, the circus will pick up and move to London, Milan and Paris, where the last word on the spring season will finally come Oct. 3.
Friday, September 7, 2012
Fast-forward fashion: Spring catwalk shows begin
Fast-forward fashion: Spring catwalk shows begin
Fashion insiders, ever ahead of their time, began looking to spring on Thursday as they previewed the outfits that will land in stores and in magazines for the season at New York Fashion Week.
Max Azria of BCBG had the first marquee show, and seemed to offer an early indicator for trends, balancing soft, fluid fabrics with tough material and graphic patterns. Azria said it was important to make a strong impression.
"It has to have substance as the first big show," he said in a backstage interview. "I don't want you to forget it."
More than 100 previews are on the calendar here for retailers, editors and stylists over the next eight days, before this crowd heads for London, Milan and Paris. The Mercedes-Benz Fashion Week tents at Lincoln Center serve as one hub, with a smaller but growing second "home" in Manhattan's Meatpacking district at Milk Studios. Still other designers, including Tommy Hilfiger, Donna Karan and Ralph Lauren, choose to have their shows in other locations, which keeps the crowd moving.
"It feels like going back to school. I'm happy to have it all start in New York," said Joe Zee, creative director of Elle magazine.
Zee, who also hosts Sundance Channel's "All on the Line," says what he most hopes to see on the catwalks is newness — and no more colorblocking. He likes the look, he explains, but it's a tired trend. Same goes for platform heels. "I know women like it and I know it's more comfortable — and I don't have to wear it — but I'm done with it. I want to see a new idea."
How about happiness? That's what Diane von Furstenberg, president of the Council of Fashion Designers of America, expects to see a lot of. "I think we're all looking for some lightness and happiness, and I hope I am bringing that to my collection." She shows Sunday at the Lincoln Center tents.
Hilfiger's show will be Sunday at the open-air High Line, an urban park built on an old freight line overlooking the Hudson River, which he describes as an ideal venue for springtime clothes. "I'm always excited for my own shows, but also to see what the other designers are showing; there is a creative energy in the city this time of year that I love."
Von Furstenberg says Fashion Week goes beyond industry insiders now. "People like fashion," she says. "It used to be very trade-oriented, but it's not anymore. It's accessible to everyone because of the Internet, but fashion is glamorous, and it's about dreams and aspiration and desire."
BCBG
There was high contrast on the catwalk Thursday at the BCBG Max Azria runway show, with leather harnesses sharing the stage — and sometimes the same outfit — with lingerie lace.
Fluid silhouettes were tempered by the tough texture of the leather, and soft, draped crepe fabrics were strong thanks to the graphic black-and-white roots of the palette.
Azria explained that he aimed to capture the allure of femme fatales and the sharpness of Helmut Newton's photography.
Dresses, the BCBG signature, were the most impactful pieces, especially a shirtdress with patchwork lace that allowed just a peek of peony pink to come through the mostly white look, and the black double-weave dress with lace inserts that gave the illusion of many airy layers.
TADASHI SHOJI
Lace, patchwork, crystal. That could have made for an overwrought, overdone runway, but Tadashi Shoji mostly filled his collection with dresses that captured a modern, clean femininity.
Some of the gowns seem likely candidates for the red carpet, especially the one-shoulder, wheat-colored tulle and embellished gown with floral appliques and lace that closed the show. It had a little bit of pageantry to it, but that's OK for those big moments.
Shoji alternated between those feminine sand colors and brighter hues of blue, "paprika" red and green. The blue dresses, including the boatneck sheath dressed up in lace and the chiffon-and-lace blousoned gown with pleats that created a Venetian-blind effect, were reminiscent of lovely vases from the Ming Dynasty.
Shoji, in his notes, said he aimed to take the audience on a journey along the "modern Silk Road" from Venice cutwork, to Kazakhstan ikat and onward through the Gobi Desert and the ancient city of Xi'an in China.
RICHARD CHAI
The Richard Chai Love collection helped set the tone for spring — and toned we'll need to be to wear Chai's clothes.
His sporty styles in a soothing palette of blues and tans that one might find at the seashore featured more than a few bare midriffs. "Apparently, what we'll all want are shorts, anoraks, halters and flat abs," said Melissa Liebling-Goldberg, editorial director of womenswear for Gilt Groupe.
Chai favored a light touch even if he piled on a few layers: The first model out wore a sheer, shiny cotton-nylon parka with a silk-nylon floral dress with bra-style halter top and flared A-line skirt. For men, Chai offered a crinkled cotton jacket and trouser with a zip-front shirt.
There was also a men's two-tone, double-breasted blazer in contrasting fabrics that might be a hint of a possible yin-yang vibe emerging at the Mercedes-Benz Fashion Week tents at Lincoln Center. One could also feel it in the jersey dresses that still had definitive blocks of color but with softer curves than the geometric lines that usually comes with traditional colorblocking.
CREATURES OF THE WIND
Swingy, bejeweled silhouettes from the '60s and shimmery, vintage snakeskin lame stood out at the show for two up-and-comer Chicagoans who call themselves Creatures of the Wind.
Focusing on the technical elements of old couture rather than a specific narrative, Shane Gabier and Chris Peters sent out bright greens, yellows and pinks in dresses, printed skinny trousers and skirts in jacquards, cottons and polyesters.
A full, pleated dress in green had a large, loose bow below the chest with three-quarter sleeves and a skirt the color of oatmeal with star bursts of massive Swarovski crystals just above the hem.
The two kept hemlines below the knee and built panels of solid colors into prints in jackets, shirts and dresses.
Gabier, 39, said some "punky" details and the early '60s feel is always on the partners' minds as they cater to a range of customers of all ages — and sizes. Is it unusual for Fashion Week designers to show plus-size friendly clothes? "It might be," Gabier said. "I would say yes."
Fashion insiders, ever ahead of their time, began looking to spring on Thursday as they previewed the outfits that will land in stores and in magazines for the season at New York Fashion Week.
Max Azria of BCBG had the first marquee show, and seemed to offer an early indicator for trends, balancing soft, fluid fabrics with tough material and graphic patterns. Azria said it was important to make a strong impression.
"It has to have substance as the first big show," he said in a backstage interview. "I don't want you to forget it."
More than 100 previews are on the calendar here for retailers, editors and stylists over the next eight days, before this crowd heads for London, Milan and Paris. The Mercedes-Benz Fashion Week tents at Lincoln Center serve as one hub, with a smaller but growing second "home" in Manhattan's Meatpacking district at Milk Studios. Still other designers, including Tommy Hilfiger, Donna Karan and Ralph Lauren, choose to have their shows in other locations, which keeps the crowd moving.
