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TOMMY TON 4
CHRISTIAN VIERIG 6
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TOMMY TON’S FAVORITE LOOKS 8 BILL CUNNINGHAM 10
PHIL OH 12
HOW TO GET STREET STYLE SNAPPED 14 n ew york
TOMMy ton
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et-setting fashion photographer Tommy Ton is known for capturing the well-heeled attendees of fashion weeks across the globe, but the peripatetic lensman’s sense of style is equally camera-worthy. The Torontonian has amassed quite a collection of lust-worthy menswear—and even womenswear— over the years, ranging from European names like Raf Simons and Dries Van Noten to cult Japanese labels like Visvim and Nonnative. We asked the honed, highend consumer about his rather extensive archive, covetable shoe collection, and best shopping secrets.
very few stores that I like going into and looking at the clothes. I’m always looking at the clothes either at shows or on people, so I have a general sense of how things look and fit, so I have no problem buying online. Does shopping help you stay current in terms of what people are wearing? Yeah, generally. I have a tremendous amount of passion for the product, so it’s always good to see the product as it is online or in the store, but when you see it on someone, it definitely comes to life and gives you a much broader sense of how to buy, to invest, and how to wear clothes. It’s a bit of half-and-half.
You go to a lot of super-stylish cities. What’s the best city to shop in? Tokyo. I think in particular for menswear, in Japan you can just find an extraordinary amount of things to buy. Not only in terms of Japanese brands, but also shopping consignment there is the best thing. You can find so many European designers mixed in with Japanese designers—at a much lower cost. And everything is always in mint condition. I feel like shopping is kind of a sport there: You’re always on the hunt and competing with others for the same thing. I just find it more interesting to find things that no one else is gonna have, you’re always gonna find much more rare pieces in Japan by particular designers.
As a consumer, what do you think makes a good retail experience versus a good e-commerce experience? First things first, it’s definitely how your store is curated. What brands you decide to buy and also what type of products you decide to buy from the showroom. It takes someone with a really good eye to be able to have a certain zeitgeist and understand what people are gonna want to wear or what’s going to blow people’s minds. I hate it when you go into a store and you see so much product just on the racks, and you know that they’re not selling the product or they just didn’t know how to buy it. The moment you walk into a store, whether it’s a women’s or men’s store, there has to be a certain atmosphere and environment, and when your sales staff isn’t very knowledgeable or even approachable, that’s an easy deterrent for me to walk away and not wanna come back. That’s probably why I spend a lot of time shopping online, because I just don’t really like dealing with sales associates.
“The idea of the “retail experi-
ence” is kind of dwindling away.”
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So do you do more shopping in person or online? When I’m in Japan, I do it more in person, but when I’m traveling or at home in New York or Toronto, I mostly do it online. I just find that the idea of the “retail experience” is kind of dwindling away. There are
What are some of your favorite online shops?
Well, my first favorite is probably Yoox. com, just because I find it more fascinating buying out of season. I’m definitely an advocate of “buy now and wear later,” so that’s why I spend a lot of my time on Yoox, and it’s also the thrill of the hunt—not knowing when something’s gonna drop and what size you can get. I spend a lot of time on TheCorner.com, as well. I think probably the best curated shop online for menswear is Très Bien. I think those guys have obviously done an amazing job, and what they’ve created is the best prototype for a men’s online store. I can’t buy any clothes from The Line or The Apartment, but I think their transition from store to online experience is really great.
Are there any stores you always have to stop by when you’re in a certain city? Definitely in Japan I go to Isetan, and from New York to London to Tokyo I go to Dover Street Market, but I don’t necessarily buy anything. It’s more like going to a museum, but for clothes. Are you guilty of showrooming? Oh, yeah, definitely. [laughs] It’s the secret to acquiring all those special pieces. If you’re gonna count on Selfridges or Barneys to buy what it is you wanted from the runway, good luck, because most of the time you’re not gonna find it—especially in your size. I feel like that’s a male-oriented thing, in order to get us to come into shops. Guys, we don’t “shop,” we “buy.” We know what we’re looking for when we step into a store; we’re very objective-driven. I feel like guys need to feel more comfortable and part of a club as soon as they walk in. I think Carson Street Clothiers created that kind of atmosphere. When you go
into their shop in New York, there’s a TV in the back where you can sit and have a drink, and those guys are really easy to talk to. Future retail stores need to be more mindful of that. In some ways, the retail experience now is extending only just online. Some retailers don’t really care so much about having a brick-and-mortar store.
