North American Hair Awards video for The Beauty Underground. Directed by Evan Mann of Otherworldly Productions, hair by Charlie Price, makeup by Liz Wegrzyn and styling by me.
My introduction to NYC-based makeup artist Kirsten Kjaer Weis’s self-named makeup line was back in mid-2015. That’s when Aillea owner Kathryn Murray showed it to me in her newly opened boutique in downtown Denver. I was over the moon about the product: I thought the packaging was gorgeous (more on that below), the pink and apricot blush tones were beautiful, and the foundation felt amazing on your face. Last year, I told Kathryn that if Kirsten ever wanted to do an event in town, I would be happy to host it for her.
So, this past Tuesday, I got my chance when Kirsten visited Aillea to introduce her latest product, The Beautiful Oil – a wonder potion that moisturizes, has anti-aging properties and can be used to prime the skin before applying foundation (it also smells divine). In addition to learning about the oil, Kirsten taught a master class on how to create a flawless complexion and the perfect smoky eye. Before the evening got under way, I sat down with her to chat about her makeup line, the importance of design and what new products she has in the works.
GAB: You have such a beautiful makeup line. I love the packaging.
KKW: Thank you! I’m happy to hear that because I love design. I don’t see why it shouldn’t be pretty.
GAB: What impresses me is that the compacts have such substantial weight –they’re really luxurious – and yet they’re so easy to pack. You can tell that your line has been really well thought through.
KKW: I think it’s important – I think design matters. It has a purpose. I remember doing a small market survey before even starting and asking 200 women, “How important is packaging to you?” Two-thirds came back and said that it’s actually really important, but that they were kind of embarrassed about it. And I was like, “Why? That’s not embarrassing.” I mean, why would you buy flowers? They’re going to die in a week and be a complete waste of cash. But they move you - that’s what it’s about. It makes a difference when you pull something out of your bag and you’re excited about it.
GAB: Even the way the blush or foundation compact open is cool.
KKW: I have always been a fan of the Comme des Garçons perfume bottle – you know, the one with the silver tube? Obsessed. So I thought, “I’m going to try and contact the man who made it and see if he can help me with this.” And he is the one who designed the compacts. He thought this was a really interesting project, because he had never really worked on a color line before. It was a challenge to do something that was sustainable and needed to have a very luxe look. But he took it on and delivered.
GAB: So, what made you want to do your own line in the first place?
KKW: It was literally from working in the field all these years and seeing things first hand. As a makeup artist, you show up on set with your kit and it has your favorite products from each brand. Then the model sits down in the chair; you start to get to work and the model would always pinpoint something and say, “Oh my God, you can’t use that foundation on me – I’ll break out from it.” Or the mascara will irritate their eyes. It was always something. That’s really what made me start, because I didn’t have any natural brands that I could add to my kit. They didn’t perform.
GAB: I never used to associate natural brands with being “makeup lines” because I didn’t know of any that were pigment heavy, say like Nars, but I think your line is totally on par with a brand like that.
KKW: What has served me well in terms of the formulations is that I know what works out in the field. The product has to work - otherwise, nobody is going to care that it’s certified organic.
GAB: Do you ever get involved with the formulating?
KKW: I feel like I have a knowledge and interest about naturals, just because I have such an affinity for it, but when I started on the line I was smart enough to know that I’m not a formulator. So I teamed up with someone in Italy, who had been in the natural world for many years.
GAB: What’s most important to you about a product?
KKW: I’m all about textures – they’re key for me. That was one of the wake up calls in terms of starting to formulate in naturals, because it’s like being in the wine industry: Every harvest is different and that has an impact on the final outcome.
GAB: What happened exactly?
KKW: When I launched in 2010, I launched with three blush colors. When I started formulating the blushes, it took a while to get the texture we really wanted. It’s difficult because conventional brands just put silicon in everything so the product has that perfect slip.
