دوشنبه 28 بهمن 1392
When Cara Delevingne was a little girl, she didn’t dream about owning a grown-up handbag—she thought of purses as sort of "mommy" things. Instead, the self-confessed tomboy admits that she was in search of more utilitarian carryalls, like the guys had.
But how things have changed—Delevingne, a model, aspiring actor, sometime musician, and, let’s face it, this moment’s It girl, if that hackneyed term retains any currency, has just collaborated on the Mulberry Cara Delevingne Collection, a group of handbags being launched today at precisely 1:30 p.m. London time, at a London Fashion Week event at Claridge's that will feature birch trees, a pack of whippets, and last, but certainly not least, Delevingne herself swaying on a bespoke swing.
It all began when Delevingne, working with the Mulberry folks at a shoot in a country estate, began musing about how much fun it would be to create a handbag. No fools, they immediately took her up on the idea, and from then things progressed incredibly swiftly, Delevingne recalls. She worked with the Mulberry team to select leathers, decide upon just the right handles and buckles, always keeping in mind that young women like herself aren’t interested in changing their bags every five minutes. These days, you want something crafted to take you from day to night to the next day.
The Delevingne bags will be available in three sizes and a range of leathers, and include a special limited edition inspired by the model’s lion tattoo. Delevingne, who is, after all, a genuine English rose, is proud that her co-creations are made in Britain, and perhaps prouder still that her bag has straps that convert from backpack to shoulder to hand-held, so the satchel is prepared to enhance any mood.
Asked to pick a favorite from the variety of colors and leathers available, she demurs—it’s like asking someone to pick a favorite child! But a moment later Delevingne confesses a soft spot for a camouflage hair-calf version. She laughs, explaining that the hardest aspect of the whole project has been waiting for the official release, so that she can begin Instagram-ing her proud baby pictures to her legions of followers, all around the world.
چهارشنبه 23 بهمن 1392
نویسنده: Randall Farris
When we see suiting and oversize silhouettes on the runway, we tend to call them masculine; anything made of silk or flowy below the waist is feminine. But for fall 2014, we’re seeing unprecedented gender fluidity on the runway—womenswear borrowing from menswear borrowing from gals borrowing from the boys—describing clothes in terms of traditional ideas of aesthetics of the sexes feels inaccurate, not to mention stale. In collections like Edun and The Row, silhouettes are formless, with legs cut so wide you can’t tell a pant from a dress and sweaters piled on, hanging low so body parts are left a mystery in a cocoon of cashmere. These pieces are more about how it feels to wear clothes. It’s an empowering concept. Here, style is: softness, true warmth, mobility—all the things that womenswear at times “sacrifices” for beauty by focusing on the outside gaze rather than the sensation of the person in the clothes. Does that make these clothes masculine? Certainly not. But this season forces us to reconsider why we apply male labels to so much that’s really just comfortable. These ideas aren’t just trendy coincidences: At Public School, we saw men and women walking the runway in essentially the same looks, while at Baja East, designers had male and female models switching clothes mid-presentation. The most gender-fluid (or perhaps post-gender) space in fashion belongs to Shayne Oliver of Hood by Air. Not only did men and women wear the same kind of looks in his Sunday show, there was no way to differentiate between the sexes. That is, all the sexes, not just male and female. After a show in which models wore tailored leather, charging the runway with chains around their necks, with long cargo shorts and haute-goth zippers, Oliver said that the show was inspired by glamour. Glamour doesn’t mean a dress or sequins anymore. It’s a feeling women and men can share that has nothing to do with gender.
شنبه 19 بهمن 1392
Whether in a beautiful gray polished-shearling bomber paired with delicately textured wool pants, or a rough-hewn toffee-colored suit with pants gathered sportily at the back of the ankle by a ribbed cuff—an austere naturalism accented with subtle styling flair defined the Richard Chai fall 2014 menswear collection.
