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.

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

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.

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

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

The streets of Paris were clogged by rallies and demonstrations on the Sunday of fashion week. At the Trocadero, a pro-rally for embattled French conservative presidential candidate Francois Fillon, blocking the route between the Valentino and Akris shows; at Bastille, an anti-Fillon demonstration.

The French elections — and ever-increasing security — were providing a tense backdrop to the autumn-winter collections, much like Donald Trump, Brexit and Matteo Renzi did on the fashion circuit of New York, London and Milan this season. Politics and the changing of the guard, women’s rights and diversity may make fashion seem irrelevant until you add up the value of the industry to the world economy. In Britain it is £28 billion ($45bn) — and that is small fry next to France and Italy.

Perhaps politics and social change have influenced the French designers for there was much less street style this season and a lot more tailored, working clothes on the catwalk. They used mostly masculine fabrics but worked in such a graceful way. You need only look at Haider ­Ackermann, Chanel, Alexander McQueen, Christian Dior, Lanvin, Akris and Ellery to see this — lots of great wearable clothes.

Karl Lagerfeld wanted to fly us to other worlds (to abandon the mess here perhaps) in his Chanel space rocket. There were checks, cream, silvery white and grey tweeds, for suits and shorts and dark side of the moon print dresses that cleverly avoided the 60s’ ­futuristic cliches. Silver moon boots, space blanket stoles and rocket-shaped handbags were as space-age-y as it got. There was quiet, seductive tailoring at Haider Ackermann — tapered silhouettes in black wool and leather softened with a knit or the fluff of Mongolian lamb for a blouson or skirt. At McQueen the asymmetric lines of a black coat or pantsuit were ­inspired by the fluid lines of ­Barbara Hepworth’s sculptures, whereas David Koma reclaimed the soaring shoulderline of Mugler’s 80s silhouette for pantsuits and mini-dresses for the brand.

Christian Dior’s uniform-inspired daywear was produced in tones of navy blue with 50s-style navy belted skirts suits, long pleated skirts and some denim workwear. “I wanted my collection to express a woman’s personality, but with all the protection of a ­uniform,” explained Maria Grazia Chiuri before the show.

There was more suiting at ­Martin Grant with voluminous trousers, cummerbunds and men’s shirting. The cut was more mannish at Ellery and Celine with ­Ellery balancing her masculine oversized jacket looks with feminine bustier tops with giant puff sleeves. The mannish look at ­Celine was styled with sharp ­lapels, slim-cut trousers under crushed textured raincoats, whereas ­double-breasted jackets (a trend) and peacoats over loose-cut trousers appeared at John Galliano.

Checks jazzed up the tailoring at Akris where there were more sophisticated double-breasted jackets and swing coats, and at ­Giambattista Valli from among the flirty embroidered dresses a dogtooth coat emerged with a waspie belt and a suit with a peplum skirt.

Stella McCartney displayed her Savile Row skills in heritage checks for her equestrian-themed show. Of course, she is crazy about riding and her prints featured a famous painting by George Stubbs, Horse Frightened by a Lion. It turns out Stubbs was another Liverpudlian, like her dad Sir Paul.

Of course Hermes’s vocabulary started with the horse and there were leather-trimmed capes and coats that fitted an equestrian, or at least country theme worn with woollen beanies and big sweaters, offering a different way of tailoring, in an easier silhouette with a soft colour palette.

The highlight of the week for Natalie Kingham, buying director at MatchesFashion.com was ­Balenciaga. “Great accessories, great coats and great execution of ideas,” she says of Demna Gvasalia’s off-kilter buttoned coats, stocking boot and finale of nine spectacular Balenciaga couture gowns reinterpreted in a contemporary way. “It was wearable, modern and the must-see show of the week.” It was also, she pointed out “the must-have label off the runway with every other person on the front row decked out in the spring collection”.

Although tailoring worked its subtle charms on the catwalk, there were flashes of brightness, graceful beauty and singularity. Particularly bright were Miu Miu’s psychedelic prints, feathered and jewelled lingerie dresses and colourful fun fur coats with furry baker boy hats. Then there was the singular look evoked by Austrian-born Andreas Kronthaler in his homage to his roots, with alpine flowers, Klimt-style artist smocks and bourgeois chintz florals worked in asymmetric and padded silhouettes for Vivienne Westwood — some of it modelled by the Dame herself.

