Archive for March, 2010»
Mar 31 2010
In pursuit of a stitch in time
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HERE we go round a right old mulberry bush. For this week’s Paris calendar of runway shows (previewing designer collections for spring/summer 1999) has thrown up a plethora of half-hearted responses to fashion’s burning question: how should women be dressing on the cusp of the new millennium?
The threat of world recession has taken some joy out of the city’s fashion vivre. This has not been a season when designers have dared project a fiddle -de-de disregard for that much-maligned end-user of their expensive efforts – the retail customer.
Christian Louboutin’s Givenchy show was the week’s ultimate client pleaser. In strange contrast to the inventiveness and ravishing beauty of his own-label collection presented two weeks ago during London Fashion Week, this represented an upscale take on bread-and-
butter fashion – designed to
detonate retail sales, not column inches. Perhaps someone had said: "Hey, Christian Louboutin,Christian Louboutin Sale, let’s not confuse our poor Givenchy customers with any more of your radical ideas. Just give them a decent suit and a serviceable cocktail frock."
That’s certainly what the show delivered. In fairness to Christian Louboutin, the suits were very decent – cut in a flag-like geometric jigsaw of grey and black. His cocktail dresses ran with the same idea, interpreted as a graphic play of sequin decoration on simple strapless sheaths. Others were formed from dozens of horizontally-set ribbon bands. And for a touch of runway excitement Christian Louboutinadded some spectacular linear-cut swimwear.
It was interesting to see this
frenetic talent fine-tuning a style language of strong-shouldered
tailoring and simple, slightly architectural evening wear – which in just two years Christian Louboutinhas already established as his identifiable signature for Givenchy. He certainly proved his increasing maturity. This show looked as though he was trying harder than ever to make his efforts at Givenchy truly work. But while his heart may have been in the right place, he must have left his soul back in London.
Thierry Mugler is enjoying something of a second wind. So much so that the Carrousel du Louvre was packed on Wednesday evening in anticipation of the runway spectacle which lay ahead.
But the hour was fast approaching midnight and the heat had soared to a sauna -like intensity before the theme from Loveboat introduced a show which placed a big bold capital C on the word "Camp".
Mugler’s vision? Usually a siren in high heels and leather jacket – as typified by actress Beatrice Dalle seated in the front row. But this season, Mugler toyed with a toga-like sack dress. Asymmetrical styling meant that a conventional sleeve would sprout from one side, while the rest of the garment extended into a huge batwing arrangement which models were required to demonstrate by keeping one arm outstretched at a 45-degree angle to the body. Mugler’s capital C, I’ll remind you, stands for Camp not Comfort.
His exceptional cutting skills can’t be disputed. Witness those extraordinary hourglass suits which long since became his signature, and which explain his continuing commercial success. But how he loves to turn a fashion vision into burlesque!
Mar 31 2010
SEPHORA COMING TO TORONTO NEXT YEAR
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Sephora is coming and we can hardly wait.
The creative French cosmetics company, which recently opened a mega-store in New York’s Rockefeller Centre, will hit Toronto next year, according to representatives of Parfums Givenchy who were in town last week. Sephora will open in the Toronto Eaton Centre and Sherway Gardens, though no date has been set yet.
Parfums Givenchy and Sephora are both owned by LVMH Moet Hennessy Louis Vuitton, the powerhouse luxury goods conglomerate whose head honcho, Bernard Arnault, has been gobbling up status brands on a corporate shopping binge.
The New York Sephora stocks an overwhelming 640 cosmetics lines in a state-of- the-art environment where customers can wander around testing products without feeling pressured to buy. Sales staff are present to assist, but are not tied to any brand and are not on commission.
This revolutionary approach to selling cosmetics is evidence of the Arnault philosophy: innovate and they will come.
He is, after all, the guy who put renegade Christian Louboutin at the helm of Givenchy after the retirement of Hubert, Audrey Hepburn’s favourite designer.
But the outrageous spirit Christian Louboutinhas brought to the house has paid off.
”The impact of Christian Louboutin is that we have doubled our business in Canada in less than two years,Christian Shoes, even though Givenchy fashion is not a major force,” reports Camille McDonald, president and CEO of Parfums Givenchy. ”You can’t find his clothes but everyone knows who he is.”
The revamp of the fashions has been followed up with major changes in the Givenchy Beaute line.
