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Avoiding Overt Sensuality at a Time of Vulnerability
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It seems an
eternity ago, though it was just a few seasons back, that a movie
as sexually detonating as Luis Bunuel's "Belle du Jour" held
fashion under so powerful a sway. As the spring 2002 collections
ended in Paris last week, replete with clothes that invoked first
holy communion dresses, collars that called to mind Mary Queen of
Scots and caftans that would have found a friend in Mama Cass, it
was apparent that seduction had been declared last millennium's
news.
Disconnected from the
rhythms of real events, the runway has always kept its own
counsel. But last week fashion's disavowal of sensuality ran
oddly parallel to a world that seemed as if it might soon fear
any experience in the realm of the tactile. In one day, anthrax
panic had made an enemy of the mail. People began to look warily
at air vents and dewy fruit. Would handshakes and most forms of
social intercourse soon require latex
gloves?
No one has any clear idea what the world
will feel like six months from now, but one can easily assume
that women won't fantasize about dressing like Barbarella.
"We are in a
soft mood," explained Sarah Hailes the day after she and her
partner, Beth Buccini, returned from a buying trip in Paris for
their shop, Kirna Zabete. "We didn't go for anything that was too
tight, too short, too vulgar, too sexy."
If any work of
cinema hung as a specter over the Paris shows, it was "Safe,"
Todd Haynes's 1995 portrait of an emotionally vanquished
housewife who flees to a New Age retreat, where she seeks
treatment for a paralyzing environmental illness one assumes to
be psychosomatic. As played by Julianne Moore, the heroine is
afraid of everything, including (and especially ) Windex; she
stays indoors and retreats from her husband's sexual advances.
Her clothes conceal rather than reveal.
Marc Jacobs's
show for Louis Vuitton on Friday afternoon plundered from the
1970's, but hardly the 70's of the sexually peregrine. Mr. Jacobs
showed baggy cottons, often in tricolored tiers, partly inspired
by the English designer Ossie Clark, partly inspired by the
smocks worn to protect the school clothes of third graders from
all that cakelike white paste used in art class. Cotton culottes
were paired with loose, big-buttoned shirts plucked from the
closet of the same 8-year-old. When Mr. Jacobs veered away from
this idea, he turned toward folkloric embroideries that put one
in mind of Russian stacking dolls. It was an improvement over
much of what he offered, but the whole show still felt like a
game of Where's Waldo, in which Waldo was the human body, a
challenge to find.
Clothes, of
course, can still be beautiful even if they don't hold up as a
form of sexual currency. Nowhere was this more evident during the
last leg of the collections than at Karl Lagerfeld's show for
Chanel on Thursday morning. Typically, the Chanel woman on
display doesn't look as if she is for sale, because in theory she
has already been purchased. If anything, last week she looked
more in control of her ownership.
Some models
wore pearls on their fingers, though rendered as brass knuckles.
Hemlines fell frequently below the knee, the lines were airy and
the mood a chaste black. A classic black and white knee-length
skirt hung low at the hips and was paired with a vest buttoned
down the center with three pearls shaped like teardrops. One of
the loveliest looks in the collection bordered on the clerical, a
black ankle-length dress, streamlined on top, ample at the
bottom, paired with a matching overcoat trimmed at its pointed
collar and cuffs with simple Art Deco detailing.
The following
day, Mr. Lagerfeld presented his own collection under the label
Lagerfeld Gallery. While an untrained eye might have considered
it racier than what was shown 24 hours earlier, there was a sense
of sexual hesitation in these clothes, too, no matter the black
mesh tights that resembled mosquito netting. The loose-fitting
tights appeared to be falling down -- read: easily taken off --
but the women wearing them did not look as if they would be so
easily undone. Again, the palette was primarily black. A
collarless skirt suit, exquisitely cut, looked as virginal as it
could. A silver chain streaming down the back of a pleated,
off-the-shoulder dress was held in the model's hand, making her
look as if she were hanging on to rosary beads -- an image also
seen, though more aggressively, at the Viktor & Rolf show
earlier.
