Rococo Magazine by Anna Thomas-Ismond

ISSN 2040-1019

Issue 01 - July 2009

WWW. THOMASSABO.COM |

Top 5 Trends of the Month

35 The Death of Couture

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CONTACT: + 44 (0) 20 77 20 97 25 | UK@THOMASSABO.COM

02 03 08 09 12 16 19 21 24 26 27 28 33 35 38 41 50 53 54

Editor’s Letter Top 5 Trends of the Month Street Style Top 10 High Street Buys Wardrobe Insider: Mary Fellowes William Tempest Bag of the Month Fred Butler The Fashion Essay Best Dressed of the Month The Capsule Wardrobe VV Brown High End vs High Street The Death of Couture Jewellery Embellishment Splash Out: Swimwear Special Key Make-up Trends Summer School Beauty Counter

56 Retro Candy 62 Candyland Five Secret Backstage Products Spring/Summer 09 Key Hair Trends Brand of the month - BECCA Five Recommended Scents Spring/Summer 09 Nail Trends 74 London Vintage 76 Rococo Style Entries 82 Icon of the Month - Vivienne Westwood

Splash Out: Swimwear Special 01

HUSSEIN CHALAYAN

top 5 t rend s of the mont h

Editorial 0203 393 6867 info@rococomagazine.com

Art Director Kris McKnight @ KMD kris@kmdvc.com www.kmdvc.com Fashion Coordinator Ghazal Baktashian ghazal@rococomagazine.com Style and Beauty Writer Maria Asadi maria@rococomagazine.com Contributing Writers Esme Benjamin Olivia Marks Leanne Rae Wierzba, Gareth Edwards Advertising 0207 470 8833 Advertising Managers Ben David ben@pelusa.co.uk Mike Murray mike@pelusa.co.uk Publisher Rococo Magazine Studio F7, Battersea Studios 80 Silverthorne Road LONDON SW8 3HE T: +44 (0) 203 393 6867 www.rococomagazine.com

RICHARD NICOLL

Editor in Chief Anna Thomas-Ismond anna@rococomagazine.com

Editor’s Letter

Rococo’s first issue couldn’t come at a better time! With Summer pretty much here (and hopefully to stay), the first volume of our magazine brings you glamour of the more decadent kind, with a selection of keen-eyed editorials penned to perfection by our own dedicated fashion team. Here at Rococo, we aim to bring you the latest trends and freshest talent in fashion. All the while, taking into consideration that our readers can’t be placed in a box. So we’re giving you the chance to browse through all realms of the fashion spectrum, from high end and high street, to vintage. This July, we have compiled a selection of fashion features as well as eminent trends, and adorned our pages to celebrate fashion from all ages. I am excited to welcome you to the opulent world of Rococo where real style is born.

Anna Thomas-Ismond Editor in Chief

BOLD If you really want to make a style statement this summer, colour - and lots of it - is the way to do it. If you’re not already au fait with this season’s fashion lingo, “colour-blocking” is the only way to wear the boldest of shades. Unrelenting and unbroken blocks of colour were seen everywhere on the runway from Marc Jacobs to Christian Dior. For maximum effect, work contrasting colours - for instance, a majestic purple coat with tangerine orange frock, as seen at Luella. Or try mixing similar shades such as salmon pink with coral, as seen at SinhaStanic, for a harmonious take on the trend. If, however, you are slightly intimidated at the thought of headto-toe purple, à la colour aficionados Basso & Brooke, then team a statement skirt with muted top for the best of both worlds. Either way, there’s no excuse to hide behind a barrage of black this summer. 03

BLUMARINE

TROPHY JACKET

GIVENCHY

GUCCI

Where would we be without the summer jacket? Whether it be something to toughen up a floaty chiffon dress or to update a simple vest and jeans, a trophy jacket is this season’s most essential item. If the trend for structured shoulders has left you weak at the knees, then look to Nina Ricci or Louis Vuitton’s tailored offerings for inspiration. Jil Sander’s loose-fitting streamlined blazer with neat lapels is perfect for those who don’t fancy getting stuck in doorways. Roll up the sleeves and wear with a bodycon mini and cheapo T-shirt to continue the 80’s vibe. Or how about killing two key trends with one stone by donning a Balmain peaked shoulder military-esque number? Double points.

MOSCHINO

BLUE MOOD Cobalt, aquamarine, navy, turquoise - the colour blue is never far from the forefront of fashion. This season, a cornflower blue silk dress, as seen at Moschino and Martin Grant is key for a stylish summer’s evening. Or for darker shades, try navy or electric blue, for creating a dramatic entrance, especially if it’s a Galliano’s floorlength lace extravaganza you happen to be wearing. Or, cover up in Gucci’s electric blue suit, perfect for making colour-blocking look effortless and cool. And not at all scary. LOUIS VUITTON

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BASSO & BROOKE

HERVE LEGÉR

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GOTTEX

Fashion and technology haven’t always gone hand-in-glove. But, if this season’s penchant for intricate prints is anything to go by, then the computer could be fashion’s NBF. Basso & Brooke, pioneers of the use of digital priniting in their oriental-inspired designs, are testimony to this. Hussein Chalayan and Alexander McQueen are also (unsurprisingly) ahead of the game in their employment of advanced technology to create beautiful eye-popping patterns. Similarly, the high street is awash with optical prints - they may look like painterly watercolours, but those flowers are photographs. Cunning.

It’s been a long time coming, but it seems that finally the one-piece has overtaken the bikini in the beachwear style stakes. This season has seen many designers champion the muchcoveted, but rarely worn, 1950’s trend for bathing suits. At Maison Martin Margiela, we are treated to a beautifully modest navy onepiece while, at Celine and DKNY, practicality overrides posing with sporty swimsuits, which actually look like you could swim in them. For the poseurs among us who may be after something a little less demure, then try Danielle Scutt for some seriously headturning swimwear. And, of course, as Marios Schwab shows us so well, don’t forget to accessorise.

PHOTOS: CATWALKING.COM

OPTICAL PRINT

MANOS SCHWAB

BASSO & BROOKE

SWIMWEAR

NEED HIRES

st reet st yle PHOTOS: ROCOCO

1.t i na d ress, f u l lci rcle £113

3.eth n ic gem ba ngle, accessor ize £12.0 0

Francesca Hodge PR & Marketing, 24 Gilet, Vest & sandals - All Saints Shorts - vintage Rococo says “An eclectic mix of leather, tassles and stone washed denim make this outfit key on trend for this season’s retro chic look.”

Katy Harris Greenslade Junior Hair Stylist, 23 Dress, shoes and hat - all vintage Rococo says “We love all things vintage from head to toe.”

Alison Alty Fashion Intern, 24 Bag - Mulberry Sunglasses - Dior Top & Boots - Topshop Jeans - Primark Rococo says “The perfect combination of high street clothes mixed with timeless designer accessories.”

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Laura Kirwan Ashman Drama Student, 20 Trousers - American Apparel T-shirt - Blue Vince Vintage Shop Boyfriends Blazer Shoes - Shoreditch market Rococo says “Always balance the masculine effect of the boyfriend’s blazer with something feminine as our trend star has used with fitted trousers.”

2 .black heeled sa nda ls, faith £ 60.0 0

Top 10 high street buys 4. petal folded tulip dress, warehouse £113 09

5. leopa rd pr i nt bi k i n i, r iver i sla nd £ 24.99

6. S eq u i n t u xedo bla zer, a r roga nt cat £179.0 0

10. f lora l pr i nt pa rachute d ress, a sos £ 65.0 0

7. G old glad iator sa nd a l s, r iver i sla nd £ 34.99

9. ac id wa sh g rey jea n s, a sos £ 32.0 0

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8 .blue sh i f fon sh i r t, f u l lci rcle £ 60.0 0 11

Wardrobe Insider MARY FELLOWES Photographer Susie Forman Art Director James Greenhow Words Gareth Edwards

She’s one of the most sought-after stylists in the fashion world. But, as Rococo’s grilling reveals, for Mary Fellowes, style isn’t just something she picked up ‘along the way’ in her extraordinary career. It’s a philosophy. It may even be inherited. After a heated debate at the Rococo offices about whose wardrobe we’d most like to have a rummage through, we come to a unanimous decision. Mary Fellowes, of course. The only problem is: will we ever manage to get this busy bee stylist and girl about town to commit to such a sneaky home visit? Mary Fellowes is normally jetting around the globe on a hectic shooting schedule for major ad campaigns and features. Nevertheless, we finally manage to pin her down for an interview at her home in Notting Hill, the trendy London enclave that Mary first moved to “when it was grim, and way before it was deemed fashionable.” Our team is greeted at the door by Mary herself, whose newly auburn tresses (a return to her childhood colour) and perfect complexion bring a glow to an otherwise dreary Ladbroke Grove day. To our surprise, this cool cookie is sporting a hot-pink velour tracksuit and she’s fresh from the gym— “I bet you were expecting someone glamorous - not this!” she quips. But, as we’re soon to find out, this is only the first of many surprises she has up her bell-sleeves. Mary Fellowes seems to be the epitome of effortless style. Well, perhaps not completely effortless. She could, for instance, have picked up a few tips along the way during her time as a fashion assistant at British Vogue. She was also the apprentice to the late great style icon Isabella Blow. Now, as roving fashion editor, stylist and consultant for the likes of Intelligent Life, the quarterly life, culture and style magazine from The Economist, as well as Italian Vogue, Mary is an integral part of the London fashion industry, and has been for the past decade. Mary’s sense of style and visionary work have made her a fashion legend. However, it’s clear from the décor and ambience of Mary’s flat that her style

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extends way beyond what’s hanging in the wardrobe: it’s innate—and pervasive. All of us are transfixed by the beautiful mirrored dresser in her sitting room, laden with white enamel apples. On the wall beside it is an original framed photograph by the renowned New York fashion photographer Arthur Elgort, one of the fruits of a collaborative project Mary worked on with him while at Vogue. On the dresser shelves are a host of invitations from the fashion industry’s biggest names, crammed in alongside colourful creative tear-sheets and press cuttings. While my colleagues search for the best place for a portrait shot, Mary kicks off her trainers and sinks into the sofa, herbal tea in hand, ready for the style interrogation. She’s the one in front of the camera for a change. Describe your style. Mmm, I don’t know! Schizophrenic? I simply cannot answer that, as I find it so difficult to critique my own look. Can we just say “spontaneous”? Where do you buy your clothes? I don’t really shop in London anymore - I prefer LA and Paris. But, saying that, I’m never really inspired by shopping. I prefer ideas rather than the actual retail process of purchase. When you’re abroad, you always want to spend more and it feels less of a guilty pleasure. In London, though, I do love Dover Street Market and, of course, Rellik in Golborne Road, where I had my first job. They have such an eye for modern vintage and create a great atmosphere—it is truly inspired. I also adore the sample sales in London, especially Chanel, Christian Louboutin and Prada. When it comes to denim, I always buy it from The Stronghold in LA, a place run by these crazy old rockers who still produce the fabric by hand, on old looms.

