The anti-red carpet red carpet dress

While most Hollywood starlets (or wannabe starlets) often get confused between an awards ceremony and their 1990s prom (Jennifer Love Hewitt, I'm looking at you), here's the perfect example of when  straying off the beaten track is the best. thing. ever. Tilda Swinton in Jil Sander spring '11. Of course, only Tilda (and her white gold locks) could pull this off. And with that wink, I think she knows it. This woman is cool. Period.

via: Zimbio

Nonchalant Minimalism

These photos were taken outside Le Grand Hotel in Paris right after the Balmain SS11 show in September last (last!) year. While everyone was snapping away at the Balmain-clad ADR, (including me, until I spied otherwise) Mademoiselle Agnés snuck past, largely unnoticed by the blogger throng. With her Zanotti for Balmain satin booties and that amazing leather panelled Celine coat, how could you not notice? It's quite striking when seeing these two distinct looks, fashion poles apart, in the one frame. While Anna, God love her, is proud in her 'maximalist' style, not occasionally showing up to a designer's show in one of their earlier creations (that she's never worn before, no less), Agnés' style is much more minimal. It's not refined to extent of minimalism's trademarked sleek hair and Calvin Klein, but certain elements are certainly pared back. On reflection, I understand why Agnés didn't receive the same amount of attention as ADR, and I think it has less to do with the level of fame, and more to do with the style. Something so simple (if Balmain and Celine are considered simple) are donned by the wearer more often than not to have that effect; so they are the ones wearing the clothes, not the other way around. A plain pair of skinny army-green cargos tucked into heeled boots, teamed with a loose tee the same colour as the straight-lined jacket. Easy. Effortless. Just like dressing should be. Perhaps we can coin a new term in reference to this French sort of minimalism, after all; many a French editor (Emmanuelle Alt and Geraldine Saglio to name two) have this look down to a (ripped) tee. Nonchalant Minimalism. 

The Olsen Influence

"We wanted to do something low-key and to the point," said Ashley and Mary Kate Olsen in reference to their very first runway show for their label, The Row, in February last year. It's not often you can say the same consistent aesthetic runs through each and every collection of a designer, but with the Olsens, this is simply case in point.  Furthermore, it's not every day that a fledgling label draws front-rowers like Chloë Sevigny and includes runway names like Natasha Poly, Sasha Pivovarova and Sigrid Agren. Simply put, the Olsens aren't your average designing duo. For a pair that established their roots within the entertainment industry, it is a testament to their fashion credentials that they are sometimes forgotten as actresses, and thought of only as designers. For me, every collection since their very first (including their stuff for secondary label, Elizabeth & James) further proves this point. Simple, easy-to-wear clothing whose focus is on cut and fit rather than unnecessary detail, is a formula that obviously works for the sisters. And they don't look like letting up soon. Here's some (read: most) of the looks for their latest showing for pre-fall. 

Elin Kling for H&M

A fussy introduction simply would not have done this collaboration justice. After all, the very essence of this collection, and blogger Elin's style, is minimal. The simple white tee, the mailbox clutch... and the most incredible draped nude dress I've laid my eyes on. These pieces are amazing. Forget asking me to choose, I want them all. Available exclusively for Swedish customers February 3rd. Too bad I don't live in Sweden. Definitely calls for a ring around to a few European contacts in Gothenburg. 

via Style by Kling

Bright skirts and white shirts

Raf Simons for Jil Sander spring 2011. Minimalism's inverse. Maximalism. Couture Giganticism. Terms all considered by Simons himself when it came to describing the inspiration behind his latest collection in which no colour was spared. Fuchsia. Bright orange. Blue, green red. And in every combination imaginable. After the bright and ballooning skirts, whose tailored volume was played down with plain white tees, came the colour-blocking. A pink button-down tucked into orange flares finished with a royal purple coat. A cropped coral blazer over a magenta shirt with a burnt orange peplum. Purple over red and then pink cigarette pants, hidden beneath a green coat; red tucked into blue layers, and a splash of yellow for good measure. Colours that might otherwise be overwhelming were pulled off in the surprisingly simplest of ways. The tailoring was nothing but clean, and the cleverness was found, aside from the tricky colour combinations, in a fitted tee tucked into a puffball skirt, stiff collars with silken oxford shirting, and of course the voluminous lengths of it all. I'm not usually one for excess, but when maximalism becomes minimal - stripped back to the very basics of colour and shape and line - I'm all for it. 

via Style.com

Great Danes

When one is asked to think of a country from which the world's most beautiful models hail, Brazil is never far from the top. Gisele, Adriana, Alessandra, Isabeli...  some of the industry's most well-known, highest-paid models - their names themselves ooze sex appeal - argument enough that Brazilian woman are the most beautiful. Or so it would seem. Overt sexuality is only one interpretation of beauty, and this is one interpretation that the Brazilians can definitely lay claim to. Lately, it feels like fashion is favouring a different kind of beauty. The best way to describe it would quite simply be understated. Less exaggerated. Pared-back. Minimal. Much like the clothes we are seeing on the runways. Céline. Chloé. Calvin Klein. 

