Tuesday, November 27, 2012

On fashion reporting before the digital era

"Of course, fashion editors are competitive now but... in those days we were reporting one look, the look. That was what fashion was about- and it was news. Women all over the world waited to be told whether they should chop two inches off their hemlines and that story on the front page actually sold newspapers. So fashion editors were reporters first; they actually crept around trying to get exclusive previews, bribing employees of couture houses to steal sketches, competing ferociously for a scoop."
-Anne Rice, fashion editor of British society journal Country Life on fashion reporting, 1984.

Monday, November 19, 2012

Do you er... instagram?


I do as of about two weeks ago and I think it's safe to say that I'm somewhat hooked. Here are some tastes of what I've been posting lately.

1. Late night blog-reading and shedding the weight of the day which includes these featherlight necklaces- one paste vintage from Brick Lane, London and the other one of my own making // 2. Smoking blondes by my dear friend Olivia who had a studio sale the week before last // 3. Nothing better than bright colours and clashing prints for a day of thesis writing. This outfit was brought to you by Missoni, Bernhard Willhelm and ASOS // 4. Lana Del Rey, handdrawn by someone and blu-tacked to the fridge at FBi radio (tune in on Mondays at 8.15am, yo!) // 5. An outfit (and coffee) from last week. Tights from Paris, Miu Miu socks, Bernhard Willhelm dress, fake Sonia Rykiel jumper and M.A.C. lippy in Dubonnet // 6. Little old Sydney from the view of Observatory Hill where I was for a dear friend's baby shower picnic last Sunday.

Let's be Insta-friends! (Is that contraction horrifically awkward?) Unsurprisingly, my handle is Fashademic. OK... go!

Sunday, November 18, 2012

Me and probably you too.

“I have always been a reader; I have read at every stage of my life, and there has never been a time when reading was not my greatest joy. And yet I cannot pretend that the reading I have done in my adult years matches in its impact on my soul the reading I did as a child. I still believe in stories. I still forget myself when I am in the middle of a good book. Yet it is not the same. Books are, for me, it must be said, the most important thing; what I cannot forget is that there was a time when they were at once more banal and more essential than that. When I was a child, books were everything. And so there is in me, always, a nostalgic yearning for the lost pleasure of books. It is not a yearning that one ever expects to be fulfilled.” 
-Diane Setterfield, The Thirteenth Tale

Friday, November 16, 2012

To create a thing of beauty and curiosity for the wearer.

Delicate, strong and a little raw was my first impression of Noemi Klein's latest jewellery collection, Epoch 4, and it's one that has lingered, evoked by the sinuous and sharp lines of this lovely range. According to the press release,

 (this collection) is centered around Noemi’s fascination with the sea and in particular, crustaceans. The act of ‘moulting’ – when a crab sheds its old hard shell, growing a softer more delicate shell- is the main reference. Each piece has been cast using the exoskeleton or ‘shell’ of lobsters, crabs, crayfish and langoustines found in Billingsgate market.

And can't you just see it in the swift little sharps of these earrings and the neat, dense curves of the crab legs on the right, still suggestive of scuttling life?


Noemi Klein is originally from the West German countryside and is now based in East London, and she got into making jewellery with metal when her dentist father gave her a piece of cast-off machinery. This history of precision and attention to detail coupled with the intersection of liquid metal with the organic forms and materials found in nature echoes through this range and Noemi's prior ones. It's summarised by her design perspective,
to create a thing of beauty and curiosity for the wearer, to forge something out of nothing; articulating the violent necessity of nature, the force by which we live.


What's remarkable to me about this collection is that even though each piece stands on its own, when layered together it both forms a cohesive look and remains distinctive. My eyes flicker from the sculptural rings to the layered necklaces to that wonderful earring diving around this model's ear but yet notice each individually- this is not jewellery that would merge and disappear with whatever else you were wearing.

While I can easily imagine living in these pieces– and don't they seem the kind that make you feel bare when you forget to slip them on of a morning?- they would never blend into the background, but remain unusual, sculptural and lovely. Which is basically my way of saying that I want it. All of it!

Fellow Australian lovers can haunt Violent Green in Brisbane or you can find a full list of stockists here.