What are your favourite labels? Margiela, Yohji Yamamoto, Comme des Garçons, Givenchy, Alexander McQueen, Chanel and Miu Miu. That’s what I wear, but, when it comes to shooting, my response would be totally different. What clothing items couldn’t you live without? My vintage Louis Vuitton monogrammed ostrich bag with tiger eye buckles, which was a gift. For everyday, it would be Comme black trousers, Junya Watanabe white shirts, Zadig & Voltaire layered cashmere tops and pirate boots. Your wardrobe is fairly eclectic— how do you pull a look together? No routine. I style myself the same way as I would a subject for a shoot and, generally, it reflects how I’m feeling that day. I like an inherent contrast in a look and it’s got to say “me”. I never aspire to dress like anyone else, although I do appreciate their style. How much of your personal taste is reflected in your work? Tons! I think any stylist will project their fantasies. Although, with styling, I don’t have to pay any consideration to practicalities, such as the comfort of a shoe, I think I always produce a chic image that may not necessarily make sense. I like to have quirkiness or ambiguity in both what I wear and the final product. Have you ever worn a look directly from the catwalk? Never! That is just lazy and someone else’s vision. Can style be bought? Debatable. True style bought, but you can get to it if you invest money and get a great stylist

cannot be pretty close and time— of course! 13

“I’ve never previously had such a frenzied reaction towards a dress, but it makes me feel a million dollars and I know I’ll wear it forever.”

Nevertheless, that wouldn’t be pure “style”, rather just “well-dressed”. I’ve dressed and educated numerous people and I do think that, on some levels, a sense of style can be learned. After seeing your shoe collection (which would put even Imelda Marcos to shame), have you ever sacrificed comfort for style? All the time, but I get around it by taking taxis! So, really, all I sacrifice is public transport in order to rock an amazing pair of platforms. To wear some looks well, you have to make sacrifices and, as a result, feel comfortable in the look. If I’m doing fashion press days and pounding the streets of W1, I’ll wear a flat shoe and emphasise that it’s an integral part of the look. You can be superstylish no matter what you wear and accommodate any discomfort in other ways! If you had to choose one look you have put together as a favourite, what would it be? Most recently it was black leggings, black patent Gina court shoes and a low-cut black Alaia top. I know it sounds like an aged hooker, but it really was quite directional and chic! I was on a night out in Paris with [shoe designer] Nick Kirkwood and Henry Holland—it required no effort to wear, and it felt right.

Do you ever borrow designer pieces for events? All the time. That’s a major perk of the job! My enthusiasm for the industry doesn’t stop at the door when I finish work. I love interacting with clothes. Wearing them and enjoying them is part of my work. I always want to dress up and my access to such great designers allows me to do just that. Who has had the most impact on your personal style? Myself! No, in all seriousness, I’d have to say Daisy Fellowes who is my ancestor. She was the most extraordinary woman and one of the most celebrated wearers of surrealist clothing. The fashion designer Elsa Schiaparelli, whose heyday was the between-war years, dressed her for free. Daisy had great irreverence, and chose to break all the rules. For instance, she’d wear huge sand-blasted emeralds, so they looked cheap, or she’d turn up at society events wearing a necklace made from corks. So do you have any fashion rules that you live by? None at all. What do you feel about the TV style shows and make-over programmes that seem to adhere to all the generic rules?

It’s become more focused and, I think, better with age. In your 20’s, there are no limits and you can experience ageless dressing. When boundaries like age are in place, you have to produce a style formula and make variations on it.

I try and avoid watching them, as I find them pretty uninspiring. On the rare occasions I’ve seen them, I’ve thought that they simply serve to petrify the general public into conforming to social standards. I also think they trivialise the art and the genius of real fashion creatives.

Have you ever had a style faux-pas?

What was your most decadent purchase?

Oh goodness, yes! Most memorably, dying my hair fire-engine red and being asked to leave a Marks & Spencer’s store by a security man.

A Prada black silk dress with an in-built bra and pencil skirt from last season. When Sasha Pivovarova walked out in it, my heart literally missed a beat, as

How has your style evolved?

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it did when I handed over my credit card to pay for it! That was the first time I’ve felt I had to have an item of clothing. I’ve never previously had such a frenzied reaction towards a dress, but it makes me feel a million dollars and know I’ll wear it forever. What advice would you give to anyone purchasing clothes during the current economic climate? Spend more, but on less! Buy investment pieces that will see you through the seasons, buy because you love something and never purchase disposable clothes or pieces that will only have desirability for the current season. Finally, whose wardrobe would you like to pilfer? Michelle Williams, Liv Tyler, Milla Jovovich, Chloe Sevigny and, above all, Tilda Swinton, who always makes it an art form. At present, I also love Helena Bonham Carter who dresses entirely to please herself and always looks fabulous. I love the way she doesn’t pander to the gossip columnists and expresses herself without inhibition. With the interview over, I get the pleasure of rummaging through Mary’s own wardrobe, as she prepares herself for the accompanying portrait. She dismisses my suggestion of a gilded Chanel jacket teamed with skinny jeans, going instead for a bronze Louis Vuitton skirt, studded Chloe clutch, vintage Alaia monkey coat, skyscraper Westwood Platforms and Loewe snakeskin gloves. The resulting images are proof indeed that Ms Fellowes has a wardrobe—and a talent—that many would scramble over hot coals to get their hands on. To see Mary’s work, visit her website at www.maryfellowes.co.uk

Occasionally in every industry, there are individuals who show an astounding quality of talent and insight from a very young age. This is particularly so in the fashion industry, for which youth has become a real raison d’ être—a poignant central image, serially reproduced on every catwalk and in every magazine; an eternal muse. Thus, the idea that a remarkably young and capable designer would come along to blow the old establishment out of the water is, well, only natural.

NAT U R E Young prodigy William Tempest has taken the fashion world by storm

At the age of 23, yet with an impressive list of accomplishments already behind him, William Tempest has done precisely that. He got his start in the industry at an even younger age, opting out of his regular course of studies at 16 to undertake a two-year national diploma programme in fashion design and textiles. It was a rather bold, if not slightly foolhardy, decision for such a young person to have made for himself, especially having very little real exposure to the industry outside his native town in Cheshire. However, William exudes such a sense of level-headed selfdetermination that one gets the impression he has always made wise life decisions: a suspicion that the facts resoundingly support. Says William: ‘My parents wanted me to pursue something much more traditional: to become a lawyer or doctor. I think they were a bit upset that I decided to go into fashion because I was actually quite strong academically. But I found the prospect of having the rest of my life dictated by a nine to five job, and just living for the weekends, actually terrifying.’ ‘It all seemed to happen quite naturally,’ he adds. ‘I’d always been quite creative, and had experimented a lot with the way I looked from a very early age. I guess it was reading the book on John Galliano, written by Colin McDowell, that really set the whole thing off. I decided then to leave school and start my B Tech.’ From here there was no looking back. William completed his diploma and was immediately offered a position at the London College of Fashion. While studying, he undertook a 10-week internship with Giles Deacon, where he so impressed the team that he was offered a job as a cutter. ‘I was at Giles for 18 months in the end,’ says William. ‘It was so great to work there while I was studying because it gave me a perspective that you just don’t get at college. It was there that I really learned how a business is run.’ It was also an excellent opportunity for William to perfect his craft, and by the time he graduated from LCF with first class honours, he was already showing real

“I want my clothes to make a woman feel unique, beautiful, and interesting. Fashion should be an elevating experience for women.” like a village, as if you can go everywhere and see everything, whereas London is so spread out it always feels like you are running about.’

promise and maturity as a designer. He garnered a great deal of media attention for his graduation collection, which was based on 1940s film noir and featured an impressive selection of bold sculptural silhouettes and unique twists on classic tailoring. His project was chosen to promote Graduate Fashion Week and selected for the Royal Academy of Arts exhibition. It was then shown on stage with Bryan Ferry during The Concert for Diana at Wembley Stadium, which was an excellent chance for William to showcase his work to a larger, non-fashion audience. That Concert was also his first foray into the world of pop, with William later designing a selection of clothing and accessories for the queen of pop herself, Madonna—an opportunity that arose while he was working for Jean-Charles de Castelbajac (aka JCDC) in Paris. ‘While I was at school I won an award from Marchpole,’ says William. ‘At the time it owned JCDC, and part of the award was a job after graduation. So as soon as I had finished my collection and wrapped up my last season at Giles, I was off to Paris.’ ‘It was a really great experience because, again, I got to see how the business operated. At Giles everything was done in the studio, with people spending endless hours hand-stitching garments. At JCDC it was totally different; everything is made in Europe somewhere, so Jean-Charles just does these cartoon-like drawings and sends them off. It was really good fun, and really collaborative in a way. I was designing the women’s ready-to-wear collection, but we all got involved and would do different bits of everything.’ William speaks wistfully of his time in Paris. ‘It is just so much more intimate than London. The young people especially will go out for dinner and linger over a bottle of wine and a good conversation for hours. There is no crazy rush about life. It feels

‘Also I think that French women, and French people in general, dress a lot better than the Brits. It’s a part of their heritage to dress up and look, if not necessarily beautiful, than certainly presentable and elegant. There is a much more sophisticated sense of style. And I guess you could say that is what I like to design: classically beautiful clothing, but of course always with my own twist.’ In spite of the rich experiences he had there, William was not long in Paris. It is often said that youth is impetuous, but for William it was a deep and resounding desire to do his own thing that ultimately mattered most. So with the same steadfast sense of determination that got him started on his creative path at the age of 16, William made his decision to return to London after only one season. It was the mark of his creative ambition and a significant sign that he would become not only a great designer, but also an important name to look out for and remember. ‘I spoke with Jean-Charles, and he said to me: ‘If that is what you want, you just have to do it. That’s it.’ And there was nothing more to say. He was my age once and had similar aspirations, and to see who he is and what he has done is really incredible. If you want something, you just have to get on with it and make it happen.’ William returned in January 2008, set up shop just off Bermondsey High Street and began working on his spring/summer collection. It was entitled ‘Tropical Deco’ and debuted during London Fashion Week as part of Fashion Fringe. While he didn’t win the top award, he did gain the favour of many top stylists, editors and a number of celebrities. He certainly won the instant admiration of actress Emma Watson, who was so enthusiastic about his

designs that she came backstage to meet him and congratulate him in person. The two became fast friends, and William had the pleasure of dressing Ms. Watson for the première of her new film The Tale of Despereaux. She looked stunning in a navy blue silk and chiffon dress, with an elegantly corseted waist and unique diagonal draping through the skirt, which was adapted from his spring collection. A number of other celebrities have also been spotted in his designs: Lily Allen, Jade Parfitt, Girls Aloud and the Sugababes, to name a few. However, William claims that it is not his ambition to only dress these ideal figures. ‘Ultimately,’ he says, ‘I love the idea that all sorts of women can look great and feel amazing in my designs. I want what I design to be really wearable, but at the same time I want them to make a woman to feel unique, beautiful, and interesting. Fashion should be an elevating experience for women.’ William’s designs evoke the idea of a woman who is strong, feminine and empowered in her sexuality. While he cites Dita Von Teese as his muse, extolling her as the genuine living embodiment of these virtues, he claims that these qualities are available to any woman. ‘In the 80’s,

