New Work: Run for a Million Music Video

Noush Skaugen hit a million twitter followers today and to commemorate the moment we made a celebration renegade music video. The track, 'Run Baby Run' is the lead song on her forthcoming album Dr System, which we're hard at work on right now, but hope this bit of comedy wets your appetite!

'Run for a Million'

SS10 Round-Up: Christian Dior and Vintage Lingerie

Dior SS10 RTW

Respect is owed to John Galliano this season, as it was he who entered the subject of lingerie at the top of the fashion agenda. Thanks to him, what was supposed to be one single article has rapidly expanded into a mini-series, examining the use of underwear in fashion.

Back in July, Galliano’s Dior AW09 Couture collection saw a full-circle back to Christian Dior’s first collection of 1947. Shown in a setting inspired by the original Dior salon on Avenue Montaigue, AW09 saw half-dressed models with one half of their body revealing stockings, suspenders, pointed bras, Basques, girdles, lace-trimmed slips and petticoats in pretty 1950s flesh tones, and their other half encased in waisted jackets, bubble skirts, padded-hip coats and full skirted evening gowns in an array of fantastical colour and print.

Christian Dior, whose first collection in 1947 emerged out of the rubble of the Second World War, and who remained the ‘dictator’ of fashion for the next decade, revived Haute Couture with his, as it was coined at the time, ‘New Look’. This oddly named ‘New Look’, which was more of a counter-revolution as women found themselves once again (as during the belle époque) dressed as sex symbols for men’s pleasure, demanded extraordinary foundations to reach this desired silhouette. The wasp-waisted silhouette was created by a construction of tulle and bone bustiers, cupped bras, shoulder pads, bust pads, hip pads, and taffeta slips with rosettes and rouches, all to enhance the curves. Dior became famous for this construction of heavy and constricting undergarments. Therefore, it only seems fitting that underwear should become as key to Galliano as it did to Christian Dior.

Where Dior AW09 Couture was strong, sharp and bright with a 50s movie starlet glamour, SS10 was 40s film-noire, probably finally capturing the real romantic essence of historical Dior. Where Galliano’s earlier collection was all tiny waists, structure, strength and vivid colour, SS10 focused on a more vulnerable femininity. The French lace trimmed petticoats and shorts, cami-knickers and satin teddies, baby doll dresses, fragile flowered chiffon dresses, vintage-esq full-length cascading satin, pleated silk cocktail dresses and transparent delicate fabrics with romantic adornments all brought this new aesthetic to the collection. Galliano’s dramatic edge is undoubtedly still on show, and his distinct creative aesthetic is conveyed through his use of contrasts (of texture, colour, fabric). For example, a structured corset is attached to a chiffon blouse and paired with delicate lace trimmed shorts, or dresses with lace uppers fall into lamé trains, or corseted uppers descend into waterfalls of chiffon ruffles or a lamé wrap dress is finished with lace trim. Galliano said he found the film-noire inspiration for the collection while thinking about Lauren Bacall, American actress and model, “[who] was a great Dior client; there are amazing photos of her in the salon with Bogart”. With this historical impetus he designed the wardrobe for his 40s femme fatale, complete with her side parting and red lips. Thus underwear arrived on the fashion platform.

Revisiting the original aesthetic of Dior’s ‘New Look’ Galliano has found the true Dior essence, fitting for the modern woman. Sometimes only by looking back can you move forward with a fresh outlook, and rediscover what your purpose is. Despite how it is commonly treated and understood, fashion is certainly not an a-historical phenomenon.

Dior AW09 Couture

All pictures with thanks to Style.com

SS10 Round-Up: Viktor and Rolf, Credit Crunch Couture

A show is going to particularly grab my attention if a flamboyant, showstopping design duo claim to be making a commentary on society and its economic concerns. Viktor and Rolf say of their Spring/Summer '10 collection “it's all about cut-backs... Everyone has a response to the belt-tightening and recession. This is our version...We took out a chain saw and hacked away at excess, starting with the tulle." This ethos created a remarkable show of contrasts; we see beneath a frothy and whimsical exterior to a sombre wearability.

Finely gathered chiffon panels hold vertical shelves of tulle bursting out in bright purple or green. Gravity defying cut-out horizontal and diagonal slices reveal black and muted body skimming simplicity. Circular bites removed almost carelessly reveal rough layers beneath. A sombre tuxedo jacket or dress and city shorts appear behind girly and flamboyant tulle shapes shining over the top. Sharp V shaped black tux lapels, ever pervasive throughout, cut through softly flowing silk, chiffon and tulle in an array of pastel colours. Every piece represents a dialogue between extrovert joy and pared back sophistication, and so the show holds a dramatic conversation, where ultimately, for me, neither could exist without the other.

The mix of hard and soft, flirty and strong, light and dark, muted and bright, structure and free flowing, grown-up and childlike, and sharp and soft is utterly alluring. It takes some time to understand what you're really seeing, and even then you feel you don't quite know what this duo is saying. Is fashion imitating life in a vibrant discourse, or are they just having some fun?

I can, however, safely say SS10 is the season of some rather attention seeking celebrity endorsement. Emma Watson for Burberry, Lily Allen for Chanel, Madonna for Louis Vuitton, Pamela Anderson for Vivienne Westwood, Lindsay Lohan for Emanuel Ungaro and now Roisin Murphy for Viktor and Rolf. Always one to grab fashion headlines, she appeared wearing a pink tutu falling from her shoulders to her hips, (maybe to hide that she is heavily pregnant) and provided the live soundtrack with the debut of two new songs 'Royalty' and 'Demon Lover'.