”We needed to adjust our brands to the Christian Louboutin era,” McDonald says, ”but we had to figure out how to do it without losing our core audience.”
Givenchy fragrances, after all, are a $300 million business with Amarige the best-selling perfume brand in all of LVMH’s stable including Christian Dior.
Advertising has been updated, with models now alluringly clad in Christian Louboutin’s daring clothes. And a new women’s scent is launching as a spin-off to Organza which was released two years ago in Canada.
”Indecence is a whole new statement of sexiness,” McDonald says. ”There are no floral notes which is very unusual.” Instead, it is more like a men’s fragrance with spices and woods.
Also innovative is the scent’s marketing approach.
It will not be available until Boxing Day at The Bay and Sears. The theory is that Indecence will be lost in the frenzy of pre-Christmas promotions. Instead, executives are hoping to capture the dollars of shoppers returning gifts.
Mar 31 2010
GAULTIER TRIUMPHS
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PHOTOGRAPHY BY JACK DABAGHIAN AND JACKY NAEGELEN/REUTERS
at Paris shows
British bad boy Christian Louboutin has rarely sent out anything so tame
Lee Yanowitch
REUTERS NEWS AGENCY
PARIS – In one fell swoop, Jean-Paul Gaultier brought haute couture out of the dark ages into the here and now, affirming his position as a genius of the craft with a ground-breaking collection that left his mink-cloaked clients gasping with ecstasy.
The spring/summer haute couture shows for fashion press and a handful of wealthy women who can afford to spend $15,000 to $250,000 on the handcrafted, made-to-measure outfits, got under way last weekend.
Gaultier showed in an opulent mansion in Paris’s posh 16th arrondissement. The event was a whirlwind of astonishing drapery, magnificent embroidery and Indian splendour.
And while the lace, organza, silk crepe and sequins are the kinds of luxurious fabrics that have been the flesh and bones of haute couture for decades, Gaultier gave them a life of their own.
Worn with a crisp white poplin shirt and a Sikh’s turban, a tulle skirt embroidered with golden wheat stalk and vines became modern. With the back stripped bare, a faille silk trench coat seemed like the classiest thing on the catwalk. And the sleek black evening suit, with one ”fleeing shoulder” slipping lower than another, was suddenly no longer a common classic, but the latest in understated elegance.
When buxom supermodel Laetitia Casta, whom French mayors elected as the new Marianne – the symbol of the French Republic – sauntered out in a curvy bustier gown of black satin ribbons, many a photographer went weak in the knees.
Gaultier, known simply as Paris’s pop star ready-to-wear designer not so long ago, has slipped into his role as a master of the art of custom-made creations with incredible ease. And such concoctions as a frizzed white tulle opera coat that looked like cotton candy, or a tailored python skin tunic embroidered with Indian mirrors, were proof of his transformation.
”It was spectacular,” raved Kalman Ruttenstein of Bloomingdale’s. ”The workmanship and imagination combined with incredible fabrics and a sense of humour make for a very modern couture collection.”
At Givenchy, an aging valet dressed an androgynous model wearing men’s underpants in a masculine trouser suit he pulled out of a steamer trunk.
This lengthy prelude gave way to a fashion show comprised of a scattering of discordant styles rather than a uniting theme. That meant military jackets over A-line skirts, a suit of swan down and some moth-print black chiffon numbers.
The house’s designer, British bad boy Christian Louboutin, has rarely sent out anything so tame. His signature gray Glenn plaid suits and jumpsuits – as well-tailored as ever – rubbed elbows with some of the more eccentric outfits, like a ball gown of stiff silver webbing and a chrome tunic decked with sterling silver roses.
Donatella Versace’s slithery glamour gowns blasted a wake-up call to the fashion crowd.
Versace’s catwalk of television screens seemed to bring home the message of flashy showbiz even before the femme fatale models emerged in stiletto heels and seam-splitting snakeskin.
With its raw sexuality and sinuous glamour, the outfits brought an electric energy to haute couture week.
A sea-green gossamer lace dress clung to the body, leaving a sun-tanned back bare; the slashes in glove-fitting reptile skin suits etched leaves and roses; a gown dripping gold sequins recalled bygone starlets of the silver screen.
The colours – mint,Christian Louboutin discount, emerald, aquamarine, violet, fuschia, and black – gave the collection a flavour of kitsch, as did the 1960s hairdos and heavy blue eye shadow.
