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Florence Welch In Valentino Couture – 2011 Oscars

admin — Sun, 20 May 2012 14:36:10 +0000

Best British Export Award
We usually see Florence Welch at music awards, but as one of the performers at the 2011 Oscars she was also walked the red carpet.

She opted to wear a Valentino Spring 2011 Couture maxi dress.

I’m glad she stayed true to her style by wearing this yellow long sleeve dress with pleated organza and chantilly lace. I love the romantic nature of this look and the flowing tiered skirt.

We are well used to seeing Florence wear this type of colour, so in future I’d love to see her be more daring with colours as she is with her style.

Credit: Style.com & Fame Pictures

Salvatore Ferragamo Spring 2011

admin — Sun, 20 May 2012 11:48:43 +0000

Salvatore Ferragamo’s Spring 2011 collection was relaxed collection embracing minimalist luxury.

Nothing too dramatic, nor over-the-top nor sparkly. Just relaxed comfortable pieces which wouldn’t be out of place on a safari vacation.

Most of the pieces were loose allowing plenty of movement on the runway.

Despite seeing so much colour in Milan I did love the muted colours which dominated this collection.

Nude, biscuit, caramel and white was presented alongside eggplant, teal, olive, turquoise and one light denim look.

Start hitting the gym now because you’ll need washboard abs for many of the cropped tops.

We also saw maxi dresses, crochet swimsuits, safari jackets, bikinis, pant suits, mini dresses, peasant dresses and evening gowns.

Luxe head-scarves were worn with almost every look.

Other key accessories include leather bags, croc bags, crochet bags, belts, strappy sandals with gold details and sunglasses.

Front Row: Claudia Schiffer, Jada Pinkett-Smith and Carina Lau

Favourites: Lemon pant suit with cropped knit top and eggplant maxi dress

Who I See Wearing This Collection: Angelina Jolie, Megan Fox, Dree Hemingway, Carina Lau, Poppy Delevigne, Claudia Schiffer and Emmy Rossum

The View From The DJ Booth

admin — Sat, 19 May 2012 18:37:36 +0000

Industry legend Michel Gaubert is one of the go-to DJs for the fashion set, spinning tunes for Chanel, Balenciaga, Proenza Schouler, Gucci, and more. (He counted down his Top 10 runway soundtracks of the decade 2001-2011 here.) He was in the booth for Chanel’s Paris/Bombay Métiers d’Art show, and in between spinning tunes—including George Harrison’s “My Sweet Lord,” John Lennon’s “Instant Karma!,” and David Lynch’s “Good Day Today” (Chanel shared his full playlist here)—he managed to record the show from his DJ’s-eye-view. Gaubert shared the video, below, and a few choice pics with Hintmag.

—admin

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Changing Of The Guard At Issey Miyake

admin — Sat, 19 May 2012 15:50:27 +0000

After five years at the helm of Issey Miyake, Dai Fujiwara stepped down after the Fall ‘11 men’s and women’s collections. The Japanese label announced today who would be stepping into his sizable shoes. (Tim Blanks called Fujiwara’s work for the label “an education…in the gentlest way” and his time at the brand “a pioneering moment in fashion, where thought and deed were united in an inspiringly humanist package.”)Yoshiyuki Miyamae, a longtime member of the Miyake Design Studio, will take over womenswear. Miyamae (right, with Fujiwara) joined Miyake in 2001, as part of Miyake’s own A-POC Project; since 2006, he has worked under Fujiwara on the IM collections. Miyamae’s first collection will be shown in Paris this October.The men’s collection will now be known as Issey Miyake Men and designed by a team that, according to the company, combines “young talents and experienced designers and technicians.” The new men’s collection will be shown in Paris this June.

Photo: Marcio Madeira / FirstView.com

—admin

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Jaeger-LeCoultre Diamond Jubilee Pageant Reverso

admin — Fri, 18 May 2012 12:29:04 +0000

Her Majesty Queen Elizabeth II celebrates sixty years on the Throne this year. To mark the occasion Jaeger-LeCoultre – the Official Timekeeper of the Diamond Jubilee Pageant – created a special limited engraved version of its iconic Reverso watch. The watch bears the insignia of the Diamond Jubilee Pageant replica replica graham along with a commemorative message.

