Just a few snip snappity Instagrams from the 2012 Metropolitan Museum of Art Costume Institute Gala — hop over here for more information about the exhibition, or head over yonder for more photos from the Met Ball.

Céline resort 2012 Proenza Schouler resort 2012 Stella McCartney resort 2012 Chloë Sevigny for Opening Ceremony The Row resort 2012 Givenchy resort 2012 Jason Wu resort 2012 Band of Outsiders resort 2012 Louis Vuitton resort 2012 Organic by John Patrick resort 2012

Resort 2012 — A White Collar Affair

I had planned to pen a fully-fledged print piece (or for a magazine’s online component) addressing the inrush of white collars that hit the showrooms this resort 2012, perhaps touching on the historic and socioeconomic ramifications of what such a loaded motif as a “white collar” could possibly connote (or not) of our world at large—and fashion’s relevance therein.

Altuzarra Resort 2012

Altuzarra Resort 2012

Alas, due to silly life things (pressing work obligations and deadlines coupled with schoolwork and exams out of town), I have yet to find a free moment to develop anything semi-intelligeble or worthwhile on this whole resort 2012/white collar notion.  So here are a few hare-brained thoughts, seeing as I have yet to come to any firm conclusions myself on the matter…

Céline Resort 2012

Céline resort 2012

I reckon it would be foolish to assume that this trend bears any pertinency on our economy in the way that we may initially perceive (in the standard sense of the term apropos to White Collar crime, white-collar professionals, etc.).  After all, white collars—when unaccompanied by a suit, that is—bore altogether different implications at one time, as I was reminded upon rereading John Updike’s acclaimed A & P (1961) this past week.

Chloë Sevigny for Opening Ceremony Resort 2012Chloé Resort 2012

Chloë Sevigny for Opening Ceremony resort 2012, Chloé resort 2012

In the midst of quitting his job as New England grocery store clerk, Updike’s teenage narrator Sammy removes his uniform (a white apron and bowtie) ostensibly in angst over his employer’s treatment of young bikini-clad customers.  You probably have already read the classic (it is well-nigh a requisite in most American schools), but in case missed the boat and are curious: The freedom portrayed by the bathing-suited girls alludes him, and he ends up alone in the white shirt that his mother had starched for him.  Poor Sammy.  

[There’s a short film adaptation of A & P here, starring Sean Hayes and Amy Smart in all their circa 1996 glory.]

Peter Jensen Resort 2012Peter Jensen Resort 2012

Peter Jensen resort 2012

Then again, the wealth of white collars this resort season could merely allude to designers’ optimism that by catering toward white-collar customers (in the most traditional, affluent sense), such a clientele would in turn snap up their “white-collar” togs.  [E.g., Stefano Pilati’s resort 2012 Yves Saint-Laurent showing.]  Although I have a sneaking suspicion that Elizabeth Warren and (chic) economists on both sides of the aisle would be quick to debunk ascribing the trend to that rationale.  

Carven F/W 2012

Carven by Guillaume Henry

Carmen de Tommaso (Mme. Carven) was famously a fan of peter pan collars and white cuffs—veritable signatures of early Carven.  The house is flourishing under Guillaume Henry’s helm; who, as it is oft-reported, is doing wonders carrying the Carven torch into the 21st century.  Perhaps the rest of the fashion flock is finally catching onto his sought-after propensity of topping his “French cool girl” collections with a trademark Carven peek-a-boo white collar (sometimes betwixt a bola tie)?

Acne resort 2012

Or plausibly I am reading way too much into this, and white collars’ coinciding, collection-wide presence is merely a testiment to how pretty and crisp and clean they are—evidentiary of their remarkable ability to add a demure and ladylike touch to even the sultriest of ensembles.  

Burberry Prorsum Resort 2012

Burberry Prorsum resort 2012

So, white collars are a thing this resort 2012.  And frankly, I don’t know why.

Oh and here’s an illuminating interview with John Updike (1932-2009) on A & P, which is mildly germane to this whole spiel, sort of:

An Interview with John Updike

Paper Magazine May 2011 — "Styled Like Me"
I am heartily flattered to be featured amongst the industry legends within Paper's Social Media issue on newsstands now! I truly had a ball on set styling this little last-minute piece (including the four girls at right) alongside such an funloving crew; my sincerest thanks again!


On me: Maison Michel lace ears, Pamela Love turquoise skull necklace, Lulu Frost vintage charm necklace, Timo Weiland rain parka, Shipley & Halmos jumper, Alexander Wang Marion mini flap bag, Chloë Sevigny for Opening Ceremony x Fogal floral tights



Natalie: Chloë Sevigny for Opening Ceremony Sophie puff sleeve houndstooth dress, Lulu Frost vintage charm necklace, Henrik Vibskov Sokke bomber cardigan, vintage Navajo beaded belt, Acne wedges, Victoria Grant hat, Pamela Love tribal ring
Iris: Deyrolle pour Opening Ceremony cat print tee, Marc Jacobs floral pin (worn as headband) and rust silk overalls, Rag & Bone beige net vest, Pamela Love spiked cuff, vintage Gravati brogues (with American Apparel peach ribbon laces)
Aubrey: Opening Ceremony grey felt cap, Prada embroidered monkey top, Chloë Sevigny for Opening Ceremony Lissy boxy swing dress (shown as skirt), 3.1 Phillip Lim clogs, Lulu Frost vintage necklace and mesh bracelet, Derek Lam Ume ram messenger bag
Flynn: Opening Ceremony Liberty print straw hat, Jeanette Farrier sari shawl, 3.1 Phillip Lim bow midriff dress (view here), Acne blazer, Hansel from Basel woolen pixie leggings, Marc Jacobs sunglasses, Alejandro Ingelmo for Chris Benz wedges

Paper Magazine May 2011 — "Styled Like Me"

I am heartily flattered to be featured amongst the industry legends within Paper's Social Media issue on newsstands now! I truly had a ball on set styling this little last-minute piece (including the four girls at right) alongside such an funloving crew; my sincerest thanks again!

