Several months ago we posted an entry about ugly shoe fads. We talked about Uggs and how they were: one a fashion don't ; and two, should not be worn outside of a ski resort. Well the experts have weighed in and we feel vindicated.
Check out this article and let me know if you now will agree to throw away those Uggs. Not only are the UGLY, they are killing your feet.
Experts debate dangers of wearing popular sheepskin boots - Fashion + Beauty on Shine
http://shine.yahoo.com/channel.beauty/experts-debate-dangers-of-popular-sheepskin-boots-1164424
Wednesday, March 17, 2010
Wednesday, March 10, 2010
The House of McQueen
Before I start blogging in earnest about Fashion Season (NYC, London, Milan & Paris), I want to highlight a couple of collections. The most moving for me was that of Alexander McQueen. Not because it was the best collection of the season but because it was his last.
Sixteen looks in all. Not a large collection but I wonder what remained in the workroom as a result of his untimely death. He died the week before London so he had time to finish several more pieces.
How do I know that? As the daughter of a dressmaker, I know the manic state you get to when you are working on something you love. You don't stop to eat; you don't get much sleep and you work until your hands are getting numb. I've been there. I have sat for hours beading the bodice of a gown. I have spent hours on endless finishing details. I have sewn and ripped and re-sewn many a garment with my mother.
It was classic Alexander McQueen. The cuts, the embellishments, the finishing touches were wonderful. I do not envy the person who is going to take over. There are some really big shoes to fill. They are extremely big shoes. I am not sure who is big enough or gutsy enough to actually step in and not feel totally exposed.
So, to the House of McQueen, choose well. Make sure that Mr. McQueen's replacement is someone who will stay true to the vision of this incredible designer. Make sure that they have that same ability to take us on a journey we were not sure we wanted to make. Find someone who will take us to the fashion edge and then hold our hand so that we drop the fear of being so far out on that limb. Get someone who will show us beauty and anger, outrageous costumes and elegant gowns. Make sure they understand the art of embellishment and the importance of the finishing touches.
When the fall shows roll around I hope that we get to see exactly what Alexander McQueen would have wanted us to see. What we see as his vision for Fall 2010 is brilliant. Let us see how Alexander McQueen would have had us celebrate Spring 2011.
a la prochaine
Debra
Sixteen looks in all. Not a large collection but I wonder what remained in the workroom as a result of his untimely death. He died the week before London so he had time to finish several more pieces.
How do I know that? As the daughter of a dressmaker, I know the manic state you get to when you are working on something you love. You don't stop to eat; you don't get much sleep and you work until your hands are getting numb. I've been there. I have sat for hours beading the bodice of a gown. I have spent hours on endless finishing details. I have sewn and ripped and re-sewn many a garment with my mother.
It was classic Alexander McQueen. The cuts, the embellishments, the finishing touches were wonderful. I do not envy the person who is going to take over. There are some really big shoes to fill. They are extremely big shoes. I am not sure who is big enough or gutsy enough to actually step in and not feel totally exposed.
So, to the House of McQueen, choose well. Make sure that Mr. McQueen's replacement is someone who will stay true to the vision of this incredible designer. Make sure that they have that same ability to take us on a journey we were not sure we wanted to make. Find someone who will take us to the fashion edge and then hold our hand so that we drop the fear of being so far out on that limb. Get someone who will show us beauty and anger, outrageous costumes and elegant gowns. Make sure they understand the art of embellishment and the importance of the finishing touches.
When the fall shows roll around I hope that we get to see exactly what Alexander McQueen would have wanted us to see. What we see as his vision for Fall 2010 is brilliant. Let us see how Alexander McQueen would have had us celebrate Spring 2011.
a la prochaine
Debra
Alexander McQueen - A swan song of sorts
I'm not sure anything should be written about the late Alexander McQueen's final collection. Instead, I hope his work will define itself in his absence.
Alexander McQueen Fall 2010 Ready-to-Wear
Kirsten
Alexander McQueen Fall 2010 Ready-to-Wear
Kirsten
Paris Fashion Week - Isabel Marant
The time has come to retire Isabel Marant’s epithet as “the best kept secret.” The secret is out, and has been for some time—her accessories line debuted on Net-a-Porter.com on February 24, and the Web site will expand to sell her clothing collection online this spring.
