Q:Is there thrift shops in France? You should write a piece of your favorite thrift shop.
I did, it’s in my Guide to Paris. I’m still mad at myself for not getting a vintage Issey Miyake pleated tank top. But if that’s not your style, they have plenty more to choose from. Bonus: it’s right next to a firefighter station ;)
This is my 1970’s vintage dress I thrifted a couple years back. When I wear it I feel like a Woodstock princess and hear vibrations of Jefferson Airplane’s bass in my head. It was a hit at Paris Fashion Week. I want my wedding dress to be something similar to this. Vintage with soft embellishments.
Tim Walker and a fisheye lens is a dream come true. I can’t wait to see more of this new shoot (36 pages!) in LOVE #12. The setting is Eglingham Hall, the breathtaking 17th-century abode in Northumberland, England. Walker tapped his favorite Brits including veteran Kate Moss and campaign/cover snagging Edie Campbell. The theme of the editorial is a mystical fairy tale with a vintage twist. Expect to see timeless couture galore considering creative director Katie Grand made a visit to William Vintage to style the shoot.
Kate Moss in “Wizard” for LOVE #12 Fall/Winter 2014 photographed by Tim Walker
Dinner. Grilled peaches and chèvre over arugula salad, Seared Tuna Steak with cracked pepper, Roasted rosemary, garlic and red potatoes.
Good food heals the soul. After a long week I wanted to treat my boyfriend and myself to something delicious. I whipped up this whole meal in less than 40 minutes (my usual salad prep takes FOREVER - chop, chop chop). I decided I’m going to start posting my food creations more often. I seldom use proper recipes, but I can’t wait to become a devout follower of my new Martha Stewart cookbook. Her, along with Tom Cruise are really the only celebrities that I idolize. They both might be a little wacky and mischievous, but between her and him, you have a night full of entertainment that’s tenfold better than a TV dinner.
Karl Lagerfeld - Best in show
Here’s the deal with Karl Lagerfeld - you either love him or hate him. I have battled this thought for many years now, teetering back and forth between irritation and excitement. After a brief epiphany (that’s all it takes!), I’ve come to realize that this man of mystery fascinates me. From his designs to his personality, Karl always seems to stir up something controversial. Most of his criticism comes from his verbal onslaughts and ego-boosting assertions. Those things aside, Karl has prevailed on top of the fashion world for almost 50 years and incessantly remains the most popular and talented designer.
It seems to me that Karl has achieved his dream of “[becoming] a one-man multinational fashion phenomenon” (Voguepedia). With tenures at major fashion houses such as Fendi, Chanel and the eponymous Karl Lagerfeld, he is currently designing for 3 labels at the same time. To quote obnoxious Tumblr fashion bloggers, “when will your favs?”
It’s hard not to recognize the talent of this overzealous designer. Karl always thinks of a completely fresh and unique theme for his extravaganzas at Chanel and executes them to perfection. From fabricating a 40ft lion sculpture to putting us in the bed of an oyster, Karl’s ideas are energetic and fearless. We have seen the clothing unmistakably match their supermarket, arctic glacier, airline and merry-go-round precedents. Karl transforms the Grand Palais into a fantastical and fashionable wonderland - what has become a true Chanel experience.
Karl’s attention to detail is incredible. With 70 looks per collection and the most beautiful and meticulous handiwork, each outfit is a sartorial fantasy. This is no surprise coming from a man who “can reportedly turn out 200 original lightning-speed sketches in a twelve-hour stretch” (Voguepedia). Although he is often yawned at for his excessive use of tweed, Karl in fact uses a wide array of materials in his collections. For the recent Chanel Haute Couture Fall/Winter 2014 collection, he used concrete strung along like beadwork contrasting the sequins. Some of his past materials include mother of pearl, denim, neoprene, leather, crystals and exotic feathers. A Chanel collection would never be complete without a tweed jacket and skirt. Telling Karl to ditch the tweed is like telling the island of Santorini to stop using white stones and blue paint to build its communities.
I admire Karl because he is never afraid to take chances. Each brave and bold step he takes forward brings his Chanel legacy that much further towards the empire he wished to create. It’s also impressive to note that Karl always has the future in mind, never reflecting on past collections or shapes - he is constantly looking forward. His ceaselessly creative mindset and the influence of his designs have rattled the standards of fashion design. After creating and reviving such a paragon of glamour at Chanel, who could possibly fill his shoes when he retires?
After 8 years of home-dyed hair I am finally growing out my natural hair color, strawberry blonde. Since 8th grade I’ve always had crazy long hair so spending $250 on dying my whole head 5 shades lighter was out of the question. I settled with $12 box dye. Since I never put heat on my hair or rarely use styling products, I figured box dye once a year wouldn’t be too damaging. I’ve honestly been too lazy to dye it again and since the amber glow of my roots doesn’t contrast the super-blonde ends too extremely, I figured, why not grow it out? I then had the brilliant idea of dying my ends a tiny bit lighter to create a blonde ombre effect. Blondombre. I plan to rock this new hair at New York Fashion Week. I should probably get a trim so my roots grow faster (said no one ever…)!
Christian Dior Haute Couture Fall/Winter 2014
Sometimes, in order to move forward, one must reflect on past. Reflect is a strong word in this sense, because to be preoccupied with the history of something won’t help create its future. This case is prominent in the Christian Dior Fall/Winter 2014 collection, where designer Raf Simons has further proved his allegiance to the modern woman. Critics are quick to denounce Simons’ ability to grace the boundary of modernity, that he is too preoccupied with the history of Dior and monotonously bringing that history back to life. They say these things as if Simons knows nothing of the history of Dior or his vision of the house’s future. I’m sure at such a high prestige, Simons has done both his homework and extra credit.
“I was interested in the process of finding something extremely modern, through something very historical; particularly through a juxtaposition of different themes. The historical inspiration is not the justification of the collection, it isn’t its entire meaning. What I was attracted to was an idea of architectural construction – that is a very Dior attitude – and how the foundations of one era are based on another, how the future is based on the past; that is what I found fascinating. I started to think ‘what is modern?’ I wanted to deal with a form language that looks to be almost the opposite of my original inspiration at Dior. It was an idea of confronting what people now think is an aesthetic that is modern – it felt more modern to go to the far past, not the ‘modernized‘ look of the last decade. The challenge was to bring the attitude of contemporary reality to something very historical.” -Raf Simons
In this collection, Simons reflects on 8 phases of history. Some of these variations of their antecedents include Marie Antoinette ball gowns, jazz-age flappers dresses, pilot flight suits and astronaut spacesuits. Instead of recreating these quintessential fashions with a new flare, Simons reimagines their entire entity, a futuristic approach to say the least, and channels his vision into light and dreamy clothing for a twenty-first-century client. In Simons’ case, he takes one step backwards to take 10 steps forwards.
These designs are a proper example of couture that is flexible enough to be worn on multiple occasions. Thus, Simons proves the point that “true luxury is spending five or six figures and wearing something not once or twice, but incorporating it into your daily wardrobe” (Style.com).
150,000 white orchids, or in this case, diorchids, lined the wall creating a homage to elegance and exoticness. The spaceship-like shape of the venue looked like something out of Stanley Kubrick’s 2001: A Space Odyssey, complete with neon-white lights protruding from the floor, creating an alien-eqsue atmosphere. The clothes were abstract and geometric. They contained pure volume, as if blown up effortlessly like a hot air balloon. The astronaut theme was a symbol of exploration for Simons. He diverged into the past and used his impressions of the future to define what it means to “be modern in the contemporary haute couture world today” (Dior).