"It feels like going back to school. I'm happy to have it all start in New York," said Joe Zee, creative director of Elle magazine.
Zee, who also hosts Sundance Channel's "All on the Line," says what he most hopes to see on the catwalks is newness — and no more colorblocking. He likes the look, he explains, but it's a tired trend. Same goes for platform heels. "I know women like it and I know it's more comfortable — and I don't have to wear it — but I'm done with it. I want to see a new idea."
How about happiness? That's what Diane von Furstenberg, president of the Council of Fashion Designers of America, expects to see a lot of. "I think we're all looking for some lightness and happiness, and I hope I am bringing that to my collection." She shows Sunday at the Lincoln Center tents.
Hilfiger's show will be Sunday at the open-air High Line, an urban park built on an old freight line overlooking the Hudson River, which he describes as an ideal venue for springtime clothes. "I'm always excited for my own shows, but also to see what the other designers are showing; there is a creative energy in the city this time of year that I love."
Von Furstenberg says Fashion Week goes beyond industry insiders now. "People like fashion," she says. "It used to be very trade-oriented, but it's not anymore. It's accessible to everyone because of the Internet, but fashion is glamorous, and it's about dreams and aspiration and desire."
BCBG
There was high contrast on the catwalk Thursday at the BCBG Max Azria runway show, with leather harnesses sharing the stage — and sometimes the same outfit — with lingerie lace.
Fluid silhouettes were tempered by the tough texture of the leather, and soft, draped crepe fabrics were strong thanks to the graphic black-and-white roots of the palette.
Azria explained that he aimed to capture the allure of femme fatales and the sharpness of Helmut Newton's photography.
Dresses, the BCBG signature, were the most impactful pieces, especially a shirtdress with patchwork lace that allowed just a peek of peony pink to come through the mostly white look, and the black double-weave dress with lace inserts that gave the illusion of many airy layers.
TADASHI SHOJI
Lace, patchwork, crystal. That could have made for an overwrought, overdone runway, but Tadashi Shoji mostly filled his collection with dresses that captured a modern, clean femininity.
Some of the gowns seem likely candidates for the red carpet, especially the one-shoulder, wheat-colored tulle and embellished gown with floral appliques and lace that closed the show. It had a little bit of pageantry to it, but that's OK for those big moments.
Shoji alternated between those feminine sand colors and brighter hues of blue, "paprika" red and green. The blue dresses, including the boatneck sheath dressed up in lace and the chiffon-and-lace blousoned gown with pleats that created a Venetian-blind effect, were reminiscent of lovely vases from the Ming Dynasty.
Shoji, in his notes, said he aimed to take the audience on a journey along the "modern Silk Road" from Venice cutwork, to Kazakhstan ikat and onward through the Gobi Desert and the ancient city of Xi'an in China.
RICHARD CHAI
The Richard Chai Love collection helped set the tone for spring — and toned we'll need to be to wear Chai's clothes.
His sporty styles in a soothing palette of blues and tans that one might find at the seashore featured more than a few bare midriffs. "Apparently, what we'll all want are shorts, anoraks, halters and flat abs," said Melissa Liebling-Goldberg, editorial director of womenswear for Gilt Groupe.
Chai favored a light touch even if he piled on a few layers: The first model out wore a sheer, shiny cotton-nylon parka with a silk-nylon floral dress with bra-style halter top and flared A-line skirt. For men, Chai offered a crinkled cotton jacket and trouser with a zip-front shirt.
There was also a men's two-tone, double-breasted blazer in contrasting fabrics that might be a hint of a possible yin-yang vibe emerging at the Mercedes-Benz Fashion Week tents at Lincoln Center. One could also feel it in the jersey dresses that still had definitive blocks of color but with softer curves than the geometric lines that usually comes with traditional colorblocking.
CREATURES OF THE WIND
Swingy, bejeweled silhouettes from the '60s and shimmery, vintage snakeskin lame stood out at the show for two up-and-comer Chicagoans who call themselves Creatures of the Wind.
Focusing on the technical elements of old couture rather than a specific narrative, Shane Gabier and Chris Peters sent out bright greens, yellows and pinks in dresses, printed skinny trousers and skirts in jacquards, cottons and polyesters.
A full, pleated dress in green had a large, loose bow below the chest with three-quarter sleeves and a skirt the color of oatmeal with star bursts of massive Swarovski crystals just above the hem.
The two kept hemlines below the knee and built panels of solid colors into prints in jackets, shirts and dresses.
Gabier, 39, said some "punky" details and the early '60s feel is always on the partners' minds as they cater to a range of customers of all ages — and sizes. Is it unusual for Fashion Week designers to show plus-size friendly clothes? "It might be," Gabier said. "I would say yes."
Thursday, September 6, 2012
Fashion Night Out Chicago treats shoppers to deals
Fashion Night Out Chicago treats shoppers to deals
What began as Anna Wintour’s push to help retailers during the 2009 recession, Fashion Night Out has spread the fashion fete to 18 countries, with 4,500 events nationwide. Those on the Chicago shopping trail can find fashion shows, cocktails, free makeovers, shopping discounts and more cocktails at the annual testament to all things sartorial taking place from 6 to p.m. Thursday along the Mag Mile, the Gold Coast and State Street.
Whether it’s sipping Champagne while checking out the newest fall handbags at Furla on Oak Street or rubbing elbows with actress Ali Larter at the Night Out event at the 900 North Michigan Shops, the shopping party offers dedicated retail therapy for every budget.
The best part of FNO is that all events are free and open to the public, although some require an RSVP.
Before stepping out for all the festivities, the city’s only dedicated blow-out salon, Blowtique, offers a free style from noon to 5 p.m. For FNO Cinderellas who can’t make that time slot, the salon remains open until 10 p.m. — but services return to the regular price. 1 E. Huron, (312) 280-2400.
Here’s a list of some of the hottest parties and events:
Nordstrom: Sure, New York City has more stores than Chicago, but they don’t have a Nordstrom! This year the store is holding an official launch party for the Chelsea Pump by Cole Haan. Guests can enjoy appetizers and beverages while checking out the Cole Haan show on the first floor.
What began as Anna Wintour’s push to help retailers during the 2009 recession, Fashion Night Out has spread the fashion fete to 18 countries, with 4,500 events nationwide. Those on the Chicago shopping trail can find fashion shows, cocktails, free makeovers, shopping discounts and more cocktails at the annual testament to all things sartorial taking place from 6 to p.m. Thursday along the Mag Mile, the Gold Coast and State Street.