Photographer Stelianour Sani, Hair and Make up Jennie Jefferies using MAC and Laura Mercier 16 / ROCOCO / JULY 2009

“My advice to women is not to be influenced by anything or anyone, but to think more about what you like.”

women were all about power. It was a sort of feminist thing, where women were trying to conquer men, almost as men, with giant shoulder pads and power suits. Today, I think women know more about how to be a woman, and to embrace it as a real source of power. It is much more subtle, but also more confident. A woman knows how to take a step back and use her power in hidden ways!’ For William, it all comes down to the confidence of knowing yourself and doing what suits you best. This is, after all, how he has always acted himself. ‘My advice to women is not to be influenced by anything or anyone, but to think more about what you like. That is the essence of style. It is your character, who you are and what you believe in, that sparks people’s interest and gets them thinking that you look amazing.’ ‘It is the same for me when I am designing. I try not to think of the rest of the market or about trends because it really blocks the creative process. You need to know what pieces are selling and provide buyers with enough choices for their store, but it is important not to become consumed by it— especially at this point, when I am really just beginning my career. That would make it impossible. I am still loving what I do, and that’s what makes it worthwhile.’

BAG OF THE MONTH Ever since the late 90’s, when Fendi’s now infamous Baguette became the bag to have tucked firmly under your arm, the clutch has been a favourite of the catwalk and high street alike. With our seeming obsession for oversized bags showing no sign of abating, it is unsurprising that, a decade on, the Baguette has been updated to fulfil all our overgrown hand luggage needs.

The myth has finally been dispelled that the clutch should be of miniscule proportions and only ever seen in the company of full eveningwear. Matthew Williamson’s embroidered brocade offering is not what you’d exactly call ‘small’, but neither does it lose any of its elegance in being large. Big is, of course, beautiful. With its floral brocade print and classic gold clasp, this bag typifies this summer’s trend for granny chic. It’s pretty obvious, however, that this little luxe number was not the result of a particularly successful bargain basement charity shop find or a relic from a great aunt’s attic. Better to try Net-a-Porter.com if you have designs on this month’s must-have. And, now that the clutch has been given full permission to be seen in daylight, there’s no better way to wear Williamson’s creation than with your tightest pair of drainpipes and boyfriend’s blazer.

of Henry VIII, plenty of waist-nipping corsetry and flouncy peplums, and a series of billowing skirts fashioned from giant pleats of fabric to emulate the high-vaulted ceilings of the period. And while the references to historic costume are plenty, the overall effect is modern and fresh. Tudor details are remodelled and reduced to fit a more contemporary silhouette, and there are plenty of splendid cocktail dresses and imaginatively tailored outfits to dress his core list of celebrity and society clients. The collection balances more practical considerations with an abundance of personality and style, demonstrating that creative maturity and youthful vitality are far from mutually exclusive, and that William Tempest has both in spades. Words Leanne Rae Wierzba

For his autumn/winter collection, William delved deeply into the books of Tudor history for ‘The Golden Age:’ a collection inspired by his trip to Hampton Court and the historical fiction of Philippa Gregory. The collection features many odes to the era, with digital prints of Holbein’s portrait PHOTO: CATWALKING.COM

18 / ROCOCO / JULY2009 JULY 2009

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20 / ROCOCO / JUNE JULY 2009 2009

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On the day of the interv had slunk b iew, the su eh bathed in g ind a cloud. The street n rey and the was ca collecting th e tables and fé’s staff were pavement as chairs from th to open. Am if the heavens were ab e o o Londoners ngst the hordes of pas ut sin sh trench coat ivering in their m g uted s, Fred Butl er was inst recognisable antly . the hood as Her rainbow-hued top cending to looked alm an elfin po , ost surreal int, b es and booted businessmen ide the suited pair of vivid . On her feet N words Butl ike trainers displayed , a erStyle acro ss the heel. the Fred Butl er ’s st yl e is cert worthy of ain su self-promo ch seemingly indulg ly tio en – delicately n. Her imaginative w t ork crafted usin employed g innovativ m el – aligns per aterials and lurid colo y urs fectly with overdue mo fashion’s lo ve n and M.I.Y ment towards uniquen g es s (M ak e It Yo aesthetics. In ursel line capture fact, her latest accesso f) d ri so effectiv the mood of the mom es ely that it en British Fas earned Bu t hion Coun tl cil NEWG er EN

sponsorship. But this isn’ t just a case of having jum pe Butler has be d on the bandwagon. en resolutely this trend for pioneering years. As an sidestepped th undergraduate, she e hungry crea rest of the competition, tives enrolling Saint Martins at Central , and headed to Brighton – hub of liberal bohe mian living and breeding fashionistas. ground for artists and During her th re University sh e became acqu e years at in her work. So me pieces look ai fellow Brigh ton alumna Sh nted with have been lif ted from a fa as if they ona Heath, pr an establishe ntas d od Butler her firs set designer, who gave D uction of A Midsumm y-filled er Night’s t big career br ream – a visio ea I finished m y degree, I in k. ‘When petals and m n of translucent pearly etallic winge terned with Shona and w Acc d e was so divers just clicked. Her work fa ording to Butler, this kale shapes. e and creative id bu oscopic, lo us ly eccentric wor ly astute, and after the intern k is a of sh me a full-tim ip finished, she offered It creative free-fall; ‘I do process e job ’s always mat n’ erials I start t plan. After two ye assisting her’. The of Heath’s wild ars of contributing to lik n I just start forming f with. ly imaginativ th e sets and win e editorial su the accidents that happ ings. I do bc en inspired to cr w displays, Butler was T onscious things that co . The eate an access hat’s my favo m e out. urite way to ories line. ‘I was working wor w I wanted to ith props, and I decided B Such an organic process k.’ ha pu ut To amalgam t them onto the body. th ler well, and has helped s served at e to create fashion stylin e all the elements of sh innovative accessories for which g’. This penc e is now kn ha theatrical is st ow ill beautifully nt for the the current lin n. One item from e, a quilted observable m patc asterpiece aw ash with ef hwork fervescent

“I was work in a nd I decid g w it h props, ed to put t hem I wa nted To a ma lga m onto t he body. elements of ate a l l t he fash ion st yl i ng”.

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colours and asymmetrica bridges the gap between l shapes, Londo n Fashion W fashion and art. ‘It goes co eek vi m take it off and pletely flat. You could elegant dancers in brig deo featuring hang it on yo ht lycra and tr ad em ark he ur a real piece of art if you wan wall like it follow embellished headdresses) r s te so d’. that musicia It didn’t take ns like Palom ‘fashion mee long for this signature Faith and Patrick W a olf ts her high into art’ look to catapult to wear her theatr are also keen ical accessor the fashion st But who ie Butler, who ra was now wor tosphere. elite, do else, aside from the crea s. tive king from a es she imag shared studio in e sw in North Lon accepting co don, was Fred Butler design once athed in a m they make it at ever y major missions from editors to stores next month ? Sh fa sh e takes a sip of io n he pu r blic cappuccino an was determin d ed never to ation, but who ap let her busy preciate som smiles, ‘People schedule com ethi pr work. This de omise the quality of her her one-off accessor ng special’. If ies are anyt dication is ev to go by – each iden intricacies of piece tenderly hing her accessorie t in the painstak made, ingly intric poms made s – pomate fr origami head om scratch and sci-fi childlike - it’s obviou and giddily dr s foil jogging bl esses created from the precisely what Fred B that special is utler does be ankets used by st. runners. Un marathon lik bags brough e the ostentatious IT t out by the big fashion houses seas on upon leather-clad season, each pi handmade. So ece feels meticulously almost envisio much so that you can n lovingly craf Butler dedicatedly and ting them a down to earth authenti ci generally have ty she strives to retain: ‘I a problem with label to show buying a w something be ealth rather than buying cause you tr u she explains. ‘It’s really im ly love it’, portant to me that ever ythi ng make. I tr y an does take a long time to d and take tim evolve new techniques e ov if people reco er it, so it’s really nice gnise how m uch effort I put in’. All her hard rewarded whe work was deservedly n she was gr NEWGEN anted BFC Sponsorship for AW09, and showcase d her work Fashion Wee at London k in February of this year. Having help ed British design launch the careers of er McQueen an s including Alexander d the Topshop Matthew Williamson, -sponsored sc he fresh design talent substant me gives ia backing and is fiercely com l financial petitive. ‘It’s a lengthy pr oc had to have a ess’, Butler explains. ‘I business plan and referees. Then they aske previous colle d me to submit my ction and I ev entually had to interview with was like Drago the panel of judges. It n’s Den. A ta people and I bl was on the en e with 11 d’. Understanda accolade as th bly Butler cites this e thus far, an highlight of her career d with accl aim for her work being di following of shed out in spades, a fashion savv y also ensued. Among thos fans has e she refers to as ‘amba ssadors’ of her work is influential bl og member of th ging sensation, and e Bubble. ‘I ha new fashion elite Susie d work disp layed in the window of Selfridges an d Susie saw my name’ Butler elabor looked me up and wro ates, ‘She te about me on StyleBub ble. thank you, an I emailed her to say d ever since’. B we have been in touch utler’s design s turn their wearers into w trait beautifu alking works of art, (a lly exemplifi ed in her 23

Whether or not fashion is an art is a rather exhaustive question that can barely begin to be answered in any definitive way. Certainly many have tried, but their opinions are precisely that: opinions, in Leanne Rae Wierzba’s view. They generally seem to miss the point, falling prey to the limits of subjectivity and categorisation... and perhaps ‘fashion’ itself, as one must not deny the adherence of intellectual ideas to certain trends. One’s opinion on the place of fashion really depends on which notions of aesthetics, value, and history are prioritised, and generally one’s own personal and professional stake in their claims. Many detractors argue that fashion is not serious enough, and that in its singular pursuit of beauty, it fails to address the nuances and complexities of contemporary reality in the same way as art does. Others suggest that it is too market driven and that, while there are great talents working within the fashion industry, their product is too consumable and too disposable to be considered art; a poster print of Millais’ Ophelia is not art, though it references art, and so perhaps neither is Alix Malka reinterpretation the original for a fashion editorial shoot, even though it was featured last year at the Art Photo Expo during Miami Art Basel. Though I have no doubt that the same argument could and was levelled against much of the