2000s. I do buy both men’s and women’s. I buy women’s Balenciaga from when Nicolas Ghesquière was designing. If I’m lucky I’ll find stuff in my size sometimes and I’ll wear it. I have a few crazy outerwear pieces from him—sometimes I outgrow them, but I’ll still keep them in the archive and use them for my own photo shoots.
How do you shop, with objectives or emotions, like the feeling of discovering something you didn’t know you needed until you found out it existed? I think it’s all over the place with me. I try to think more with my head than emotions, because I feel like if you get carried away with emotions, then you just walk out of the store or showroom with more than you anticipated. You definitely have to think hard—“Do I need this?” “Am I going to wear it?” The one thing I keep asking myself more and more as I accumulate more clothes is: Am I really gonna wear this? and What practicality does it have in my life? Usually the cases where I do go a little bit nuts is more when I get to order from a showroom or designer. I think once you have the retail price crossed off and you’re buying wholesale, it’s definitely more liberating.
What designer occupies the most real estate in your closet? I think probably Dries Van Noten. It’s only been a few short years since I’ve been buying Dries, but I’ve been lucky to work for Dries sometimes, and being able to be invited to go to the showroom and order things, you can’t help but just keep ordering more and more.
Do you buy some memorable fashion pieces not necessarily to wear but just to have in your archive? Yes, I definitely buy whatever Raf piece I can get. I’m not a huge Raf Simons collector, like Virgil Abloh—he’s hard-core. But if there’s one particular piece I really like— there’s this one double-layered, double-zip puffer that I’ve acquired in three different fabrics—I’ll definitely seek it out. I have quite a few outerwear pieces from Raf Simons. I have several pieces from Helmut Lang from way back in the ’90s and early
I’m surprised it isn’t a Japanese designer, considering how much you talk about buying stuff in Tokyo. I think since I’ve been going to Japan, there’s a huge part of my closet taken up by Japanese designers. I definitely have quite a bit of Visvim at this point. In the last year and a half I’ve acquired more of The Soloist, there’s a bit of Nonnative in there, and a lot of crazy pieces from Kapital. And there’s also a fair share of Italian designers, as well—I have quite a bit of Andrea Pompilio, Umit Benan, and Marni. I definitely love technical outerwear. I think I have six Ten C jackets now. I think when I really like something—and I can get it at a reasonable cost—then I’ll probably acquire as many as I can of the same style. What’s the biggest splurge you’ve made? Oh, without a doubt this Valentino varsity jacket. I don’t know what I was thinking. I just thought it was the most perfect jacket when I saw it, and when I came home a couple weeks after fashion month, it was
available online and I caved in. I dropped $3,000 on it. If you were to ask me if I were to spend that much now—no. I would never spend that much on one piece. Back then I was just throwing my money away.
“You definitely have to think hard—‘Do I need this?’ ‘Am I going to wear it?’” How many shoes do you have? Shoes overall I think I have between 180 and 200 pairs. How many of them are sneakers? Sneakers…maybe 120? I only know this because my mother decided to go through all my shit and count all my shoes. She just likes to clean up my archive—I don’t ask her! She said to me a couple of months ago, “I think you’ve acquired 170 pairs of shoes to date.” What’s the brand breakdown like? It’s primarily a mix between a lot of Nikes and New Balance 574s, 996s, and the 997s. Basically, when sneakers were reappropriated as everydaywear, I kind of went nuts on the New Balance thing, and I gradually got into the Flyknits and bought a lot, and Air Maxes came into play—but I’m not a sneakerhead! I think everyone is a sneakerhead now. It’s kind of like, if you like to buy and have a lot of sneakers, you are by default a “sneakerhead.” Yeah, but I was just buying out of practicality. I stand on my feet all day, I need to wear comfortable shoes, and I need an assortment of colors, so I’ll buy multiples of the same thing.
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ChristiAN Vierig
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f, like me, you’re looking for The ultimately chic and stylish street style blog, then look no further. The Styleograph is an amazing, fashion forward street style blog showcasing extraordinary style in not so extraordinary moments. Run by none other than COFD’s very own photographer Christian Vierig, it aims (and succeeds) to capture and inspire around the world. Having travelled from city to city, country to country, we caught up with the wonderful Christian to find out exactly what it is that makes him ‘click’….
