These Lips Might Sink Ships...

2012-01-29T22:17:00.000-08:00

In a bout of laziness after reading for class most of the day, I surfed Netflix and hulu, hoping to find something interesting to wind down to. I was pleasantly surprised to see "The Fashion Fund" on the hulu homepage. Vogue has previewed pieces of the series, which chronicles the CFDA/Vogue Fashion Fund finalists and was eager to see something more in-depth. Sure, the results are no longer a secret, with Joseph Altuzarra of Altuzarra (my personal favorite) taking the top prize, but it's thrilling to see the process. There is more than a little runway and studio footage, which is a thing of visual pleasure to say the least. It's also compelling to hear the thoughts of fashion industry veterans, like Anna Wintour and Diane von Furstenberg, as well as previous finalists and winners. The documentary, Seamless, took a similar look at the Fashion Fund, but this series is much slicker and inundated with beautiful images. I am looking forward to watching the episodes that follow.

The Art Teacher

2012-01-15T17:08:00.000-08:00

I've never really been a Rufus Wainwright fan, probably because I haven't thoroughly investigated his work. I love his cover of Leonard Cohen's "Hallelujah," but other than that I have a very limited scope on his work. Today I saw that my friend posted this song on his tumblr (I have one myself) and I fell hard and fast. There's something to be said about fantasy relationships between teacher and student. I myself have yet to fantasize about any of my professors, but then again, most of them are female. I suppose I fantasize about the fantasy itself. In any case, this is a lovely song that may see me looking into a broader scope of Mr. Wainwright's work.

"Fuck that shit, I wanna be her."

2012-01-15T17:00:00.000-08:00

This little clip brought to us by Matthew Frost and Jalouse just makes me smile. Susie Bubble was not so amused, but you can't please everyone. More than anything, it's a cute (the word makes me wretch) little short. I've never been all that impressed by Ashley Smith just because she's a Lara Stone look-a-like, not unlike Georgia May Jagger. In any case, I've been converted ever so slightly. I think the last outfit and hair combination is lovely. The video itself compliments my impression of the magazine as a playful, slightly whimsical contribution to French fashion. Other than that, I don't have to much to say. I wish I had some polka dots.

Une Fille Comme Les Autres from Jalouse blog on Vimeo.

Ladies and Gentlemen, Mr. Tom Ford

2012-01-12T18:41:00.000-08:00

I, for one, was quite excited about Tom Ford's comeback of sorts, though now it seems as though he's hiding in the background, though not by choice, I imagine. He's never been one to shy away from the camera. Not only is he devastatingly sexy, but he is exceedingly talented. Today I happily stumbled upon this video that coincided with his revered return. He speaks about personal style, his past, and film-making, among other things. I particularly appreciated him speaking about dressing extravagantly, as I hope to be one of the few that bring energy to the streets by my form of dress. But instead of rambling about myself or breaking down the video, I'll let the man speak for himself and simply hope to see more of him. Enjoy.

Style Forum Special from Music Guy on Vimeo.

I wore fake Hermès to French class today.

2012-01-03T22:28:00.000-08:00

Today was the first day of Winter quarter at the great learning institution I attend. I have French class at 8:30 every morning, but luckily New Years fucked up my sleep schedule so much that I've been going to bed at a reasonable hour over the past couple of days. The fact I woke up at 7 today is otherwise astounding. After coffee and some breakfast, I went to my closet with France on my mind. In fact, last night I listened over and over to "La Vie En Rose" and a Lady Gaga performance in which she sings in French. Soon, I'll be one of those annoying Francophiles that only drinks black coffee and smokes imported cigarettes. I suppose that's not too far off though. Anyway, my natural tendency to choose black and a never-dying memory of a Carine Roitfeld street style photo left me with the coat, the ripped nylons, the booties. The headscarf was something I had been thinking of since the night before and for some reason I was set on it. I tried for something more playful à la Louis Vuitton bunnies or Alber Elbaz's illustrations. I love the whimsy of some French designers, like Sonia Rykiel, alongside those who are preoccupied with being chic. That creative dialogue, of sorts, provides me a very interesting impression of what Paris is really like. And, I suppose, outfit inspiration, which is obviously of the highest importance.

BB Dakota Coat, thrifted scarf, drug store nylons, Banana Republic Booties, (barely visible) J.Crew button-up

I can only blame my own laziness for the grainy—and mildly comical— cellphone photos. My digital is without batteries and I lack a live-in camera-savvy boyfriend like Rumi or Susie Bubble. Taking pictures of yourself is frustrating. And quite strange, I suppose. In any case, I'd rather embarrass myself with terrible photos rendered in a MySpace-like fashion than not post at all. Resolutions.

New Year's Daze

2012-01-01T19:10:00.000-08:00

I have no interest in putting forth a pseudo-intellectual reflection of the year, nor a sentimental mishmash, but I do feel the need to write something. Last night, I celebrated the New Year with good friends at a small get-together. Platonic mouth kisses exchanged and a lot of solo dancing on my part pretty much characterized the evening. I also left my pants at home in favor of black nylons over black underwear. After the intimate atmosphere of the first portion of the evening, a trip to our favorite sleazy 18+ gay club (you may know which I'm speaking of) brought more hours of dancing upon towering wedge heels for myself and some appropriately dirty dancing for others. Two of my oldest friends invaded my bed for seemingly endless laughter and a fairly unsuccessful night's sleep.

The morning brought homemade breakfast with most of the friends from the original celebration. The coffee run my bedmates and I went on ended in general disorientation. A drip coffee cost one of my friends a cool $4.25 and I managed to dump an entire container of raw sugar into my Americano. To be fair, the lid practically dove into my coffee, making a bit of a mess. The resulting product was scary sweet, perhaps a taste of things to come?

I'm going to ignore my previous decision to avoid the sentimental and say it was honestly the best New Year's celebration I have experienced thus far, due in no small part to the hilarious and kind people I have surrounded myself with for years. Even though my fridge is empty and I am exhausted, I'm feeling rather optimistic of the year to come. One of my many resolutions is to stop by my neglected blog far more often. So very much has happened that I have yet to document, but I plan to be more balls-to-the-wall in 2012.

Cheers to that.

More importantly...

2011-11-30T23:46:00.001-08:00

Speaking of...

2011-11-30T23:44:00.001-08:00

Lady Gaga just performed with her own version of Nicola's panda eyes. I'm not so hot on the Sugarland thing, but...

I'll take two black eyes, please.

2011-11-28T14:52:00.000-08:00

As I seem to adore all things heavy (read: excessive) and dark, I found myself excited to see the makeup at Spring shows for Rodarte and Gucci. A dense cloud over each eye looked playful and powerful respectively. Gucci's was an uncompromising black (complete with bleached brows), while Rodarte's had a trace of blue, which was appropriate given that the Mulleavy sisters took inspiration from Starry Night and other van Gogh paintings.

Liu Wen at Rodarte; Natasha Poly at Gucci; via style.com
Stylist Nicola Formichetti, who bears the nickname "Nicopanda," attended his own Halloween party with a similar look across his face, though it was notably more face-consuming and messy, neither of which are a problem in my mind.
via Nicola's tumblr

Today, I read Susie Bubble's post about the look, which featured a video the makeup manifesting on her face. While she usually looks lovely without a scrap of makeup on her face, I say she looks incredible donning quite the opposite as well.

via because LondonI myself tried the look for a night spent for a rather typical college party, though it looks a bit more devious alongside the black bandana and dominatrix t-shirt. Since I didn't have the resources, time, or daring to bleach my eyebrows, I simply covered them with as much foundation as my patience gave me. I sent this picture to my dear friend Gillian, who replied with a frightened text message wondering where my brows had gone. Perhaps that is a measure of some success.
As I don't see myself as some kind of makeup extraordinaire—the sun does reveal every mistake one makes‐I'm not sure how willing I will be to wear such a face in the daylight hours, but perhaps I will surprise myself. An afternoon blog post is a surprise in itself, so let them come in droves.

Today's Stare-it-dead Image

2011-11-16T02:32:00.001-08:00

I'm in the process about writing a paper about this lovely painting, but I'm getting quite sick of looking, thinking, and writing about it.

Winslow Homer, Eagle's Head, Manchester, Massachusetts, 1870
It's rather strange that we're expected to appreciate things that become visually exhausted all in a day's work. Perhaps I just have a bad attitude. Then again, it's also almost three in the morning. This is too typical.

Child, the living's easy.

2011-11-11T12:30:00.001-08:00

It only seems right to post a Summertime look as a downpour ensues outside. I suppose this was me mixing a bit of Seventies soul with a touch of the hippie side of the era. I don't mean to be sentimental about the Summer or a forgiving schedule that doesn't keep me away from all the things that I love, but this post has been a long time coming. And the scatterbrained thoughts stop here... sort of.

(silence + noise top, [BLANK] jeans, Jeffrey Campbell shoes, thrifted (probably fake) Hermes Scarf, vintage bag)
I've been listening to a lot of Janis Joplin over the past couple of months, but I can't remember if this was at all influenced by her style or not. With the excessive jewelry especially, it wouldn't be completely surprising. In any case, she's incredible on multiple levels (as if it needs to be said).

Now I'm going to brave the rain to stop by the library. Happy 11-11-11!

Baby take me for a ride...

2011-11-09T15:02:00.000-08:00

Bambi and a Burrito

2011-11-09T06:26:00.002-08:00

After a long day, I trekked over to my beloved local taco truck, Rancho Bravo, and got myself a black bean Bravo burrito, a veggie mix quesadilla, and huge agua de piña. Once home, I sat down and gorged myself at a potentially dangerous rate of speed. Predictably, I felt sluggish soon after my feast and some doddling and a nap followed. Alarms were ignored and I found myself awake at 1a.m. While four hours of sleep is not exactly enough, I can't seem to fall back to dreamland. So in an effort to start my day exceedingly early, I'm drinking green tea out of my "Bambi" mug and working on an article that I didn't touch because of the aforementioned food coma. I've also been exploring a few blogs, known and unknown, which have only led me to feel embarrassed, if not a bit depressed about the state of things around these parts. Cue the slightly stream-of-consciousness blog post about overeating and feelings. I just heard a "Mean Girls" quote. In any case, I hope you enjoy my hilarious still life of Bambi in my new-ish, perpetually messy, undecorated apartment. Declaration that I will feel semi-obligated to stick to: This will not be the last post this week.

I'm not dead. Promise.

2011-10-24T00:51:00.001-07:00

It's hard to dance with a devil on your back, so shake him off.

2011-10-05T23:25:00.000-07:00

Fall has finally arrive and homework is slowly piling up. I'm far behind on any Spring/Summer 2012 coverage, but I hope to post on some of my favorite shows. In the meantime, enjoy this rather magical new video from Florence + The Machine. I can only hope Halloween will be so dreamy.

2011-10-01T15:18:00.001-07:00

I've probably posted it already, but this one's better.

Back to writing...

2011-10-01T15:08:00.000-07:00

In the simplest of ways, Justin Wu knows how to make me smile.

Sunday Night

2011-09-18T21:54:00.001-07:00

I'm lightyears behind in any Spring 2012 coverage, but that's not exactly news. Instead of being productive today, I ate a ton and watched several episodes of "My So-Called Life." Around 9:00 tonight, I wondered if I should even bother trying to be productive before bed. I still haven't decided, but I cleaned up my apartment a bit, lit my Gothic candelabra (that's probably not the correct term, but you know, it's sounds nice), and put a live Pat Benatar record on my half-working record player.

"Looking for a Stranger" is always a fantastic choice for a slow night. Escaping my apartment to do something dangerous often sounds desirable. For now, I think I'll just stick with pretending my life is much darker than it is in actuality, candelabra and all.

2011-09-17T15:08:00.000-07:00

NYFW Spring 2012 from David Sherwin on Vimeo.

Fall is coming.

2011-09-14T12:23:00.001-07:00

Losing my Rocky Horror Picture Show virginity was one of the best moments of the beginning of my Freshman year. I can't wait for what this year brings.