Whether it’s sipping Champagne while checking out the newest fall handbags at Furla on Oak Street or rubbing elbows with actress Ali Larter at the Night Out event at the 900 North Michigan Shops, the shopping party offers dedicated retail therapy for every budget.
The best part of FNO is that all events are free and open to the public, although some require an RSVP.
Before stepping out for all the festivities, the city’s only dedicated blow-out salon, Blowtique, offers a free style from noon to 5 p.m. For FNO Cinderellas who can’t make that time slot, the salon remains open until 10 p.m. — but services return to the regular price. 1 E. Huron, (312) 280-2400.
Here’s a list of some of the hottest parties and events:
Nordstrom: Sure, New York City has more stores than Chicago, but they don’t have a Nordstrom! This year the store is holding an official launch party for the Chelsea Pump by Cole Haan. Guests can enjoy appetizers and beverages while checking out the Cole Haan show on the first floor.
Wednesday, September 5, 2012
NZ Fashion Week day two: It's all about the clothes
NZ Fashion Week day two: It's all about the clothes
Twentyseven names and Ingrid Starnes joined forces to show at Australis House in Britomart this morning.
Slick as ever, their PR company Showroom 22 coaxed tired media and buyers out of bed early with promises of breakfast and coffee. It clearly worked as a capacity crowd turned up and the buzz ahead of the shows was palpable.
Wellington label twentyseven names opened proceedings with a collection that managed to be both sexy and super-cute, all at once. Styled by Dan Awha with knit beanies, printed socks and jelly sandals, designers Anjali Stewart and Rachel Easting have nailed an effortlessly cute and feminine look. Combining spots of all sizes with strawberry and heart prints, and a little stripe thrown in for good measure, they showed a great range of cute dresses, knit sweaters, buttoned-up blouses and adorable shorts. I particularly liked the pops of red accentuating the palette of mostly pastels, greys, powder blue and cream. And of course the trademark printed bowties to finish it off. Twentyseven names have a real strength for capturing that youthful, easily put-together girl who looks adorable in anything she puts on and this collection was no different.
Ingrid Starnes showed a much more mature collection, that was simple, but beautifully executed and extremely feminine. Inspired by a hunt, there was plenty to like. With tweed pants and jackets, luxe wool overcoats, silk blouses and dresses and cute knotted rope brooches, it was classy and elegant. The collection used a playful, almost-geometric print on both a pale blue and a mustard base. Most of the other colours featured pulled from this print, with forest green and burnt orange accentuating creams, camel, grey and gold. All in all, it was trademark Starnes - simple, elegant, feminine and flattering.
The New Generation show showcased four new talents - Dmonic Intent, Silence Was..., Daniel K and Arielle Mermin. Dmonic Intent showed a strong, sculptural collection, that was slightly avant garde at times. With bold use of a geometric print in yellow and burnt orange, sculptured shoulders and a lattice-work weaving, I was impressed. It had a definitive direction and didn't apologise for pushing the boundaries. There was a bandage dress that was particularly striking and very definitely editorial over commercial. Their collection would photograph extremely well and I imagine they have many an editorial shoot ahead of them.
Silence Was... showed a simple winter line, that used charcoal and bright orange check, shearling, velvet and fur. With clean lines and simple tailoring, it was winter at its easiest. Daniel K showed more clean lines, with geometric cut-out hemlines and panelling. There was a mix of fitted jackets and draped blouses and dresses. It was a very commercial collection with dark colours contrasted with pops of bright red detailing.
Mount Maunganui-based designer Arielle Mermin showed a very 70s-inspired range that had a cool, Californian ease to it. With great velvet and corduroy suiting and silk printed blouses, it was simple, but memorable. There were a couple of beautifully fitted tunic dresses that were extremely flattering and easy to wear. Again, it had a very strong direction that was well-edited and made sense. All in all, a great debut.
Wellington designer Deryn Schmidt debuted in the New Generation show last year and came back for her first solo show this afternoon. With exceptionally strong tailoring and beautiful classic shapes, it was a collection to covet. Many of the pieces were so timeless they would comfortably slot into any woman's wardrobe, of any age. With impeccable, structured woollen suits, strong silhouettes and bold colour choice, Schmidt put together a very strong show indeed. She trained under Andrea Moore and Helen Cherry, and the years of hard work learning the ropes really showed. The finishing was exquisite and there was a classic elegance to it all. She showed printed silk pants and matching blouses, along with a great range of warm woollen overcoats and velvet blazers. For a debut solo show I think Schmidt and her team can be very proud of what they've achieved.
September 4, 10.47pm: The final three shows of the day all ran late, but certainly ended the first full day on a good note. Hailwood showed a collection that seemed to be of two halves. One part lady-like dresses and cinched waists, the other knit dresses and cosy sweaters with a distinctly casual vibe.
There was an easy elegance to much of Hailwood's show. As for the more casual garments, I loved the leather elbow patches on the sweaters and cardigan. The sweaters had an awesome greco-roman horse motif, which was also used as a recurring print on skirts and a full-length dress. Hailwood also used leather as a feature (in pants, sleeves and bags), along with quilted jackets that gave a good sense of winter (something occasionally missing from these shows!). There were also really simple, but panelled, knit dresses which will be very popular for their effortless style, as will his collaboration shoes with Mi Piaci of course. They used the 5th Avenue heel on the runway and it looked great.
Juliette Hogan was next up and showed a fresh collection, packed with punch. I think Hogan has really developed a great sense of her aesthetic and where her strengths are in recent collections and that shows as each collection seems to get better and better. Autumn/winter next year will feature dark orange lace and wool, sand-coloured suiting, bright florals and sequins. Hogan has a great sense of prints and texture and uses them well. She showed a great floral suit, quilted jacket and an amazing black fur jacket, that looked extremely sumptuous - just as winter should be. The collection had a very lady-like sensibility, without being dowdy or dated. It was crisp, modern and feminine. All in all, it was a cohesive, well-thought-out collection that really impressed.
Zambesi. Ahhh Zambesi. I think from now on I will refer to them as Zambesi, masters of fashion week. They were one of my personal stand-outs last year and it would seem this year will be no different. The thing I really love about Zambesi is the Findlays have their aesthetic and silhouette and they stick to it. They don't care what anyone else is doing, they just do what they're good at. And boy are they good! Their finishing is impeccable, their tailoring superb. They featured quirky details, such as over-sized domes and PVC stoles. Next winter's collection felt like a very natural continuation of last winter, with skinny pants in various fabrics, beautiful woollen boxy coats and removable collars. There was the Zambesi's trademark sequins, along with a surprising yellow and black check that only Zambesi could make work. They really did make it work though! There was also a smoking hot pair of pink check pants. Their collection was so mesmerising I kept forgetting to take notes, so taken was I with the finishing on each garment and the sheer awesomeness of the entire collection. They have set the bar extremely high for all the other shows yet to come. Yes, Zambesi definitely are masters of fashion week.
