Those kooky London kids are at it again. Wild prints, electric-hued hair, inventive matching — London Fashion Week always offers the most eclectic street-style sightings around. But there's also a fair dose of understated chicness to be found, and thanks to the record number of international editors in town (we blame Tom Ford), this season London seems to be offering the perfect balance of both. Our favorites, in the slideshow.
- Karl Lagerfeld's latest photography exhibition, Fire Etchings, features images of models Freja Beha Erichsen and Aymeline Valade on large glass panels. [WWD]
- Swedish model Tilda Lindstam walked the most shows this past season at New York Fashion Week — 29 in total. [The Cut]
- Michelle Obama has officially commented on her new hairstyle: "This is my mid-life crisis, the bangs. I couldn't get a sports car . . . so instead, I cut my bangs." [The Huffington Post]
- Could we soon see a clothing line from Cara Delevingne? "I would love to design . . . I want my own brand of onesies!" the model said. "I'm trying to make it happen . . . someone contact me please, 'cause I'm ready!" . [Vogue UK]
- John Jannuzzi took to his iPad to sketch the looks from New York Fashion Week. [Lucky Magazine]
- After singing in sequins for Topshop last December, Kate Bosworth has revealed more details about her next project with the fast-fashion retailer. [Telegraph]
- Meanwhile, J.W. Anderson's latest collection for Topshop is now available online — and is already selling out. [Racked]
- Muse has released a video of Karlie Kloss to complement its Spring 2013 issue. [Fashion Copious]
Top photo courtesy of Karl Lagerfeld.
Between hosting the Golden Globes with Amy Poehler and celebrating a triumphant finale to 30 Rock, Tina Fey has already had a huge year, and it's only February. Next up for Tina is her new film, Admission, costarring Paul Rudd, and to celebrate, Tina is the next star of our I'm a Huge Fan series!
Head over to the contest page and enter for the chance for you and a guest to fly to New York and get the A-list treatment with surprises along the way, all before meeting — and interviewing — Tina in person as part of our I'm a Huge Fan series! Enter now and catch Admission in theaters March 22.
Click here for official rules.
Turns out being the cofounder of one of the industry's coolest brands will buy you a whole lot of house. Rag & Bone's Marcus Wainwright and his wife, model Glenna Neece, are getting ready to move into a triplex in Brooklyn's Cobble Hill Historic District. The Greek revival mansion — which Curbed called the "Blogger's Brooklyn Dream House" — was originally built in 1844 and went through a top-to-bottom renovation between 2007 and 2010, when it was originally listed for $7 million. (Wainwright and Neece paid $6.75 million, according to the sales record.)
The freestanding home is one of three in its neighborhood that sits on a double lot, and has enough parking space for four cars. It actually features three separate dwellings: in addition to the main home, there are two rental units with separate entrances that bring in an estimated $56,400 a year.
But that's not the only thing that makes the home so attractive. It has garden space on all four sides, an art studio, plus details like mahogany floors, a roof-deck, and a patio off the kitchen paved in bluestone. A look at the home here in the gallery.
Photos via Brown Harris Stevens.
Grandma chic has very rarely looked this good. For her Fall 2013 collection, Simone Rocha devised an elegant and forthrightly peculiar tribute to both of her grandmothers, Margaret Gleeson and Cecilia Rocha. Their nationalities (Gleeson was Irish, Rocha was Chinese) seemed to have little bearing on the clothing here, which instead focused on the designer's respect for the two women. A prim sleeveless dress, coat, and suit with a reverse peplum in Pepto Bismol pink opened the show, followed quickly by a few pieces in a solid black fabric or black lace. Then came pieces in ladylike shapes cut from unexpected fabrics, like a tube top and skirt in black patent leather, or a white shirt trimmed with a faux-leopard collar. But even the kookiest of the garments looked cozy and easy to wear. And as if to underscore that idea, Rocha paired every look with flats. And after seasons of sky-high platforms, what better time to give granny's arches a rest?