Gaga on Criticism, Ms. Horyn

2011-09-02T13:17:00.000-07:00

GAGA MEMORANDUM NO. 3

In her latest column for V magazine, Lady Gaga investigates critical culture, directing much attention to the esteemed (and notoriously harsh) Cathy Horyn. Gaga questions the necessity of being highly critical to the point that said criticism is negative to the point it becomes predictable. She herself has stated that critics are bullies, which one cannot easily disagree with. Certainly being a critic requires expertise and (hopefully) disgression, but often critical writing reads as if the writer is reveling in being mean spirited. I myself have weighed the value of being critical, struggling with saying something that could be potentially divisive. That is, if any of the creators I write about actually read my blog—they don't...yet. Every time I have this conversation, of sorts, Horyn comes up, perhaps because she is the most vocally critical fashion journalist alive today. Without a doubt, I feel that honest criticism is necessary to keep artists thinking forward and such shoes are difficult to fill. For that, I applaud Ms. Horyn's bravery, as I could not be so objective that I eliminate the possibility of befriending—or at least having the respect of—the world's most important designers (perhaps journalism isn't really for me...?).

Gaga asks, "Is it not even more critical for fashion and art critics to be profusely informed not only in art history but in the subliminal? The public operates with the assumption that critics are experts in their respective fields. But are they? Does every critic have the soul to really receive a work in the transcendental sense? The out-of-body experience of art?" Too often those who experience art only think of it in terms of good and bad. What I believe Gaga asks for in this column is a journalistic consciousness that looks deeper, that experiences the work. I sometimes wonder if I have the "soul" for it and cringe at the thought that I may not. Then again, I wonder that about a lot of things. Perhaps that's telling...or not at all.

I found the piece to be probing and important, even in it's a bit of an assault on Horyn. I still believe Horyn has a valuable place in the fashion community. This kind of discourse often has me searching within myself for a guide, if you will. I just hope Glitter Way presents itself to me in time.

Dancing Queens.

2011-08-30T01:38:00.000-07:00

Lanvin ads always have a sense of life to them, much like the work Alber Elbaz does for the house itself. Last season, the campaign featured Iselin Steiro and Kinga Rajzak mid-catfight. The Fall campaign—shot by Steven Meisel—brings something more light, with Karen Elson and Raquel Zimmerman performing synchronized choreography. The result is as playful as the brightly colored and voluminous dresses pictured below. If the stills weren't enough, a campaign video has surfaced which shows the models (and male counterparts) dancing to Pitbull's "I Know You Want Me." The soundtrack choice brings me a smile for the simple fact that something mainstream won out over something indie. Any pretension is stripped once Pitbull's voice emerges. Quite simply, it's lighthearted fun that is undeniably refreshing. I hope you'll enjoy a couple stills and the video as much as I did. There's a lovely surprise at the end.

Photos via Fashion Gone Rogue

Marc and Robert.

2011-08-27T19:26:00.000-07:00

Photos via WSJ Magazine

I'm constantly thinking about having a kindred spirit to work alongside. My dear friend, Gillian, certainly fits the bill, but the majority of her year is spent in Portland. This insightful profile of Marc Jacobs and Robert Duffy for the Wall Street Journal Magazine illustrates their personal and professional relationship. Not only is such a relationship something I crave, but what has resulted from their partnership is nothing short of inspiring. In addition, the old photo is awfully precious. Enjoy.

Carine Roitfeld by Karl Lagerfeld

2011-08-27T00:46:00.001-07:00

Carine Roitfeld photographed by Karl Lagerfeld

The two had quite an interesting chat in Interview magazine, accompanied by some ravishing photos. I cannot help but to feel full of wonder after reading the interview. Huh.

Wrap Your Troubles in Dreams.

2011-08-24T22:21:00.000-07:00

Vintage wrap, thrifted BDG t-shirt, BDG jeans, deaux lux bag, BP Nordstrom scarf (worn as turban), gifted silver and seashell necklaces,
ring purchased at Moksha, tassle necklace Forever 21, assorted bangles, gifted flats

On the day of the Pride weekend street fair, Gillian and I explored the less charted regions of Capitol Hill, where we found a wonderful vintage store called Indian Summer, tucked away not far West of Broadway. I found a beautiful greyish, jade greenish wrap, printed with fish, antelope and other exotically rendered creatures all over it. The fringed hem also got my motor running. I had just spent nice sum at Cairo, another nearby vintage store, and reluctantly fell in love. Gillian looked at me and knowingly said, "Don't pretend you're not going to buy that." (For whatever reason, I have a fierce attraction to ponchos, wraps, capes, and any other garment that loosely covers me that couldn't be called a coat). The large "10" written on the tag seemed oddly low, so I made sure with the owner who reassured me it was ten dollars. All resistance was quelled thereafter.

The Summer weather has required me to be virtually naked (I'm a whiny Seattleite), so my excitement about the garment has not been fully exercised, but on the day I took this photo, it was rather cool and grey. I even put on some pants. I'm also fairly obsessed with headwraps and the like, so I devoted a chunk of my morning to mastering a turban shape with a long scarf. An excess of jewelry, eyeliner, and room in my bag brought together all of the bag lady elements.

I'm so fucking ready for Fall.

Don't tell me I'm less than my freedom.

2011-08-24T22:16:00.001-07:00

It's not the door you're using, but the way you're walking through it.

2011-08-22T01:09:00.000-07:00

The Kills at Lollapalooza 2011

Copies 6¢

2011-08-13T15:51:00.000-07:00

Praise Mario Lemafa for always having his camera with him.

Thrifted button up, BDG cigarette jeans, thrifted Banana Republic ankle boots, thrifted green (faux?) snakeskin clutch

You like to think that you're immune to this stuff.

2011-08-09T22:39:00.000-07:00

On repeat.

Summer: That's Not My Deal

2011-08-08T02:20:00.000-07:00

I've been feeling rather optimistic about summer as of late, despite the fact that I can't stand the heat, nor dressing for it. Last week saw a change when,after having declared I was not "a beach person," I went to Golden Gardens with a group of friends, even braving the icy cold waters of the Puget Sound. And just today I was hellbent on finding a "summer movie" to watch on Netflix. The search was less than successful and lead to potentially startling vocalized frustration. Fortunately for me, Best Coast is a band that certainly provides a sense of escape, easiness, and abandonment that is so often associated with the summertime. Guitar riffs bring images of impressive swells and clinking margarita glasses over taco truck fare. Needless to say, I was rather excited at the prospect of a Drew Barrymore-directed music video/short film, starring Chloë Moretz and an attractive young man I know nothing about, Tyler Posey. The video follows two rival gangs—hello L.A. culture—both of which have a member that becomes enamored with the other. Forbidden love! The styling in the video reminds me of a modern Cry Baby, with its humor intact and the addition of a letterman jacket-wearing gang with a soft spot for color. Morentz is typically adorable in the I-know-how-to-handle-a-switchblade kind of way and her hair may generate envy in a few. The story itself is ripe with an all-too-precious love story, melodrama, and (who would have guessed it?) tragedy. If it were a full-length film on Netflix, I probably would have watched it today. Enjoy.

Get More: MTV Supervideo, Music, Best Coast

Update: Here's the extended version.

Get More: MTV Supervideo, Music, Best Coast

Giambattista Valli Debuts Haute Couture

2011-08-07T15:40:00.000-07:00

The Fall Haute Couture shows last month in Paris flew by and I still have yet to say a word about them. Haute couture has recently been called into question in terms of relevance. In response, Alex Fury wrote a fantastic piece about its significant role in fashion today. Another voice bent on asserting haute couture's importance is Giambattista Valli. In the face of doubt and pessimism, Valli debuted a couture collection that provides hope and perhaps a new direction for the tradition of haute couture.

Valli has a cult of young wealthy girls who are devoted to supporting his ready-to-wear business, so it should come to no surprise that his couture debut is quite youthful. In the haute couture business though, youth are not typically the clients of couturiers. Thus the frequency of shorter hemlines and the exuberance in this collection mark a turn for haute couture.

In typical Valli fashion, expressly decorated elements stood in contrast with more classic, streamlined elements, as in look 32. Between the fabulous use of coral, the feathers, the leopard print, and the dramatic capes, Valli has created a highly iconic collection that capitalized on unabashed glamour. He has not strayed from his DNA—something of great importance in couture—but he's challenged himself and proved what he can do with an atelier.

Hanaa Ben Abdesslem

Aymeline Valade

Tati Cotliar

Hanna Sorheim

Sasha Pivovarova

Hailey Clauson

Kinga Rajzak

Ajak Deng

Nyasha Matonhodze

Aymeline Valade

Caroline Brasch Nielsen

Jac

Jacquelyn Jablonski

Sasha Pivovarova

Elena Todorchuk

Joan Smalls

Ruby Aldridge

Photos via style.com

Let's go for a ride.

2011-08-05T23:04:00.000-07:00

Pride, Phad Thai, and a Poncho

2011-08-02T17:01:00.000-07:00

Gillian and I at the Pride Street Fair

We were much happier than we look. Promise.
Photo by Mario Lemafa

Young Love

2011-07-25T22:47:00.000-07:00

Young designers Thakoon Panichgul, Jack McCollough, and Lazaro Hernandez.

Purple Diary

2011-07-23T10:01:00.000-07:00

I don't really know what to say other than the world has lost a great talent.

I'll be missing you.

On that note...

2011-07-20T22:35:00.001-07:00

How beautiful does a soaked Raquel Zimmerman look in the Fall Alexander Wang campaign?

Photos via alexanderwang.com

Escape

2011-07-20T22:07:00.000-07:00

This past weekend I decided to flee the city with my girls to stay with a friend and his family, who live in a lovely plantation-style (I cringe at the name itself) house steps away from Lake Chelan. After coming back, I was asked what we did, and replied "Nothing." In other words, most of the time there was spent relaxing, whether that mean having tea on the candlelit porch after dark or watching far too many movies instead of spending time outside. One morning, I inexplicably woke at 6:30 in the morning and decided to not return to dreamland. I tiptoed downstairs, poured a cup of coffee, and joined another house guest on the porch. We enjoyed the morning and spoke of our respective times at the college I attend. He's more or less of my parents generation, so naturally there have been changes. Later we were joined by my friend's parents, so my morning was spent having conversation and coffee with signficantly older human beings and working dutifully on a crossword. You may be surprised to hear that the latter was far more agonzing than the first. I cherish my conversations with the generations that have come before me.

To be sure, I didn't just laze about all weekend. I swam quite often, went wakeboarding only to be sore for the next two days, and took a less than leisurely bike ride. My friend Bridget and I decided to bike into town. She rode her road bike, while I rather idiotically mounted an electric blue cruiser. Coincidentally, a triathlon was taking place at the same. While I didn't look or sound anything like a serious biker—in sandals and oversized button up, ringing the bell in sheer glee—my effort to keep up with Bridget was much like competing in a race. As we got to town, it began to rain to my relief. I was already hot and absolutely exhausted. We passed triathletes sporting pained faces and while I was tempted to ring the bell at several, I resisted to save myself from a potential punch in the face. As soon as we arrived home, I ran upstairs and changed into my swim suit. By the time I got to the dock, it was pouring, but I was undeterred. I dove in and gasped as the cold enveloped me. Not long after, the water felt less hostile. Pulling myself onto the dock, I stood in the nearly warm rain, taken with the way nature can look and feel. Perhaps rain is the last thing many Seattlites would want to encounter on vacation, but I couldn't have been happier. I'm so very glad I haven't lost the ability to find joy in the little things. While you mope, I'll be dancing in the rain.

Spangled.