Your blog, ‘The Styleograph’ is becoming more and more popular by the day. How would you like to categorize yourself, as a blogger or as a photographer? I see myself as a photographer. The blog is just a great way to share my work and get in touch with other like-minded people.
You’ve been traveling around Europe to capture the fashion world. Fashion week season must be a busy time for you, which city delivers the most interesting street style and why? To my mind the most interesting style can be found in London. The variety of outfits is enormous. You can find men in suits as well as people wearing costumes or vintage clothes. There is a lot of creativity going on there. That’s why I love to shoot in London. But Milan is lovely as well; furthermore Copenhagen and Stockholm are just great. I don’t really know what‘s their secret, but those Scandinavians know how to dress. What’s your focus once fashion week is over? I travel around or I just stay in Berlin. Riding my bike, watching people and trying to create the best images I can. Maybe you could see me as a bit of a charming stalkerwalking around and giving compliments to
THE STYLEOGRAPH
strangers. Seriously, I have this agreement with myself to keep the blog running, be out there and get inspired. Which picture has a special place in your heart? Actually every picture has a special place in my heart. For me, it’s like being seduced every day. But of course I have some favourite photos. I remember the couple I shot in Barcelona last summer. This photo is telling a story including love, life and fashion. That’s the way I want my photographs to be.
“EVERY PICTURE HAS A SPECIAL PLACE IN MY HEART. FOR ME, IT’S LIKE BEING SEDUCED EVERY DAY”
Which fashion icon is a lust for your camera? To be honest, I don’t really care about the so-called ‘fashion icons’. A person wearing H&M with a DIY necklace can sometimes look so much better than some fashion icons who dressed up for the shows. For me it depends, what I really love to show is a variety of styles, personalities and self-confidence. What’s the most flattering response you’ve received from people you’ve captured? That’s a tough question. Many unexpected things happened and that’s what I like most. I get invitations for parties, get-togethers, dinners, I’ve made friendships, met business partners and so much more. To
be honest some of my closest friends are people I’ve met on the street. Which is, to my mind, actually really funny and how life should be. For example, last weekend I shot this girl in Copenhagen. She was really in a hurry but asked me to join her after I took the photo. She told me, that she was on her way to a fashion presentation. I asked her how she was involved and it turned out that she’s a painter sharing a workspace with two designers and introduced me to one of them. So not only did I meet the designer but everyone was extremely friendly and welcoming to me. Then finally, they ended up showing me their collection before the presentation actually started and invited me to stay - free drinks and a great evening with a lot of great people included.
What are you the most proud of? The people I’ve met, and the wonderful chances I’ve had to photograph them. What’s your ultimate goal in the fashion industry? I don’t have a particular goal in the fashion industry. I have a goal in life and that’s just being free, doing whatever I want and having a great time. Why do you enjoy COFD so much? I guess Creators of Desire has a great mix of bloggers, styles, different approaches and a passionate CEO with a vision. To my mind you can only achieve your dreams if you think big and are passionate about what you are doing.
TOMMy ton's
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Cunningham’s job is not so different from a fisherman’s: it requires a keen knowledge, honed over years, of the local ecosystem and infinite patience in all manner of weather conditions. His first big catch was an accident. It was 1978, and a woman wearing a nutria coat had caught his eye. “I
thought: ‘Look at the cut of that shoulder. It’s so beautiful,’ ” he later wrote. “And it was a plain coat, too. You’d look at it and think: ‘Oh, are you crazy? It’s nothing.’ ” Cunningham shot frame after frame of the coat, eventually noticing that other people on the sidewalk were paying attention to its wearer. It was Greta Garbo. Cunningham showed the pictures, along with some shots of Cornelius Vanderbilt Whitney (whom he recognized), Farrah Fawcett (whom he didn’t, not owning a television), and the King and Queen of Spain, carrying plastic bags from Gristedes, to an editor at the Times. “The editor said, ‘Why don’t you wait and see who you get next week?’ ” Cunningham recalled. “And I said, ‘My God, I’m not expecting Jesus Christ.’ ” Soon after, his column became a recurring feature. “On the Street”—along with Cunningham’s society column, “Evening Hours”—is New York’s high-school yearbook, an exuberant, sometimes retroactively embarrassing chronicle of the way we looked. Class of 1992: velvet neck ribbons, leopard prints, black jeans, catsuits, knotted shirts, tote bags, berets (will they ever come back, after Monica?). Class of 2000: clamdiggers, beaded fringe, postcard prints, jean jackets, fish-net stockings, flower brooches (this was the height of “Sex and the City”). The column, in its way, is as much a portrait of New York at a given moment in time as any sociological tract or census—a snapshot of the city. On September 16, 2001, Cunningham ran a collage of signs (“OUR FINEST HOUR,” “WE ARE STRONGER NOW”) and flags (on bandannas, on buildings, on bikes) that makes one as sad and proud, looking at it now, as it did when it was published. So far this year, he has identified vogues for picture-frame collars, microminis, peg-legged pants, and the color gray (“often with a dash of sapphire or violet,” in the manner of the Edwardians). His columns are frequently playful—he once featured a woman, near the Plaza, walking three standard poodles, “an unmatched set in pink, turquoise, and white”—but they also convey an elegiac respect for the anonymous promenade of life in a big city, and a dead-serious desire to get it all down.
