In this age of global uncertainty, clothes have become a kind of panacea for a growing number of consumers. Designers are responding to the political upheavals of the past year by injecting some much-needed humour into women’s wardrobes. Browns CEO Holli Rogers is already predicting that spring’s sartorial hit will be Rosie Assoulin’s smiley-face T-shirt. This cheery number, which reads "Thank you! Have a Nice Day!’" neatly sums up the jubilant mood of the coming season.

The logic goes that turning up the dial on the fun, the colourful and the crazy is the sartorial equivalent of Michelle Obama’s "when they go low, we go high" mantra. We may not be able to control the chaos of world events, but we still rule our own style.

It’s no coincidence that a cartoonish aesthetic, of the sort you’d find if you rifled through an eccentric child’s dressing-up box, was in plentiful supply on the spring/summer 2017 runways. Alessandro Michele’s army of Gucci geeks displayed growing swagger in garish get-ups that ran from fuzzy crayon-coloured furs featuring zebras to tiered, tinsel-y coats that rivalled Grandma’s Christmas tree.

It was a similar story at Dolce & Gabbana, where sumptuous eveningwear was loaded with pasta and pizza motifs, and drums became bags, while Marc Jacobs tore a page from a psychedelic colouring book, covering clothes with the childlike scrawl of the London illustrator Julie Verhoeven. Even ardent minimalists would have to admit that these playful looks have potent pick-me-up power.

For Anya Hindmarch – whose empire is built on feel-good fashion – all this frivolity is nothing new. "An ironic, lighter and more irreverent approach has always been my thing. People love beautiful objects and increasingly, they want to show their character – that’s the point of fashion," she says. "Customers today are more confident with their style. There aren’t so many rules. It’s about putting a sticker on a beautiful handbag and not being too precious about it."

What’s surprising is who is consuming this cartoonish style. Though there’s no real rhyme or reason, says Hindmarch, often it’s older clients who are investing in the maddest pieces – like her cuddly, googly-eyed Ghost backpack that has also been spotted on Gigi Hadid and Kendall Jenner.

The same is true of the customer for the Lebanese designer Mira Mikati’s emoji-embellished styles. Though her fans run from twenty to fiftysomethings, at a recent London pop-up one of Mikati’s most ardent buyers was an 87-year-old. "She tells me that whenever she wears my clothes people stop her on the street. They smile. They start conversations. She literally makes friends through what she wears."

Mikati began her career as a buyer, co-founding the upscale Beirut boutique Plum, before launching her own line some four seasons ago – largely out of frustration at the sameness of the mainstream collections. "I wanted to create something fun and colourful but easy to wear – that you can add to jeans and a white T-shirt, but that’s also a conversation point."

Her clothes, worn by Beyoncé and Rihanna, are certainly that: pink parrot-appliquéd trench coats, scribble-print hooded tops and dresses clad with a family of monsters who spell out her Peter Pan ethos in scrawled speech bubbles that read "Never Grow Up’" The antithesis of normcore, these designs take their cue from her children’s toy trunk and the Japanese pop art of Takashi Murakami – who returned the compliment by donning one of her patched bombers.

Mikati is clearly onto something. According to Roberta Benteler, who founded online fashion emporium Avenue 32 in 2011, it’s the cartoon aesthetic that’s really piquing women’s desire right now.

"Anything that looks like a child’s drawing or a toy sells incredibly well," she says. "Brands like Mira Mikati, Vivetta and Les Petits Joueurs inspire the impulse to buy because they’re so eye-catching. You have to have it now because there’s a sense you won’t find it anywhere else."

The exponential rise of street-style stars and the social-media machine that now propels the fashion industry also plays a part in the popularity of these playful looks.

"Designers are creating for the online world and customer," continues Benteler, who cites the Middle Eastern consumer as a big investor in these niche eccentric designs. "People find escapism in fashion and more than ever they need something to cheer them up. These are clothes that stand out on Instagram, and for designers that translates into sales."

In practical terms, in an effort to beat the warp speed of high-street copying, designers are differentiating themselves with increasingly intricate and artisanal styles that are harder to mimic. Just because these pieces have a childlike sensibility doesn’t mean they’re not beautifully crafted.

"My aim is create a handbag that you can keep as a design piece," explains the accessories designer Paula Cademartori. One of her most successful designs – the Petite Faye bag, which comes in a whole rainbow of configurations – takes more than 32 hours to create at her Italian studio. "Even if the styles are colourful and speak loudly, they’re still sophisticated," says Cademartori, whose brand was recently snapped up by the luxury goods group OTB. It can pay to be playful.

