Ever since seeing Blake Lively swan across Manhattan in an array of beautiful blazers on Gossip Girl, I’ve been obsessed with Smythe jackets. The Toronto-based label is well worth an investment and no Canadian closet should be without its wear-anywhere blazer. Of course, the brand is slowly starting to branch into other areas like pants and shirts, but still the Smythe original blazer remains a favourite piece for us peon peasants and celebrities alike — Kate Middleton, Mindy Kaling, Anne Hathaway and Rachel McAdams are just some of those fans.
Now waking us from our winter slumber with the very thought of blazer weather – a rare phenomenon in T.O. – Smythe has recently released its Spring lookbook of board meeting basics, weekend debauchery and brunch time tailoring. It’s a mixed bag of versatility to say the least, but here are a few of my favourite looks.
The Spring watch military-style jacket in surplus grey is a perfectly casuas weekend piece to team over a maxi dress or with fitted jeans. I also adore the wrap skirt in desert print, here ideally matched with black ankle booties.
After a string of sartorial and award show victories, Australia’s unofficial figurehead has finally been dealt a harrowing blow – at the hands of Photoshop and Vogue Australia.
Cate Blanchett was shot by photographer Steven Chee for the magazine’s February 2014 cover. At least we’re told it’s Cate Blanchett. The forums aren’t entirely convinced it isn’t the equally phenomenal but much older Helen Mirren, leaving a little perplexed as to why Blanchett’s alabaster skin has been ravaged by a few too many trips to the digital sunbeds.
“This would have been nice and fresh but what the hell did they do to her face,” asks UrbanStyling of the weird tan she definitely doesn’t have in real life. “Oh my god, what did they do her skin and hair?!" adds commenter t-rex, while jmrmartinho thinks she looks sunburned.
We can’t help but agree with DelicateFlower that maybe Vogue Australia’s retouching team got their January and February briefs mixed up.
“Last month Jessica Hart looked like a ghoulish water creature, now they make Cate Blanchett look ordinary? Very disappointing run of covers. What’s happened to the creative flair that Vogue Aus USED to have, cover-wise anyway?”
The cover is getting slammed even harder over on the magazine’s Facebook page.
At least the clothing is beautiful, Blanchett was styled by Jillian Davison in a bronze suit from Gucci’s Resort 2014, which is perfect on the actress and against the ocean background. The accompanying editorial is equally great.
Let this be a lesson not to mess with Australia’s spirit animal.
The annual G’Day USA Gala, a kitschy intersection of Hollywood and clichéd Australiana, took place at Los Angeles’ JW Marriott Hotel over the weekend.
Commemorating the work of our shiniest stars, the 11-year-old event was just one of many held the weekend before the Golden Globes. As such, you wouldn’t be blamed for not following the wine and prawn-fuelled stream of “shrimp on the Barbie” jokes, polite banter, and Geoffrey Rush giving lessons on the perfect twangy pronunciation of “G’Day USA.” But the red carpet looks are definitely worth a refresher.
Already on a high after taking out the best international lead actress AACTA award for Blue Jasmine, Australia’s silver screen darling Cate Blanchett absolutely killed it in a look from Prabal Gurung’s Pre-Fall 2014 collection. From afar it looks like a belted dress, but is actually a strapless satin gown with a beaded embroidery bodice, worn with a matching crop top.
The combination of hem length and its wearer appearing 11 feet tall suggests Cate might have styled the look with a pair of Helen Mirren’s stripper heels, but she’s actually just wearing normal-height Christian Louboutin d’Orsay pumps. The earrings are blue sapphire clusters by Chopard.
Coming a close second in the sartorial stakes is borrowed-from-the-Brits Australian Naomi Watts. The equally ethereal actress wore an ice-blue dress from Marchesa’s Spring 2014 collection. It’s a daring look that skews boudoir, especially with the teased bed hair, but Watts pulls it off with ease. Bonus points for the blood red clutch and matching-but-not lipstick.
image credit: scanned by Stereo_Flo
Vogue Russia sure loves its blonde, native models. After Daria Strokous (November), Maryna Linchuk (December) and Sasha Luss (January), we have yet another blonde Russian model on the cover of the February 2014 issue. Anna Selezneva's third cover for this edition of Vogue shows the model wearing a Spring 2014 Tom Ford mosaic dress. The cover and editorial, which were photographed by Hans Feurer, got mixed reviews on the tFS forums.