Once I had OK’d the samples, we put them into production. That’s a huge investment! Then when I saw the product, it was much drier than the ones I had approved. I knew something was wrong. What happened in this particular case was that the shea butter we had gotten for the production was a different batch than the one we had for the samples. So the fat content – the oil – was way lower.
GAB: Big mass brands don’t have this issue, do they?
KKW: When you work in synthetics there’s never any change. You can just call up the factory and say, “Hey, I need another 10,000 pieces.” You don’t have to worry about it. During this episode is when it dawned on me why natural makeup had never really taken off: You need the performance to be consistent. It needs to always be the texture you’re grown to love – the color you’ve grown to love.
GAB: You’re like a chef!
KKW: Yes! I always say, “I have a Michelin chef in the kitchen,” because the formulators are excellent. But you really have to stay on top of things.
GAB: So, now you have body oil in the works?
KKW: That will come out in 2018.
GAB: Any other upcoming product launches you can tell me about?
KKW: This fall we will launch lip and eye pencils - a first for us. I think they’re really lovely.
GAB: I’ll be excited to try them, because by midday my eyeliner starts smudging underneath my eye and I look like a raccoon. Can you give an eyeliner beauty tip as we wrap up?
KKW: Sometimes a pencil or a liquid can look a little hard, so you can soften the line with powder eyeshadow. Currently, we use our eyeshadows for eyeliner with an angled brush and we just mist the brush with a little water - you don’t want it to be too wet. This way, when you dip the brush into the color, there’s no extra powder dust and the brush really picks up the pigment.
This interview has been condensed and edited.
Vice gave me a good laugh the other morning reading Marianne Eloise's article "Why Are Perfume Adverts Always So Terrible?" So true. Most of them are really silly, and it was amusing to read an entire article - complete with comments from advertising pros - dedicated to pointing that out. For the record, my favorite perfume commercial is this one from Chanel, directed by Luc Besson (although I could just be biased, since I worked there at the time).
But it's not only perfume ads that have been terrible in fashion. When was the last time a fine jewelry ad stopped you from flipping the page in a magazine? It's always more or less the same: A naked or semi-naked women, and either a close-up of their face or a body part.
Even after having (finally!) flipped through my March issues of Vogue and W, I think many fashion RTW and accessory ad campaigns look the same (possibly because almost all of the fashion houses hire the same photographers). In fact, right now I would say what's more notable is the list of designers and companies who either rarely advertise or skip it completely: Dries Van Noten, Yohji Yamamoto, Comme des Garçons, Undercover, Goyard, Maison Martin Margiela, Zara, Uniqlo... They may not all have large businesses, but they're all businesses that are respected, regardless of where they sit on the fashion spectrum.
Now what does that say about fashion advertising campaigns?
Everyone's wardrobe gets stuck in a rut - especially during the change of seasons. So this morning, I chatted with Kelly Werthmann and Dave Aguilera from CBS Denver about investing in key items that can make any woman’s spring wardrobe more functional and stylish.
First Up: The trench coat. This timeless classic is the coat of the season. It was seen all over the Spring 2017 runways – including Stella McCartney and Valentino - in every neutral hue from a light putty to cocoa brown. This one by Velvet (available at Blush) in cotton poplin comes with classic details like epaulettes on the cuff and flap pockets. But it’s been updated with oversized proportions and a maxi length, which makes it easy to layer. Plus, it’s super lightweight, which means you can easily pack it if you’re traveling this spring.
If you’re always cold like me, weather in the 60s and 70s can still feel chilly. That’s why it’s great to have a small stash of lightweight knits in rotation for spring (and you’ll need them anyway once the indoor AC gets set to blasting by June). But skip basic and go for statement sweaters with interesting prints and patterns or even texture, as well as lightweight fabrics you can layer. Some examples include Minnie Rose’s cotton duster with self-fringe and bell sleeves (available at Rebel), Raquel Allegra’s elbow-length sleeve cardigan with embellished metallic sleeve (available at Max), and 360 Sweaters lightweight nylon crewneck (available at Perch).
