I’m an animal. I like animals. I actually look like an animal.
Tight-lipped lizardy look-alikes and the bouncy ‘butter-wouldn’t-melt-in-my-mouth breed of models steal the show this season; inundating this seasons most alive trend.
This season has been no exception to the unwritten rule of fashion – ‘do what you can to amuse, shock, confuse and entertain.’ The boundaries of normality have been stretched to create a variety of collections which are startling and fierce, unpredictable and resilient. McQueen, Chanel and Marc Jacobs have created pieces that are so effervescent – they make you wonder what the little design minions are fed.
McQueen set his infinitesimal models stomping down the catwalks with a look that could kill- quite literally. How the models could see out of their deeply furrowed brow is almost miraculous in itself, never mind how they managed to walk in their ever so imposing ‘shoes’. His savage designs are challenging – forcing the observer to question their own taste - why step out in jeans when you could wear a largely caped shouldered creation? The patterns were innovative, combining animal prints with textures to create a look that screams ‘I am as close to an animal as a human will ever be’ – the should-be caption of one of this seasons most warped trends.
The desire for their creations to be eulogised, and to have Anna Wintour leave the show and say ‘that model bore an uncanny resemblance to a bow-legged deer’, was echoed by Chanel, who exhibited their collection in a space set out to imitate the wild woods. The bright-eyed beauties appeared and circled around trees, sometimes barefoot, and sometimes even smiling. Their make-up was fresh and minimal, allowing the focus to be safely rested upon the designs and the show as a performance. The colours were mild, exploiting marshmallow pink, winter white and a buttery beige. The tailoring was, typically of Chanel, painstakingly flawless.
Karl Lagerfield has given Chanel a rather expensive make-over, handing the brand a youthful pizzaz, and allowing it be talked about with the same fear of the unexpected that McQueen is, well almost. Not one to miss a beat or a button – Mars Jacobs is a perfect compliment to this trend. Whilst many of his models were analogous to freaky woman – not the Lady Gaga sort, but the sort you can imagine lounging around in Clockwork Orange, some of them carried a bird-like grace. Perhaps it was the taut-faced blonde, who sauntered down the catwalk wearing a ruffled creation that alluded to the feathery creature look. The ruffles, trimmed with lace and beads were harmonious with the tousled collar she wore around her neck. Though the dress design was perfectly feminine but stringent, her look was savage. Another of his looks exhibited a sea-blue silk two-piece – possibly torn of an exotic mermaid and wrapped around another taught model.
This trend has been explored with an admirable versatility this season. Credit is due to the whole creative team at each of the brands – for creating a show that could very well be a zoo procession, the high-end type. It’s a combination of the set, the models, the accessories and of course the designs that add the animalistic quality. Not to mention the hair and make-up, which completely defines the look. While many catwalk trends are quickly snapped up by your average Amy, I think this one may take a few adjustments before Amy heads out to buy her first feathery creation…
Hattie MacAndrews
All pictures thanks to style.com
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Magic shop project
The magic shop project is an interactive illustrative book with cut-out paper constructions. I was very much inspired by the internet-based phenomena of designer paper toys which you can download, print and construct – but I wanted something with more, context, story, and subtlety. The project is based around word play, puns and wit with words, in an old curiosity style shop.
Transition stop motion film
I had always wanted to do a stop motion film since watching the eerie ‘Secret adventures of Tom Thumb’. I think a dark story works really well with the creepy effects you can get with pixilation and stop motion – I was also inspired by The Cure’s ‘End of the World‘ video and Slipknot’s ‘Vermillion‘. The film took just over a month to complete, from concept to finish.
Pink Teapot
I worked as a resident designer at a charity 2 week event, ‘Worthless’ held in Seven Dials, Covent garden. Members of the public were asked to bring in unwanted items, which were then made into something desirable, which the customer could buy back. As one of the event’s sponsers was Jelly Belly, I decided to put my resources to use – I sold several of this particular print of an old yellow toy teapot which I transformed.
Maria Lee-Warren
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Compelling. Petite. Passionate. Ella Pearce Heath has been inflicting her British sense of style upon rock’n’rollers, classical beauties and influential designers all around London. Having styled the likes of Noush Skaugen, winner of the Rising Star category at the Download Music Awards and Escala, the electric string-quarter for the final of Britains Got Talent on ITV, Ella’s thirst for styling hasn’t gone unnoticed. Having got into the industry through working with ‘bands and musicians and making wacky clothes to shoot with a photographer friend’ her clients have evolved to include publications such as the Financial Times ‘How To Spend IT’, JFW Magazine, Vanity Fair and the Daily Mail.
Training at the Royal Academy of Music for three years seems like an unlikely origin; from a musical marvel to a conversant stylist. Ella stuck to her belief in fashion as an ‘art form that can reflect our society in a way that many other parts of the arts cannot.’