Christianity
was one of the few spheres untouched by John Galliano during his
show on Thursday. At his show for Dior earlier in the week, Mr.
Galliano had presented, in his typical manner, a collection that
seemed the result of a widely cast Google search. There, however,
he succeeded in blending disparate ideas into something that
could pass for a cohesive theme.
Entertaining
though it was, his own show made virtually no sense. There were
Nascar-inspired denim jumpsuits (the applique patches came in the
form of high-heel shoes), wide-leg pinstripe men's suits, cropped
at flood length and trimmed with Native American beading. There
was a Prince of Wales plaid bra worn over a T-shirt and paired
with pants that also drew from the world of the racetrack. There
were printed chiffons over pinstripes, over argyles over . . . a
yoga mat? A cheese plate? A 1978 Monopoly board?
There's such a
thing as too much energy. And there's a palliative Mr. Galliano,
Ritalin.
SHE'S hit the
headlines with her wacky wardrobe and now our worst fear has been
confirmed.
Lady GaGa is to
launch her own fashion range so teens can look as bizarre as
her.
We can reveal
the Just Dance singer, 22, is already in talks and is bandying
ideas around for a line of outrageous outfits.
Famous for
hitting the cold streets of London in bum-skimming basques, and
latex catsuit nude-coloured skirts,
Lady G's range, which will be aimed at teens, won't be for the
faint-hearted.
GaGa told us at
Punk nightclub: "I can't wait to do my own line. It's definitely
something I want to do in the next year as I do have my own
style. I'm already talking to my boy Akon about it." But don't
expect her to compete with Kate Moss because this fashionista
doesn't do normal. Smack That singer Akon, who discovered her
over two years ago, reckons her flaky fashions will be the next
big thing, saying: "People dissed her because of the way she
dresses, but she's hot. Everyone wants to look like her.
"She'll walk
around in London in her underwear and you watch, everyone will
catch on."
Don't hold
your breath, mate..
Date Published: Jan 12, 2011 - 12:21 am
On Catsuits And Her Sewing-Machine Addiction
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When i was a
teenager, i was into my horses more than my clothes. Couldn't
afford the clothes too. I was all about the jodhpurs. Jodhpurs
was my look. Plus i really didn't like wearing skirts because my
legs were skinny. If i had to wear a skirt, like to school or
something, i'd wear two pairs of leggings with it to fatten them
up a bit. Such skinny legs.
I had to wear a
uniform for school: jumper, tie, the usual. I used to mess with
it. Change it. Funk it up. I'd wear my tie differently, wear
outrageous shoes, loads of make-up. . . I didn't do it for
fashion reasons, though. Didn't care about that. It was more
because i wanted to be a statement, to make a statement. I liked
to be different then, i like to be different now.
At about 14, i
started getting into my Fétichisme du
latex. Oh, i've still got a thing about my
catsuits. Love them.
Back then, they were black and lycra and always from topshop. I
wore them everywhere: when i went out, to school on non-uniform
days, down the shops. . . Everywhere.
I did used to
like my saturdays clothes-shopping as a teenager, of course i
did. But because all my money was going on the horses, my mum
used to buy my clothes. Then i got into customising. My mum had a
sewing machine she used to make curtains with, and when she got a
new one, she gave the old one to me. I started off making horse
rugs with it, but then i started the customising. Customising my
clothes. I still do that now, i make so many clothes from
scratch. I make harvey's clothes - little tracksuits and
things.
Me and pete
take it in turns to do the cooking, and my sewing machine's in
the kitchen; so he'll be there, chopping, and i'll be sewing.
Sewing and sewing. I've got patterns cut out, all the fabric cut
up just waiting. I can make a tracksuit for harvey in 40 minutes.
I like making clothes for him but with junior. . . I think babies
should be in babygros. Cuddly and comfy. I have made them both
matching tracksuits, though.