September 4, 4.45pm: Liam opened fashion week with a sophisticated, pared-back collection of wearable tailored pieces suitable for the office, along with beautifully fit sand-washed silk formal dresses. Highlights for me included effortless silk blouses and their trademark pantsuits. They also had tan leather and chain braces paired with skinny belts and a sleeveless tailored vest that brought a really masculine edge to an otherwise feminine collection.
I'm starting to think the Ruby girl doesn't believe in winter. They showed a very pale colour palette, lots of white with prints and pale peach, broken up with turquoise fur, stripes and metallic silver. There was a beautiful peach animal print used for both tops and pants, which I imagine will sell well. Again, there were a couple of great full-length formal dresses, but all with Ruby's signature sense of fun, styled with silver loafers and knit beanies.
Cybele's 21st collection was slick and featured her signature dark prints and floating silhouettes. She paired wide, clear PVC belts with tailored black dresses and gorgeous bags. There were a couple of stand-out prints for me - a bright blue inkblot-like print on the hem of a long, sheer dress, and the owl print, which had big eyes and was super-cute, but with just a hint of rock n roll.
Early on in the collection there was a beautifully draped charcoal cardigan that left me longing for winter! All in all, Cybele has me convinced that her draped, chiffon, printed tunics are the ideal dress and that every woman should have at least one Cybele piece.
Coop, while not techinically designed by Trelise Cooper, showed a collection that very clearly had Cooper's fingerprints all over it. Aimed at a younger market, it featured an amped-up garden print, giant peplums and, of course, plenty of sequins and beading. The collection was quite large and felt slightly disjointed in that there didn't seem to be any continuity of fabric choice, colour, or even garments. Some pieces were very wearable, in particular a cute, brocade-like bomber jacket, while others were not quite as commercial.
My highlight so far has to be the debut collection of Dunedin's Company of Strangers. It was a beautifully crafted and edited collection that showcased designer Sara Aspinall's eye for detail, skill in tailoring and ability to introduce colour in such a way that even the darkest wardrobe would be tempted. With plenty of panelling, both leather and chiffon, and sharp tailoring, it won me over in a heartbeat. There were beautifully finished cropped woollen motorcycle jackets in several colours, including fuschia, peach and black. I would like one of each! The zip detailing was perfection. Aspinall started out designing jewellery and bags, and those skills were evident here. There was a really cute yellow, leather backpack as well. It was definitely a very strong debut show and firmly places Company of Strangers as 'one to watch'.
Next up is Hailwood, Juliette Hogan and Zambesi, which pretty much guarantees the first full day of NZFW will finish on a high note.
September 4, 7.04am: Despite the rumours, rain and talk of rebellious designers showing in-season collections offsite in Ponsonby last week, New Zealand Fashion Week 2012 officially opened last night, with a fairly low-key party at the Viaduct Events Centre. NZFW director Pieter Stewart, Auckland mayor Len Brown and designer Trelise Cooper all spoke.
It was definitely a pared-back event compared to previous years, however the highlight had to be the group of Kiwi Olympians that turned up. Between the rowers and the various models floating around, it was a very tall room of people. I had 12cm heels on and still barely reached Mahe Drysdale's shoulder!
Parties and parking tickets aside ($65 for being 10 minutes late, ouch!), the hard work of fashion week really starts today, when sister labels Ruby and Liam open with their Autumn/Winter 2013 collection at noon. Their offsite show last year was one of the best of the week, so I can't wait to see what they come up with this year.
Today's line-up of eight shows includes some of my most-anticipated, with Cybele returning to show her 21st collection (she didn't show last year as she'd just had a baby) along with Hailwood, Julilette Hogan and Zambesi. I love pretty much everything Zambesi do (it appeals to my dark, Wellingtonian aesthetic) so am very excited to see what they show today. I'll be updating twice a day with all the details from the shows. Bring on the madness!
Twentyseven names and Ingrid Starnes joined forces to show at Australis House in Britomart this morning.
Slick as ever, their PR company Showroom 22 coaxed tired media and buyers out of bed early with promises of breakfast and coffee. It clearly worked as a capacity crowd turned up and the buzz ahead of the shows was palpable.
Wellington label twentyseven names opened proceedings with a collection that managed to be both sexy and super-cute, all at once. Styled by Dan Awha with knit beanies, printed socks and jelly sandals, designers Anjali Stewart and Rachel Easting have nailed an effortlessly cute and feminine look. Combining spots of all sizes with strawberry and heart prints, and a little stripe thrown in for good measure, they showed a great range of cute dresses, knit sweaters, buttoned-up blouses and adorable shorts. I particularly liked the pops of red accentuating the palette of mostly pastels, greys, powder blue and cream. And of course the trademark printed bowties to finish it off. Twentyseven names have a real strength for capturing that youthful, easily put-together girl who looks adorable in anything she puts on and this collection was no different.
Ingrid Starnes showed a much more mature collection, that was simple, but beautifully executed and extremely feminine. Inspired by a hunt, there was plenty to like. With tweed pants and jackets, luxe wool overcoats, silk blouses and dresses and cute knotted rope brooches, it was classy and elegant. The collection used a playful, almost-geometric print on both a pale blue and a mustard base. Most of the other colours featured pulled from this print, with forest green and burnt orange accentuating creams, camel, grey and gold. All in all, it was trademark Starnes - simple, elegant, feminine and flattering.
The New Generation show showcased four new talents - Dmonic Intent, Silence Was..., Daniel K and Arielle Mermin. Dmonic Intent showed a strong, sculptural collection, that was slightly avant garde at times. With bold use of a geometric print in yellow and burnt orange, sculptured shoulders and a lattice-work weaving, I was impressed. It had a definitive direction and didn't apologise for pushing the boundaries. There was a bandage dress that was particularly striking and very definitely editorial over commercial. Their collection would photograph extremely well and I imagine they have many an editorial shoot ahead of them.
Silence Was... showed a simple winter line, that used charcoal and bright orange check, shearling, velvet and fur. With clean lines and simple tailoring, it was winter at its easiest. Daniel K showed more clean lines, with geometric cut-out hemlines and panelling. There was a mix of fitted jackets and draped blouses and dresses. It was a very commercial collection with dark colours contrasted with pops of bright red detailing.