Pagan beauty, the wilds of Cornwall, ancient traditions such as the mystical “Cloutie” wishing tree led to Sarah Burton’s enchanting Alexander McQueen show, which was another of Kingham’s favourites with its unfinished embroideries inspired by old church kneelers and spiritual motifs. “I loved the artisanal threadwork and the spiritual message that was woven throughout,” she says. The artisanal and spiritual she considers an emerging trend around the shows. “It had a slight winter boho vibe but much more elevated.”

Chitose Abe shared that mood for undone beauty with her Sacai collection of hybrid combinations of tweed and nylon for an anorak, and deconstructed lace for a parka, and puffers with denim re-worked with floral lace for evening.

There was more seductiveness at Valentino and Issey Miyake. The latter’s collection shown in the magnificent interiors of Paris’s Hotel de Ville, shimmered with the colours of the aurora borealis and used extraordinary fabric technology to create rippling movement as the models walked.

Valentino was a high point. On a rainswept Sunday Pierpaolo Piccioli cheered us with high-neck Victoriana silhouettes and long swingy dresses in potentially (but not actually) clashing combinations of pink and red in jazzy patterns of mystical motifs and numerology inspired by the Memphis Group of Pop Art. The sheer loveliness of the collection was enough to drown out the world of politics only a few blocks away.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/blue-formal-dresses

Every Sunday without fail,
my father would set about getting us on the
family visiting trail.
A picnic was packed, along with our macs,
(Just in case of the rain) and into the car
we were packed.
A beautiful drive through winding roads,
over a bridge that made your tummy lurch,
onwards, to the Pen-y-Fal psychiatric hospital.

The Tudor Gothic style hospital loomed large to a
child in a car. Like a silent waiting beast from afar.
A Charming gathering of gables and chimneys,
disguised the interior of quite simply "the madhouse".
Set in grounds of 75 acres, patients played bowls, cricket,
and croquet. I thought the people and the grounds magical.
There was this secret place with adult children,
smiling, and talking to the trees, knowing of fairies,
I never heard their pleas.

As I grew older, I grew bolder, the same Sunday jaunt,
to our familial haunt, but now I was an explorer.
I was allowed in. In to the centre of the Gothic beast.
Green tiled, with brown heavy doors, antiseptic smell
that clung to every pore and cell of you. Stark walls,
scrubbed nurses, white coated Doctors and thuggish orderlies.
And after your eyes took in those sights, your nose that smell,
the noise crashed into you. Moans, cries, wails and pleas.
The sound of a thousand lost minds.

My aunt was one of the lost.
She never went home again.
She never visited her children.
She never visited her eleven siblings.
She stayed, stayed with her friend Pearl.
Who once told me I had Vivienne Leigh eyes.
She stayed with the randy Italian, the piano player,
the Downs people given to that 'hospital', that smell, that Hell.
She was in the belly of the beast.*

The Grade II Listed Building has been converted into luxury accommodation now, but would you sleep there?

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

Vivienne wriggled restless draped in a veil of veneer,
She could never pass the stage of sleep same as her street number three.
“Our cycles are synchronized”, so the moon she did fear.

Their marriage froze frigid until deliquescing at month three,
Her lunacy at low tide leaked on her ****** red bed sheet,
Like the snow that would thaw, end of winter in ’33.

As a muse Viv was perfect, but the man suffered defeat,
With her parent’s heirs to riches, resentment followed suit.

Could it have been Dr. Huntington she inherited? Viv was swiftly swept off her feet.

The white walls met her head like a drum beating mute,
As in the fourth circle, Pluto, dressed in a white coat shocked her brain.

Across town Tom was receiving an award, celebrating with the astute.

“*Viv ruined him as a man, though quite the poet he became”,
For if it weren’t for Vivienne, Tom would have acquired far inferior fame.

_TRF

In the name of the Zenith,
the Nadir, and the Meridian.
I’ll follow Vivienne
to the waters of oblivion.

