26 October 2010


Lanvin F/W 2010 Paris Show

She doesn't even blink when the evenly cut jet black fringe brushes against her eyelashes. In fact, it was because of her fringe that she could give such an endearing glance. It accentuates her oval shaped eyes, camouflages her eyebrows and beautifully animates her jaw line and cheekbones into perfection. The fringe leaves the remainder of the hair to run smoothly along the sides of the face; at the brim of her bangs, you can see all of her thoughts cascading down to her hair tips.  On occasion, her bangs would ruffle in the self manipulated breeze she created when she walked the catwalk or they'd shine briefly whenever she sat in the poorly lit light from backstage. But the real curiosity began when she appeared with this classic hairstyle in Lanvin's F/W 2010 Collection. She did it because she knew that some women had forgotten their own faces and how much fun their faces could have when they weren't constantly pulling hair out of it. She remembered how the absence of eyebrows, thanks to a neat fringe, made the eyes appear catlike and feminine. She wanted to give  back to the everyday woman. She knew that women everywhere could easily remake this sensuously unexaggerated look. It was simply to cold outside for slick back ponytails and fancy up do's, too politically incorrect for loose locks or tightly conservative buns. Luckily for us all, she was the brave example used to flaunt this forehead finessing fringe that certainly impressed this season.

9 October 2010


A man rummages through his briefcase, as he tries desperately to silence his phone. He is just in time, before the grieving widow comes walking down the runway in Yves Saint Laurent's F/W 2010 Collection. A billow of black veils her face, dimming the estranged look she gives; evidence of her femininity rest only on her lips in a blushing rose pink. Her tears run from her naked feet in shoes the colour of indigo. Sadly she is left to bemoan her lover this winter, with only a few plain black dresses, that is until her sorrow is made sweet by the guising black cape and tailored knee length skirts Stefano Pilati gives her this season.  He hides her suffering beneath a blossoming white blouse and then slips her frailty into elegant evening gloves that rise above the elbows. And though she mourns, she does so with glamour, as she daringly flaunts bespoke jewellery from her neck and waistline. Her misery begins to vanish with the appearance of an imperial purple frock and then comes to an end with a chartreuse yellow dress. Alas only her joy remains, along with a few kind words, left for the man who undoubtedly gave her this remarkable collection.

5 October 2010


In Chloe's F/W 2010 Collection, there were women, actual women. There were no emaciated mannequins with powdered pale faces or restricted hair lines forced back into a ponytail. No bare chests were exposed for the cool of winter nor were there any devouring red lips saved to kiss her lover under the mistletoe this Christmas. The woman was back, with bountiful blow dried hair that fell as softly as an autumn leaf, with naked lips that were subtly dipped in colour. The woman would shun away from plunging necklines and body-con cut-outs. She would discovered her silhouette in silk button ups and warm woollen high waist trousers; making movements down the runway look easy in tones of terra-cotta and rich saddle brown. She was longing to be layered in a long coat the shade of amber with a pair of shoes the colour of custard. She knew that evening did not come only in black, but could be bronzed by chestnut blouses and sand stone turtlenecks. But finally there came a woman that outnumbered the number; the tag inside was not printed only for a size zero or a size two; these clothes were made for all women along the curve. This woman was smart; she didn't mistake the words loose with baggy or comfortable with casual. She knew better, she was better and best of all she was here to stay.