The watch is truly exclusive replica watches round watches manufacturer issued in a limited edition of only 6 pieces for men and for women. It is crafted in noble pink gold and mounted on a black alligator strap. Women’s version of the Diamond Jubilee Pageant Reverso has two rows of sparkling white diamonds surrounding the square dial. The dial is decorated with delicate sunray guilloche and twelve applied Arabic numerals. Men’s version of this watch is very elegant and sober equipped with a plain white dial graced with arrow-shaped indexes and two Arabic numerals.

The very first Reverso watch was made in India in 1931. The watch was designed to provide English polo players nearly unbreakable watch. This was accomplished by special case-design which is able to flip around to an all metal backing which protects the timepiece. Today the Reverso watches have evolved and the back of their rotating cases is often a space for expression of special messages. The Diamond Jubilee Pageant Reverso is engraved with the logo of Diamond Jubilee Pageant along with inscription Windsor Castle 10-13th May 2012 which is a place and date where this major event is taking place.

DJ-Turned-Designer Mandy Coon Prepares Edgy Debut

admin — Thu, 17 May 2012 19:00:19 +0000

New York nightlifers may know Mandy Coon as one half of the DJ duo Two Mandy DJs. Those who meet the pixie-ish Coon during daytime hours, however, have probably figured out that she has a foothold in the fashion world as well; among other gigs, she’s played design helpmeet to Camilla Stærk. Now Coon is going solo—style-wise, at least. Coon is launching a new label for Spring ‘10 and unveiling the eponymous line at a presentation at New York fashion week. “I know you’re not supposed to say this, but honestly, I’m making the clothes I want to wear,” she explains. Fine by us, inasmuch as the clothes Coon is stitching up include geometric layered jersey jumpsuits and tops, a zipped fitted dress that converts into a jacket and skirt, and sculptural dresses ruffled in distressed leather. “It’s not a soft ruffle,” she notes. “I was looking at pictures of crystal when I started the collection, and I’m trying to achieve that same kind of jagged quality.” Her own wardrobe preferences aside, Coon has made the odd concession to the girl who’s not quite ready to wear an abbreviated, tiger-striped smock that floats off the body like meringue. “That’s a lot of volume for an animal print,” she says with a laugh. “Which I’m into, but maybe some other people would rather have an oversized tee in that print. Anyway,” Coon adds, “I’d wear that, too.”

—Maya Singer

Photo: Courtesy of Mandy Coon

—jconnors

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Wedding dress exhibition in Bendigo | The White Wedding Dress

admin — Thu, 17 May 2012 09:19:06 +0000

Yohji Yamamoto’s bride of 1998 turns heads. Photo: AP

From busy and bejewelled meringues to stripped-down stunners, the bride brings with her a frisson of excitement. Weighed down by somethings old, new, borrowed and blue, the history of marital fashion is heavy with symbolism. As the ultimate wedding party comes to Bendigo, an enduring fairytale is set in train.

THERE is a moment on every bride’s wedding day when she slips out of her old life and into The Dress. The moment’s symbolism is fleeting, dissolving into the fuss and stress of a hundred more pressing moments as she is laced, buttoned, coiffed, fluffed and perfumed by a cluster of maids and women relatives but, one day, perhaps years after she feels that slither and scratch of a new life’s fabric moving across her skin, the weight of its symbolism will return. She will look back and see her wedding dress as a potent marker in her life; who she was, how and where she fitted in to that place and that time. In broad terms, her dress will also be a sartorial snapshot of her demographic and culture. And it will be as eloquent whether she chose an extravagant meringue-puff of sugar-white silk or a slithery column of Hollywood-bombshell ivory satin.

Every “gown”, whatever its composition, heaves with the history of its bride and her time. It is our general fascination with that history behind the exhibition, The White Wedding Dress: Two Hundred Years of Wedding Fashions.

It was curated from London’s Victoria and Albert Museum but will have its world premiere at the Bendigo Art Gallery on August1 with a specially curated local component. The Australian Aesthetic will include historic gowns and several contemporary designs by couturiers Toni Maticevski, Martin Grant, Gwendolynne Burkin, Susan Dimasi and Chantal McDonald of MaterialByProduct, Akira Isogawa, and Anna Plunkett and Luke Sales of Romance Was Born. The core exhibition will travel on to NewZealand in December and back for a home-town debut at the V&A in 2013. More than 40 complete bridal ensembles were shipped from Britain on upright, dressed mannequins.