Thursday, November 15, 2012

See also: all fashion photography ever

Lisa Cant by Tim Walker, Vogue UK December 2004

To see something in the form of a photograph is to encounter a potential object of fascination [… photographs] are inexhaustible invitations to deduction, speculation, and fantasy (Susan Sontag, On Photography 2008:23).

Sweet on Lover

Still-life from 'Sacred Hearts' A/W 2009 collection

Long-time readers will know that I am sweet on Australian label Lover.  For example. And then there's the beautiful plaid dress from their Altamont collection that I should have bought when I fell hard back then in '07. 


It haunts me, with its soft charcoal and cream checks, its gentle balloon sleeves  and its mustard velvet ribbon, threaded through the gathered neck. O, how it fell above the knee and swished when I swooshed it in the changeroom and WHY O WHY Rosie of the past didn't you take it home? Silly. (Do you get haunted by clothes that should have been yours that you didn't buy? I'm ever tailed by a troupe of clothing ghosts who brush up against me with their spectral satin pantlegs and gold lurex pleats (you heard me.) Which is how five years later I still have a crystal memory about this little plaid darling.)

Anyway the point is that this week I fell again and fell hard and I don't know how I'm ever going to be the same girl again. Because this:
Because it's sheer and floorlength and white and lovely. Because of the band details on the three-quarter length sleeves and the faint print detail diving down the skirt. I look at it and I'm at a picnic in the early afternoon or dancing barefoot with flowers in my falling-down hair, or else just kind of wafting around in a general haze of loveliness. Because it's that kind of dress, don't you think? The kind that is perfect.


All images by Lover.




Monday, November 12, 2012

New Romantic

There's nothing more inviting than a smirk, am I right? This is a pose that speaks volumes for my general ease and flair in front of the camera.

 But srsly, I really like this outfit. When I first bought this dress from one of my favourite ever vintage shops- American Rag in Southbank, Melbourne, you gotta go- I was on the fence about it. The skirt is an odd mushroomy pink, it has a dust ruffle that hangs like a curtain over your chest and it is sheer, sheer, sheer. But working in its favour (and mine) is the neat fit across the shoulders and the so-wrong-it's-rightness of it. In my opinion, anyway. And chuck on an electric blue sash, tights with tiny lovehearts all over and your favey-dave Rittenhouse sandals and you have an outfit that looks... well, pretty much like this:

Intense stare optional.

 Detail shot. Check out my chippy nail polish! That's the extra something I bring to style blogging.

 Then I put a Kenzo jumper on and this happened. Actually, it was during this post that I realised I have two photo poses- face forward and smile, or stand sideways and smile, which is kind of a limited repertoire. So I tried to go all Tavi and do a snarl...

 but I ended up looking like I was trying to hold a smile while squinting a bit of grit out of my eye. Not quite as cool-looking as this:

She really nails it. I should just stick with my standard and have done with.



Outfit details! dress: vintage // tights: from this little shop in Paris // sash: Zimmermann // sandals: Rittenhouse // jumper: Kenzo // lipstick: Juliet's Nars one // chippy nailpolish: USLU Airlines X Bernhard Willhelm in LAX.

Thursday, November 8, 2012

when you say i'm your national anthem, what does that mean exactly?

 The sculpting on the columns is like piped marzipan icing. If you lived in this house, wouldn't you just suffer from cake cravings ALL THE TIME? 

 I like lots of things about this scenario. Mostly that there are lots of plaits. When I try to plait my hair wispy bits start drifting out before I've even manhandled the elastic onto the end aka complete disaster. A little something you didn't know about me. Don't you feel like we're so much closer now?

 Lisa Cant by Irving Penn for Vogue 2005. Minnie Mousefrau? (ho ho)

 Also: her hair.

 Marseille with a tint in its eye. 

 Shoes and... I want to say that's a skort?

 See also: my upcoming summer.

 Remember Claire Forlani? Reckon she totally influenced this Donna Karan advertisement from the Nineties. Also: where did she go? Wanted to be her so hardly circa 'Meet Joe Black' and I thought she was the most beautiful ever.

 Elle Fanning. Yelling.

Just Daria Werbowy being the coolest girl in the world with her zippered ankles and her whatever shrug. 

