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.
Late yesterday, The New York Times reported that The Metropolitan Museum's Costume Institute will be renamed in honor of Anna Wintour. The Vogue editor and Condé Nast artistic director has reportedly been involved with the fashion department since 1995; over the years, Wintour has raised about $125 million dollars and hosted more than fifteen Met Ball benefits, establishing the annual gala as one of the world's most high-profile red carpet event.
The Costume Institute reopens in May following a two-year, $40 million renovation project (the sum was fundraised, in part, by Wintour). It will be called the Anna Wintour Costume Center. Get used to it.
Related: Wintour is Coming: Instagram’s Best Anna Wintour Memes
When the first images from Roberto Cavalli's Spring 2014 campaign, with model Iselin Steiro photographed by David Sims and styled by Marie Chaix, leaked online a couple weeks ago, one forum member immediately noticed that a featured animal print item appeared to be from the label's Resort 2014 collection.
Commenters were confused. "I think this is the Resort 2014 campaign," said Starry, to general assent.
But it's not. The Italian fashion house has confirmed it: The ads are part of the brand's main, Spring campaign — which you can see in the slideshow below, in full (there's also a video component).
Many of the items (such as the metallic moto jacket and sheer multi-patterned dress) appeared on at the designer's Spring runway show in Milan last September (the color of the garments is slightly different in the ads, but perhaps that's a matter of lighting).
I couldn't find anything resembling the bedazzled black cutout swimsuit (slide 8) in either collection, but the style is fairly similar to a Roberto Cavalli swimsuit available at the online shop of the Seattle-based luxury intimates retailer, Nancy Meyer.
In the few years that I've been closely following fashion advertising, I can't recall another instance of a major label mixing two distinct collections in a single campaign. Of course, just because I haven't noticed it, doesn't mean it never happens — but even if this is (as I suspect) an unusual occurrence, it's certainly not a surprising one. With the growing importance of mid-season collections and the pressure placed on designers to constantly churn out new creations, why wouldn't fashion houses mix and match their strongest current items — no matter when or where they were first shown — in advertising materials?
We reached out to Roberto Cavalli for comment and will update when we hear back.
See the full campaign in the slideshow below, and keep scrolling for the video ad.
All images courtesy Roberto Cavalli.
Related: What Are These Antonio Berardi Pieces Doing at the Victoria’s Secret Show?