Marant showed her Spring 2010 collection in Paris on Friday, March 5. The reviews were surprisingly mixed. I say surprisingly because Marant’s previous collections received a tremendous response and boutiques could not keep pieces in stock.
Her latest show featured cropped, sometimes cuffed, skinny jeans that hit about mid-calf and appeared in a variety of colors and prints. There were even some pairs in sequins that reminded me a little of the pants Spanish matadors wear.
Marant paired her fitted bottoms with slightly oversized, moderately androgynous blouses and sweaters—a very sweet pairing of the feminine leg (Marant seems to love sending lots of leg down her runways) with a more masculine borrowed-from-the-boyfriend topper.
Marant continued to moderate the femininity of her collection with “harder” pieces that seemed a little more rocker chic. Although I would argue that Marant has always designed with an element of rock ‘n’ roll, this time it was more glam/metal than Woodstock.
The collection offered a darker palette, with lots of black and dark metallics. Of course Marant paired some of these heavier colored pieces with a white version of her capri pants and threw in a light-wash denim jacket, both choices helped to create a nice balance.
Leather jackets and structured shoulders—though much softer than the severe, exaggerated jackets of recent—conveyed a sophistication to the rocker feel and made it the collection feel more graceful and less grunge.
Many reviews of the show focused on the fifties vibe of the crop leg, high ponytails and cat-eye makeup. One misguided writer unsuccessfully tried to compare many of the looks to the musical “Grease.” I don’t see just the fifties in this collection—I see a concept of how women exude both strength and vulnerability in a way that creates a truly feminine sexuality.
I saw the elements of the 50s girl, but I also saw 80s glam-rock in the volume of the metallic mini skirts and the undeniable panache of Studio 54 in my favorite look: a patterned silk shirtdress wrapped and cinched with a wide red leather obi—an accessory I suddenly must have—and finished with a mid-length fur.
Reviewers seemed unfairly critical of this collection, calling it a “departure.” I have to pose the question then, to these observers of fashion: Do you actually want to see the same thing come down the runway each season?
I do not.
Perhaps the mixed feelings about the latest from Marant are a result of the tremendous love she received for her past collections.
Marant made her strongest impact to date on the fashion community with her Spring 2009 Ready to Wear collection that launched “prairie chic,” a sort of neo-bohemian look that required suede slouchy boots wrapped with chains to accompany even the sweetest of delicate lace mini-frocks.
Of course that collection was much deeper than the patchwork tunics, airy, gauzy flower print and long, long legs. Marant sent quite a bit of black down the runway too. The collection seemed to transition smoothly from the romantic to a harder nightlife look through the use of black macramé and dark florals, ultimately ending with short and metallic… and those amazing boots of course.
I would argue that Marant has enjoyed such wonderful success in France, and more recently across the globe, because of a remarkable ability to design looks and pieces that allow a woman to transition from season to season.
In this collection we can see this specific talent at work. She maintains the skinny leg silhouette, but alters the length—an easy adjustment. She softens the oversized, hard shoulders, but maintains structure, creating a look that is inherently more “wearable.” The loose men’s dress shirts can be paired with everything, and made more flattering with the addition of her obi belts.
Marant has always excelled with accessories—those suede boots and then the studded suede booties of her previous collections generated waitlists miles long and inspired mass-produced knockoffs that went quickly. I think it was a wise move for her to leave the boots and simplify with a feminine pointy-toed kitten pump—with a bow. Somehow this choice allowed the clothes to speak louder and definitely made the legs (always the legs!) appear longer—something any girl should get behind.
Every single look makes me believe that I can dress just like this. And that impression has always been consistent in every one of Marant’s collections.
Kirsten
Marant showed her Spring 2010 collection in Paris on Friday, March 5. The reviews were surprisingly mixed. I say surprisingly because Marant’s previous collections received a tremendous response and boutiques could not keep pieces in stock.
Her latest show featured cropped, sometimes cuffed, skinny jeans that hit about mid-calf and appeared in a variety of colors and prints. There were even some pairs in sequins that reminded me a little of the pants Spanish matadors wear.
Marant paired her fitted bottoms with slightly oversized, moderately androgynous blouses and sweaters—a very sweet pairing of the feminine leg (Marant seems to love sending lots of leg down her runways) with a more masculine borrowed-from-the-boyfriend topper.