Roisin Murphy for Viktor and Rolf SS10, Paris

The final most dramatic dresses showed great skill in construction, a mastery of creation, but I rather imagine, in the credit crunch collection, little expense was spared.

New Fannie Schiavoni Delights and the Blogger Chain

Alice Palmer SS10 with Fannie Schiavoni, LFW

I think you might have noticed me harking on about Fannie Schiavoni, I believe I was one of her earliest followers, even beating Miss Style Bubble to the post, when I shot some of her grad collection back in January. As I posted a few months ago Fannie is making waves, stocked not only at Browns Focus, but now also at Kabiri. Fannie launched her SS10 collection last Saturday on-line by gathering together 6 fashion bloggers who simultaneously posted an image from her collection, in a self-named fashion chain. She also showed her collection alongside Alice Palmer, with Fannie Schiavoin's tough metals contrasting beautifully against bare skin, and the soft origami pleats and folds of fine jersey knits which draped weightlessly. Later this week I will be shooting some of the new collection for a major album shoot for Noush Skaugen, so I promise backstage pics over the weekend, and a full update on the shoot soon. For now, here are my favourite pieces from the Fannie Schiavoni SS10 collection.

Hermes Pour Liberty: design history

Finally I had a chance to visit the Hermes Pour Liberty pop up shop which has taken over the scarf room at Liberty. Everlasting chic French perfection meets fashion forward cool, yet traditional British heritage, in what should make a perfect combination. It's a little like buying a limited edition print - I feel I should frame it and hang it on my wall!

Creative director of Hermès silk, Bali Barret, said of the collaboration: “For us Parisians, Liberty is the British icon. The idea for the collaboration was to create a fifty percent Hermès and fifty percent Liberty scarf in order to make a one hundred percent truly exciting hybrid collection of scarves and ties. Choosing to print our famous Ex libris on to the famous Liberty Tana Lawn classic flower print was the perfect solution”.It was reported that stylists would be on hand to explore different ways to tie each scarf, but I seem to have missed that; the extremely charming sales assistants unfortunately seemed to have no idea what to do with the scarves. I'm not sure this is exactly what the organisers had intended... Other events - including mini-fashion shows - will be taking place whilst Hermes is in-situ until 18th October so watch this space. The real perk, however, is the range of other Hermes scarves and accessories also on display, as it is fabulous to be able to touch and try on anything, unlike in any normal Hermes shop. I couldn't resist a few treats, so I left a very happy customer with the light blue and pink Liberty/Hermes collaboration scarf, a classic silk Hermes, and a beautiful gold Hermes scarf buckle to finish the look. So chic and Parisian!

See the Liberty Blog for more event details or visit http://www.liberty.co.uk/ for further information

Christopher Kane arrives at Topshop

Crowds of shoppers queued on Oxford Street this morning as Christopher Kane for Topshop went on sale. They had good reason, this collection has all the Christopher Kane touches you would want, and the simple garments still have the essence of luxury without the massive price tags - at £40-£160 there's probably something for everyone. Mirrors, eyelets, gems and embellishments are a major feature throughout the whole collection. There is also a brilliant range of accessories such as the leather pouch bags with tiny mirrors and, my favourite, mesh and rivet details shoes and boots. In conjunction with his main line range success with the Gorilla print, his collection for Topshop uses a crocodile print which is fantastic, and with the t-shirt at £40, much more affordable than the £215 main line version. Shop the collection at Topshop online.Main line Christopher Kane Gorilla print

New York Fashion Week: Nicholas Petrou, SS10

Inspiration for a major project looking at Superheros - just thought I'd share.





All photos by Andrew Yang, 2009

A Shared Aesthetic - continued!

Another beautiful Minoan piece which I had to share

Ring, before 2000 BC, Gold

A Shared Aesthetic

Minoan Bee Pendant, 1700-1500 BC, Gold
Alex Monroe Bee Pendant, 2001-2009, Gold

Craftsmanship, beauty and luxury; some of the words I most associate with the real essence of fashion. On a recent trip to Crete's Archaeological Museum the jewellery of the Neolithic and Minoan periods, 5700-1100 BC caught my attention. For, as far as we have come, these pieces of Minoan jewellery in front of me could have been entirely modern. This ancient display of fashion raises interesting questions into an ingrained value of aestheticism which we share as humans.

Neolithic pieces from 5700-2800 BC show abstract stone and clay pendants and charms. Late Minoan pieces, 1400-1200BC, show gold flowers, carved ivory, bangles, pins and rings, and vivid gemstone necklaces. Typical Minoan jewellery consisted of thin coils and chains of linked and plaited gold wire, and gold foil fashioned into petals and rosettes. Stamping and engraving were also common techniques used in the manufacture of Minoan jewellery, as was gold granulation and filigree. For me, the most remarkable pieces I have seen is the Minoan Bee Pendant, picture below. Taking this one example, jump thousands of years to the 21st Century, and Alex Monroe, leading designer of gold and silver jewellery, holds his famous Bumble Bee pendant at the centre of his collections, picture below. His collections too feature filigree pendants and charm bracelets. He too draws of the nature around him to produce jewellery inspired by flowers, leaves, birds and butterflies.

It is quite remarkable that our modern society still turns to the same inspiration, and still uses similar metal work techniques as our Minoan 'ancestors'. Could this be taken to suggest we have an ancient aesthetic ingrained in our modern society? The continuation of a shared aesthetic over so many thousands of years must teach us something about the history of fashion. Interestingly, and please do shout out if I'm wrong, I have never seen an article or fashion story looking at the art of the Minoans featured in any glossy. How can we in the fashion industry rule out such a section of our history, and what have we missed by doing so?

Counter Culture sneak preview

A little something to wet your appetite! Full story up soon.