A selection of veils, shoes, purses and wedding paraphernalia, including grooms’ outfits, dating to the 19th century, will be presented with them. “It’s international in its scope,” says the London-based curator of textiles and fashion at the V&A, Edwina Ehrman. “But also, very British in its focus.”

Advertisement: Story continues below Click to play video

Take a fascinating journey into the history of the white wedding dress, on show at Bendigo Art Gallery until November 6. Produced by Louisa Hearn.

The exhibition follows a distinctly Anglo-Saxon style and timeline and includes many gowns that are not white. British designer Vivienne Westwood’s voluminous shot-silk ballgown for burlesque star Dita Von Teese’s marriage to rock-goth Marilyn Manson in 2005 glistens purple with flashes of vivid pink. Rock star Gwen Stefani’s gown by John Galliano is closer to classic; white from head to hips but has a dramatic ombre (light to dark) lake of pink bleeding up from its puddled satin train towards the waist.

The White Wedding Dress is firmly in the league of Bendigo Art Gallery’s other record-breaking V&A fashion event, The Golden Age of Couture: Paris and London 1947-57 in 2008-09. The difference is this show’s unique distillation of real women’s tastes, hopes, personality and reality.

“We did a lot of research,” Ehrman says, “to find out actually who these women were; where they were from, where they married, what religion, descriptions of their wedding, even who threw flowers.” The research by Ehrman’s and Bendigo Art Gallery’s staff will be mounted as rare photographs, text plates and looped newsreels of such whimsical blips in history as English socialite Margaret Whigham’s 1933 London wedding to the Irish American, Charles Sweeny. The divine Miss Whigham, later the notorious divorcee the Duchess of Argyll, wore a draped and clingy bell-sleeved cream satin gown by the British couturier, Norman Hartnell. It was spangled with star-like embroidered flowers and a four-metre train dragged elegantly behind her.

One of Dita Von Teese’s wedding dress designs.

By the 1930s, white was the popular choice among brides but, contrary to belief, it wasn’t an ancient custom. As a bridal colour, white only began to firm into popular tradition after Queen Victoria’s marriage to Prince Albert in 1840.
She triggered a high-fashion fad with her off-white silk satin and lace gown and sheer lace veil — a rarity at the time — fixed in place with a circlet of orange blossom. Incidentally, it was these flowers, not the white silk, that were symbolically linked to chastity. Until the 20th century, bridal white was more about prestige than purity.

“White was a luxury among wealthy and aristocratic women,” Ehrman says. Its sheer impracticality, the difficulty and expense of keeping it clean in a grubby, soot-choked pre-industrial age by ladies’ maids and laundresses, contributed to its air of divinity and divided weddings along class lines.

“If you were working-class or middle-class,” says the senior curator, programs and access at the Bendigo Art Gallery, Tansy Curtin, “you just couldn’t afford white at all. You needed something that was special for the occasion but not so opulent you couldn’t wear it again.”

Another of Dita Von Teese’s wedding dress designs.

Among the exhibition’s most poignant exhibits are the wedding gowns of working-class women from 200 years ago. Floral printed and embroidered washable cottons would “do” for Sunday best years after the nuptials. As milestones including pregnancies swelled the figure, there is also evidence of one bride’s careful, fairy-stitched handiwork to ease the bodice and keep thrifty pace with the changes.

Curtin is supervising a crew of curators and assistants from the Bendigo Art Gallery and the V&A as they unpack and mount the precious cargo, as well as historic gowns and accessories from the National Gallery of Victoria, National Gallery of Australia, Powerhouse Museum and private collections. She is also keenly interested in the sociocultural and political agendas stitched into the two centuries of bridal fashion in her care.

“Particularly in the 20thcentury, the idea of weddings changed dramatically,” she says. “Association with notions of purity and the giving of a virginal woman by one man to another were based on the control of female sexuality.” It’s an idea that see-sawed, sometimes quite violently, in and out of fashion for much of the 20th century. Several dresses from the 1960s and 1970s, for example, including a patchworked denim wedding gown worn by bride Jane Eggleston in 1975, reflect women’s joyous sense of liberation as they burned bras, shucked off patriarchal shackles and subverted the traditions spun around bridal regalia.