Marant continued to moderate the femininity of her collection with “harder” pieces that seemed a little more rocker chic. Although I would argue that Marant has always designed with an element of rock ‘n’ roll, this time it was more glam/metal than Woodstock.
The collection offered a darker palette, with lots of black and dark metallics. Of course Marant paired some of these heavier colored pieces with a white version of her capri pants and threw in a light-wash denim jacket, both choices helped to create a nice balance.
Leather jackets and structured shoulders—though much softer than the severe, exaggerated jackets of recent—conveyed a sophistication to the rocker feel and made it the collection feel more graceful and less grunge.
Many reviews of the show focused on the fifties vibe of the crop leg, high ponytails and cat-eye makeup. One misguided writer unsuccessfully tried to compare many of the looks to the musical “Grease.” I don’t see just the fifties in this collection—I see a concept of how women exude both strength and vulnerability in a way that creates a truly feminine sexuality.
I saw the elements of the 50s girl, but I also saw 80s glam-rock in the volume of the metallic mini skirts and the undeniable panache of Studio 54 in my favorite look: a patterned silk shirtdress wrapped and cinched with a wide red leather obi—an accessory I suddenly must have—and finished with a mid-length fur.
Reviewers seemed unfairly critical of this collection, calling it a “departure.” I have to pose the question then, to these observers of fashion: Do you actually want to see the same thing come down the runway each season?
I do not.
Perhaps the mixed feelings about the latest from Marant are a result of the tremendous love she received for her past collections.
Marant made her strongest impact to date on the fashion community with her Spring 2009 Ready to Wear collection that launched “prairie chic,” a sort of neo-bohemian look that required suede slouchy boots wrapped with chains to accompany even the sweetest of delicate lace mini-frocks.
Of course that collection was much deeper than the patchwork tunics, airy, gauzy flower print and long, long legs. Marant sent quite a bit of black down the runway too. The collection seemed to transition smoothly from the romantic to a harder nightlife look through the use of black macramé and dark florals, ultimately ending with short and metallic… and those amazing boots of course.
I would argue that Marant has enjoyed such wonderful success in France, and more recently across the globe, because of a remarkable ability to design looks and pieces that allow a woman to transition from season to season.
In this collection we can see this specific talent at work. She maintains the skinny leg silhouette, but alters the length—an easy adjustment. She softens the oversized, hard shoulders, but maintains structure, creating a look that is inherently more “wearable.” The loose men’s dress shirts can be paired with everything, and made more flattering with the addition of her obi belts.
Marant has always excelled with accessories—those suede boots and then the studded suede booties of her previous collections generated waitlists miles long and inspired mass-produced knockoffs that went quickly. I think it was a wise move for her to leave the boots and simplify with a feminine pointy-toed kitten pump—with a bow. Somehow this choice allowed the clothes to speak louder and definitely made the legs (always the legs!) appear longer—something any girl should get behind.
Every single look makes me believe that I can dress just like this. And that impression has always been consistent in every one of Marant’s collections.
Kirsten
Oscar highs... and lows
Well this is a dish day for all fashionistas. Who hit it and who missed is all over the news. The Academy Awards is always the most talked about red carpet and the celebrities who graced that carpet Sunday night did not disappoint.
My favorite gown was the one worn my Rachel McAdams. It isn’t that I am such a fan of Elie Saab (because I am a total fan) it was the fact that there was a softness in both the silhouette and the color. That swirling palette was really wonderful to see on the red carpet. It was like an announcement that spring is around the corner.
I also liked the Reem Acra worn by Nicole Ritchie. It was simple; it was elegant and it was a great choice for her. It matched her personality and lifestyle.
Likewise the Chris March gown worn by Meryl Streep was great. I love it when a woman is comfortable in her skin. Meryl Streep always chooses a garment that she is comfortable wearing. If I were a woman of a certain age and getting married, this would be my choice.
For the past few red carpets I have not been a fan of the choices Queen Latifah made. However I must say that the Badgley Mischka was a great choice. It gave her body a great line with the jeweled shoulder that continued to the asymmetrical empire waist that continued to the swirl in the back. The color was perfect for her skin tone and all anyone could say is well done.