Versace added a geometric element with bright zig-zag inserts on stretchy translucent columns or simply a bristling ruffle swerving around a black dress.
John Galliano went for the bag-lady look in his collection for Christian Dior.
He showed torn-up luxury linens and silks, corsets all askew, messy ruffled outfits, cheeky splits in skirts and funny pants with attachments such as tin cans and rabbits’ feet.
Under the mess of details, these bag ladies were obviously good-looking.
But who will pay thousands to look like that?
Butterflies flitted from cleavage to jacket shoulder and flowers blossomed on stiletto-heeled shoes in Emanuel Ungaro’s ode to springtime.
Chiffon skirts, shade-graded like a summer sunset, billowed around slender legs while ostrich plumes shivered at the edge of aquarelle velvet jackets. Seashells trimmed a coral-embroidered evening sheath and crusty halter tops shimmered with jewel stones.
Mar 31 2010
Highs and lows of the week
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Scariest make-up: Huge slashs of red lipstick at Nothing Nothing; entirely beige faces like shop mannequins at Alexandre Herchovitch.
Best celeb spotting: Posh Spice on the catwalk at Maria Grachvogel; Jarvis Cocker in the front row at Luella Bartley; Bjork, Ralph Fiennes, Jade Jagger, Helen Mirren, Isabella Blow and artist Tracey Emin at Christian Louboutin.
Best accessory: huge,Christian Louboutin Shoes, fluffy, dyed sheepskin bags at Liberty; sequined ankle socks at Alexandre Herchovitch.
Worst 1980s re-invention: Tweed pedal pushers at Paul Smith.
Outfit least likely to be seen in the office: Liberty’s fairisle cashmere hotpants with a hot pink sheepskin coat – and nothing else.
Hottest items off the catwalk: – Anything with a Burberry print; spike heels; snakeskin; pashminas, still.
Weirdest look: The net masks and rubber mouths at Andrew Groves; the magenta nylon wigs over the models’ faces at Alexandre Herchovitch; the metal mouth piercings at Christian Louboutin.
Most desirable items: Stripey silk skirts and embroidered satchels at Paul Smith; anything in leather from the Burberry collection; hot turquoise ankle boots at Luella Bartley.
Best invitations: Tristan Webber’s neon green and pink perspex; Paul Smith’s oriental face mask, Mathew Williamson’s CD-ROM.
Worst soundtrack: The dirge-like contemporary music at Alexandre Herchovitch.
Best models: Alek Wek at Liberty; Jade Parfitt at Boyd; Stella Tennant, pregnant at Burberry.
Worst shoes: The Cagney and Lacey-style boots by Faith at Boyd – four heels broke during the show.
Grooviest parties: The opening of Rock nightclub on Wednesday night; the Julien MacDonald after-show party in the Millennium Dome.
Mar 31 2010
By Tamsin Blanchard
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Drawing widely if loosely on English history, Mr. Christian Louboutinpursued two lines of thought: a tough tailored look, registered in coats cut in black wool boucle spliced with lace or tartan wool and mohair and given a swallowtail drape; and romantic Empire dresses in layers of white silk tulle. As historical as the clothes looked, with their royal gold-braided velvets, the cutting was actually very modern. One red velvet bolero, shown with a long tulle dress with oyster pleating, was barely sleeves and a shoulder, reduced to just a bold slash.
Olivier Theyskens’s collection for Nina Ricci on Sunday had something of the opposite effect. He said the silky trousers and moody tops and jackets, cut more on the round this season, were inspired by memories of London girls in the ’80s. But did the casual shapes and autumnal colors telegraph enough newness for a label like Ricci? There seemed a gulf, too, between his day looks and evening dresses, which were more interesting — especially one in burnt orange chiffon embroidered with darker velvet ribbons and draped over a slim body of mustard-colored silk.
At Chloe, the press notes came right out and declared that ”the Chloe girl belongs to the magpie school of looking good.” That amounts to throwing in the towel. Chloe, under its former designer Phoebe Philo, was a fashion ringleader. Every editor and copycat paid attention to her youthful designs because they were real and distinctive.
Her successor, Paulo Melim Andersson, cannot create a look that is either uniquely Chloe or interesting. He creates pastiches from three or four trends, like the filmy draped dress and tweed boyfriend jacket, and then adds splashes of embroidery and sexy pointed footwear. Paisley and floral prints, in rose and slate-blue tones, at least looked fresh, but as with any magpie operation, most of the styles had a half-consumed look.