Clothes became an interest ‘Because not only are they objects of beauty worthy of admiration and a route of identity, forming transformation, but they are also part of a multi-million pound industry across the globe that cannot be ignored’. Holding an awareness surrounding the importance of fashion within our society has not only influenced Ella’s style and aesthetic, but the people she works with too.
The look that Ella creates, both for her clients and herself, is ‘British Eccentricity’. Drawing inspiration from everyday life to create looks that are fresh and exclusive, ‘I’m inspired by everything around me – nature, architecture, art, literature, cultures, politics, history, tradition and probably most importantly, people with a unique voice that aren’t afraid to stand out and go against the mainstream’.
Certainly not one to suppress any sense of creativity, Ella delves into the deeper depths of fashion through her writing (www.Ellapearceheath.com). But which does she prefer, styling or writing? ‘I think they need to go together, how can I write effectively if I don’t work hands on in the industry? Similarly, how can I style without understanding the wider cultural implications, and having my own theory on beauty. I couldn’t pick between them.’
Unlike many ‘Fashion Journalists’ today, Ella doesn’t just write for the sake of writing. Nor has she succumbed to the ease of writing about ‘must-have items’ and celebrity trends. She writes about the role of Fashion in Society ‘because you can’t fully understand anything until you place it in its context’. Constantly scouring the city for fresh designers untainted by the artistic restraint of sponsorship, it was Ella who recognised Fannie Schiavoni as an emerging new talent before she was acknowledged by the likes of Browns and Tank Magazine.
But why choose to use young, unrecognised designers? ‘Because they often are still in the position to place the aesthetic, a unique voice and forward thinking at the forefront of their collection as they haven’t yet been compromised by the buyers need for ‘2 of this in 3 different colour-ways attitude’. Not to be misunderstood, Ella is of course aware of the importance of influential high-end brands such as Alexander McQueen, Lanvin and Iris Van Herpen, and her inspiration and admiration is still drawn by ‘Prada for innovation and single-mindedness, Stella McCartney for feminine simplicity and Antonio Berardi for amazing dresses’.
The next step for Ella is preparing the Look-Book for Komodo, an ‘ethical, hempy and hand-made’ brand. Individuality and artistic exploration are both equally as important as sustainability, influencing Ella’s belief that the future of fashion ‘must move away from celebrity; collections by non-designers just trying to make money or boost their fame etc are just a gimmick. True fashion is an art form, and this needs to be recognised’.
How can the effects of the recession be seen in Fashion? ‘I think it has bred a new wave of designers who realise we aren’t infallible as a society or a people, and therefore has resulted in a rise of ecological and sustainable fashion designers who see a responsibility to our world’. It seems that Ella’s plans for the future are simple and to be honest, slightly understated , ‘I hope to make people think and to make beautiful images! Can that be a plan, even if it’s an ever so naive one?’
She’s headstrong, determined and knows exactly what she wants, and how she wants it done. Her ideal clients include Alexander McQueen, Gareth Pugh and Vivienne Westwood – who would be ‘pretty fantastic to work with, with all her rebellious attitude and strong opinions’.
Perhaps there’s a little bit of Vivienne in all of us.
Hattie MacAndrews
Well, choosing the fashionista in this case, becomes a bit tricky…We’ve seen both first ladies smiling all over the place and wearing the RIGHT thing for the RIGHT occasion. But who deserves the fashionista award?
Michelle Obama is a mother of two who cooks shrimp linguini for her hubby (who happens to be the president of United States) and is next to him whenever he needs her. However, until recently she was earning a bigger salary than him and this great combination of a strong woman and a supportive wife is SO obvious in her dress code. Lawyer and power dressing looks and dresses inspired by princesses’ fairytales are probably her most remarkable fashion statements!
Carla Bruni Sarkozy is an Italian/French model-singer-actress-poet, who knows by heart the number of her pizza delivery man. Her wardrobe is a rainbow of ballet shoes with an exclusive range of gorgeous suits and evening dresses a-la Jacky Kennedy (well, almost..). She has the IT body and her own website! She hangs out with Karen Mulder, meets Sara Brown for some chat and stands proudly next to the Queen wearing a très chic coat to get some nice shoots. And guess what: Next to the REAL Queen.
Well, which one should get the FFL Award? (FiX’s First Lady Award).
You decide!
Donna Kaparti
A car crash. The end of an era. A terrible nightmare it’s impossible to wake up from.
These clichés may be more suitable for a relationship breakdown or some other natural disaster, but for this article they’re related to the news that the Luella fashion label has ceased trading.
Like a house of cards falling, it started after her ready-to-wear manufacturer, Carla Carini, closed down last month, halting production of the SS10 collection. Then a key financier, Club 21, pulled out last week stating that it would simply “not invest further in Luella Bartley Ltd”, meaning the brand that initially drew me to fashion no longer exists.