Cunningham, who turns eighty this month, is an annual presence at certain society events: the Fifth Avenue Easter Parade, the Central Park Conservancy luncheon, the Hampton Classic Horse Show. This winter, at the ice-skating rink in Central Park, he took pictures of the children of the children whose parents he once shot outside Maxim’s and at the Hotel Pierre (where, at a dinner dance in 1984, he captured thirty-three women in similar Fabrice beaded gowns). His vocabulary (“Cheers, child!”) and his diction (“Mrs. Oh-nah-sis”) are those of a more genteel era—the weekly audio slideshow he does for the Times offers many of the pleasures of a Lomax recording—but he rarely goes for the easy grip-and-grin shot. His sensibility is exhilaratingly democratic. He
takes wonder, or whimsy, where he finds it, chronicling the Obama Inauguration, the Puerto Rican Day Parade, Wigstock, and the snowman sweatshirts and reindeer turtlenecks of tourists; the do-rag and the way that, at one point in 2000, many young hip-hop fans spontaneously took to wearing their sweatshirts abstractly, with the neck hole on the shoulder, or with the sleeves dangling down the back. (He related the phenomenon to both the Japanese deconstructionists and the sideways baseball cap.) The four corners of Fifth Avenue and Fifty-seventh Street are some of Cunningham’s favorite shoals. One bright afternoon, he was there, as he has been for countless hours, casting about for inspiration. “I have an idea what I’m going to do this week,” he said. (What that was he refused to say.) “I’ve got to face the bullet very quickly. If it doesn’t have enough depth, I should wait.” It was a crackerjack day. “Look at the style you have here!” Cunningham said. “Stay here on Fifth Avenue and you see the whole world. Summertime—the vacationers and the Europeans. The holidays—everyone from the Midwest, the West, Japan. They’re all here, the whole world!” I asked if he ever photographed people who didn’t look so great, the sidewalk’s blooper reel. He seemed almost offended. “I’m not drawn to something awful,” he said. “I wouldn’t even see that. I’m looking for something that has beauty. Do’s and don’ts? I don’t think there are any don’ts!
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For two groups of New Yorkers—the fashionable people, whose style changes more rapidly than that of the masses, and the truly creative ones, whose style, while outré, in its theatricality never really changes at all—“On the Street” is also a family album. The magazine editors Anna Wintour, Cecilia Dean, and Carine Roitfeld and the society dermatologist Lisa Airan are regulars on the page, as are Tziporah Salamon (her Web site showcases her eight appearances in Cunningham’s column, including one—a Capri-pants montage—in
which only her legs are visible), and Louise Doktor, a midtown executive secretary, whose experimental outfits Cunningham has been documenting from afar for twenty-five years. “She once bought a coat with four sleeves!” he told me. At a party thrown last season at Bergdorf Goodman to celebrate the decoration of the store’s windows in Cunningham’s honor, guests included not only the police commissioner, Ray Kelly, and Arthur Sulzberger, Jr., the publisher of the Times (“You’re great! This is a really big thing,” he said, grabbing Cunningham, who had shown up at his behest, by the shoulders), but a woman wearing, on her head, what looked like one of those blue pompoms from a car wash, and a man with a Swiss-dot veil drawn in ink on his forehead.
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few summers ago, on upper Fifth Avenue, Bill Cunningham spied a remarkable creature: a woman, in her seventies, with a corona of blue hair—not the muzzy pastel hue associated with bad dye jobs but the irradiant one of Slurpee’s and laundry detergent. The woman gave Cunningham an idea. Every day for a month, whenever he saw something cerulean (a batik shawl) or aqua (a Hawaiian-print sarong) or azure (a Japanese parasol) coming down the sidewalk, he snapped a picture of it. One morning, he spotted a worker balancing, on his shoulder, a stuffed blue marlin. “I thought, That’s it, kid!” he recently recalled. The following Sunday, “On the Street,” the street-fashion column that Cunningham has maintained in the Times for more than a decade, was populated entirely with New Yorkers dressed in various shades of the color—a parade of human paint chips. “Mediterranean shades of blue are not yet the new pink, but they are a favorite this summer,” he wrote. “The cooling watery tones, worn as an accent with white and browns, appear in turquoise-color jewelry and blue hair, but it is rare to see a man crossing the Avenue of the Americas with a trophy sailfish.”
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Bill cunn ing ham
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PHIL OH
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ho are you? Hi, I’m Phil Oh and I do a blog called Street Peeper. I was born and raised in Chicago, and moved to NYC to study history at New York University, and after a series of random jobs (selling beanie babies, waiting tables, failed internet startup, more waiting tables, and author of trashy chick-lit novel Secrets of the Model Dorm), I started my blog. It attempts to document what personal style I found to be interesting in cities across the globe.
Where are you based? I live in Brooklyn, NY and cover the major international fashion weeks (NY, London, Milan, and Paris) and travel to Tokyo, Sydney, Melbourne, Shanghai, Copenhagen, and more to get content for my blog and for various magazines. I’m on the road for about half the year, which is exciting but can get really exhausting at times. I used to take submissions from other cities that I didn’t have time to make it to, like Tallinn or Jakarta, but I stopped that a couple years ago and just decided to do all the photos myself.
What do you do? I started my blog in 2006 and I travel around the world taking photos of people who I thought had fun and interesting style. I’m also recently become a contributor to Vogue.com (US) and to other international magazines like Harper’s Bazaar Australia, Elle China, and more. I try to mix up the photos between industry insiders, kooky fashion kids, streetwear dudes, and other random people who catch my eye.
When do you blog? I try to carry my camera around at all times (I use a Canon 5D with an SFK camera strap that I had customized for me -- its looks like a blue gingham Chanel bag chain), and I also try to post new photos every day, but sometimes I get busy/lazy and skip a day here and there. Why do you do it? I started it mostly because I thought it would be fun, but as digital media and blogging has marched on to become the
beast it is now, Street Peeper and all the projects I’ve taken on as a result, has become pretty much a full-time gig. Sometimes it feels like a job and work work, and it is, but for the most part I really enjoy doing this -- documenting awesome personal style, travelling the world, and meeting inspiring people, some of whom have become close personal friends as a result.
Phil Oh, better known as Streetpeeper, travels the world as a street style photographer, shooting for his own website and for Vogue.com. Yet, he is remarkably casual and good humored about both fashion and photography, comfortably self-identifying with the creative spirit that can turn an adventurous misfit into a style star. We asked him about identifying an ideal look and how he manages to work so quickly while somehow capturing the perfect fashion image. Did you start out interested in fashion or photography? What lead you to the whole street style game? I mostly started doing this as a hobby, or as an excuse to justify traveling to Tokyo and
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Europe. I majored in history at NYU, and I basically knew nothing about both fashion and photography when I started my blog back in 2006.
Do you have a favorite city to shoot in? Things have changed there recently with high-profile flagship openings of stores like Zara, H&M, Topshop, Forever 21, etc., but Tokyo is still #1 for street-style, especially the menswear. Paris is my favorite for the fashion weeks, since everyone saves their best outfits for this week. I also really like Sydney, Melbourne, London, and Copenhagen. Bangkok was surprisingly cool, too! Do you feel pressure to post really frequently? During fashion weeks, of course I feel pressure to submit daily photos for Vogue.com. It’s 30 straight days, twice a year, and gets totally overwhelming, which is part of the reason why I’ve sort of slacked a bit the rest of the year for my blog. I’m assuming you have people who shoot under you. How do you make sure the photos (and taste) stay consistent?
I used to, but I’ve stopped taking submissions from other cities. The beauty and curse of publishing online is that if someone is good enough to take nice photos, what do they need me for? They can start their own blog!