One man with a unique insight into the feel-good phenomenon is Marco de Vincenzo, who combines his longstanding role as leather goods head designer at Fendi with creating his own collection. "When we first created the Fendi monster accessories for bags we were simply playing around," he says of the charms that still loom large some three years on. "The most successful designs are created without pressure, through play."

His own-line debut bag features an animalistic paw. ‘It’s about creating something new and different for women to discover,’ he explains. "You buy something because you love it, not because you need it. Fashion is like a game – it has to excite."

When it comes to distilling this childlike abandon into your wardrobe, take cues from super style blogger Leandra Medine, who balances madcap pieces, such as her first collection of colourful footwear under her MR By Man Repeller label, with plainer, simpler ones. "It’s all about wearing your clothes with joy, and having fun, but not looking ridiculous," says Cademartori. "You don’t want to look like an actual cartoon."

It’s advice that chimes with that of Anya Hindmarch. "I love the idea of wearing a super-simple Comme des Garçons jacket and a white shirt with a really fun bag to mess it all up a bit." It’s a failsafe formula for dressing your way to happiness.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

*****, it's T-Raww, blood on my paws
Big ***** chick back a ***** to the wall
Never get involved, ****** every bar
**** so illegal, get a green card
Different cars, different from y'all
I work hard, you work at the mall
Pass a ***** off like my ***** John Wall
**** her in the dark, gimme the light, Sean Paul
Yeah, ***** I do this ****
Colder than a ******* penguin lip
And my ***** ***** fire gotta extinguish ****, Lebron James and ****
Got heat super freak Rick James ya *****, leave a stain and ****
On ya couch in ya house like brotherman
Hanging like Mr. Cooper hand, ****.

[Chorus]
Posing, Heisman [x3]

[Honey *******]
Yo, got a Asian ***** on my left side
Another Asian *****, right, right side
They might send your *** off to the next side
***** hold your **** breath 'cause you might die
Got a group of bad ******* and I feel good
Oh you're hungry? Too bad 'cause my meal's good
And I shouldn't beat a broad, yet I still would
But I don't tryna be bad 'cause the deals good
Yeah, now look I got the urge to feed them off some doggy ****
Type of stuff to make them feel like alcohol and potent ****
Hold the *****, just sold the *****, ******* pay me is what I told the *****
You can't walk or talk, I own you *****
Please don't make me hot, I'm the coldest ***** (agh)

[Chorus]
Posing, Heisman [x3]

[Tyga]
Well, running from the cop, boy born to ****
Hand me the lock, bring it to your front door, doorbell
Knock knock, who there? Houdini disappear
Got green, John Deere. More green, Paul Pierce
Amazing win shot, you my son, I adopt, dop dop
Pacman, that's for opening your mouth
Bust a nut, kick her out, lit a cigarette now
Put the cigarette down, I'm the ****, loose bowels
Wow, Laughing, did I say that out loud?
***** getting busy like I work downtown
On to the next if she don't **** right now (right now)
Harder than a pipe, can't pipe down
What you ****** talking about?
Man I'm what your ***** is talking about
Two months then an album out
Careless world drop, pewm, then I'm out.

[Chorus]
Posing, Heisman [x3]

[Honey *******]
If a ***** **** around, I might go off
My advice is you better get down to go
You came to shop at the mall, but I bought the stores
I got a box of jewels, I call it *** of gold
Call the cops to go, as my pockets grow
Get the chains and the rings and the watches, bro
And I boxed a ****, I just boxed a ***
You tryna pass me *****? It ain't possible, nah
Cool as ****, I suggest you dress for the weather *****
Is forever ****, whenever *****
What's a ***** to a queen? Whatever *****!
I crop a kid, it's a hot to ****
Its some Gucci, Louis, fendi, Prada ****
Tell them *******, you ain't not a *****
Find me in the club where my partners is
(Schwagg, B-*****!)

[Chorus]
Posing, Heisman [x3]
(***** I'm The ****)

He's singing
Bergdorf Blonde
Conde Nast Traveller
Rude or ****
Explode Bombshells.
He's singing I'm getting
married
Such a Pushover puppet?