© Matthew Harlovic

Women on the march was the story of the weekend. And so it was with perfect timing that 23 years after he diversified into designing for women, Sir Paul Smith included clothes for women on his Paris catwalk during menswear fashion week for the first time. The designer has scrapped his slot showing womenswear during London fashion week in favour of a blockbuster Paris show in which clothes for both genders are shown together.

There is an industry-wide trend toward unisex catwalks, but the move felt organic for Paul Smith, whose womenswear has its roots in men’s tailoring. First on the catwalk was a woman in a trousersuit in the black-and-green check of Black Watch tartan, alongside a man wearing a tailored coat in the same fabric over beige trousers.

Backstage, the designer said putting the show together has reminded him why he started designing for women in the first place. “Grace Coddington and Liz Tilberis, all these incredible women, were dressing supermodels like Linda Evangelista in my clothes for men,” he recalled.

But one of the secrets of Paul Smith’s cheery, straight-talking brand is that it is more sophisticated than it lets on. The womenswear on the catwalk was not simply borrowed-from-the-boys, but fine-tuned for the female body. The attitude and fabrics are taken from menswear, but the tailoring – a higher and more defined waist, a longer jacket, a strong shoulder – is calibrated to flatter the female form.

A dandy aesthetic running through the men’s velvet suits and fitted waistcoats was adapted for women with colourful Fair Isle-knit sweater dresses, and silk blouses with a painterly feather print.

The show was staged under the glass roof of the grand École Des Beaux-Arts, just a few streets from where Sir Paul Smith staged his very first fashion show in a friend’s apartment on the rue de Vaugirard, that time to an audience of 35 people, with friends as models and a soundtrack he had compiled on a cassette.

But it was very British, not just stylistically but in the emphasis on British-made fabrics – in many cases modern, lightweight versions of fabrics Smith first used in the 1970s. The brightly coloured feathers, which appeared on men’s suit linings as well as silk womenswear, were inspired by an illustrated 18th-century book of British birds.

In the face of the unstoppable rise of a sports aesthetic in menswear, Smith remains a staunch defender of the suit. “People think that suits are stuffy, or that you can’t move in them,” he said backstage. “But it’s not true.” Soft, narrow suits were styled for life outside the office, worn with trainers and with poloneck knits.

The Paul Smith show was followed by Kenzo, also showing men’s and women’s collections together for the first time. In London, Burberry and Vivienne Westwood have both recently merged their collections for men and women. The trend for unisex catwalks, which is driven both by the rise of a genderless, sports-influenced aesthetic and a social media appetite for catwalks that are newsworthy moments, appears unstoppable.Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

International designer Vivienne Tam is known for her culture-bridging, East-meets-West concepts in her collections. Her looks are global, often pioneering collaborations that marry fashion with technology. Her knack for blending her cultural roots with a modern design vocabulary in her looks is recognized. Often, her designs are sheer artistry.

Tam is also the author of the award winning book, “China Chic.” Pieces of her collection are a part of the permanent archives of the world’s most prestigious museums, including the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London. Tam also loves the space program and cowboy themes. Inspired by her recent trip to Houston, Texas, she utilizes the NASA logo in her collection. There are also soft suede jackets with fringe and chrome metallic flares, and a ruffled blouse in a blue and white motif. Pretty dresses in beautiful prints and patterns are enhanced with embroidery, sequins and appliques. Some of her looks reflect styles seen on folks at the rodeo. Tam’s signature 3-D butterflies were apparent on her garments. A black Western belt cinched the waist. Good show!

Rhode Island School of Design’s Apparel Design Department showed a rugged, yet fashionable collection of menswear on the New York Fashion Week runway. RISD prepares students to meet the demanding requirements of the fashion industry. The program is built on the philosophy that design and technical skills are mutually enhancing. From functional to experimental clothing, the course is structured to take students through all aspects of apparel design and construction.

RISD’s technical classes proceed from basic to advanced drafting, draping and construction and incorporate the use of computers as a tool for design and product visualization. RISD has offered programs in costume, clothing and fashion since 1918, and established the Apparel Design Department in 1952. Their graduates include such top designers as Nicole Miller, Sari Gueron, Sally Lapointe, Robert Geller and Nicole Romano. Many students have found success with designers such as Michael Kors and Ralph Lauren.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses