Tuesday, 23 February 2010


But at £550 it's approximately 11 times more than I could scrape together right now...

Mulberry Daria Satchel available at

Monday, 22 February 2010


It was Jaeger London versus the elements this afternoon, four days into a rather wet Fashion Week. Models would have been well protected had they dared to teeter out of Somerset house in their catwalk garb, as peaked felt hats and rich wool and leather swing duffel coats kicked off proceedings.

There was a distinctly seventies feel featuring plenty of turtleneck sweaters and sensible skirts, while a gloriously roomy burgundy and black jumper dress looked wickedly comfortable yet managed to remain chic.

Things were pepped up with decidedly retro mustard accents and accessories, and a foray into Heffner-esque velvet wrap dresses was surprisingly successful. Trousers were worn high and again in velvet, complete with silver zips marking a rebellious territory against the black. Universally flattering a-line, long sleeved shirt-dresses came in the ditziest of grape coloured prints and were cinched with suede tasselled belts. For this collection think Joanna Lumly pre Ab Fab, but without the dodgy bowl cut; a selection of reliable, wearable pieces from this English heritage brand, that manages to incorporate function, without compromising on style.

*Images to come when available


VAMP in big fat capitals was most definitely the word at Antonio Berardi this season as a series of femme fatales strutted down the catwalk to a soundtrack almost as enigmatic as the models themselves.

Dresses were long, lean and oozing with glamour and sex appeal, everything was fitted to perfection, from the slashed necklines to the highest of front slits elongating the legs to a Jerry Hall standard.

Colours were as deliciously rich as the men they would inevitably seduce, shades of berry, deepest noir and scarlet so perfect for the colder, darker months. Suits in the finest of grey tweed and black broke up the gown parade, with nipped in waists and jutting peplum like pockets.

Perfect for a quick getaway were the classic midnight belted trench and coquettishly masculine tuxedo dress, one of the most successful interpretations of YSL’s classic ‘Smoking Jacket’ I’ve ever come across.

The sheer, lace maxi, revealed the most seductive of stockings, suspenders and garter belt Рthe deadliest display of risqu̩ sensuality seen so far this season; and I loved it.

You can totally see why Lucy Yeomans, Editor of Harpers Bazaar chose a Berardi as Dress Of The Year, I certainly know who I’d be wearing if I were going to the Oscars next month…


Kicking off day four at London Fashion Week with her trademark soft lines and delicate fabrics was none other than the chic staple in every smart girls wardrobe, Nicole Farhi. Using her knack for giving loose cuts just the right amount of oomph slouchy camel coats were belted and Grecian inspired long-line shifts knotted at the shoulder creating a sensuous fan of gathering on the bias.

The pretty muted tones of sand, putty, stone and charcoal were revved up with the injection of neon piping to collars and a helluva lot of black patent leather, which seemed rather practical for the usual rainy Autumn/Winter months.

The standout piece for me was the almost whisper thin mesh and crystal long sleeved maxi tube dress, with the bodice smothered in the tiniest of gold flecks that caught the light beautifully. Finishing just above the ankle it would be fantastic with a chunky heeled boot and big coat for Mary Kate Olsen meets Courtney Love glamour.

Favourite Pieces:

Charcoal tapered trousers, fantastically sexy with a stiletto

Smudgy floral cerise long-line shift dress, with high neckline and loose sleeves adding an edgy touch to avoid being too sweet.

All the super-light mesh layers worn over dresses, skirts and tees – definitely a quick and easy way to update you wardrobe.

Sunday, 21 February 2010


To say I was eager to watch Matthew Williamson’s AW10 collection would be a mild understatement, as I’m sure was the case with the majority of us ‘girly girls’ out there. Those expecting his trademark embellishments of sequins and cute flirty lengths would have been hard pushed to be disappointed; there were dazzling mini dresses begging to be worn with ankle boots to a fabulous party, as well as the most beautiful little a-symmetric numbers in the slinkiest of violet silks.

Heavier fabrics such as tweed were treated with stunning attention to detail and made into wonderfully swinging capes or fanned across the chest of a suit jacket creating a playful and fresh silhouette. Best friend (and person whose style I’d most like to steal) Sienna Miller, was present in the front row looking stunning as ever in cream micro shorts and is bound to be seen in a number of these creations for months to come.

Williamson treated us all to a little dose of Royal Blue in the form of tapered trousers, trapeze line dresses and even a leather mini – as one of my favourite colours I struggled not to swoon. With all the simplicity and black that have seemed to equal fashion kudos in recent seasons, what a gorgeous breath of fresh air was this collection in dreary London this afternoon; and with a hop skip and a jump I’m most certainly going to be attending this years Christmas parties decked out in jewelled tones. Sufficient enough to eclipse the Claridges tree maybe? Ok, perhaps not.


Todd Lynn’s famed rock and roll reputation took a backseat this rainy Sunday afternoon three days into London Fashion week. Instead of receiving the anticipated blend of sublime deconstructed tailoring, it was a rather uniformed affair – modernism by way of Ethan Hawke in ‘Gattaca’ circa 1997.

There was no shortage of his trusty leather, varying in shades from soft putty to deepest black, and used in every way imaginable: from trousers, to jackets, epaulettes and even a harness or two. Janet Jackson’s position in the front row caused a mighty stir, with everyone from the paparazzi to the twitterverse going a bit barmy, and you could definitely see her rocking a few of his more bodycon ensembles, especially the almost armour like, zip fronted, harsh pin tucked biker jacket.