2011-07-11T02:45:00.000-07:00

Loving your country is a wonderful idea, but I appreciate the Fourth more for the picnics and the beautiful booming lights in the sky. I think my problem is that when I think of patriotism, the legacy of slashing and burning caucasian males comes to mind, instead of the opportunities that the country provides to those not born here (this of course becomes an issue when immigration is brought into the discussion). But then again, I wonder if that's a myth created by our graying forefathers to create a glorified history of the country. My own citizenship, a product of "birth-right" and entitlement may simply lead to me overlooking what makes America great. In other words, because I expect a lot, I don't see what others might appreciate. Enjoy the music and my amateur photography (the pie closeup, the gas structure, the blurry fireworks) alongside better shots by Miss Gillian Spencer.

Gisele Bundchen for V magazine shot by Hedi Slimane, styled by Clare Richardson; Gisele Bundchen for Vogue China shot by Patrick Demarchelier, styled by Nicoletta Santoro

Page One: Inside the New York Times

2011-07-07T23:11:00.000-07:00

In my mission to be the loneliest person on the face of the Earth, I spent part of my night alone at the Seven Gables theater to see Page One: Inside the New York Times, a documentary about the storied Grey Lady. Being only one of the four people inside the decrepit theater certainly contributed to the sense of solitude and the fear of dying old world institutions (but that's another issue entirely). I came in with high expectations, being a journalism major, a lover of print, and a writer who has high esteem for newspaper men and women (I myself see myself at a glossy fashion magazine, but again, another issue). I found Page One to be both heart-breaking and inspiring. The agonizing shuddering of countless print media outlets and dismemberment of the Times via economic struggle is a reality I constantly have bouncing around in my mind, but the film made this all the more real with personal stories attached.

A particularly intriguing subject of the documentary is David Carr, a writer on business and the media. The husky-voiced hero of the film has quite the underdog history, complete with drug addiction and single parenthood, which certainly provides his story an emotional backdrop, but I found his contemporary "story" more striking. He's an inspiring figure for journalists to see simply because he works and supports his Lady with a relentless spirit. Carr is painted as a fearless journalist on the front lines, unconcerned with the often scummy trenches he finds himself in. He admits only fearing guns and bats (I think it was bats, though sometimes his voice is exceptionally strained). Carr's wicked sense of humor is just another contribution to his portrayal in the film.

Whether or not you're a working or aspiring journalist, this film is important to understanding the power of news. If Page One aims to preserve the Times and other print news organization, it certainly has strengthened my resolve to be a print media supporter. Will I shill out $7.40 a week for a paper delivered to my residence? Perhaps not, but I know what I will be doing when I wake up Sunday morning. A trip to Bulldog News for a Sunday edition, a bagel, and a coffee sounds fucking beautiful.

I just wanna go down the river...

2011-07-07T20:39:00.000-07:00

I'm reading The Adventures of Huckleberry Finn for my sole class this summer and all I can hear is...

Chanel F/W 2011

2011-07-07T14:37:00.000-07:00

A gray summer day in Seattle seems an apt moment to write on Karl Lagerfeld's Fall collection for Chanel, despite the fact that it was shown months ago and the couture collections are already wrapping up. Truthfully, I have only my own procrastination to blame, but moving forward...

Lagerfeld presents a much darker vision for this collection, teeming with androgyny in the most classical sense. In fact, I would argue that from a strictly formal standpoint, this is his most Coco-like collection in quite some time. By merging the formality and intense detail that has become an intrinsic part of the Chanel empire, with a more practical and streetwise point-of-view, he appeals to Madame Chanel's pragmatic sensibility while satisfying the glamour necessary to carry the house as it exists today. Looking to his young devotees, he championed pants, whether they be denim or something more dressed up, to create a wonderfully boyish collection. Even long dresses took shape in knit fabrics, bestowing a heaviness to what's normally seen as quite feminine. An emphasis on layering similarly appeals to a young, street fashion conscious audience. I assume the surprising number of jumpsuits incorporated into the collection target the same audience. After months of mulling it over in my head, I still have not conclusively decided if I find these to be an exciting development, but they will no doubt find their way into the hearts of the cult of Chanel ambassadors, admirers, etc.

The set, composed of steaming black stones and a dark backdrop, alongside the often dark pallet (some white, red, and forest green cut through the shadows a bit), provided for a dark, even apocalyptic fairy tale to unfold. The capes on some of the models brought to mind Little Red Riding Hood, who appeared a bit tougher in her black leather boots. Perhaps Lagerfeld was ruminating on the state of the world at the moment, filled with disaster and threats of rapture. This train of thought would make sense given the recurring trend of dressing harder for hard times. To be sure, it wasn't all doom and gloom, as whimsical decoration and jumpsuits as evening wear had their fair share of face time. The designer himself mentioned in an interview with style.com that these women were emerging from the light after a disaster of sorts. Oh to be indestructible and in head-to-toe Chanel.

Stella Tennant

Sasha Pivovarova

Kasia Struss

Karmen Pedaru

Aymeline Valade

Fei Fei Sun

Jacquelyn Jablonski

Kinga Rajzak

Julia Saner

Melissa Tammerijn

Merethe Hopland

Ginta Lapina

Mirte Maas

Aline Weber

Edie Campbell

Caroline de Maigret

Aymeline Valade

Josephine Skriver

Kasia Struss

Kinga Rajzak

Heidi Mount

Photos via style.com

Warrior Queen

2011-07-04T00:46:00.000-07:00

"I'm gonna marry the Night/I won't give up on my life/I'm a warrior queen/Live passionately tonight/I'm gonna marry the dark/Gonna make love to the stark/I'm a soldier to my own emptiness/I'm a winner"

Those opening lines have become my mantra.
As soon as I hear those church bells, I am lost.

Sasha Pivovarova in "Tough Love" shot by Heidi Slimane, styled by Mika Mizutani for Vogue Japan

Photos via fashiongonerogue

Miu Miu F/W 2011

2011-07-02T18:23:00.001-07:00

After the part-Sixties, part-mermaid collection at Prada, it comes to little surprise that Miuccia Prada's Fall/Winter work for Miu Miu was bit more subdued. The major point of reference appeared to be Forties Paris (where the Miu Miu collection is shown, unlike its sister brand), though typical throwback glamour it was not. The slightly nipped-in waist was met with sparkling shoes and cheeky exaggerated collars that gave it a more playful look that Ms. Prada is known for. The clean look of the collection, often in dark colors was made more intriguing by atypical shapes whether that be in the razor sharp collars or twisted pockets. A bit of fur and enormous coin purses further glamorized the collection.

The beautiful rusty oranges and mustards, as seen on Mariacarla Boscono and Ginta Lapina respectively, look fresh and even light, despite their saturated, rich tones. The dress on Sigrid Agren, printed with sprigs of white flowers, is a particular favorite of mine; one I will keep in mind when getting dressed this summer, all the while pretending to be an old world Parisian. In fact today, I wore a pair of harem pants in a burnt orange with lovely little red flowers scattered across the fabric (cat eye sunglasses provided the necessary time travel). Swallows were another wonderful print motif, especially when sequined. I do not favor simplicity all that often, but in this case, I can't deny the knock of subtlety at my heart's door. And who better than Miuccia Prada to make me a convert? At least ever so slightly.

Mariacarla Boscono

Kasia Struss

Sigrid Agren

Hailey Clauson

Anabela Belikova

Andie Arthur

Fei Fei Sun

Natasha Poly

Ginta Lapina

Hanne Gaby Odiele

Yulia Terentieva

Daga Ziober

Zuzanna Bijoch

Juju Ivanyuk

Ruby Aldridge

Photos via style.com

Flo

2011-06-27T23:34:00.000-07:00

smvblog.com

Louis Vuitton F/W 2011

2011-06-24T12:18:00.001-07:00

The trace of fetishism seen at the Marc Jacobs show snowballed into what became the designer's delightfully kinky Fall/Winter collection for Louis Vuitton. And what better house to explore the interplay of ideas between fetish and fashion than the house with a logo that defined the label-lusting late 90's and early 2000's (it all sort of blends together)? I certainly haven't forgotten seeing a nude, David LaChapelle-captured Lil' Kim covered in only LV iconography. Our dear Mr. Jacobs seems to find humor in the logo's power anytime he gets a chance, whether it be in the form of lace or even incorporated into a fan (a la Spring/Summer 2011), and this collection is no exception.

Alongside the dialogue between fashion and fetish, Jacobs found inspiration in the 1974 film, The Night Porter (style.com). The Stephen Jones-created caps served as a rather direct reference to the film (which reeks of fetish as well), though the furry fabric that covered many of them, brought them into a realm of playfulness—but then again, perhaps that makes it all the more kinky. Hot rubber boots, jeweled handcuffs, and a general trend toward less clothing—whether that be constituted by sheer fabric or absence of pants entirely—drove home the message that fashion is fetishistic, especially when covered in the famed monogram. Mariacarla Boscono as a French maid (complete with feather duster) looked impossibly devilish, despite her prim Peter Pan collar. Other notable casting moments included a bevy of supermodels. Kate Moss closed the show with a cigarette in hand. Incredible. The collection as a whole often employed a lot of sculpted, curved lines, even appearing bulky at times, but for some reason the exaggerated silhouette worked. The bulbous shapes stood in contrast to more obvious expressions of sexuality, though I would suggest they were employed to add whimsy and humor to the collection.

In an interview with style.com, Jacobs discussed commitment and devotion to Fashion. Those handcuffs are perhaps his most striking example. The idea of inhibiting movement for the sake of aesthetics is absolutely beautiful. For all that fashion is criticized for, Jacobs finds joy in. But who wouldn't take joy in poking fun at one's employer and getting paid to do it? It's no secret that the bulk of the money made by the fashion house comes from handbags, while the ready-to-wear provide marginal returns. If for no other reason than that, Marc Jacobs is a genius.

Aymeline Valade

Raquel Zimmerman

Tati Cotliar

Rianne Ten Haken

Freja Beha Erichsen

Marike Le Roux

Daphne Groeneveld

Olga Sherer

Naomi Campbell

Zuzanna Bijoch

Dempsey Stewart

Britt Maren

Daga Ziober

Elsa Sylvan

Danielle Zinaich

Bruna Tenorio

Carmen Kass

Alana Zimmer

Natasha Poly

Mariacarla Boscono

Jessica Stam

Kate Moss

Photos via style.com

Alexander McQueen F/W 2011

2011-06-15T23:48:00.000-07:00

With the "Savage Beauty" exhibition at the Met's Costume Institute, the wedding dress worn by Kate Middleton, among other dedications to the late Lee McQueen, it seems that even in death, the great designer's presence is no less felt. This is due in no small part to Sarah Burton's contributions to her mentor's fashion house. She has been praised by countless members of the fashion community for presenting a vision that is more feminine and approachable, all the while maintaining the McQueen DNA.

The Fall/Winter 2011 show, bearing the theme "The Ice Queen and her court," was a powerful presentation of Burton's personal touch, alongside the harder, tortured aesthetic that McQueen's work thrived on. Even the most pure and seemingly precious looks had their share of fight, whether it be shaved tulle on a skirt or long spikes coming out of wedge heels. This is a warrior queen, rather than one who spends the day lazing about. The beautiful helmet-like concentration of barrettes on each model, created by Guido Palau, further stressed this narrative, of a woman both ethereal and sovereign. The vast amount of fur incorporated into the collection provides for a feeling of ferocity and aggression that I find absolutely beautiful. The bondage elements are another highlight that (to me) reads as empowering. It's not that these women want to be tied up or dominated, but their choice to present themselves in this way shows power over one's body and sexual agency. The heavy emphasis on white garments might have come off as one-dimensional if created by another hand, but Burton and her team's attention to detail is absolutely extraordinary. The mosaic-esque bodice on Nimue Smit is a particular white-heavy standout in the realm of evening wear. Lest we forget McQueen's love of fantastical footwear, this season brought an array of incredible shoes, from the sexy lace-up variations to the black feathered wedges with metal plating. These serve as a reminder that McQueen's spirit and search for beauty was without limits. Just as the idea of beauty doesn't end with a dress (it may mean a head covered in barrettes or a fabulous pair of shoes), the same ideas of beauty don't end with what we think of as traditionally beautiful. Beauty can be found in the most horrifying of places, as McQueen asserted throughout his career. We must simply look with open eyes to find it.