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NEED HIRES

PHOTOS: CATWALKING.COM

THE FASHION ESSAY

categorically ‘fine art’ that appeared at the fair. So, clearly the issue is ambiguous. Many fashion designers argue against fashion as art because of the pressures of the material, market and calendar issues to which they must adhere. While an artist generally works at their own pace, with the occasional complaint of a gallerist or client, the fashion designer adheres to an increasingly rigorous schedule: two complete original collections a year, with precollections and cruise collections in between. And while the artworld certainly has a global context, fashion production takes place on the same global assembly line as electronics and car manufacture. It is less personal, more standardised. A garment is produced in multiples, in more or less standardised sizes. Like Warhol? Or perhaps a Jeff Koons inflatable object? I suppose that’s art, though it may not pertain to everyone’s tastes or feelings about what art ought to be. So is Koons’ lobster blowup doll more art than a Schiaparelli lobster dress? It seems like the question is really one of legitimisation. If art could be so reduced to the grounds of fashion, a mere commodity, would it retain any of its reified value? Or any value whatsoever… because sometimes it doesn’t even try to be pretty. And as art becomes closer and closer to the market-as-such, it has more to prove and more to claim. And it is the same for fashion, and specifically haute couture, which can in no way legitimise itself on economic terms; it is an exercise in imagination. Perhaps it has claims to art, but perhaps that is beside the point. Georges Bataille called it “a part maudite,” or “the accursed share.” It is a surfeit creativity and amorality, essential to the continued vitality of any social economy, but nonetheless unjustifiable under its stricture. It probably needs no justification other than its continued existence in spite of its relentless detractors. It gives us a sense of a collective value, human potentiality and aspiration. It is the culture through which economy in any sense is permitted to flow, whether it be in the form of pyramids, paintings or embroidered ball gowns.

“Like art, it explores the limits of our desire and questions the foundations of our judgments.” Fashion as a term connotes the excess of function. While clothing has been worn in various forms since the beginning of civilisation, fashion in the modern sense really began in the 14th century, as styles began to fluctuate far more rapidly than material restrictions and fluctuations in the climate demanded. Hairstyles reached to the height of the heavens and panniers to the far corners of the earth; coattails were curled and then they were absent; fabric was substituted with metal, then plastic, then paper, then fiber optics. Whether any of this was considered beautiful was really subject to the tastes of the time, though the appearance of new fashions is usually met with an uproar of disgust amongst a large portion of the population; perhaps similarly to a formaldehyde shark on display at the Metropolitan Museum of Arts in New York. The question of the fashion designer-cum-artist only really emerged in the late 19th century, with the emergence of the first truly celebrated fashion designer. Charles Worth revolutionised the way that fashion was received by the public. He was not merely a tailor, but a man of ideas and vision, who would create a story in the form of a number of dresses, presented to his clients in a salon setting. The tradition is upheld to this day by any designer worth their name: not as separate garments, but as a poetic vision, a political gesture, or a definitive portrait of our times. It is like going to a gallery show and buying one piece from a series of work, except that you can wear it and become part of a living work of art. And what ever happened to

the art de vivre? Has it given away to intellectual bankruptcy and serial complacency? Often, when we get caught up in the distinctions between things, we tend to loose sight of what is right before our eyes. We reduce ourselves to a fraction of our value, and live a half-life of our true selves. It is a reactionary force in human nature, and it is the role of the artist to work against this tendency: to explore the breadth of their identity, vision, and practical capabilities. And, while many fashion designers give way to their system of serial productivity –just as many artists get lost in a vacuum of meaninglessness and success- there are fortunately a handful that do justice to the spirit of art. Too many to name here. Unambiguously. Fashion, like art, is about expressing and being expressed upon. It addresses our experience, as sensorial and cognitive individuals functioning in a particular society under fluctuating circumstances, and it responds to these changes. Like art, it explores the limits of our desire and questions the foundations of our judgments. It appeals to our senses and to our imaginations. Like some art it is populist, and like other art it catered to rare sensibilities. Like art, it exceeds the limits of Darwinian economics, and yet it is vital to the success of a general economy. And sometimes it happens to be very beautiful.

Her na me is To l u l a

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The key essentials for every fashionable wardrobe this summer TOLULA @ PROFILE MODELS PHOTO: GETTY IMAGES

Tolula Adeyemi first burst on the scene at the Vivienne Westwood show last September in London, where she appeared in front of us, strutting down the catwalk sporting nothing but a pair of gold shorts, fierce heels and even fiercer attitude. Strikingly beautiful, Tolula started modelling while at Chelsea College of Art and, after meeting Westwood, was immediately cast for the Gold Label ad campaign shot by Juergen Teller and was then subsequently picked again for the latest Red Label global campaign. But if being muse to Dame Vivienne Westwood weren’t enough, it seems this 24 year-old’s list of talents are as long as her very long legs. She can be seen in new movie Last Chance Harvey alongside Emma Thompson and Dustin Hoffman in which she plays jazz singer, Monique., and which premiered in London last week. Not bad company for a filmic debut. She’s also a regular on the party scene, including the Smash & Grab and Ponystep Club circuit, as well as DJ residency at Bungalow 8. As one fashion writer commented: “When Tolula walks in the room, she has this aloof beauty and untouchability almost like a model from the 80’s something only belied by the way she is beaming in every photo taken of her.” Her style can be equally as playful - a calf-length floral sundress for a private view or nude chiffon frock for a cocktail party. But that isn’t to say that Tolula isn’t just as at home in something far more dramatic and edgy - swathes of black taffeta, for example, or a thighskimming mini. Whatever her style, dressed or half-dressed, she wears it well.

THE CAPSULE WARDROBE Flared Jeans Micra (micro ‘n’ lycra) skirt Little Black Dress Colour-blocked chunky wedges Oversized Shopper Denim Shorts Crinkled White Shirt Classic Pump Shoes Killer High-heeled Sandals Denim Skinny Jeans Trench Coat Waistcoat Black Tailored Trousers Embellished Clutch Bag Large Shades

Harem Pants Cocktail Shorts Asymmetric Evening Dress Gladiator Sandals Tailored Playsuit Optical Lycra Dress Leather jacket Vintage belt Chiffon Dress Nude Cotton vest One-Piece Swimsuit Fitted Cropped Blazer Statement Necklace Leggings Plain White T-Shirt 27

All the components are there - a bright and tenacious young heroine, the pursuit of a dream, strange lands filled with soulless enemies, loneliness, despair and heartbreak followed by renewed hope, a fresh start and, eventually, a shot at happily-ever-after. The fairy tale motif feels so familiar and formulaic that it’s hard to believe that it really happened. Behind the photo shoots and the fever-pitch hype, behind the sculpted retro hair and the fluttery eyelashes, there’s more to VV Brown than sequins and smiles. What VV describes as a ‘very long and straining journey’ began half way round the world in Los Angeles, the city where dreams either come true in a blaze of glory and flashing paparazzi bulbs, or wilt and expire quietly. Luckily for VV her American dream became more than the proverbial unfulfilled

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promise it is for many. Or so it seemed. Twenty years old and with a record deal in place, her life looked great on paper, but this didn’t translate to reality. ‘I didn’t enjoy LA at all. I found it shallow and empty,’ she explains. ‘I lost myself when I was over there. It’s like a gas chamber. You can’t see it, you can’t smell it, but it’s slowly killing you.’ Whatever you might have read about her LA highlife, VV is adamant that singing backing vocals for big names like Madonna was neither achingly glamorous nor indicative of success. ‘I was just paying the rent. I was an underdog. I rarely got to meet any of the artists and when I did it was very much “stay there, do your thing and leave”.’ Amidst the controlling record executives, and the city’s vacuous residents (whom she describes as ‘porno chic’), VV knew after two years that it was

Somewhere amongst the tumultuous emotional debris and towering triumphs of Vanessa Brown’s life history lie the building blocks for the type of story Hollywood producers dream of.

“ I think good art comes out of pain and desperation. I hope I never lose that feeling of hustle.” time to leave. ‘I was broke. I was depressed, and I had a nasty boyfriend. I suppose I felt quite isolated. I was a black, British girl who liked really unusual music, and it felt like there was no place for me’. With sneering assertions that she’d never find another record deal still ringing in her ears, VV headed home to East London, where she began writing new material. ‘I spent so much time in LA stuck in studios that I’d forgotten what it was like to

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play live. As soon as I got back, I bought a guitar from a charity shop—it had one string which I used as a bass note, and I went to play gigs. Sometimes there were only three people in the room but I didn’t care.’ This was the start of a particularly dark time, VV recalls, as she still felt the reverberations of her unhappy existence in LA. ‘I remember one day there was a knock on the door. I opened it to find three police, and my parents standing there. I hadn’t seen or

spoken to them in days so they had reported me missing which was understandable because I was depressed and on sleeping pills. I wanted to die because life wasn’t worth living. If your dreams are starting to become real in a very big way and then, all of a sudden, that rug is taken from underneath you, nobody is returning your phone calls and you have no money. You’re in a city where you don’t love anyone and on top of that your heart is broken, that’s

gonna make anyone crumble. They were relieved when I told them I was just working on a new song’. The song in question was Crying Blood, which was the record that eventually set the ball rolling again and, before long, she was signed by a label which finally allowed her the creative freedom she craved. ‘To actually sign on the dotted line and feel that I had a new opportunity was blissful. And it was exciting because it was new material and a new sense of

control over my art. The one thing I promised myself is that I would never compromise myself ever again. I would never be afraid to speak my truth, about who I am and what I want to do’. This sense of clarity about her work breeds a resolute focus. ‘I always say to my manager to work me like a dog. I hate not working. I can sleep when I die’. VV’s projects are numerous and she’s equally passionate about each and every one. Besides

her debut Album, Travelling like the Light, she is also doing the requisite summer festival circuit, working on a graphic novel, dabbling in DJ-ing, and will be opening an online vintage store - VV Vintage – in homage to her love of retro garments. ‘It’s something that I’m doing because it’s a hobby’, she explains. ‘When I was broke, I would go to vintage shops and try and recreate what was trendy. Then I started to experiment more, and that’s where

high end high street

“ It’s like a

gas chamber. You can’t see it, you can’t smell it, but it’s slowly killing you.”

