I'm a firm believer in the concept of stocking your closet full of simple basics and then investing in a select few uber-fashionable pieces each season. Like Coco Chanel once famously quipped, "Fashion fades, only style remains the same," trends are disposable and should be backed by timeless classics.
Broken Doll Clothing’s collection embodies this notion. While the trends move at lightning speed, true style lives beyond the latest and greatest, and is apparent when you return to the same tried and true pieces in your wardrobe. Designer Leah Bohnet may have embraced muted pastels and soft neutrals, navy and black combinations, incorporated some lace details, and made many of her tops in an oversized fashion as a nod to this season's styling; but this collection is something that can be kept season after season.
"I was thinking mod when I created the collection," says Leah. "But I was also gearing the collection to working women who need multi-purpose clothing that simply by changing the shoes or jewellery can take an office look into the night or the other way around."
Slip into the black Rainger dress and you're work appropriate, but beware you might feel sexy enough to flirt with the boss. For the weekend the Baxter top with mesh sleeve is so hot you might melt the falling snow, while the Badu cardigan will come to the rescue should the snow prove too resilient on those particularly chilly days.
My personal favourite, the Ever versatile maxi dress ($138), can be tied and wrapped in a number of different ways, literally taking you from beach to gala to lazy Sunday afternoon.
For Broken Doll Clothing, the attention is in the details. Contrast colour piping, pleats, tucks, folds, ruffled sleeves, cowl necks, and cocoon hems play a starring role in fabric choices like bamboo, modal, lace, and wool. But the best aspect of the Alberta based brand? Their pieces are all 100% Canadian designed, manufactured, and stocked at boutiques in BC, AB, SK, ON, QC, and NS. The pieces range from $68 to $140.
For Vogue Paris’ October issue, Mario Testino photographed George Michael and Kate Moss together in what is unfortunately the worst Vogue Paris cover we’ve seen in a long while. Kate recently appeared in the music video for George’s song White Light, so the pairing is somewhat timely, but the video didn’t seem all that great, and neither does this cover.
“As much as I love the idea of Kate and George on the cover the end result has fallen flat, just like George's White Light video,” vogue28 commented.
Forum members like WilliamsLe010919 complained that “the photo looks like a candid shot,” and Diorette called it “a paparazzi photo.”
Mikel took the criticism a step futher posting, “It looks like a paparazzi shot taken at Madame Tussauds.” Ouch.
This cover is just odd. I know it’s Kate Moss, Queen of the Supermodels or whatever, but why put her on the cover of Vogue Paris two months in a row? Let’s hope the content on the inside can make up for the mistake on the outside.
Image: Vogue Paris
It’s no new thing for i-D to produce multiple covers, but I think it’s safe to say that no one expected them to put out sixteen – yes, I said sixteen – covers for their Fall 2012 “Role Model” issue. “Sixteen covers?” Melancholybaby asked. “Great, they get more and more ridiculous as time goes by. At this point every subject in the magazine has a cover.”
Kolfinna Kristófersdóttir by Boo George, Edie Campbell by Matt Jones
Once the initial sixteen-cover-shock wore off, forum members were excited about the previews as they began to roll out. First up, Kolfinna Kristófersdóttir’s cover, photographed in black and white by Boo George and styled by Caroline Newell, provided an omen of good things to come. Her cover has a beautiful sort of glow that is echoed in her accompanying editorial.
Another cover featuring a manic looking Edie Campbell photographed by Matt Jones was not as successful. “There is nothing graceful about Edie’s cover,” jmrmartinho declared as he rolled his eyes.
Jourdan Dunn, Candice Huffine, Iselin Steiro, and Aymeline Valade by Emma Summerton
The single covers were accompanied by a set of four photographed by Emma Summerton. In Summerton’s set, models Jourdan Dunn, Candice Huffine, Iselin Steiro, and Aymeline Valade sport smoky eyes and untamed wavy blonde wigs. Mistress_f was not impressed. “I don't really see how the last four covers posted are representing 'grace'. And I don't see the point of having four covers that basically look the same only with a different model,” she added.
Tigerrouge agreed: “Those covers make me want to close both eyes,” she quipped.
Linda Evangelista, Natasha Poly, Stephanie Seymour, Isabeli Fontana, Gisele Bundchen, and Guinevere Van Seenus by Daniele + Iango
The set of nine supermodel covers photographed by Daniele + Iango are undoubtedly the jewel of this issue. Linda Evangelista, Natasha Poly, Stephanie Seymour, Isabeli Fontana, Gisele Bundchen, Guinevere Van Seenus, Karen Elson, Kristen McMenamy, and Amber Valletta – none of these women disappoint in the “Role Model” department.