A newcomer fast becoming a favourite of mine is Caroline Brasch Nielsen, hailing from Copenhagen, Denmark. Making her first international appearance in Paris for Fall/Winter 2010, she debuted for Dries Van Noten and opened for Valentino and Sharon Whauchob. In the same season she also walked for the likes of Balenciaga, Miu Miu, Louis Vuitton, Chanel and Céline. She must have impressed Nicholas Ghesquière at least, because she nabbed a spot in Balenciaga's FW 2010 campaign- alongside Stella Tennant, Karen Elson and fellow country (wo)man Freja Beha Erichsen. She walked for no less than 60 shows in the most recent Spring/Summer 2011 season, opening 6 (including Narciso Rodriguez, Alberta Ferretti and Nina Ricci) and closing 4, one of which was Valentino. It comes as no surprise then that she was ranked third in FTV's latest first face countdown (behind Freja and Miss Kloss). Not bad for a 17 year old who has only been in the modelling game for 6 months. 

 I must say there is something captivating about these Danish girls - Freja has a similarly compelling nature. Reserved, almost to the point of shyness; but to the extent that it becomes enchanting, rather than awkward. Those insane cheekbones and solemn stare are softened with dimples, making sulky look serene. Ethereal, almost. After seeing her in Céline Resort I struggle to think of another girl who would have modeled that collection as perfect as she. She captured Phoebe Philo's minimalism to a (sharply cut) tee, and I wouldn't be suprised if some of her quiet freshness served as inspiration for Philo's (and many others, judging by the sheer number of shows she walked) latest spring collections. Fingers crossed for a campaign. To me she embodies THE Céline girl, and although 'obsession' doesn't quite seem the right word for Philo, here's hoping for something similar to Largerfeld's with Freja. Models as muses, as they say. Must just be those great Danes.  Siri Tollerød, Frida Gustavsson, Caroline and Freja, forget Brazil; those Nordic waters are where it's at. 

  

Pictures via tFS and Style.com

New World

I wish I could read Russian. As it is, I can't, so I'll have to settle for being able to read fashion. A quick scan of the blogosphere however, reveals the title of this editorial as "New World." I couldn't think of anything more suitable given this is the last issue of Russian Vogue under founding editor, Aliona Doletskaya. Although at the time of publication, new EIC Victoria Davydova had already taken up post, due to the time lag in magazine-land, we won't see Davydova's work until the October issue. And judging by this issue, the pressure's certainly on. Not that it wasn't before. Since its inception just 12 years ago, Vogue Russia has been viewed as one of the most influential editions of Vogue- right up there with Editrix Roitfeld's Paris edition. 

As well as the title's nod to the new editorship, it heralds September's change of season, where summer turns over a new leaf (pardon the pun) and fades to fall. At least in the northern hemisphere, where all the fall/winter collections are beginning to hit stores. It picks up on the notion that women are on the collective cusp of bidding farewell to the old and eagerly embracing the new. Don't be fooled that this rejection of the outdated in favour of on-trend pieces is all part of a vicious cycle that will begin again come next season. Quite the opposite. In fact, it is this cycle of chasing what is "new" and "on-trend" which appears to be dwindling, as investment dressing has never been more appropriate; or popular. Trend-forecasting will never disappear completely. There will always be the latest heel (block, kitten, wedge) or skirt (full, maxi, body-conscious) or even handbag (oversized, across-the-body, box) but the fashion tide seems to be turning towards something more... sustainable. Towards something that can offer both style and longevity. Towards something that can offer what trends cannot: timelessness.

The appropriately named "New World" story, shot by Sharif Hamza features an all-star cast including Alessandra Ambrosio, Coco Rocha, Ana Beatriz Barros and Dree Hemingway. Under the styling genius of Simon Robbins, the story features designs by Chloé, Michael Kors, Max Mara, Burberry, Calvin Klein and Céline, to name a few. All these designers have released collections of which many have had that certain timeless quality of late. Think back to all of the so-called trends that this season has been labelled as sporting. Coats? Fur? Neutral-hues? Minimalism? Save for the current penchant for all things animal print (which I cannot see disappearing in a hurry) the current pared-back aesthetic can apply season after season and then serve as the base for many a would-be trend afterwards. And this is the new world into which fashion, and Vogue Russia, is emerging into.

Finally, for those who are still confused as to why fashion editorials, or spreads, are referred to as 'stories', what better example than this. No matter what language, if any, the story is told, if it is exectuted well, with stylists, photographers, models and all those behind-the-scenes collaborating in a way as cohesive as this- the message is loud and clear. Despite the fact that the words, to most of us, are much less discernable. No trend is on-trend. And that, my friends, is the moral of this story. New world indeed.

via: FGR