“A similar thing happened in the 1920s,” Curtin says. “We think of the ’20s as a time of great freedom and expression for artists and designers and that was true for women as well.”
The decade’s delicately draped, dropped-waist wedding dresses were often worn without corsetry and with the bride’s breasts flattened, effectively denying the female form underneath. Curtin surmises this was an early tilt at gender equality.

“By taking away the elements that make a woman a woman, [fashion] effectively took the sex away and that created a gender-neutral idea that said, ‘There’s an equality here that’s not being recognised.”‘

By the end of World War II and its influx of soldiers returning to civilian life and independent women, wedding fashions changed dramatically again. Christian Dior’s legendary “New Look” of 1947 — abhorred by Coco Chanel, who had “liberated” the figure with elegantly draped jersey co-ordinates and loose tailoring — reasserted control, with corsetry that pinched the waist, exaggerated the hips, was best worn with high heels and got brides thinking again about a wife’s “right and proper place”.

“It was a beautiful, feminine look but also a very idealised, constructed idea of the female form,” Curtin says. “The idea seemed to be, ‘We’ve gone too far with this liberation, we have to pull them [women] back’.”

Through the 1960s and ’70s, bridal fashions’ historic cycles of control and release spun on until, by the 1980s, two decades of embedded feminism and an economic boom washed up a generation of savvy, slightly older, career-oriented brides who felt free enough to cherry-pick their own combinations of wedding traditions for the fun and fashion of it all.

Designer Linda Britten’s fairytale gowns with their fitted bodice and foofed silk tulle skirts were top of their wish list. “I was accessible and on trend,” Britten says simply. “And, I was the first. Before we opened a store [on Toorak Road in South Yarra], if a bride wanted something really fashionable, she had to get a dressmaker and have it made.”

Britten plugged into a craving for modern, off-the-rack wedding dresses and as copycat bridal shops proliferated in her wake, the commercialisation of wedding gowns was well under way by the mid-1980s. “They’d line up out the door and down the road to get into that little shop,” Britten says.

A classic Linda Britten gown with boned bodice and full skirt caught up in a Cinderella-esque swag at the front, worn in 1996 by the current chairman of the Melbourne Fashion Festival, Laura Anderson, is in The Australian Aesthetic. It represents a peak moment in recent bridal history. “By the 1990s, we’d moved from fitted bodices with no bones to boned corsets that sculpted the figure,” Britten says. “That’s what transformed the ’80s into the ’90s; hard sculpting.”

In the two decades since, brides clung to the va-va-voom curves corsetry affords but Britten’s ballerina gowns also segued into even more figure-flattering bias-cut and fish-tailed silk skirts and “goddess” gowns. It was a logical response to an intensely body-conscious culture and echoed the similar switch in society and fashion during the 1920s.

Less logical is women’s firm allegiance to bridal traditions. Despite freedom, gender equality and fierce displays of individualism in their personal lives, most brides still opt for a long white gown and veil. They could marry in blue, or magenta or chartreuse but, bar a handful of rebels, they don’t.

It’s left to fashion’s wildest inventors to challenge the status quo. At Paris Haute Couture week, for example, designers experiment with concepts of beauty and raise sociopolitical side issues around marriage. Jean Paul Gaultier’s bride of 2001, for example, questioned the order of modern women’s life milestones with a gown of ecclesiastical simplicity, accessorised with a naked baby cradled in her arms.

Yohji Yamamoto’s bride of 1998 raised comment about the competitive nature and ostentatious waste of weddings in a crinoline wide enough to accommodate a large family underneath and silk trimmed “hat” hoisted down the catwalk, hovering above her head, by four men.

In 2009, Vivienne Westwood posed the bride of the future — beholden to increasing sexist representations of women in the media and a cultural return to submissive roles — in a bandage-like bikini, her geisha-whitened face partly hidden in a cloud of tulle. Back in 1993, Christian Lacroix was also among the first to question the modern myth of chastity in marriage with an exotic Spanish madonna in thickly embroidered black and cream duchess satin gown that he dubbed “Qui a le droit?” or “Who has the right?”

Beyond Paris, political sentiment is rarely woven into bridal silk but Melbourne couturiers Susan Dimasi and Chantal McDonald of MaterialByProduct suspect this will change, particularly among older brides. The designers’ elegantly draped white silk crepe dress with sashed waistline, commissioned in 2008 by bride Erin Santamaria, is included in The Australian Aesthetic.