Slave over the silken magnet
Oh so swift and swell let
the show begins

Those ritual love sin's
Miss Polly String smile say cheese
He's the Maneater enticing grins
His Trump Tower bell?
Oh! Hello Poetry
People like twin packing
Playgirl smooching
her lips pillow talk

The puppet stalk
their suitcases, but surprisingly
she falls down and trips
Play up your string's
Love act of rings
Her killer lace went into his face.
They all had a puppet inside.

A daredevil ride
Nowhere to hide
Las Vegas Nevada,
Like no other place.
She was in her prime
Diva,
Donna so Dollie, he had
a craving bank her they all
had to thank him
The foursome the Follie's
Do him
Torn to be so trendy
Such a spendy

Walmart of walnuts
Two amazing dollies
She's the magazine of
Italian Fendi.
Pulling her hair more flair
The whole shebang cashew's
Pushed by his split so
picky pecans.
How it went to her
Big little liar nephew's.
Like puppet curfews
  Hello, Poetry New.
The white wedding blue's
Magnifying big lip's.
He needed a Holly-doll
The next clue?
Silk strings taped up
That puppet took a mighty
long trip...

Did I say plastic puppet is real porcelain skin faces?

Playgirl's cries needed
a dominating diet
Hefner smoking jacket suit

What a demonstration,
pulling on hemming mini
skirt trims chances
dangerously slim
So condemning
caused a riot.
The other crowd what
Oscar Meyer Wiener.
Going to the Vet doggie collar he
was tied to be fit silk suit
Las Vegas show trainers.
Who got caught with the puppet
Honey tricked peanut butter playgirl
Puppet show went all hobbit
over "Twitter" mixed whirl
        
What a nut sometimes you feel
like a nut
sometimes you won't and she
knows you don't

The rest going to H---.
Must I B dreaming?

He's singing I'm your puppet man,
Elephant nose cleaned out the planter's
Such a big spender and tipper.
Brooklyn his name Lucas @ the circus!

Like a physic knows your inner thoughts,
hanging on a string.
Everything that comes out of his mouth is two!

I have a puppet surfing the internet
wrapped her around
Felt an undercurrent_ it was
like pieces of glass
soundproof,
his crafty fingers.

Is he doing the best he can?

He's pulling her madly
Puppet computer search
Penny the dreadful
He expects us to jump when
he's oversexed active
looking for his puppet chair,
in the back.
A ****-day puppet!
He's the pig face twilight zone
muppet's
Well doing the can-can two
Playgirl's
hit the fan
The puppets became
the Gentleman

  Playgirl's shuffling "Rose" deck
   Hollywood screen bedding
    Puppets skillful  making

        The Poem Day.
         Puppets pray
         String cheese display

Obsessed stories Puppets.

Playgirl's color gypsy Rose Leah  
Miss Natalie from the woods preach
Silken Marionette.  
So wrapped like someone's gift
But used thrifty bed
He's in his red-hot Corvette.
Instead of roses, his thing french brie
Stock market up and away tie
I rather have my pasta bow-ties
Swiss, the air she's the playgirl
  Swiss Alp's skiing
he ripped his pant's Swiss Alps hole.
Marilyn Monroe playgirl presidential
dancing on the Christmas pole
Love tropic Pineapple dole
  The bed red hot Corvette. console

Instead of roses, his thing was cheese.
"So Swiss" with holes of lace my face
I hate to burst your cheese,
He dragged his shirt open

Twice the fun playgirl she eloped
I became his string cheese pet!!
I'm not your string cheese.
Hello Godzilla, puppet collection
Bella bella Genie mozzarella

"Puppet overpriced sales
All your friends are a puppet male.
Make a wish blowfish

In all the year how I tracked men's nuts,
she had to string together nut job's,
eat a string cheese.
Polly didn't want animal crackers,
Groucho became like a ******.

The puppet master showing
his game piece
and pull on someone else's

I'm not a person who collects things
I live a very minimalist's life
But I have a bag of treasures
I keep close to me day and night

I sleep on an old painted daybed
It squeaks softly as I lay down
Most of my clothes are second hand
And my shoes a little worn down

But I have some precious treasures
Hidden in bags of different names
Fendi, Burberry and Prada
Leathers and fabrics of worldly fame

My treasures are hidden deep inside
In makeup bags and zippered pockets
Shiny compacts full of velvety colors
From Paris, Milan and Rome

A black cloth bag of 8 tiny bottles
Protected from the sun and rain
Bottles of perfume oils made in an alchemist's lab
With names like Dragon's Milk, Snow White and Bliss

A Christian Dior handkerchief or two
Hangs delicately inside the bag
In case the breeze brings on a sneeze
Or I notice a tear in the eye of a friend

by Mark Lj

Handbags

Fetish for handbags...
The last time I counted
Almost 100 of them
Variety of brand names
LV, Gucci, Hermes, coach, Burberry, Jimmy Choo, Marc Jacobs, Fendi
Ohhh.... you just name them..
Some were bought
Some were given on special events

Proud of the collection, love them all
But closet is full..
Keeping some in the store..
Collecting dust , waiting time to rot
Why not sell them?
Donate the profit to charity, orphanages, old folks etc..
Handbags too many...
Can save lives of many...