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her incredibly honest responses (she doesn’t bat an eyelid when revealing her eagerness to do a naked photo shoot, and requests that I write about her all-consuming crush on T4’s Rick Edwards, stating ‘put that in there. I think he’s my ideal man’). VV Brown is very much in control of her own image, now a testament to the lessons learned in LA. ‘Everything happens for a reason, and I believe it made me who I am today. I think good art comes out of pain and desperation and I hope I never lose that feeling of hustle. I think when things come too soon or too easily, you don’t appreciate it. When you struggle to eventually get small pieces of success, it’s all the sweeter’. It hasn’t been an easy journey or a smooth road, but it looks like VV Brown is finally just around the corner from happily ever after. Words by Esme Benjamin

PHOTOGRAPHER: STELIANOUR SANI HAIR: VERNON FRANCOIS @ NAKEDARTISTS.COM MAKE UP: Louise Dartford STYLIST: CYNTHIA LAWRENCE JOHN @ NAKEDARTISTS.COM

my signature style sprung from.’ Her style—kooky nostalgia with a sophisticated twist—has earned VV Brown almost as much media attention as her music, and has helped make her one of the most talked about artists of 2009. ‘I think that fashion and music go hand in hand. Art is a lifestyle. It’s an identity. Designers need us and we need designers, that’s just the way it goes’. Amongst her favourite designers she lists Ashish, Viktor & Rolf and Manish Arora – people who mirror her fearless sense of style with playfully imaginative creations. When asked how she would define her look she replies simply: ‘Fusion. I like mixing and matching, which is what keeps things interesting’. Fusion is a word VV consistently uses to describe her quirky look and diverse work. You get a sense that she knows herself well. There is no publicist censoring

Designer diffusion has brought power to the shopper and the designer alike. It’s a love-in.

When I was growing up, at an age that would now be crassly termed a tweenie, New Look was deemed the pinnacle of cool. Denim mini skirts, crop tops and anything in a non-breathable man-made fabric was an object of desire for my girlfriends. New Look’s 915 range was my dream, and as soon as I could fit into it, I was its faithful pilgrim. But, just a few years later, and the very idea of shopping in New Look was enough to induce a cringing sensation that only thirteen year-old girls can truly know. The brand was derided, the name an expletive to be aimed at others with intention to cause insult. I fancied myself as a more sophisticated shopper and was eager to climb up the high street food chain to the heady heights of H&M, Oasis and Gap. But as I neared my twenties, something drew me back to my old friend, tail between legs, student loan in hand. Others appeared to be following suit. Then Giles Deacon, whose catwalk shows are one of the most anticipated on the London Fashion Week schedule, was getting involved too, by designing a menswear range. And, let’s not forget the celebrity endorsement that came in the form of teen popstar Lily Allen - at the height of her career, no less. Of course, New Look (now set to launch a slightly pricier Limited Edition collection) is not the only example of a low-end high street chain turned respectable shopping destination, nor the most famous one. Ten years ago Topshop was tacky and tired. In retail terms, a nobody. Then, in 1999 under the guidance of brand director Jane Shepherdson, its fortunes turned stellar. With its catwalk shows, numerous high profile designer capsule collections (not to mention Kate Moss’ contribution) and now its first store stateside, Topshop has redefined the high street. Normally, the clothes

we buy and wear from our local retailers are heavily diluted versions of those seen on the catwalks, perhaps two seasons previously. Whether or not we as consumers are aware of the original inspiration for our Zara dress or H&M skirt is by the by. Trends permeate and filter, through promotion by the press and celebrity, into the mainstream until the masses are wearing it in one form or another. Take, for example, the proliferation of the skinny jean or the cinched-in waist. First seen on the autumn 2006 catwalks, still worn today. But in the case of Topshop, the line between High End and High Street has become blurred. As main sponsor for New Gen (an initiative to get new designers on the London Fashion Week schedule) and Fashion East (a precursor to New Gen) as well as showing under their in-house label Unique, Topshop’s influence on, and involvement with, high end fashion is undeniable. Suddenly, our high street has turned designer, with catwalk shows that boast front row audiences many others in the industry would give their left arm for. And now, with the advent of the photo blog and the media’s fascination with street style, both catwalk designers and the high street are looking to the fashion forward public for inspiration. It is no longer just established designers that are credited with the creation of new trends - it is the high street too. And, as such, the relationship between the two has to some extent shifted. It is unarguable that much of Topshop’s collections are informed by the work of high end designers, but at the same time the clothes it itself produces are also copied and referenced by other, less influential, shops. So what do we mean when we refer to The High Street? Are we grouping Topshop with Primark? American Apparel with George at Asda? Florence 33

WORDS OLIVIA MARKS 34 / ROCOCO / JULY 2009

It had been a sleepless night. Many sleepless nights. The preparations had, of course, fallen behind schedule. Difficulty with the embroideries, a new look added at the last minute, the sheer time required by the copious quantity of hand-stitching and detail. It is all part of putting together an haute couture collection - there is always something still to do, something left to complete, and we work until the very last minute. And then, all at once, the guests are seated, the runway lights up, an anticipatory hush fills the room and the magic begins. PHOTOS: CATWALKING.COM

and Fred with French Connection? It appears there is a high street hierarchy which is not a new phenomenon - Dorothy Perkins has always been preferable to, say, Peacocks. If only marginally. The difference now is that it is no longer so taboo to buy your clothes from a supermarket. In the fast fashion climate we are currently in, it seems we are more than happy, smug even, to admit that we only spent £17 on an entire outfit. The proliferation of designer collaborations with numerous high street retailers only goes to further prove how ‘low end’ fashion has not only become a legitimate way for the fashion conscious to shop, but an enviable one too. At the recent launch of the Comme des Garçons diffusion range for H&M, fans of the label had been queueing outside the Regent Street branch from as early as 6am in order to bag certain pieces. Students and fashion editors alike were impatient to ensure they got a piece of the action, in some cases buying the whole of the collection. And then there’s the fashion conscious public’s eager embrace of Matthew Williamson’s collection for H&M, the latest high profile designer to add his name to the growing list of collaborators the Swedish store has worked with. As a man credited with, dare I say it, the birth of “boho” (after dressing a young and fresh on the scene Sienna Miller in his trademark maxilength patterned dresses), this collection has been one of the most popular to date. The British public have always been fond of teaming high street buys with designer pieces, as many a magazine article will tell you. Even more so now they can pick up a Karl Lagerfield creation at their nearest branch of H&M, or a Roland Mouret number from Gap. And soon a Jil Sander piece from Uniqlo. In some cases it seems there is something ever so slightly tongue in cheek about these collaborations that is only possible in the post modern, irony-laden age in which we live. Take Hussein Chalayan’s post as Creative Director at Puma, a move that only he could pull off with any credibility. Surely what is great about these various collaborations is that the gap, or indeed chasm, between high end fashion and the high street is bridged. This may work in favour of the general public - who are now able to purchase a piece from a designer they would otherwise not be able to afford. Or it may work in favour of new young designer talent – who are given a vehicle through which to sell their designs to a wide market. Either way it could be said that high end fashion has been democratised. Everyone’s a winner.

THE D E AT H OF H AU T E

It was the summer I spent in Paris, working in the design studio of Anne Valerie Hash. I had been offered the position upon graduation and I was ecstatic. It was my greatest desire to work in Paris within the houses of couture - to breathe in the refined and exquisite perfection which veils the industry, and to subsume my creativity into the highest order of beauty and culture. While I will surely never be mistaken for a realist, my romantic musings had nonetheless come true. I was there. And yet the summer was a period of mixed emotions. On one hand, I was living my dream. Yet, quite like the young protagonist Lucien Chardon, in Balzac’s novel Illusions Perdues, who moves to Paris to pursue his poetry and heart only to crumble under the weight of his own aspirations and fantasies, I had yet a few of my own illusions to shed.

Fashion, and haute couture most certainly included, is a bloody hard industry. The work is painstaking and often tedious, it costs a real fortune to produce and there is no promise of a solid return, creativity is often sacrificed in the name of sales, and there are many rules and structures that often override the designer’s will. It is a tireless struggle to the top that few achieve, and when they get there it is equally arduous to maintain. And in this economy? Haute couture has long been dismissed by its detractors as an extravagant waste of resources and time. So they look to the current crisis and the public’s somnambulistic consumption of the high street, and they can’t imagine why anyone would want, or could afford, to pay such extreme prices for a dress they may only wear a handful of times. And their criticism seems well meted, as the famous customers of couture are more

frequently seen adding ready-to-wear into the mix - perhaps as much to create a lower profile as to save on the expense, but the business nonetheless suffers. It is a well known that haute couture rarely pays for itself in any form other than publicity. Few pieces from each collection will ever be worn or reproduced, and designers frequently ‘donate’ their wares to celebrities for red carpet appearances. ‘Donated’ is used loosely here, as fashion houses now commonly pay A-list actresses millions of dollars to wear their clothing to events. An additional cost added to the already astronomical cost of production, which makes one wonder if it’s really worth it. The waning number of couture collections presented in Paris each year suggests not. In the 2008 documentary Valentino: The Last Emperor, a dire portrait is painted of the future of couture: “It’s the end of an era,” suggests director Matt Tyrnauer at the films premier in New York. “The economics of fashion have entirely changed. And now with the economic crisis, the light on the world of couture was extinguished.” These sentiments are echoed by Valentino who – with his

Belle Époque showroom of the Maison Anne Valerie Hash, I felt the magic of the moment send shivers down my spine. AVH is one amongst a number of younger designers who have joined the Chambre Syndicale de la Haute Couture, as official or guest members, over the past decade. Due to various financial, staffing, and calendar constraints, these younger houses are frequently unable to fulfill the stringent code of couture outlined by the syndicale, which include having a full-time staff of at least 15 people, presenting no fewer than 35 looks each season, and arranging at least two private fittings with each client. So it is true that they no longer approach couture in the same way as the old masters. However, their contribution to the maintenance and development of the craft is invaluable. One must not forget that haute couture is in fact a modern institution that dates back only as far as 1858, when Charles Worth opened his first atelier in Paris. Its rebirth in the 1960s is generally attributed to the ingenuity of designers such as YSL, Pierre Cardin, Courreges, and Ungaro. At the time their approach was seen as

“I detest the bourgeoisie –their spirit, their inflexibility, their taste”

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radical and highly controversial. YSL himself who once declared ‘I detest the bourgeoisie –their spirit, their inflexibility, their taste’ only to become one of the most defining symbols of their class. It is the natural evolution of all things, and one should not confuse the statement ‘couture is a dying art’ with ‘art is dead.’ These new designers breath fresh air into institutions that inevitably grow stale and dysfunctional over time, and one should avoid being overly nostalgic or sentimental, lest they run the risk –like Lucien or myself- of being disappointed. While the institution of haute couture may give way to economic and structural pressures, the art of couture remains vitally alive in a new generation of creators and clients who believe in its value. So as we mourn the passing of great masters and traditions, we must also remind ourselves that their mastery was the product of innovation and inspiration. And time waits for no one, especially in fashion. We must drop our illusions of what once was to nurture the beauty and talent that is everywhere around us now. We must look towards today to find the source of our re-enchantment. WORDS LEANNE RAE WIERZBA

PHOTOS: CATWALKING.COM

private jets, grand estates, vast collections of art, old world charm, and ubiquitous tan - seems very much the last survivor of another, more glamorous era. Valentino speaks ruefully as he strokes one of his 1950s gowns: “To do this embroidery today, you would need to sell the Italian bank.” Valentino announced his retirement in 2007, shortly after the documentary was completed, and while the brand Valentino continues to present an haute couture collection, one wonders for how long. “I’ve always said that haute couture would die with Yves Saint Laurent,” claims Pierre Berge, YSL’s longtime business partner, in an interview with Women’s Wear Daily in 2004. “Now it’s a domino effect. Couture isn’t art. It’s not meant to be hung in a closet like a painting. The women who wore couture no longer exist, the art de vivre that spawned couture has died.” And yet there is still that moment, when all of the sewing machines have stopped and lithe models begin to waft into the room, swathed in the most glorious costumes and makeup, that can transport the viewer from their seats into a state of rapture. When it is good, it is close to heaven. And that morning in July, as golden light streamed across the gilded

Crystal oval links necklace £76.34 Crystal snake tongue clasp bangle £76.34 Crystal flower earrings £27.40 Square link crystal bracelet £95.91 Heart link crystal bracelet £193.79 De Grisogono rings (price upon request)

Jewellery Embellishment When it comes to accessorising this summer, for maximum effect stick to these three rules: embellishment, embellishment and embellishment. Forget the minimalist look that comes with wearing a simple necklace or unadorned bangle. This season, flamboyance is paramount. Think swarms of Swarovski crystals in rainbow colours dripping from gold chains and you’re most definitely on the right track. Spring/Summer 2009’s penchant for all things colourful is not restricted to clothes alone - necklaces, bracelets, rings or whatever part of your body you wish to adorn, are leading the trend for colourful living. Butler & Wilson, celebrating their 40th year in the jewellery industry, are bang on the money with their latest bejewelled range of snake bangles, heart-shaped rings and pendants. Whether it be a multicoloured crystal necklace, red eye lizard brooch or a particularly exquisite crystal headband, it is undoubted that covetous glances will follow the wearer of these pieces wherever they go.

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CLASSIC JEWELS

DIAMONDS

FINE WATCHES

FOR LIFE'S EXCEPTIONAL OCCASIONS For over 250 years Heming has bought and sold beautiful jewellery and fine watches. Whether you wish to buy, sell or par t-exchange, our experienced team will be delighted to assist.

19 BURLINGTON ARCADE, LONDON W1J 0PW TEL: 020 7499 7644 FAX: 020 7493 5879 www.hemingjewels.com 40 / ROCOCO / JULY 2009

All watches are pre-owned

Splash Out Swimsuit Agent Provocateur £125 Necklace Kara Ross £350 Bangle Kenneth J Lane £144 Platforms Giuseppe Zanotti £645 41

Bikini All Saints, Top £35, Brief £30 42 / ROCOCO / JULY 2009

Bikini Myla, Top £59, Brief £59 Sunglasses Linda Farrow Vintage from £165 Bangle Erickson Beamon £310 Cocktail ring CC Skye £122 Platforms Giuseppe Zanotti £525 44 / ROCOCO / JULY 2009

Swimsuit Agent Provocateur £125 Sunglasses Linda Farrow Vintage from £165 45

Bikini Michael Kors £150 Chain Bracelet CC Skye £200 Gold/white python cuff Kara Ross £290 46 / ROCOCO / JULY 2009

STOCKISTS Seafolly www.seafolly.com Kenneth J Lane DONNA IDA 020 7225 3816 Giuseppe Zanotti 020 7591 3900 Agent Provocateur 0870 600 0229, www.agentprovocateur.com Linda Farrow Vintage Harrods, 020 7730 1234 Myla 08707 455 003, www.myla.com CC Skye DONNA IDA 020 7225 3816 Michael Kors @ ASOS www.asos.com Kara Ross DONNA IDA 020 7225 3816 All Saints 0870 458 3736, www.allsaints.com

Bikini Seafolly, Top £29.50, Brief £27.50 Bangle Kenneth J Lane £115 Wedges Giuseppe Zanotti £545 48 / ROCOCO / JULY 2009

PHOTOGRAPHER STELIANOUR SANI HAIR RYTUARO @ ERA MANAGEMENT USING L’0RÉAL TECNIART MAKE UP MARIA ASADI USING BOBBI BROWN AND MAC STYLIST LOVISA TOLL @ FRONTROWLONDON 49

key make-up trends Spr i ng/ Su m mer 2009 HIGH BROW Influenced by the concept of an independent woman, this look is about understated power. As seen in the Chanel show, skin is luminous and dewy with a touch of blush. Lips are kept nude and well-defined with a natural lip liner; the main focus on this look is brows, which are defined, shaped, and thick, exuding strength and confidence.

Euro Chic

PHOTOS: CATWALKING.COM

Naturally untouched beauty combined with a hint of European class and glamour, put together with statement lips. Back to basics, this look is about foundation that doesn’t hide the skin but emphasises luminosity. Skin is kept flawless and moist, nude eyes are soft yet defined and colourful, bold lips come in all shades of red and lilac. Shadows on the eyelid are cream-based, leaving a sheen on the eyes. Odd dashes of shimmer are added on the cheekbones to add a healthy highlight and glow to the skin, as seen on the recent spring/summer Zac Posen and Missoni fashion shows.

Naturally Naughty

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Good girls have gone bad with this key summer trend. This look’s about natural beauty but with an edge. Eye make up is smudged and charcoal-rimmed, yet remaining playful and fun. Narciso Rodriguez set this trend during New York Fashion Week. Skin is kept flawless, but with a satin finish, and cheekbones are highlighted to emphasize the beauty of the skin. Strong, defined and well-groomed brows are the strong focus. Michael Kors captured this on his models at his most recent catwalk show. 51

Summer is here and, we hear, it’s going to be a long, hot one. We’re desperate to tug out those floral frocks from the closet and get shopping for new swimwear. One stumbling block, though, may be keeping us in leggings - putting our skin on show. And, with the fashion colour palette being especially bold and vivid this season, it’s even more vital our bodies are looking their best, and that means well-hydrated, smooth and glowing skin. With that in mind, we’ve gathered together a winning selection of products for your summer wash bag.

Step One The exfoliation process Before any tanning products are placed onto the skin, the first step is to exfoliate the dead skin cells and prepare the skin. It needs to be fully polished and smooth on the surface, to help the tan last longer and appear smoother. 3. Darphin Aromatic Hydroactive Body Lotion £24.45 This lightweight body lotion instantly sinks into the skin without leaving any excess product on the surface, and is perfect for daily use. Pierre Darphin’s holistic theory on his skincare ensures all products to have a natural aromatic scent to them. Shea butter is the main moisturising property in this product, suitable for all skin types and ideal for moisturising before a self-tan application.

summer school 1. REN Guerande Salt Exfoliating Body Balm £19.00 British skincare brand REN is parabens and chemicalfree, suitable for all skin types. Try using this spearmintscented body scrub with a blend of olive and peppermint oil. It will leave your skin feeling polished and moisturised as the olive oil extracts hydrate the skin, at the same time leaving it and polished and glowing. 2. The Body Shop Brazil Nut Body Scrub £12.00 With sugar beads scrubbing away all that dead skin and Brazil nut oils drenching it, this Body Shop two-in-one is ideal for a drier skin. The price point is also a nice bonus, given the current economic climate. For best results, gently rub this product all over the body, working the tip of your fingers in circular movements.

4. Korres Guava Body Cream £11.25 Guava is an important source of vitamin C, which boosts the collagen cycle. Greek skincare brand Korres has a wide selection of body creams to cater to different needs. For gorgeous and flawless skin, this body cream is well-suited for a drier skin type. Enriched with guava extracts, this moisturiser is rich, yet not too heavy.

Step Three The tanning process 5

Conceived amidst the dark drama of 1920s Berlin, developed by professional make-up artists, embraced by alternative cultures, worn by those who refuse to be everybody. www.illamasqua.com

Exclusively at Selfridges www.selfridges.com 52 / ROCOCO / JULY 2009

We all know that finding the correct self tan can be a tricky challenge, and once you have found the one that best suits you, you stick to it. With the fear of looking like a clementine, the key to the right self tan is finding the correct one. A perfectly natural tan should have a lightly warm red tone, for the most natural and realistic effect.

Step Two The hydration process Keeping the skin hydrated before a self tan application is essential. Moisturise the skin and allow the emollients of the product to sink into the skin. Skin types with more natural moisture need to use body lotions instead of creams, as the richness of the creams can leave a residue, making it difficult for the tan to process effectively.

5. St. Tropez Bronzing Spray, £20.00 Loved by celebrities the world over, St. Tropez’s tanning range is renowned for achieving that desirable all-over even tan that really does last. And, even better, this tanning spray’s got 360 degree spray technology which means you don’t have be a contortionist to get to those hard to reach places (hands up, those of us who neglect the backs of our knees?). The spray also has aloe vera to ensure it’s got staying power. Nichola Joss, St. Tropez’s tanning guru advises: “Just remember to prepare your skin by exfoliating and cover those dry areas with moisturiser before applying.” 6. Kiehl’s Self Tan £16.50 Cult New York brand Kiehl’s has an outstanding collection of products. The Kiehl’s self tan lotion gives a subtle tan. You can build it up with more applications giving you control over the level of your desired tan. With moisturising properties such as Vitamin E and cocoa seed butter, this product also hydrates your skin. With one application, your skin will be ready for any outfit, any event, anywhere you wish to go. 53

beauty counter

Skincare can easily get confusing - too many products to choose from, all cramming up the bathroom shelf. Rococo’s beauty expert and make up artist Maria Asadi, selects 10 high street products that work overtime to bring you the results you’re after.

1. Neal’s Yard Orange Flower Facial Wash £11.70 Neal’s Yard Facial Wash is a musthave cleanser for those of us with dry skin. Gently apply onto damp skin to remove impurities leaving the skin feeling fresh and moisturised. Aided by the jojoba and sunflower seed oil this product is highly recommended for providing nourishment to the skin. 9/10

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2. Dr Hauschka Clarifying Toner £21.53 This speciallyformulated toner is wellsuited for an oily skin type - extracts of calendula provide its outstanding healing and soothing properties. It also contains wonder ingredient witch hazel, known for its anti-bacterial effect. This toner will help regulate oil production, tighten and refine stressed-out pores. 7/10

3. The Body Shop Camomile Gentle Eye Make-up Remover £7.30 Eyes are the most delicate feature on the face. Camomile Gentle Eye Make-up Remover contains rose and camomile to help dissolve all types of eye make up and soothe the skin whilst conditioning eyelashes. 8/10

4. MAC Fast Response Eye Cream £19.09 Exceptional looking make up starts with skincare.The name of this product reflects its wondrous fast-acting effect, hydrating the eye area and instantly smoothing out any fine lines and wrinkles. Containing caffeine to help with the dark circles, this eye cream is extremely effective for all skin types. 9/10

5. Philosophy Raspberry Sorbet £14.50 Smelling a dessert can reduce our cravings (so they say!). But we can’t get enough of this scrumptious 3-in-1 shower gel, shampoo and bubble bath from American brand Philosophy. Super-moisturising, it works hard for your money and is the perfect scent to give you a zing in your step for summer.7/10

6. Johnson’s Dreamy Skin Bodywash £4.99 Dreamy Skin Bodywash contains moonflower aroma to soothe and hydrate the skin and help you sleep better. What, you say? A good night’s sleep and better skin - where do we sign up? 7/10

7. Aveeno Hand Cream £4.49 Oatmeal has several powerful properties in helping with hydration for thirsty and dehydrated skin conditions. The Aveeno hand cream injects moisture into the hands, leaving the skin well hydrated. 7/10

8. The Sanctuary Spa Foot Soufflé £5.82 During the summer, our feet are a major focus that have to be kept well-groomed. This luxurious and non-greasy foot soufflé with tea tree and lavender softens hard skin and soothes tired and distressed feet. Show off the entire package this summer, with perfectly polished and smooth feet. 6/10

9. Carmex Lip Balm £1.99 Old favourites can still give the best results. And so it is with this Carmex classic lip balm. If you’re planning to go all guns with this season’s full-on lipsticks trends, then prepare your lips with this balm. You’ll be pout-perfect in no time. 9/10

ret ro ca ndy

Photography: Stelianour Sani Make up: Jenna Jefferies using L’Oréal Paris Hair: Ryutaro

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five secret backstage products

candyland your definitive guide to this season’s make-up, hair, fragrance & nail trends... 1. MAC Face and Body Foundation: £22.51

Ideal for all skin types and available in a range of colours, MAC’s Face and Body Foundation is a light weight, water-resistant product that hides all imperfections on the body and leaves the face moist, dewy, and ﬂawless. Apply with a foundation brush for the best results starting from the bridge of the nose and blending outwards. 2. Beneﬁt High Beam Highlighter: £15.50

Benefit’s High Beam is an ethereal pink liquid highlighter that creates a radiantly luminescent complexion. For an angelic sheen, this pink shimmering lotion can be mixed in with foundation and cream to add a soft, natural afterglow. Apply the liquid with the tips of your fingers and gently press it down on your cheek bones for a truly sexy result. 3. Benefit Body So Fine: £22.50

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4. MAC Fix + Mist: £10.77

PHOTOGRAPHER TRACY SELLS

’s C A eM v o l r We a g u S w ne e g n a r t e e Sw

Skin on the body can become dry and lifeless with lack of product use. This scented body balm can be used lightly all over the body to give sheen and a subtle gloss finish that is perfect for all skin types leaving the body moist without a greasy after effect. Formulated from spring water, rich in added minerals, this aromatic mist refreshes, hydrates and conditions the skin while acting as a perfect finishing fix for makeup. Ideal for people on the go, just simply spray this product all over the face before and after applying your makeup to achieve a fresh and summery look. 5. No.7 Creme Touch Powder: £8.30

No.7 Creme Touch Powder gives a beautiful illumination to the skin with a smooth and refined finish. Set across a range of gorgeous warm shades, it’s a great way to even out your complexion without wearing a lot of make up.

Spring/Summer ‘09 key hair trends hot off the catwalk Inner City Chic For those concerned about the wellbeing of their locks, fear not. Summer has, thankfully, brought some relief. The spring 2009 shows were awash with sleekness. From Dolce Gabbana to Rodarte, models were sent down the runways with tresses tied back in low, sleek ponytails, to give clothing an urban edge. It’s striking and chic and embodies the thrill of a metropolitan inner city. Wearers can create a slightly softer beach-inspired variation by loosening the chignon and concentrating on a high-gloss almost drenched finish, as seen during the Stella McCartney catwalk show.

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Effortless Class Fussing about with straightening irons and pomades can be an unattractive option. Summer often feels like the time to be carefree and natural, which is possibly why the tousled up-do was the key hair trend on the Spring/Summer catwalks. The possibilities with this look are endless. At Alexander Wang, hair was separated into two, with the top half secured and the bottom left untouched, while Giorgio Armani left large strands free at the front to gently frame the face.

Style Warrior

Girl Next Door Tresses can also be pulled back gently into a high ponytail, shaggy bun or even secured into a loose chignon as seen at the Oscar de la Renta and Vera Wang show. Whatever option you choose, the key words for this look are loose and windswept. Texture works wonderfully make use of any natural waves for a soft unkempt feel. Use mousse if necessary, but make sure it appears deliberately ruffled and not down-and-out scruffy.

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Hair accessories are a perfect way of jazzing up tousled styles. This season’s collections were inundated with weird and wonderful headgear. Thick cotton headbands are a great reminder of childhood days and create a magnificently playful and free-spirited look when teamed with a bikini or bright smock dress. Lacoste and Wunderkind both used headscarves as daywear accessories in their spring/summer 09 collections. Whether you prefer a silk scarf or the cotton kind, the trick is to pull out a colour from your closet and watch as it adds an exotic spark to your casual attire.

PHOTOS: CATWALKING.COM

WORDS MARIA ASADI

brand of the month

BECCA

Rebecca Morrice Williams, Founder

Each month Rococo introduces one beauty brand – either newly launched, globally exclusive or simply a well established high-end exquisite label that has been lost in today’s oversaturated beauty market! This month we have chosen BECCA Cosmetics. Founder, Rebecca Morrice Williams started her career as a make-up artist in Perth, Australia. Frustrated by her own inability to find the perfect makeup range that would look natural, conceal blemishes, feel weightless on the skin and stay fresh all day – she set out to create it herself, resulting in the ultimate, powerfully strong range of BECCA Cosmetics – skin-perfecting products that make it possible for all

women to experience the pleasures of flawless, radiant and sexy complexions. BECCA Cosmetics have an extensive list of celebrity fans including Kylie Minogue Gwyneth Paltrow and Cate Blanchett. Kate Winslet wore the BECCA Beach Tint at the 2009 BAFTA’s and Thandie Newton and Salma Hayek adore the mascara.

Jewel Dust £17.00

Eye Colour Powder Shimmer £17.00

Sheertint Lip Colour £21.00

Mineral SPF Primer £33.00

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lavender whip OPI Nail Lacquer, £5.90 each

Parma Violets are back, with lavender shades seen on the recent Zac Posen catwalk show looking so edgy, how can this not be a key nail trend for this season? Nails are well manicured and filed to an ovular shape painted with all shades of purple.

prints mania Barry M Nail Paint, £2.95 each

Nails are fierce and empowering for spring/summer 09 taking inspiration from African Wildlife, combining animalistic prints with vivid retro shades. Be sure to keep the nails polished with a glossy top coat.

five recommended scents for Spring/Summer 09 1. Diptyque Philosykos, £58.00

3. Creed Virgin Island Water, £41.00

Have you ever thought that fragrances seem to smell the same, almost like they repeat themselves but in different ways? A fresh-ripened fig tree in a bottle, this scent is unusual and different, clean but fruity.

Crystal clear water, hot white sand, palm trees surrounding the beach this is not only a scent, but a vision. An exotic blend of lime from Jamaica, mandarin from Sicily, and ylang ylang and jasmine from India, this scent is tropical and fresh.

2. Marc Jacobs Rain, £34.50

This 300ml bottle will last you the entire summer, with three spring/ summer scents, Lemon, Cucumber and Rain. There‘s no doubt that Rain is the most popular and has been in past seasons. This scent can be combined with other scents or worn alone. The main ingredients are passion flower and white orchid, soothing, simplistic, clean-scented fragrance is light and refreshing to quench your senses throughout the summer. 70 / ROCOCO / JULY 2009

4. Michael Kors Island Bermuda, £41.00 Passion flower, freesia, with a

Nail Trends

candy cane Nails Inc., £20.00 set of 4

Icing pink to mint green, nail trend is inspired by cup cakes and candy cotton. Colours are almost any tone mixed with white to create a pastel hue, bringing elegance to the hand and a sense of sweetness.

fruity burst, this scent is perfect for a colourful and exotically sexy summer, Inspired by a warm summer breeze in the Bermuda Island.

5. Vera Wang Rock Princess, £43.00

Dark, fierce and rebellious, this scent is fruity - a rock star attitude combined with a modern edge. Smouldering musk, elegant iris and a touch of sensual coconut this scent is modern and unusual. 71

LON DON V I N TAG E

Toki & Nabi Ecru chifon draped dress £65.00

Jarlo pink floral dress £40.00

Goldie chunky charm bracelet £18.00 Dahlia black petal shoes £77.00

Sarah-Jane B gold leather clutch bag £24.00

www.Pretaportobello.com

Londoners live for the weekend. Leisurely brunches, the latest exhibitions and afternoon strolls along the South Bank are a Sunday staple, but the absolute holy grail of any self-respecting city dweller’s weekend is a frivolous shopping spree at one of the city’s many markets. Quirky, eccentric, unique and quintessentially London – the only predicament is which market to visit. Well, we need never bother ourselves with that question again, thanks to trail-blazing online boutique, pret a portobello.com. Established in June 2008 by a trio of fashion -savvy sisters, this newcomer offers shoppers the very best that Spitalfields, Brick Lane and, of course, Portobello have to offer. The site is refreshingly simple to navigate, allowing you to browse by item, price or virtual ‘market stall’. An ingenious bartering page called ‘Let’s Trade’ even allows you to make offers on one-off or discontinued pieces from the comfort of your own sofa, thus avoiding the inevitable social awkwardness of bargaining face to face. But as gimmicky as all this might seem, pret a portobello is doing a pretty remarkable job of showcasing the freshest, independent, design talent our capital has to offer. Brands with niche appeal and those with classic longevity set up shop side by side 74 / ROCOCO / JULY 2009

on your browser, and besides the obvious merits of offering affordable independent labels online, pret a portobello also facilitates your market shopping sprees come rain or shine, and without the crowds of frustrating camera-toting tourists. Curiously named label Ping Pong Prop offers up some incredibly inventive pieces of costume jewellery. A necklace with a miniature and ornate brush and mirror – ivy creeping round their delicately proportioned handles – looks like nothing you’ll see in any high street outlet on Oxford Street, and their mismatched bird earrings are also refreshingly original. The small but perfectlyformed collection from Kushion also caught my eye. Their harem pants with button and zip detailing tap into the sportswear look perfectly – forming a type of trend hybrid. Similarly, the Dusty Grey Hooded Jacket with batwing sleeves and oversized hood appears fresh, functional and wearable. In their quest to provide apparel which caters for all the facets of