Of course there were the “what were you thinking” choices. One of them was the Dries Van Noten worn by Maggie Gyllenhaal. There was something about the fit that wasn’t there for me. Also, unlike the Elie Saab the colors were vibrant and that somehow did not translate well.
Some of the other not to my liking were the Jenny Packham worn by Miley Cyrus. It wasn’t the right fit for her. I love Jenny Packham. She designs incredible gowns and has a bridal collection that is phenomenal. But, Miley is neither old enough or polished enough to pull off that gown. It may have been a bit too small in the bodice but the real problem for me was that it wasn’t age appropriate.
Poor Charlize Theron may have been wearing Dior but it was an unfortunate Dior. I don’t think that anyone was actually looking at her face. They were distracted by the flowers strategically placed oh each breast.
I am also more convinced than ever that Tina Fey needs a new stylist. That Michal Kors was not her dress. The silhouette was wrong, the color and print were wrong, the whole thing was just wrong.
And I hate to say it but Jennifer Lopez could have chosen better. I realize that she is an extremely curvaceous woman but that was just too much fabric.
In general it was a great fashion night. For those of you who are looking for a dress for an occasion pay close attention to the things that matter. Those things are fit, silhouette and color. Never do a dress that is so close to your skin tone you can’t see where you end and the dress begins. Never simply buy the dress and take it home. Call in the alterations and fit specialist so that the dress really fits you. And finally pay attention to the silhouette. Make sure it is flattering to you and that it is fresh and pretty.
Okay my co-writers will weigh in also. You will see that we don’t have the same taste and that is what makes this so much fun. We all have our likes and dislikes and that, my friends, is what fashion is all about.
a la prochaine
Debra
My favorite gown was the one worn my Rachel McAdams. It isn’t that I am such a fan of Elie Saab (because I am a total fan) it was the fact that there was a softness in both the silhouette and the color. That swirling palette was really wonderful to see on the red carpet. It was like an announcement that spring is around the corner.
I also liked the Reem Acra worn by Nicole Ritchie. It was simple; it was elegant and it was a great choice for her. It matched her personality and lifestyle.
Likewise the Chris March gown worn by Meryl Streep was great. I love it when a woman is comfortable in her skin. Meryl Streep always chooses a garment that she is comfortable wearing. If I were a woman of a certain age and getting married, this would be my choice.
For the past few red carpets I have not been a fan of the choices Queen Latifah made. However I must say that the Badgley Mischka was a great choice. It gave her body a great line with the jeweled shoulder that continued to the asymmetrical empire waist that continued to the swirl in the back. The color was perfect for her skin tone and all anyone could say is well done.
Of course there were the “what were you thinking” choices. One of them was the Dries Van Noten worn by Maggie Gyllenhaal. There was something about the fit that wasn’t there for me. Also, unlike the Elie Saab the colors were vibrant and that somehow did not translate well.
Some of the other not to my liking were the Jenny Packham worn by Miley Cyrus. It wasn’t the right fit for her. I love Jenny Packham. She designs incredible gowns and has a bridal collection that is phenomenal. But, Miley is neither old enough or polished enough to pull off that gown. It may have been a bit too small in the bodice but the real problem for me was that it wasn’t age appropriate.
Poor Charlize Theron may have been wearing Dior but it was an unfortunate Dior. I don’t think that anyone was actually looking at her face. They were distracted by the flowers strategically placed oh each breast.
I am also more convinced than ever that Tina Fey needs a new stylist. That Michal Kors was not her dress. The silhouette was wrong, the color and print were wrong, the whole thing was just wrong.
And I hate to say it but Jennifer Lopez could have chosen better. I realize that she is an extremely curvaceous woman but that was just too much fabric.
In general it was a great fashion night. For those of you who are looking for a dress for an occasion pay close attention to the things that matter. Those things are fit, silhouette and color. Never do a dress that is so close to your skin tone you can’t see where you end and the dress begins. Never simply buy the dress and take it home. Call in the alterations and fit specialist so that the dress really fits you. And finally pay attention to the silhouette. Make sure it is flattering to you and that it is fresh and pretty.
