Once again, Maiyet transports us to an exotic location. The uniqueness of India and Maiyet’s key values of tradition and craftsmanship come together effortlessly in the striking imagery of Cass Bird, as he photographs Daria Werbowy for the brand’s spring ad campaign on the backdrop of the River Ganges, Jaipur’s Amber Fortress and Varanasi.
photos: Cass Bird; view the entire campaign on the Maiyet website
I can’t miss the opportunity of talking about the Oscars, although I know it’s all you’ve been reading online these days. And the first thing I must talk about is Daniel Day-Lewis winning the Oscar for Best Actor in a Leading Role for the third time! Congratulations! No other actor has ever succeeded this performance. I am still overwhelmed by his performance in Lincoln and I can not wait to see the film again.
I always look forward to the Oscars (it’s my favourite night of the year), not because I believe they truly nominate and award the best performances and films (they’ve once again proved they don’t), but because I like seeing some of my favourite actors and actresses and filmmakers all gathered together, smiling and dressed up, some I haven’t seen in movies for a long time, and if someone like Jack Nicholson makes an appearance on stage, then I’m happy. However, there were many good films last year and I had my expectations and I can’t help being very disappointed with some of the Academy’s choices.
I was happy that Argo won for Best Picture. And when Ben Affleck went on stage to accept the award along with the other producers, he was so overwhelmed: this was not only a Best Picture Oscar, it was a Best Director Oscar too. His team made sure he knew that. I know that too. The film is nominated for Best Picture, but the director is left out from the Best Director category. How can you split these two? They are so closely related. You can’t get a good movie without a good director. It’s incomprehensible. Instead, you overlook yet another great direction, Steven Spielberg for Lincoln, and award the same movie for Direction, Cinematography and Visual Effects (read: directing and cinematography simply don’t go hand in hand with special effects, I’m old-fashioned, I associate filmmaking with craftsmanship). There is something seriously wrong in this. As for the other awards, I was 100% sure that Christoph Waltz would win for Best Actor in a Supporting Role. There was no other way. But when it comes to the actresses, that’s a different story. Anne Hathaway didn’t impress me that much in Les Misérables, and her being so sure of her performance and her career right now doesn’t make her any more likeable in my eyes. Jennifer Lawrence for Silver Lining Playbook? She gave a good performance, but Oscar-winning? No. As I haven’t yet seen Zero Dark Thirty, my first choices would have been Emmannuelle Riva for Amour and Naomi Watts for The Impossible.
Overall, I was underwhelmed by the show, and I’m not going to talk much about the Red Carpet either: I had two favourites: Naomi Watts in Armani Privé and Jessica Chastain also in Armani Privé. I also liked Jennifer Garner in Gucci Premiere and Amy Adams in her Oscar de la Renta dress she wore to the Vanity Fair Party. Any impressions you’d care to share?
photo: 1-The Sun, 2-still form the movie, production credit
If she hadn’t ended up on the cover of Elle, she might have continued to study music and ballet at the Conservatoire in Paris. But she became an actress and with the film And God Created Woman
The perfection of a button-front shirt dress, a versatile classic that will never go out of style.
Brigitte Bardot looked like a goddess and had such a physical presence, the magnificent posture of a dancer. She was no studio-manufactured star, she lived the way she pleased, throwing conventions away, and she invented a fashion all of her own: it was this freedom that made her so provocative. Much like Brigitte in real life, Juliete, her character in And God Created Woman, directed by her husband at the time, Roger Vadim, is an uninhibited young woman, exuding insouciant sensuality, who loves freedom and independence and who scandalizes the small fishing village of Saint Tropez. Saint Tropez became a favourite jet set destination and BB became an international sex symbol and Europe’s answer to Marilyn Monroe.
With long, golden, artfully tousled hair (she invented the choucroute, the ruffled and back-combed hair style, which became a trend in the 1960s and is still imitated today-the secret is in the expert build-up of layers, they say), feline eyes with black eyeliner and heavy mascara and sulky lips emphasized by a slightly darker pencil, wearing clothes that reflected her character, seemingly innocent, yet extraordinary sexy, the myth of Brigitte Bardot was born.