Wednesday, November 7, 2012

Foucault, where have you been all my life?

Image from W Mag June 2007 from here 

Confession time: I have spent the last three years avoiding Foucault. There are certain theorists who intimidate by their reputation alone. They are the ones whose names are familiar and their ideas vaguely identifiable by a few keywords, and who are notorious for being difficult to grasp or to engage with in the depth of accuracy which their work demands. Intimidating

But a thesis cannot live by The Business of Fashion alone, and so this week, with trepidation, I approached him. Carefully. Holding out cake. And you know what? I was blown away. One, he writes elegantly and fluidly (huge props. I was expecting Bourdieuan levels of density). Two, he works examples in to illustrate his concepts (so helpful. Thanks Foucault!) Three, his ideas work, they have energy and depth and dynamism. So I'm going to share one of his beautiful passages here because it's too lovely to leave sitting in my PDF of 'Of Other Spaces' - I mean, get a load of this:

Bachelard’s monumental work and the descriptions of the phenomenologists have taught us that we do not live in a homogeneous and empty space, but on the contrary in a space thoroughly imbued with quantities and perhaps thoroughly fantasmic as well. The space of our primary perception, the space of our dreams and that of our passions hold within themselves qualities that seem intrinsic: there is a light, ethereal, transparent space, or again a dark, rough, encumbered space; a space from above, of summits, or on the contrary a space from below, or mud; or again a space that can be flowing like sparkling water, or a space that is fixed, congealed, like stone or crystal.


See what I mean?! I defy anyone to say that academic writing cannot be poetic. Besides, anyone who admires Bachelard and phenomenological descriptions is OK with me. 


Tuesday, November 6, 2012

Summer colour

Garance Doré for Vogue Brasil

I had to share this lovely picture Garance Doré shot for Vogue Brasil. The colour, the accessorising, her amazing curly hair- all I want for this summer Christmas. 
For more go to garancedore.fr/en

Friday, November 2, 2012

Basketball legend.


I told you I'm into "sporty" now. I'm like a whole 'nother person. No longer am I a person whose only exercise is chewing (my jaws have muscles ok?) I am now one who opts- opts, my friends- to go to one of the University's AFL fields during an afternoon break. The fact that I went to do an outfit post photoshoot is beside the point. The fact that I am shamelessly blending basketball attire with a football field is also beside the point. SPORTY.

So here am I in a darling Kate Sylvester dress/top (if you're in Sydney, it's a dress. Anywhere else, it's a top) which is a lot of things I love- sheer, navy, sequinned. It's from her S/S11 collection (thus the number on the front), and I made it un-see-through by lining it with a Bassike silk slip in buttermilk. (Aside: Bassike have the best colour names, don't you think? 'Campari and air' is the colour way of my bikini, the exact shade of hot bloodorange and pale sky blue that the name invokes.) My shoes are obviously Converse sneakers, the cuff is a so-well-worn-it-turns-my-arm-jade Stylist's Own rose gold plated number and the ring- the ring! My little Tahitian pearl beauty, made by the wonderful women at Zappacosta Jewels where I used to work and where I first fell dangerously in love with precious jewellery (Beyoncé reference intended.) And my sunglasses are by Dries Van Noten. I love the juxtaposition of the flat aviator lenses with the delicate arms and pale pink frames- way too cool for me but I had to have them anyway. 

I wore this outfit to uni yesterday and it was scorching hot but my light layers of silk and sheer made me float around, even though I had to haul ass up Manning Rd to the library four times in taking Short Loans books to and fro and back again. Didn't care, I stayed cool, la-la-la!

Thursday, November 1, 2012

Halloween Hypothetical

I didn't attend a Halloween bash this year but if I had my costume would have either been Picasso dressed as a bull:
Pablo Picasso by Gjon Mili, 1949 via Another Loves

or Susan Sontag dressed as a bear:
Decisions, decisions.

Campaign: Burberry Prorsum A/W 1998

Atmospheric Burberry Prorsum campaign shot by Testino and featuring Stella Tennant for A/W 1998. The turtlenecks, the coats, the coherence of dark jumper/coat/skirt of coat/skirt/stockings... it's enough to wish away the blazing spring skies.

Images from Style Registry