The makeup feels too heavy,
The lipstick- too unnatural
And the fendi scent sticks to my skin.
My mascara runs, as I rub my eyes.
Darkness covers the city,
A sigh of relief, then a deep inhale of life.
My head begins to know a faintness-
Stifle the loneliness,
Muffle the empty parts, fill it with something.
these thin ribbed tights, too easily torn
the night of many moments begins
and a night of helpless, wishful thinking sinks in
insecurites-itching and itching at my skin.
The Bass, the Boom.
I walk alone through the sea of people.
the never ending lull of the beat-the- pulse.
Lids drowsy, the pockets of confusion and lights
maybe for just a second, this moment will take me higher
She’s next to me, her own ecstacy,
The energy kicks and pulls,
I see the blood in her mouth, too much anxiety
But she looks so happy.
I have to leave, leave these confusing lights.
I hate this part,
I begin to think of you.

--amelia rose

“Tiffany are so proud to now be not just in Rome but on this actual street, Via Condotti,” said Florence Rollet, group vice president of Tiffany Europe, last week.

The shop is housed in a 16th Century, arch-fronted building a gemstone’s throw from the nearby holy trinity of Italian high fashion; Gucci, Fendi and Prada. The interior is light and cool, a calm contrast to the bustling street outside. Silvery grey walls, white marble floors and subtle Japanese touches such as a painted mirrored screen recessed in the store’s high ceilinged fashion room provide the decor. Stately ariel photographs of the Empire State and Chrysler buildings by Jeffrey Milstein are on the walls, as essential to New York’s skyline as St Peter’s dome and the Coliseum are to Rome.

The fit between New York’s 179-year-old luxury jewellers and Rome is neat like a signature 6 pronged, platinum ‘Tiffany’ setting holding a brilliant-cut diamond. “Our diamonds pop from the other side of the room like nobody else’s,” said Melvyn Kirtley, Tiffany & Co.’s chief gemologist, here to support the launch. “This year we’re also celebrating 130 years of the Tiffany setting. It was invented by Charles Tiffany in 1886,” he explains. “Tiffany cleverly floated a diamond with this setting above the finger. This lets in more light which helps diamonds to dazzle. Before his innovation, all diamonds were set very low on the finger,” he said, frowning at the thought.

The linking figure between New York and Rome is Audrey Hepburn of course. In Breakfast at Tiffany’s and Roman Holiday Ms. Hepburn’s wide-eyed, elfin face bridges these two cities at a unique time of glamour and post-war optimism, the 1950s. This was also a period of economic confidence for both cities. So it was a coup for Tiffany & Co. to have model, artist and New York resident, Emma Ferrer, Hepburn’s beautiful 21-year-old grand-daughter to help with their launch celebrations. Rome-based British acting star Katy Saunders was also on hand to dazzle. Celebrations climaxed with an al fresco dinner and dancing to New York’s spin master, DJ Cassidy at Villa Aurelia, a 17th Century pile. The house and gardens overlook the ancient city from the Janiculum Hill, one of Rome’s famed seven hills.

If any of Tiffany’s new Roman customers needed reminding of the company’s glamorous heritage, on the ground floor of the shop is an area dedicated to archive pieces by Tiffany’s most feted jewellery designer, Jean Schlumberger. Displaying such unique and beautiful objects as Diana Vreeland’s Trophee de Vaillance pin which the legendary Vogue fashion editor commissioned from ‘Johnny’ Schlumgerger in the 1940s. Beside it is Liz Taylor’s Fleur de Mer brooch given to her by husband, Richard Burton. Tiffany bought it back from the Taylor estate at the auction of her jewellery in 2011. Ms. Taylor herself is forever connected to Rome her starring role in the film Cleopatra. It was made at Rome’s Cinecitta studios in 1963 and co-starred her future husband as Marc Anthony.