In the winter months of 2007, after reading a few fashion magazines and feeling convinced that I was going to be the next Alexandra Shulman, I discovered Luella. I was looking at all these beautifully crafted designs and found that none of it really spoke to me until Luella’s SS08 collection. The square specs that set off that hideous trend, those Linda Farrow ‘Batgirl’ glasses that reminded me of the first time I saw Ghost World and finding Steve Buscemi weirdly attractive (I was young and impressionable). I craved the shiny bat print trousers and the tiered prom dress Alexa Chung wore to the Elle Style Awards 2008. I found the collection to be somewhat prim but with some startling attitude – the hems on the skirts and dresses were daringly short without giving everything away. Florals for an SS show are nothing out of the ordinary but she made Liberty florals cool again by adorning them on shirts, skirts and even raincoats.
A year later, the SS09 collection wowed me again. Pops of contrasting colours that The Sartorialist may have wet himself over, familiar Liberty florals from the previous collection seemingly thrown together. I’d say it was as prim and proper as the previous SS collection, though considerably more ladylike with skirt suits, brightly coloured fascinators everywhere and Peter Pan collars, which have cropped up in more than a few collections, adding a lovely kitsch feel to it all. You also can’t deny her equestrian influences what with veiled riding hats which one cannot help would think would’ve made an excellent wedding hat, if she was still trading.
Another thing about her I love is her almost startling unpretentiousness, she looks like the sort of woman you could just go up to and strike up a conversation about anything and she’d gladly chat to you.
It’s a shame what the recession is doing to the industry, especially to designers with such character and ingenuity, so let’s cheer ourselves up with a sum up of her collections written by the lovely lady herself:
“On first glance everything is rather proper, with bow fronted blouses, pleated skirts and mini, structured queen mum bags but there’s a strange, wonky undertone. Things aren’t quite present and correct”.
Kate Preston
]]>I’m calling this post “How I Feel About Upcoming Diffusion Fashion Lines In Exactly Twelve Words”which in itself is twelve words, albeit not very catchy. You’ve already guessed the concept of it, right?
Stella McCartney for Gap Kids:
I wonder if I can get my size 5s into those boots?
Jimmy Choo for H&M:
I didn’t expect to like this collection and guess what? I don’t!
Kings of Leon for Surface to Air:
Can’t see the point of this but hipsters will buy it, right?
Ta-da! Who needs verbosity?
By Amy Marks
You can find more musings by Amy at Wolf Whistle
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When discussing with friends who we thought was the greatest action film star, the usual names were bandied around with careless abandon. Will Smith, Tom Cruise and Stallone were the popular choices. I chose one Terence Steven McQueen as my pick of the bunch.
For me, Steve McQueen is an icon in the true sense of the word, in that he acts as a representative symbol of “cool”, sartorially, dramatically, physically. He lacked the elegant height of Clint Eastwood or the brawn of Bronson, but still managed to walk the walk and carve out an onscreen persona that was distinctly his.
McQueen had an uproarious and unsettled upbringing, constantly getting into trouble with both his stepfather and the police. Eventually, in 1947, he enlisted in the US Marines and initially continued with his insubordinate behaviour, culminating in a 2 week stay with his girlfriend after a weekend pass had expired. This proved to be the nadir of his time in the military, and from thereon in he concentrated on self improvement until he was honourably discharged in 1950.
A string of stage and small film roles followed, including a Broadway production of A Hatful of Rain, but his big breaks early on came in television, not film. Introduced as a spin off to another western series, Trackdown, McQueen was cast as a Winchester rifle-wielding bounty hunter named Josh Randall in the CBS series Wanted: Dead or Alive.
Wanted… turned him into a household name in America, but his portrayal of Vin in The Magnificent Seven (1960) threw him into the wider international public eye. Hit films followed thick and fast, The Great Escape in 1963, an Oscar nomination (his first and last) for his part as a sailor in The Sand Pebbles. 1968’s Bullitt cemented his position as a bona fide star and proved that he could carry a fast moving and complex storyline on his own. It’s here that I’ll mention McQueen’s sartorial legacy to the world of menswear. In Bullitt he dons a range of clothes which have now become style classics. Aside from looking fantastic, he managed to carry all of this off with such a shrug of nonchalance, it never seemed he was trying too hard. Hence the endless centrefolds in GQ, Esquire et al lauding his style and trying to recreate the look.
After the success of Bullitt, more starring roles continued in the form of The Thomas Crown Affair and Le Mans (a drama documenting the famous 24 hour race). The money gained from successful roles allowed him to indulge in his favourite past time, racing cars and motorbikes. Although the famous jump in The Great Escape was not performed by McQueen for insurance purposes, he had a large amount of screen time riding his own 650cc Triumph. At one point he even considered packing in acting altogether in favour of becoming a professional race car driver.
His death in late 1980 came after he was diagnosed with cancer a year previous. What is unusual about McQueen is that he remains an icon without being subject to the commercial saturation that other dead celebrities have experienced. His legacy to acting, fashion and the romance of motorbikes and cars is indisputable.
Steve McQueen, born March 24 1930, died November 7 1980, a true icon.
Joseph Stashko-Adamaszek