All for the Love of Lulu

                                                      

For my 19th birthday I was given a pair of Lulu Guinness black satin court shoes that had the most glorious crystal fan affixed the front of shoe.  I can't quite describe what happened but it was love at first sight.  However, despite my adoration for these shoes, my equal love affair for ruining my favourite pairs of shoes has meant that I have only worn them twice, this has by no means curbed my love for the designer as I happily spend every last penny on more delicate and whimsical treasures for me to hoard and delight in.

Since Lulu designed her first handbag in 1989 which was sold at Liberty's and Joseph, she has created a beautiful signature style that encompasses the changing trends of the catwalk with a wonderful traditional elegance, each piece making you want to immediately red lipstick and take to the town.  

Her signature rose basket hand bag has blossomed in yellow this month to celebrate Selfridges 100th birthday, which has followed Lulu's own 20th anniversary celebrations.  

From umbrellas to beach totes, each piece is often gloriously adorned with vintage-esque sketches and cheeky phrases. 

 However, her collections are not simply vintage remakes but more like a reference to glorious designs that made the perfectly feminine outfits of the 1950's complete.  Her designs may not follow the trends of catwalk but they remain popular around the world, with stores in New York and a new collaboration with Itochu Corporation for an exclusive collection in Japan, the popularity of her quirky traditionalism clearly is not waning. Sometimes though it is lovely to be able to put on a tea dress and pick up an accessory that makes you feel ultimately feminine.  I personally love it whenever it rains simply because I can open my fabulous Lulu umbrella and hide from the downpour under a delightful hand drawn image of London.

Never without red lipstick on, and her hair perfectly set Lulu herself is the walking advertisement for her label, a constant reference to back to Yves Saint Laurent's words that 'fashion's fade, style is eternal.'  Style is something that Lulu Guinness has a lot of.  Even the ever neon Super Super magazine took to the English Country Garden to display Lulu's red flower hand bags as you can see below.

       

  

To see Lulu's new current collection go to www.luluguinness.co.uk or pop to the cosy store in Ellis St to see the designs for yourself.

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A Retrospective of a Retrospective

Apologies for delay in posting this.  As I must remind myself of more often: Too much time drinking tea and eating cake will make the dresses tighter and postings late.  

It's rather nice, though, as the exhibition is in its final weeks to look back to its opening day amidst the bustle of fashion week.

                          

It was very interesting to watch the many women sporting little fascinators and whimsical head pieces as they wander around the Victoria and Albert Museum.  Of course, it is the perfect marrying of exhibitions.  Having escaped the from the couture cattle market that is London Fashion Week at the Natural History Museum, Stephen Jones' Hats: an Anthology was the perfect retreat from the madness, set in a magical box hedged Baroque Garden.  The retrospective was a homage of sorts to Cecil Beaton's 1971 show Fashion: an Anthology which successfully raised the profile of fashion and put the museum firmly on the map.  Jones' intention was to do the same for the beloved hat.  As he says "I simply live my life and put it into a hat" and proclaims that for London "the hat is, and always has been embedded in the city's culture."  

As you walk around the exhibition you discover how true this is, from the beefeater to the bowler, British classic style has truly been exemplified by hat.  Yet, the hat occupies an odd niche area within fashion, departing from the traditional necessity for a woman, as Jones highlights 

"Did you know that during the Second World War, everything was rationed apart from hats and lipstick? The Government said it would be too demoralising for women to go without them. They were absolutely right."

In modern culture the hat makes a statement, whether you are on the grass at Ascot or sat in St. James' Park in a straw boater they bring a new dimension to any outfit.

Jones' creations almost fall into the postmodern simulacrum idea in that they have become so iconic that seeing them in reality is on odd feeling.  Every piece in the show is displayed like a work of art and in so many ways this is exactly what they are.  From the rabbit ears for Comme des Garcons to the glorious Pac-Man helmuts for the Giles S/S 09, Jones' has created a legacy for himself with a ever-strengthening relationship with the designer and celebrity.  His pieces are combined with a whole host of hats with Schiaperelli's elegant yet eccentric Stiletto hat placed opposite to a 2007 plastic Disney Princess tiara.  It seems the desire for the exhibition is not just to display hats of detail, historical significance or personal importance but to create something that highlights the plethora of ideas the tiny three letter word 'hat' actually encompasses.