Designed by French fashion designer Pierre Balmain, whose clothes were of a perfect simplicity, slender, elegant lines, yet representing the “architecture of movement,” Juliete’s clothes show off her silhouette, as everything is body conscious or unbuttoned, but still leaving enough to the imagination.
The red boatneck wiggle dress, one of the most beautiful red dresses I have ever seen. The sheath dress is one of Balmain’s signature styles.
The trench coat is a must in every wardrobe, even for someone who lives in a beach resort.
To her white lace wedding dress Juliete wears flats. Just as Audrey Hepburn, Brigitte Bardot championed flats, but on her feet ballet shoes seemed almost transgressive.
Juliete is seen in jeans and t-shirt, walking barefoot on the streets of her village, just as Brigitte would do in real life, causing a sensation when she walked in her bare feet in a restaurant in Paris. I love how Juliete uses clothes to express her libertine self. On the saturated background of the seaside village, painted in bright primary colours, she feels as free as the proximity of the sea can make you feel.
A pencil skirt has more power of attraction than any mini skirt.
Suggestively dressed in black, prior to a turning-point in plot.
Hardly anything is sexier than a woman in his shirt.
Instead of plunging necklines, Bardot wore tight polo necks and t-shirts and oozed sensuality while being covered.
Again in a shirt dress.Unbuttoned skirt, rolled-up sleeves.
The scene in which she dances barefoot and dishevelled, hair loose, skin glowing with sweat, waist-high unbuttoned skirt to the sound of carioca, became an instant and defining moment in the history of cinema. In And God Created Woman, Brigitte Bardot changed what was deemed acceptable to portray on film. It was only the 1950s and she shocked and enchanted the whole world.
photos: screen stills from the film And God Created Woman, captured by me
Bibliography: the book A Matter of Style: Intimate Portraits of 10 Women Who Changed Fashion
by guest writer
Picture of Dorian Gray
photo: film poster, Metro Goldwin Mayer
I was supposed to write about London Fashion Week today, but when I sat down to do it I realized how little I liked the collections this season. Maybe I was not in the best state of mind to watch the shows, but the truth is that nothing clicked for me, except for a few looks here and there (you can see them on my fall/winter 2013 board on Pinterest), and the whole thing left me with the impression that something was missing. I never quite know what to expect from LFW. And the best way to cure the lack of excitement on catwalk is some inspiring street style. Blue nonetheless. From Miroslava Duma’s gorgeous suit and Gabriella Wilde’s cape, to blue jeans: I’m fascinated by them.
Are you planning to watch the Oscars on Sunday? I certainly am, it’s already a tradition in my family. Have a great weekend!
photos: 1-Stockholm Streetstyle / 2,5-Phil Oh for vogue.com / 3,4,6-Tommy Ton for style.com
It’s all about the light. And I love its timelessness. It could very well belong to the 2010s or to the 1940s. It looks like a scene depicted from a film noir.
photo: The Sartorialist
Whenever I am asked for advice for shopping places in Bucharest, I have a bit of a dilemma. And that’s because I put myself in the traveller’s shoes and every time I travel I like to stay away from shopping clichés such as fashion and retail chains and to instead embark on a real shopping adventure: the local labels and boutiques, hidden gems where I can find unique items.
One of the places I wholeheartedly recommend is Romanian Designers located inside Cărtureşti concept store. A project that is meant to gather, promote and sell Romanian design products, in limited editions, from decorative objects, to fashion items and accessories, photography, graphic design and toys. The idea took shape because of the very reason why I find so difficult to suggest good shopping spots in our capital: the lack of Romanian design products in stores. This way, talented artists have the chance to make their work known to the public in one of the best cultural retail places in Bucharest. An eclectic mix of creativity, innovation and craftsmanship, there’s something for everyone here. I personally loved the wide selection of statement jewellery, the collection of t-shirts (the one currently – I took these photos a few weeks ago – available is even more beautiful) and the traditional, hand-made decorative pieces. And I’ll tell you one more thing: if you’ve ever had difficulties in finding a special gift, then this is the place to visit.
Address: 13-15 Pictor Arthur Verona Street, Bucharest
photos: by me
We may be right in the middle of the fall-winter fashion weeks, but spring is less than two weeks away, so I’m afraid that there’s where my mind is. I am ready (if only the weather would permit it too) to store away my knitwear, coats and shawls and welcome lighter pieces in dreamy whites, dusky hues, vibrant greens and sea blues, and black too, because I simply can’t give it up. In fact, pretty much everything here from the Emerson Fry spring collection. Basic elements, but with a timeless quality that would seamlessly integrate into my spring-summer wardrobe and would hold it together for seasons to come.
photos: Emerson Fry via Lanalou Style
I am a little late with my New York Fashion Week impressions and favourite collections, so without further ado, here is my selection, which also includes Victoria Beckham which I covered separately last week.
I know I can always count on Tommy Hilfiger for a classic American style. And when his preppy, sporty life influenced looks are infused with a tailored elegance, they appeal to me even more, reminding me how much I like to feel comfortable, but also sophisticated in my clothes.
I like the Jason Wu woman and I like the way Jason Wu has been shaping up a signature style with every new collection. The strong shoulders, the military details and buttoned-up shirts made a powerful statement, while the pleats and sheer evening dresses played up the feminine factor. A winning combination if you ask me.
Can anyone do minimalism better than Calvin Klein’s Francisco Costa? No unnecessary embellishments, just an extraordinary precision of cut that speaks of craftsmanship and genuine talent and which prompts me to stick to my beliefs that simplicity is the greatest form of elegance. The collection has one more plus in my eyes: Ivan’s Childhood was one of the inspiration sources. It’s my favourite Andrei Tarkovsky film. No, I never miss the chance to speak about movies.
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One of the looks I’m coveting the most from the New York collections is this Theyskens’ Theory look below. A simple, clean, chic little black dress and a fabulous pair of leather boots. It’s perfect! The entire collection felt laid back, easy to wear, but elevated enough due to the beautiful textures and play with proportions.
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The make-up and hair style at Marc by Marc Jacobs. Although it would be impossible for me to pull that hair style off (“it’s a take on the forties meets seventies”), I’ve already been toying with similar make-up: deep red lips, minimal foundation and neutral eye shadow.
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And last, but not least, one of the things that I loved the most about New York Fashion Week was seeing the models smiling (and I mean teeth-showing) on the catwalk at Diane von Furstenberg. THAT had a great impact. Aren’t clothes supposed to make you feel good about yourself?
PS: A little announcement: I have changed my blog’s domain. When you enter the old URL address it should redirect you to the new one, but I would like to kindly ask you to change it with the new one, Classiq, if you have my blog in your blogroll. Thank you.
photos: 1-7: Tommy Hilfiger / 8-14: Jason Wu / 15-22: Calvin Klein / 23-28: Theyskens’ Theory / 29-31: Marc by Marc Jacobs / 32-Diane von Furstenberg; all photos via vogue.com
The movie before the movie. I have the feeling I’ve already seen The Great Gatsby, Baz Luhrmann’s remake that will only be released in May. There have been so many teaser clips, so much press talk about the costumes, about the Prada sketches and her collaboration with the film’s costume designer, Catherine Martin, about the sets, about Tiffany designing the jewellery for Carey Mulligan, Leonardo DiCaprio and Elizabeth Debicki and the film has already been named the most stylish film ever, for Goodness sake. The film should have been released in December last year, so is this some kind of poor (or brilliant some might say) marketing device to keep the public’s interest up? Because it has the exact opposite effect on me: my enthusiasm keeps sinking deeper and deeper.
Whenever a fashion designer is involved in costume designing, everyone, especially fashion magazines, seem to forget that they are not viewing a seasonal collection that they can review at their free will, but a costume meant to dress up and mould a character. And in a film, a dress is a lesson in character development. So taking that dress out of the context, before the movie is out, and saying how stunning it is, it’s more advertising for the fashion designer than for the film, and most importantly, to the detriment of the costume designer himself/herself (Vogue UK simply called Catherine Martin “head of wardrobe”). And I’m not buying that.
“Fashion in film” is a very confusing term and that’s why I’ve even changed the name of my Fashion in film series into Cinema style. Fashion has always had a complicated relationship with film. Let’s not forget that, in the past, the Hollywood costume designers invented more styles than any major magazine of the likes of Vogue or Harper’s Bazaar cared to admit and this is one of the strongest points of the American cinema in my opinion. In the 1920s and 1930s couturiers were known mainly to the rich. But Adrian, Travis Banton, Orry-Kelly and other Hollywood designers became as famous as the stars they dressed and launched major fashion trends, foreshadowing the work of many designers, and their styles act as an ongoing source of inspiration for modern designers. You’ve guessed, many times the originator of these trends was not even recognized.
The interest in costume design has severely diminished over the years. The drawing power of the individual star used to be paramount. They often played dual roles: as the movie star they had become and as the character in the movie. A new trend would spring as soon as the movie was released. The actresses and actors (we can’t really call them stars anymore, can we?) today don’t have this power anymore and the studios and producers don’t usually have the money to invest in actual costume design anymore (and even if they do, they channel it towards other things). They haven’t been doing this for many decades, since the ’60s. The clothes can now be designed, purchased, rented, manufactured, shopped for and aged; costume design has lost a lot of its meaning. And sometimes, to increase publicity, they bring a fashion designer on board. I have nothing against it. I’ve talked about and criticised on previous occasions the way various designers who were responsible for the costumes in certain films were intentionally overlooked and not properly credited (Givenchy for Sabrina would be one).
But the truth of the matter is that fashion has always tried to exploit the film world. And what really upsets me is that fashion designers working on films always forget that their designs must serve the character. Instead, their brand style is often recognisable and the clothes are usually too contemporary, a modern interpretation of the period fashions they should perfectly emulate. This is certainly what will happen in The Great Gatsby. Although I know very well Baz Luhrmann has a very personal film-making style, which I admire, and I would never expect the decors and costumes in his films to accurately depict the atmosphere of the period the plot is placed in. Catherine Martin confirmed my thoughts: “Baz and Miuccia have always connected on their shared fascination with finding modern ways of releasing classic and historical references from the shackles of the past.”
But when I read Prada’s words, “I usually try not to literally reference periods in my work, because that’s not the way I think”, I thought that maybe someone should remind her that this is not her regular fashion collection work and that it’s not the way she thinks that’s the most important thing in designing the costumes for a movie, that in case she’ll work with other directors than Luhrmann in the future. Designing for the movies and fashion have different goals and different cultures, even if designers switch sides.
Maybe now when we don’t have movie stars anymore, this is a way to attract more audience (and Baz Luhrmann’s films may actually help bringing more young people into cinemas). And let’s not forget that Carey Mulligan has been wearing Prada gowns to different events and award ceremonies for a few years. So why am I tossing and turning over this when it’s clear that there’s a collaborative effort to transform cinema style into fashion in film? All I want to say is: this doesn’t serve the interest of real movie lovers. And I’m not talking only about the costumes, but also about all the stills and decor shots they’ve released. I’m one who doesn’t even read a review until after I’ve seen the film and formed my own opinion. Is it too much to ask to see the movie first and do all the talking later? At least then we’ll know what we’re talking about.
Hoping that you’ve been patient enough to read this far, I would love to hear your thoughts on this. Have a wonderful weekend!
photo: Bazmark Films, Red Wagon Productions, Village Roadshow Pictures
