Friday, 19 October 2012

THE WEEK IN FASHION: OCTOBER 15th- 19th

Posted by Bethan Holt, Fashion Junior at Large

I'm taking a day off today to catch up on life and sleep after fashion weeks and getting lots of projects done in the aftermath. Next week, I'll be at-larging it NYC for the launch of H&M's much anticipated collaboration with Maison Martin Margiela. In the very excited meantime, here's a quick rundown of the ten fashion news stories you need to catch up on from this week.... Happy Weekend!

1. Chanel saves jobs in Scotland as King Karl declares his next show will take place in bonnie Edinburgh

2. Alexa Chung hits back at weight critics

3. Not much love for Brad Pitt's Chanel No.5 ad



4. White shirts and jeans on Vogue Paris cover- Lazy or fabulous?

Image from disneyrollergirl.net
5. Iris Apfel covers Dazed and Confused in Comme des Garcons

Image from Standard.co.uk
6. Michelle Obama and Ann Romney are pretty in pink 

7. Milan throws out McDonalds in favour of Prada, cue anger and chaos

8. Winner of The Dorchester Prize is announced- Congratulations Augustin Teboul



9. Sneak a preview peek of Slim Aarons' new book La Dolce Vita 

Don't we all want to be right here, right now? Image from nymag.com
10. Tim Walker Storyteller exhibition opens at Somerset House

Image from standard.co.uk

Thursday, 18 October 2012

HOLLYWOOD COSTUME LAUNCHES AT THE V&A

Posted by Bethan Holt, Fashion Junior at Large

"There is no fashion in film" declared Deborah Landis, curator of the V&A's new Hollywood Costume exhibition at yesterday's launch. With that statement, I may as well stop writing now. Except that there is film in fashion because some of film's greatest costumes will also go down in history as being distinctly indicative of the fashion of their time, or certainly of a particular look that the film itself may have spurned. I loved the quote from Walter Plunkett, costume director on the 1936 film Mary of Scotland. He said that after filming "all the Elizabethan ruffs were missing from the wardrobe department. The wardrobe girls and actresses had taken them home to wear with black dresses because of the flattering effect on the face." In a similar way, I think we can all own up to having emulated a favourite film character, whether that's doing tartan skirt suits like Cher in Clueless or thinking it might be fun to wear a frilly dress with Converse like Kirsten Dunst as Marie Antoinette in Sophia Coppola's film.


See THAT dress from Atonement as well as Keira's costume from just-released Anna Karenina. Jacqueline Durran was Costume Designer on both films 

The fact that we so often want to dress like someone we see in a film is the same reason that we look twice at someone in the street and sort of want to be them. That doesn't come from fashion as such, but from how that person is wearing their outfit. Landis commented yesterday that "costume is not about clothes, but about creating authentic characters". Obviously, in a film we get to know those characters rather better than we do a girl or guy walking down the street but I think it's still the same thing which is probably why- as I realised looking around the exhibition yesterday- costume design is such an incredibly important, quite unsung job in the scheme of film making.


Fight Club costumes at the V&A
Hollywood Costume is a brilliant exhibition which is so much more than "frocks on dummies", as Landis's co-curator Sir Christopher Frayling put it. Visitors are subtly guided through three "acts", during which we hear from designers themselves as well as actors and directors. There are some great installations which focus on particular relationships which the costuming process engenders. For instance, there are filmed conversations between famous directors and their costume director collaborators like Alfred Hitchcock and Edith Head as they reflect on their partnership. Award-winning costume designer Ann Roth comments "People always say to me, oh! A costume designer, what fun! And I really don't remember having fun in my life" which emphasises very succinctly Then further on,  we see Meryl Streep discuss the effect which costume has on her ability to take on her character. It's all incredibly fascinating and immersive, dissecting the role of costume in shaping and signposting characters.

Judy Garland's magic ruby slippers

The last room is stunning- I won't spoil anything for you because I really think you should go. But let me just tell you that my heart skipped a little bit when I saw the final exhibit, the original ruby slippers from Judy Garland's Wizard of Oz costume. Those shoes still inspire so many people today, whether that's because of how they look or what they mean- it's probably both of those things, actually. But that moment demonstrated to me the power of film costume and all the happier to have learnt a bit more about it.