Freja Beha Erichsen

Emily Baker

Daria Strokous

Julia Saner

Madelen de la Motte

Kinga Rajzak

Alana Zimmer

Shu Pei Qin

Karmen Pedaru

Lisanne De Jong

Sigrid Agren

Siri Tollerød

Mirte Maas

Nimue Smit

Patricia van der Vliet

Jac

Suvi Koponen

Frida Gustavsson

Kirsi Pyrhonen

Photos via style.com

We are stardust, we are golden

2011-06-15T23:42:00.000-07:00

Almost there...

2011-06-07T15:10:00.000-07:00

It's been a while since I've posted, as I've been busy with school. Classes for the quarter have come to an end and finals week has officially started, though I'm done with all but one test. This is a consolidation of the music that's been keeping me going. I'll let two of my favorite queens do the talking.

P.S. As you might have noticed, I've acquired a new banner. The photo itself was taken by my dear friend Gillian Spencer and edited in part by each of us. I'm so tech-savvy that I used Paint to place the text over the image. Very fancy, no? To Gill, thank you for the lovely images, doing my makeup (as always), and for being patient with me rolling around in my bed for an extended period of time.

Givenchy

2011-05-20T21:57:00.000-07:00

As his work tends to be, Riccardo Tisci's latest collection for Givenchy was more of an assemblage of ideas than a linear narrative. In his case, this is not problematic, but rather intellectually stimulating. You're meant to think about the ideas and how they may relate, instead of having a story spoon-fed to you. Rather undeniably it was sexy and strong, but it was not straightforward. There was wonderful bits of playfulness and humor mixed in. A panther motif appealed to the darker, more powerful senses, looking especially desirable in inventively cut, partially sheer skirts. In contrast was the orchid prints that were delicate in comparison. Then came the pinup queen, Bettie Page and Baroque madness that resembled one of the late Gianni Versace's trademarks. The Page prints carried a camp along with the sexiness, while the Baroque prints were decidedly playful in their obtrusiveness. A vast array of fabric including velvet, fur, leather, and PVC contributed to the wonderfully mixed nature of the collection. Varsity jackets (the most desirable in PVC) took place alongside ruffled skirts in what is a far cry from any high school cheerleader known to man. I hate to make that connection, but there was an element of sport, no matter how subverted it was. This was perhaps most visible in the form of baseball cap-like hats, complete with ears. What I found most thrilling about the collection was the silhouette. The sheer skirt underneath a solid skirt absolutely blew my mind. That seems rather slight to cause such a stir, but it looks amazing and is assertively modern, revealing the leg in an highly inventive way. The latter parts of the collection were a Baroque free-for-all, piecing it all together, with Karen Elson closing the show in a sweatshirt with printed sleeves and a sheer midsection, revealing a punchy black bra. This finale piece ultimately reflected what I believe to be Tisci's vision of a complex woman. She is delicate and ferocious and painfully sexy, with a tongue-in-cheek sense of human. She can be anything and everything.

Alyona Subbotina

Elsa Sylvan

Valerija Kelava

Liu Wen

Caterina Ravaglia

Karmen Pedaru

Aline Weber

Kasia Struss

Frankie Rayer

Freja Beha Erichsen

Alla Kostomichova

Joan Smalls

Querelle Jansen

Natasha Poly

Mariacarla Boscono

Saskia de Brauw

Lydia Willemina Collins

Lea T.

Kinga Rajzak

Natalia Vodianova

Karen Elson

Photos via style.com

HAIR.

2011-05-16T15:48:00.000-07:00

Lady Gaga's release of the song "Hair" just happened to coincide with my birthday today. This is probably the song I've been most looking forward to hearing. My hair is integral to my visual identity and the way I express myself, so naturally I was captured by the premise of the song. Various bits of revealed lyrics built up an excitement and finally came the unintentional birthday present.

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

As of now, I like the song, but I'm not crazy about it yet. Perhaps this is because it's a lot different than what I was expecting, but that's never necessarily a bad thing. I definitely need to feel it out a bit more though. I love the idea of the song so much that I just hope I won't be let down.

"I've had enough, this is my prayer, that I'll die living just as free as my hair."

Haider Ackermann

2011-05-16T00:21:00.001-07:00

You will have to excuse my lack of presence as of late. I've been feeling rather off and not all that capable of producing writing to be proud of. Or at least I have had that mindset. Anyway, I am going to try my best to finish posts from the Fall/Winter 2011 season in a timely fashion.

My awareness of Haider Ackermann is a rather recent development that I would guess is no more than two seasons old. His Spring/Summer 2011 collection in particular saw a wave of praise from all avenues of the fashion press. He has even been rumored to be one of the candidates that will take the helm of Dior. The attention is much deserved, as his talent is seemingly limitless. His Fall/Winter 2011 collection is fantastic to say the least. Ackermann's skill for folding and draping his creations is at work again, contributing to a somehow perfectly worked woman undone. His aesthetic is unlike any designer that I know of. This collection gave rise to a rather otherworldly kind of woman. Subdued, even moody jewel tones are a major emphasis of the collection. There's a darkness to the color that is indescribable and absolutely beautiful. Aggressively sexy cutout skirts that expose thighs and the few beaded pieces are elements that challenge the darkness that is so palpable. It's this kind of contradiction and Ackermann's interest in the fusion of ideas in silhouette and elsewhere, that make him such an inspiring creator. Looking at the images from the show, I am filled with a great deal of feeling that isn't specifically negative or positive. It's quite powerful. Ackermann's uncompromising vision and innately modern perspective will surely be provoking feeling and thought for many seasons to come.

Daiane Conterato

Delfine Bafort

Milou van Groesen

Daria Strokous

Kasia Struss

Maddie Kulicka

Martyna Budna

Karmen Pedaru

Frida Gustavsson

Freja Beha Erichsen

Kristy Kaurova

Marike Le Roux

Kinga Rajzak

Olga Sherer

Misha Parkosz

Ataui Deng

Sigrid Agren

Kasia Struss

Photos via style.com

Won't you come on over?

2011-05-07T14:52:00.000-07:00

A void continues to expand in my heart (or at least my musical vocabulary) as Amy Winehouse continues to exist off the radar. I don't mean to say I am in desperate need of gossip regarding the tortured singer, but that I miss her music dearly. To be sure, her albums Frank and Back to Black are still powerful and absolute magic, but I can't help but to crave what may or may not come next. I've seen a few mentions in the press about her working on an upcoming album, but I'm trying to avoid getting my hopes too high. In a moment within nearly endless hours of dancing last night, Michael Jackson's "Beat It" reminded me of a live cover by Charlotte Church and Winehouse that I have held in my heart for a long time. It's certainly not her best performance technically speaking, with slurred wailing standing in stark contrast to Church's crisp and soulful voice, but I love it nonetheless. There's something fantastic about the ying and yang aspect to the performance, which is even apparent in the way the two women carry themselves. Another few performances demonstrate the undeniable and unconventional beauty of Amy's voice. Enjoy kids.

"Stop making a fool out of me..."

Heartbreak and then some.

2011-05-05T16:26:00.000-07:00

I am an avid Beth Ditto/Gossip fan. From the newest Gossip album Music For Men, to genius covers of Aalyiha ("Are you that Somebody?") and George Michael ("Careless Whisper"), to the older Standing in the Way of Control, I have yet to be let down by the hurricane-like voice of the frontwoman. Seeing the Gossip in concert in October of 2009 was nothing short of life-changing. The woman even shoved a microphone in my face during "Standing in the Way of Control", which was met with a voice wrought by howling along the whole night. That may or may not be comparable to giving Beth Ditto head. But moving on...

Ditto has just released an EP and I was lucky enough to see one of the songs—"I Wrote the Book"—was featured as a free single on iTues. It's a bit more electronic than her work with the Gossip, a bit similar to "Cruel Intentions" (a song she did with Simian Mobile Disco), with a retro dance beat and lyrics made for a troublemaker ("I wrote the book on it, don't test me"). The video is equally fabulous with obvious references to another favorite lady of mine, Madonna, and her "Justify My Love" video. On top of that, there is enough vogueing to send me into a euphoric seizure.

Consider my love justified.

I don't speak your language, oh no.

2011-05-04T02:45:00.000-07:00

It seems to me that speaking "Americano" is equivalent to "drinking the Kool-aid." There are some who speak Americano and some who do not. As Americans, we are expected to fall in line and perpetuate a propagandistic patriotism to a rather frightening extent. After the news of Bin Laden's death, my facebook feed was filled with celebratory expression and I found myself a bit sick. It seemed like there was a collective sense of bloodlust on the part of many of my peers and I was quite disturbed. Even President Obama's address left me a bit turned off, though I'm not sure he could have handled it differently. While I recognize the significance of the moment and the idea that justice has been served, I refuse to celebrate the death of another human being, no matter how cruel.

The next day, my friend Kim and I were chatting in the commons of UW's pristine new business building and a stranger interjected, asking us if we'd heard about Bin Laden. He was probably in his 40's or 50's and had experienced 9/11 as a longtime New Yorker. He described that day and inquired about our experiences as 5th graders hearing such news. The conversation was lengthy, but it seemed that even he was left with an odd sense of disturbance, that this death was not being handled properly. Our consensus was that of feeling jarred and uncomfortable about the perpetuation of hate we had witnessed.

Today in my Art History class, which centers around themes of empire and colonialism, the topic was appropriately discussed. A variety of opinions were expressed, but a level of respect was maintained. I was particularly taken with something a classmate from Bangladesh said. Plainly she stated, "I'm not going to celebrate, but I'm glad he is dead," emphasizing the shadow he has cast over the Muslim faith. I found her point of view to be incredibly valuable. I feel as if I still do not fully understand what this event means to me, but I still maintain my distaste for the bloodlust and hate masked as patriotism.

A fantastic article (from the Huffington Post, oddly enough) is in my mind, a necessary read. Pamela Gerloff realistically addresses the situation, but is unwavering in her opinion. And because she has so gracefully articulated her thoughts—not all that dissimilar to mine—I'll just leave it at that.

GIVE PEACE A CHANCE

LikeItHateIt

What I would give to sit in bed and talk to John and Yoko...

I don't speak your Americano.

2011-05-04T01:12:00.000-07:00

In a surprise performance at the Monster Ball in Guadalajara, Mexico, Lady Gaga debuted "Americano" acoustically. As far as I understand it (and interpret it), the song is about the injustice seen within issues of immigration, but I think it could be generally applied to the superiority complex of our great nation. Unfortunately, a sense of entitlement and unrestricted obtrusiveness is an integral part of America's vocabulary. It seems all too appropriate with the grand celebrations following Bin Laden's death and the "AMERICA!" mentality exercised as a result. The energy of the audience, along with the powerful acoustic sound provides for an electrifying performance.

And I thought I needed a coffee to stay up all night...

Update: The previous video has been blocked due to copyright, so here is another. Visually it's rather insignificant, but the audio is a bit better (though the other video's sense of the crowd was much stronger) and you get the sick ending.

Bill Cunningham New York

2011-05-01T09:38:00.000-07:00

It seems as if it's been ages since I last found my way into a dark theater to watch a film. I'm afraid that it's just one of the many facets of creative culture that has been less and less appreciated as the internet has expanded. Going out to the Harvard Exit last night was a nice change from my dark bedroom and the often random choices available on Netflix to watch instantly. It was certainly refreshingly atypical to a more expected Saturday night. My friend Cy and I went to see Bill Cunningham New York, the documentary about the esteemed New York Times street style photographer, who in his 80s, is still running around New York capturing beauty.

In the film (as in the trailer), Anna Wintour states, "We all get dressed for Bill," so it seemed appropriate that I honor the man with an expressive ensemble.

