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judy smith Jan 2017
Britain's dame of fashion Vivienne Westwood wrapped up London Fashion Week Men's on Monday with an eclectic collection showcasing edgy designs that included dresses for men.

Westwood, 75, who is known for her eccentric creations and environmental activism, presented both menswear and womenswear for her autumn/winter 2017/18 "Ecotricity" line, putting men in dresses and skirts and ties on women.

Models wore colorful knits made up of jumpers and trousers as well as long dresses and arm cuffs, at times slit on the sides. Men's suits were deconstructed or had wide, ankle length trousers and sometimes were worn with long cloaks.

Women's jackets had asymmetric cuts or exaggerated shoulders. Shirts had large collars and colorful prints and patterns, including skulls and faces, adorned most designs.

"She and he are having fun with unisex and swapping clothes," shownotes for the collection read. "'Buy less, choose well, make it last' limits the exploitation of the planet's natural resources."

Outfits were often layered and looks were accessorized with face paint, paper crowns, colorful socks, tights and boots.

Westwood, who previously showed menswear in Milan, was the biggest name at the four-day London event following the departure of brands like luxury label Burberry.

"London is my home. I regret leaving Milan because they've been so kind to me," the designer said backstage.

"It's just easier and more efficient for us to be here."

Burberry will present its menswear collection alongside its womenswear line at London's higher profile women's fashion week next month.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/red-formal-dresses
Tommy Randell  Nov 2014
Selfie
Tommy Randell Nov 2014
Up steep streets
I repeat
In a dream
Words seen in windows
To myself
Sub-vocally

Turning right
And Northward
Left and Westwood
Checking number plates
For initial surprises
Numbers for primes

Multiplying
The number of years
By the number of days
Adding the leaps
The few left over
Beats

To arrive in the viewfinder
To stand on the edge
To look at the scene
To breathe with the light
To know finally that I am
The lens
Vivienne Westwood
Always wears Chinos
By Moschino
When making Cappuccinos
And insists all that drink
The aforementioned fare
Wear clothes
Adorned with safety pins
And have blond spiky hair.

Vivienne rarely makes Cappuccinos.
Sean Flaherty Apr 2014
Twenty classless, eight cigarettes. 
Fighting over the radio at the 
Inpatient Mental Health Facility, 
A broken sense of belonging, 
And a dearth of veggie burgers. 

Listless with his lists, of course. 
Angst from the Anglophile, unable to 
Put a stopper in the pouring, 
Bleeding emotions. 
Open hands 
Stained red, and brown. 
Three breaks a day, scarring his 
Broken knuckles, they paint the walls. 

Code Smoking Gun, 
Code Smoking Green, 
Manic man, loading his shoulders with his 
Father’s burden, too big for Atlas’s arms, 
Or his mother’s shunning palms. 

Three breaks a day, 
Knee, shoulder, hip. 
The coffee’s decaf 
But your calves? Well, 
They’re just sore. 

They dish the brick every 
Other evening. But living, for 
No light, only serves to lessen your 
Love of life and make you 
Light-headed.

Broken beds with rock-solid
Pillows. Three breaks a day to
Remind you of your regression. We
Want you here as much.
Why’re you whining?

Busy doctors bust the doors, thank 
God for the freedom, the 
Fluorescent finish to your odyssey. The 
Flowers and grass greet you in 
Shades of pink and green your 
Greedy eyes hadn’t seen. 
Exhale. Ghost out your grieving.
Spent a bit of time "healing" in a "hospital."
mandy rigby Oct 2014
please give to me a proper job
otherwise I'm on the rob
me tummy hearts n me eyes are poppin
as around the shop i go hoppin
gonna steal new shoes, leave the old ones behind
security .... I'll blow ya mind
aberdeen angus, 21 day steak
come on tesco's give me a break
gonna nick whiskey, and fine wine
I'll be popular come tea time
gonna get the dress of my dreams
a vivien westwood, with tailored seams
lingerie, make up, and perfume
i'll get some attention .. in my living room

(c) msrigs 07/10/2014
Hazel Connelly Aug 2012
I was fit and feisty at fifty
It was no big deal,
Because that's how half a century
Is supposed to feel.