Okay my co-writers will weigh in also. You will see that we don’t have the same taste and that is what makes this so much fun. We all have our likes and dislikes and that, my friends, is what fashion is all about.
a la prochaine
Debra
Fashion News - Filson goes international
Who knew Filson, a Seattle outdoors company founded in 1897 that emphasizes durability (above style), has a cult following in Japan? I certainly didn't, and I'm a Seattle native who takes pride in my hometown businesses.
Filson opened its third location and first international outpost in Osaka Japan, in the heart of the Horie fashion district. Filson also has a Portland store, opened in 1998, but recently closed their Denver location.
The opening of the Osaka location seems like a smart move for Filson--taking advantage of Japanese interest in classic American fashion.
For more on this, check out the Seattle Times' article.
I always think it's fascinating to discover how unique cultural fashion movements become. It's easy to assume a certain amount of homogeny in fashion as major retailers pump out immense numbers of "must-have" items that are snapped up by the masses and quickly become ubiquitous pieces of the average wardrobe.
The wave of fashion bloggers posting shots of their own ensembles on a daily basis plays an increasingly influential role in the movement to reinvent and rediscover style. There is an army of young amateur stylists who are propelling the vintage and DIY movements even further and perhaps unknowingly fighting against the monotony of mass retailer "fashion."
It's refreshing to be reminded that culturally we can still be recognizable in our sense of style and so too can our domestic fashion industries--there still is such a thing as "American Style." It's great to hear that Filson, a niche company, is successful somewhere else than the very damp, very nature-oriented Pacific Northwest. It reminds me that specific concepts for clothing (in Filson's case, traditional functionality and durability) will continue to set a company apart and can bring them success. In comparison, it should be no surprise that the GAP has struggled to build a brick-and-mortar market outside the United States... just something to think about.
Kirsten
Tuesday, March 9, 2010
Hooray for Hollywood
Hooray for Hollywood ..................
In the past, I have always watched the Oscars and enjoyed most of the presentations and the Red Carpet. Howbeit there was that stretch of years where it became tooooooooo political and lengthy... I admit not even wanting to view--even though invitations for great appetizers and fanfare were offered.
Last evening I was actually armed with pen and pad to give my overall view of the event to be posted on the blog. I decided to give my feedback on the Great Gowns of the evening. Many sites on the internet elect "the best and the worst,” I just feel that there is a lot of "bad-mouthing" going on these days. I am staying on the positive end of things, if not for anything else but to continue this day with the serenity with which it began!!!!!!!!!!
I had a few favorite gowns of the night, but what I actually saw was that the gowns I liked were worn by the right person. I thought the match up of body type, color, age, stature and personality were presented well.
Cameron Diaz's silvery, beaded gown was a red carpet classic with a sophistication to match her soft hairstyle.
Everyone loved Sandra Bullock's gown and commented how it was the perfect gown for the perfect winner. It was interesting to also take a look from a variety of photos to see the antique beadwork and shading effects from the lighting.
The draping and rouching of Mo'Nique's gown was flattering. The shade of blue accented her skin tone as well as her perfectly coiffed hairstyle set off with gardenias. Hattie McDaniel would have been proud!
The muted bluish gray color of Hellen Mirren's dress gave her that authentic air of grandeur and definitely let the women of her generation realize the air of grace that still emanates.
In the same vain, Meryl Streep looked relaxed and confident in her ivory gown with a plunging neckline. Even though she grimaced about her Jimmy Choo's she held her poise.
Queen Latifah chose the perfect shade of pink rose and the perfect contour of gown to highlight every effect of her curvaceous stature. Her flawless skin and presentation of jewels to accent the night were right on the money!!!
Speaking of skintone and gowns... Demi Moore—give me that gown !!!! Maybe just two shades darker for moi.
Penelope Cruz and Donna Karan's dusty red gown were a match … Thought about getting a piece of red velvet cake today.
And last but not least... Armani Prive could not have been prouder to have Jennifer Lopez don her swagg with last night's gown.
Again there are looks for one and all... most importantly: find the one for you, feel comfortable and put your best foot forward… even if it is in a Jimmy Choo for an hour or two.
A demain,
Janice
(Photos courtesy of t.f.s.)
In the past, I have always watched the Oscars and enjoyed most of the presentations and the Red Carpet. Howbeit there was that stretch of years where it became tooooooooo political and lengthy... I admit not even wanting to view--even though invitations for great appetizers and fanfare were offered.