(Thrited faux fur, Proenza Schouler x J Brand Jeans, gifted belt, Jeffrey Campbell wedges)

The film itself was nothing short of moving. To see someone so dedicated to his work and so unaffected by the rest of the world is inspiring. I can't even fathom such a rigorous existence, entirely stripped of excess. He's quite an oddity among his often highly decorated subjects—duct-taping cheap rain-resistant ponchos when they rip, riding his bike constantly, living among fiel cabinets—but is respected nonetheless. A particularly humorous moment sees Bill talking to press registration at a fashion show when a superior grabs him and tells the unknowing employee/volunteer, "Please, he is the most important man on Earth." It's quite the statement, but his talent for story-telling justifies it. Unsurprisingly, the film is visually thrilling as well. Half the time I wished all the photographs that flashed across the screen went a bit slower. The various photo subjects interviewed provide a lovely sort of fantasy realm that Bill dutifully captures. I am not typically in awe of old men, but Mr. Cunningham has truly blown me away. His hunger for beauty and sense of self deserves the highest respect. Richard Press has captured this in a film that is as fascinating as it is heartbreaking, and as hilarious as it is galvanizing. This is a story I will hold dear to my heart for years to come.

Gaga in Gareth?

2011-04-28T00:42:00.000-07:00

Gareth Pugh, that is. It wouldn't be the first time.

style.com, youtube

no. 44

2011-04-28T00:31:00.000-07:00

Concealed//Revealed

2011-04-26T01:17:00.000-07:00

This more or less illustrates my general state of being at the moment.

Lara Stone photographed by Mert & Marcus for Vogue Paris

via artschoolvets

Rise and Shine

2011-04-21T11:30:00.000-07:00

no. 43

2011-04-20T01:21:00.000-07:00

Two things

2011-04-19T15:25:00.000-07:00

Number one: Just after accusing Seattle of having melanphobia, a trip downtown offered up city dweller after city dweller, more or less wearing all black.

Number two: I forgot to mention a quote I read in a book from a class earlier this year. It's a bit grim to be sure and the political context is a bit questionable, but it's beautifully honest.

"I resolved to dress always in black, fancying myself in mourning for my country."

-Giuseppe Mazzini, Italian revolutionary

"Black like my soul"

2011-04-16T11:36:00.000-07:00

So there I was, wandering around a strange Eastern Washington church's narthex after the church service that was a part of my grandmother's funerary proceedings. I avoided awkward conversation with religious folk and people who knew me when I was "this big" by following my mother around like a needy dog, collecting a excessive amount of baked goods, and doing my best to persuade my cousins to ditch the place with me. During one of the instances of doing the latter activity, my cousin's grandma said hello. I gave her a friendly hug and expressed my disbelief about how long it had been since I'd seen her. Then, in the most innocent of ways, she asked "Are you a goth?" (I say "innocent" because it was one of those instances in which it's obvious that an elder has picked up a word through a younger person and the use of it seems awkward, almost like you're supposed to be proud that it was used properly). Taken aback, I laughed and as light-heartedly as possible declared, "I'm in mourning!" What I really wanted to do was ask, "What does that even mean?" While I understand the basis of calling someone "a goth," it doesn't seem all that applicable outside of a high school context. It doesn't seem an important distinction after that. Yes, I wear a lot of black, but none of my friends dress the way I do. I probably couldn't tell you a thing about the goth subculture outside of a fashion context. Truthfully, I was the only person in the entire church that had worn head to toe black. Even getting ready, my mother insisted, "You don't have to wear all black, it's not the Nineteenth Century!" Being a lover of eras of emancipation rather than repression, I was a tad defensive, but that's beside the point. Perhaps my Alexander McQueen scarf, covered in skulls and other bones was a bit much. During the car ride over I sarcastically asked if it was inappropriate. Then again, my big black hair and black nails are not something seen often by the people of the Tri-Cities. Certainly, I was among a less than receptive audience, but it lead me to think about my relationship with black and the power of the color.

Me in typical levels of darkness

(Thrifted faux fur, thrifted/gifted shorts, Alexander McQueen scarf, American Apparel socks, Jeffrey Cambell booties, deux lux bag)

(Yigal Azrouël sweater, American Apparel pants, Dolce Vita sandles, ring purchased at Moksha)

I don't mean this to be some kind of deeply analytical post. I just have an inkling to explore a bit. The title of this post is just a cheeky statement I sometimes make about my hair or nails. The sarcasm directly confronts the depravity and doom often attributed to the color, almost asserting that I put less weight upon black. I would say this is true in that I wear it often and it doesn't necessarily indicate that I'm depressed or feeling like kicking someone in the face. It's a bit strange to think about how far the color black has penetrated my physical presentation, give general conceptions. I now think of black hair, black nails, black eyeliner as a standard or a base to work off on. It certainly has presence in my closet, but I wouldn't say it presides over the other colors of my closet with some kind of tyrannical rule. Furthermore, I would definitely not say that my general emotional state has lead to the increased addition of black garments to my closet. As for what draws me to "blackness," I would say its severity, the sex appeal I associate with it (especially in the case of pleather/leather), but not much else comes to mind. There's something powerful about a head-to-toe black look, but there's power to be had other ways. I suppose I do utilize it when I'm feeling a certain way, but I'm just as likely to pick up a big yellow sweater as a black leather jacket when feeling down. My use of the color is not solely predicated on negative feelings. Anyway, all this self-examination is wearing me out, so on to others.

It seems to me that the general public is afraid of wearing all black. Black is easy to pair with other colors and that isn't ignored, but it doesn't go much farther. At least that seems the case for most people in Seattle. Just given experience and knowing a bit how people work, it seems like the "What will people think?" kind of situation. But I dunno. The fashion community on the other hand often turns to all black. It's a standard. If you don't know what to wear in the morning, you wear all black. If you work a fashion event, you wear all black. There's a uniformity to it, but the color also has an elevated position. Perhaps it's the severity that creates a look worth noticing. It's hard to say. Having said that, the lovely Anna Wintour hates black. I'm not sure why that is, even after doing a bit of investigating, but I have a couple ideas. First, black is difficult to photograph. A black garment can tend to look flat, while color gives depth to things. Another possibility is simply that black is easy and thus lazy. Maybe Wintour expects a certain rigor or level of effort in the realm of dressing. An idea I stumbled upon on the internet was that black does not fuel the market. For example, a lavender fur like one at Missoni is more novel and of-the-moment than a black fur. Color helps push the temporality of fashion. Spring/Summer 2011 is certainly an indication. Those are just guesses mind you. The personified antithesis of Miss Wintour's perspective is Alexander Wang. This is a young man who has professed his love for black in a multitude of ways and instructed legions of girls that wearing black is fun and sexy. I can't say that I'm immune. And to all those who think black-wearers are preoccupied by thoughts of depression and deaths, I suggest looking for any photo, video, or interview you can find of Mr. Wang and maintain such a stance. This photo is a favorite of mine.

via young & pretty

Again, I don't mean for this to be some kind of investigation complete with an answer or a post in the defense of a color, but it's just an interesting topic of thought. Part of me can't believe I just wrote an entire blog post about a color or rather the anti-color. On the other side of things, the bold colors of Spring/Summer have me enraptured.

(Proenza Schouler S/S 2011 campaign via fashiongonerogue, Jana Knauerová in American Vogue via models.com, Hanneli Mustaparta via vogue.com , Stella McCartney Spring 2011 campaign via fashionlover, Hailey Clauson and Lindsey Wixson for Vogue China via fashiongonerogue, Ajak Deng for Vogue Italia via fashiongonerogue)

With that, I say sweet dreams lovers.

I'm just a Holy Fool

2011-04-15T13:31:00.000-07:00

Photo via gagadaily

Judas was released 4 days before its set release date.

Judas betrayed Jesus 4 days before he was resurrected.

"Judas" is a lusty, devilish sickness, complete with growls and heavy "fuck me" beats.

In the most Biblical sense,
I am beyond repentance
Fame hooker, prostitute wench, vomits her mind
But in the cultural sense
I just speak in future tense
Judas kiss me if offensed,
Or wear an ear condom next time

I'm still in love with Judas, baby.

no. 42

2011-04-13T01:57:00.001-07:00

Lanvin

2011-04-10T01:19:00.001-07:00

Oh my dear blog, how I often neglect you and how very pathetic that I'm still working on the Fall 2011 shows. One thing that I can be proud of is that I've been productive and actually busy as of late, working hard and actually feeling motivated to do well in my classes. Having said that, I'm not here to talk about the life of a student, successful or otherwise.

Alber Ebaz's work for Lanvin is among my favorite to see every season, so much in fact that—in full-on snobbery—I correct people who pronounce the house as "Lan-vin," or at the very least, make sure I squeeze in a mention of it myself with an attempt at a French accent. I'm quite protective of my favorites, but that's another post, I suppose. The Fall collection opened rather quietly. Natasha Poly stood under a towering willow and began to walk in a wide-brimmed hat, a long coat, a high turtleneck, a short skirt, and an adaptation of a men's shoe, all of which was black. She carried a small black "ladybag" at her side. The only embellishment present was an enormous gold pendant. There was certainly a trace of the Quakers or perhaps the Amish or other rural religious community that I have little understanding of, heightened ever so slightly by the single braid that could be seen as she turned. The austerity continued through a large portion of the show, broken up by the heavy jewelry, slight details, and the sexiness of a bare leg pared with a mannish shoe. A different woman began to emerge as head-to-toe black looks adopted a reptilian skin or all-encompassing lace. Then came the gazar, a notoriously stubborn fabric that looked simultaneously flouncy and stiff. It's quite hard to explain, but I think it's absolutely enchanting. The way Alber sculpts the gazar, it's as if lightness and heaviness are harmonious despite being opposites. Another surprise was the rose prints, which provided additional whimsy to the collection. But it was the final section of dresses that gave way to the most playful and exuberant moment of the collection. Bright colors and volume that created a resolute bounce left me in wonderment. The journey from the austere opening to the unadulterated joy of the finale is a murky one, but I have little interest in finding the answer. The successful leap itself is something to marvel at.

Natasha Poly

Karmen Pedaru

Freja Beha Erichsen

Caterina Ravaglia

Magdalena Frackowiak

Nana Keita

Alana Zimmer

Kinga Rajzak

Kate King

Aymeline Valade

Kasia Struss

Britt Maren

Melissa Tammerijn

Emily Senko

Freja Beha Erichsen

Caterina Ravaglia

Fei Fei Sun

Sigrid Agren

Mirte Maas

Frida Gustavsson

Photos via style.com

They'll slay me for this one.

2011-04-07T13:31:00.001-07:00

I'm in the process of writing an article about models and their weight and I can't help but to feel passionate. I'm tired of hearing aggressive barbs and condescending attitude targeting a population comprised mostly of 15 year-old girls. I am thrilled to see the industry opening up to a more diversified look, but diversity is undefinable. The frenzy about Crystal Renn's weight loss is inappropriate and presumptuous. Can someone tell me what a "real" woman is? What a "real" person is? I have been sat down by concerned adults and told that I am "too skinny" when truthfully I have a garbage disposal for a stomach. Give it up. Let's just live in a world where bodies are bodies and people are just people. This interview with Crystal Renn for the Ford Models Blog is absolutely wonderful. You might even learn something.

Resurrection.

2011-04-06T00:52:00.000-07:00

"Judas" is going to be sick.

Rick Owens

2011-04-04T22:08:00.000-07:00

Months after seeing his Spring collection, I'm still trying to recreate the moth-like hooded eye makeup that swept across the models' faces at the Rick Owens show. Trying to take anything else away from that collection for inspiration seems like an almost impossible task simply because there's something indescribable and a bit intangible about the way he designs clothes. This season, the collection had a sense of envelopment to it, as if the clothes were an outer shell. The cocoon shapes were a dream. I'm not sure why it is, but when clothes are represented as a nearly anatomical protection, I get weak in the knees. Aside from the cape shapes, another element that kept arising was the fur head cover that looked like a nun's habit from a post-apocalyptic future. The fitted leather paneled jackets, the black pleather-y skirts with back slits, and the coats featuring arched shoulders were also highlights. As was his last collection, this collection had an unexpected elegance and to it. The shapes were all very contained and the clothes offered nearly full-coverage, sometimes only leaving the face exposed. Of course these aren't the sole requirements for elegance (and it's not like I know anything about that sort of thing), but they certainly contributed to a refined and defined look. This collection, like all of Owens' others, took on a tribalism and a religious feel. I spoke that way about the Gareth Pugh collection recently, but Rick has purported those for much longer. The tribalism seem applied—outside of the let's look like a Rick Owens gang/cult/syndicate—when the designer discussed inclusiveness and the idea of community in an interview with style.com. He insists, "...you're all freaks and you're welcome to be with me." That's quite an offer. Perhaps it's one he'd regret, lest we forget I have a bit of a crush. As long as there are no objections, I'm there.