Mount Maunganui-based designer Arielle Mermin showed a very 70s-inspired range that had a cool, Californian ease to it. With great velvet and corduroy suiting and silk printed blouses, it was simple, but memorable. There were a couple of beautifully fitted tunic dresses that were extremely flattering and easy to wear. Again, it had a very strong direction that was well-edited and made sense. All in all, a great debut.
Wellington designer Deryn Schmidt debuted in the New Generation show last year and came back for her first solo show this afternoon. With exceptionally strong tailoring and beautiful classic shapes, it was a collection to covet. Many of the pieces were so timeless they would comfortably slot into any woman's wardrobe, of any age. With impeccable, structured woollen suits, strong silhouettes and bold colour choice, Schmidt put together a very strong show indeed. She trained under Andrea Moore and Helen Cherry, and the years of hard work learning the ropes really showed. The finishing was exquisite and there was a classic elegance to it all. She showed printed silk pants and matching blouses, along with a great range of warm woollen overcoats and velvet blazers. For a debut solo show I think Schmidt and her team can be very proud of what they've achieved.
September 4, 10.47pm: The final three shows of the day all ran late, but certainly ended the first full day on a good note. Hailwood showed a collection that seemed to be of two halves. One part lady-like dresses and cinched waists, the other knit dresses and cosy sweaters with a distinctly casual vibe.
There was an easy elegance to much of Hailwood's show. As for the more casual garments, I loved the leather elbow patches on the sweaters and cardigan. The sweaters had an awesome greco-roman horse motif, which was also used as a recurring print on skirts and a full-length dress. Hailwood also used leather as a feature (in pants, sleeves and bags), along with quilted jackets that gave a good sense of winter (something occasionally missing from these shows!). There were also really simple, but panelled, knit dresses which will be very popular for their effortless style, as will his collaboration shoes with Mi Piaci of course. They used the 5th Avenue heel on the runway and it looked great.
Juliette Hogan was next up and showed a fresh collection, packed with punch. I think Hogan has really developed a great sense of her aesthetic and where her strengths are in recent collections and that shows as each collection seems to get better and better. Autumn/winter next year will feature dark orange lace and wool, sand-coloured suiting, bright florals and sequins. Hogan has a great sense of prints and texture and uses them well. She showed a great floral suit, quilted jacket and an amazing black fur jacket, that looked extremely sumptuous - just as winter should be. The collection had a very lady-like sensibility, without being dowdy or dated. It was crisp, modern and feminine. All in all, it was a cohesive, well-thought-out collection that really impressed.
Zambesi. Ahhh Zambesi. I think from now on I will refer to them as Zambesi, masters of fashion week. They were one of my personal stand-outs last year and it would seem this year will be no different. The thing I really love about Zambesi is the Findlays have their aesthetic and silhouette and they stick to it. They don't care what anyone else is doing, they just do what they're good at. And boy are they good! Their finishing is impeccable, their tailoring superb. They featured quirky details, such as over-sized domes and PVC stoles. Next winter's collection felt like a very natural continuation of last winter, with skinny pants in various fabrics, beautiful woollen boxy coats and removable collars. There was the Zambesi's trademark sequins, along with a surprising yellow and black check that only Zambesi could make work. They really did make it work though! There was also a smoking hot pair of pink check pants. Their collection was so mesmerising I kept forgetting to take notes, so taken was I with the finishing on each garment and the sheer awesomeness of the entire collection. They have set the bar extremely high for all the other shows yet to come. Yes, Zambesi definitely are masters of fashion week.
September 4, 4.45pm: Liam opened fashion week with a sophisticated, pared-back collection of wearable tailored pieces suitable for the office, along with beautifully fit sand-washed silk formal dresses. Highlights for me included effortless silk blouses and their trademark pantsuits. They also had tan leather and chain braces paired with skinny belts and a sleeveless tailored vest that brought a really masculine edge to an otherwise feminine collection.
I'm starting to think the Ruby girl doesn't believe in winter. They showed a very pale colour palette, lots of white with prints and pale peach, broken up with turquoise fur, stripes and metallic silver. There was a beautiful peach animal print used for both tops and pants, which I imagine will sell well. Again, there were a couple of great full-length formal dresses, but all with Ruby's signature sense of fun, styled with silver loafers and knit beanies.
Cybele's 21st collection was slick and featured her signature dark prints and floating silhouettes. She paired wide, clear PVC belts with tailored black dresses and gorgeous bags. There were a couple of stand-out prints for me - a bright blue inkblot-like print on the hem of a long, sheer dress, and the owl print, which had big eyes and was super-cute, but with just a hint of rock n roll.
Early on in the collection there was a beautifully draped charcoal cardigan that left me longing for winter! All in all, Cybele has me convinced that her draped, chiffon, printed tunics are the ideal dress and that every woman should have at least one Cybele piece.
Coop, while not techinically designed by Trelise Cooper, showed a collection that very clearly had Cooper's fingerprints all over it. Aimed at a younger market, it featured an amped-up garden print, giant peplums and, of course, plenty of sequins and beading. The collection was quite large and felt slightly disjointed in that there didn't seem to be any continuity of fabric choice, colour, or even garments. Some pieces were very wearable, in particular a cute, brocade-like bomber jacket, while others were not quite as commercial.
My highlight so far has to be the debut collection of Dunedin's Company of Strangers. It was a beautifully crafted and edited collection that showcased designer Sara Aspinall's eye for detail, skill in tailoring and ability to introduce colour in such a way that even the darkest wardrobe would be tempted. With plenty of panelling, both leather and chiffon, and sharp tailoring, it won me over in a heartbeat. There were beautifully finished cropped woollen motorcycle jackets in several colours, including fuschia, peach and black. I would like one of each! The zip detailing was perfection. Aspinall started out designing jewellery and bags, and those skills were evident here. There was a really cute yellow, leather backpack as well. It was definitely a very strong debut show and firmly places Company of Strangers as 'one to watch'.
Next up is Hailwood, Juliette Hogan and Zambesi, which pretty much guarantees the first full day of NZFW will finish on a high note.
September 4, 7.04am: Despite the rumours, rain and talk of rebellious designers showing in-season collections offsite in Ponsonby last week, New Zealand Fashion Week 2012 officially opened last night, with a fairly low-key party at the Viaduct Events Centre. NZFW director Pieter Stewart, Auckland mayor Len Brown and designer Trelise Cooper all spoke.