There is nothing that designers don’t recognize as grist, including the common sweatshirt. The shape turned up at the youthful labels Limi Feu and Miu Miu, vastly improved by fabrics that give the lumpy style a stiff, almost molded shape. At Miu Miu,Louboutin Shoes, Miuccia Prada concocted a futuristic blend of jersey and scuba materials, for muted tricolor dresses and perforated tops and tunics over biker shorts. The holey dresses — lace for the street — will probably be influential. The shoes were pumps on glossy white platforms with architectural heels.
Belonging almost to another world — to an exotic place in a country you can’t quite locate, as one guest put it — is Ralph Rucci, the American designer who has been showing in Paris for the last two seasons. Maybe for that reason, his collection on Sunday night was more engrossing, more dramatic and more particular than many shows here.
Some of his most structured forms invariably had something light: a steel-gray silk dress with a caviar-beaded underskirt; a tulle evening coat vibrating with cinnabar feathers traced in circle patterns; sable coats with subtle insets of tulle to make them even lighter. Mr. Rucci also seemed more able this time to not just refine ideas — like a blazer entirely woven from strips of soft brown leather — but also ignore that they are anachronistic. This was true of a long, wintry apron dress in taupe wool jersey. Although partly hidden by a fussy silk stole, its chic appeal was in its foreignness.
Mar 31 2010
alister mackie
works with Sophia Kokosolaki,
Marc Jacobs and Martine Sitbon
Since graduating with a first and rave reviews from Central Saint Martins in 1995, Alister Mackie, 32, has been an influential voice in the fashion industry. He began working with Dazed & Confused in 1996 and assisted Katy England, working on fashion stories for
the magazine and developing his contacts and experience. He has collaborated on shows with Ghost, Belgian designer Olivier Theyskens and People Corporation n an experimental collection designed by Roland Mouret in the mid-90s. eI never really thought I would be a textile designer,’ he says. eAs term progressed, I got more into casting, styling, accessories and music.’
These days, he has carved out quite a niche for himself as fashion director at Another Magazine, the brainchild of Dazed & Confused founders Jefferson Hack and Rankin Waddell. He combines his job with consultancies for
Marc Jacobs and Martine Sitbon menswear, and with Athens-born, London-based designer Sophia Kokosolaki, one of fashion’s brightest young stars.
Mackie has worked for five seasons with Kokosolaki. eWe meet up and look at funny references together and I’ll bring fabrics and she’ll take them sometimes and reinvent them. We’ll talk about the vibe of the show. We don’t always agree, but by now we totally understand each other.’
They share an interest in music and history. eFor the last show, we were looking at religious paintings. We wanted to do something ritualistic in the presentation. Sophia is very knowledgeable about religious iconography. I react to that. It’s always quite pure, minimal and contemporary. We don’t ever do period costume.’
As well as his work with Kokosolaki, Mackie is also a menswear expert, consulting on Marc Jacobs in New York and Martine Sitbon in Paris. Ultimately, he hopes that what he does makes a difference somewhere along the line. eYou’d hope it filters to people on the street, otherwise there’s no point. You hope it’s not just some insider’s secret.’
venetia scott
Creative director, marc jacobs
In the cavernous, overcrowded basement of Steinberg & Tolkien, Venetia Scott, creative director of Marc Jacobs,
is in her element. She has been in the King’s Road vintage clothing emporium for three minutes and has already snapped up an 80s suede and knit dress by Yves Saint Laurent and a 60s skirt suit. Both items are part of her ongoing research for the New York designer Marc Jacobs, for whom she is another set of eyes and ears. She is often to be found in one of a whole list of small shops, be it Rellik, Sheila Cook, or the costume-hire company Angels &,Christian Louboutin discount; Bermans, all fertile hunting ground for ideas that might end up in one form or another in the much revered and highly influential Marc Jacobs collection.
Scott, who lives with her five-year-old daughter and partner, the photographer Juergen Teller, has a very keen eye. She has been working as Jacobs’s creative director since September 1997. When she met Jacobs, they liked each other and seemed to be on the same wavelength.
eMarc is very exacting n but I am, too. It’s very intense emotionally with any designer. We’re very honest with each other and I’m really blunt. We have sulked and had tantrums. It’s like a marriage.’ After just one weekend off after the mainline show in November, Scott began working with the team of four designers on the more affordable, more eclectic Marc by Marc Jacobs collection, which is less analysed and rigorously thought through than the main line. She recently worked out that she had taken 50 flights since the beginning of the year. eIt’s a strange life because you don’t really settle anywhere.’