And then of
course i alter everything i buy for myself. I have to. Because of
my shape, nothing quite fits. I'm too small, but then with the
boobs. . . So for example, i can't buy a miniskirt off the peg
and just wear it. It'd never be short enough for me, have to make
it shorter. Same for trousers. They're all high-waisted. It'll
say 'hipster' on the label, but not on me, they're not.
I never wear
designers. Designer stuff doesn't fit me well because of the
boobs again. My frame is small, and my boobs are big. But i love
roberto cavalli, i love versace, i love those dresses they do. .
. I haven't worn any yet, but i really and truly intend to.
Sooner or later. I will. And having said that about my boobs,
quite often i meet people and they go: 'god, they aren't that big
after all, are they?'
How important
are the boobs? Well, it depends. Depends on how i feel. If i want
to flaunt them, i will. They look completely different depending
on how i display them. I did a shoot for us vogue recently and
they were surprised because i fitted into their sample
sizes.
I love pete
when he's wearing that american type of look. We're both into
that. Baseball caps and beanie hats and tight, tight vests, i
love him in that 'cos he's got a wicked body. He's definitely
more into the designer thing than i am. He loves his suits.
Oswalk bal-tang or however you say it. He bought this suit for
three-and-a-half grand and i was like: 'three-and-a-half grand?
On that?' I would never spend like that because i'd only go and
customise it. I'm addicted to that sewing machine, i tell you. I
can't get enough time on it. Like a man with a playstation, i get
in. I'm on it. I've got basketfuls of stuff, waiting to be sewn.
I should do a clothing line, shouldn't i? I'd like that. Put a
link on my website with pictures of me. . . 'If you like this
dress, you can buy it!' I wouldn't make the clothes expensive,
though. I want to do affordable stuff, stuff that teenagers can
buy. What's the point otherwise?
Date Published: Dec 17, 2010 - 12:12 am
The Heart Of Darkness
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He is giggling
now.
"apart from
that, it's a heartfelt christmas song."
The song is up
against various pop idols past and present, not to mention sir
cliff, for christmas no 1.
"i haven't
heard cliff's," justin says. "but i'm a big fan of mistletoe and
wine. It's got great harmonies - it's a really simple
song."
This from a man
who has managed to conceal more profanities in the top 40 than
any previous artist.
Get your hands
off my woman even includes the c-word - although it's sung at
such a high-pitch it's almost inaudible.
"that's why we
go to the trouble of printing the lyrics inside the cd," says
Fétichisme du
latex, sweetly. "there's no point doing it if nobody
knows.
"we've always
gone round making life difficult for ourselves. Everyone said
calling ourselves the darkness was a mistake because people would
assume we were a goth band.
"but we're
doing all right. People came to us thinking we were a goth band
and then got surprised."
The band has
just recorded a special non-swearing version for the states. "so
instead of 'c***', i say 'coconut'," justin explains.
Get your hands
off my woman, you coconut?
"yeah, and
instead of 'dog, don't give a f***', i sing 'dog, don't give a
duck'. There's a quacking sound instead of a dog barking.
If we're going
to have to change, we might as well amuse ourselves."
What about
artistic integrity?
"what artistic
integrity?"
The darkness
were born from the ashes of the hawkins brothers' prog-rock band
empire.
By christmas
1999, the boys were a lead singer down and the band was in a
state of collapse.
Then,
celebrating millennium eve at their auntie's pub in norfolk,
justin entered a karaoke competition.
He sang
bohemian rhapsody the way freddie mercury would have, acting out
every line and performing spectacular star-jumps across the
packed pub.
Dan, his
younger brother by two years, realised the answer to their
lead-singer crisis was to put justin in front of the mike.
Fast-forward
five years to june this year and they were the act chosen to open
the glastonbury festival. In august, the band supported robbie
williams at knebworth to a record-breaking audience.