“Anna <3 But meh, the pose is contrived. The eye makeup is too much in my opinion and that huge white text ruins it,” noted ash92.
“I really like her but this cover is annoying!” agreed KissMiss.
Other members disapproved strongly of the dress choice.
“What she's wearing is very unattractive,“ posted Royal-Galliano. And GlamorousBoy agreed, “I can’t stand that dress, it is killing my eyes.”
TREVOFASHIONISTO didn’t like the cover but enjoyed the editorial. He wrote, “Hans [Feurer] loves Anna and it’s so good to see her on a major Vogue cover. I’m not a fan of the pose and makeup but the editorial is great.”
See more editorials from this issue on the forums, generously shared by Stereo_Flo: Vogue Russia February 2014
image credit: hypebeast.com via the tfs forums
One of the positive surprises of this campaign season is the edgy new campaign released by Kris van Assche. The Dior menswear designer opted for an unusual concept, having photographer Alessio Bolzoni shoot the Spring 2014 outfits from the back in an odd angle against a cloudy blue sky background, resulting in compelling images that made us swoon.
Forum member GIVENCHYlover thinks the campaign is “cool as F.” And Elfinkova finds the campaign “amazing” and believes that Kris van Assche should consider hiring the same photographer for his Dior Homme campaigns.
“Haven't seen for a while something that would be as effortlessly cool as this campaign,” posted Hazel.
Others praised the great colors and the way the clothes are so wonderfully showcased in this campaign.
Unique, interesting and visually stunning. This campaign – styled by Mauricio Nardi – is a hit. People may lament that menswear in general is not as exciting and spectacular as womenswear, but if someone manages to display his collection as beautifully as this, I can find no complaints and can only add that women’s fashion should take note. Cool as F, indeed.
image credit: hypebeast.com via the tfs forums
As expected, Anna Wintour successfully completed her mission to get Lena Dunham on the cover of Vogue's February Issue cover (Kanye's plan to secure the gig for fiance Kim Kardashian is still, however, very much in the works).
Photographed by Annie Leibovitz and styled by Tonne Goodman, the cover and accompanying editorial spread play to Dunham's quirky public persona while staying true to the publication's label-conscious identity. On the front of the glossy, Dunham wears a collared shirt printed with oversized red polka dots — a playful choice from from Burberry, which is a major advertiser.
Elsewhere in the magazine, Dunham poses for a series of staged vignettes set in a cheesy, out-of-touch version of Brooklynadia — think artisanal grit goes CGI. In one shot, she's pictured on a quiet brownstone street, wearing a dramatic black-and-white feather dress by Alexander McQueen; naturally, there's a pigeon perched on her head. In another, Dunham twists her face into an expression of either discomfort or flirtation, I can't be sure; she is standing on a subway platform in Brooklyn at sundown, wearing an expressionistic, multicolored jacket by Céline.
In other photos, the writer/director is joined by Girls actor Adam Driver. In one, he sits in bed shirtless, while Dunham is splayed out on the bedcover, wearing a strapless, sequined mini-dress from Prada's Spring 2014 collection. In another photo taken on the Upper West Side, Driver carries Dunham on his shoulders; she wears a full Rochas look, her feet dangling with the label's memorable neon feather slippers.
In yet another shot, Driver soaks in a dingy clawfoot tub (such bohemia) while Dunham perches on the side, wearing an elegant off-the-shoulder dress by Dolce & Gabbana.
It's amazing to these see clothes worn to great effect by someone who doesn't fit Vogue's typical mold: Dunham is a talented young woman and her primary attributes aren't her looks. Still, we should see this for what it is — hardly a revolution, just the Vogue guide to slumming it.