Street style photography has become such a ‘thing’, with people dressing up just to be photographed. Do you think this is a good development? No, but anything that gets people excited about style and looks they would normally be too shy to wear, can’t be such a bad thing? I get it, that the ‘circus’ and the ‘peacocking’ is a bit eye-rolls, but if a woman can’t wear a crazy Proenza or Dolce look to a fashion event and not be pooh-pooh’ed, where else can she wear it? Yeah, part of it is internet-fame-seeking and vanity, but most of these kids do genuinely love fashion and love wearing it, which some people seem to forget. What defines a good look for you? What gets you excited? I don’t know actually. It’s all subjective, but I love color and texture, and layering and clashing. It’s so hard to do right,
which is part of the reason I think people who wear all black are usually so safe and boring. Anyone with a high enough credit limit can go out and buy a current season full Prada look, but what interests me is people who can put together items that look really disparate on a clothing rack, but which look just so right when they put them on together. I absolutely love it when I see someone who can put together an unusual outfit that works.
What’s your M.O. for identifying looks? Do you just have an encyclopedic fashion memory? Oh no, definitely not. I don’t really have that kind of knowledge. I can recognize some of the more recognizable pieces or prints/patterns, but I’m far from encyclopedic when it comes to fashion. A lot of the times you’re shooting super quickly but the photos still look really good. How do you make sure the photos you’re taking look appealing? Take a LOT of photos?
how to get street style snapped WHETHER YOU’RE ALL ABOUT A MOSCHINO BARBIE BAG OR A MANSUR GAVRIEL BUCKET BAG IS MORE YOUR VIBE.
You know that Coco Chanel-ism that decrees taking at least one thing off before leaving the house? It’s not that we don’t love the Coco (had to), but ask us to part with one meticulously selected bangle
or clashes-just-so choker during fashion week and you’ll throw us into Sophie’s Choice mode. (Cue the smug strip-poker moves as we remove exactly one ankle sock from under our Sophia Websters).
All we’re saying is that street style requires its own book of accessory adages. We’d like to suggest, ‘Add at least one item that could double as a tiny weapon before leaving the house.’ Or, ‘Never discriminate
against a purse that fits nothing.’ Or, ‘No matter how many Technicolor feathers it’s affixed with, Valentino is always a neutral.’ Here are the accessories we’ve been coveting this fashion month, for both
the minimalists (the barely-there-ring, dainty-box-bag, clean-white-sneaker types) and the maximalists (the print-mixing, headgear-wearing, is-that-a-live-animal-growing-out-of-your-shoulders set).
THE MAXIMALIST
IF YOU WORSHIP AT THE ALTER OF PHOEBE PHILO
MAR Y KATRANTZOU AND PUCCI ARE YOUR BASICS
Delpozo
Acne
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Prada
Christian Louboutin
Anna-Karin Karlsson
THE MINIMALIST
Stella McCartney
Masterpeace M2Malletier
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Proenza Schouler
Charlotte Olympia
Saint Laurent
Alexander Wang
Mansur Gavriel
or the Jayne Mins, Gaia Repossis and models off-duty among you, a cashmere beanie and a smattering of dainty diamonds between the fingers is all it takes to top off a Tommy Ton-worthy outfit. You think fashion week can sometimes err on the side of Halloweenish in an effort to get street-snapped, and you’d much rather be caught re-wearing last season’s ankle boots than attempt one of Anna Dello Russo’s fascinators. Keeping it clean and simple definitely doesn’t mean boring—think Rachael Wang’s baseball caps, streamlined sunnies, athletic socks and sneakers, lending a tomboyish accent to girlier fare like cotton-candy coats and silky skirts.
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Ileana Makri
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he way you see it, you have 351 days a year to play it safe—the other 14 are reserved for fashion weeks (hold the rules, please and thanks). You play dress-up like a third Beckerman sister and give zero f*cks about any sideeye cast in your direction as you adjust your bejeweled turban on the A train. In your rhinestone-lined eyes, the add-ons can turn an everyday outfit into a work of off-kilter art (see the likes of Tilda Lindstam’s cinnamon heart-red Tommy Hilfiger helmet, without which she’d just be your average dirty blonde in a muppet coat. And that won’t get you on any best-of list, now will it?).
Jil Sander
Kelly Wearstler
Valentino
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Moschino Simone Rocha