Daphne Groeneveld

Karmen Pedaru

Hanne Gaby Odiele

Tati Cotliar

Agnes Karlsson

Karlie Kloss

Melissa Tammerijn

Aymeline Valade

Renee Germaine van Seggern

Asia Bugajska

Fabiana Mayer

Daphne Groeneveld

Emily Baker

Karmen Pedaru

Hanne Gaby Odiele

Alana Zimmer

Kirsi Pyrhonen

Aymeline Valade

Photos via style.com

Jammie Style.

2011-04-04T03:33:00.000-07:00

If anything, this post is a dedication to my dear friend, Gillian, who is a proponent of what she calls "jammie style." If it wasn't already evident, this would entail dressing in a way that is pointedly comfortable (and sleep-able), but has a definite styled aspect to it. I believe this picture was taken a few Sundays ago, when I was sick, feeling like shit, and dying for some soup. There was also the 24 pack of Popsicles that I consumed in a matter of days... After moping around for far too long, I decided to go to the grocery store. Already cozy in one of my favorite big sweaters, I threw on my (dare I say it?) chic sweat pants that I had yet to wear in public (and will be the only example I shall ever wear in public, unless another worthy example comes my way), wrapped my hair in a bun, and slid my turban-esque headband over my ears. Naturally, a trip to Trader Joe's in what could be pajamas required a bit of glamor, so I put on some heels. Since I have yet to overcome the embarrassment of photographing myself with a self-timer on my balcony—and harassing Alison gets old—my beautiful kitchen provides the backdrop.

Thrifted sweater, Marc by Marc Jacobs drawstring sweat pants, Rag & Bone knit headband,

Jeffrey Campbell wedge boots, ridiculous and non-intentional pout

I love you darling.

A weekend summed up

2011-04-03T23:31:00.000-07:00

First, I listened to a wonderful collection of hair metal at a party, including this favorite, which I demanded no less than three times.

Then, as a result of hair whipping and head thrashing, I daydreamed of my neck pain alleviated by the Balenciaga F/W 2007 "neck brace" that Anna Wintour famously poked fun at in The September Issue. It hurts so good.

style.com

I wonder where all the hair metal boys went...

Balenciaga

2011-03-28T23:24:00.000-07:00

For as long as I have followed fashion, I have been in love with Nicolas Ghesquière's work at Balenciaga. That may be a bit surprising given my personal style (or not depending on how much you know about Nicolas), but I think that's part of what draws me to the designer's work. Ghesquière offers up a surprise every season, changing the way I see things. I think there's something beautiful about art that needs to be processed in order to be appreciated. Sometimes creators make it too easy, but Nicolas is certainly not one of these creators. This season, unlike last season's punk collection, the overall concept was not so ascertainable. Ghesquière mentioned a "game of proportion" and "shifting points of view" to style.com, but did not note a thematic idea. Having said that, the clothes were no less impressive. There was a certain clarity to the collection that was absolutely lovely. It wasn't minimalism—yawn—but there was something restrained about it. It was certainly less severe than Balenciaga tends to be, but it still pushed the limits of what one might consider beautiful. The bulky, woven pleather jackets at the beginning of the show were probably the most extreme pieces on the runway. Naturally, I found myself in love. The jackets were paired with fluidly draped skirts featuring a fantastic floral print, providing for a more balanced silhouette. Similarly intriguing play with proportions continued throughout the show. Many of the looks included a mid-length leather hemmed skirt that has left me inexplicably enticed. The collection continued with a highly sculptural point of view, with shell-like sweaters and pieces that had folds dancing about them. What emerged was a leaner silhouette that included a long tunic length and a trim pant. The length appeared in an assortment of garments, from simple mid-weight coats to tops that looked almost like armor created from a black disco ball. At Balenciaga, there is often a strength and protection attributed to clothes, but also a deeply personal, more vulnerable point of view alongside it. I personally love to feel enveloped by my clothes, often putting on an oversized leather jacket that serves as a psychological protection from the outside world. The shoes contributed yet another layer to the collection, taking shape as a sick stiletto Mary Jane, which looked perfectly naughty in its height and pointedness. The unification of ideas doesn't seem even feasible, but Ghesquière executes it with grace, alongside Marie-Amelie Sauve, his talented stylist and right hand woman. Together they are making leaps and bounds, pushing fashion forward to an ever-inspiring place.

Aline Weber

Elsa Sylvan

Melissa Tammerijn

Lisanne De Jong

Anabela Belikova

Caroline Brasch Nielsen

Arizona Muse

Emily Baker

Carla Gebhart

Johanna Kneppers-Corbal

Ann Catherine Lacroix

Valerija Kelava

Liu Wen

Karmen Pedaru

Freja Beha Erichsen

Aymeline Valade

Photos via style.com

Nació de esta manera. Qué fantástico!

2011-03-28T22:56:00.000-07:00

gagadaily

Happy Birthday!

2011-03-28T10:44:00.000-07:00

A Queen was Born This Day. With her birth came a liberation and a birth of a community who revel in love.

My love and appreciation is endless. Happy birthday my Lady.

Balmain

2011-03-26T13:56:00.000-07:00

Every season, the collection at Balmain is consistent with an assertive sexiness and a rock and roll sensibility. This season, glam rock was the emphatic message, with notable homage to David Bowie—or Ziggy Stardust, depending on how you see it. Some of the looks also reminded me of Byzantine art. Technically, beading and embellishment were this season's decorative bread and butter. Many of the pieces had a mosaic quality to them, often including mirrored fragments that only seemed to heighten the gleam put forth. Leave it to Christophe Decarnin to present a barrage of sparkle, dizzying in both its effect and intricacy. Looks featuring a metallic blue blazer, a suspender-bearing skirt, and a brilliantly beaded catsuit with the deepest of necklines especially spoke to the Ziggy state of mind. In general, more elaborate jackets or pants were anchored down by relatively simple staples, giving each look a particular effortlessness that makes Balmain so fucking sexy. The models wear heavily decorated pieces with ease; their t-shirts loose and their hair perfectly disheveled. The Balmain girl likes to party and she doesn't care if you like it or not. This collection could not be a better indicator. Why wouldn't you want to look like a disco ball?

On a slightly less cheerful note, Christophe Decarnin was not at the show due to a hospitalization. I have no interest in what his rumored condition is, I just hope that he gets better. What is fashion without such a fearless mind? The party girls and I will be waiting with flowers and things of a naughtier nature. All my love.

Karmen Pedaru

Freja Beha Erichsen

Natasha Poly

Carmen Kass

Joan Smalls

Britt Maren

Sasha Pivovarova

Tati Cotliar

Constance Jablonski

Magdalena Frackowiak

Daria Pleggenkuhle

Isabeli Fontana

Karmen Pedaru

Freja Beha Erichsen

Anja Rubik

Joan Smalls

Aline Weber

Kasia Struss

Tati Cotliar

Iselin Steiro

Photos via style.com

Gareth Pugh

2011-03-26T00:30:00.001-07:00

Discussing a collection by Gareth Pugh is a novel experience, as the young designer takes little interest in designing clothing with a theme in mind. More than anything it seems that he takes interest in visual development. Pugh's work can be seen as an open dialogue that builds upon itself and even questions itself. Tim Blanks called the Fall/Winter 2011 collection a "consolidation" but I feel that word carries unintended negativity, and could be interpreted as if Pugh isn't creative enough to produce something new. There was no denying that the Pugh DNA was present at the appearance of chevrons, a lust for the future, and the steady flow of black. The familiar aside, Pugh has brought forth an uncharacteristic azure color and continued to explore fluidity in clothing with even more vigor than in his past collections. A series of gilded pieces that could be compared to magnificent and futuristic chain mail closed the show, effectively choking the darkness that is so integral in Pugh's shows. I think he's very aware of his aesthetic and how other people perceive it and hopes to challenge their minds a bit. While in other cases it may come off as lazy, Pugh's singularity across collections is powerful. There's something tribal and perhaps even a bit religious about the way he has framed his creative identity. His convictions are rigorous and severe, but continue to develop quite beautifully.

Melissa Tammerijn

Roberta Narciso

Joan Smalls

Kate King

Marique Schimmel

Maddie Kulicka

Britt Maren

Constance Jablonski

Katsia Zingarevich

Marique Schimmel

Renee Germaine van Seggern

Fei Fei Sun

Frida Gustavsson

Alla Kostromichova

Karlie Kloss

Anna Wintour in The Wall Street Journal Magazine

2011-03-25T04:03:00.000-07:00

Photo by Mario Testino via Fashion Gone Rogue

Whether you like her or not, there's no denying she's a powerhouse across various cultural spaces. The article shows the astounding reaches of the woman who is so often caricatured in a way that completely undermines her importance—though as the article says, she does nothing to rid the caricature from the collective conscience. She's an admirable broad to say the least.

Brand Anna by Joshua Levine

If you don't have any shadows, you're not standing in the light.

2011-03-25T00:26:00.000-07:00

I could speak about this interview endlessly, but I'll try to sum up my feelings briefly. She never fails to impress me with her intelligence and her ability to provoke thought. It seems that this is one of the few interviews in which she is treated as such and fittingly it is in conjunction with a company that is full of sharp, ripe minds. On a lighter note, she's entirely hilarious in the most clever of ways. It's quite lengthy, but absolutely amazing.

A little bit country.

2011-03-25T00:05:00.001-07:00

Lady Gaga has just released the unexpected, but unsurprising "Born This Way (The Country Road Version)." I say unexpected simply because it's not a commercial rendition of the song. It's unsurprising because as I've learned more about Gaga and her own interest in the music of others, I've noticed a love for something more rough and tumble than what most people give her credit for. That might mean classic rock, metal, or even a bit of country. The record certainly has something nostalgic about it. It has that harder country sound that is nearly extinct by way of overproduction. I actually quite like it. In fact, I'd love to just kick back in a grungy bar with a whiskey ginger and jam to this song. But anyway, I'll shut my mouth before I read into it too much. Enjoy.

Mugler

2011-03-23T22:12:00.000-07:00

To begin to describe the event that was Nicola Formichetti's debut womenswear collection for Mugler is utterly daunting. Beyond the clothes themselves, there was the presence of his dear friend and collaborator Lady Gaga, her position as music director, and the premiere of Gaga's song "Goverment Hooker." A live stream revealed the backstage madness, in addition to more tender moments like Gaga telling Nicola how proud of him she was.

As the show started, a model took to the runway, slyly stomping between the columns on each side. Her look—featuring a pantsuit with exaggerated shoulders and a corset piece peeking out of the jacket—set the tone for the collection: powerful and unapologetic in its sexuality. Latex, sheer fabric, and bras with sharp lines followed. Gaga's first appearance was in a black bra under a sheer top with black accents wrapping around her arms and neck, a high-waisted black latex skirt that fell below the knee, and sick heel-less boots that she's taken a few spins in before. A geometric hat, long blonde pigtails, and a cigarette topped the look off. She stomped, danced against a column, and posed as if her life depended on it.

Not long after, more sculptural elements came into play. At times this appeared as bone-like shapes around the shoulder and arms. Some of the models wore garments that appeared as if they were peeling off, while others looked as if they possessed a protective shell. The architectural message throughout the show both honored the aesthetics of Thierry Mugler and Nicola's own taste. It capitalized on the ideas of anatomy that have been such an integral part of Formichetti's recent design process for both Gaga and the menswear collection.

