Wearing a hat, an absolutely necessary accessory for me (and one I am very fond of) during the cold season, has proven to be much more difficult than I had expected with a short hair cut. A beanie is out of the question, and not even a newspaper-boy cap, my go-to type of hat before, is a happy choice most of the times. The only one that is indeed becoming these days is a fedora or a trilby. I have to say it’s growing on me day after day, because it has shown time and time again its ability to individualise every outfit, more than any other style of hat I used to wear. A true game changer. One’s personal style has to evolve constantly and trends play the smallest part in that.
photo: Michael Sanders for Elle Italia September 2014 | Benthe De Vries (wearing a Stephen Jones trilby hat) styled by Micaela Sessa, via Visual Optimism
by guest writer
Dry Summer (1963) is the result of 47 days of shooting with a limited crew in Izmir Region, Turkey. Metin Eksan was among the first filmmakers in Turkey to see cinema as an art form. He studied art history and this helped him open his mind towards all forms of art. Dry Summer is a unique experience set on the background of the social unrest and morals of the Turkish people at the beginning of the ’60s, after the military regime had withdrawn. Two brothers share a wealthy land deriving from the welles they own on their land. Osman’s (Erol Tas) greed knows no boundries whatsover as he starts threatening the citizens of the village he will stop the water if they don’t pay him fees. The things start to go out of control once the tension between the inhabitants transforms into violence. Hasan (Ulvi Dogan) is the younger brother looking to get married to Bahar (Hülya Koçyigit) and rasing a family. He doesn’t believe in family betrayal thus accepting what Osman is proposing.
“Mrs. Robinson, are you trying to seduce me?” Film costumes have hardly ever been more character-defining than the clothes of glamorous, elegant cougar Anne Bancroft in The Graduate (1967). The director, Mike Nichols, was the one who insisted on her being wrapped up stylishly in anything but animal print throughout the film. Her intentions are clearly outlined by her clothes (designed by Patricia Zipprodt). The sixties were the time when animal print was still considered the height of chic, and not the opposite of elegance, the staple it started to get over the next decades. And there is no one who has worn it more fiercely, yet ladylike, than Anne Bancroft as Mrs. Robinson.
The 1960s may be the fashion decade I least like to refer to, but fashion did have some great moments and many of these came from the films made during that period, which have had, interestingly enough, a far-reaching influence on fashion: The Graduate, Belle de jour, Bonnie and Clyde, Breakfast at Tiffany’s, Dr. Zhivago, La Dolce Vita, La piscine, Breathless. And that is because they outlined true style, not mere trends, often the fashion or costume designers working on these films imposing their own signature styles or going against what was in vogue at the time and looking to stay true to more enduring designs.
Two of my most important everyday belongings in winter are a pair of warm gloves of the softest leather and the readily absorbed shea butter hand cream from L’Occitane, of which I always carry a small, bag-friendly tube with me. I’m lost without these two items, just as I am without my cocoa lip balm (but about that, in a different post), and in our weather it immediately shows if I neglect using them. Our hands do so much talking, don’t you think so? A moisturising balm for hands is one of the beauty & body products which often tend to be overlooked when someone talks about their beauty regimen, but things are exactly the opposite in my case – the face moisturiser, nourishing lip balm and hand cream are the first priorities, the make-up always comes second and there is no drama if it’s all together absent.
photo by me | gloves from Musette
Light colours bring a touch of delicacy to winter days, even if they come in the form of wool dresses and knitwear. I like the practicality of this dress, kept interesting by details. And that layering number in the last photo is something that should easily find its way into a cold season wardrobe. Chloé does know how to softly mold to an urban lifestyle.
photos: Style.com | Chloé Fall/Winter 2014