At the back of the shop a double-height square room features the Tiffany ’T’ collection as well as watches and younger, trend-setting pieces by Francesca Amfitheatrof, Tiffany’s current, and first woman, design director. “It took us a long time to find the right location,” said Ms. Rollet. “And now I’m thrilled. This place is perfect for us!”Read more at:www.marieaustralia.com/formal-dresses-perth | www.marieaustralia.com/formal-dresses-canberra

Before the hordes of his extended fashion family descended on Somerset House last night, Sam McKnight was pacing through the two floors of an exhibition of his life as one of the great sessions hairstylists. He stopped in front of a formal British Vogue portrait of Princess Diana, taken by Patrick Demarchelier in 1990. “I put on the tiara and had to make her hair big for it,” he remembered. “But, oh, God, then we had such an amazing day afterward. We were chatting and she suddenly asked, ‘If you could do anything, what would you do?’ And I said, ‘I’d cut it off!’ And she said, ‘Well, let’s do it now!’”

Thus, Diana, Princess of Wales, got the best slicked-back look of her life, the cut that defined her chic, grown-up, independent years—and her cutoff from her marriage. “I didn’t realize at the time,” McKnight said, “but in retrospect, with everything that was going on in the background, she wanted a change.” McKnight, after that, became Diana’s entrusted hairdresser. As photographer Nick Knight puts it elsewhere in the show, McKnight has that general effect on women when he’s working. “When he goes near the girls, they relax.”

It’s a testament to McKnight’s popularity in the magazine and fashion show milieu he has worked in since 1977—nearly 40 years!—that so many (who are sometimes so difficult) cooperated and gave permission, and that Chanel and Vivienne Westwood lent spectacular clothes to illustrate the interpretive cut and ****** of what a great hairstylist contributes. Straightaway, as you step off the street into the exhibition, you’re plunged into the next best thing to a backstage hair-and-makeup station and the kind of frenetic scene that goes on minutes before Chanel, Fendi,Dries Van Noten, or Balmain shows take to the runway. In place of the mirrors there are videos—say, of Kendall Jenner getting her Balmain hair look at a recent presentation—which have been recorded by GoPros worn by McKnight’s assistants. Every facet and every angle of the transformations—sometimes with four pairs of hands working on one girl’s hair—are captured.

From then on in, it’s easy to see how this exhibition will become a magnet for kids who want to experience the atmosphere of fashion and worship at a temple of a sublime hair alchemist. Shonagh Marshall, the curator at Somerset House, has run the numbers on the hairstylist’s Vogue covers, many of which are displayed on a faux newsstand. “Sam has been involved with 190 Vogue covers, which is more than any one photographer, or anyone else over that time,” she reported.

That’s not bad for a Scottish lad, born the son of a miner in 1955, who made his way to being a central team player with photographers and editors in the high supermodel years. Glorious images of Linda Evangelista, Christy Turlington,Cindy Crawford, and Tatjana Patitz abound. “It was a golden era. We were on the road the whole time with Patrick Demarchelier, traveling the world with the same 10 people,” McKnight said, laughing. “We were making it up as we went along, really.”

The massive sweep of the show brings out the important collaborations of his career, with photographers Demarchelier, Knight, Tim Walker, and more; with fashion editors Lucinda Chambers and Edward Enninful; and makeup artists Mary Greenwell and Val Garland. It’s studded with celebrity—Lady Gaga, Tilda Swinton, Kylie Minogue—and honors the spectacular shape-shifting talents of Kate Moss, from her early days as a fresh tousle-haired ’90s teen in love on a beach: “Johnny Depp was there,” McKnight recalled.

There are the moments when McKnight changed models’ fates with short, blonde crops—Jeny Howorth’s in the ’80s and Agyness Deyn’s in the aughts. We see his process, with the hairpieces, wigs, and frizzing techniques integral to creating Westwood and Chanel shows, in both videos and installations masterfully laid out by Michael Howells. Right at the end, there’s a room Howells describes as “Sam the Man,” the walls checkerboarded with pictures of flowers from his garden and the ridiculous varieties of wigs he poses in on his Instagram feed these days. It’s testament to the energy and humor of a talent happily adapted to an industry that is constantly working on the new, in the now; an inspirational treat for all those who remember and for all the many thousands of young eyes that will be opened for the first time by this extravagant journey through one man’s career.Read more at:http://www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/vintage-formal-dresses