Of course, the unifying theme of Ford's opus is glamour, but the opulence of this offering was positively unbridled. Ford pulled out all the stops: beading, lace, fur, fringe, and raucous pattern combinations to create a conspicuously expensive-looking collection. And while some pieces — like an intricate long-sleeved black evening gown in a sheer lace — are exactly what we've come to expect from Ford, others (fur puffer jackets, beaded graphic silk bombers, and the like) are so outside Ford's usual milieu that they were almost shocking.
But Ford likes to have fun, and if any one adjective describes this show, that's it.
Michael van der Ham's dazzling way with texture and print was in full effect at the designer's Fall 2013 show in London Monday, but this time around, the dazzle was tempered with hint of darkness. In a subdued palette of navy, black, rust, and pale olive on a tactile mix of chiffon, jacquard, and printed silk, the designer offered up looks that felt wearable yet luxe. Round-shouldered jackets and drop-peplum tops inspired by vintage couture were paired with slim-cut ankle pants and crewneck sweaters for an eclectic, youthful vibe, while shift dresses and silk blouses peeked out beneath structured tops that had been cut away with oversize, "moth-eaten" holes.
He may be known for churning out ladylike collections fit for a princess, but don't be fooled. Just a few short years ago, Erdem Moralioglu's signature garden prints, delicate laces, and dreamy color palettes weren't always so pure and sweet. The darkly gorgeous Fall 2013 collection the designer presented in London Monday was a welcome reminder that the designer is still quite adept at mixing prettiness with edge.
Layers of black organza shrouded nearly every look, creating a veiled, surreal effect on paillette-covered dresses, tweed suits, and oversize coats. Silhouettes were as ladylike as ever — high necks, slims skirts — but thanks to seams that had been sliced away and replaced with sheer fabric, there was a newfound sexiness at play as well. As for the floral prints and romantic laces that have become Moralioglu's calling card? Those were plenty present too. They came in shades of lilac, midnight blue, citrine, and inky black, and were decorated with wispy ostrich feathers, matte sequins, and metallic thread — all of which was also veiled in layers of sheer black
What a pity it was that Burberry couldn't show on Valentine's Day. Christopher Bailey's Fall 2013 show for the brand — a romantic, ladylike offering called Trench Kisses — seemed perfectly suited to the lover's holiday, with its widespread use of a heart print and a soundtrack that included the love song "Happy Together" and a stirring live performance of Tom Odell's "Hold Me."
But back to the clothes. Bailey specializes in classics with modern twists, and he delivered on that promise here. His trench coats, the backbone of his collections, were updated for Fall with sleeves in leopard or thick, translucent rubber and accented with strips of polished metal. A skirt, jacket, and several bags were covered with little strips of leather attached by grommets; other decorations included thick, bold stripes and oversize graphic animal prints like giraffe or cowhide. And as if in an effort to tame those wild beasts, Bailey sent all of his models down the runway in demure kitten heels.
If Christopher Kane is feeling a new kind of pressure now that he's under the PPR umbrella, his Fall 2013 collection certainly didn't show it. In fact, the broad-shouldered army he sent down the runway looked pretty darn confident — and tough enough to handle any extra expectations the designer's new luxury backing might hold.
Proving he's content to just be himself, the designer mixed plenty of his classic signatures — kilt-inspired closures, metallic floral appliqués — with a bucket-load of new ideas. An opening series of power coats and A-line skirts, for example, featured camouflage in various shades and textures; some came in vivid blue hues on fuzzy fleece wool, others in murky grays decorated with matte satin. Also in the mix were sheer minidresses and coats embroidered with large-scale flower motifs, velvet cutout dresses with oversize knit stitches, and off-the-shoulder satin dresses fringed with rounded feathers. "It's been a great year and I just had so many ideas that I couldn't live without," the designer explained backstage.