Was there a hint of nautical? “At times, maybe. A little bit. I can see it with the stripes, the necklines on the guys' sweaters. But I think it’s more just a boyish energy that I wanted to make feel luxe somehow,” Chai said backstage at Lincoln Center. “Really the whole collection was built on this idea of textures done in a sort of subtle, austere way. Some of it more eclectic and more mixed up, but keeping it within a limited tonal range—stone, petrol, coffee, onyx, cement.”
So those color names, they’re taken from nature? “I think so, subconsciously. Particularly with the way things like weather affect me,” Chai said. “Also collaborating again with Andrew Marc on so many leathers meant looking at different kinds of textures. Mattes versus glazed versus grained, etc. It just made me think of all the ways of translating that kind of natural subtlety into other materials.”
On the guys, layering actually played much less a role than in season’s past. The strongest pieces involved a menswear staple—a moto jacket, a work pant—wrought in a great piece of fabric. While the women’s took a lot of those same pieces and layered them over a more feminine base, the two collections gelled particularly well. One fabric could feel surprisingly masculine or feminine; similarly, a silhouette could twist slightly and change completely, the most notable example being Chai’s signature tied-around-the-waist look. “Yeah, I do always wear something wrapped around my waist as a bit of a security blanket,” he laughed. “So we did all these angular handkerchief skirts out of really light fabric. And then on the guys we turned shirts sideways to mimic the women’s skirts.“
So it’s the men mimicking the women, or the women mimicking the men?
“Oh, the men always follow the women.”
چهارشنبه 16 بهمن 1392
The relaxed racing campaign, which includes Caulfield and country racing, is being launched tomorrow at Caulfield racecourse before Saturday's Family Day featuring the first Group 1 race of the year.
Even Premier Denis Napthine will be supporting the concept by dressing down when he hits the track this weekend.
Melbourne Racing Club's head of racing and communications, Jake Norton, said jackets and ties were not required for men in most of the members and more casual or edgy female fashions were welcome on women.
"It's a small step in a modern direction," Mr Norton said.
"Racing clubs are overseen by committees of successful business people who are slightly detached from the youth market."
He said though the relaxed dress code was in place only for the autumn racing carnival, he hoped it would be introduced into the more high-profile Spring Racing Carnival.
"We've developed a new code which will hopefully be able to roll out further in the future."
The Victorian Racing Club has chosen not to take part in the Racing Victoria campaign designed to invigorate more interest in autumn racing, meaning traditional racewear codes continue to apply in the members at Flemington.
"While racegoers in Flemington's expansive general admission facilities are welcome to dress casually, feedback from VRC members has demonstrated an overwhelming support for the current members' dress regulations," VRC CEO David Courtney said.
Model and footy WAG Sophie van den Akker is looking forward to embracing the new relaxed vibe.
"I'll definitely be swapping fascinators for fedoras and dumping the stilettos for wedges," said the girlfriend of Collingwood's Travis Cloke.
Sally LaPointe has been stretching her business legs recently. In the past six months, she’s upgraded to a larger studio, expanded her design team, and dipped her toes into the Resort market with a small capsule. “We didn’t expect Resort to do so well, and it did really well,” LaPointe told. The surprising success of that collection (Bergdorf placed several reorders) triggered her to launch Pre-Fall with a tight collection of signature items that are admittedly more wearable than the designer’s directional runway fare. “We’re starting to know who our customer is, more and more, and it’s a big relief. She’s growing up and is more streamlined now,” said LaPointe at a preview of the new lineup, which debuts. Core pieces included recognizable body-con sheath dresses featuring strong shoulders and sharp seaming. While LaPointe herself prefers all-black everything, retailers have reportedly been going for the plum-colored number with a toothsome torso cutout and open back, which was cut from an embossed silk jacquard that had a nice stretch to it. Elsewhere, LaPointe riffed on tuxedos with a smart pair of peplum trousers (she is planning to wear them to her Fall ’14 show in a few weeks), as well as a tailored topcoat done in wool cashmere that boasted croc-stamped leather lapels. Speaking of, outerwear has always been one of LaPointe’s strong suits, and another highlight here was a cropped, swingy camel jacket with leather panels. All in all, we’d say LaPointe’s Pre-Fall trial was a success worth repeating.