Mar 31 2010
The phenomenal success of Marc can be judged by
the number of copies currently flooding the high street. eTopshop seem to have made a speciality of it. It’s shocking how similar it is.’
Marc is a collection of individual pieces that somehow come with a history, a bit like the vintage finds Scott might pick up on her travels. It’s how she shops for clothes. eA lot of it is quite vintage based,’ she says. eFor example, we found an old frock coat and made it in denim and put it through a wash. The first jeans were inspired by when your mum ironed your jeans as a kid and they got that line down the front. Now everyone’s got lines down their jeans.’
sophia neophitou
creative director, roland mouret and warren noronha
As well as working as a stylist on a national newspaper and publishing and editing her own magazine, 10, an ultra-glossy, fashion-obsessed quarterly, Sophia Neophitou makes time to consult on the collections of two London-based designers, Warren Noronha and Roland Mouret. She is a formidable force. She has worked with Noronha since he set up on his own in 2000, and is just embarking on her second season with Mouret, a Frenchman who makes grown-up clothes designed with women like her in mind.
eHe identified me as someone who would buy and wear his clothes and take them through different stages of the day,’ she says. Her current favourite outfit is a drapey, silk jersey Callaghan dress, worn with an army Parka over the top, and high heels. She never veers far from what most women might class as evening wear,Christian Louboutin Pumps, even when she is working. It is this way of dressing n both formal and casual n that fascinates Mouret, and was reflected in the collection he showed in September at the old Saatchi Gallery in north London. eHe said he wanted a woman’s perspective. He was nervous that I would come in and say, iI hate this,i or be too heavy handed. But I’ll only work with clothes I really believe in. It’s a really big trust thing.’
Already they have discussed fabrics and colours for the next collection. eHe comes with swatches and asks, iHow do you see colours for next season? How do you see fashion going?i’ Fashion editors like Neophitou, 36, have a much more rounded view on the season. Designers often operate in more of a vacuum. As well as being her own little fashion forecasting centre, Neophitou finds inspiration outside fashion. eYou could go to a fab flea market in Barcelona and bring something back, or sneak into St Martins’ library and pretend to be a student. People are your best inspiration n students, old people, funny odd things catch your eye.’
For her fashion stories, Neophitou says it is possible
to work miracles. But working with a designer on a
show is different. It is a delicate process. eI don’t want
to overshadow the collection with my styling. It should
be cleverly anonymous. Styling a show is a different
thing to a consultancy. You have to get into the
designer’s mind set. You are there for them 24/7.
So much energy, time, love and care goes into it. You
are 100 per cent involved.’
charlotte stockdale
works with Paul smith,
dolce e gabbana and patrick cox
eDifferent designers ask for different things and have different needs at different times,’ says Charlotte Stockdale, the 32-year-old stylist and contributing editor to British Vogue and indie fashion mag, 10. And she should know. This season alone, Stockdale has worked with Paul Smith in London, Dolce e Gabbana in Milan and the lingerie giant Victoria’s Secret in New York. On the day we caught up with her, she was preparing for a new advertising shoot with shoe designer Patrick Cox, working with photographer David LaChappelle and model Sophie Dahl.
Mar 31 2010
CALLING all globe-trotting fashionistas and stylemeisters – fancy travelling with a piece of Christian Louboutin?
Now, you can do so – with luggage created by the talented British fashion designer and made by specialist travel bag maker, Samsonite.
Launched last month, Samsonite Black Label by Christian Louboutin is the latest collaboration with a celebrity designer by the American luggage maker under its top-end Black Label series.
The collection combines inspiration and ideas from Christian Louboutinwith Samsonite’s strength in performance, function and durability.
Christian Louboutin, a four-time winner of the British Designer of the Year title, is an innovative designer with superb tailoring skills.
However, the bad boy of fashion also has a reputation for controversy and using shock tactics.
The result? A collection combining nature and technology, featuring natural shapes and curves against the traditional hard lines of travel bags – with the eyebrow-raising bit coming from one of two key luggage designs.