If bags on the spring runways weren’t tiny, colored jewel boxes, then they were oversized totes (the suitcase-sized patent bags on the Balenciaga catwalk come to mind). This Italian woven market bag by Officine 904 has a soft shape and cognac hue, making it the perfect summer carryall to stash your essentials (available at oetlcollection.com).
Finally, in shoes we’ve been seeing more of the block heel over the last few seasons, and there’s a good reason why: They’re substantial and balance out girly silhouettes (like this season’s ruffles and frills). That they’re easier to walk in than a stiletto pump just makes them that much better. The versions I had on air by Coclico (available at Strut) and M4D3 Shoes (available at Scarpaletto) work well for spring because the cut outs expose some of the foot, but less than what a sandal would (after all, it is still March!).
Yet another best and worst dressed list? Why? Just because everyone seems to chime in on these annual award shows - especially folks with absolutely no sense of taste or style. Here's my lineup:
Best Dressed (in no particular order):
- Natalie Portman (Prada): A total homage to Jackie Kennedy. Super chic and flattering.
- Amy Adams (Tom Ford): A classic black sequin column, slashed with burgundy in the skirt. Beautifully cut and fitted, especially around the bust.
- Viola Davis (Michael Kors Collection): Her gown was a striking shade of yellow and the silhouette looked beautiful on her.
- Ruth Negga (Louis Vuitton): Glam and gorgeous.
- Olivia Culpo (Zuhair Murad Couture): An unusual choice, which is why it worked.
Worst Dressed (also in no particular order):
Nicole Kidman (Alexander McQueen): This gown was stunning on the runway, but it worked because the hair and makeup were edgy; Kidman's interpretation was overly romantic and too one note. Sickly sweet.
Sarah Jessica Parker (Vera Wang): I love her adventurous sense of fashion, but this didn't work at all. The sleeves were distracting, the dress overwhelming, and her hairstylist needed to find a braid in a color that actually matched her hair.
Carrie Underwood (Iris Serban): This did nothing for her tiny figure, regardless of what you think the insane ruffle top resembles. The Pepto-Bismol pink shade didn't help any.
Sophie Turner (Louis Vuitton): How could LV have gotten it SO right for Ruth Negga, but completely misfired with Turner's gown? One of those fabrics needed an edit (at least). Totally over-designed.
Mandy Moore (Naeem Khan): Was she going to fly away on her broom or practice her Morticia Addams? Funereal and drab.
Late last night, I read the sad headline from Dazed regarding a fraud stylist on the loose. Now, several designers - many of them smaller houses - have lost several thousand dollars worth of samples. The most depressing part of this story? It's nothing new. It comes around every few years, maybe because people become too trusting (a rather disheartening thought) or are too desperate to get into the pages of a major title.
Obviously, the lesson learned is do your homework on any stylist that reaches out to you. And it's not just about checking their Instagram account (can’t anyone sign up for one of these?); do they have a website, portfolio and a client list? The person in question in the Dazed story claimed to be a member of Business Of Fashion's BOF500 list; this isn't the case, but could have easily been checked. I'm not trying to blame the designers or their press offices; Lord knows there are so many stylists calling in samples for photo shoots all over the world at any one time, it's probably difficult to keep track of us all. But for those of us working with smaller titles, the burden still tends to fall on us to prove that we are legitimate and worthy of receiving designer loans for our magazines no matter how long we’ve been in business, rather than on any stylist who comes along professing to work for a major.
By the way, this doesn't just pertain to designers, but to personal clients as well. If you’re considering hiring a stylist for personal styling, get references and find out their work history. Remember: A stylist is not just someone who looks glamorous and likes to shop. They should have an excellent understanding of proportion, as well as fit and materials, how pieces work together and how to build a functional wardrobe. Until it becomes less easy for just anyone to fake it in fashion, check their credentials and know if who you’re hiring is the real deal.