"Hats are for everyone – old and young alike," said Jones. "They are complete eye candy, and in times of recession, they are more important than ever because they are so optimistic and frivolous when everything else is so serious and gloomy."   

This exhibition not is not only a wonderful retrospective and historical display but it really does inspire you, whether it's a beret or a breton the hat is the piece to invest in.  

Hats: An Anthology is open until the 31st May

Yellow Fever

Darling you look fantastic for your age!

Any birthday present that comes in that yellow paper bag immediately excites and intrigues. It seems only fitting then that Selfridges would go that extra mile for their own birthday, after all it is 100. Whether it be a MAC lipstick or the one Christmas decoration my grandmother would go and pick out every year, Selfridges holds a sentimental place in the hearts of the public and the fashion industry. From displaying the first plane to cross the English Channel to the vibrant marrying of Williamson and Etro in the windows this month the store, the element of British class meets high fashion remains. This is certainly evident in the wonderful gifts that Selfridges has been presented to by designers, as many have taken their signature piece and recreated it in Selfridges signature colour, 109 Pantone hue.

Selfridges has seen many changes in London and fashion since it was opened in 1909 by the American Gordan Selfridge, however the bright yellow has remained, and is certainly the shade to be seen in next month with limited centenary pieces by a whole host of designers.

Mulberry have revolutionised their true classic with this Bayswater in vibrant yellow, as well as Lulu Guinness' beautiful 'bed of roses' hand bag taking up a hint of sun with yellow roses,

With Spring is full form now, these items will brighten up any outfit whilst being a little piece of department store history.

Of course, Giles Deacon placed the brand's ubiquitous colour firmly in the twenty-first century by creating this fabulous PVC structured mini dress with eye detail, available to order. For anyone not quite ready to revive the traditional yellow mac for 2009, the Selfridgettes will be taking to Oxford Street throughout May dressed in this exciting design.

The best news is that even if you are unable to splurge on the whole buttercup wardrobe, you will be thrilled to know that even the wonderful classic paper shopping bags have been redesigned by wonderful British classics Paul Smith, Vivienne Westwood and Stella McCartney; so even if you are just topping up on that Mac Lipstick (who are also releasing a celebratory range) you can take home a birthday party bag.

The store is celebrating with a host of events running throughout May including The Big Yellow Festival with events from designer DJs to cabaret as well as a retrospective exhibition from May 2nd - August 31st. They are also running a photographic competition asking participants to snap all things yellow. Check out selfridge100 for all the information on the exciting events taking place.

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U C A master in the making, I hope!

Sometimes you have to leave the city to find the fashionable people; a few musings on studying an MA at UCA Epsom.


I curiously flick through the pages of Katie Grand's new magazine Love, and I realise that I have just spent the morning with one of the featured journalists, learning how to write articles successfully. I wanted my MA to put me in touch with the fashion industry; I don't think it gets much more in touch than this.
I am no longer a student apparently, I am a freelance writer. However, I am a freelance writer with a safety net in the shape of a plethora of skilled journalists and designers that are not there to make my MA in Fashion and Lifestyle Journalism at UCA easy, but to make it achievable and exciting.

It is quite a daunting task entering a university at one of the highest levels, yet regardless of my degree, age or past experience I am neither a novice nor an expert and undertaking the task of completing a Master of Arts makes me feel like I should know everything. The truth is sometimes I just want to stay in bed and read Vogue ~ Luckily for me this can count as research, but to be honest when you are constantly immersed in the arts and fashion like you are at Epsom you have far too much to think about to ever want to just stay in bed!