Gaga closed the show in all white with a corset and bodysuit ensemble on top, a long white skirt, and towering white platform heels. She whipped a stole around with such vigor that one might think she'd stumble, but not a wobble was seen from this one. Even on her much higher heels, Gaga outwalked the professional models, several of whom staggered on their platform stilettos. It was a performance, not just a simple runway walk. To the rest of the models' credit, they exuded an incredible energy, vamping and clawing alongside their mistress. It was the kind of energy that helps make a show absolutely magical.

In my opinion, Nicola's recent work is an exciting reinterpretation of Thierry Mugler's legendary designs. This show displayed a surprising simplicity in many of the garments, but perhaps that was to make a more diplomatic transition for the house. The strong shoulders and pieces such as the leopard catsuit (much like an original Mugler that was featured in the "Paparazzi" video) were terrific moments of homage, while staying in line with Nicola's fashion sensibilities. Nicola spoke to style.com about Mugler's talent for entertainment, not just fashion design. Without a doubt, he has made significant leaps in both with this show. I am excited to watch as he pushes to take the fashion house to unexplored heights.

Kristina Salinovic

Ruby Aldridge

Hanaa ben Abdesslem

Alla Kostromichova

Emily Baker

Lady Gaga

Fei Fei Sun

Bambi Northwood-Blyth

Marike Le Roux

Coco Rocha

Joan Smalls

Ajak Deng

Rico

Jessica Stam

Juju Ivanyuk

Olga Sherer

Yulia Lobova

Lady Gaga

Photos via style.com

Too good to be true.

2011-03-22T20:10:00.000-07:00

Don't ask, just watch.

Dries Van Noten

2011-03-21T15:16:00.000-07:00

I remember the first time I took notice of Dries Van Noten's work in the pages of Vogue. The shoot showcased the most energetic looks of the Spring 2008 season, many of which were decorated with shocking prints. The Dries spread spanned two pages (double the amount of the other designers featured) and the clashing prints he had integrated into the collection had left me somewhere between jarred and absolutely entranced. After receiving issues later that season, it seemed evident to me that the designer was held in high esteem by what many call the fashion bible. While this is no reason to appreciate something, it certainly left me curious about the designer.

Ever since seeing that collection, Dries has created fashion that consistently challenges my eye. Some seasons I immediately take to his collections with interest, while others like Spring 2011, I have left out of my coverage. The exclusions always seem to be regrettable and by the time the appropriate season comes around, the clothes are absolutely beautiful to me. Dries never creates clothing to be trendy, but somehow manages to capture the moment while existing on the outside of trend. This season was no exception.

Van Noten revealed to style.com that the collection began with comparing the images of David Bowie as Ziggy Stardust and the famed dance great Vaslav Nijinsky. It was the melding of Ziggy and the Ballet Russes that led to the collage aesthetic that was seen throughout the collection. Not only was the mixing of colors and print—a Dries signature—notable, but even proportion and cut took on a patchwork appearance, with variation among sleeve types and their volumes, among other details. There was a general idea of asymmetry in a majority of the key pieces. While traces of Ziggy Stardust's flamboyance and the extravagance of the Ballet Russes' costumes were present, the blending of references—which no doubt had more than two influences—gave way to experimentation and reinvention as the prevailing ideas. It is through these ideas that Dries Van Noten continues to aid the progression of fashion. If that leads to the production of "challenging" collections, I'm more than willing to accept such a challenge.

Caterina Ravaglia

Codie Young

Fei Fei Sun

Karmen Pedaru

Jacquelyn Jablonski

Valerija Kelava

Kate King

Lissa

Hanne Gaby Odiele

Sara Blomqvist

Maddie Kulicka

Shu Pei Qin

Sigrid Agren

Mirte Maas

Kasia Struss

Suvi Koponen

Karmen Pedaru

Valerija Kelava

Kate King

Kasia Wrobel

Sara Blomqvist

Photos via style.com

Here's to you, Grandma Nancy.

2011-03-20T17:34:00.000-07:00

Missing McQueen.

2011-03-15T15:29:00.000-07:00

McQueen has been on my mind as of late, but then again, he seems to be on my mind quite often. Perhaps it's the gloomy state of Seattle or my own fits of sadness and restlessness that have left me wondering why the world works as it does. Sarah Burton's Fall 2011 collection was recently shown in Paris as well and was a triumph, as we've come to expect from the designer. I will be discussing that show in due time. There was also the meeting I attended where I had to resist the urge to leap over the table at someone who declared his suicide "selfish." It seems absolutely ludicrous that someone might decide to evaluate the despair of another. In any case, my thoughts lead me to listening to the rather optimistic Jackson 5 song "I'll Be There," which closed the Spring 2011 show. Being a glutton for sadness, I turned to a video of the Fall 2010 show, the first I had seen. It seems quite surprising to me that it had escaped my radar, but the tumult of emotion that erupted from me after his death and after seeing photos from the show left me in more than a bit of disarray. Between the intricate detail of the clothes to the small scale and slow pace, the show is indelibly moving. Unsurprisingly, the clothes are all together more beautiful in motion than in the runway photos.

After such a solemn look at McQueen, I advise a listening of "I'll Be There." None of the full videos of the show I've found have the original soundtrack, but the clothes alongside the Jackson 5 tune can be seen at the end of the video below. That finale walk is theraputic at the very least.

I miss McQueen's vision and showmanship more than I can explain, but Sarah Burton is keeping the dream alive in her own way. If that means butterflies and the Jackson 5, I'll take it.

Dearest Japan,

2011-03-14T19:00:00.001-07:00

My thoughts are with you.

All my love,

Stevie Darling

It's been too long...

2011-03-12T21:58:00.000-08:00

Finals and final papers and all that jazz has all amounted to a painful neglect of my blog. I still have to cover all of my favorite Paris shows, but Spring Break is just a few days away. For now, I'll leave you with another neglected love. I can't believe I haven't posted this yet. Commentary to come? It's possible.

But she wondered, "How can I protect something so perfect without evil?"

Don't be a drag, just be a Queen...

Bottega Veneta

2011-03-07T16:59:00.000-08:00

I've been thinking about the Bottega Veneta collection all day. This isn't because it was the most beautiful collection I've seen within Fall/Winter 2011, but the feeling of it is something I wanted to capture as I went about my day. The collection took shape by way of the Sixties, with a set of ladylike tailored pieces opening the show. Even in tangerine and fuschia, these looks were slightly disconcerting, due to a sense of decomposing. The fabric that constituted a pumpkin-hued outfit looked beraggled and distressed, while the skirtsuit on Daphne Groeneveld looked like it was unraveling from the inside. The most impressive portion of the show was the set of looks composed of blacks and unpurified neutrals. Lace and black spray paint were experimented with to create something hauntingly beautiful. Shredding and deconstruction had their place too. It was if this women had been devastated and hadn't bothered to take care of her otherwise trim ladylike clothes. This show has drawn plenty of reference to a Hitchcockian woman and I would assert that this portion shows her at her most tortured. As the show progressed, more lace met with the return of color, which lead up to four beautifully decaying ball gowns, seemingly covered in dust and ash. Designer Tomas Maier loves a bit of conflict and is not interested in generic ideas of the perfect woman. For him, perfection cannot be possible without imperfection.

Karolina Kukova

Daphne Groeneveld

Colinne Michaelis

Mariacarla Boscono

Alana Zimmer

Melissa Tammerijn

Britt Maren

Shu Pei Qin

Sara Blomqvist

Natasha Poly

Carmen Kass

Jac

Nimue Smit

Photos via style.com

Missoni

2011-03-06T17:38:00.000-08:00

My recent absence from the blog has been largely the result of a deadly plague and the moodiness it has wrought upon me over the last few days. In any case, I'm tired of feeling cooped up and generally cranky, so I thought the playful new Missoni collection and ~~the Clueless soundtrack~~ No Doubt might cheer me up. In a nod to youth culture and the style of her younger daughter, Teresa, Angela Missoni put forth a cotton candy grunge spectacle. Sweet pastel colors dominated the show, creating a bit of wonder and dreaminess that was a perfect counterpoint to the oversize proportions and heavy biker boots. The nonchalance of the silhouette was a wonderfully modern look back at the time of grunge that is sure to capture the hearts and minds of pretty young things. An illustrated embroidery of Japanese girls and flowers by artist Tiana Langdon contributed to the girlish sensibility, but also gave it a peculiarity. The gradation of color was one of my favorite aspects of the collection, especially on the skirt on Jacquelyn Jablonski, giving it the look of a delicious sunset. As per usual, the knits were fantastic, looking so welcoming and cozy I might just off myself for not possessing one. The knotted wonder on Valerija Kelava is my favorite. That blush orange has me in love. In total, this collection makes me want to actually wear head-to-toe color. The perfect conflict is created between the grungy and romantic elements. It's arresting to the point that I want to stomp around sugar plum fields in biker boots. How very sweet.

Kinga Rajzak

Liu Wen

Ruby Aldridge

Suzie Bird

Valerjia Kelava

Colinne Michaelis

Fei Fei Sun

Jacquelyn Jablonski

Melodie Monrose

Mirte Maas

Joan Smalls

Lindsey Wixson

Kasia Struss

Marique Schimmel

Photos via style.com

Pure Joy

2011-03-03T19:35:00.000-08:00

Prada

2011-03-01T01:09:00.000-08:00

The models who walked in the latest Prada show had something distinctly girlish about them. Granted, a high percentage are probably 15 or 16 years-old, but the clothes and even the way the bags were held—nervously clutched to the chest—radiated naivete. This season, Miuccia Prada sought to explore materials closely associated with glamor—such as python, fur, and sequins—and make them innocent once again in a process of reverse corruption. A Sixties, drop-waist silhouette dominated the collection with hemlines just over the knee, calling to mind schoolgirls, especially when printed in magnified plaid. The knee-high boots that came down the runway appeared to be Mary Janes paired with stockings, when in fact Prada has created a tromp l'oeil effect which speaks to her love of socks. These were most striking examples of Prada attributing a perversity to a defined style within this collection. Aviatrix caps gave me thoughts of ambitious little girls playing dress-up in unexpected ways. Despite the overwhelming girlishness of the collection, I'd suggest this is Miuccia praising those girls who adamantly follow a path that is less than female-friendly. The oversized python coats enveloped their wearers, hopelessly obnoxious and all the while endearing. Sections of shaggy fur decorated coats and few dresses, leaving room for playfully large buttons and complementary belts. The end of the show was the most dreamy and fantastic, featuring looks constructed with sizable paillettes, doubling as nearly-aquatic scales. Furry swim caps of questionable function somehow looked right, even with a pair of goggle-like orange sunglasses. Whatever the case may be, these looks were an absolutely mesmerizing summation of the ideas of innocent glamor. As a whole, this was certainly not the most mysterious Prada show, but it certainly maintained the quirk that has made so many fall in love. But to speak truthfully, I'm not sure I care about mystery as long as I can look like a creature from the Prada lagoon.