It’s nearly November and the weather is still in the mid-70s here! As much as I love the warm temps, they're wrecking chaos on allergies and wardrobes alike. What do you wear when it’s supposed to be sweater weather and it’s warm enough to still be in sandals? If you’re having a tough time putting yourself together before you leave the house in the morning, here are five suggestions to help you out:
- Lightweight fabrics win the day. If you’re trying to wear that new -2 or -3 ply cashmere sweater you just bought, you’re going to be sweating by lunchtime. Instead, stick to lightweight knits and cottons to keep you from overheating.
- Master the art of layering. I may be stating the obvious, but layering can easily look sloppy or bulky. The key to getting it right is proportion; what you want to achieve is a long, fluid line. When in doubt, keep your look monochromatic.
- Invest in a great tailored jacket. Cool – but not frigid - mornings and evenings mean a jacket can double as a polished outerwear piece. Choose a shape that works with your wardrobe: If you’re more classic, go with a single-breasted style, while fashion-forward types can experiment with boyfriend and unconstructed shapes.
- Make skirts and dresses a regular part of your closet rotation. Not having to worry about keeping your legs warm means you can wear either one - sans tights - without worrying about freezing.
- Pick up a statement pair of mules. Mules have made a comeback in a big way over the last year and women are discovering just how versatile this shoe really is. For the kind of weather we’re currently experiencing, the closed-toe mule is perfection; no socks or stockings required and yet they look season appropriate. They’re particularly fab with cropped pant styles, so pick a color other than black.
Dressing to please oneself should be a woman’s mantra. But sometimes, I think we forget about the importance of looking appropriate for social occasions. I’m not talking about looking conventional or playing it “safe,” but when special events are involved, women do need to have some idea of etiquette and how that meshes with their personal style. After all, whether it’s a dinner party or a gala, showing up properly dressed is a sign of respect to the evening's host or hostess.
Let’s face it: We’ve all been to parties where we’ve seen women dressed in any number of unfortunate ways: Underdressed to the point were they just look sloppy; wearing business attire (do they intend on running straight to their office when the evening is over?); inappropriately dressed for their age; or overdressed and bedazzled to within an inch of their life. If we’re all our own brands, then no matter how dated it sounds, knowing how to dress for a special occasion is a necessary talent - one most women need to brush up on.
For example, I’ve been invited to a winter wedding of a close friend. Although I used to procrastinate planning an outfit for this kind of event, I’ve learned that this can lead to major trouble (as in last minute alteration ERs or running out to buy something new to wear - always a big waste of money, as rarely is the item worn again). The invitation indicates cocktails, dinner and dancing; so I can do a dress or separates, but not a full-length gown (a cool maxi skirt, however, would work here).
For one-off events like this, a service like Rent The Runway is a great option, but I’ve chosen to work my wardrobe. So after ransacking my closet, I’ve decided on a vintage beaded sleeveless blouse in emerald green – it originally served as the underpinning to a brocade 1960 theatre suit belonging to my mother – paired with wide-leg pants and a fab shoe. Some minor repair work needs to be done on the blouse – plenty of time for that – but otherwise, I’m done with thinking about this event.
Simple, right? Dressing for an occasion doesn’t have to be complicated or about spending lots of money on a new frock, but it does mean taking some time to plan things out. Plan correctly and you’ll show up looking amazing.
I don't have anything against the athleisure trend, but one of the most perplexing looks I see is the full–on yoga/workout outfit as casual wear. You know what I’m talking about: Yoga pants or leggings, usually paired with a basic, boring workout top and some uninspiring hoodie. Top it off with a certain luxury brand’s logo tote (I won’t name names), and this looks becomes straight up tacky.