I never thought as I perused the exhibition of the 2008 MA graduates that I could ever be able to complete a masters, leaving the comfort of BA student-hood behind. Yet, I then find myself scribbling notes at a Sonia Rykiel exhibition at Les Arts Decoratifs in Paris with five MA friends from five different countries for a fashion blog I am now writing I realise that work is not always that hard when you love what you are doing.
Of course there are times when I wonder what the Foucault all those Barthes theories mean and would love to know how Wintour would finish her Burberry catwalk report, but when I get the opportunity to interview award winning graduate designers and have the chance to create, edit and style my own magazine, all the hard work, late nights and travel cards certainly seem worth it.
There is a wonderful sense of equality studying at M level in UCA, the staff will just as readily enlighten me with feedback for ongoing work as they will chat about their own exciting projects, sometimes you even have to opportunity to work with them. There is nothing more reassuring to know that the person teaching me is not only interested in my work as they are in my own life, everything you do is a potential story or source of inspiration. Never before could I have seen myself throwing questions at renowned blogger Susie Bubble or having the opportunity to attend talks from top graphic designers such as Jonathan Barnbrook and fashion insiders like the Dazed Digital team. Nor would I have met so many interesting people from so many different backgrounds to study with and hopefully holiday with.

I am still unsure exactly where I'll end up once I graduate, but if I need a reference for a job in fashion I know I'll be heading straight back to Epsom to get one.


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Catwalk Breakdown: Gareth Pugh Revolutionizes the Runway by Rendering it Obsolete

The current climate has influenced and affected the fashion industry in many ways, McQueen may have opted for all-out extravagance on the catwalk, however Gareth Pugh has taken the cutting back to a new level by taking his designs from the floor to the screen.

The theatrical designer not only moved the progressively tedious front row celebrity clan away from their comfort zone, arms length from the models, but in many ways questioned the whole nature of the beloved yet alarmingly expensive tradition of the runway.

There was a distinctly medieval feeling about the ultra-modern projection of the show. Haunting sombre tones rang out as Model Natasa Vojnovic appeared on the screen as a winged silhouette in a lavish black cape. The figure then distorts and disembodies, the long pleated black skirt severing from the delicate t-shirt. A plethora of references were apparent as the scene cut from thigh high musketeer boots to bustles and hobble skirts. Further inspiration for the designs was illustrated by the movements of the model as she elegantly took on the stance of a Japanese warrior adorned in traditional attire of billowing black trousers.

Pugh retained his architectural signature style with Vojnovic sporting a futuristic perspex boxed hat and fringed helmet-like headdress. As she glided around the screen fluidly she looked ready for battle but with a soft feminine edge, a restless elegance.

As Valerie Steele from the Fashion Institute of Technology stated, the show 'was very successful as an image feast.'

The marquee sized black skirts dropped and gathered, sheer silks allowing each contour of the body to be emphasized and exposed; every movement embodying the energetic tranquility of the clothes.

'This is much more about a fashion shoot where the models create shapes with the clothes.' Jefferson Hack

As Vojnovic appears in an inflated metallic jacket, the show transcends further into a stylized shoot as the she unzips to reveal an exciting patterned body stocking, as if each cut of the film was exposing a new idea.

However, it was the format itself that was the most revealing, unleashing Pugh's true views on fashion and the catwalk. With the ability to use film, and the mastermind of filmmaker Ruth Hogben, Pugh regards this as more important than the orchestration of a physical show in which one can run the risk of a model falling over and worse. More topically, of course, the cost of a show is something at the forefront of designer's mind with each show costing thousands of pounds, and as Pugh says 'this is something that can endure longer than I'm around.' Yet, with the availability of every catwalk show online half an hour after the event, surely every show is on film? It seems then only logical the designer would want to capitalize on this and make their show a statement film piece rather than a catwalk regular, and even if it was only from floor to screen, Pugh's show certainly turned heads. It will be interesting to see how this idea manifests itself in the S/S '10 show.

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London Fashion Week Feb 09: Christopher Kane's Feminine Blueprints

If Le Corbusier and Coco Chanel had a love child, Christopher Kane's A/W 09 collection would be the it.

Thick, black velvet ribbons on ivory organza formed the foundations for the Scottish designer's structured geometric designs that flirted between architecture and 1960's futurism yesterday afternoon.

As Kane said 'I wanted to achieve this black marker on paper look.' The collection was like looking at blueprints on fabric.