“Wow these are gorgeous!” JessicaKarina exclaimed.
Karen Elson, Kristen McMenamy, and Amber Valletta by Daniele + Iango; Fan Bingbing by Chen Man
To finish out the offering, i-D released a cover of Fan Bingbing photographed by Chen Man. “Now that's how a cover should be!” rockangel posted. “This is absolutely stunning! The colors and styling are excellent and she's so captivating and mysterious. Love it.”
With so many options, is it even possible to pick out a favorite?
Images: i-D online
For anyone familiar with the H&M-owned brand COS, the news that its creator, Rebekka Bay, has been brought on as the new Creative Director for the Gap, is very exciting. Members of the Fashion Spot forums have long gazed upon our European counterparts’ COS acquisitions with envy as they showed them off in the Secret Shopaholics thread, and now there’s some hope that that COS aesthetic will finally be accessible to us too. Not to mention that the Gap could seriously use Bay’s direction; the Creative Director role has been vacant since Patrick Robinson was fired from the position over a year ago.
Forum members are excited about what Bay may have in store. “I'm really excited about this news,” HeatherAnne posted. “Take Gap back to the well-made basics, much like COS is synonymous with and Gap used to be, ditch the cheesy graphic tees currently occupying half the Women's site and all the flimsy made pieces. Onward, let's go Bay!”
“This is great news! I love everything COS does,” VogueDisciple93 posted. “Well I love looking at it online since we can't shop it here in the US, yet,” he qualified. “Gap surely needs this.”
Bay will be responsible for the Gap’s Women’s, Men’s, 1969, Accessories, and Body lines, and since she’s familiar with producing stylish clothes for a mass-produced international brand, she should be a great fit for the Gap. But, we can’t forget that the Gap’s other attempts to shake things up and increase sales (which included bringing Robinson on board way back when) have for the most part been a failure. Qualified as she is, Bay has her work cut out for her.
In April of this year, Alistair Carr left Pringle of Scotland in what was supposedly a “mutual decision” (is it every really mutual?) after only a year as the brand’s design director. Now, Alexander McQueen’s diffusion line, McQ, has confirmed that they have tapped Carr to be its head of design. In addition to his year at Pringle, Carr’s impressive resume includes stints at Balenciaga under Nicolas Ghesquiere, Marni, Cacharel, and Chloé. He also previously showed his eponymous label at London Fashion Week for three seasons.
Carr's first collection for McQ will be for Pre-Fall and he will be responsible for menswear, womenswear, and accessories, though he will report to Sarah Burton, who maintains overall creative control of the brand image.
Forum members are excited about Carr’s new role at McQ. “YES! Such great news! I love Alistair and he's perfect for McQ. Can't wait for this,” Marc10 exclaimed.
“Agreed,” wrote Psylocke. “I was quite sad about him only being at Pringle for such a short time, he did a great job and I can't wait to see what he will bring to McQ. Seems like the perfect brand for him to design for.”
Though McQ held a runway show last season at London Fashion Week, it seems presentations will likely be the format of choice going forward. We wish Carr the best of luck, and can’t wait to see what he comes up with for the McQ customer. Let's hope he's allowed more than a single year to prove himself worthy of the position.
Anyone that knows anything about anything knows that Gwyneth Paltrow publishes a weekly newsletter called Goop which a lot of people love and a lot of other people love to mock.
I wish I could take this opportunity to trash-talk the good GP and claim not to understand the practically unparalleled appeal of Goop — because frankly, I think there has to be something toxic about Gwyneth, and the fervent adoration she inspires in so many people — but Goop is just So Good.
Have you looked at it lately? This lobster roll piece is, as the kids say, everything: the amateurish, off-the-cuff photos; the attainable yet aspirational, hip lobster roll at the center of it all; those photos of Gwyneth Paltrow making french fries, being so bronzed, so un-makeuped, smiling, wearing a bright-white bandeau bra; the polished, impeccable restaurant recommendations at the very end. Just kill me now / I want it all.
Gwyneth Paltrow has this magical sense of how to come across as someone very practically perfect and perfectly approachable, and that is — "no shit" — something that brands want to align themselves with. It doesn't hurt that she seriously delivers. Apparently, her recent partnership with J. Crew is responsible for eight percent of the traffic the preppy retailer's seeing on their site. That's huuuuge. If J. Crew knows that's good for them, they'll ride this wave and get into the lobster roll business.
J.Crew ad via WWD