It was definitely a pared-back event compared to previous years, however the highlight had to be the group of Kiwi Olympians that turned up. Between the rowers and the various models floating around, it was a very tall room of people. I had 12cm heels on and still barely reached Mahe Drysdale's shoulder!
Parties and parking tickets aside ($65 for being 10 minutes late, ouch!), the hard work of fashion week really starts today, when sister labels Ruby and Liam open with their Autumn/Winter 2013 collection at noon. Their offsite show last year was one of the best of the week, so I can't wait to see what they come up with this year.
Today's line-up of eight shows includes some of my most-anticipated, with Cybele returning to show her 21st collection (she didn't show last year as she'd just had a baby) along with Hailwood, Julilette Hogan and Zambesi. I love pretty much everything Zambesi do (it appeals to my dark, Wellingtonian aesthetic) so am very excited to see what they show today. I'll be updating twice a day with all the details from the shows. Bring on the madness!
Tuesday, September 4, 2012
Fashion chain Ojay folds
Fashion chain Ojay folds
Lowe Lippmann accountancy firm partners David Coyne and Gideon Rathner were both appointed joint administrators on Friday.
“I can confirm I was appointed joint administrator on Friday 31st August,” Mr Coyne said today.
He would not comment further.
The Melbourne-based fashion chain, which has been operating since 1976, has 22 stores in Victoria, NSW, Queensland and Western Australia.
Australian Retailers Association president Russell Zimmerman said he hopes the administrators will be able to save the women's clothing store.
“One would have to assume there will some store closures and staff losses,” he said.
“One is not overly surprised Ojay has gone (under) purely because the sector is under pressure.”
Australian retail spending fell 0.8 per cent in July, according to data released by the Australian Bureau of Statistics on Monday.
Mr Zimmerman said rising tenancy rents and weekend penalty rates had put pressure on retailers.
Lowe Lippmann accountancy firm partners David Coyne and Gideon Rathner were both appointed joint administrators on Friday.
“I can confirm I was appointed joint administrator on Friday 31st August,” Mr Coyne said today.
He would not comment further.
The Melbourne-based fashion chain, which has been operating since 1976, has 22 stores in Victoria, NSW, Queensland and Western Australia.
Australian Retailers Association president Russell Zimmerman said he hopes the administrators will be able to save the women's clothing store.
“One would have to assume there will some store closures and staff losses,” he said.
“One is not overly surprised Ojay has gone (under) purely because the sector is under pressure.”
Australian retail spending fell 0.8 per cent in July, according to data released by the Australian Bureau of Statistics on Monday.
Mr Zimmerman said rising tenancy rents and weekend penalty rates had put pressure on retailers.
Monday, September 3, 2012
Iraqi fashion police up in arms against ‘skimpy’ clothes
Iraqi fashion police up in arms against ‘skimpy’ clothes
For much of Iraq’s youth, sporting blingy makeup, slicked-up hair and skintight jeans is just part of living the teenage dream. But for their elders, it’s a nightmare.
A new culture rift is emerging in Iraq, as young women replace shapeless cover-ups with ankle-baring skirts and tight blouses, while men strut around in revealing slacks and spiky haircuts. The relatively skimpy styles have prompted Islamic clerics in at least two Iraqi cities to mobilize the “fashion police” in the name of protecting religious values.
“I see the way they (police) look at me — they don’t like it,” said Mayada Hamid, 32, wearing a pink leopard-print headscarf with jeans, a blue blouse and lots of sparkly eyeliner Sunday while shopping at the famous gold market in the northern Baghdad neighborhood of Kazimiyah.
She rolled her eyes. “It’s just suppression.” So far, though, there are no reports of the police actually taking action.
This is a conflict playing out across the Arab world, where conservative Islamic societies grapple with the effects of Western influence, especially the most obvious — the way their young choose to dress.
The violations of old Iraqi norms have grown especially egregious, religious officials say, since the Aug. 20 end of Ramadan, Islam’s holy month. In the last two weeks, posters and banners have been hanging along the streets of Kazimiyah, sternly reminding women to wear an abaya — a long, loose black cloak that covers the body from shoulders to feet.
A similar warning came from Diwaniyah, a Shiite city about 130 kilometers (80 miles) south of the capital, where some posters have painted a red X over pictures of women wearing pants. Other banners praise women who keep their hair fully covered beneath a headscarf.
Religious officials speculate young Iraqis got carried away in celebrating the end of Ramadan and now need to be reined in.
“We support personal freedoms, but there are places that have a special status,” said Sheik Mazin Saadi, a Shiite cleric from Kazimiyah, home to the double gold-domed shrine that is one of Shiite Islam’s holiest sites.
He said the area’s residents lobbied Baghdad’s local government to ban unveiled women from walking around the neighborhood, including its sprawling open-air market that attracts people from across Iraq.
“The women started to follow to this order,” Saadi said.
Government leaders in Baghdad say they’ve issued no such ban and ordered some of the warning posters removed. The rule “is only for the female visitors who go inside the shrine itself,” said Sabar al-Saadi, chairman of the Baghdad provincial council’s legal committee. “We think that wearing a veil for women in Iraq is a personal decision.”
Muslim women generally wear headscarves or veils in public out of modesty, and female worshippers are required to wear an abaya or other loose robes in shrines and mosques.
But over the last several years, following the 2003 U.S.-led invasion and the fall of dictator Saddam Hussein, Western styles have crept into Iraq’s fashion palate. Form-fitting clothing, stylish shoes and men’s edgy hairstyles are commonly seen on the street. Some younger women have even begun to forgo the hijab, or headscarf.
Their parents — and their parents’ parents — fear Western influence will drown out Iraq’s centuries of culture and respect for religion.
“We as Iraqis do not respect our traditions,” said Fadhil Jawad, 65, a gold seller near the Kazimiyah shrine. He estimated his profits have dropped by 10 percent in the last two weeks since authorities posted warnings about improper dress codes at the entrance to the market. He called the financial loss worth the lesson being imposed.
“Legs can be seen, there are low-cut shirts,” Jawad lamented. “And all, very, very tight. I think these Iraqis who are wearing these things have come back from Syria, Dubai and Egypt. They probably spent too much time in nightclubs. The families in Kazimiyah are conservative. These young people — nobody can control them. They should be given freedoms, but they should know their limits.”
Several young adults strolling the Kazimiyah gold market on Sunday accused the religious class of trying to pull Iraq back to the dark ages, a sentiment that human rights activist Hana Adwar echoed.
“It is an aggression on the rights of not only religious minorities, but also on secular Muslim women who do not want to wear veils,” said Adwar, head of the Baghdad-based Iraqi Hope Association.