In my sixties I'll take stock
Start making great plans,
Ignoring all the "you cant's"
And embracing all the "I cans".

Can I be **** at sixty?
And try all the fashions and fads,
Wear stockings and suspenders
And Joan Collins shoulder pads.

I can deal with **** at sixty
And wear Vivienne Westwood clothes,
Dress up and go out on the town
Wearing all my buttons and bows.

I'mgoing to be **** at sixty
I'll wear Gok Wan lingerie
Find myself a Toy Boy
Then maybe lead him astray.

Swift and **** at sixty
When I get my Jimmy Choos,
Dancing the night away
To the sound of rhythm and blues.

Oh! I want to be **** at sixty
'cause age is a state of mind,
I'm preparing my body at keep fit
So as not to be left behind.

But, first I have to deal with
Old Skin, Bad Teeth and Grey Hair,
Then remove the unwanted growths
From just about everywhere.

Then I'll definitely be **** at sixty
And undoubtedly done it all,
The only problem is that most
of it I simply won't recall...

© Hazel
A Mareship Aug 2014
A boy in jeans,
A boy in trousers,
A boy in braces,
A boy in blouses,
A girl who smells like summer sweat,
A girl whose makeup hasn’t set,
A boy who swears,
A boy who doesn’t,
A girl’s shoulder,
A second cousin,
A girl who smells of **** and beer,
A tattooed boy with a silver sneer,
A skinny girl who’s got T.B,
A boy who daintily sips his tea,
A girl’s left leg – bare or stockinged,
A boy so cold his knees are knocking,
A nasty ****,
A suede-head killer,
Kate Moss,
Sienna Miller,
Vivienne Westwood’s crazy teeth,
Bow-legged loons on Hampstead Heath,
Blue eyes, brown eyes, grey eyes, green,
Cold eyes, big eyes, sad eyes, mean,
Darling sweethearts in flirty skirts,
City-Boy ******* in well-pressed shirts,
Elbows, throat, wrists, knees,
A consumptive girl’s chainsmoking wheeze,
Blonde girls with their hair in plaits,
Skinny boys, short boys, muscular, fat –
Girls with pink lipstick like strawberry frosting,
I’m telling you man,
It’s ******* exhausting.
an oldie
Katie Lindsey Jul 2012
Yesterday
Last night
And today
I recognized your face
fully for the first time.
I saw who you were
and you are beautiful.
You are a true soul
gravitating to all that is Good
all that is Pure.
Pulling me towards you
I become Good
I become Pure.
I am where I should be.

Happiness enters
me as I gravitate up to
You.

I am in awe of your face
I am falling for your hands
I am breathing you in forever.

and although this train selfishly slices through this humid July night and the long, tired miles that now separate us,
I  smile--for I know the rocking of this train is nothing but you with your arms around me.
You will always be around me.
judy smith Feb 2016
Fashion rarely looks to the Brit awards for style inspiration but somehow fashion finds its way, in dribs and drabs, to its red carpet. These awards are the unwanted stepchild of the red carpet and generally, this means it’s a bric-a-brac of high-end and high street looks. For every Rihanna in couture you have a Little Mix in Asos.

Such is life, though, and there were legitimate trends, aside from the James Bay/Kylie double hatter. First, in the spirit of Angelina Jolie’s 2012 viral, there was a Right Leg – as flashed by model Lily Donaldson and singer Lana Del Rey. Nightwear came in a rather lavish Miss Havisham-esque form via Florence Welch (cream slip, eiderdown wrap, bed-hair) and Rihanna (a lilac slipdress covered with seashell patterns), and which unexpectedly preceded Alexander McQueen’s autumn/winter 2016 collection. Finally, there was a definite nod to The Wizard of Oz’s Emerald City via Jess Glynn’s sparkling green jacquard suit, Kylie’s backless heels and Jack Garratt’s toned down double-breasted suit.

There were the half-successes, too: Adele’s cascading liver-red dress and matching lipstick was grownup, but compared to her memorable 2013 Valentino hit at the Grammy’s, it felt par-cooked. Singer Charli XCX has been a frow regular at this year’s London fashion week, so she went predictably designer in pale green Vivienne Westwood. But she was let down with her slicked-back hair, a styling addendum that somehow overegged the overall effect. She also looked stiff and uneasy, probably because, at 23, she was too young to pull it off.