When done right, athleisure is a modern, relevant style (Y3 set the standard in this category when it launched 15 years ago), and there are attractive, easy to transform athletic pieces. But in order for them to work outside the gym, you need to create a hi-lo fashion mix to elevate your look and make it more personal. Here are a few ideas to get you started:
Tops: Sleek, monochrome tops like the long line bra by Vie Activewear or Live The Process’s Corset Leotard can serve as foundation pieces for nearly any look. If your torso isn't exactly fit or you want to avoid any flashes of skin (inappropriate for your office), cover up with a chic cardigan (Vince) or sleeveless vest (Y3).
Sweatshirts: These can easily look sloppy, so make sure yours is in pristine condition. Go for something with some visual interest, like this longer-in-the-back version by Lucas Hugh or Monreal London’s colorblocked one. A great-looking sweatshirt can be worn with everything from midi-skirts to straight-leg pants.
Leggings: Skip the tired moto-inspired versions and opt for a matte (APCOV) or liquid look (Carbon 38 or Suki Shufu). To cover your bum, opt for oversized knits and outerwear jackets; one of Spencer Vladimir’s textured, statement sweaters would do nicely or splurge on Acne’s Alston tech coat.
Track Pants: I like the fashion options best, because they offer the athletic look with better fabrics and a flattering cut (see Ann Demeulemeester and Stella McCartney). Otherwise, choose one with a slim fitting leg; it’ll make it easier to mix styles. To keep your look polished and pulled together, top them off with an impeccably tailored jacket (like one by Blazé Milano).
August is here and – as depressing as it may sound – fall is just around the corner. Although we have quite a few weeks before it really cools down, now is the time to start planning out your fall wardrobe. Your first step: To deal with mending and altering.
Yes, I realize it can be hard to look at heavy cashmere sweaters and cozy wool coats in 90o temps, but starting to organize your fall and winter wardrobe this month will save you money and time in the long run. So what do you need to do? Go through every piece in your cold weather lineup and decide if an item is A) worth keeping (toss it if it looks haggard, worn-out or you haven’t put it on in the last year) or B) if it needs cleaning or repair. Then, put cleaning in one pile and repairs in another. Repairs should include items like sewing buttons back onto coats and jackets, having closet essentials - like a pencil skirt or trouser pant - taken in or out, and having moth-eaten knits rewoven if possible (Tip: If you don’t know where to take a sweater to be rewoven, ask a high-end boutique in your city).
If you can’t afford to do everything at once, gradually go through both piles to get everything taken care of by the time the end of September rolls around. Remember: Deal with these items now while you don’t have the need to wear them. If it gets rainy or cold where you live earlier in the season rather than later, get transitional items like raincoats and mid-weight wool pieces dealt with first. Taking care of these closet basics means that your fall wardrobe will be clean and ready when you need it.
Just finished a short spot on Father's Day gifts for this morning's news program on Channel 4 Denver (super early at 6:45 am!). If you caught the segment - or even if you didn't - here's my short gift roundup for dads:
Aspire Eyewear: Specs and sunglasses are a great way to up your fashion quotient, but active dads need something a bit more functional than an average frame. Enter Aspire - the latest in high-tech eyewear. Designed using 3D printing technology and made from a proprietary nylon-blend material, this eyewear is lighter than traditional acetate frames and also more durable. In addition, they're resistant to heat and UV exposure, which means they'll protect your dad's peepers throughout our hot Mile High City summer. Available at Doctor's Optical and Vista Eyecare
Beckett & Robb Driving Gloves: If your dad is a car guy, pick him up a pair of elegant driving gloves at Beckett & Robb. Made by Italian glove makers Fratelli Orsini (serious fashion cred here; you can currently see their gloves on display in the Oscar de la Renta retrospective on at the de Young Museum in San Francisco), these Italian lambskin gloves even have screen sensitivity woven into the fingertips.