Hollywood Costume is on at the V&A from Saturday until 27th January 2013

Wednesday, 17 October 2012

THE OTHER SIDE OF FASHION WEEK: BUYING WITH BRIX IN PARIS

Posted by Bethan Holt, Fashion Junior at Large

You probably know Brix Smith-Start as the former rock star who is now a firm fixture on the front row at London Fashion Week, usually with her her pugs Gladys and Pixie tucked under her arm. You may also be aware that Brix co-owns a fabulous designer boutique called Start in Shoreditch with her husband, Phillip. That means that, despite appearances, fashion month is not all fun and front-row games for Brix but she spends a lot of time with her womenswear buyer Lizzie travelling around the key cities to choose new stock for her store. This season, I went along to a couple of buying appointments with the Start ladies while they were in Paris to get a little insight into what the other side of fashion week is like. I see plenty of buyers doing the rounds while I'm at showrooms but you never know quite what goes on. As a journalist, I'm vying for the big picture- what the look and feel of the collection is, as well as key pieces which are usually the "wow" catwalk creations. The crossover with the buyers comes from working out what it is we will all want to wear, what will be the key pieces and what works with the trends. As Brix and Lizzie explained though, it gets more even more specific than that for them because it's about knowing how their customer will want to interpret the latest looks as well as investing in pieces which will still be beautiful and wearable 5 years later.

Brix and Lizzie in Paris 
Our first stop was the mammoth Comme des Garcons showrooms in Place Vendome. Lizzie and Brix wanted to buy more of the brand's accessories and perfumes for Christmas and beyond, "they're such great price points for something which is so special and will really last, you'd love that as a gift wouldn't you?" Brix enthuses as we look at the brightly coloured purses and clutches. Errr, yes! Adrian Joffe, who is married to CDG designer Rei Kawakubo, greets Brix warmly while Lizzie goes through some paperwork with a member of the sales team. We quickly spy a shelf of CDG's famous wallets which have been updated with a spacey star print. Lizzie and Brix have seen them before but are still really excited about them. To demonstrate just how important these are, Brix removes her brogue and sock to show me her star print pedicure which she asked for the week before. "This is collective consciousness" she tells me, "it came into my head and now it is on these wallets which I'm going to sell in my shop. That's a really important thing to be turned on to, and you either have it or you don't".


CDG star prints + Brix's pedicure = Collective Consciousness

Lizzie vies for the fragrance shelves where she picks out some giant bottles of cologne which she says will be good for Start's men's christmas offering. There are also beautiful, pebble like limited edition fragrance bottles on display which Lizzie and Brix immediately agree on- "they're so special and you would keep them forever". Some of the number crunching which is a big part of buying comes into play as Lizzie works out which styles and colourways of all the things they love will realistically work in store. There are spongy, spotted gadget cases and metallic zipped leather wallets which all look great, but Start can't have them all. Lizzie explains that she decides there and then what she wants but will send through the quantities she wants to order a few days later. 



Keep forever Comme des Garcons art perfume bottles

After we've finished at CDG, Brix and Lizzie explain a bit more to me about how they buy a season. "You have three stages now to each season" Lizzie tells me, "Maison Martin Margiela do a pre-pre-collection so that's where you start to get the first ideas. At the show, the ideas are very directional. There might be a white shirt with huge, voluminous arms and shoulders. It's amazing, but we need to find a white shirt with a gentle version of that". Brix adds, "it's about something with a breath of Margiela magic but not the whole shebang". Later, trends begin to emerge which Start want to buy into but "we need to work out who is doing it best for the best price" Lizzie says. They also stress the importance of perceived value, "If I'm spending £700 on a dress it must look like it cost that much" says  Brix, "the absolute best thing, which makes me so so happy is when a woman spends that on a dress in my shop and then comes up to me 5 years later and is like 'I love this dress and it is still making me happy.' "


Brix's ultimate test for a product is the "fashiongasm". That is, if something fills her with an explosive, must-have sense of need then she knows she's onto a hit. FYI, Brix's recent fashiongasms have come from NEWGEN shoe designer Sophia Webster and the leather tote bags of Sophie Hulme. I think she has another when we move on to Alexander Wang's showroom. While we're perusing the shoe offering, Brix spies a pair of  black ankle boots which have a cutaway heel, lined in rose gold. She already has a pair but is pleased to see them again and describes wearing them as "having angels nibbling at my heels"- I'm not sure anyone could have put it better. 