Back to basics in palette with ebony, ivoryand creams, the subdued tones were perfectly suited to the more modest London Fashion Week this year, in reflection of the economic situation. Rather than the in-your-face colours that have been seen in many collections in New York, such as Marc Jacobs, Kane was the atithesis by stripping down design to its velvety boned infrastructure.

With Vivienne Westwood watching on eagerly and Kanye West prepared to stand (mind you he was late) it was clear that Kane has many admirers. Beginning the show with a simple fawn cashmere cardigan and pencil skirt, the opening did not shock or break any rules but rather reaffirmed Kane's position as a great designer, although the British Fashion Council have already stated this by putting Kane in the New Generation: Fashion Forward Scheme.

The preppy style then progressed into the delicate, but structured, geometric sheath dresses that had the form and modernist style of a le Corbusier design or Mondrian painting as well as the feminine simplicity of a Chanel shift. Panelled, layered pieces were then followed by a taste of the 1960's 'futuristic' style with dresses that would look have looked as at home in the classic film 'Blow up' as they did on the runway in central London. Contrasting horizontal and vertical lamé stripes were woven together into a futuristic plaid in myriad shades.

'Bold, graphic and a bit poor, but really quite elegant. Poor and rich at the same time.'

Kane's view seems to sum up fashion week as a whole. He has achieved a balance between modesty and glamour without sacrificing anything. Rich details with simple structuring, a total opposite to the economic state, but works beautifully for Kane. The whole collection is wearable and even with the absence of the vibrancy and leathers of his S/S it is still innovative, proving that design is as effective in black and white as it is in technicolour.

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"Rebellious Classicism"

Marc Jacobs takes on New York with an Homage to Bygone Extravagance.

There was a sense of scaled down flamboyance at the Marc Jacobs fall 09 show at the NY State Armory on Monday 16th. No Sonic Youth or mirrored hallways to dazzle the audience, nor was there a celebrity audience to dazzle the press. It was simply the designs that were on offer, and the meandering catwalk allowed everyone to take a front row seat, or at least the fashion savy who were seated for the promt 8pm start, including Carine Roitfeld and Anna Wintour. So with everyone is a prime location, did the designs manage to hold their own?

Jacobs took the opportunity to return to the bygone era of 1980's New York with a collection that seemed to ignore 'crisis couture' with high hemlines and flamboyant colours. Despite the precarious financial situation the fashion world shockingly is not totally bankrupt and Jacobs made his own mark stating "Is all-black going to help the economy?" also saying backstage that the collection was an homage to "what New York used to be like before it was gentrified and such a boring place to live - when artists could make a living here." Perhaps this is the reason the designer spends the majority of his time in Paris now.












The collection certainly harked back to an era of excitement . Moving from trim, aqua peacoats to architectural floral bubble skirts and Balmainesque sculpted shoulders, Marc Jacobs took the eighties by storm encapsulating party girl to power dresser.
The show opened with smoky grey knits and sharp tailoring moving followed by floral leggings and modest patent pumps. Modesty ruled only in the accessories, which were scarse, Jacobs choosing to enhance each design with gravity defying quiffs and frizzy dos with David Bowie-esque Ziggy Stardust eye makeup. There seemed to be no rules, just expression. The striped pleat midi skirts with sequined shirts echoed elements of his S/S 09, yet the fall collection is far less opulent. Violet ruffled prom dresses and corseted lamé blouses mix together the classiness and brassiness of all things eighties. Cerise lined black tuxedo jackets over dresses that appear like ribbons unravelling followed by lace and net bustiers make reference to vintage Versace and Azzedine Alaia.



The revival of eighties colour and eccentrity is ever present however, there is no definitive theme of continuity to the pieces in the collection, each one seems a statement in its own right which has led to varied reviews. While Suzy Menkes praises Marc Jacobs for adopting the Obama "yes we can" enthusiasm and 'tapping into the exhuberance of youth' while the New York Times suggest that 'their is very little sense of enjoyment or relish in the clothes, qualities we associate with 80's dressing.' What Jacobs certainly does is retain a sense of vibrancy in a financial climate, particularly in America, that is distinctly sombre.