“It’s actually a single length of cloth, cut precisely to generate minimum waste,” Dimasi says. “After the wedding, it could be used as a curtain.”

Reuse and recycling are elemental to MaterialByProduct’s meticulously handmade garments, however most brides flocking to the modern wedding industry couldn’t be less interested in political sub-texts. Their willingness to pay a year’s salary for a single day is better explained by a soup of issues including celebrity culture, romantic fantasies and competitive capitalism. “The dress is still every girl’s dream,” says Anna Plunkett, the partner of Luke Sales in the off-beat Romance Was Born. Their delicately feathered gown, based on the kittenish dragon character in the children’s film The NeverEnding Story, is in The Australian Aesthetic and captures the mix of whimsy and romance tightly laced with tradition that inspires modern brides.

“The dress represents love and that underlying thing they’ve dreamt about since they were little,” says the unwed Plunkett, who is aware she’s in the marriageable demographic. “The older I get, the more it means to me and that traditional thing is there; I feel I don’t need to rebel any more. Yes, I would wear a glamorous, beautiful dress and have that big party with all your favourite people in the one spot … that’s what it’s all about, isn’t it?”

The White Wedding Dress: 200 Years of Wedding Fashions is at the Bendigo Art Gallery from August 1 to November 6.

Who Wore Dolce & Gabbana Better? Blake Lively, Beyonce Knowles or Danielle Lineker

admin — Wed, 16 May 2012 17:25:31 +0000

Blake Lively upstaged Rachel McAdams at her “Sherlock Holmes” premiere in New York last year by wearing this sexy Dolce & Gabbana lace bustier dress.

This dress was made for someone like Blake who isn’t afraid to show off her assets.

The same very much applies to Beyonce, who wore the same dress recently to when she performed on stage with Alicia Keys at New York’s Madison Square Gardens.

Whilst Blake opted for glitter gold Louboutin Pigalle’s, Bey wore Giuseppe Zanotti gladiator studded heels.

Danielle Lineker (WAG of football legend Gary Lineker) added some flavour to the “Walkers Campaign Launch” this week wearing the same dress.

She paired her dress with nude Christian Louboutin slingbacks and carried a black clutch.

I think all 3 look absolutely fabulous, but Blake OWNED this look so she wins for me.

Credit: Style.com, Rex & London Features

Fêting Ferretti

admin — Wed, 16 May 2012 11:48:15 +0000

Following in the footsteps of Karl Lagerfeld and Giambattista Valli, Alberta Ferretti unveiled her limited-edition collection for Macy’s yesterday. To celebrate the launch, the Italian designer was on hand at the Herald Square store last night, where the likes of Glenda Bailey, Wendi Murdoch, and Mickey Boardman turned out to support her.“It’s difficult because for a big designer, it’s important that the fit and quality is different from your normal low-price dress,” Ferretti told Style.com. “I’m really happy about the realization of the collection. They made them young, modern, fresh—not cheaply made. Maybe I will buy too, why not?” she added with a smile.And shoppers liked what they saw in the collection ($49 to $119) of bright summer dresses and light knits, with the long white maxi dress being a crowd favorite. (At left, model Shu Pei Qin wears one of the collection’s floral peasant dresses.) “I would probably buy this and wear it every single day of summer—I’ve just got to have it for the Hamptons,” one shopper said. Will there be more mass Ferretti on the horizon? The designer remained tight-lipped, saying, “We did the emma-watson/”>Eco collaboration with Emma Watson and now this, so we are exploring other collaborations at this point.”

—Kristin Studeman

Photo: Mike Coppola / Wireimage / Courtesy of Alberta Ferretti

—Kristin Studeman

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jasmin shokrian’s best belts

admin — Tue, 15 May 2012 11:10:22 +0000

Jasmin Shokrian is best known for her cerebral draping and thoughtful way with a frock. But she’s also an ace accessories designer, as evidenced by a trio of belts she created a few seasons back in collaboration with artist Annie Costello and that her fans have been clamoring for ever since. If you missed out on nabbing one the first time around, you’re in luck: The Los Angeles-based designer is reissuing a limited number of the leather waist and hip cinchers. They’ll be available at Louis Boston, Maryam Nassirzadeh on the Lower East Side, and Mameg in L.A. For more information, see www.jasminshokrian.com.