Ratio Clothing Made-to-Measure Shirts: Regardless of whether your dad works in an office or needs a casual wardrobe update, Denver-based Ratio offers men the chance to own shirts that actually fit them. Choose from either a 30-minute fitting in their LoHi store or fill out a short online questionnaire, and then decide on details like fabric, collar, cuff style, etc. On-set, I showed: 2-Ply Thomas Mason cotton twill long-sleeve shirt; cotton twill floral print short-sleeve shirt; linen long-sleeve shirt; and Indian cotton Madras short-sleeve shirt.
Wolfhill Wallets: Beautiful handcrafted leather goods using traditional construction methods by one-man show Alex Ore. These rustic leather wallets are made from cowhides sourced through the Horween Tannery - one of the oldest tanneries in the US - that will develop a rich patina over time. I picked up the passport wallet, bifold and card carrier at Sully & Co in Jefferson Park, but you can also order them through the Wolfhill website; either way make sure you plan ahead, as Sully & Co has only a few on-hand and Wolfhill makes to order.
Beckett & Robb Braces: We didn't actually get a chance to chat about these, but if your dad is a formal dresser pick him up an accessory that says something about his personality like suspenders. B&R's suspenders - or braces, as the Brits say - are made by the oldest brace maker in the world: Albert Thurston in England. They have an adjustable fit and brass hardware. Solid colors are always a safe gift option, but I think the stripes look both smart and stylish.
And it's only Monday!
“Everyone is paying attention to the wrong thing in my opinion. There’s this huge debate about ‘Oh my God, should we sell the garments the day after the show or three days after the show or should we tweet it in this way or Instagram it in that way?’… You know, all that is kind of bullshit. Will all that stuff still be relevant 30 years from now? I don’t think so. What we should ask is will we have enough creative people who are strong enough and willing to do what is necessary right now to follow that madhouse. Lots of people are starting to question it. My generation especially is shifting now… like me and Phoebe [Philo], Nicolas [Ghesquière] and Marc [Jacobs]. We’ve been around for 20 or more years. We know what fashion was and where it’s heading to. Now it’s a question of what we are willing to do and how we are going to do it.” -Raf Simons, The Telegraph
Fall 2016 NYFW has come to a close and - although full of new clothes - it feels like the last several seasons: More of the same. In a piece for this week's The Cut, Cathy Horn asks who will lead American fashion:
It sometimes seems, in fact, that the industry has splintered into three completely separate businesses — the celebrity lines, the trendy-casual stuff that consumes most of the space (and slowly kills you with its banality), and the elite brands like Oscar de la Renta. There’s no real leader, though, in American fashion. We have stars, bona fide talent (Narciso Rodriguez) and conceptual playmakers (thank you, Marc Jacobs), but what we desperately need is someone who can challenge and ignite the whole industry. Raise the bar, because it’s pretty low right now. - Cathy Horn, The Cut
This round table chat between editor Tim Blanks, designer Erdem Moralioglu, blogger Susanna Lau, publicist Daniel Marks and editor JJ Martin was first published on Business Of Fashion's site this past Monday. Sure there are many interesting fashion industry insights, but this excerpt regarding advertising and print media has to be one of the best. It just reinforces the reason why many major fashion magazines and designer brands look the same - and echoes the feelings of Tomas Maier in an earlier post (check out that one from December 18):
DM: One of the issues with brands is that advertising content is generic — same model, same photographers — all generic. And you have to be in a lucky position to afford all of that.
JJM: I’m shocked that the brands haven’t jumped ship from these traditional formulas. I think they don’t understand the alternatives.
SL: Or even know the alternatives.
TB: There’s never been a better time to be in fashion, there’s never been more of a need for storytelling in fashion. I call it the digital campfire, which is the ability to tell stories in a more successful and direct way. Who is doing that?
JJM: Right now there aren’t enough people doing that. I’m shocked that big publishing houses aren’t turning their editorial teams towards this. I’m surprised that there’s so much of a focus on print. And that’s going to keep happening as all the big brands keep giving the same-looking ads to those same magazines.