The menswear was far more experimental. To wit: Labrinth in a blue and pink orchid-print suit which, unaccessorised, had just enough humour to work (it looked like a box of Cadburys Roses). Mark Ronson did his usual trick of pepping a cleanly cut suit with the odd flourish. This time it was a monochrome dogstooth suit covered with a static print. Even JLS’s Marvin Humes, in a Yves Saint Laurent bomber jacket, epitomised the modern man. And what Carl Barât lacked in pizzazz he made up for by wearing a Hedi Slimane suit (although less said about the James Bay hat, the better).

The misses, of course, were plentiful. The mullet dress is the trend that refuses to die (see Cheryl Fernandez-Versini and half of Little Mix in various synthetic horrors). Alexa Chung rarely puts a brogue wrong, but here in a velvet bustier dress, was fairly forgettable (lesson: don’t step out of your style lane). Then, of course, there was Keith Lemon, who pillaged the misses of awards seasons gone (the Pharrell hat, the pseudo-Gucci blazer … everything really). What did you expect from Keith Lemon? The Brits then: a series of blind taste tests on the red carpet, none of which gets full marks.Read more at:http://www.marieaustralia.com | www.marieaustralia.com/evening-dresses
judy smith Nov 2016
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
Pea  Jul 2014
Drown
Pea Jul 2014
I will be dead
and become posthumously insane

and I will remember Suzanne Vega
every time I hear your name

I will take that look
of Vivienne Westwood's

and I will sing and sing and sing
and sink and sink and sink

and I will not think
of the appropriate things

Because I will be dead
and become posthumously insane

Even though long scarf does not suit this neck
and gas oven does not fit this head

and .38 caliber revolver is not
something a 17 year old girl would own

there is no need to worry
because now I know what loves me

It is not the explosion, not the oxygen
Not the carbondioxide, not the cyanide

It is the water, any kind of water
the tears, the saliva, the seawater

And I learnt from Haruki Murakami
that even a plastic bag would do

Mimicking the deepest sea
The sensation is true, is true ----

I remember; you liked a lot the word drown
You liked a lot the word drown
I was drowning in love with you
But now no can do
Leaving well enough alone
I go home
where only your words serve to burn me
remind me to learn that to be free
is to be one with
oneself
And alone very selfishly I turn over another leaf.

Oh thief, come then and take me
and let us not tarry
marry me into your night.

Out of sight out of mind
the wallpaper lines the drawers in the wardrobe
and mothballs like meteors
flash warnings to creatures
do not enter
and the scent of her lingers
I lick my fingers as if I could taste her
as if I could paste her to the walls.

On the inside of life where I fall into tomorrow
where yesterday lives in the crook of the hollow
below my cheeks and today sneaks a peek but decides to return
to a place I would spurn
Oh if only I could.

She is still here or there
somewhere in the recess wearing that Westwood creation
I station and anchor myself to this point
and at the point of a pin
where the needle grows thin
I jab it into and under my skin and I blunder
along wildly
in panic, but that's nothing new
to a fool who would do such strange things.

Eventually relenting
and I on repenting she brings me to her
here or somewhere each place names the same as the last
and each one disappears as fast as it came.

This is a round about big dipper,dip for a duck
childhood fair ground game that we play
we all want a coconut
but some don't want to pay.

She comes to me to say
'it's okay it'll be fine'
and each time I believe
until the mothballs remind me she leaves and I grieve
And the drawers remain shut
the wardrobe is but another reminder
a laughter at me
one day I will find her
again.
Rollie Rathburn Mar 2016
I met her in an alley
behind an alley
a sub-alley if you will
down the street from my apartment on Westwood
and 6th street. Unusually cool for spring, asphalt glowing green
beneath lamplights.

She was digging through piles of broken bottles,
discarded kitchenware, and palm fronds.
Her attention shifted suddenly, as if I were the prize.
Grasped my hand
her skin drawn taut exposing raw bone beneath
“Why? Why is it so far away?
truck drivers, the bed where I watched my father die
report cards, Here. why?”

“Sometimes things just aren’t as beautiful as they should be.”

We sat down on the curb,
amongst the grasshoppers
and did not speak for quite some time.

— The End —