"i really
wanted to the robbie gig, even though some people thought it
wasn't the coolest thing in the world," justin says.
"i just
thought, 'if you don't do something like that, you are basically
stupid'."
Was he nervous,
standing up in front of 375,000 people?
"no, not
really."
Other legendary
acts they've toured with include meatloaf.
"he's a really
nice bloke," justin says, over the sound of ed graham bashing his
drums.
Date Published: Dec 15, 2010 - 1:03 am
Winter wrap catwalk stars
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The mood is one
of softness and warmth
From Auckland
to Melbourne, Paris, Milan and New York, winter styles have focused on softness
and warmth. The feast of beautiful, well-crafted and intellectual
winter clothing began in
October at New Zealand's Fashion Week in Auckland. With an
emphasis on wool, particularly for suits, coats and gorgeous
dresses, there were warm knits, soft leather, and beautiful suede
incorporated into some of the season's most sophisticated
designs.
Shining stars
were Zambesi's full-length wool coats and hand- detailed dresses;
Kate Sylvester's trousers, jackets and hand-knitted long dresses;
Caroline Moore's fantastic leather jackets; Gaye Bartlett's
well-cut suits; Sabatini White knits evoking '60's glamour; the
irreverent Nom.D's and Carlson's pea coats and, of course, Karen
Walker's tailored skirts and coats.
The inaugural
winter showing of MAFW in
Melbourne in November saw Vixen's ethereal and creative style
with beautiful colours and subtle Asian influence, while
deconstructionist label S!X held on to their enfant terrible
status. Established label T. L. Wood presented probably their
best Louboutin
prix range to date with a strong emphasis on
exquisite knits.
Next, in Paris,
Milan and New York, designers defied the pessimistic
international atmosphere by producing soft, feminine silhouettes.
The focus for winter had
shifted from the hips to the waist, emphasising a womanly shape.
Fantastic trench coats in leather, cloth or micro-fibre looked
street-savvy, while ankle-length coats in wool, tweed and leather
made a major statement. The dress was back, slightly shorter and
worn with great tights or boots. Big chunky knits in cable, shaggy
or refined textures were everywhere and that staple, the fine
black polo-neck jumper, graced the catwalks as an absolute
necessity this winter. Pencil
skirts, topped with bomber-style jackets or knitted with
oversized jumpers and scarves, were the skirts of the
moment. Look in Canberra stores for designer
style at very affordable prices. MaxMara, Armani Collezioni and
other international labels are available at Millers of Manuka.
Ondina Studio is stocking Italian labels Romeo Gigli and
Tombolini.
For domestic
labels, look out for skirts and suits at Carla Zampatti, Ty &
Melita trench and Wayne Cooper tweed coats and Sabatini knits at
Momento in Manuka. Jigsaw, Witchery, Country Road, David Lawrence
and Just Jeans have a good selection of chunky and classic knits.
For accessories, 'must haves' include great boots, tights and long knitted scarves.
Escala, Nine West and Witchery are all stocking terrific
boots and belts and David
Jones has a great selection of tights.
Look to the
streets and what is just about every girl wearing? A pair of
boots. With jeans and
leggings tucked in, the boot
has bagged top billing this winter.
Double bay's
cosmopolitan shoes proprietor, rose saleh, says her high-end
boot collections (pictured)
have been selling up a storm: ''boots have been amazing for us and our
balenciaga and alaia styles are selling out as they arrive,''
says rose.
Cristobal
balenciaga was a spanish fashion designer whose spare, sculptural
creations including funnel-shape gowns of stiff duchess satin
were considered classics of couture in the 1950s and 1960s.
Today, balenciaga is under the direction of nicolas ghesquiere
and has become the cult label on the fashion circuit (and the designer of
nicole kidman's wedding gown). A ticket to a balenciaga show a
paris collection time is rarer than a hen's tooth, so all that's
left is to do
Is ogle the
label's cult shoes and handbags
Date Published: Dec 09, 2010 - 12:02 am
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