Wang is more chaotic than Comme and we have to wait a while before a showroom representative comes to help. In the meantime, Lizzie and Brix are plotting their strategy for this appointment. They've already bought quite a bit of Wang's pre-collection. In fact, the way it usually works out means up to 70% of their buy comes from pre collections (and pre-pre in the case of Margiela) and the remaining 30% is made up of the main collections we see on the catwalks. 

A black shorts and top combo with sliced out segments sewn together with transparent thread is pointed out to Lizzie and Brix when they ask what the big sellers have been so far but they're not so sure it will work for their customer. However, when the model comes out wearing the pieces it looks like they might change their mind.The models are crucial because they show buyers how the pieces are cut and hang, it's not fail safe but if something doesn't work on a model then it's not going to work full stop. Lizzie and Brix dismiss a few pieces because "you could never wear a bra with that"and think about all the ways to wear items they like, they go through the options for making the lemon knit tank work and what you could wear with it. 



I learn that buying is about being quick, decisive, sure of your opinions but open to changing your mind and noticing the world around you. Brix tells me about the Isabel Marant Bekett wedge trainer phenomenon, "I remember going to the showroom and I actually preferred the Betty style but every girl in the showroom was wearing the Bekett, it felt like the hot thing. Nobody ordered enough that season, it was crazy". It's the perfect example of rising above your own level of taste to detect the general mood, "it was inelegant but actually really cool". Lizzie thinks a similar thing is happening at the moment with Kenzo, "I'd written it off as a very 80s brand which kind of belonged there" she tells me as they're about to head off to their buying appointment at the label, "but I'm adjusting my vision because there is so much buzz about it now". Funnily enough, minutes after I leave Brix and Lizzie I see two very cool Parisiennes with two giant Kenzo bags apiece slung over their shoulders. 

Thank you to Brix and Lizzie from Start. Visit the store at 42-44 Rivington Street, London, EC2 3QA.

Monday, 15 October 2012

SS13 AT FRIEZE, ARE GALLERIES AND DESIGNERS TALKING?

Posted by Bethan Holt, Fashion Junior at Large

The Frieze Art Fair has become as much about what those who attend wear as it is about the art itself- well, that's true if you live in my world where pretty much any happening gets a fashion slant. I spent about 3 hours ensconced in the Frieze vastness on Saturday afternoon and I admit that I probably dedicated just as much energy to looking at what everyone was wearing as I did to the art itself. For men, it was all about a Tod's loafer and a tweed jacket and/or cashmere jumper, very Italian. And of course there were plenty of those enduringly popular brightly coloured trousers, may of them corduroy- I spotted mustard, pink, red, cobalt and bottle green. The ladies, as you may have seen from all the features covering Frieze style, were mostly either going for a bright, patterned vintage look or sharp, tailored conceptual pieces from Balenciaga, Celine, Comme et al. But I found that once you began to look, there was fashion in the art. Not just in the sense that there were photographs and paintings of "fashion" but numerous pieces reminded me of the looks I've been poring over from the SS13 catwalk. So, here they are- my fashion/ art Frieze twins.

1. BURBERRY/ PIETER VERMEERSCH

Colour bleed blues...



2. HERMES/ CAETANO DE ALMEIDA

Colourful digi checks...


3. PREEN/ DOUG AITKEN

Navy and white big stripes and little prints



4. DIOR/ FARHAD MOSHIRI

Red and pink colour clash



5. SOPHIA WEBSTER/ YAYOI KUSAMA

Colourful dots




6. LOUIS VUITTON/  AKRAM ZAATARI

Marc calls them twins, Zaatari says couples but they both mean two by two. 



All Frieze images by Fashion Junior at Large, catwalk image from catwalking.com
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