Men, too, have been targeted in the fashion flap: Edgy haircuts, tattoos and body piercings have angered religious authorities. But Hassan Mahdi, 22, said he does not care.
“No, hell no, nobody can tell me what to do,” said Mahdi, sporting a tight turquoise Adidas tracksuit and a trendy moptop hairdo at the Kazimiyah market.
So far, it appears, the fashion police have stopped short of taking any real steps. Guards at two security checkpoints in Kazimiyah said they have not been ordered to stop daring dressers from entering the market, and 17-year-old Ali Sayeed Abdullah said his slicked-up pompadour didn’t prevent him from going into the shrine. “Nobody objected,” he said. “But if there is a ban on this, I will change it,” referring to his hairstyle.
But some women have been handed tissues at Kazimiyah checkpoints and told to wipe off their makeup before entering the market, said resident Hakima Mahdi, 59.
“This is very good,” she said, smiling broadly, sheathed in a black cloak with an extra abaya covering her head. “It’s respect to the imam, respect to this holy place.”
For much of Iraq’s youth, sporting blingy makeup, slicked-up hair and skintight jeans is just part of living the teenage dream. But for their elders, it’s a nightmare.
A new culture rift is emerging in Iraq, as young women replace shapeless cover-ups with ankle-baring skirts and tight blouses, while men strut around in revealing slacks and spiky haircuts. The relatively skimpy styles have prompted Islamic clerics in at least two Iraqi cities to mobilize the “fashion police” in the name of protecting religious values.
“I see the way they (police) look at me — they don’t like it,” said Mayada Hamid, 32, wearing a pink leopard-print headscarf with jeans, a blue blouse and lots of sparkly eyeliner Sunday while shopping at the famous gold market in the northern Baghdad neighborhood of Kazimiyah.
She rolled her eyes. “It’s just suppression.” So far, though, there are no reports of the police actually taking action.
This is a conflict playing out across the Arab world, where conservative Islamic societies grapple with the effects of Western influence, especially the most obvious — the way their young choose to dress.
The violations of old Iraqi norms have grown especially egregious, religious officials say, since the Aug. 20 end of Ramadan, Islam’s holy month. In the last two weeks, posters and banners have been hanging along the streets of Kazimiyah, sternly reminding women to wear an abaya — a long, loose black cloak that covers the body from shoulders to feet.
A similar warning came from Diwaniyah, a Shiite city about 130 kilometers (80 miles) south of the capital, where some posters have painted a red X over pictures of women wearing pants. Other banners praise women who keep their hair fully covered beneath a headscarf.
Religious officials speculate young Iraqis got carried away in celebrating the end of Ramadan and now need to be reined in.
“We support personal freedoms, but there are places that have a special status,” said Sheik Mazin Saadi, a Shiite cleric from Kazimiyah, home to the double gold-domed shrine that is one of Shiite Islam’s holiest sites.
He said the area’s residents lobbied Baghdad’s local government to ban unveiled women from walking around the neighborhood, including its sprawling open-air market that attracts people from across Iraq.
“The women started to follow to this order,” Saadi said.
Government leaders in Baghdad say they’ve issued no such ban and ordered some of the warning posters removed. The rule “is only for the female visitors who go inside the shrine itself,” said Sabar al-Saadi, chairman of the Baghdad provincial council’s legal committee. “We think that wearing a veil for women in Iraq is a personal decision.”
Muslim women generally wear headscarves or veils in public out of modesty, and female worshippers are required to wear an abaya or other loose robes in shrines and mosques.
But over the last several years, following the 2003 U.S.-led invasion and the fall of dictator Saddam Hussein, Western styles have crept into Iraq’s fashion palate. Form-fitting clothing, stylish shoes and men’s edgy hairstyles are commonly seen on the street. Some younger women have even begun to forgo the hijab, or headscarf.
Their parents — and their parents’ parents — fear Western influence will drown out Iraq’s centuries of culture and respect for religion.
“We as Iraqis do not respect our traditions,” said Fadhil Jawad, 65, a gold seller near the Kazimiyah shrine. He estimated his profits have dropped by 10 percent in the last two weeks since authorities posted warnings about improper dress codes at the entrance to the market. He called the financial loss worth the lesson being imposed.
“Legs can be seen, there are low-cut shirts,” Jawad lamented. “And all, very, very tight. I think these Iraqis who are wearing these things have come back from Syria, Dubai and Egypt. They probably spent too much time in nightclubs. The families in Kazimiyah are conservative. These young people — nobody can control them. They should be given freedoms, but they should know their limits.”
Several young adults strolling the Kazimiyah gold market on Sunday accused the religious class of trying to pull Iraq back to the dark ages, a sentiment that human rights activist Hana Adwar echoed.
“It is an aggression on the rights of not only religious minorities, but also on secular Muslim women who do not want to wear veils,” said Adwar, head of the Baghdad-based Iraqi Hope Association.
Men, too, have been targeted in the fashion flap: Edgy haircuts, tattoos and body piercings have angered religious authorities. But Hassan Mahdi, 22, said he does not care.
“No, hell no, nobody can tell me what to do,” said Mahdi, sporting a tight turquoise Adidas tracksuit and a trendy moptop hairdo at the Kazimiyah market.
So far, it appears, the fashion police have stopped short of taking any real steps. Guards at two security checkpoints in Kazimiyah said they have not been ordered to stop daring dressers from entering the market, and 17-year-old Ali Sayeed Abdullah said his slicked-up pompadour didn’t prevent him from going into the shrine. “Nobody objected,” he said. “But if there is a ban on this, I will change it,” referring to his hairstyle.
But some women have been handed tissues at Kazimiyah checkpoints and told to wipe off their makeup before entering the market, said resident Hakima Mahdi, 59.
“This is very good,” she said, smiling broadly, sheathed in a black cloak with an extra abaya covering her head. “It’s respect to the imam, respect to this holy place.”
Saturday, September 1, 2012
Ann Romney’s fashion: tasteful, conservative, appropriate
Ann Romney’s fashion: tasteful, conservative, appropriate
Ann Romney’s tasteful, conservative and appropriate wardrobe largely reflects the image that she has carved for herself this week at the Republican National Convention. She wore dresses in bright red, pretty pink and, on Thursday, light blue — a gesture at reaching across the political aisle?
But she might have to go deeper into the White House — all the way into Michelle Obama’s closet — to find the outfits that will likely become the benchmark for a modern, stylish political wife.
“Ann Romney might have consciously or unconsciously taken a cue from Michelle. Maybe Ann, if she becomes first lady, can take more chances thanks to Michelle,” said Sharon Graubard, senior vice president and fashion director of Stylesight, a New York-based trend forecasting and analysis firm.