On me: Maison Michel lace ears, Pamela Love turquoise skull necklace, Lulu Frost vintage charm necklace, Timo Weiland rain parka, Shipley & Halmos jumper, Alexander Wang Marion mini flap bag, Chloë Sevigny for Opening Ceremony x Fogal floral tights

Natalie: Chloë Sevigny for Opening Ceremony Sophie puff sleeve houndstooth dress, Lulu Frost vintage charm necklace, Henrik Vibskov Sokke bomber cardigan, vintage Navajo beaded belt, Acne wedges, Victoria Grant hat, Pamela Love tribal ring

Iris: Deyrolle pour Opening Ceremony cat print tee, Marc Jacobs floral pin (worn as headband) and rust silk overalls, Rag & Bone beige net vest, Pamela Love spiked cuff, vintage Gravati brogues (with American Apparel peach ribbon laces)

Aubrey: Opening Ceremony grey felt cap, Prada embroidered monkey top, Chloë Sevigny for Opening Ceremony Lissy boxy swing dress (shown as skirt), 3.1 Phillip Lim clogs, Lulu Frost vintage necklace and mesh bracelet, Derek Lam Ume ram messenger bag

Flynn: Opening Ceremony Liberty print straw hat, Jeanette Farrier sari shawl, 3.1 Phillip Lim bow midriff dress (view here), Acne blazer, Hansel from Basel woolen pixie leggings, Marc Jacobs sunglasses, Alejandro Ingelmo for Chris Benz wedges

Source papermag.com

Louis Vuitton Fall/Winter 2010

STRIKE A JUXTAPOSE — "Celia" by American artist John Graham circa 1944 vs. Louis Vuitton by American designer Marc Jacobs Fall/Winter 2010 (as styled for the “Fifties Flair” category of the 2010 Fashion’s Night Out: The Show event)

… In the early 1940s Graham underwent a radical philosophical transition, during which his belief in Marxism and psychoanalysis was replaced by more magical thinking. His taste for modernism shifted to the old masters, particularly those of the Renaissance. “Celia” was painted during these transitional years and is one of the many portraits of imaginary women dating from this time. In these paintings he achieved a monumental reinterpretation of classical art. Here, the calm and dignity of the lovely woman, her elegant silhouette, and her monumental solidity are reminiscent of ancient Roman portraiture, of Ingres, and of Raphael, while the forms, as well as the curious sense of detachment from place and time hint at biomorphic Surrealist sculpture. The tension between the figure and the flat pictorial structure belies Graham’s avowed dismissal of modernism. He maintained that he gave his sitters staring (sometimes crossed) eyes not as an expressive device, “but as a means to anchor space to a point in the room, to create more tension…to make the figures immutable, fixed and timeless.” [read more at The Metropolitan Museum of Art]

*This is the first in a series of forthcoming STRIKE A JUXTAPOSE posts that will pit various images and videos from disparate media against one another.

3 Quick Questions with Katie Hillier

Shortly after her graduation from Westminster University, Katie Hillier's smash hit beaded ribbon belt conceived for Luella's second show, “Daddy I Want a Pony” sparked her long line of memorable collaborations with fashion's most eminent and esteemed designers and luxury houses –– including Giles, Stella McCartney, Hogan and Salvatore Ferragamo. As one of Elle UK's “50 Most Influential in British Fashion” – and as the 2009 winner of Accessory Designer of the Year at the British Fashion Awards – Katie now helms Katie Hillier Ltd, collaborating with the likes of Clements Ribeiro, Converse, Daks, Gap, Hugo Boss, House of Holland, Jonathan Saunders, Markus Lupfer, Samantha Thavasa and Sophia Kokosalaki. Since 2003, Katie has been the freelance designer for the Marc by Marc Jacobs accessories collection –– where her sought-after, whimsical creations span everything from handbags, hair accessories and jewelry; to boot, for the past two years Katie has been the design consultant for Marc by Marc Jacobs eyewear and watches (licensed through Safilo and Fossil firms). Her fanciful fine jewelry collection, Hillier London, has a cult following amongst fashion’s zaniest insiders –– who all routinely flock to Colette, Dover Street Market and Matches to snap up her charming creatures.

And so I “sat down” with Katie last week…

How did you first conceive of the woodland creature pendant paperclips as the hallmark of your jewelry collection, Hillier London?

Katie: Our inspiration comes from everyday objects and by adding a twist of luxury! We at Hillier London are totally obsessed with animals and as we spend a lot of time in the wonderful British countryside it only seemed natural to start off with iconic woodland animals –– with the addition of our German Hound!  

Of all of your accessory collaborations this season (with Marc by Marc Jacobs, Henry Holland and Loewe), which are you most excited to see come to fruition?

That’s a tough one; every client is totally unique and we are always working with new techniques and concepts… so everyone is as exciting as the next! (Sorry to be so fashionably diplomatic!) But keep your eyes peeled on the shows!  

What – or who – makes you happiest? 

Doggies, bunnies, my wonderful friends at Hillier London, my cottage in Great Tew… and waking up on a Saturday morning and going to Broadway Market in East London for a delicious violet cupcake, coffee and reading the papers! Pretty simple, really!

Read More