of the store, settled snugly in a corner I found a pearly snakeskin briefcase. Contrasting colours and textures have been interwoven to create an incredible chequered masterpiece which would undoubtedly have work colleagues swooning. It is one-off items like this that really set Blondie apart among the hub of superfluous vintage stores in East London. The owner of the two sister boutiques hand-selects all designer pieces with the help of a trusted second buyer. These rare items lie behind panes of polished glass in a few strategically-placed cabinets. Snakeskin bags, Jackie O-style Dior shades, and the familiar quilting of classic Chanel 2.55 are displayed

lovingly. Most of these have been purchased privately from individuals with extensive and immaculately preserved vintage collections, and it is reassuring to know that what you’re getting is the genuine article and not a tatty imitation from eBay. Vintage is also the best way to do designer labels (debatably). It is often more unusual, cheaper and will help you sidestep the trap of buying something which is on trend now but will be relegated to the back of your wardrobe in two seasons’ time. Angela, the manager of Absolute, is quick with praise for the savvy trend-setters who frequent the two boutiques. “They are very fashion confident. They know exactly what they

want and like. That being said, if you do want help, Blondie’s smaller size makes it easy for the women who work there to point you in the right direction. It’s easier to keep track of the stock so the staff can help pick something specific out”. It is this personal touch which defines Blondie. From the carefully hand-selected products, to the lived in feel of the shop, you feel as if you are being let in on a wellkept secret. The more you dig, the greater the treasures you excavate from this Aladdin’s cave and, if you go deep enough you might just uncover something truly unique. WORDS ESME BENJAMIN

Blondie Vintage Boutique

SHO P OF MON TH E TH

White anchor button earrings £6.00

Every inch of space feels as lived in as the clothes themselves. There are buttery soft leather riding boots arranged in pairs at the foot of an antique stool, a battered trunk is spilling over with coils of shiny belts and full skirted prom dresses hang in alcoves. Situated on Commercial Road, Blondie is just a stones throw from her ever-popular sister boutique Absolute Vintage - arguably the best known vintage shop in all of London - but Blondie isn’t living in her sister’s shadow any more. The buyers at Blondie certainly have a knack for cherry-picking. The fashion capitals of Europe are favourite haunts for sourcing accessories and the stock is achingly desirable. At the very back

Entering Blondie evokes a sudden wave of nostalgia. Not only because it is choc-a-bloc with vintage wares from the best part of a century, but because you suddenly feel like a naughty child, secretly pillaging her grandmother’s wardrobe.

TH F O H P SHO ONT M

the modern woman’s lifestyle Kushion have also reworked the immortal LBD, with sequined bodice and wet-look versions, and a corsage dress á la Carrie Bradshaw. The team at pret a portobello pride themselves on offering shoppers a slice of fashion pie which is just as affordable as the high street, but much more unique, and they seem to have managed what they set out to achieve. I was constantly surprised by how inexpensive the products were, with many of the larger garments like staple coats and dresses averaging at around £65, and vintage pieces coming in at about £25. Of course a virtual market place will never replace the buzz of Portobello Road on a Saturday afternoon. But, for days when it’s too wet to browse the stalls, it’s comforting to know that you can set your browser to pret a portobello and fill your trendy boots. WORDS ESME BENJAMIN

Gianfranco Ferré introduces fine jewellery Italian fashion brand Gianfranco Ferré has announced their launch of a Jewellery Collection. The new line of fine jewellery in gold and silver with diamonds and other gemstones, features four main themes inspired by iconic hallmarks of the fashion house and its tradition. The collection will be presented in September alongside the women’s designs at the Milan fashion show and will be available for purchase at Gianfranco Ferré boutiques, Rocca stores and selected jewellers worldwide.

ST Y LE ENTRIES

Kim Mask Makeup and Garment Protection Mask is a new cosmetic product made from hygienic fibre.

La Perla collaborates with the Fashion & Textile Museum 12th June to September 2009 Luxury lingerie label La Perla has collaborated with the Fashion and Textile Museum, marking its new exhibition “Undercover”: The Evolution of Underwear, with an exclusive range of boudoir pieces.

New therapeutic skincare brand NIA 24 launches exclusively at Space NK. Created with niacin to protect the skin from sun damage and the ageing process, NIA 24 is especially useful for people undergoing chemical peels, laser treatments and microdermabrasion. Key products in the range include Skin Strengthening Complex to rebuild the skin and Intensive Recovery Complex to improve skin tone and reduce hyperpigmentation.

STOCK ISTS

Worn over the face to matt and protect your makeup when trying on clothes, the Kim Mask is soft to the touch providing perfect transparency and breathability. The Kim Mask is being used in fitting rooms of high-end fashion stores all over the world as a service product to protect makeup. The inventor of this fabulous product Lydia Montoute brought to our attention the forthcoming autumn launch of the NEW Kim Mask Cosmetic Makeup Accessory Mask for the handbag that is designed to leave your makeup with a perfect matt appearance whilst protecting your clothes.

NIA 24 launches exclusively at Space NK

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Mask against makeup

Harvey Nichols stocks new emerging designers Luxury retailer Harvey Nichols has unveiled the plans for its new Fourth Floor, set to stock new and emerging designers, as well as some existing brands from the current first and third floors, including 3.1 Phillip Lim, Alexander Wang, Vanessa Bruno, Marc by Marc Jacobs, Antipodium and Les Chiffoniers. In addition, the retailer will also put extra focus on consumers aged 15-21, catered for most directly on the third floor, which will include leisurewear and denim labels, such as Juicy Couture, Sonia by Sonia Rykiel, DSquared² and McQ.

New label e.g... launches New womenswear label e.g... has launched this month. Created by designer Emma Griffiths, who has worked with Alexander McQueen and Boudicca, the collection is inspired by 80s style icons, including Grace Jones and Joan Collins, and is available online at egfashion.co.uk.

Accessorize (0844 811 0068) Agent Provocateur (0845 688 3343) All Saints (0870 458 3736) Arrogant Cat (www.arrogantcat.com) Ashish Available at Selfridges (020 7490 7394) Asos (www.asos.com) Aveeno Available at Boots Nationwide Barry M (020 8349 2992) Becca Cosmetics (www.beccacosmetics.com) Benefit Cosmetics (www.benefitcosmetics.co.uk) Blondie Boutique (020 7247 3883) Butler & Wilson (020 7409 2955) Carmex Available at Boots Nationwide CC Skye Available at Harvey Nichols (020 7235 5000) Darphin (0870 034 2566) De Grisogono (020 7499 2225) Dr Haushka (0138 679 1022) E.G... (www.egfashion.co.uk) Erickison Beaman (020 7259 0202) Estée Lauder Available Nationwide Faith Shoes (0845 880 1195) Future Classics (www.futureclassics.com) Fred Butler Available at Kabiri, 37 Marylebone High Street, London Freedom at Topshop (0127 784 4476) Fullcircle (0208 753 0012) Garnier Available at Boots Nationwide Giannefranco ferre (020 7838 9596) Giuseppe Zanotti (020 7838 9455) Jasmine Di Milo (www.jasminedimilo.com) Johnsons Available Nationwide Linda Farrow (020 7713 1105) L’Oréal Paris Available Nationwide Kara Ross Available at Matches (0870 067 8838) Keihl’s (020 7908 6506) Kerastase (0800 169 7441) Kim Mask (0845 0568 482 www.kimmask.com) Mac cosmetics (0800 074 6905) Maas (www.masslondon.co.uk) Marios Schwab at Dover Street Market (020 7518 0680) Myla (08707 455 003) Nails inc (www.nailsinc.com) Nia 24 Available at Space NK Neals Yard Avaiable at Space NK Office (08450 580 777) Opi (www.glossonline.co.uk) Pebble (020 7262 1775) Philosophy (www.philosophy.com) Pretaportobello (www.pretaportobello.com) PPQ (020 7494 9789) Reiss (020 7473 9630) Ren (020 7724 2900) Repetto Available at Matches (0870 067 8838) River Island (020 8991 4759) Seafolly (020 7610 0857) St Tropez (0115 983 6363) The Body Shop (www.thebodyshop.co.uk) The Sanctuary Spa (www.thesanctuary.co.uk) Thomas Sabo (020 7720 9725) Vivienne Westwood (020 7439 1109) Warehouse (0870 770 4301) William Tempest Available at Browns (020 7514 0000) 77

Dirty Virgin Photography & Styling www.dirtyvirgin.co.uk Photographer: Julia Eskell Stylist: Karl Slater Make Up: Yvonne Whelan Hair: Sabrina Royal Assistant: Sabrina Shirazi Model from Oxygen

London’s best kept secret...

Discovered!

Il Bottaccio is a prestigious Renaissance building and one of the finest event venues in Central London ideally located near Hyde Park and Park Lane with stunning views over Buckingham Palace Gardens. Our unique venue provides elegant and spacious facilities to host exclusive events from 40 to 400. The venue provides a beautiful white canvas from which we can create bespoke corporate events, product launches, award ceremonies, fashion shows, weddings and private parties. As well as being chosen to host the COOL Venue Awards Party 2009, Il Bottaccio was voted the COOLest Reception Venue and Runner-Up for the COOLest All-Round Venue and COOLest for Galas.

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Il Bottaccio • T: 020 7235 9522 • F: 020 7235 9577 E: info@bottaccio.co.uk • www.bottaccio.co.uk

Creating a new movement along with Malcolm McLaren in Punk back in the 70s, as well as participating in the 80s Buffalo revolution meant Westwood’s name was always going to be unequivocally synonymous with style. Since then, she has produced numerous celebrated ready to wear, couture, diffusion, accessory and beauty lines, as well as collaborating on other brands – her latest being the highly desirable offering for Melissa Shoes. Westwood’s career saw her dominating national as well as international headlines, picking

OF THE MONTH

VIVIENNE W E S T WO O D Our premier icon needs no introduction. An integral part of the fashion institution for four decades, her uncompromisingly political and conceptual genius made Vivienne Westwood an obvious and truly deserved recipient. up British Fashion Designer of the year three times, collecting an OBE (interestingly 15 years after she was arrested on the Queen’s Silver Jubilee), becoming a Dame and even seen her work as the subject of a major retrospective viewed at prestigious venues across the globe including London’s V&A museum. Never one to shy away from throwing her hat into the arena, she recently caused a media stir at her shows in London and Paris by hijacking the stage to turn the focus away from the economic downturn and onto what she deemed a far more important issue of climate change, stating, “We’re in a terrible state. We need to save the human race”. Queen Vivienne, we salute you. WORDS GARETH EDWARDS PHOTO CHRISTIAN CHAMBENOIT

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