Last evening I was actually armed with pen and pad to give my overall view of the event to be posted on the blog. I decided to give my feedback on the Great Gowns of the evening. Many sites on the internet elect "the best and the worst,” I just feel that there is a lot of "bad-mouthing" going on these days. I am staying on the positive end of things, if not for anything else but to continue this day with the serenity with which it began!!!!!!!!!!
I had a few favorite gowns of the night, but what I actually saw was that the gowns I liked were worn by the right person. I thought the match up of body type, color, age, stature and personality were presented well.
Cameron Diaz's silvery, beaded gown was a red carpet classic with a sophistication to match her soft hairstyle.
Everyone loved Sandra Bullock's gown and commented how it was the perfect gown for the perfect winner. It was interesting to also take a look from a variety of photos to see the antique beadwork and shading effects from the lighting.
The draping and rouching of Mo'Nique's gown was flattering. The shade of blue accented her skin tone as well as her perfectly coiffed hairstyle set off with gardenias. Hattie McDaniel would have been proud!
The muted bluish gray color of Hellen Mirren's dress gave her that authentic air of grandeur and definitely let the women of her generation realize the air of grace that still emanates.
In the same vain, Meryl Streep looked relaxed and confident in her ivory gown with a plunging neckline. Even though she grimaced about her Jimmy Choo's she held her poise.
Queen Latifah chose the perfect shade of pink rose and the perfect contour of gown to highlight every effect of her curvaceous stature. Her flawless skin and presentation of jewels to accent the night were right on the money!!!
Speaking of skintone and gowns... Demi Moore—give me that gown !!!! Maybe just two shades darker for moi.
Penelope Cruz and Donna Karan's dusty red gown were a match … Thought about getting a piece of red velvet cake today.
And last but not least... Armani Prive could not have been prouder to have Jennifer Lopez don her swagg with last night's gown.
Again there are looks for one and all... most importantly: find the one for you, feel comfortable and put your best foot forward… even if it is in a Jimmy Choo for an hour or two.
A demain,
Janice
(Photos courtesy of t.f.s.)
Friday, March 5, 2010
Why the Silence
Well I am sure that everyone is wondering why we have not posted any comments on the various Fashion Weeks. Well we have decided to do it a bit differently this time. The Grand Dame of Fashion Weeks, Paris is underway. I assure you it has been an incredible week.
What we want to do this time is more of a compare and contrast. New York, London, Milan and Paris- - who showed and who didn't. Who hit it and who missed. Who went retro and who went too far forward. Of course we are going to do the "seen it before" list also.
One thing we will try to do is draw similarities between designer's pieces. I mean let's face it they all see each others collections and sometimes there is something coming down the runway that you saw in another collection a previous season. Sometimes you see a piece that is so characteristic of another designer you practically shout the designer's name.
I have heard that the Loft, a vintage clothing establishment in NYC, is a great place for the top designers to become inspired. On Donna Karan's site she generally does a short video and talks about what inspired her collection. As for the other designers, I'm not sure where the inspiration is born. Maybe that is an assignment for us. Maybe we need to do some homework and find out what inspired the lines we critique.
Well anyway, we are going to do a blog about The Fashion Project. We are also going to do a piece on a skirt. So stay tuned.
a la prochaine
Debra
What we want to do this time is more of a compare and contrast. New York, London, Milan and Paris- - who showed and who didn't. Who hit it and who missed. Who went retro and who went too far forward. Of course we are going to do the "seen it before" list also.
One thing we will try to do is draw similarities between designer's pieces. I mean let's face it they all see each others collections and sometimes there is something coming down the runway that you saw in another collection a previous season. Sometimes you see a piece that is so characteristic of another designer you practically shout the designer's name.
I have heard that the Loft, a vintage clothing establishment in NYC, is a great place for the top designers to become inspired. On Donna Karan's site she generally does a short video and talks about what inspired her collection. As for the other designers, I'm not sure where the inspiration is born. Maybe that is an assignment for us. Maybe we need to do some homework and find out what inspired the lines we critique.
Well anyway, we are going to do a blog about The Fashion Project. We are also going to do a piece on a skirt. So stay tuned.
a la prochaine
Debra
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