Marique Schimmel

Caterina Ravaglia

Tati Cotliar

Kinga Rajzak

Mariacarla Boscono

Marike Le Roux

Xiao Wen Ju

Kate King

Arizona Muse

Siri Tollerød

Hailey Clauson

Anabela Belikova

Sigrid Agren

Kasia Struss

Tali Lennox

Kasia Wrobel

Josephine Skriver

Photos via style.com

Fendi

2011-02-27T19:48:00.000-08:00

The latest Fendi show put forth a look suitable for a proper English countrywoman with eccentric tendencies. Or perhaps the woman of inspiration was an art student (or even teacher), with a sense of flamboyance, but also a serious nature enforced by the expectations of academia. Truthfully, she wasn't so serious that she washed the paint out of her hair after leaving the studio. Designers Karl Lagerfeld and Silvia Venturini Fendi integrated the less pragmatic elements with their use of color and the ruffle details that seemed to unfold from just below the models' necks. To be clear, the oddity didn't appear forced, but quite easy. Colorful tights and grown-up Mary Janes were just kooky enough, creating a balance with the more sober, buttoned-up elements. The obligatory fur pieces took shape as expected outerwear and in more surprising ways, such as down the front of the dress. All of them had a mixed-up quality to them without being as untamed as those patchwork numbers of Fall 2010. In an interview with style.com Ms. Fendi noted the intention to "invent furs that don't exist," but while they were in a way unnatural, they didn't look artificial. Another arguably unnatural moment on the runway was the two looks featuring chic sweatpants. Paired with matching cozy-looking sweaters, furry toppers, and enormous sunglasses, they gave me thoughts of the chicest possible hangover. I would err more towards the open shearling coat on Bianca Balti, my favorite piece of the collection. Perhaps I'd even wear it with shorts and a pair of tall orange socks that are rarely seen under my skinny jeans. This collection is one that makes you think about the way you get dressed and those "risks" you might avoid otherwise. For that reason and many others, it is a delightfully unexpected achievement.

Anja Rubik

Abbey Lee Kershaw

Jacquelyn Jablonski

Natasha Poly

Kendra Spears

Daphne Groeneveld

Anja Rubik

Constance Jablonski

Bianca Balti

Kendra Spears

Magdalena Frackowiak

Jacquelyn Jablonski

Natasha Poly

Abbey Lee Kershaw

Anja Rubik

Photos via style.com

Gucci

2011-02-26T13:47:00.000-08:00

For Gucci's 90th anniversary show, Frida Giannini revisited her beloved 1970's, serving up a collection that was unabashedly glamorous. Furs in a manifold of shapes and colors appeared on a countless number of looks, as did wide-brimmed fedoras, sometimes topped with a feather. Giannini called this "hippie chic" but that doesn't seem an accurate description only because a hippie wouldn't look so together or so decked out. The fabulous Penny Lane coat on Alana Zimmer was a perfect adaptation of that era. This was the girl with her bow-collared blouses who adored the hippies and celebrated their spirit, but like to look a bit more put together. Anjelica Huston (specifically shot by Bob Richardson) was a major influence, especially seen in the daywear. Florence Welch of Florence and the Machine also inspired Gianni, who captured the singer's spirit in the floaty dresses at the end. This section was a bit of a dream, with hand-painted rosettes covering many of the dresses. Providing a bit of a contrast, the sheer chiffon and thigh-high slits gave it the sex appeal Gucci is so well-known for. While it was not my favorite collection I've seen all season, I've never coveted a long teal fur more.

Natasha Poly

Joan Smalls

Sigrid Agren

Alana Zimmer

Tayane Leao Melo

Daniela Alves Rezende

Chanel Iman

Lauren Brown

Jac

Karmen Pedaru

Natasha Poly

Kasia Struss

Yulia Kharlaponova

Abbey Lee Kershaw

Joan Smalls

Photos via style.com

Mary Karantzou

2011-02-23T02:05:00.000-08:00

Just like her peer, Erdem Moralioglu, Mary Karantzou is a master of print. Karantzou is also a child of the future, digitally producing all of her prints herself. Her last collection—which I regretablly neglected to cover—placed architecture on her women. This time around, she placed her women inside of a decorated wonderland within some realm of possibility. I've always found to be peoples' living space absolutely fascinating—I believeThe Selby is better than porn, but then again, I say the same thing about various fashion publications and blogs. Fine art objects such as Fabergé eggs made appearances in the various prints, but my personal favorite (at least the one I could make visual sense of) featured a couple of lovely koi fish. In the grand scope of things, these amounted to a more humble decoration. Each piece was like a step into the incredibly luxe lives of women like Diana Vreeland and Coco Chanel. The countless egg-shaped skirts contributed to the magic. Even a wallpaper print in scarlet was worth a dreamy sigh. There were moments when Karantzou abandoned structure for more wearable options, but who really needs to sit down? In these fantastic works of art, I'd proudly stand.

Valeria B.

Anna Schillin

Emilia Skuza

Kelli Lumi

Charlotte Wiggins

Tabea Weyrauch

Katya Ko

Caroline Corinth

Anna Schilling

Chloe Memisevic

Liu Xu

Photos via style.com

Christopher Kane

2011-02-23T01:09:00.000-08:00

Christopher Kane has created a deep internal conflict within me. His blatantly nostalgic, uncompromisingly singular, and utterly ridiculous Fall collection is a marvel simply in its power to place a giant question mark over my head. A sort of granny-meets-ugly-carpet section opened the show, already challenging the idea of taste. These looks were nostalgic in a homey, crochet way, but were just the beginning. What came next was the dominant section, featuring mainly black dresses featuring multi-colored plastic squiggles that looked like a child's dream science project. For me they recalled Lisa Frank school supplies, gel pens, and those odd, water-filled plastic blobs that slipped around in your hands if you squeezed them. Kane's specific memories included a special pencil box he had in high school. Tavi has cited Fruit Roll-ups. Tasty. Whatever the case may be, it penetrated the granny section and was seen through the end section, a sequined-out batch of sheer dresses. The overdose of humor was jolting at first, but entirely refreshing. While there was a significant presence of childhood (exposed breasts not included), there was also something vile about it. Vile in the sense that these dresses were toxic. Perhaps that's why I feel so uneasy about assessing the collection. Kane seems to have some kind of spell on the fashion crowd. Even Anna Wintour sings his praises. He certainly has something. His work doesn't usually fall outside a specific and rigorous theme, but often works. Are we fools or is this man a talented artist? Perhaps it's both.

Azul Caletti

Marique Schimmel

Samantha Gradoville

Jourdan Dunn

Siri Tollerød

Sara Blomqvist

Jacquelyn Jablonski

Kirsi Pyrhonen

Alana Zimmer

Azul Caletti

Emily Baker

Marike Le Roux

Mirte Maas

Photos via style.com

Editorial Thoughts and Erdem

2011-02-22T22:35:00.000-08:00

A editorial note of questionable necessity: I'm not sure if it's my mood or perhaps a separation in taste (doubtful), but the London shows this season have been a bit of a letdown. As of recently, I've been trying to stay away from shows I will be critical of and approaching my posting as a medium to express praise and celebration for the designers I love—exclusion is critical enough. Though I'm a young writer, I am desperate to find my niche. In the past I've approached the shows from a more journalistic standpoint, which allows for criticism à la Cathy Horyn. I would just rather not be the bad guy, a lable which Horyn fearlessly (and perhaps even proudly) adopts. In any case, there is more exploration to be had, so for now, I will turn to a show which I will happily herald.

A dark cloud hovered over the endlessly exuberant DNA of Erdem this season. That's not to say the collection suffered, nor was Erdem Moralioglu's signature style completely obscured. Instead, Moralioglu flirted with a bit darkness, which while unusual for him, was utterly successful. The inspiration was an artist's wife—perhaps an artist herself—whose part-time residence in a studio has left her dripping with paint and maybe even despair. Whether it be by her re-creation or happenstance, her clothes become an extension of her husband's work. I adore Tim Blanks' interpretation of Erdem's woman who "flies of the handle" (fantastic phrase), tears apart her partner's work, and resurrects it as her clothing. Hamish Bowles suggests the influence of Lee Krasner, Jackson Pollock's wife and fellow artist. Their relationship was captured in Ed Harris' Pollock, a film Erdem had seen and no doubt been inspired by. While the gloominess was a step into uncharted waters, the exhilarating prints and ladylike silhouettes were classic Erdem. A taste of the fifties, complete with gloves up to the elbow, melded with thigh-high slits for a more assertive sexuality. His love of feminine women persists, that much is clear. Whatever the inspiration may be, the results were beautiful in their essence and execution.

Kirsi Pyrhonen

Codie Young

Jessica Clarke

Beegee

Imogen Newton

Marique Schimmel

Kelsey Van Mook

Eliza Cummings

Tao Okamoto

Janice Alida

Alana Zimmer

Kirsi Pyrhonen

Photos via style.com

An editorial note of unquestionable necessity: Pollock is available to watch instantly on Netflix and it looks incredible (read: I need to watch it right now). It is now 11:55 and the film is 123 minutes long. Fuck.

Someone taught her right.

2011-02-22T10:50:00.000-08:00

"This is my life!"

Proenza Schouler

2011-02-20T20:01:00.000-08:00

Road trips have the potential of being the most inspiring and head-clearing stretches of time. That is, as long as you can stand to be in the car with your travel companions for the entirety of the trip. With inspiration taken from their own road trip from Santa Fe to Wyoming, their latest collection makes it seem that Jack McCollough and Lazaro Hernandez didn't suffer from car-induced insanity. In fact, it would appear that this trip allowed them to prosper among their ideas and the culture of the Southwest. The sunset colors were a beautiful and intensely rich ode to the desert in all of its warmly-pigmented glory. Much of the collection borrowed prints of Native American textiles, but was put through computers, and often altered to give it a pixelated appearance. Bringing it out of the literal context contributed to the collection's modernity and spoke to designers' love of renegade reinterpretation. How very them to turn a Navajo blanket into a tapered trouser. Weaving and crochet also made marvelous appearances, commending the artisans within the Southwestern region. Velvet quite unexpectedly resurfaced in the finale section, a reinvented version of the dissolving Fall 2009 velvet dresses, but these were somehow simultaneously more relaxed in shape and exuberant in palette. That combination of relaxation and exuberance may just be a perfect mindset to have on a road trip. I just hope I fall somewhere along those lines on my way to Portland next weekend. Perhaps then my daydreaming and perception of the experience will be just as beautiful and consuming as this collection.

Tara Gill

Isabella Melo

Liu Wen

Shu Pei Qin

Joan Smalls

Sigrid Agren

Monika Sawicka

Chloe Memisevic

Marique Schimmel

Suvi Koponen

Kelsey Van Mook

Emily Baker

Fei Fei Sun

Caroline Brasch Nielsen

Kasia Struss

Julia Stegner

Photos via style.com

Rodarte

2011-02-19T13:29:00.001-08:00

It seems only right to write about the latest Rodarte show on a day veiled in sunshine, as their inspiration for the collection was the Golden Hour, as seen on the Great Plains. The Golden Hour is a time of day that has a reputation with photographers as being the perfect time to shoot. When shooting Days of Heaven, Terrence Malick would supposedly only shoot during the Golden Hour, as the sky gave off a spectacular glow at that time. The film was obviously a reference point for Kate and Laura Mulleavy, lending a prairie feel to the collection. Their interest in the movement of the sun across the sky led to the various colors of the collection almost blending. Floor-length coats over equally long dresses were a constant, managing to look beautifully trim as opposed to excessively modest. Wheat filed prints danced around the hems of dresses and two-piece pinafores looked unusually lovely. This was Rodarte as soft as I can remember, but no less dreamy. Speaking of dreams, two fabulous ruby red looks jolted the collection, a reference to The Wizard of Oz. The last two dresses appeared as a storm, followed by a tornado, wrapping up the collection in a frenzied fit of drapery and a touch of humor. While this collection is perhaps less boundary-pushing than those that have come before, it still takes you somewhere and it's not a place you can get to by a boat or train...

Caroline Trentini

Aline Weber

Anne Sophie Monrad

Kamila Filipcikova

Edita Vikeviciute

Codie Young

Samantha Gradoville

Malene Knudsen

Patricia van der Vliet

Gwen Loos

Kristina Romanova

Maddie Kulicka

Liu Wen

Kirsi Pyrhonen

Iselin Steiro

Aline Zanella

Karlie Kloss

Fei Fei Sun

Agnete Hegelund

Photos via style.com

The Curve of Forgotten Things

2011-02-18T18:27:00.000-08:00

Elle Fanning: Rodarte's Muse on Nowness.com.

Starring Elle Fanning
Directed by Todd Cole in collaboration with Rodarte

Fucking Fab.

2011-02-16T19:36:00.000-08:00

Ladies, gentlemen, and all those in between, Miss Anna Dello Russo in Moschino.

Shot by Tommy Ton for style.com