As with a lot of his work, Lynn’s AW collection erred very much on the side of androgyny, with the men and women sporting only slightly different versions of the same funnel necks, asymmetric flat fronted cuts and sandy tones. Fur on the shoulders was BIG, and I mean that literally, with the finale women’s look being a loose black leather coat with shoulders so broad and fluffy it could have walked itself down the runway. Hair and make up were kept slick and straight, with shoes being a simple mid-calf heeled boot in ash grey for girls, while the boys stomped down in moon-boot style sneakers; all soles bearing a flash of fire red. All in all, futuristic fierceness.


With the front row including an eclectic mix of Jodie Harsh sitting snug alongside popette Pixie Lott, PPQ’s status as celebrity favourite was further cemented. Things were kicked off with a series of LBD’s adorned with reams of particularly mustard hued gold fringing. Gold lame inserts added a little flash to simplistic black tube dresses, and an entire lame trench was a real showstopper not to be tackled by the fainthearted. Models teetered out on black (again) patent heels which were rather stripper meets little bow peep, a vertiginous heel adorned with sweet enlarged bows as fastenings. Gorgeously executed wool coats came tiered, tailored, belted and nestling in fur from the collar down to the waist. There was again the very ‘on trend’ combination of black and brown, the latter sneaking its way into the bodice of a dress in subtle satin stripes or as the jacket lapel on what could best be described as a ‘power romper’. One couldn’t help but cite Dynasty as a major influence, but as much as there were shoulders and spandex aplenty, Bodycon often gave way to sweet A-Lines. Molyneaux and Parker added a modern touch with unfussy middle parted hair and the signature drainpipe skinnies were present and correct, this time taking form in the sexiest of black leather and finishing above the naval. There is no doubt that PPQ design what women want to wear, and even if you don’t manage to get your hands on anything, expect to be seeing on a celebrity near you very soon.


It was a show of melancholy romance for John Rocha’s AW10 collection. Victoriana swung its way down the catwalk in a swathe of black, lace and ruffles – with modesty kept intact by just the revealing of the knees and shoulders in peek-a-boo tights and the longest of gloves. The men resembled a smouldering Heathcliffe, with riding boots and raw animal skin coats embodying unrefined finery; while the women wouldn’t have looked out of place on the moors in their torn petticoats and dirty cream frills. A recurring theme this season is the combination of the most chocolaty of browns paired with the buffest noir leather, and Rocha showed just how to do it, topped off with the tallest of hats secured daintily under the chin with vintage ribbon.

Famed for his experimental approach to fabric and technique, this show demonstrated in leaps and bounds just why he was given a CBE in 2002 for contributions to the fashion industry. The trapeze line dresses swung and bounced to perfection while carefully gathered ruffles cajoled playfully at the bottom of hemlines adding a playful injection of volume. This Hong-Kong born designer has come a long way since graduating from the Croydon School of Art in the Seventies, and should definitely be thought of as more than just a diffusion line at Debenhams. This showcase of rock and roll gentry mixed with Victoriana nightwear turned daywear has Autumn/Winter wrapped up, with plenty of attitude.


It was a naval affair at Jena Theo this afternoon with what looked like all the ships sails billowing down the catwalk. A promising start of voluminous maxi dresses, palazzo pants and chunky mohair in the deepest aquatic hues of blue, with layering of beach pebble grey soon gave way to a more “Judi Dench” aesthetic. The cocoon structures seemed to sag with age and seemed more SAGA than stunner, a surprising departure from her wonderfully youthful previous collection. Things improved and seemed a lot fresher with a series of delightfully draped mini dresses, the chocolate racer back style paired with thick woollen legwarmers being of particular note. Although I’m sure the models appreciated the flat bow-tied pumps, some of the mid-calf length dresses could have benefited from a little sexing up, to avoid erring on the side of frumpy. During one point in the show I could be sure I heard the lyric “Your navy blue, it’s drowning you” in the accompanying music – however it could well have just been my subconscious playing tricks on me. Nevertheless, one word that might as well have been plastered all over the blurred graphic print tunics was ‘swathe’ – and in abundance. Although very effective when wafting down the runway you couldn’t help but imagine taking a pair of scissors to some of the more dramatic fishtail finishes – all in all a hearty collection that contained it’s fair share of treasures, but not without its barnacles.


There was nothing remarkably new about what was shown by Bora Aksu this afternoon, tried and tested staples such as leggings, exposed zips, tulip skirts and an emphasis on the shoulder were the core of this young designers AW10 collection; however, this is no bad thing. Showcasing with great aplomb his remarkable ability to tailor to perfection, this collection was a spectacular example of unlikely juxtapositions such as hard lines and pastel chiffons working together beautifully. Very much a continuation from his SS10 show, one could be forgiven for mistaking the first half of the collection as summer wear, yet with the cool pastels soon making way for rich bronze’s synonymous with party season and eventually landing firmly in the winter territory of black, it was evident this line is as trans-seasonal as it is wearable. It is clear why Bora Aksu has received so much acclaim since his graduation from Saint Martin’s, and his unfaltering dedication to emphasis on the female form makes his collections simultaneously desirable and flattering – a rare feat these days. With shoulders adorned with delicate blossom-like ruffles, and bodices intricately detailed with contrasting piping snaking in the illusion of a waspish waist, it is easy to see why Dolce and Gabbana purchased pieces of his collection for inspiration all those years ago. Aksu yet again manages to incorporate the demurest elements of femininity with the most businesslike cuts, and top it all off with a fine bow at the neckline; simply, yet complexly, gorgeous.


So.. I've been entering the Grazia "You, The FROWer!" competiton everyday, sending in around two catwalk reports after streaming them live from the LFW website. Haven't won anything - quelle surprise - and personally, I think the winner's from yesterday is S-H-I-T-E. Not that I'm bitter or anything. Obvs. Here's what I've done so far..