Chic sheaths and shirtdresses instead of sometimes matronly pantsuits or mid-calf skirtsuits? Obama largely made them acceptable and respectable, Graubard said. Same goes for bold printed fabrics and trend-right accessories, including the jeweled belt that Romney wore around her waist for with her Oscar de la Renta red, shiny shantung-silk dress for her big speech to the convention delegates Tuesday night in Tampa, Fla. As her husband accepted the GOP nomination, she looked on in a fitted dress with a banded waist, complemented by several bracelets and a big brooch.
“If you look at Ann Romney and Janna Ryan, it’s hard to look at any potential first lady and not think of the impact that Michelle Obama has had,” said Kate Betts, fashion editor and author of “Everyday Icon: Michelle Obama and the Power of Style.”
Not that Obama always gets it right. On Wednesday, while Condoleezza Rice took the stage in Tampa in a blush-colored satin suit, Obama appeared on “Late Night with David Letterman” in a black ensemble with a tank-style top and high-waist belt that the style blog on The Huffington Post called “peculiar.”
But, Betts said, “The only reason we’re talking about their fashion at the RNC at all is because of Michelle Obama. Otherwise, we hadn’t talked about ‘fashion’ in the White House since Nancy Reagan.”
Working women, in particular, can take the cue that it’s OK to have flair and still be taken seriously, experts agree.
Generally, however, Betts said, the fashion industry doesn’t pay much mind to political figures because they don’t take risks because they want to be approachable to the greatest possible number of people. Obama, however, embraced early on the idea of personal style — and it has rubbed off on Republicans and Democrats, she said.
“Ann Romney was dressing for herself and wearing what she felt comfortable in, and you can see that,” Betts said.
Romney’s four-digit de la Renta dress generated some chatter that she’s not living the life — or living within the budget — of an everywoman. She’s donned other expensive designer duds throughout the campaign. Obama has many top-tier, pricey clothes, too, but she makes a point, and so do the labels she’s wearing, to note that she embraces the idea of “high-low” dressing, taking a designer piece and mixing it with another from a mass retailer.
Janna Ryan, however, watched her husband speak at the convention in a $169 emerald-green sheath from Talbots, and the floral dress she wore the day Paul Ryan was introduced as Mitt Romney’s No. 2 came from Kohl’s Dana Buchman collection.
“I think the women at the Republican convention were being appropriate, and they looked exactly as one would expect them to look,” observed Fern Mallis, host of the SiriusXM satellite radio show “Fashion Insiders with Fern Mallis.”
Clothing, Mallis says, is an important choice in campaigns. Appearance certainly is a factor in forming first impressions and longer lasting opinions, she says.
So what does that leave style-watchers saying about Romney?
“Ann is doing it right,” said Stylesight’s Graubard, who calls it “an expensive suburban look.”She added: “She’s humanizing her husband, and she looks clean and friendly. Someone in our office said she looks like the Million-Dollar Mom.”
Ann Romney’s tasteful, conservative and appropriate wardrobe largely reflects the image that she has carved for herself this week at the Republican National Convention. She wore dresses in bright red, pretty pink and, on Thursday, light blue — a gesture at reaching across the political aisle?
But she might have to go deeper into the White House — all the way into Michelle Obama’s closet — to find the outfits that will likely become the benchmark for a modern, stylish political wife.
“Ann Romney might have consciously or unconsciously taken a cue from Michelle. Maybe Ann, if she becomes first lady, can take more chances thanks to Michelle,” said Sharon Graubard, senior vice president and fashion director of Stylesight, a New York-based trend forecasting and analysis firm.
Chic sheaths and shirtdresses instead of sometimes matronly pantsuits or mid-calf skirtsuits? Obama largely made them acceptable and respectable, Graubard said. Same goes for bold printed fabrics and trend-right accessories, including the jeweled belt that Romney wore around her waist for with her Oscar de la Renta red, shiny shantung-silk dress for her big speech to the convention delegates Tuesday night in Tampa, Fla. As her husband accepted the GOP nomination, she looked on in a fitted dress with a banded waist, complemented by several bracelets and a big brooch.
“If you look at Ann Romney and Janna Ryan, it’s hard to look at any potential first lady and not think of the impact that Michelle Obama has had,” said Kate Betts, fashion editor and author of “Everyday Icon: Michelle Obama and the Power of Style.”
Not that Obama always gets it right. On Wednesday, while Condoleezza Rice took the stage in Tampa in a blush-colored satin suit, Obama appeared on “Late Night with David Letterman” in a black ensemble with a tank-style top and high-waist belt that the style blog on The Huffington Post called “peculiar.”
But, Betts said, “The only reason we’re talking about their fashion at the RNC at all is because of Michelle Obama. Otherwise, we hadn’t talked about ‘fashion’ in the White House since Nancy Reagan.”
Working women, in particular, can take the cue that it’s OK to have flair and still be taken seriously, experts agree.
Generally, however, Betts said, the fashion industry doesn’t pay much mind to political figures because they don’t take risks because they want to be approachable to the greatest possible number of people. Obama, however, embraced early on the idea of personal style — and it has rubbed off on Republicans and Democrats, she said.
“Ann Romney was dressing for herself and wearing what she felt comfortable in, and you can see that,” Betts said.
Romney’s four-digit de la Renta dress generated some chatter that she’s not living the life — or living within the budget — of an everywoman. She’s donned other expensive designer duds throughout the campaign. Obama has many top-tier, pricey clothes, too, but she makes a point, and so do the labels she’s wearing, to note that she embraces the idea of “high-low” dressing, taking a designer piece and mixing it with another from a mass retailer.
Janna Ryan, however, watched her husband speak at the convention in a $169 emerald-green sheath from Talbots, and the floral dress she wore the day Paul Ryan was introduced as Mitt Romney’s No. 2 came from Kohl’s Dana Buchman collection.
“I think the women at the Republican convention were being appropriate, and they looked exactly as one would expect them to look,” observed Fern Mallis, host of the SiriusXM satellite radio show “Fashion Insiders with Fern Mallis.”
Clothing, Mallis says, is an important choice in campaigns. Appearance certainly is a factor in forming first impressions and longer lasting opinions, she says.
So what does that leave style-watchers saying about Romney?
“Ann is doing it right,” said Stylesight’s Graubard, who calls it “an expensive suburban look.”She added: “She’s humanizing her husband, and she looks clean and friendly. Someone in our office said she looks like the Million-Dollar Mom.”
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