As I gear up for the new year and the Spring 2016 season, one of the most exciting items on my calendar in the coming months is teaching a fashion course through the University of Denver’s Enrichment Program. Thanks to a close friend of mine providing an introduction to the program director, I got the opportunity to pitch a couple of topics and am now on the very impressive DU winter/spring roster. So, come April I’ll be teaching High Fashion: A History of Dress, Glamour and Influence.
If you love fashion and are interested in how designers have reflected and participated in the social movements of the twentieth century, I hope you join me for the class. You can check out the course description and sign up here. Hope to see you in April!
When I ask why he (Maier) began collaborating with artists and photographers for his advertising campaigns, he simply states: “Because I had the opportunity. I like photography, and there are a lot of different photographers that I like. I've looked at advertising, for 20 years, and everyone uses the same five people in this industry…” - Alexander Fury, Independent, Dec. 14, 2015
Vogue UK reported yesterday in an online post that CFDA President Diane von Furstenberg has hired a consulting firm to help "reboot" the NYFW shows. Finally. The system has been broken for a number of seasons now. In fact, the shows have become so out of sync with consumer needs and more and more of a circus for press, I haven't even attended them in years (give me a showroom appointment over a show any day; I want to see the clothing and accessories up close - not seated in the middle of five rows of people, where I can't even see half the outfit coming down the runway).
Although they're considering numerous ideas, the best one - I still think - is the one I discussed with Nicole Miller during an interview several years ago: Transform the FW and SS current show dates into showroom appointments for buyers and press (like me) who need a six-month advance presentation (for editorial planning purposes). Then hold the runway shows right before the collection ships, opening them up to the public, and seat bloggers, celebrities and other VIPs in the front row.
Maybe this strategy will even allow for delivery dates to be pushed back a bit to maximize sales; It's crazy that Fall 2015 sale broke at the beginning of November, when it was just starting to get cold (even in Denver!). It would allow a bigger window of shopping for the buy now-wear now customer, instead of continuing to teach them to just wait until sale to shop for the season.
...if we turn away from the luxury and fashion industries at a time like this because they are not “serious,” then we contribute to the goals of those who attacked France. When the terrorists opened fire on restaurants and nightclubs, they were not simply sowing fear. They were assaulting a certain kind of lifestyle, one that values conversation, self-expression, art and beauty, of which fashion is a part. To embrace those values is, now, a political statement. - Vanessa Friedman, New York Times, Nov. 18, 2015
We're already through Milan Fashion Week (only Paris to go!). And unless the French capital throws us a curve ball, it looks like we'll be seeing plenty of these trends next season:
Ballet: From nude color palettes to flowing shapes that caress the body, ballet references have made an appearance in Milan at Etro and Uma Wang.
Latin / Cuba: Ruffles, bows and sex appeal from Proenza Schouler, Oscar De La Renta, and Marques'Almeida
Boudoir: Languid, 1930s lingerie-inspired looks - especially slip dresses - at Calvin Klein and Givenchy
Folk: Less crafty - more romantic at Etro, Alberta Ferretti
Magpie: It's become the rule, not the exception; at Gucci, Stella Jean
Sleeves: Oversized or not, we've seen Victorian sleeves make an appearance at Etro, Erdem, Roksanda and JW Anderson
Peek-A-Boo Shoulders: The latest erogenous zone and seen in every city so far: Proenza Schouler and Prabal Gurung in NYC; Erdem and Preen in London; and even Jil Sander got in on the trend (in a very minimalist way, of course).
High-Tech: Silicone bodices at Simone Rocha, plastic geometric inserts at Christopher Kane.
Paperbag Waists: Skirts and pants at Tod's, 3.1 Phillip LIm and Tome
Grommets: Kane, Tod's, Bottega Veneta
Slice & Splice: Peter Pilotto, Erdem, Rodarte, Prada
Yellow: A bright pop of yellow invigorated collections including Tome, Simone Rocha, Marco de Vincenzo, Johnathan Saunders, and Huishan Zhang