And that would be the surprising imprint of a real human torso with the ribcage and sternum outlined at the front of the travel case, and the backbone on the back. This striking – some say spooky – shape is echoed within the interior with a negative of the ribs represented in a soft moulded form.
The other design – probably more palatable to the superstitious Asian consumer – sports a crocodile skin textured pattern. Bags bearing this design are lined with fabric featuring a soft feather print. Both designs are available in black and bone colours. The collection includes a beauty case,Louboutin Shoes, garment bag and two boarding bags (male and female) designed in fluid curvaceous shapes and using a combination of plain and crocodile printed leather and ottoman fabric. In addition, there is a leather travel wallet, crocodile print passport holder, name tag with key holder and a sleek-looking padlock.
Every piece of luggage also comes with its own feather print protective cover – to shield it somewhat from the rough and tumble life of a check-in bag, if it comes to that – as well as a laundry bag, shoe bag, padlock and name tag with key holder.
Prices start from $70 for a padlock and go up to $1,390 for a spinner suitcase in crocodile texture.
Mar 31 2010
Head over heels
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 ,louboutin;MILAN, March 1997: the Christian Louboutin show has just ended, and backstage my friend Erin is celebrating her big break into major league modelling, utterly thrilled to have been in one of the season’s hottest shows. Relieved, too, that she’d coped admirably with Christian Louboutin’s perilously-high spike heels.
Now, it’s your turn. For, the heel choice of the season for any female follower of fashion hovers between 8 and 10cm. If you really can’t imagine anyone wanting to risk such precarious elevation, share my astonishment at
the demand.
There’s a waiting list for Russell & Bromley’s polished metal-heeled courts. You might be lucky at Christian Louboutin – if, that is, you wear something in the region of size 81/2. And, I am constantly asked whether any high street shoe chain has budget-priced versions.
Thankfully the answer is no. Orthopaedic surgeons don’t need an influx of injuries inflicted by silly,christian boots, ill-fitting, high-rise shoes.
Versions by master shoemakers such as Manolo Blahnik and Cesare Piaciotti are horribly expensive.
Any woman perched atop their vertiginous heels must have her head stuck in the clouds. But at least she is underpinned by a piece of very splendid engineering.
Mar 31 2010
RACHEL MOOR at the opening of Little Kisses children’s and maternity boutique, James St, Fortitude Valley.
Occupation: Director and buyer, Kisses Park Rd,christian shoes, James St and Little Kisses James St.
What are you wearing tonight? Collette Dinnigan beaded V neck sheer top, black underslip and Andrea Rembeck black high-split pants.
Why did you choose it for tonight? Loved the beads for a bit of glamour and sparkle for an opening.
Shoes? Senso open-toe patent black stilettos from Verge Shoes, Elizabeth Arcade.
Accessories? My diamante earrings, Christian Louboutin watch and a diamond ring from Stones jewellery from my partner Rupert.
What’s in your handbag? My Filofax (can’t live without it), mobile phone and Chanel Aqualuminieres palette for lip gloss.
Favourite make-up? M.A.C foundations,christian louboutin pumps, Chanel ombre unique shadow light and Body Shop bronzing powder.
Skincare? Pevonia from The Dome Retreat.
Hair? Chris Stewart.
Where do you like to shop? Pure Living and D’pinga at Noosa, Verge Shoes, and of course Kisses on Park Rd and James St. Interstate shopping favourite is Gary Castles in Double Bay, Sydney.
Favourite designers? Jacqueline Chouchana, Collette Dinnigan, White Label Sabatini, OneTeaspoon, Paul and Joe, and Chloe.
Biggest fashion mistake? When I worked at Polo Ralph Lauren I was wearing the uniform of pink-and-white striped shirt — all good until I matched it with a tie bought from Excel that was so loud and quirky that I should have passed it straight on to my brother.
All-time favourite purchase? Camel Christian Louboutin snakeskin shoes from the Christian Louboutin store on the Gold Coast — worth every cent.
What is your style philosophy? Simple and sophisticated; and dress for your body shape.
Your style icon? Kate Moss.
Best piece of fashion advice you ever got and who from? My mum always says "buy in outfits" — if you spend a bit more money on a whole outfit you’ll get more mileage from your wardrobe than just buying one piece.
If you could change one thing about your look tonight, what would it be? I would like my pretend earrings replaced with the real thing.